Please note that the following are estimates only and the actual time each lot is offered may vary.

Saturday 10:00 am

June 8, 2013 Lots 1-549

10:00-11:00 1-99 11:00-12:00 100-199 12:00-1:00 200-299 1:00-2:00 300-399 2:00-3:00 400-499 3:00-3:30 500-549

Sunday 10:00 am

June 9, 2013 Lots 550-1106

10:00-11:00 550-649 11:00-12:00 650-749 12:00-1:00 750-849 1:00-2:00 850-949 2:00-3:00 950-1049 3:00-3:30 1050-1106

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1Chippendale-Style Mahogany Veneered and Parcel-Gilt Pierced Mirror, fourth quarter 19th century, h. 35‑1/2”, w. 19‑1/4”. [200/400]

2George III-Style Mahogany Footstool, early 20th century, the top with floral needlework, h. 19”, w. 24”, d. 18”. [200/400]

3Continental Upholstered Ottoman on Casters, 19th century, with peg construction and retaining the original casters, now upholstered in crewel work, h. 17”, dia. 23”. [125/250]

4George III-Style Mahogany Stool in the Chippendale Taste, early 20th century, raised on cabriole legs with ball‑and‑claw feet, now upholstered in gold and crimson cut velvet, h. 19‑1/4”, w. 23”, d. 18”. [75/125]

5Pair of Georgian Revival Anglo-Irish Cut Glass Candelabra, ca. 1900, each with two gilt‑bronze scrolled arms supporting cut glass drip pans and candle cups, both hung with prisms, a central cut glass pinecone and a diamond‑cut stepped base, h. 13‑1/4”, w. 13‑1/4”, d. 3‑1/4”; together with a cut glass boudoir lamp, of like date, with a Brilliant Period base and an Argand‑type shade, attributed to Pairpoint, Boston, Massachusetts, h. 18‑1/4”, dia. 5‑1/2”. [500/800]

6Irish George III-Style Cut and Pressed Glass Twelve-Light Chandelier, the stem and bowls in diamond decor, the canopy hung with shaped pendalogues, with two tiers of S‑form arms, each hung with like pendalogues and joined by swags of octagonal faceted beads, h. 25”, dia. 33‑1/2”. [300/500]

7Georgian-Style Mahogany Armchair, ca. 1800, the tall padded rectangular back joined to the padded seat by reeded arms, raised on tapering square legs joined by an H‑form stretcher, h. 43‑1/2”. [500/800]

8George III-Style Mahogany Wing-Back Armchair in the Chippendale Taste, ca. 1900, with cabriole legs eagle‑carved at the knees, now upholstered in cowhide upholstery, h. 49”. [1200/1800] Illustrated

9George III-Style Mahogany Wing Chair, early 20th century, the padded rectangular back and shaped sides joined by outscrolled arms to the cushioned seat, raised on chamfered square legs, h. 38”. [100/200]

10Queen Anne Mahogany Drop-Leaf Table, late 18th century, h. 28”, w. 36”, d. 15”, extended, l. 44”. [200/400]

11Queen Anne-Style Mahogany Tea Table, early 19th century, the rounded rectangular dished top with indented corners, above a scalloped frieze, raised on cabriole legs headed by scrolled knees and ending in pad feet, h. 28”, w. 28”, d. 19”. [700/1000]

12George III-Style Mahogany Tea Table, the rectangular top with a full pierced gallery above a plain frieze, raised on chamfered square legs joined by a scrolling domed X‑form stretcher, h. 27‑1/2”, w. 32”, d. 21”. [500/800]

13Dutch Queen Anne-Style Walnut Tea Table, 19th century, the quarter‑veneered rectangular top with a shaped raised edge, above an ogee‑molded frieze fitted with a single drawer, raised on cabriole legs headed by acanthine carving and ending in ball‑and‑claw feet, h. 28‑1/2”, w. 34”, d. 22‑1/2”. [1500/2500]

14George III-Style Mahogany Cabinet, 19th century and later, the shaped rectangular top with guilloche‑carved edge, above a conforming case fitted with two doors, each with decorative banding, raised above a floral ogee‑molded apron on cabriole legs ending in scrolled toes, h. 39”, w. 38‑1/2”, d. 21”. [300/500]

15George III Mahogany Sidechair, 18th century, the back posts and crest rail with foliate carving, the central splat depicting a soldier, raised on cabriole legs ending in trifid feet, h. 39”. [100/200]

16Pair of George III-Style Mahogany Dining Chairs in the Chippendale Taste, each with a shell‑carved crest rail and carved splat, the front seat rail with an applied shell and raised on cabriole legs, upholstered in ivory moire, h. 39‑3/4”. [150/300]

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17Pair of George III-Style Mahogany Dining Chairs in the Chippendale Taste, each with a shell‑carved crest rail and carved splat, the front seat rail with an applied shell and raised on cabriole legs, upholstered in striped brocade with an ivory ground, h. 40”. [150/300]

18Suite of Eight George III-Style Dining Chairs, early 20th century, comprised of two armchairs and six sidechairs, each with a shaped crest above a foliate‑carved pierced and interlacing splat, the padded seat raised on cabriole legs headed by shield carving and ending in scrolled toes, h. 40”. [800/1200] Illustrated

19Monumental George III-Style Mahogany Dining Table, 20th century, the rounded rectangular top banded and raised on three pedestals, each of turned baluster form, to four splayed cabriole legs ending in pad feet, h. 29‑1/2”, w. 54”, l. 166”. [1500/2500]

20George III-Style Mahogany Dining Table, early 20th century, the rounded rectangular top with molded edge and raised on two pedestals, each with a fluted graduated standard to three splayed cabriole legs headed by acanthine carving and ending in ball‑and‑claw feet, with five 12” leaves, h. 30”, w. 42”, l. 70”, extended l. 106”. [800/1200]

21Hepplewhite-Style Inlaid Mahogany Sideboard, 20th century, h. 37”, w. 72”, d. 24”. [300/500]

22George III-Style Line-Strung, Banded and Inlaid Mahogany Corner Table, 20th century, the top with a light wood perimeter banding and raised on tapering Hepplewhite legs, h. 27‑1/4”, w. 47‑1/2”, d. 35‑3/4”. [300/500]

23Japanese Imari Porcelain Baluster-Form Vase, ca. 1900, h. 9‑3/4”. [150/300] Illustrated

24Pair of Japanese Imari Porcelain Leaf-Form Dishes, fourth quarter 19th century, w. 8‑1/4”, l. 8”. [100/200]

25Two Pieces of Japanese Imari Porcelain, fourth quarter 19th century, including an oval fluted dish, w. 8‑1/2”, l. 10‑1/2”; and a circular fluted plate, dia. 8‑3/4”. [150/300]

26Japanese Imari Porcelain Charger, first quarter 20th century, dia. 14‑1/2”. [150/300]

27Five-Piece Collection of English Ceramics in the Imari Palette, comprised of a Spode oval platter, w. 7‑1/2”, l. 10‑3/4”; a Spode plate, dia. 8”; a pair of Clews oval dishes, l. 7‑1/2”; and a Ridgway tureen stand, mid‑19th century, w. 15‑1/2”, dia. 11”. [200/400]

28Japanese Imari Porcelain Vase, fourth quarter 19th century, h. 6”, dia. 5‑1/2”. [150/300]

29Three Imari Plates, comprised of a Japanese plate with a reticulated border, ca. 1900, dia. 8‑3/4”; and two Chinese plates, fourth quarter 18th century, dia. 9” and 9‑1/2”. [150/300]

30Queen Anne-Style Polychrome Occasional Table, in the chinoiserie taste, the scalloped rectangular top above a frieze fitted with a single side drawer, raised on cabriole legs headed by ebonized Orientalist accents and ending in scrolled pad feet, h. 25”, w. 27‑1/2”, d. 20‑1/2”. [800/1200]

31Georgian-Style Polychrome Corner Cabinet, 20th century, in the chinoiserie taste, fitted with a single paneled door featuring a figural oriental landscape, opening to a shelved interior, raised on scrolled feet, h. 47‑1/4”, w. 26‑1/2”, d. 15‑1/2”. [150/300]

32Regency Tole Tea Canister, second quarter 19th century, h. 16‑1/2”, dia. 8‑3/4”. [200/400]

33Good Japanese Woodblock Print, 19th century, depicting a geisha carrying a lantern and holding an open umbrella, as the rain and wind blows her kimono, framed, h. 22‑1/4”, w. 19‑1/4”. [200/400]

34Hand-Painted Glazed Pottery Seated Monkey, 20th century, decorated in the Kakiemon style, h. 13‑1/2”, w. 10‑1/2”, d. 11”. [100/200]

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35Pair of Monumental Stone-Clad “Tusks”, trimmed in brass, h. 68”, base, w. 14”, d. 14”. [300/500] Illustrated

36Pair of George II-Style Armchairs, each with a shaped back, upholstered in gray‑blue pearlized leather, h. 41”. [400/700]

37Suite of Four George II-Style Mahogany Armchairs, each with shaped open arms, upholstered in gray‑blue pearlized leather, h. 39”. [400/700]

38Pair of Chippendale-Style Mahogany Executive Chairs, with serpentine crests, curved arms and Marlborough legs with cross stretchers, upholstered in faux black leather, h. 40”. [100/200]

39Pair of Chippendale-Style Mahogany Executive Chairs, with serpentine crests, curved arms and Marlborough legs with cross stretchers, upholstered in faux black leather, h. 40”. [100/200]

40Pair of Chippendale-Style Mahogany Executive Chairs, with serpentine crests, curved arms and Marlborough legs with cross stretchers, upholstered in faux black leather, h. 40”. [100/200]

41Pair of Chippendale-Style Mahogany Executive Chairs, with serpentine crests, curved arms and Marlborough legs with cross stretchers, upholstered in faux black leather, h. 40”. [100/200]

42G. Roy (British, 20th Century), “Three Horses”, oil on canvas, signed lower right, 20” x 24”. Framed. [400/700] Illustrated

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43G. Roy (British, 20th Century), “Pair of Horses”, oil on canvas, signed lower right, 20” x 24”. Framed. [600/900]

44British School (Contemporary), “Black Stallion”, oil on wood panel, 8” x 10”, unsigned. Framed. [100/200] Illustrated

45British School (Contemporary), “Saddled Horse”, oil on wood panel, unsigned, 8” x 10”. Framed. [100/200]

46British School (Contemporary), “Haying”, oil on wood panel, unsigned, 24” x 20”. Framed. [300/500]

47A Decorative English Print of a Hunt Scene, sight 18” x 23‑1/2”. Attractively matted, glazed and framed. [100/200]

48British School (Contemporary), “The Hunt”, oil on wood panel, unsigned, 16” x 12”. Framed. [200/400]

49American School (20th Century), “Black Beauty”, oil on canvas, illegibly signed lower right, 16‑1/4” x 20”. In a cove‑molded frame. [200/400]

50British School (Contemporary), “Waiting”, oil on canvas, unsigned, 8” x 10”. Framed. [100/200]

51British School (Contemporary), “On the Scent”, oil on wood panel, unsigned, 16” x 12”. Framed. [200/400] Illustrated

52British School (Contemporary), “Two Dogs”, oil on canvas, unsigned, 8” x 10”. Framed. [100/200] Illustrated

53British School (20th Century), “Portrait of a Terrier”, pastel on paper, unsigned, sight 9” x 12”. Glazed, matted and framed. [100/200]

54George III-Style Mahogany Secretary Chest, mid‑19th century, the rectangular top above a case fitted with an oval paneled drop‑front secretary drawer, opening to a variety of drawers and cubbyholes, over three graduated long drawers, raised on shaped bracket feet, h. 40‑1/2”, w. 44”, d. 22‑1/2”. [500/800]

55George III-Style Mahogany Kneehole Architect’s Desk, mid‑19th century, the rectangular top with an inset leather surface, hinged and lifting to an adjustable easel back, above a case fitted with a single frieze drawer opening to a retractable leather‑inset writing surface, over two banks of three graduated drawers flanking a central kneehole paneled cupboard door, raised on bracket feet, the sides with brass handles, h. 33”, w. 48”, d. 23”. [1000/1500]

56George III Oak Slant-Lid Desk, ca. 1800, the lid opening to reveal a compartmentalized interior, the case with a bank of four graduated drawers, h. 39‑3/4”, w. 36”, d. 21‑1/4”. [400/700]

57George III Rosewood Tea Caddy, first quarter 19th century, outlined with stringing and set with an oval pull on its cover, having a pair of tea compartments with hinged lids flanking a round compartment to hold a mixing bowl, h. 6”, w. 12”, d. 5‑3/4”. [200/400]

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70Three Pieces of Pewter, including a pair of English bread and butter plates, fourth quarter 18th century, dia. 6‑3/4”; and a neoclassical‑style bread tray, first quarter 20th century, w. 8‑1/2”, l. 12”. [100/200]

71Two Pieces of Pewter, including a French spouted flagon, marked 19th century, h. 7‑3/4”; and a lidded ale jug, possibly American, second quarter 19th century, h. 7‑3/4”. [100/200]

72Pewter Lidded Flagon, in the 17th‑century style, h. 25”, dia. 6”. [100/200]

73Pair of George III-Style Mahogany Torcheres, each with a circular dished top raised on a graduated reeded standard with wheat sheaf carving, raised on four splayed cabriole legs headed by wheat sheaf carving and ending in pad feet, h. 62”, dia. 31”. [800/1200]

74Continental Pine Six-Step Library Ladder, ca. 1900, with a maker’s patent designation on the hardware, h. 60”, w. 27”, d. 43”. [250/400]

75George III Stained Pine Butler’s Tray on Stand, ca. 1800, fitted with brass corners, the sides with hand holds, h. 29”, w. 33”, d. 19”. [150/300]

76Japanese Tri-Part Color Woodblock Print, depicting a battle scene, signed and narrated in calligraphy, sight 13‑1/2” x 29”. Glazed, matted and framed. [200/400]

77Japanese Woodblock Triptych, “Running Steam Locomotive in Yokohama Bund” by Utagawa Ando, Hiroshige III (1842‑1894), depicting a train at the wharves with people in the foreground and vessels in the background, signed on the upper right, framed, h. 21‑1/2”, w. 36‑1/2”. [700/1000]

78Suite of Three Draft Drawings For Emaki Scrolls, 19th century, illustrating scenes from a traveler’s voyage, sight 9‑1/2” x 14‑1/2”. All glazed, matted and framed. [100/200]

79Japanese School (20th Century), “Bird on a Plum Branch”, colors on silk, signed at right, overall dimensions 34” x 19‑1/4”. Silk‑matted, glazed and framed. [200/400]

80Japanese School (20th Century), “Floral Still Life”, color on paper, signed upper right, overall dimensions 43‑1/4” x 24”. Silk‑matted and framed. [200/400]

81Japanese Painting on Silk of a Bird in a Flower Garden, overall dimensions 38‑1/4” x 20”. Silk‑matted, glazed, and presented in a contemporary silver‑gilt frame. [200/400]

58Two George III Tea Caddies, ca. 1800, each with cut corners, the mahogany example with a cone‑shaped escutcheon, an oval pull and outlined with stringing, h. 5”, w. 7‑1/2”, d. 5”; the rosewood example outlined in cross banding and having two fitted compartments with conforming matching lids, h. 5‑1/4”, w. 7‑1/2”, d. 4‑1/2”. [200/400]

59Three Victorian Tortoiseshell and Bone Boxes, ca. 1900, including a spectacles case with a silverplate escutcheon, l. 5‑1/2”, and two snuff boxes, l. 2‑1/2” and 2‑3/4”. [200/400]

60Three Victorian Tortoiseshell Boxes, ca. 1900, including a round velvet‑lined ring box trimmed in ivory, dia. 1”, and two snuff boxes accented with bone, l. 2‑1/4” and 3‑1/4”. [200/400]

61Three Victorian Bone Snuff Boxes, ca. 1900, possibly Scottish, two with ring‑pull tops, h. 1‑3/4” to 2”. [200/400]

62George III-Style Mahogany Tripod Table, early 20th century, the tilting rectangular top with shaped corners and raised on a turned vasiform standard to three splayed legs, h. 28‑1/2”. [100/200]

63George III-Style Mahogany Tilt-Top Stand, mid‑19th century, the rectilinear single‑board top on a vasiform tripodal pedestal, h. 28”, w. 28”, d. 20‑3/4”. [250/400]

64George III-Style Oak Tilt-Top Breakfast Table, 20th century, h. 30”, dia. 48”. [300/500]

65Georgian Oak and Mahogany Tilt-Top Tea Table, ca. 1800 and later, the mahogany circular tilt‑top on an oak tripodal pedestal, h. 26‑1/2”, raised, h. 43‑1/2”, dia. 29‑1/2”. [150/300]

66George III-Style Inlaid Mahogany Tilt-Top Tea Table, 20th century, the shaped top with inlaid stringing, and raised on a fluted tripodal base with ball‑and‑claw feet, raised, h. 45”, lowered, h. 29”, dia. 30”. [300/500]

67George III-Style Mahogany Table Lamp, 20th century, the double‑socket lamp raised on a turned and bulbous standard, the dished circular table top raised on a like standard to three splayed cabriole legs ending in pad feet, h. 63”, dia. 18”. [100/200]

68English Pewter Cheese/Cake Plate, 18th century, dia. 10”. [100/200]

69Pair of Pewter Chalices, in the 19th‑century style, h. 8‑3/4”. [200/400]

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82Japanese School (20th Century), suite of four kabuki‑themed woodblock prints, including samurai, puppets and onnagata, overall 37‑3/4” x 17”. All framed together. [100/200]

83Japanese School (20th Century), “Farmer Gazing at the Sun”, pen and ink on paper, signed lower left, overall dimensions 38” x 23‑1/4”. Silk‑matted and mounted in a contemporary frame. [200/400]

84Open Lot

85Indian School (20th Century), “The Adored”, mounted ink and color on paper, 9‑1/2” x 6”. Glazed, matted and framed. [100/200]

86Chinese Pottery Parrot, now mounted as a lamp on a wooden base, parrot, h. 16‑1/2”, overall, h. 29‑1/2”. [50/80]

87Chinese Green Pottery Jar, now mounted as a lamp on a wooden base, jar, h. 12”, overall, h. 25‑3/4”. [100/200]

88Decorated Celadon Figure of Confucius, now mounted as a lamp on a conforming wooden base, figure, h. 11”, overall, h. 23”. [100/200]

89Chinese Porcelain Vase, now mounted as a lamp on a wooden base, vase, h. 18”, overall, h. 29”. [100/200]

90Japanese Porcelain Vase, in the Imari palette, now mounted as a lamp, vase, h. 15‑1/4”, overall, h. 29‑3/4”. [75/125]

91Chinese Pottery Figure of a Male Holding a Shoe, now mounted as a lamp, figure, h. 13‑1/4”, overall, h. 25‑3/4”. [100/150]

92Pair of Chinese Cloisonne Vases, now mounted as lamps with wooden bases and covers, vase, h. 11‑1/2”, overall, h. 24‑1/2”. [100/200]

93Chinese Hardstone Carving, 20th century, the green‑and‑brown stone carved in the round and depicting a pine tree with two doves and two cranes, on a conforming wooden stand, overall, h. 8”. [100/200]

94Chinese Soapstone Dish, carved in the form of a lily pad, with lotus blossoms, buds and reeds to the side, h. 2”, w. 10”, d. 7‑1/4”. [100/200]

95Chinese Celadon-Glazed Vase, of tapering square form, the glaze with craquelure, h. 11‑3/4”, w. 4‑1/2”, d. 4‑1/2”. [200/400]

96Pair of Chinese Celadon Baluster Vases, h. 15”, dia. 10”. [300/500]

97Chinese Patinated Metal Figure of Kwan Yin, h. 15‑1/2”, w. 5”, d. 9‑1/2”. [75/125]

98Japanese Bronze and Cast Iron Usubata, Meiji Period (1868‑1912), modeled in the form of a tasseled money pouch on a flower cart, the flower‑arranging section removable, h. 10‑1/2”, l. 13‑3/4”. [100/200]

99Southeast Asian-Style Bronze Candle Holder, pulled on a two‑horse cart, h. 24‑3/4”, w. 9”, l. 14‑3/4”. [125/250]

100Chinese Bronze Buddha Head, 20th century, h. 16”. [300/500]

101Burmese Architectural Elements, late 19th/early 20th century, each piece carved and pierced with geometric motifs, and inlaid with mirror panels and lacquered red and gold, h. 24‑1/2”, w. 25”. [600/900]

102Thai Carved Wooden Architectural Element, late 19th/early 20th century, of spire form and carved with horses, traces of paint remaining, h. 75”, w. 6‑1/2”, d. 5‑3/4”. [500/800]

102AChinese Carved Ivory Elephant Bridge, l. 10‑1/2”. [150/300]

103Chinese Interior-Painted Snuff Bottle, 20th century, the bottle carved in the form of a turtle, l. 4”. [150/300]

104Chinese Interior-Painted Snuff Bottle, the decoration depicting playful kittens, h. 2‑1/2”. [150/300]

105Chinese Jadeite Snuff Bottle, 20th century, the stone of a bright green color with yellow markings, in a flattened oval form, h. 2”. [150/300]

106Chinese Black-Lacquered Elmwood Cabinet, 20th century, with two doors over two drawers, and a moon‑shaped face plate and mounts, h. 71”, w. 42‑1/2”, d. 23”. [500/800]

107Chinese Elmwood Two-Door Cabinet, 20th century, with a lacquered surface, a carved apron with archaic scrolling and a moon‑shaped face plate, h. 74‑1/2”, w. 40‑1/2”, d. 23”. [300/500]

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108Pair of Chinese Pillar Plaques, 19th century, the black and gold lacquer carved with Shou characters and dragons, and engraved with Confucian admonitions, h. 101‑1/2”, w. 14”. [500/800]

109Chinese Four-Panel Screen, 20th century, each panel of shadowbox form, and having carved hardstone inlaid scenes of birds and flowers, h. 72”, w. 72”. [1000/1500]

110Japanese-Style Painted Paper Folding Screen, in a faux lacquer frame, h. 36”, w. 72”. [100/200]

111Chinese Black-Lacquered Four-Panel Coromandel Folding Screen, 20th century, one side with bamboo decor, the other side with birds perched on foliate sprays, h. 72”, w. 64”. [150/300] Illustrated

112Chinese Rosewood Bed, 19th century, the base carved and pierced with bamboo, birds and grapes, h. 18‑1/2”, w. 62”, l. 79”. [1200/1800]

113Chinese Rosewood and Marble-Top Stand, early 20th century, h. 24”, dia. 14”. [200/400]

114Three-Piece Suite of Chinese Rosewood Furniture, first half 20th century, comprised of a pair of chairs and a matching table, the yoke‑backed chairs finely carved and pierced with foliation, chair, h. 39‑3/4”, table, h. 30‑1/2”, w. 15‑3/4”, l. 22‑1/2”. [1200/1800]

115Suite of Four Chinese Stained Hardwood Sidechairs, early 20th century, in the Ming style, each with a shaped crest over a fruit‑carved back, the paneled seat raised on square legs joined by an H‑form stretcher, h. 40‑1/2”. [400/700]

116Chinese Polychrome Apothecary Cabinet, early 20th century, the rectangular top with full raised edge above a case fitted with four banks of four small drawers over two drawers, all compartmented and with calligraphic inscriptions on the fronts, raised on square legs, h. 46‑1/2”, w. 33‑1/2”, d. 19‑1/2”. [300/500]

117Chinese Black-Lacquered Apothecary Cabinet, 19th century with later elements, having forty‑two brass‑mounted drawers labeled with the original contents beneath an open gallery, h. 70”, w. 40‑1/4”, d. 19‑3/4”. [600/900]

118Chinese Pine and Elm Wood Cupboard, early 20th century, of rectangular form, fitted with two sets of sliding doors, one set slatted and paneled, the other set grilled and paneled, and seven small drawers, the lower section fitted with two slatted and paneled sliding doors, raised on a plinth base, h. 67‑1/2”, w. 72”, d. 19”. [400/700]

119Chinese Bamboo Root Display Shelf, late 19th/early 20th century, having nine shelves within an ornately shaped section of root, h. 67”, w. 42‑1/2”, d. 24”. [500/800]

120Chinese Gouache on Paper, fourth quarter 19th century, sight 55‑3/4” x 33‑1/2”. Glazed and framed. [500/800]

121Chinese School (20th Century), group of three woven silks depicting dragons, immortals and foo dogs, sizes range from 23” x 21” to 46” x 44”. All glazed and framed alike. [300/500]

122Two Chinese Silk Embroideries in Gilt-Bamboo Frames, h. 20‑1/4”, w. 10” and 11”; together with a painting depicting Krishna combing Radha’s hair, h. 8”, w. 6‑1/2” (three total pieces). [100/200]

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123Chinese Ming-Style Porcelain Vase, 20th century, the bottle‑shaped vase with underglaze blue decoration of an historical scene, h. 18”. [300/500] Illustrated

124Chinese Export Blue-and-White Porcelain Tree Tub, decorated with peonies and phoenix birds, h. 15”, dia. 18”. [300/500]

125Pair of Porcelain Covered Jars, 20th century, each oval‑form jar with underglaze blue decoration of a long poem in Chinese characters, now mounted as lamps, h. 14”. [300/500]

126Pair of Chinese Enamel Vases, h. 7‑1/4”. [75/125]

127Two Chinese Enameled Vases, h. 6‑1/4” and 10”. [75/125]

128Three Pieces of Chinese Cloisonne, comprised of a dish, dia. 12”, a bowl, dia. 4‑1/2”, and a smaller bowl, dia. 3‑3/4”. [100/200]

129Pair of Chinese Cloisonne Garniture Vases, decorated with cranes and lotus flowers on a blue ground, h. 12‑1/4”, dia. 5”. [300/500]

130Pair of Chinese Export Sang-de-Boeuf Porcelain Baluster Vases, h. 9”, dia. 3‑1/4”. [200/400]

131Large Bamboo and Mixed Woods Birdcage, early 20th century, the wrought iron hook joined to the cage with brackets carved with dragons and birds, retaining four crackle porcelain food and water cups, the whole resting on four carved feet, h. 64”, dia. 31”. [200/400]

132Chinese Bronze Censer, with panels depicting children at play, h. 21”, w. 14‑1/4”, d. 8‑1/2”. [150/300]

133Pair of Chinese Sang-de-Bouef Porcelain Baluster Vases, h. 18‑3/4”, dia. 7‑1/4”. [150/300]

134Four-Piece Group of Chinese Export Porcelain, comprised of a pair of plates, fourth quarter 18th century, dia. 9”; a dish, ca. 1800, dia. 8”; and a rice bowl, 19th century, dia. 7”. [150/300]

135Chinese Export Porcelain Reticulated Fruit Basket and Matching Undertray, fourth quarter 19th century, h. 4”, w. 8”, l. 9‑1/4”. [500/800] Illustrated

136Two Chinese Porcelain Vases Mounted as Lamps, one decorated with female figures and Chinese characters on the reverse, on a pierced wooden base, vase, h. 15‑1/4”, overall, h. 31”; and the other decorated with peafowl and peonies, on a wooden base, vase, h. 18‑1/2”, overall, h. 24”. [300/500]

137Two Pieces of Chinese Porcelain, comprised of a round dish, 19th century, dia. 11”; and a bowl, 20th century, dia. 6”. [200/400]

138Large Spanish Colonial-Style Carved and Gilded Doorway Surround, h. 100”, w. 62”. [400/700]

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138AMassive Spanish Colonial-Style Giltwood Four-Post Canopy Bed, 20th century, approximate h. 108”, w. 69”, d. 87”. [1500/2500] Illustrated

139Carved and Painted Santos Figure Depicting Jesus Christ, 19th century, of Latin American origin, h. 29”, w. 16‑1/4”, d. 5‑1/2”. [300/500] Illustrated

140Carved, Painted and Parcel-Gilt Santos-Style Figure of St. Joseph, of Latin American origin, h. 23”, w. 9‑1/2”, d. 6”. [300/500] Illustrated

141Carved, Painted and Parcel-Gilt Santos Figure of the Christ Child Carrying a Globus Cruciger, 19th century, on a carved and gilded stand of later origin, h. 22‑1/2”, w. 7”, d. 5”. [200/400]

142Latin American Carved and Inlaid Bone and Hardwood Altarpiece, bone obelisks flank Mary in an arched opening, under the crucifix holding Jesus Christ, h. 28”, w. 7‑1/4”, d. 4‑3/4”. [125/250]

143Latin American Santos-Style Polychrome Figural Carving, depicting the Virgin of Immaculate Conception, h. 16”, w. 6‑1/2”, d. 3‑3/4”. [150/300]

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144Life-Sized Latin American Carved, Polychrome and Parcel-Gilt Figure of Our Lady of Guadalupe, the figure supported by angels on a tapered plinth, h. 75”, w. 23”, d. 19‑1/2”. [800/1200]

145Santos-Style Carved, Painted and Gilded Angel, on an ebonized wooden platform, h. 19”, w. 9‑1/2”, d. 8‑1/4”. [100/200]

146Santos-Style “Cage Doll” Figure, with articulated arms, of Latin American origin, h. 22‑1/2”, w. 8”, d. 7‑1/2”. [100/200]

138A

139

140

10

147Latin American Carved and Painted Ecclesiastical Figure of the Christ Child, ca. 1900, mounted on a Spanish Colonial‑style carved and parcel‑gilt pedestal, h. 42‑3/4”, w. 15”, d. 19‑3/4”. [400/700] Illustrated

148Portrait Labeled “Antonio Mendoza”, in the Spanish Colonial style, the carved giltwood frame set with mirror plate and blue glass highlights, h. 24”, w. 28‑1/2”. [200/400]

149Peruvian Giltwood Mirror, decorated with reverse panels painted with cockerels, conquistadors, and the Madonna and Child, h. 37‑1/2”, w. 19‑1/2”. [300/500]

150Two Similar Latin American Polychrome and Parcel-Gilt Carved Wall Ornaments, in the Baroque style, h. 10‑1/4” and 11‑1/4”, w. 13” and 9‑1/2”. [150/300]

151Pair of Baroque-Style Carved and Gilded Looking Glasses, decorated with polychrome‑painted putto masques, h. 31”, w. 21‑1/2”. [300/500]

152Latin American Carved, Polychrome and Parcel-Gilt Altarpiece, the figures of Mary and the Christ Child sitting between rope‑twist columns, h. 36‑1/2”, w. 28‑1/2”, d. 4‑1/2”. [400/700]

153Latin American Robustly Carved Giltwood Hanging Altar, supporting a demon‑like figure of red‑painted wood with a dolphin tail and gilt bat wings, h. 51‑3/4”, w. 30”, d. 8‑3/4”. [500/800]

154Pair of Giltwood Two-Light Sconces, in the Spanish Baroque style, carved with shells and scrollwork, h. 18”, w. 11”, d. 11‑1/4”. [200/400]

155Pierced and Painted Metal Quadripartite Folding Firescreen, in the Rococo Revival taste, h. 29‑1/2”, w. 49”. [200/400]

156Near Pair of Latin American Carved and Pierced Giltwood Panels, with roundel centers, one finished with a conforming giltwood frame, the other unfinished, h. 50”, w. 36”. [300/500] Illustrated

157Suite of Four Classical-Style Hand-Carved Spanish Cedar Architectural Brackets, fourth quarter 19th century, h. 13‑1/4”, w. 6”, d. 19”. [300/500]

158Set of Four Latin American Masque- and Acanthus-Carved Architectural Brackets, fourth quarter 19th century, composed of Spanish cedar, h. 22‑3/4”, w. 9‑1/4”, d. 26‑1/2”. [500/800]

159Suite of Four Latin American Masque-Carved Spanish Cedar Architectural Brackets, first quarter 20th century, in the Baroque style, h. 23‑1/2”, w. 9”, d. 26‑1/4”. [500/800]

160Pair of Latin American Masque-Carved and Painted Architectural Brackets, fourth quarter 19th century, composed of Spanish cedar and oak, h. 23‑1/2”, w. 9‑1/2”, d. 27‑1/2”. [300/500]

161Spanish Colonial-Style Oak and Mahogany Armchair, late 19th century, the back and seat in russet walnut upholstery, having open arms with scroll ends and turned legs, h. 39‑1/4”. [100/200]

147

156 (Near Pair)

11

162Spanish Colonial Ebonized Prie-Dieu, 19th century, the armorial‑carved back splat joined to twist‑turned stiles, the legs ending in knuckled paw feet, h. 31‑3/4”, w. 16‑1/4”, d. 14‑1/4”. [100/200]

163Latin American Carved Baroque-Style Chest, first quarter 20th century, composed of Spanish cedar, h. 17”, w. 35”, d. 21”. [200/400]

164Baroque-Style Gilded and Painted Valuables Chest, resting on ball‑and‑claw feet, h. 10‑1/2”, w. 20”, d. 12‑1/2”. [150/300]

165Baroque-Style Giltwood Casket of Latin American Origin, first quarter 20th century, composed of Spanish cedar, h. 7”, w. 12‑1/2”, d. 9”. [100/200]

166Spanish Colonial Dome-Top Bombe-Form Valuables Box, first quarter 20th century, covered in tooled and painted leather, h. 8”, w. 14”, d. 7‑3/4”. [75/125]

167Peruvian Embossed and Tooled Leather Domed Trunk, early 20th century, in the Spanish Colonial style, donned with arabesques, h. 18‑1/4”, w. 26”, d. 18‑1/2”. [250/400]

168Spanish Colonial Carved and Polychromed Blanket Chest, 19th century, the lift top, front and sides with a carved cartouche amidst flora and scrolls, on bracket feet, h. 22”, w. 36”, d. 21‑3/4”. [200/400]

169Continental Polychromed and Parcel-Gilt Lift-Seat Bench, early 20th century, h. 35”, w. 44”, d. 18”. [300/500] Illustrated

170Group of Three Latin American Carved and Stained Spanish Cedar Boxes, ca. 1900, the largest with carved initials on the lid and raised on cabriole legs, h. 17”, w. 21”, d. 13‑1/2”; another with a dome top and brass carrying handles, h. 8‑1/2”, w. 12”, d. 8”; and one bulbous‑sided box carved with Art Nouveau initials, h. 6‑1/2”, w. 12‑3/4”, d. 7”. [300/500]

171Group of Three Latin American Scroll-Carved and Stained Boxes, composed of Spanish cedar, h. 5‑3/4” to 6‑1/4”, w. 11” to 14‑1/2”, d. 8” to 9‑3/4”. [200/400]

172Latin American Spanish Colonial-Style Wooden Trunk, with iron‑mounted corners, handles, lock and escutcheon, h. 18”, w. 35”, d. 20‑1/2”. [100/200]

173Pair of Continental Metal Two-Light Sconces, second quarter 19th century, h. 16”, w. 12”, d. 5‑1/2”. [50/80]

174Provincial Spanish Walnut Side Table, late 18th century, the overhanging rectangular top above a frieze fitted with a single drawer, raised on turned bulbous legs joined by a box stretcher and ending in block and bun feet, h. 32”, w. 42”, d. 22‑1/2”. [300/500]

175Cuzco School (18th Century), “Guardian Angel”, oil on paper mounted on board, unsigned, 9” x 6‑1/2”. Attractively framed. [100/200] Illustrated

169

175

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176Peruvian School (Late 18th/Early 19th Century), “Virgin and Child”, oil on canvas, unsigned, 25‑3/4” x 21”. In a carved and painted wood frame. [300/500]

177Italian School (Fourth Quarter 18th Century), “Mary Magdalene with a Skull”, oil on canvas, unsigned, 25” x 19”. Presented in a Charles X giltwood and gesso frame. [350/500]

178Spanish School (19th Century), “Portrait of a Noblewoman”, oil on canvas, unsigned, 17” x 13”. Presented in an opulently carved wood frame. [200/400]

179Spanish Colonial School (19th Century), “Portrait of a Luminary”, oil on canvas, unsigned, overall dimensions 21” x 18‑1/2”. In a densely carved and gilt‑washed wood frame. [100/200]

180Cuzco School-Style (Early 20th Century), “Holy Family on Flight into Egypt”, oil on canvas, inscribed “Dc. Abrahams/Callo Sanchez/Cusco/1(?)87” on banner lower left, 38” x 51”. In a carved and gilt‑washed wood frame. [500/800] Illustrated

181South American School (First Quarter 20th Century), “St. Joseph and the Christ Child”, oil on tin, unsigned, 14” x 10”. Mounted on a pine board. [200/400]

182South American School (Mid-20th Century), “Portrait of a Cardinal”, oil on canvas, unsigned, 42‑1/2” x 32”. In an attractive carved and pierced wood frame. [300/500]

183South American Double-Sided Altarpiece, fourth quarter 19th/first quarter 20th century, depicting “Crucifixion” on one side and “Virgin and Child on a Crescent Moon” on the other side, presented within a Baroque‑style carved, arched frame on a stepped plinth base, h. 36”, w. 23”, d. 10”. [400/700]

184Continental School (20th Century), pair of oils on canvas, “Adam” and “Eve”, each illegibly signed lower right, 59” x 32”. In matching carved and pierced gilt‑washed frames. [700/1000]

185Collection of Five Continental Works on Paper, including a graphite and ink sketch of a “Reclining Nude”, signed illegibly and dated “1977” lower right, sight 3‑3/4” x 6”; a watercolor depicting “Italian Rooftops”, signed illegibly lower left, sight 10‑1/2” x 7‑3/4”; a graphite study of a “Wooded Landscape with a Waterfall”, unsigned, sight 4” x 4‑1/2”; an etching of “Christ on the Cross”, sight 9‑3/4” x 6‑3/8”; and a charcoal of “Madonna and Child”, after Raphael (Italian, 1483‑1530), 19” x 13”. All glazed and framed. [300/500]

186South American School (20th Century), “Madonna” oil on canvas, unsigned, 19” x 15”. In a gilt‑washed wood frame. [200/400]

187Italian Carved Alabaster Rope-Twist Pedestal, ca. 1900, h. 39‑3/4”, dia. 12”. [400/700]

188Alabaster Bowl-Form Chandelier, first quarter 20th century, h. 4‑3/4”, dia. 13‑1/2”. [200/400]

189Twelve-Light Alabaster and Gilt-Metal Mermaid-Themed Chandelier, the lower bowl conceals six lights, and the six arms fitted with lobed alabaster shades, h. 58”, dia. 36”. [1000/1500]

190Patinated Metal and Alabaster Twelve-Light Chandelier, of neoclassical inspiration, with six arms surrounding a bowl concealing six additional lights, h. 33‑1/2”, dia. 34‑1/2”. [300/500]

191Italian Empire-Inspired Faux Travertine Armchair, of generous proportions, in beige brocade, h. 46”. [300/500]

192Italian Tin-Glazed Porcelain Tureen and Undertray, in the rococo taste, the serpentine undertray decorated with hand‑painted polychrome fruit, the conforming tureen with pierced handles and signed “Italy” in hand‑painted block letters, the matching lid with a putto serving as a knop, h. 13‑1/2”, w. 15”, d. 13”. [100/200]

180

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193Carved Marble Tabouret, second quarter 20th century, probably Italian, h. 26”, dia. 12”. [200/400]

194Decorative Composition Compote with Silver-Leafed Bowl, fitted with gilded glass balls, h. 22”, dia. 23”. [100/200]

195Pair of Metal Dancing Putti, raised on octagonal black stone bases, overall, h. 41”, w. 17‑1/2”, d. 23‑1/4”. [200/400]

196Spanish Colonial Ebonized and Embossed Leather Savonarola Chair, early 20th century, the carved back centered by a circular leather panel depicting a carriage, the leather sling seat with an embossed roundel centered by a lion, h. 35”. [150/300]

197North African Mother-of-Pearl-Inlaid Savonarola Chair, late 19th century, inlaid throughout with mother‑of‑pearl and ebony six‑point stars, h. 38”. [100/200]

198Square Sunburst Mirror, with gilt “rays” alternating with mirror plate, h. 15”, w. 15”. [350/500]

199Giltwood Sunburst Mirror, with scale‑patterned “rays”, dia. 23‑1/2”. [400/700]

200Baroque-Style Giltwood Mirror, with incised names of Italian cities in the area surrounding the beveled mirror plate, h. 64‑1/2”, w. 47”. [300/500]

201Italian Carved Giltwood Looking Glass, early 20th century, with a fruit basket crest, and grapevine and leaf motif throughout, h. 55”, w. 32”. [700/1000] Illustrated

202Unusual Gilded Composition Mirror of Classical Inspiration, h. 46‑1/2”, w. 12‑1/2”. [100/200]

203Contemporary Two-Piece Bedroom Suite of Neoclassical Inspiration, comprised of a tall‑post bedstead, with a padded headboard and twist‑carved column/posts, h. 92”, w. 90”, l. 100”, and a dressing bureau with a beveled looking glass, h. 91”, w. 73”, d. 20”. [800/1200] Illustrated

204Set of Brown Silk Pleated Curtains with Complementary Valances, including four panels, h. 98”, w. 136”, a pair of brocade valances with swags and jabots, trimmed in beaded fringe, h. 48”, w. 66”, and a matching double valance, h. 48”, w. 105”. [400/700]

201

203

14

205Set of Fringe-Trimmed Green and Gold Striped Curtains with Matching Valances, including four panels, h. 122”, w. 68”, and three valances, h. 24”, w. 42”, together with a faux marbre and partial gilt rod and rings, l. 120”. [300/500]

206Set of Iridescent Coral Silk Curtains and Valances, including two pleated single‑width valances with swags and jabots, h. 7‑3/4”, l. 48‑1/2”, a double‑width cornice board with two swags and matching jabots, h. 7‑3/4”, l. 105”, set with gilt composition curtain rods and four panels of matching curtains, h. 113”, w. 138”. [300/500]

207Group of Post Modern-Style Curtain Valances and Hardware, the group including two leaf‑patterned mottled gold and silver flat valances (formerly draped over tiebacks), w. 52”, l. 214”, and w. 52”, l. 360”, together with two oval gold and white mottled composition oval tiebacks, h. 13”, dia. 8”, four matching oval tiebacks, h. 8”, w. 5‑3/4”, two matching scrolled appliques, h. 6”, l. 13”, five lengths of matching curtain rods, l. 65”, 73‑1/2”, 59‑1/2”, 77”, 60”, and 63”, seven matching curtain rod finials, l. 7”, and two panels of silver brocade curtains, w. 76”, l. 100”. [300/500]

208Set of Four Faux Bois and Tassel-Hung Lambrequins, each with projecting cyma‑molded cornices over scalloped panels depicting a neoclassical jardiniere containing ferns, one, h. 36”, w. 126‑1/2”, d. 3”, and three, h. 36”, w. 60”, d. 3”, the matching curtains comprised of six panels of pleated bronze open weave curtains trimmed with brown and blue braid and ribbon fringe, each panel, h. 102”, w. 45”. [300/500]

209Set of Curtains and Valances, including three burgundy and gilt brocade swags and jabots trimmed with fringe and supported by gilt composition tiebacks, h. 48”, l. 149”, and four panels of iridescent red/black satin textured curtains stitched in a lozenge pattern, h. 112”, w. 53”, together with four burgundy and gold braided curtain tassels. [500/800]

210Italian Neoclassical-Inspired Bowfront Occasional Chest, with a pair of drawers over a door, in a faux distressed burlwood finish, h. 29‑3/4”, w. 28‑1/2”, d. 23”. [200/400]

211Italian Neoclassical-Style Parcel-Gilt, Wrought-Metal and Faux Stone Cabinet, the central projecting bowed top over a pair of doors, flanked by similar single door cupboards, raised on paw feet, h. 38‑3/4”, w. 76”, d. 19”. [300/500]

212Italian Neoclassical-Style Faux Travertine Console, the bowed top supported by a pair of allegorical winged pedestals, each with ram’s heads and joined by wrought iron scrollwork, h. 36‑1/4”, w. 69”, d. 22”. [300/500]

213Group of Three Carved, Painted and Gilded Florentine Trays, 20th century, w. 12‑1/4” to 15‑1/4”, l. 18‑1/4” to 23”. [100/200]

214Interesting Classical-Style Faux Marble-Painted Pedestal, early 20th century, h. 31‑1/2”, w. 20”, d. 20”. [150/300]

215Italian Neoclassical-Style Travertine and Marble-Veneered Pedestal, executed in various specimen “marbles”, together with a spiral‑reeded composition jardiniere, h. 44‑1/4”, w. 14”, d. 14”. [200/400]

216Pair of Italian Neoclassical-Style Parcel-Gilt and Mirror-Mounted Pedestals, each with a circular top and tapering columns, the top and columns with inset distressed mirror plates, h. 36‑1/2”, w. 12”, d. 12”. [300/500]

217Pair of Italian Gilt-Metal Sconces, leaf‑molded with flower‑form drip pans and backplate, electrified, h. 17‑3/4”, w. 14‑1/2”, d. 9‑1/4”. [200/400]

218Italian Neoclassical-Style Brass and Alabaster Urn-Form Ornament, h. 12”, w. 11”, d. 6‑1/2”. [100/200]

219Line-Strung, Parquetry Inlaid and Parcel-Gilt Mahogany Console Table, of Rococo Louis XV inspiration, the top with parquetry veneers, raised on cabriole legs with fruit and scroll carving, h. 33‑1/8”, w. 63”, d. 19‑1/2”. [300/500] Illustrated

219

15

220Italian Neoclassical-Style Stained Wood and Wrought and Cast Metal Desk, the leather‑painted top over a conforming foliate‑ and cross‑hatched‑carved frieze, raised on wrought metal scroll legs with lion‑head and paw‑foot mounts, the apron fitted with a frieze drawer, h. 30‑1/2”, w. 62”, d. 36”. [300/500]

221Italian Neoclassical-Style Center Table, the circular figured bonded marble top on a laminated apron with ormolu mounts, supported by a trio of faux stone caryatids, h. 33‑1/2”, dia. 36”. [200/400]

222Interesting Four-Piece Group of Small Items, comprising an Italian silver‑plated neoclassical plaque, h. 9‑1/2”, w. 9‑1/2”; a sewing box, fourth quarter 19th century, l. 4‑1/2”; a brass chamberstick, dia. 4”; and a brass telescope in a mahogany case, l. 6‑1/2”. [100/200]

223Pair of Italian Neoclassical Polychrome Fauteuils, 19th century, each with a tapering rectangular padded back, joined by scrolling arms to the padded seat, raised on paneled tapering square legs, h. 34”. [500/800]

224Italian Neoclassical-Style Line-Strung and Marquetry Inlaid Chest, the serpentine top edged with banding and centered by an inlaid floral urn, the conforming case with a bank of three drawers, h. 35‑1/4”, w. 43‑3/4”, d. 21‑1/2”. [200/400]

225Italian Giltwood Looking Glass, late 19th century, the rectangular plate within a molded frame surmounted by a crown crest issuing curtain swags over a lattice‑pierced cornice, h. 49”, w. 34”. [800/1200]

226Italian School (20th Century), “Piazza Trinita dei Monti Roma” and “Santa Maria della Salute”, ink and wash on paper, sight 6‑3/4” x 10‑3/4” and 8” x 10‑3/4”. Attractively matted, glazed and framed. [200/400] Illustrated

227Italian School (20th Century), “Santa Francesca Romana and Arco Romano” and “Landscape with Figures and Farmhouse”, ink and wash on paper, sight 7” x 10‑1/4” and 12” x 8‑1/4”. Attractively matted, glazed and framed. [200/400]

228Italian School (20th Century), pair of architectural fantasies, ink and wash on paper, sight 7” x 4‑1/2” and 7‑3/4” x 9”. Attractively matted, glazed and framed. [200/400]

229Italian School (20th Century), “Lagoon Capriccio” and “Gondolas and Figures”, pen, ink and wash on paper, sight 6‑3/4” x 8‑1/2” and 9‑1/4” x 13‑1/2”. Attractively matted, glazed and framed. [200/400]

230Italian School (20th Century), “Venetian Capriccio” and “Roman Capriccio”, ink and wash on paper, sight 6‑3/4” x 19‑1/4” and 8‑1/4” x 5‑1/2”. Attractively matted, glazed and framed. [200/400]

231British School (Third Quarter 19th Century), “Head of a Bull”, graphite on paper, in the style of Edwin Landseer (1802‑1873), illegibly titled bottom center, sight 7” x 8”. Framed. [300/500]

232Italian School (20th Century), group of three caricatures, “Punchinello”, “Frock‑Coat”, and “Rear View”, ink and wash on paper, sight of two 6‑1/2” x 4”, sight of third 7‑1/4” x 4‑1/4”. Attractively matted, glazed and framed. [200/400]

233Collection of Three American Works on Paper, first quarter 20th century, depicting female figure studies, two ink on paper, unsigned, and one graphite on paper, illegibly signed lower left, sight varying 26‑3/4” x 18‑3/4” to 30” x 18”. All glazed, matted and framed. [300/500]

234American School (20th Century), “Studies of a Woman Wearing a Shift”, ink on paper, bearing a signature lower left “Raphael Soyer”, sight 17‑1/4” x 23‑1/4”. Glazed, matted and framed. [100/200]

235Andree Ruellan (American, 1905-2006), “Flambeau”, sanguine on paper, signed lower right, sight 20” x 13”. Matted and framed. Provenance: Artist to West School of Art benefit; Private collection, Connecticut. [500/800]

236J. F. Jackson (British, Late 19th/Early 20th Century), “Marsh Scene”, 1924, graphite on paper, signed and dated “19/10/24” lower right, sight 13‑1/2” x 23”. Glazed, matted and framed. [100/200]

237Continental School (Second Quarter 20th Century), “African Village Scene”, signed lower right “D. Molyneux 34”, sight 8” x 10”. Glazed, matted and framed. [75/125]

226

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238Russian School (Fourth Quarter 20th Century), “Horse‑Drawn Carriage” and “Caught in the Storm”, pair of watercolors on paper, each signed in Cyrillic and dated “96” lower left, each sight 7‑1/4” x 10‑3/4”. Attractively matted and framed. [200/400]

239Directoire-Style Inlaid Mahogany Corner Cabinet, early 20th century, h. 78”, w. 29”. [400/700]

240Pair of Directoire-Style Polychrome Sidechairs, 19th century, the rectangular back centered by an urn‑carved medallion splat, the padded seat raised on turned tapering circular legs ending in toupie feet, h. 35‑1/2”. [1200/1800]

241Directoire-Style Painted and Parcel-Gilt Console, stamped “Edward Garret XVIII & XIX Century Reproductions”, the rectilinear granite top and conforming frieze with a floral‑carved roundel flanked by scrolls, h. 31‑1/2”, w. 22‑1/2”, d. 14‑1/2”. [350/500]

242Directoire-Style Fruitwood and Ebonized Dressing Mirror, bronze‑mounted columns support the pediment top, h. 35‑1/2”, w. 24‑3/4”, d. 10‑1/2”. [200/400]

243Pair of Directoire-Style Bronze Side Tables, with mirror inserts, h. 18”, w. 13”, d. 12”. [150/300]

244Directoire-Style Polychrome Window Seat, the padded rectangular seat flanked to either side by armrests with turned crests over phoenix‑carved friezes and foliate splats, raised on sabre legs, h. 30‑1/4”, w. 30”, d. 15‑1/4”. [500/800]

245Northern European Giltwood and Polychrome Looking Glass, second quarter 20th century, in the neoclassical taste, the rectangular beveled plate surmounted by a swag‑and‑urn crest flanked to either side by griffins, within a molded and annulated frame with a pendant foliate finial, h. 74”, w. 26”. [400/700]

246Baltic Neoclassical Mahogany Looking Glass, mid‑19th century, the molded cornice above a frieze with a brass diamond applied pattern, the rectangular plate within a molded frame with corner brass accents, h. 43‑1/2”, w. 29”. [1000/1500]

247Pair of Carved and Gilded Wooden Obelisks, trimmed in black, h. 40‑3/4”, w. 8”, d. 8”. [100/200]

248Pair of Napoleon III Gilt-Bronze and Ochre Marble Sphinx-Form Garniture Figures, third quarter 19th century, h. 5”, w. 3‑1/2”, l. 8”. [600/900]

249Empire-Style Mahogany Bookcase, the molded cornice with turreted corners above a conforming case fitted with two bi‑paneled grilled doors, raised on a plinth base, h. 71”, w. 46‑1/2”, d. 15”. [400/700]

250Empire-Style Mahogany Pier Mirror and Cabinet, early 20th century, the mirror with a molded cornice above an ebonized diamond panel with a basket ormolu mount, the beveled bisected plate below, with corner mounts and a brass candlearm to each side, h. 79‑1/2”, w. 30‑1/2”, the base concave cabinet fitted with two doors, each with an ebonized panel, raised on bracket feet, h. 22‑1/4”, w. 34‑1/4”, d. 21‑1/4”. [800/1200]

251Continental Rosewood and Walnut Secretary, mid‑18th century and later, the domed and molded cornice above a shield‑carved frieze over two doors, each with an applied banded panel and opening to a shelved interior, the lower section fitted with a banded drop front opening to a series of drawers above a serpentine case fitted with three long drawers, raised on foliate‑carved scrolled toes, h. 91”, w. 49”, d. 28‑1/2”. [7000/10000] Illustrated

251

17

252Baltic Neoclassical Mahogany Etagere, mid‑19th century, the stepped cornice with projecting canted corners and a gilt gadroon‑carved frieze, above two open bowed shelves with a mirrored back supported by gilt‑accented columnar supports, the lower section fitted with a single cupboard door with an applied ormolu wreath, raised on ring‑turned square feet, h. 70‑3/4”, w. 33”, d. 17”. [1800/2500]

253Ormolu-Mounted and Boulle-Inlaid Black-Lacquered Tall Chest, second quarter 20th century, the case with seven drawers, the sides with boulle decor, h. 47‑3/4”, w. 26‑1/4”, d. 14‑1/2”. [400/700]

254Pair of Neoclassical-Style Brass Candlesticks, mounted as lamps on marble bases and fitted with electrified faux wax candles, h. 16‑1/2”, dia. 3‑3/4”. [300/500]

255Neoclassical-Style Metal and Marble Pedestal, early 20th century, the revolving square marble top raised on four ribbed tubular Corinthian columnar supports to a circular base on a stepped square plinth, h. 40”, w. 11‑3/4”, d. 11‑3/4”. [300/500]

256Baltic Neoclassical Mahogany Side Table, mid‑19th century and later, the stepped rectangular top above a paneled frieze with ormolu mounts, joined by shaped supports to a shaped plinth base, h. 32”, w. 37”, d. 17‑12”. [500/800]

257Pair of Bronze Blackamoor-Form Torcheres, set with electric lights and fitted with flame‑form opaline glass shades, raised on octagonal polished stone bases, torchere, h. 48‑1/2”, base, h. 3‑1/2”, w. 15”, d. 11”. [1500/2500] Illustrated

258Baltic Neoclassical Mahogany and Marble-Top Commode, late 18th century, the rectangular marble top above a conforming case fitted with two long drawers, each with brass banding, raised on fluted tapering square legs with gilt accents, h. 34”, w. 37‑1/2”, d. 18”. [1200/1800]

259Baltic Neoclassical Mahogany Cabinet, mid‑19th century, the rectangular top above a case with an applied giltwood patera, above a single cupboard, centered by a recessed scrolling foliate and palmetto mount, raised on a plinth base to block feet, h. 32”, w. 31”, d. 16”. [500/800]

260Empire Walnut Commode, early 19th century, the rectangular top above a conforming case fitted with a single frieze drawer over three recessed drawers, flanked to either side by an engaged pilaster headed by a maiden’s head, all drawers paneled and with brass banding, raised on square legs ending in banded feet, h. 33‑1/4”, w. 23‑3/4”, d. 16”. [400/700]

261Continental Parquetry Work Reversible Game Board, third quarter 19th century, composed of various woods, the obverse with an initialed cypher sitting in a field of tromp l’oeil three‑dimensional parquetry cubes, the reverse having a checked game board with an inlaid border of flowers, butterflies and playing cards, w. 19”, l. 19”. [300/500]

262French Bronze Figure Depicting “The Sleeping Ariadne”, fourth quarter 19th century, stamped “Reduction Mecanique, A. Collas, Brevete”, on a conforming wooden base, h. 15‑3/4”, w. 6”, l. 20”. [1000/1500] Illustrated

263Neoclassically Inspired Mahoganized Bench, with a leatherette cushion, h. 23‑1/2”, w. 52”, d. 19‑1/2”. [150/300]

257

262

18

264Neoclassical-Style Faux Crocodile Skin Curule-Form Bench, the ends of the arms hung with carved tassels, h. 27‑1/2”, w. 58”, d. 14”. [150/300]

265Pair of Bronze and Marble Neoclassical-Style Urns, fourth quarter 19th century, now mounted as lamps, coved Belgian marble bases support the inverted laurel leaf‑molded bases, bas‑relief scenes of frolicking putti decorate the sides, with goat’s head handles holding swags of laurel leaves under the fluted necks, h. 34”. [700/1000] Illustrated

266Neoclassical-Style Patinated Brass Candlestick Lamp, the tapered and fluted standard with a gadrooned border under a drip cup supporting the leaf‑molded candle cup, raised on a black marble base, fitted with an electrified faux candle and a black parchment clip‑on shade, h. 22‑1/2”, dia. 10‑1/4”. [50/80]

267Set of Three Elaborately Hand-Colored Engraved Folio Plates, depicting ancient Greek kraters, second quarter 19th century, presented in two‑color gold‑striped black mats within scroll‑carved antiqued giltwood frames, h. 13”, w. 9‑1/2”. [200/400]

268Continental Brass Shell-Form Tazza, fourth quarter 19th century, the stem depicting a dolphin intertwined with seaweed and supporting a shell‑form dish, h. 4‑1/2”, w. 4‑1/2”, d. 4‑1/4”. [200/400]

269Napoleon III-Style Ormolu-Mounted and Marquetry Inlaid Mahogany Cabinet, with floral marquetry and a pair of doors with convex panels flanked by figural mounts, h. 42‑1/2”, w. 43‑1/2”, d. 16”. [300/500] Illustrated

270Empire-Style Fruitwood and Marble-Top Credenza, the rectangular inset grand antique marble top above a conforming case fitted with three frieze drawers over three central drawers, flanked to either side by a paneled cupboard door, raised on stylized paw feet, the whole with decorative mounts in the Empire taste, h. 26‑1/4”, w. 55‑1/2”, d. 15‑1/2”. [450/700]

271Pair of Napoleon III Bronze and Porcelain Moderator Lamps, third quarter 19th century, the pierced bronze bases support the white‑ground lamp bases, decorated with hand‑painted reserve panels of frolicking putti en grisaille on bleu royale grounds, framed in rococo scrollwork, with hand‑painted floral garlands decorating the remainder of each lamp base, set with bronze branch‑form handles, base, h. 18‑1/2”, overall, h. 33‑1/2”, w. 12”, d. 6‑3/4”. [500/800] Illustrated

265

269

271

19

272French Bronze Bust of Napoleon, first quarter 20th century, on a green marble base, signed “R. Somme” on the side and “d’epres Davide; Dahling, H. Vernet” on the rear, h. 15‑1/4”, w. 10‑1/2”, d. 5‑1/4”. [1000/1500] Illustrated

273French Bronze Bust of Napoleon, fourth quarter 19th century, inscribed “Lambert” on the rear, h. 7‑1/2”, w. 4”, d. 2‑1/4”. [250/400]

274Five-Piece Napoleon III Fruitwood Parlor Suite, third quarter 19th century, in the Louis XV taste, consisting of a settee, h. 35‑1/2”, w. 47”, d. 25”, a pair of fauteuils, h. 35‑1/2”, and a pair of sidechairs, h. 36‑1/2”, all with gilt foliate‑modeled crests and padded seats raised on molded cabriole legs ending in scrolled toes. [1500/2500]

275Napoleon III-Style Brass-Inlaid and Ebonized Corner Vitrine, ca. 1900, the bowed front with a conforming door and glazed panel over a recessed panel, adorned throughout with inlaid brass arabesques, h. 68”, w. 22”, d. 16”. [300/500]

276Pair of French Empire-Style Gilt-Bronze Sconces, the arrow‑form branches emanate from lion’s head backplates, the engine‑turned and anthemion‑molded candle cups are fitted for electricity with opaline candle sleeves, h. 5‑1/2”, w. 11‑1/2”, d. 10‑1/2”. [700/1000]

277Suite of Four French Black-Detailed Gilt-Brass Three-Light Appliques, second quarter 20th century, in the Restauration style, each cylinder‑form applique pendant from a tasseled cord looped over a boss, each facade centered with an openwork anthemion in gilded brass, fitted for electrical wiring, h. 26‑1/2”, w. 13‑3/4”, d. 8‑1/4”. [500/800]

278Pair of Empire-Style Brass and Iron Chenets, fourth quarter 19th century, each having vertical acanthus leaves crowned with a female masque wearing a feathered headpiece, the cast iron billet bars set with pierced rococo log straps and joined with a rope twister fender bar terminating in flame finials, h. 12”, w. 19”, d. 17‑1/4”. [75/125]

279Pair of Empire-Style Bronze-Mounted Mahogany and Marble-Top Side Tables, 20th century, h. 25”, dia. 22”. [1400/1800]

280Empire-Style Parcel-Gilt and Mahoganized Occasional Table, the top with an inset glass panel, the base with winged giltwood caryatids, h. 26”, dia. 22”. [150/300]

281Biedermeier-Style Fruitwood Center Table, the circular top with sunburst veneers and decorative banding and inlay, raised on ebonized double‑column supports to a concave tripartite base, h. 29‑1/2”, dia. 31‑1/2”. [700/1000]

282Contemporary Empire-Style Ebonized and Parcel-Gilt Side Table, h. 30‑1/2”, dia. 18”. [100/200]

283Empire-Style Mahogany Firescreen, 19th century, the raised crest with an ormolu gadroon frieze and foliate end finials above a fabric screen, raised on splayed cabriole legs ending in foliate sabots, h. 46”, w. 24‑1/2”. [500/800] Illustrated

284Fine Neoclassical Cherrywood Settee, early 19th century, the arms of swan form and ending in carved paw feet, pegged construction, h. 34‑1/2”, w. 33”, d. 20”. [300/500]

285Gilt-Metal and Pressed Glass Eight-Light Chandelier, in the French Empire style, h. 40‑1/2”, dia. 31‑1/2”. [400/700]

272

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20

286Gilt-Metal Eight-Light Chandelier, in the French Empire style, h. 52”, dia. 29”. [200/400]

287French Empire-Style Brass and Glass Centerpiece Bowl, the brass base with torch‑bearing caryatids supporting a glass bowl holding a collection of molded gilt balls, h. 13‑1/2”, dia. 16”. [150/300]

288Pair of Empire-Style Mahogany Sidechairs, late 19th century, each with a rectangular crest and splat above a padded seat, raised on shaped legs with ormolu winged lion’s head mounts to paw feet, the whole accented with ormolu mounts in the Empire taste, h. 34‑1/2”. [1200/1800] Illustrated

289Continental Bronze and “Jeweled” Photograph Frame, the oval frame with a surround of topaz “jewels”, the gilt‑bronze liner decorated with delicate engine turning and a raised notched pattern, resting on ball feet, the back lined in velvet, h. 4‑3/4”, w. 3‑3/4”. [75/125]

290Rococo Revival Giltwood Overmantel Mirror, mid‑19th century, probably American, h. 45‑1/2”, w. 37”. [300/500]

291Napoleon III Rosewood Sidechair in the Rococo Taste, third quarter 19th century, with a shell‑ and scroll‑carved crest, and raised on cabriole legs, h. 40”. [50/80]

292Continental Brass and Crystal Encrier, fourth quarter 19th century, the rectangular base with pierced floral borders, side handles and beaded feet, and fitted with a pair of swirl pattern crystal ink pots, possibly Baccarat, capped with brass domed reeded covers, h. 6”, w. 15‑1/2”, d. 7‑1/4”. [300/500]

293Belle Epoque Gilt-Bronze Mirror, ca. 1900, in the Louis XIV style, set with a beveled mirror plate, h. 37‑1/4”, w. 22‑1/2”. [100/200]

294Unusual Belle Epoque Painted Mirror, ca. 1900, with a pierced foliate‑ and flower‑molded crest, h. 49”, w. 54”. [100/200]

295Belle Epoque Gold-Finished Metal Centerpiece of Rococo Design, ca. 1900, depicting Neptune with his underwater chariot, the boat with a collection of glass grapes, electrified, h. 26”, w. 32”, d. 28”. [300/500]

296Bronze and Cut Glass Hurricane Lamp, the bronze Rococo Revival tripartite base molded in a hunt theme and supporting a glass shade cut in the Brilliant style, h. 24‑1/4”, dia. 8‑1/2”. [100/200]

297Belle Epoch Brass and Onyx Stand, ca. 1900, h. 31”, w. 15”, d. 15”. [100/200]

298Three-Piece Neoclassical-Style Garniture Set, composed of a reeded and fluted tazza, h. 11”, w. 8”, d. 7”, and a pair of seated sphinx‑form candlesticks, h. 8‑3/4”, w. 4‑1/4”, d. 2‑3/4”, all with a pewter ground. [400/700]

299Pair of Neoclassical-Style Carved and Painted Wooden Urns, decorated with swags of beadwork, in a worn finish, h. 16‑3/4”, dia. 5‑3/4”. [400/700]

300Pair of Continental Gray-Painted Tole Balusters, now mounted as lamps on ebonized bases, h. 23‑1/2”, w. 10‑1/2”, d. 10‑1/2”. [100/200]

301Pair of Neoclassical-Style Faux Travertine Pedestals, each with a rectilinear top over dentillated and anthemion moldings, the body adorned with a pair of dolphins beneath a shell, h. 36”, w. 25”, d. 18”. [1500/2500]

302Pair of Neoclassical-Style Molded Fiberglass Pedestals, supporting matching urns with faux palms, h. 104”, w. 22”, d. 19”. [200/400]

303Pair of Giltwood Altar Sticks in the Restauration Taste, h. 39”, dia. 7‑1/2”. [200/400]

304Carved, Painted and Distressed Single Altar Stick, in the French Restauration taste, h,. 23”, dia. 9‑1/2”. [100/200]

305Louis-Philippe Mahogany Firescreen, mid‑19th century, the rectangular fabric screen surmounted by a shaped and pierced scrolling crest, flanked to either side by ribbed uprights, raised on splayed supports on casters, h. 33”, w. 21‑1/2”. [400/700]

288

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306Louis-Philippe Mahogany Dressing Table, second quarter 19th century, the oval mirror within a lyre‑form support with swan‑neck finials, the table with a rounded rectangular top above a conforming frieze fitted with a compartmented drawer, raised on scrolling legs joined by an urn‑centered finial and ending in scrolled toes, h. 57”, w. 33”, d. 18‑1/4”. [500/800]

307Provincial Louis-Philippe-Style Fruitwood Buffet, the long rectangular top banded and above a conforming case fitted with two ogee‑molded drawers over two paneled cupboard doors, raised on block feet, h. 42”, w. 72‑1/2”, d. 21‑1/2”. [600/900]

308Louis-Philippe-Style Gilded Mirror, in a coved and fluted frame, set with a beveled mirror plate, h. 45”, w. 32”. [150/300]

309Restauration Giltwood Looking Glass, second quarter 19th century, the rectangular plate within a heavily molded frame featuring gadroon, patera and palmetto accents with a scrolling foliate slip, h. 38”, w. 34‑1/2”. [200/400]

310Bokhara Runner, 2’ 6” x 9’ 2”. [100/200]

311Sultanabad Carpet, 12’ x 18’ 2”. [2500/4000]

312Isfahan Carpet, 13’ x 9’ 8”. [400/700]

313Semi-Antique Sarouk Carpet, 5’ 4” x 6’ 9”. [200/400]

314Gabbeh Carpet, 5’ 2” x 7’ 8”. [300/500]

315Kilim Carpet, 7’ 9” x 9’ 10”. [400/700]

316Chinese Savonnerie-Style Silk Carpet, 8’ x 10’ 2”. [300/500]

317Chinese Savonnerie-Style Silk Carpet, 6’ 8” x 10’ 2”. [300/500]

318Chinese Modern Carpet, 6’ x 9’. [200/400]

319Persian Kashan Carpet, 10’ x 13’ 1”. [500/800]

320Jaipur Carpet, 6’ x 9’ 2”. [300/500]

321Chinese Classical-Style Runner, 4’ 6” x 18’. [100/200]

322Peshawar Sultanabad Carpet, 4’ x 6’. [200/400]

323Peshawar Zeiglar Mahal Runner, 2’ 7” x 10’. [600/900]

324Kashmir Tabriz Runner, 2’ 6” x 12’ 3”. [600/900]

325Turkish Angora Oushak Carpet, 6’ 3” x 8’ 9”. [700/1000]

326Turkish Angora Oushak Carpet, 8’ 1” x 9’ 10”. [1000/1500]

327Two Pieces of European Table Lighting, second quarter 19th century, including an English gimbaled brass whale oil lamp, now electrified, base, h. 11”, overall, h. 21”; and a French Restauration candlestick now mounted as a lamp, base, h. 9‑1/2”, overall, h. 22‑1/2”. [150/300]

328Six-Piece Collection of English Brassware, comprised of a milk pail‑form bank, h. 3‑1/2”; a coal scuttle, h. 4‑3/4”; a pair of miniature taper sticks, h. 3”; a watch case, ca. 1900, l. 3‑1/4”; and a crumber with a hollow handle, l. 12”. [150/300]

329English Copper Ale Muller, 19th century, h. 11‑3/4”, dia. 6”, l. 13‑1/4”. [150/300]

330Victorian Copper Stock Pot, ca. 1900, lidded with an iron swing handle, h. 11‑3/4”, dia. 10‑1/2”. [300/500]

331Three Middle-Eastern Copper Cooking Pots, comprised of a tapered pot with lug handles, h. 8‑1/4”, dia. 11‑1/2”; a large pot with a swing handle, h. 8‑1/2”, dia. 9‑1/2”; and a small pot with a swing handle, h. 5”, dia. 4‑3/4”. [200/400]

332Collection of Victorian Brass Counter Weights, ca. 1900, comprised of three lead‑filled weights, h. 3” to 3‑3/4”; together with a mid‑19th‑century snuffer tray, w. 4‑1/2”, l. 9”. [100/200]

333Group of Four Shadowboxes, two displaying brass keyhole escutcheons in assorted sizes and two displaying various keys, h. 8” to 10”, w. 6” to 8”. [125/250]

334Six-Piece Collection of English Brassware, comprised of a William IV door knocker, first quarter 19th century, h. 7”, w. 3‑1/4”; a Georgian Revival door knocker, h. 6‑1/4”, w. 3‑1/4”; a Victorian key‑form corkscrew, l. 8”; an Eastlake doorbell pull, fourth quarter 19th century, dia. 3‑1/4”; and a pair of door/shutter hooks, l. 10‑1/4”. [200/400]

22

335English Brass Repousse Coal Scuttle, first quarter 20th century, h. 19‑3/4”, w. 16‑1/2”, d. 10‑3/4”. [200/400]

336Victorian Tubular Brass and Plate Glass Suspended Butcher Shop Shelves, fourth quarter 19th century, h. 52”, w. 10”, l. 44”. [300/500]

337Pair of English Brass Butcher Shop Shelf Supports, fourth quarter 19th century, designed to be suspended and hold three shelves, h. 63”, w. 10‑1/2”. [300/500]

338English Brass Butcher Shop Shelf Frame, ca. 1900, with bell‑shaped supports, h. 14”, d. 8‑3/4”, l. 49‑1/2”. [200/400]

339Suite of Four Victorian Oak Dining Chairs, second half 19th century, each with molded stiles with scroll tops and fluted trumpet legs, now upholstered in forest‑green leather, h. 33‑3/4”. [300/500]

340Suite of Four Victorian Mahogany Chairs, fourth quarter 19th century, each with a carved crest rail and central splat, raised on turned legs, h. 37”. [150/300]

341Pair of Chippendale-Style Mahogany Sidechairs, early 20th century, each with a molded and shaped crest rail, and tapering legs with double‑knuckled paw feet, h. 41‑3/4”. [200/400]

342English Rococo Revival Cast Iron Dressing Mirror, third quarter 19th century, retaining an old gilt and red‑painted surface, along with a period mirror plate, molded and pierced with oak leaves and acorns, the easel back ratcheted to adjust the mirror, h. 19‑1/2”, w. 13”, d. 11‑1/2”. [150/300]

343Collection of Five Victorian Brass Chain-Link Picture Frames, fourth quarter 19th century, comprising an oblong example, h. 10”, w. 6”; an oval example, h. 8”, w. 6”; two circular examples, dia. 6” and 11‑1/2”; and an inverted, oblong example, w. 4‑1/4”, l. 5‑1/2”. [200/400]

344Two Bronze Medals, including “Benedicite”, 1908, by George‑Henri Prud’homme (French, 1873‑1947), 3‑3/4” x 2‑7/8”; and the “James Cardinal Gibbons Jubilee” medal, 1911, by Joseph Maxwell Miller (American, 1877‑1933), dia. 2‑3/4”. [100/200]

345Continental Gilt-Metal Figure of a Male in 18th-Century Dress, ca. 1900, h. 26‑1/2”, dia. 6‑3/4”. [200/400]

346Five-Piece Group of Antique Porcelain Pipes, including two treen pipes, two plain pipes and one depicting a fox, l. 2” to 13”. [100/200]

347Group of Five Continental Antique Pipes, including a stoneware pipe, a hand‑painted pipe, a pipe with a Tyrolean scene, ca. 1897, and two plain porcelain pipes, l. 2” to 7‑1/2”. [100/200]

348Group of Seven Continental Antique Pipes, including a commemorative brown stoneware pipe, two porcelain pipes, a burl pipe, two treen pipes and a friar pipe, l. 2” to 12”. [100/200]

349Continental Marble Sculpture of a Dutch Girl, ca. 1900, the figure depicted standing outside on a windy day, with wooden shoes, a billowing skirt and apron, and holding a book with one finger held up in thought, h. 14”, w. 6‑3/4”, d. 6‑1/4”. [150/300]

350Watcombe Terracotta Figure of “Winter”, ca. 1867‑1901, with the printed mark on the base “Watcombe Torquay”, h. 20‑1/2”, dia. 7”. [500/800] Illustrated

351Collection of Four Vintage Leather-Covered Boxes, including one with a dome top and brass nailheads, the top embossed with the arms of Chile, h. 4”, w. 7”, d. 3‑1/2”; a smaller one with a dome top embossed with a portrait of Sir Francis Drake, h. 3”, w. 3‑3/4”, d. 2‑1/2”; a round box decorated with gilt‑incised fretwork on the sides, the top with a border of gilt‑incised scrollwork, lined with red silk, h. 1‑1/2”, dia. 3”; and a square box with a black stamped gothic cartouche with gilt‑incised panels and scrollwork, the hinged lid lined with brown silk, h. 1‑1/4”, w. 3‑1/4”, d. 3‑1/4”. [100/200]

350

23

352Nickel-Plated Brass Telescope, with a leather‑covered body, on a tripod wooden stand, h. 18”, dia. 2‑1/2”, l. 17”. [150/300]

353Victorian Tole Tea Caddy, fourth quarter 19th century, now mounted as a lamp on a wooden base, the caddy marked “10” between black borders of vines and anthemia, h. 25”, dia. 11‑1/4”. [125/250]

354Victorian Carriage Lamp, fourth quarter 19th century, now electrified, h. 18”, w. 6‑1/4”, d. 5”. [150/300]

355Victorian Papier-Mache Tea Caddy, mid‑19th century, signed “Henry Clay”, decorated with gilt and mother‑of‑pearl, with a lidded two‑compartment interior lined with lead‑foil, stamped “Clay, King St. Covent Garden”, h. 6‑1/2”, w. 9‑1/2”, d. 6‑1/2”. [500/800]

356Pair of Victorian Ebonized Papier-Mache Sidechairs, third quarter 19th century, each with a rounded back‑scrolled crest above a polychrome floral splat, the caned seat raised on cabriole legs, the whole with delicate gilt and mother‑of‑pearl accents, h. 35‑1/2”. [400/700]

357Victorian-Style Ebonized and Mahogany Occasional Table, the circular top with a cut‑out shaped edge and with gilt accents of a castle scene, raised on a ribbed and foliate standard to a circular base on scrolled toes, h. 26‑1/4”, dia. 21‑1/4”. [100/200]

358Pewter Book-Form Flask, third quarter 19th century, engraved in the Eastlake style, h. 10”, w. 6‑1/4”, d. 3”. [200/400]

359Victorian Ebonized and Gilt Frame, fourth quarter 19th century, mounted as a mirror, h. 13‑3/4”, w. 16”. [50/80]

360Victorian Giltwood Frame in the Rococo Revival Style, second quarter 19th century, h. 41‑1/2”, w. 34”. [150/300]

361Pair of Satin Grosgrain Striped Pillows, with gold fringe, w. 16”, l. 16”. [75/125]

362Victorian Mahogany Stool, mid‑19th century, the padded rectangular needlework seat raised on cabriole legs, h. 15‑1/4”, w. 26”, d. 20‑1/2”. [75/125]

363English Majolica Cuspidor, fourth quarter 19th century, h. 2‑1/2”, dia. 9‑3/4”. [100/200]

364James Pollard (British, 1792-1867), “Regent Circus Coaching Scene”, oil on canvas, signed and dated lower left “J. Pollard 1822”, 32” x 40”. Framed. [2000/4000] Illustrated

365John Charles Maggs (British, 1819-1896), “The Nimrod Coach Entering Bath”, oil on canvas, signed lower left, 33” x 44”. Presented in a giltwood exhibition frame. [2500/4000] Illustrated

366Continental School (First Quarter 20th Century), “The Boating Party”, oil on panel, unsigned, 13” x 18”. Framed. [200/400]

364

365

24

367British School (Fourth Quarter 19th Century), “Expansive Landscape with Cattle Grazing in the Foreground”, oil on canvas, illegibly signed lower left, 46” x 56”. Framed. [1000/1500] Illustrated

368Scottish School (17th Century), “Alexander, Fourth Lord Elphinstone, High Treasurer of Scotland”, oil on canvas, with later inscription lower left, 30” x 25”. Framed. [300/500]

369Karl Spilling (German, 19th/20th Century), “Portrait of a Girl and a Boy”, pair of oval pastels on paper, both signed and dated “K. Spilling 1926”, sight 23” x 17‑1/2”. Both glazed, matted and framed. [150/300]

370Three-Piece Group of Assorted Pottery, fourth quarter 19th century, comprised of a Wedgwood majolica plate, dia. 8‑1/2”; a transfer‑printed earthenware plate, dia. 8‑1/4”; and a German jam pot stand, l. 11”. [100/200]

371Bavarian Porcelain Tureen and Undertray, 20th century, of Meissen inspiration, signed “Kuba Porzellan Bavaria Germany”, tureen, h. 10‑1/2”, w. 13”, d. 7”, undertray, l. 14‑1/2”, w. 10”. [100/200]

372Victorian Porcelain Sherry Casket, fourth quarter 19th century, fitted with the original cover and the wooden and pewter top, marked by Sanders and Sons, 473 Oxford Street, London, h. 11‑1‑4”, w. 8‑1/2”, d. 9‑1/2”. [200/400]

373Two-Piece Group of Porcelain, consisting of a French Samson covered urn, second quarter 20th century, h. 8‑1/2”, dia. 6”; and an English pearlware sugar basin, ca. 1800, h. 5”, w. 6”, d. 3‑3/4”. [50/80]

374Set of Six English Porcelain Dinner Plates, fourth quarter 19th century, the pink‑ground border surrounding a panel trimmed in roses with a gilt Gothic center medallion, dia. 9”. [250/400]

375Two French Blue-Ground Porcelain Vases, now mounted as lamps, the larger, second quarter 19th century, with scrolled handles, base, h. 12”, overall, h. 16‑1/2”; the smaller, ca. 1900, with bronze handles and mounts, base, h. 10‑1/2”, overall, h. 22”. [200/400]

376Victorian Staffordshire Figural Group, fourth quarter 19th century, the figure with a flat back, h. 9”, w. 8”, d. 2‑1/4”. [150/300]

377Victorian Staffordshire Figure, fourth quarter 19th century, depicting Little Red Riding Hood, h. 11‑3/4”, w. 6‑1/2”, d. 3‑3/4”. [200/400]

378Victorian Staffordshire Toby Jug, fourth quarter 19th century, h. 11‑3/4”. [200/400]

379Five-Piece Collection of Pottery and Porcelain Table Figures, 19th century and later, h. 7” to 11‑3/4”. [200/400]

380English Staffordshire Lithophane, second quarter 19th century, now mounted as a lamp, lithophane, h. 10”, overall, h. 22”, w. 8‑1/4”, d. 6”. [75/125]

381Group of Two Porcelain Jugs, consisting of a “begging spaniel” jug, mid‑19th century, h. 12”; and a flint enamel‑glazed jug, third quarter 19th century, h. 8”. [100/200]

382Royal Albert Bone China Partial Dinner Service, ca. 1983, in the “Holyrood” pattern, comprised of five dinner plates, dia. 10‑1/2”, ten salad plates, dia. 8”, five bread and butter plates, dia. 6‑1/4”, five saucers, dia. 5‑1/2”, five cups, h. 3”, five soup plates, dia. 9”, a covered vegetable tureen, h. 5”, dia. 8‑1/4”, five two‑handled cream soups, dia. 4”, four cream soup underplates, dia. 6”, a gravy boat, h. 3‑3/4”, l. 7”, a gravy boat stand, w. 5‑1/2”, l. 8”, a cream jug, h. 4‑3/4”, dia. 3”, a covered sugar bowl, h. 4‑1/4”, dia. 4‑1/4”, and two graduated oval platters, w. 10‑1/2”, l. 12‑3/4”, and w. 12‑1/2”, l. 16”. [300/500]

383Interesting Embossed Faux Leather and Polychromed Lidded Box/Bench, h. 19”, w. 17”, d. 17”. [200/400]

367

25

384Pair of Edwardian-Style Leather-Upholstered and Mahogany Club Armchairs, each with a tufted back and scroll arms, bowed front seat rail and tapering turned legs with rubber casters, h. 34‑1/2”. [3000/5000] Illustrated

385Edwardian Mahogany and Satinwood Sideboard, early 20th century, the banded rectangular top above a case fitted with two central drawers flanked to either side by a drawer over a cupboard door, centered by an oval medallion of a classical figure, raised on tapering square feet, h. 37‑1/2”, w. 60”, d. 21”. [1000/1500]

386Edwardian Cast Iron Garden Bench, ca. 1900, the ends joined by wooden slats, h. 29”, w. 49”, d. 29”. [200/400]

387Wrought Iron Strapwork Jardiniere, early 20th century, with extended lip, cylindrical body and circular base, h. 31‑1/4”, dia. 19”. [100/200]

388Victorian Cast Iron “Good Luck” Footstool, fourth quarter 19th century, probably American, upholstered in red leather, the surround retaining a worn gilt‑shellac surface and inscribed “Rest Your Feet Here”, h. 5‑3/4”, w. 10”, d. 11‑1/2”. [250/400]

389Pair of Painted Cast Iron Whippet-Form Pedestals, with marble tops, h. 31”, dia. 16”. [500/800] Illustrated

390Albert Kinsley (British, 1852-1945), “Mountainous Landscape”, watercolor on paper, signed lower left “A. Kinsley”, sight 9‑1/2” x 14”. Glazed, double‑matted and attractively framed. [350/500]

391H. Wood (British, 20th Century), “Cottage Path” , oil on wood panel, signed lower right, 7‑3/4” x 16”. Attractively framed. [400/700]

392British School (First Quarter 19th Century), “Valle Crucis Abbey”, watercolor on paper, unsigned, verso with two labels inscribed with the title of work and dated “1796 or 1798”, sight 16‑1/2” x 24”. Glazed, matted and framed. [100/200]

393Walter Langley (British, 1852-1922), “Fisherman on the Road, Cottage and Seashore in the Background”, watercolor on paper, signed lower right “W. Langley”, sight 12” x 9‑5/8”. Glazed, attractively matted and framed. [700/1000]

394Collection of Two Landscape Paintings, one an oil on canvas depicting a lakeside landscape, first quarter 20th century, illegibly signed lower left, 15” x 10”, and the other a watercolor on paper depicting a wooded interior, unsigned, sight 20” x 14”. Both framed. [200/400]

395British School (20th Century), “The Thatched Cottage in Spring”, watercolor on paper, unsigned, sight 19” x 28”. Attractively matted and framed. [300/500]

396Continental School (20th/21st Century), “Garden Scene at Springtime”, oil on canvas, signed illegibly lower right, 24” x 20”. Presented in a giltwood frame. [200/400]

384

389

26

397Fred Fitch (British, 1880-1925), “Sussex Village Scene”, watercolor on paper, signed and dated lower right, verso affixed with a label inscribed in German with the title, artist’s name and date “1888”, sight 22‑1/2” x 34”. Glazed, matted and framed. [150/300]

398British School (Contemporary), “Village Path”, oil on canvas, unsigned, 12” x 16”. Handsomely framed. [200/400]

399British School (Fourth Quarter 20th Century), “Wooded Landscape with a View of an Abbey”, oil on canvas, unsigned, 36” x 48”. Framed. [300/500]

400Twenty-Six Pieces of English Cutlery and Silverplate Flatware, late 19th‑ to mid‑20th centuries, including six A. Jordan mother‑of‑pearl and steel dessert knives, l. 8‑3/4”; six Elkington ivory and steel dinner knives with sterling silver ferrules and finials, l. 11‑1/4”; a two‑piece cased Thomas Turner & Son fish serving set with figural handles, l. 8‑3/4” and 11‑3/4”; a Viner’s “Old English” cream ladle, l. 5‑1/4”; a John Nowill & Sons “Fiddle” sugar sifter, l. 5‑1/2”; an I. Guide & Co. “Fiddle” sauce ladle, l. 6‑1/2”; a Cooper Brothers “King’s” platter spoon, l. 12‑1/4”; a Maple & Co. “Fiddle” soup ladle, l. 13‑3/4”; a two‑piece “Fiddle Thread” salad serving set, l. 8‑3/4”; and a five‑piece Chase faux ivory and steel cutlery set, including a carving knife, l. 10‑1/4”, carving fork, l. 9”, and three steak knives, l. 9”. [300/500]

401Two 19th-Century British Sterling Silver “Fiddle” Serving Pieces, including a George IV sugar sifter, hallmarked London, 1820‑1821, by Eley & Fearn, l. 6‑1/4”, and an early Victorian Scottish mustard spoon, hallmarked Glasgow, 1840‑1841, by John Muir, Jr., l. 5‑1/4”, both with gilt bowls, 1.80 total t. oz. [125/250]

402Two Pieces of English Sterling Silver Tableware, both Sheffield, including a small footed bowl, hallmarked 1906‑1907, by James Dixon & Son, with “cabochon” banding, h. 3”, dia. 4‑3/4”, 3.53 t. oz.; and an ivory‑handled crumber, hallmarked 1921‑1922, by Atkin Brothers, l. 12‑3/4”. [200/400]

403Two English Silverplate Entree Dishes, late 19th and early 20th century, including a Victorian oval example on stand by Atkin Brothers, Sheffield, h. 9”, l. 12”; and an Edwardian rectangular example by “N&S”, l. 12”. [250/400] Illustrated

404Edwardian Silverplate Entree Dish, first quarter 20th century, by Ellis‑Barker, Birmingham, of rounded rectangular form, with a wide rocaille rim in the William IV manner, with fitted lid and the lyrifom finial handle detaching permitting the lid to be inverted for use as a liner or second dish, h. 6‑3/4”, l. 12”, w. 8‑3/4”. [300/500] Illustrated

405Five Pieces of Early 19th-Century French First Standard (.950) Silver Small Tableware, including a Consular tastevin by Marie‑Francoise Lefevre, veuve Desmarais, dia. 3”, and four Louis‑Philippe gilt “Double Filet” teaspoons by Theophile‑Desire Pinchon, l. 5‑1/2”, 5.07 total t. oz. [125/250]

403

404

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406Forty-Eight Pieces of French Silverplate “Fiddle Thread” Flatware, mid‑20th century, Paris, including a twenty‑four‑piece fish set by S. A. Argental, with twelve forks, l. 6‑3/4”, and twelve knives, l. 8”; and twenty‑four gilt demitasse spoons by Andre Caploun, l. 3‑3/4”. [200/400] Illustrated

407Five Pieces of Continental Silver Tableware, including four mid‑20th century J. Roca, Barcelona, Spanish first standard (.915) silver leaf dishes, l. 3‑1/4”; and a third quarter 19th‑century 12 lot (.750) silver “Fiddle Thread” serving spoon, l. 10‑1/4”; 9.77 total t. oz. [200/400]

408Three Silverplate Serving Trays, 20th century, all with rococo scroll decoration, including an English circular waiter, dia. 15”; a Towle oval tea tray, l. 30‑1/4”; and a Continental rectangular tea tray, l. 31”. [300/500]

409Three Large Silverplate Buffet Pieces, 20th century, including an English baluster‑form coffee urn, h. 24‑3/4”, w. 17”; an Italian cylindrical coffee urn, h. 27‑1/2”, w. 13”; and an English rectangular hot plate, l. 24‑1/2”, w. 9‑3/8”. [400/700] Illustrated

410Georg Jensen Sterling Silver “Bittersweet” Cake Knife, the pattern designed in 1940 by Gundorph Albertus (1887‑1954), Copenhagen, with stainless steel scimitar‑shaped blade, l. 10‑1/2”. [100/200]

411Thorvald Marthinsen “Lillemor” .830 Silver Serving Fork and Spoon, mid‑20th century, Tonsberg, Norway, l. 9” and 9‑1/4”, 4.05 total t. oz. [100/200]

412Two Silver Serving Tongs, 20th century, including sterling silver continental modernist “wishbone” sugar tongs, l. 6”, 1.80 t. oz., and silverplate Atkin Bros. Art Deco asparagus grips, l. 4‑1/4”. [100/200] Illustrated

413Russian Silvered Brass Samovar, ca. 1900, probably Tula, the conical body with shaped panels separated by broad gadroons, with openwork scroll handle mounts and branch, and turned wooden handles, branch finial and strobile grips, with detachable crown plate, the whole raised on four thick hoofed feet, h. 20‑1/4”, w. 15”, d. 13”. [300/500] Illustrated

414Egyptian First Standard (.900) Silver Footed Candy Dish, marked Cairo, 1959‑1961, circular with rococo rim, dia. 8”, 9.06 t. oz. [150/300]

406

409

412

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415Peruvian Sterling Silver Footed Fruit Bowl, 20th century, Camusso Plateria, Lima, of oval rococo form, l. 12‑1/2”, 11.50 t. oz. [200/400]

416Edwardian Silverplate Hot Water Urn, first quarter 20th century, of ovoid form, with faux ivory insulators, complete with the original billet chamber, h. 18”, w. 10‑1/2”. [250/400] Illustrated

417Contemporary Large Decorative Wall Panel, depicting playful monkeys in a tropical landscape, 72” x 28”. [100/200]

418A Decorative Print of a Feline, “Ginger”, illegibly signed in pencil lower right, 14‑3/4” x 21”. Attractively matted and framed. [100/200]

419Collection of Three Offset Chromolithographs, including a French 19th‑century fashion plate, sight 10‑1/2” x 7”; “The Polish Rider”, after Rembrandt van Rijn (Dutch, 1606‑1669), sight 7‑1/2” x 8‑3/4”; and one depicting a snow‑covered landscape, sight 10” x 7‑3/4”. All glazed and framed. [50/80]

420A Decorative Architectural Print of the Grand Canal, Venice, sight 19‑1/4” x 27‑1/4”. Attractively matted, glazed and framed. [100/200]

421Daniel Derveaux (French, 20th Century), “Napoleon”, color lithograph, sight 13‑1/4” x 19‑1/4”. Attractively matted, glazed and framed. [100/200]

422Large Contemporary Mixed Media on Canvas, depicting Versailles’ Hall of Mirrors, presented in a molded giltwood frame with a linen liner, overall dimensions 60” x 46”. [100/200]

423Continental School (Fourth Quarter 20th Century), “Venice, The Grand Canal”, oil on wood panel, unsigned, 11‑3/4” x 16”. Framed. [150/300]

424American School (20th/21st Century), “Venetian Canal Scene”, oil on canvas, unsigned, 28” x 19”. Framed. [200/400]

425Karl Eugene Felix (Austrian/American, 1837-1906), “Venetian Canal Scene”, oil on canvas, signed lower left “K. E. Felix”, 20” x 30”. Presented in a period rococo‑style giltwood and gesso frame. [1500/2500]

426Nicholai Gloutchenko (Russian/French, 1902-1977), “Venetian Gondolier”, oil on canvas panel, signed lower right “Gloutchenko 74”, 8‑1/2” x 11‑1/4”. Presented in a deeply molded giltwood and gesso frame. [700/1000]

413

416

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427Continental School (Fourth Quarter 19th Century), “Fixing the Sled”, oil on canvas, unsigned, 26” x 20”. Presented in the period giltwood frame. [450/700] Illustrated

428Baroque-Style Giltwood Bench, the rectilinear tufted burgundy and gold bench cushion on a foliate‑ and scroll‑molded base, h. 21‑1/4”, w. 58‑1/2”, d. 18”. [500/800] Illustrated

429Pair of Gilt and Ebonized Composition Single-Light Sconces-in-Hand, h. 19”, w. 3‑1/2”, d. 12”. [100/200]

430Pair of American Rococo Revival Gilt-Metal Six-Branch Wall Bracket Candelabra, third quarter 19th century, each with a foliate wall plate and scrolled arm supporting a cluster of five arms and a central candle socket, h. 11”, w. 12‑1/2”, d. 17”. [500/800] Illustrated

431Pair of Spanish Baroque-Style Gilt-Metal Sconces, employing caryatid supports and fitted with alabaster shades, h. 11‑1/4”, w. 7‑1/4”, d. 9”. [200/400]

432Baroque-Style Carved, Parcel-Gilt and Polychrome-Decorated Bracket, the shelf supported by a caryatid head, h. 36‑1/2”, w. 13‑1/4”, d. 9‑3/4”. [400/700]

433Baronial-Style Black- and Gilt-Painted Thirteen-Light Chandelier, the crown‑form canopy supporting wrought arms joined to a hexagonal ring with pairs of lights on scroll arms, h. 46”, dia. 44”. [900/1200]

434Large Italian Wrought Iron Eight-Light Chandelier, the twisted rods joined to scrolling arms with foliate mounts, h. 46”, dia. 41‑1/4”. [700/1000]

435Baroque-Style Giltwood Library Table, the rectilinear top edged with foliate carving and centered by faux painted “leather”, the frieze with foliate decor and centered by satyr masques, raised on a trestle base, h. 35”, w. 66”, d. 35”. [700/1000] Illustrated

436Baroque-Inspired Parcel-Gilt Mahogany Vitrine, ca. 1900, the foliate‑carved crest over a door with a beveled glazed panel, the interior back and sides fitted with beveled mirror plates, the door flanked by stiles with foliate carving capped by leonine masques, h. 69”, w. 24”, d. 17‑1/2”. [400/700]

427

428

430

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437Baroque-Style Giltwood and Mirrored Torchere, the circular top on a standard modeled with applied mirror glass, h. 68”, dia. 26”. [300/500]

438Near Pair of Carved Giltwood and Mirror-Inset Floor Lamps, h. 52”. [300/500]

439Tall Giltwood Nine-Arm Candelabrum Torchere, 20th century, h. 84”, dia. 30”. [300/500] Illustrated

440Suite of Three Graduated Molded Pottery Three-Light Candelabra, in the baroque style, finishe3d in rubbed gilt and white paint, h. 16”, to 27”, w. 7” to 17”. [150/300]

441Pair of Baroque-Style Metal and Composition Three-Light Candelabra, finished in bronze and silver gilt, fitted for electricity, h. 26”, w. 12‑1/2”, d. 5”. [100/200]

442Four Decorative Pillows, including two velvet pillows with gilt scrollwork, h. 22”, w. 22”, a crushed velvet pillow with a bronze decorated leaf border, h. 21‑1/2”, w. 21‑1/2”, and a velvet pillow with a gilt cloth crowned wreath over a fleur‑de‑lis, h. 17‑1/2”, w. 17‑1/2”. [100/200]

443Pair of Venetian Baroque-Style Bronzed and Painted Mirrors, h. 26”, w. 16”. [350/500]

444Baroque-Style Painted Composition Mirror, the molded frame with beading and egg‑and‑dart trim, h. 70”, w. 34”. [100/200]

445Baroque-Inspired Stand and Giltwood Pier Mirror, with a projecting cornice over an arched and beveled mirror plate, fitted with smaller beveled plates about the perimeter, with a demi‑lune shelf over a single drawer, h. 83”, w. 29”, d. 12”. [200/400]

446Baroque-Style Polychrome and Parcel-Gilt Caryatid-Form Wall Bracket, h. 25‑3/4”. [300/500]

447Italian Baroque-Style Molded Composition Bracket, on a pylon base, h. 30‑3/4”, w. 9”, d. 5‑3/4”. [100/200]

448Pair of Large, Exuberantly Modeled Armchairs in the Rococo Taste, each with foliate carving throughout, upholstered in gold damask, h. 44”. [300/500]

435

439

31

449Italian Polychrome and Parcel-Gilt Chest, mid‑20th century, probably Florentine, the shaped rectangular top above a case fitted with three small drawers to one side and a cupboard to the other, the whole with incised scrolling foliate designs, raised on cabriole legs ending in peg toes, h. 27‑1/2”, w. 24‑1/2”, d. 13”. [150/300]

450Provincial Italian Polychrome Commode, 18th century and later, the rectangular faux marble top with a serpentine front, above a conforming case fitted with two bi‑paneled drawers, raised on cabriole legs ending in sabots, h. 32”, w. 36‑1/2”, d. 20”. [1800/2500] Illustrated

451Pair of Italian-Style Giltwood Hall Chairs in the Rococo Taste, each high back of foliate and scroll form with a pair of upholstered panels, on boldly modeled cabriole front legs, h. 62‑1/4”. [700/1000] Illustrated

452Venetian Beveled and Engraved Glass Mirror, the frame outlined with rope‑twist glass rods of gold threaded glass, blown and molded leaves and rosettes decorate the corners, and rosettes define the four corners of the central beveled glass panel, which has beveled surrounds decorated with engraved scrolls and flowers, h. 39‑1/2”, w. 31‑1/4”. [500/800]

453Venetian Looking Glass, ca. 1900, in the 18th‑century rococo style, composed of clear and mauve blown glass, the scrolled sides ornamented with flowers and retaining traces of gilt highlights, scrolled sprig engraving decorates the area around the beveled edge mirror plate, h. 30‑1/4”, w. 17”. [150/300]

454Venetian-Style Beveled, Etched and Cut Glass Octagonal Mirror, the central beveled plate framed by cut foliate scroll and banded plates, h. 52”, w. 42‑1/4”. [900/1200] Illustrated

455Venetian-Style Beveled, Etched and Cut Glass Octagonal Mirror, the central beveled plate framed by cut foliate scroll and banded plates, h. 52”, w. 42‑1/4”. [900/1200]

456Continental Silk Embroidery of St. Francis, fourth quarter 19th century, the face, hands and feet hand‑painted, backed by finely woven linen, sight 13‑1/4” x 11”. In a period carved wood oval frame. [100/200]

457Molded and Painted Plaster Figure of Mary, 20th century, depicted holding the Christ Child, h. 68”, w. 19”, d. 15”. [800/1200] Illustrated

458Molded and Painted Plaster Figure of Jesus Christ, 20th century, on a cloud‑form plinth, h. 66‑3/4”, w. 23‑3/4”, d. 17‑1/2”. [800/1200]

459Molded and Painted Figure of Saint Vincent, 20th century, depicted with a baby and a small child, h. 63”, w. 24”, d. 24”. [800/1200]

460Molded and Painted Plaster Figure of a Nun, 20th century, h. 59”, w. 21‑1/2”, d. 18‑1/2”. [800/1200]

450

451

32

461Pair of Restauration-Style Gilt-Brass Altar Sticks, third quarter 19th century, h. 34‑1/2”, dia. 11”. [100/200]

462Pair of Cast Brass Reeded Altar Candlesticks, early 20th century, h. 33”. [100/200]

463Continental Reverse Painting, first quarter 19th century, depicting the “Sacred Heart of Jesus”, h. 14‑1/4”, w. 10”. [150/300]

464Russian Icon Depicting Deisis, 19th century, with border of St. Dimitri and St. Barbara, h. 6”, w. 5‑1/2”. [75/125]

465Russian Icon on Wood, 19th century, depicting the Christ Child with Saints Boris and Gleb, h. 6”, w. 5”. [75/125]

466Pair of Neo-Renaissance-Style Parcel-Gilt and Fruitwood Stands, each with a circular top supported by a segmented fluted and foliate‑carved column, h. 48‑1/4”, w. 12”, d. 12”. [300/500]

467Near Pair of Renaissance-Inspired Giltwood Torcheres, each with a circular top over a segmented foliate and fluted standard, h. 54” and 55‑1/2”, dia. 23”. [400/700]

468Pair of Neo-Renaissance-Style Bronze-Finished Pedestals, each with a circular top over a fluted and foliate‑modeled column, h. 36‑1/4”, w. 14”, d. 14”. [300/500]

469Italian Neo-Renaissance Mahogany Sideboard, first quarter 20th century, the top with a splash and a shelf on carved brackets, the case with a band of three drawers over three doors, h. 62”, w. 81”, d. 26”. [500/800]

470Continental Burled Elm Games Table, third quarter 19th century, the highly figured fold‑over top over a frieze fitted with a pair of drawers, h. 29”, w. 34‑1/2”, d. 18‑1/4”, extended l. 36‑1/2”. [400/700]

471Continental Carved Oak Three-Panel Screen in the Neo-Renaissance Taste, late 19th century, richly carved with scrolling foliage, griffins, masques and fruit, h. 80”, w. 60”. [1000/1500]

472Tuscan-Style Illuminated Wine Cabinet, with a distressed patina and “wrought” metal, fitted with two doors and a drawer, h. 75‑1/2”, w. 34”, d. 20”. [150/300]

454

457

457

33

473Louis XVI-Style Giltwood and Composition Hanging Bed Crown, hung with fringed iridescent coral silk decorated with gilt sprigging, and lined with gold silk decorated with lozenges and beads, h. 147”, w. 36”, d. 31”. [200/400]

474Molded Composition Shield-Shaped Cartouche, with gilded highlights, h. 50‑1/2”, w. 28‑3/4”. [200/400]

475Contemporary Tuscan-Style Texture-Painted and Silver-Leafed Six-Piece Bedroom Suite, including a king‑sized bed, h. 67”, w. 96”, l. 93”, a large dresser, h. 39”, w. 70”, d. 23”, a wall mirror, h. 60”, w. 43”, an entertainment cabinet, h. 86”, w. 54”, d. 30”, and a pair of side commodes, h. 31”, w. 32”, d. 20”. [500/800]

476Contemporary Wrought Iron and Faux Leather Tall Table, the circular top finished to simulate leather, raised on a patinated wrought iron base, h. 42”, dia. 35‑1/2”. [200/400]

477Faux Leather and Burlwood Bombe Occasional Table, on a wrought iron base, the case with a bank of three drawers, h. 32”, w. 23‑1/2”, d. 19”. [100/200]

478Large Anglo-Indian-Style Coffee Table, with inset glass in a frame base and apron depicting turning vines, leaves and critters, with a scalloped apron and cabriole legs, h. 20‑3/4”, w. 51”, d. 51”. [100/200]

479Italian Tin-Glazed Terracotta Wall Fountain in the Baroque Taste, the water emanating from a neoclassical masque on a scrolled cartouche, h. 62”, w. 27”, d. 17”. [500/800]

480Carved Marble Bust of a Young Woman, ca. 1900, probably Italian, signed “Rossini”, h. 23‑1/2”, w. 15‑1/2”, d. 7‑1/2”. [150/300]

481Attributed to Lambert Lombard (Flemish, 1506-1566), “Bull”, gouache on paper, unsigned, reverse with an attribution on a Russell Hartley Fine Paintings label, 7‑1/2” x 9‑1/2”. Glazed, matted and framed, the mat bearing a printed label with the artist’s name and dates. [800/1200]

482British School (Contemporary), “Landscapes with Cattle”, pair of oils on canvas, unsigned, 8” x 10”. Framed alike. [200/400]

483British School (Contemporary), “Cows by Stream” and “The Herd”, pair of oils on wood panel, each illegibly signed lower right, each 8” x 10”. Attractively framed alike. [200/400]

484G. Roy (British, 20th Century), “Cows at the Creek”, oil on wood panel, signed lower right, 7‑3/4” x 16”. Attractively framed. [600/900]

485G. Roy (British, 20th Century), “Cows in a Pasture”, oil on canvas, signed lower right, 20” x 24”. Framed. [600/900]

486G. Roy (British, 20th Century), “New Member of the Flock”, oil on wood panel, signed lower right, 9‑3/4” x 7‑3/4”. Attractively framed. [400/700]

487Continental School (Contemporary), “Wooded Interior with Flock of Sheep”, oil on wood panel, unsigned, 12” x 16”. Framed. [200/400]

488Continental School (Contemporary), after William‑Adolphe Bouguereau (French, 1825‑1905), “Girl with a Lamb”, oil on wood panel, unsigned, 15‑5/8” x 12”. Framed. [200/400]

489Continental School (Contemporary), “Barnyard Scene with Peacock and Fowl”, oil on wood panel, unsigned, 20” x 24”. Framed. [300/500]

490Octavia Gayden Roberts (20th Century), “Chicks with an Oyster Shell”, oil on canvas, monogrammed lower right, 13‑1/2” x 9‑1/2”. Framed. [500/800]

491Continental School (Contemporary), “Barn Scenes with Poultry”, two oils on wood panel, unsigned, 8” x 10”. Framed. [200/400]

492British School (Contemporary), “Cattle at a Watering Hole”, oil on panel, unsigned, 12” x 16”. Framed. [300/500]

493After Harry R. Hall (British, Active 1895-1902), “Highland Cattle”, chromolithograph, sight 12” x 17‑1/2”. Glazed, matted and framed. [50/80]

494Group of Victorian Fireplace Accessories, 19th century, including a Georgian‑style tool holder, a shovel with a pierced end, w. 5‑1/4”, l. 26”, a poker, l. 24”, and a pair of fire tongs, w. 3”, l. 24”, all steel, and a pair of wrought iron andirons, h. 21”, w. 10‑1/2”, d. 16‑1/2”. [75/125]

495William and Mary-Style Carved, Painted and Inlaid Beechwood Valuables Box, 19th century, h. 12”, w. 22”, d. 14”. [150/300]

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496Pair of Carolean-Style Walnut Sidechairs, 19th century, each with a padded seat, raised on bulbous and block legs joined by turned stretchers and ending in bun feet, h. 40”. [600/900]

497Elizabethan-Style Oak Firescreen, early 20th century, of diminutive proportions, h. 27‑1/2”, w. 22‑1/2”. [100/200]

498Elizabethan Oak Gateleg Side Table, early 20th century, h. 28”, open, w. 24‑1/2”, l. 37”. [200/400]

499William and Mary-Style Mahogany Side Table, early 20th century, h. 25”, w. 24”, d. 14”. [100/200]

500Two Pairs of Continental Figural Oak Bookends, each set depicting the figure of a seated monk in hooded robes, h. 9‑1/2”, w. 5”, d. 6”. [75/125]

501English Oak Looking Glass, partially composed of antique elements, the rectangular plate with a guilloche‑carved crest and pendant, h. 23‑1/2”, w. 22‑1/4”. [150/300]

502Group of Three English Stools, 19th century, including an ebonized ash Windsor stool, h. 11”, w. 13”, d. 13”; an oak or elm miniature bench, h. 17‑1/4”, w. 16‑3/4”, d. 11”; and a hand‑hewn circular stool with a dished seat, h. 13”, dia. 13‑1/2”. [200/400]

503Group of Three English Elm Octagonal Tripodal Stools, 19th century, each with shaped splayed legs, h. 11” to 14‑1/4”. [150/300]

504Group of Two English Stools, 19th century, composed of a hand‑hewn stool, h. 11”, w. 7”, d. 9”; and an oak step‑stool, h. 9‑1/4”, w. 14”, d. 7”. [100/200]

505Victorian Ash and Pine Stool, late 19th century, with a plank pine top and turned legs, h. 18‑1/4”, w. 20”, d. 16”. [150/300]

506Group of Three Child’s Chairs, late 19th century, h. 17‑1/2” to 29”. [150/300]

507English Waxed Pine Three-Step Stool, late 19th century, of nailed and tennoned construction, h. 19”, w. 12”, d. 14”. [75/125]

508Pair of Elizabethan-Style Mahogany Sidechairs, 20th century, h. 38”, w. 17”, d. 19”. [300/500]

509William and Mary-Style Oak Stool, of pegged construction with turned and block feet, upholstered in the manner of floral crewelwork, h. 18”, w. 36”, d. 21”. [150/300]

510Edwardian Elm Windsor Armchair, ca. 1900, with a braced bow back and dished saddle seat, h. 32‑1/2”. [150/300]

511George III-Style Mahogany Dressing Table, the shaped rectangular top hinged and opening to a variety of hinged compartments and central storage, raised above a concave stretcher shelf on square legs, h. 23‑1/2”, w. 26‑1/2”, d. 19‑1/2”. [75/125]

512Tin-Glazed Terracotta Garden Seat, in the form of stacked pillows, decorated in the Delft manner, h. 13‑1/2”, w. 15”, d. 15”. [400/700]

513Dutch-Style Marquetry-Inlaid Side Table, early 20th century, the top and sides with floral inlay, the front having a tambour slide above a single drawer, h. 24‑1/2”, w. 20‑1/2”, d. 13”. [300/500]

514Georgian Needlework Picture, ca. 1800, depicting a sheep shearer and a little girl with a lamb, in a period frame, now stripped, h. 22”, w. 19”. [100/200]

515Traditional Steel-Bladed Sword, mounted with a walnut and brass handle, in a leather scabbard, l. 35‑1/4”. [75/125]

516George III Mahogany Tripod Table, 19th century, the tilting rounded rectangular top on a turned and bulbous standard to three splayed legs, h. 30”, w. 28‑3/4”, d. 22‑3/4”. [200/400]

517Regency Mahogany Canterbury, 19th century, raised on tall chamfered legs, h. 22”, w. 17‑1/2”, d. 15‑1/2”. [200/400]

35

518Regency Rosewood Work Table, first quarter 19th century, the rounded rectangular top above a conforming frieze fitted with a single drawer over a pull‑out storage well, raised on pierced end supports joined by a turned stretcher and ending in turreted feet, h. 28‑1/2”, w. 22‑1/4”, d. 15‑3/4”. [400/700] Illustrated

519Late Regency Rosewood Games Table, second quarter 19th century, the fold‑over top with a felt playing surface, molded and scroll frieze, turned pedestal and concave base, h. 29”, w. 36”, d. 17‑1/2”, extended l. 35”. [300/500]

520Regency Mahogany Drum Table, first quarter 19th century, the octagonal top above a conforming frieze fitted with four drawers and four faux drawers, raised on a turned standard to four splayed legs ending in brass caps and casters, h. 28‑1/4”, w. 47”, d. 47”. [2000/4000]

521George III-Style Mahogany Writing Table, the rectangular top with an inset leather writing surface and a carved edge, above a conforming case fitted with two paneled drawers, raised on tapering circular legs ending in pad feet, h. 29”, w. 42”, d. 25”. [500/800]

522Regency-Style Mahogany Double-Pedestal Dining Table, 19th century, each pedestal with a turned standard mounted to a platform with four outcurved legs ending in brass paw feet, accompanied by two 12” skirted leaves, the underside now fitted with runners, h. 29‑1/2”, w. 48‑1/2”, l. 48‑1/2”, extended l. 73”. [500/800]

523Early Victorian Mahogany Drop-Leaf Table, third quarter 19th century, the rectangular top with rounded ends and two ovoid drop leaves, raised on ribbed tapering square legs, h. 28”, w. 48”, d. 21”, extended, l. 65”. [300/500]

524Regency-Style Mahogany Etagere, late 19th century, the molded cornice above two banks of four graduated shelves over two short drawers, all flanked by paneled shaped sides, the lower section fitted with two grilled cupboard doors, raised on a plinth base, h. 74”, w. 53”, d. 16”. [700/1000] Illustrated

525Regency-Style Rosewood and Faux Bois Credenza, late 19th century, the superstructure with a pierced three‑quarter brass gallery over two shelves held by brass supports and a mirrored back, the breakfront top above a conforming case fitted with two central doors inset with grilled panels flanked to either side by a paneled cupboard door, raised on a plinth base, h. 61”, w. 71”, d. 16”. [400/700]

526English Regency Decoupage Writing Box, first quarter 19th century, decorated with landscapes and trimmed with leaves, the interior lined with blue paper, h. 6”, w. 8‑1/4”, l. 11‑1/2”. [400/700]

526ACollection of Three English Boxes, including two ca. 1900 boxes, a faux bois‑painted box in a rosewood pattern, h. 2‑1/2”, w. 6‑3/4”, d, 4”, and an inlaid mahogany box with patera on the cover, h. 4‑1/2”, w. 9‑1/2”, d. 7”; and a second quarter 19th‑century rosewood box with maple crossbanding and ivory escutcheon, h. 4”, w. 11‑1/4”, d. 7”. [75/125]

518

524

36

527Pair of Molded Wax Figural Groupings of Classical Inspiration, first quarter 19th century, probably English, in contemporary gilt shadowbox frames, h. 10‑1/4”, w. 10‑1/4”. [75/125]

528English Miniature Portrait on Ivory, second quarter 19th century, h. 4”, w. 3”. [150/300]

529William IV Papier-Mache Wine Coaster, second quarter 19th century, dia. 5‑1/2”. [50/80]

530Pair of Regency Ebonized Armchairs, early 19th century, each with a caned crest above an X‑form splat centered by an oval panel with a painted classical scene, joined to the caned seat by flat arms, raised on tapering square legs ending in spade feet, h. 32‑1/2”. [500/800]

531Continental Mahogany Wing Chair, 19th century, the high domed and padded back joined by shaped sides and padded arms to the like seat, raised above a fluted frieze on stop‑fluted tapering square legs headed by patera capitals and ending in spade feet, h. 53”. [1000/1500] Illustrated

532Regency-Style Mahogany Library Chair, the curved and padded rectangular back within a molded frame, joined by closed padded arms and turned bulbous uprights to the cushioned seat, raised on turned tapering circular legs ending in brass caps and casters, h. 39”. [500/800]

533Large English Potpourri Urn, Attributed to Derby, first quarter 19th century, decorated with gilt grape leaves on a cobalt ground, the base pierced to hold a burner, the bowl mounted with gilt ram’s head handles, with three superbly painted floral baskets on marble slabs, the pierced cover decorated to match, formerly with a removable knop, h. 10”, dia. 9”. [600/900] Illustrated

534Fine Pair of Paris Porcelain Cachepots and Stands, second quarter 19th century, decorated with brightly colored hand‑painted passion flowers and mounted with faux lion’s head ring pulls, h. 6‑3/4”, dia. 6‑1/4”. [300/500]

535Three-Piece Group of Pottery, including an English pearlware shell‑edge sauceboat, ca. 1800, l. 8”; a Continental spongeware saucer, dia. 5‑7/8”; and a Continental cut sponge plate, dia. 9”. [50/80]

536Pair of English Mulberry Ironstone Plates, mid‑19th century, in the “Sydenham” pattern, signed by J. Clementson, dia. 9‑1/2”. [100/200]

537Two Similar Blue Staffordshire Pearlware Tea Bowls and Saucers, ca. 1810‑1825, the first example decorated with a basket of flowers on a stippled ground and signed with an impressed Adams circular mark with a crown in the center, the second example unsigned and decorated with a covered urn in a border of floral cartouches, h. 3‑1/4”, dia. 5‑3/4”. [100/200]

538Four Pieces of Porcelain, including an English Wadeheath double jam pot, 20th century, h. 5”, l. 8”; a Delft plate, 20th century, signed, dia. 9”; a Noritake tray, w. 6”, l. 9”; and a Chinese export undertray, l. 6‑1/2”. [50/80]

531

533

37

539Set of Ten Staffordshire Pottery Luncheon Plates, second quarter 20th century, signed “Myott, Staffordshire”, and artist signed “A. Robert”, w. 8‑1/2”, d. 8‑1/2”. [100/200]

540English Rockingham-Type Porcelain Partial Dessert Service, third quarter 19th century, comprised of a teapot, h. 7”, dia. 6‑1/2”, a covered sugar bowl, h. 7”, w. 7”, a cream jug, h. 5‑1/4”, w. 4‑3/4”, a waste bowl, h. 3‑1/4”, dia. 5‑3/4”, a pair of cake plates, dia. 9‑1/2”, twelve dessert plates, dia. 6”, nine teacups, h. 2‑3/4”, and eleven saucers, dia. 5‑1/2”. [400/700]

541Cast Bronze Garden Fountain, depicting a classical maiden pouring water, h. 68”. [2000/4000] Illustrated

542Oval Sunburst Mirror, with leaf‑patterned “rays” alternating with mirrored “rays”, h. 30”, w. 26‑3/4”. [400/700]

543Pair of Italian Regency-Style Gilded Composition Brackets, h. 16”, w. 12”, d. 7”. [300/500]

544Late Regency Mahogany Bowfront Chest, second quarter 19th century, with two over three drawers, raised on bracket feet, h. 43‑1/4”, w. 48”, d. 23‑1/4”. [500/800]

545Regency Ebonized Cabinet, first quarter 19th century and later, the rectangular top with a shelved superstructure and gilt scene, in the Orientalist manner, above a case fitted with a single door, inset with a grille panel, the sides with figural scenes, raised on a plinth base, h. 46‑1/2”, w. 26‑1/2”, d. 12”. [500/800]

546Regency Mahogany Library Steps, first quarter 19th century, fitted with three steps, all with leather‑inset treads, the top one with a lift‑top, the middle one with a pull‑out lift‑top, raised on ring‑turned circular legs, h. 25‑1/2”, w. 17‑1/2”, d. 27‑1/2”. [500/800]

547Continental School (18th Century), “Italianate Landscape with Figure Fishing” and “Italianate Landscape with Family Returning from Market”, two oils on canvas laid on board, both unsigned, each 18” x 21‑1/2”. Both framed. [600/900] Illustrated

548Continental School (20th Century), “Dance of the Nymphs”, oil on canvas, signed lower right “Ch Martens”, 32” x 27”. Framed. [125/250]

549French School (Fourth Quarter 19th Century), “Nymphs in a Wooded Landscape”, oil on canvas, unsigned, 20” x 27‑1/2”. Presented in an attractive giltwood and gesso floral‑molded frame. [200/400]

541

547

38

SundaySession II

550Pair of Fourteen-Karat Yellow Gold and Amethyst Dangle Earrings, each set with an oval faceted amethyst with an approximate weight of 5.00 carats. [125/250]

551Fourteen-Karat Yellow Gold and Amethyst Ring, set with a round faceted amethyst with an approximate total weight of 5.00 carats, size 7‑3/4. [150/300]

552Pair of Fourteen-Karat Yellow Gold Earrings, marked “Italy”, 13.9 dwt., l. 3”. [250/400]

553Two Fourteen-Karat Yellow Gold Bracelets, 26.9 dwt., l. 8” and 9”. [300/500]

554Fourteen-Karat Yellow Gold and Amethyst Ring, set with seven oval faceted amethysts, averaging 2.00 carats each, size 7. [200/400]

555Pair of Fourteen-Karat Yellow Gold and Amethyst Dangle Earrings, each set with a faceted pear‑shaped amethyst, total approximate weight 16.00 carats each, l. 2‑1/4”. [250/400]

556Ten-Karat Yellow Gold and Amethyst Stick Pin, the custom‑designed pin with two pear‑shaped amethysts and fifty‑one round‑cut amethysts, with a total approximate weight of 7.62 carats, 8 dwt., l. 2”. [100/200]

557Ten-Karat White Gold and Diamond Black Cord Wittnauer Wristwatch, with seventy‑two single‑cut diamond melees and eight diamond baguettes, with an approximate total weight of 0.50 carats, l. 6‑1/2”. [150/300]

558Fourteen-Karat White Gold, Black and White Diamond Pendant with Chain, the pendant set with a fancy black round brilliant‑cut diamond with an approximate total weight of 3.63 carats, surrounded by eighty‑one single‑cut diamonds with an approximate total weight of 0.52 carats, chain, l. 16”, pendant, l. 1”. [1800/2500]

559Platinum and Diamond Wedding Band, set with twenty single‑cut diamond melees with an approximate total weight of 0.20 carats, size 6‑1/2. [100/200]

560Fourteen-Karat White Gold and Fancy Light Yellow Diamond Ring, set with a central marquise‑cut fancy light yellow diamond with an approximate total weight of 1.62 carats, bordered by twenty round brilliant‑cut yellow diamonds with an approximate total weight of 0.32 carats, and finished on the outside border and shank of the ring with seventy‑four brilliant‑cut diamonds with an approximate total weight of 0.69 carats, size 8. [4000/7000] Illustrated

561Fourteen-Karat White Gold and Fancy Light Brown Diamond Ring, set with a radiant‑shaped‑cut fancy light brown diamond with an approximate total weight of 1.09 carats, surrounded by 124 bead‑set round brilliant‑cut diamonds with an approximate total weight of 0.90 carats, size 7‑1/2. [3000/5000]

562Pair of Ten-Karat Yellow Gold and Smoky Quartz Earrings, each set with a round smoky quartz with an approximate weight of 5.5 carats. [100/200]

563Antique Eighteen-Karat Yellow Gold and Diamond Ring, ca. 1900, with a central old mine‑cut diamond surrounded by eight smaller diamonds, total diamond weight approximately 0.75 carats, all in “buttercup” prongs to a threaded shank, 1.5 dwt., size 6. [200/400]

564Fourteen-Karat Yellow Gold, Ruby and Diamond Pendant with Chain, set with a single oval ruby with an approximate total weight of 9.74 carats, surrounded by twelve round rubies with an approximate total weight of 0.72 carats, and twelve round brilliant‑cut diamonds with an approximate total weight of 0.66 carats, necklace, l. 18”, pendant, l. 1”. [1500/2500]

560

39

565Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, set with an oval ruby with an approximate total weight of 9.85 carats, surrounded by twenty‑six round rubies with an approximate total weight of 2.62 carats and sixteen round brilliant‑cut diamonds with an approximate total weight of 1.05 carats, size 8. [1800/2500] Illustrated

566Fourteen-Karat Yellow/White Gold, Ruby and Diamond Ring, mounted with a central prong‑set oval‑cut treated ruby, measuring 18.61 mm x 14.55 mm and with an approximate total weight of 14.70 carats, surrounded by a border of thirty‑two prong‑set round brilliant‑cut diamonds with an approximate total weight of 0.68 carats and fifty prong‑set round faceted rubies, set in a border on the outside edge and on the shoulders of the band, with an approximate total weight of 2.00 carats, size 7‑1/2. [2000/4000]

567Fourteen-Karat Yellow/White Gold, Ruby and Diamond Ring, comprised of a central prong‑set oval‑cut treated ruby, measuring 15.40 mm x 10.43 mm x 6.95 mm and with an approximate total weight of 8.43 carats, surrounded by a border of twenty prong‑set round brilliant‑cut diamonds with an approximate total weight of 0.46 carats and a border of twenty prong‑set round faceted rubies with an approximate total weight of 1.47 carats, size 7‑1/2. [2000/4000]

568Fourteen-Karat Yellow Gold, Emerald and Diamond Necklace, set with twenty‑one step‑cut emeralds with an approximate total weight of 14.25 carats and numerous round brilliant‑cut diamonds with an approximate total weight of 5.44 carats, necklace, l. 17” pendant l. 1‑1/2”. [7000/10000]

569Fourteen-Karat Yellow Gold, Emerald and Diamond Ring, set with a central oval mixed‑cut emerald with an approximate total weight of 7.17 carats, and forty‑two round brilliant‑cut diamonds bordering the emerald and down the sides of the shank with an approximate total weight of 1.33 carats, size 7‑1/2. [4500/7000] Illustrated

570Fourteen-Karat White/Yellow Gold, Aquamarine and Diamond Pendant with Chain, set with an oval aquamarine with an approximate weight of 1.75 carats, suspended in an oval frame set with twenty‑eight diamonds with an approximate total weight of 0.22 carats, chain l. 18”, pendant, l. 3/4”. [800/1200]

571Two Fourteen-Karat Yellow Gold and Garnet Bracelets, one with a rope trim and set with nineteen oval garnets with an approximate total weight of 14.25 carats, and the other set with sixteen oval garnets with an approximate total weight of 24.0 carats, l. 7” and 7‑1/4”. [300/500]

572Two Fourteen-Karat Yellow Gold Bangle Bracelets, the near pair engraved and hinged, 15.7 dwt., dia. 2‑3/4”. [200/400]

573Pair of Fourteen-Karat Yellow Gold and Garnet Earrings, each set with an approximate 1.00‑carat navette garnet, surrounded by six small round garnets, l. 3/4”. [100/200]

574Fourteen-Karat Yellow Gold Bracelet, marked “Italy”, 18.1 dwt., l. 8”. [300/500]

575Fourteen-Karat Yellow Gold, Diamond and Garnet Ring, set with approximately 1.25 carats of brilliant‑cut diamonds and sixteen small round garnets, surrounding a single navette garnet, size 6‑1/2. [250/400]

576Fourteen-Karat Yellow Gold, Garnet and Pearl “I Love You” Bracelet, l. 7”. [125/250]

577Single Strand of Freshwater Rice Pearls, l. 34”. [50/80]

565

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40

578American Indian Silver and Turquoise Squash Blossom Necklace, l. 23‑1/2”. [125/250]

579Fourteen-Karat Yellow Gold and Carved Turquoise Ring, the large 29.0 mm x 40.0 mm turquoise cabochon carved with an owl in relief, size 8. [250/400]

580Two Strands of Disk-Shaped Freshwater Pearls, l. 50” and 54”. [100/200]

581Pair of Fourteen-Karat Yellow Gold and Pearl Earrings, each set with a baroque pearl. [50/80]

582Pair of Fourteen-Karat Yellow Gold Dangle Earrings, 12.6 dwt., l. 3”. [200/400]

583Large Strand of Shell-Shaped Freshwater Pearls, l. 62”. [100/200]

584Fourteen-Karat Yellow Gold, Baroque Pearl and Diamond Ring, set with ten round brilliant‑cut diamond melees with an approximate total weight of 1.00 carat, size 8‑1/2. [250/400]

585Double-Strand Baroque Pearl Necklace, with a fourteen‑karat yellow gold and diamond clasp, set with fifty‑one single‑cut diamond melees, l. 17”. [300/500]

586Fourteen-Karat Yellow Gold and Diamond Geneve Wristwatch, set with six round brilliant‑cut diamond melees with an approximate total weight of 0.10 carats, l. 6‑1/2”. [250/400]

587Pair of Fourteen-Karat Yellow Gold, Diamond and Mabe Pearl Dangle Earrings, each earring set with forty round brilliant‑cut diamond melees with an approximate total weight of 0.50 carats each, l. 2”. [300/500]

588Fourteen-Karat White Gold, Sapphire and Diamond Ring, set with a treated mixed‑cut sapphire with an approximate total weight of 8.69 carats, and set with diamonds around the border and shank of the ring, with an approximate total weight of 0.97 carats, size 7. [1500/2500] Illustrated

589Fourteen-Karat Yellow Gold, Jadeite and Diamond Ring, set with a single oval‑shaped jadeite cabochon measuring 18.00 mm x 15.00 mm x 7.85 mm, surrounded by sixty‑four brilliant‑cut diamonds with an approximate total weight of 0.80 carats, size 7‑1/2. [1800/2500]

590Fourteen-Karat Yellow Gold Geneve Quartz Wristwatch, l. 7‑1/2”. [500/800]

591Fourteen-Karat Yellow Gold Baume and Mercier Wristwatch, the movement signed “Lucien Piccard”, l. 7‑1/2”. [600/900]

592Fourteen-Karat Yellow Gold Locket with Rosary, the locket containing a miniature rosary and two cut‑outs for photos, 24.6 dwt., h. 1‑3/4”, w. 1‑1/4”. [250/400]

593Fourteen-Karat Yellow Gold and Sapphire Bracelet, with twelve round blue sapphires with an approximate total weight of 2.00 carats, l. 7‑1/2”. [300/500]

594Fourteen-Karat White Gold, Tanzanite and Diamond Necklace, set with sixty‑five oval and round tanzanites with an approximate total weight of 44.47 carats and ninety brilliant‑cut round diamonds with an approximate total weight of 2.83 carats, l. 17”, pendant, l. 1‑1/2”. [6000/9000]

595Fourteen-Karat White Gold, Tanzanite and Diamond Pendant with Chain, the pendant set with a central oval mixed‑cut tanzanite with an approximate total weight of 3.16 carats, surrounded by fifty‑one round brilliant‑cut diamonds with an approximate total weight of 1.60 carats, chain, l. 18”, pendant, l. 1”. [2500/4000]

596Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with a central oval mixed‑cut tanzanite with an approximate total weight of 3.89 carats, surrounded by twelve round brilliant‑cut diamonds with an approximate total weight of 1.07 carats, size 7‑1/2. [2500/4000] Illustrated

597Beautiful Fourteen-Karat White Gold and Pearl Necklace, composed of 10.0 mm to 11.0 mm white/cream pearls with a high luster, finished with a fourteen‑karat white gold ball clasp, l. 18”. [400/700]

588

596

41

598Fourteen-Karat White Gold and Graduated Single-Strand South Sea Cultured Pearl Necklace, composed of thirty‑three South Sea cultured pearls ranging in size from 9.00 mm to 15.00 mm, with a slightly green/white/rose color and with a low/medium luster, finished with a plunger‑style clasp, l. 16”. [1800/2500]

599Fourteen-Karat Yellow Gold and Garnet Bangle Bracelet, set with seventeen round garnets, dia. 2‑1/2”. [100/200]

600Fourteen-Karat Yellow Gold, Sapphire, Emerald, Ruby and Cultured Pearl Bangle Bracelet, with three blue sapphires, four emeralds and six rubies, each with an approximate weight of 0.01 carats, inside measurement, 6‑1/2”. [250/400]

601Fourteen-Karat Yellow Gold, Emerald and Pearl Bangle Bracelet, set with thirty cultured pearls and ten emeralds with an approximate total weight of 0.10 carats, inside measurement, 6‑1/2”. [250/400]

602Fourteen-Karat Yellow Gold and Garnet Crucifix, set with forty‑one round faceted garnets with an approximate total weight of 3.00 carats, l. 1‑1/2”. [100/200]

603Pair of Ten-Karat Yellow Gold and Cameo Earrings, bezel‑set with black enamel, l. 1”. [75/125]

604Two Seed Pearl and Diamond Brooches and a Lady’s Pearl Ring, comprised of a ten‑karat yellow gold crescent brooch set with seed pearls and a mine‑cut diamond melee, a fourteen‑karat yellow gold crown brooch set with seed pearls and three round diamond melees, and a fourteen‑karat yellow gold ring set with a mabe pearl, size 7. [150/300]

605Amazonite and Silver Necklace and Bracelet Set, each finished with sterling silver toggle clasps, necklace, l. 18”, bracelet, l. 8‑1/2”. [50/80]

606Fourteen-Karat Yellow Gold, Topaz and Diamond Earrings, each with faceted oval topazes with an approximate total weight of 10.0 carats, surrounded by twenty‑three round brilliant‑cut diamond melees and four diamond baguettes with a total approximate weight of 0.25 carats each, l. 3/4”. [250/400]

607Fourteen-Karat Yellow Gold, Diamond and Blue Topaz Bracelet, set with an oval topaz with an approximate total weight of 12.0 carats, and fifty round diamond melees with an approximate total weight of 1.00 carat, l. 7”. [250/400]

608Chinese Jade and Silver Filigree Bracelet, set with a carved green jade medallion measuring approximately 29 mm x 38 mm, l. 7”. [100/200]

609Three Ivory and Silver Hinged Bangle Bracelets, inside measurement, 7”. [200/400]

610Fourteen-Karat Yellow Gold, Diamond and Ruby Elephant Stick Pin, set with fifteen single‑cut round diamond melees and one ruby, 2.9 dwt., l. 3/4”. [50/80]

611Fourteen-Karat Yellow Gold and Jade Pendant, the large carved jade disc set in a gold wire frame, h. 2‑1/2”, w. 2‑1/4”. [100/200]

612Mother-of-Pearl and Freshwater Pearl Necklace, finished with a sterling silver toggle clasp, l. 16”. [75/125]

613Bold Rock Crystal Necklace, comprised of large faceted rock crystal nuggets, finished with a sterling silver toggle clasp, l. 18”. [100/200]

614Striking Red Coral Branch Necklace, finished with a gold toggle clasp, l. 17”. [75/125]

615Silver and Polished Abalone Watch with a Matching Necklace, both comprised of polished whole abalone shells, necklace, l. 20”, watch, l. 8‑1/2”. [100/200]

616Contemporary Gold-Tone and Anodized Crystal Necklace, the gold‑tone chain with alternating anodized links set with round faceted crystals, l. 38”. [50/80]

617Contemporary Gold-Tone and Anodized Rhinestone Bracelet, the anodized circular links set with rhinestones and alternating elongated gold‑tone links set with rhinestones, l. 8”. [40/70]

618Three Pairs of Lady’s Fashion Earrings, comprised of a pair of fourteen‑karat gold triangular‑shaped earring jackets, a pair of gold‑tone clip earrings with black cabochon accents, and a pair of dangling clip earrings with multiple strands of faceted black beads in different sizes radiating from the center in a waterfall pattern, h. 1” to 3”. [50/80]

619Three Pairs of Lady’s Fashion Clip Earrings, comprised of a dangling pair adorned with gold sequins, a pair with four balls dangling from gold chains and encrusted with red rhinestones, and a domed pair encrusted with rhinestones in red, orange and pink, all bordered in black, h. 1‑1/4” to 3‑1/4”. [50/80]

42

620Three Pairs of Lady’s Fashion Clip Earrings, comprised of a pair with fish dangling from a floral cluster, with ecru‑colored enamel and rhinestone accents, and cabochons accenting the eyes and mouths; a pair with large round dangling hoops painted in green, orange, pink, yellow and purple, separated by overlapping borders painted in gold; and a pair composed of white leather in the shape of a flower with dangling leather pieces adorned with gold charms, studs, pearls and rhinestones; h. 3” to 3‑3/4”. [50/80]

621Three Pairs of Lady’s Fashion Clip Earrings, comprised of a pair of Givenchy matte gold‑toned clip earrings with hoops dangling from diamond‑shaped tops, a pair of matte gold‑toned dangling clip earrings in the shape of loose swirls, and a pair of clip earrings with faux tortoiseshell centers surrounded by matte gold‑toned swirling patterns, h. 1‑1/2” to 2‑1/2”. [50/80]

622Two Pairs of Lady’s Fashion Gold-Tone Clip Earrings, one pair in a solid snake‑like shape, and the other a dangling pair with a mix of bright and matte gold‑tones, h. 2” and 3‑1/2”. [20/40]

623St. John Cognac Top-Stitched Leather Handbag, with two rolled and stitched handles attached ending in top stitched and d‑ring trimmed long tabs, each side with a gusseted flap pocket, the zippered closure with an oval leather pull tab bearing a brass label stamped “ST. JOHN / MADE IN ITALY”, the coffee fabric‑lined interior with a leather‑trimmed zippered pocket stamped in gilt “ST. JOHN / MADE IN ITALY”, the bag resting on four brass feet, bag, h. 8‑1/2”, w. 15”, d. 4‑3/4”, handle drop: 8”. [200/400]

624Ferragamo Camel Top-Stitched Pigskin Handbag, with polished brass hardware, having two rolled and stitched handles, the extended zippered closure with a top‑stitched leather pull tab, one end brass‑bound and stamped in script “Ferragamo”, the other end with a small hinged brass stirrup which can be attached to a brass eye to secure the zipper, the taupe logo fabric‑lined interior comprised of two large center pouches, one pouch with two slip pockets flanking a gusseted center pocket, the other pouch with a zippered side pocket having a brass pull tab stamped in script “Ferragamo” and a leather tab stamped in gilt “Salvatore Ferragamo / MADE IN ITALY / AX‑21 3385”, as well as a removable brass key ring attached to a top‑stitched leather tab at one side, the bag resting on two top‑stitched tabs each with two brass feet, a dust bag included, bag, h. 10”, w. 16”, d. 6‑1/2”, handle drop: 6‑1/2”. [300/500]

625Chanel Olive Green Quilted Pebble Grain Leather Handbag, with two rolled and stitched handles, the front body with trapunto interlocking “Cs”, the other side with a slip pocket, zippered top closure with a brass pull tab stamped with interlocking “Cs”, the tan faille‑lined interior with a zippered side pocket bearing a stitched leather tab stamped in gilt “CHANEL / MADE IN FRANCE”, the brass pull tab stamped with interlocking “Cs”, retains the numbered sticker and matching black authenticity card, the bag resting on five brass feet, a dust bag included, bag, h. 8‑1/2”, w. 14‑3/4”, d. 5”, handle drop: 4‑3/4”. [400/700] Illustrated

626Alina Multi-Colored Patchwork Alligator “Vicenza” Handbag, with two rolled and stitched handles along with a detachable red alligator shoulder strap, the fold‑over top flap secured with a silver metal closure bearing the logo, the gusseted body with two front fold‑over flap gusseted pouches each secured with a tab inserted into a silver bar stamped “ALINA”, the interior with two nappa leather pockets, one a slip pocket, the other gusseted and zippered below the silver label stamped “the logo / ALINA / MADE IN ITALY”, a red dust bag included, h. 10‑1/2”, w. 14‑1/4”, d. 6”, handle drop: 3”, strap drop: 17‑3/4”. [2500/4000]

627Marc Jacobs Coral Quilted and Gathered Leather Handbag, with polished brass hardware, the handles rolled and stitched, the gusseted body gathered on both sides with knotted self laces, the lower body with a zippered small pocket on one side, the pull tab stamped “MARC JACOBS”, a small d‑ring at both sides below the top zipper, one with a removable self strap holding a larger d‑ring, the zippered closure with a brass pull tab stamped “MARC JACOBS”, the interior lined in taupe fabric with a coral leather‑trimmed slip pocket at one side stamped on the leather in gilt “MARC JACOBS / MADE IN ITALY”, bag, h. 8‑1/2”, w. 14‑1/2”, d. 7”, handle drop: 4‑1/2”. [300/500]

628Alina Caribbean-Green Ostrich Skin “Tremezzo” Handbag, with two logo‑stamped buckled handles attached to silver rings, the body with a front slip pocket with magnetized closure, with two deep open bone nappa leather‑lined pockets, one containing a slip pocket, the other containing a zippered pocket below the silver metal label stamped “the logo / ALINA / MADE IN ITALY”, with a large zippered, bone nappa leather‑lined central pocket, the body resting on four circular silver logo‑stamped feet, a red dust bag included, h. 9‑1/2”, w. 15‑1/2”, d. 5”, handle drop: 9”. [2500/4000]

625

43

629Group of Six English Engravings, 19th century, depicting paintings from the collection of the Duke of Devonshire, each sheet 11‑1/2” x 17”. Unframed. [100/200]

630Joseph Edmondson (British, d. 1786), “The Names of All the Quarterings/George Baron Vernon” and “The Quarterings/George Baron Lyttelton”, two hand‑colored copper‑plate engravings from Baronagium Genealogicum, each sight 18‑3/4” x 11‑1/4”. Attractively matted, glazed and framed alike. [450/700]

631Group of Three Hand-Colored Engravings of Scenes of Boston, 19th century, each sight 6‑1/2” x 8”. Attractively matted, glazed and framed. [100/200]

632Pair of Continental Black and White Engravings, depicting indigenous man and woman, probably late 17th/early 18th century, both sight 12” x 6‑1/2”. Both glazed, handsomely matted and framed. [450/700]

633Pair of Woodblock Prints of Biblical Scenes, after Lucas Cranach, the Elder (German, ca. 1472‑1553), each with later handwritten inscriptions, each sight 5” x 6‑1/4”. Both glazed, handsomely matted and framed. [700/1000]

634Pair of French Engravings of Architectural Elements, 1733, from A Parallel of the Ancient Architecture with the Modern, Roland Freart, 4th Edition English translation by John Evelyn, sheet 14‑1/4” x 19‑1/4”. Framed [150/300]

635Pair of French Engravings of Architectural Elements, 1733, from A Parallel of the Ancient Architecture with the Modern, Roland Freart, 4th Edition English translation by John Evelyn, sheet 14‑1/4” x 19‑1/4”. Framed [150/300]

636After Jean-Francois Neufforge (Flemish, 1714-1791), a collection of four architectural engravings from Recueil elementaire d’architecture, each sight 14” x 9”. Presented in pairs in two frames. [200/400]

637Ernest C. Rost (American, 1866-1940), “By the Lake”, 1890, etching, printed by Fishel, Adler, and Schwartz, New York, signed and dated in plate lower left, signed in pencil lower right, 10” x 24”. Unframed. [50/80]

638Charles Paul Renouard (French, 1845-1924), “A L’Opera”, suite of six etchings, signed in graphite lower left, sight varying from 7‑1/2” x 9‑1/2” to 12‑3/4” x 9‑3/4”. [300/500]

639Frederick Owen (American, 1869-1959), group of three nautical engravings, each signed in pencil lower right and titled lower left, two with inscriptions bottom center, one sight 11‑1/2” x 14‑3/4”, two sight 10‑3/4” x 12”. Glazed, matted and framed alike. [200/400]

640Pair of Italian Decorative Restrike Engravings, after the Antiques, titled in plates “Satirina Baccante” and “C. Cesare”, each sight 16” x 12”. Both glazed, triple‑matted and presented in molded giltwood frames. [100/200]

641Morris Henry Hobbs (American/New Orleans, 1892-1967), pair of etchings, “The Bathers” and “Standing Nude”, each signed in pencil bottom center, sight 3‑1/2” x 2‑1/2”. Unframed. [100/200]

642Charles Berninghaus (American/Taos, 1905-1988), “Rio Grande”, oil on canvasboard, signed lower left, titled en verso, 16” x 20”. Framed. [1000/1500] Illustrated

643Pierre Rochard (French/American, 1869-1950), “Pres Ranpont”, oil on canvas, signed lower left “Pierre Rochard”, 11” x 15”. Presented in a giltwood and gesso exhibition frame. [150/300]

644American School (Second Quarter 20th Century), “Western Landscape”, oil on board, signed lower right “Alex Douliere”, 13‑1/2” x 17‑1/2”. Framed. [125/250]

645Aloysius O’Kelly (American, New York, 1853-1926), “Moonlit Western Landscape”, oil on canvas, signed lower right “A. O’Kelly”, 14‑1/2” x 21‑1/2”. Framed. [1500/2500] Illustrated

646American School (20th Century), “Harvest”, oil on canvas, unsigned, 16‑1/4” x 20‑1/4”. Framed. [800/1200]

647American School (Second Quarter 20th Century), “Canyon with a Mountainside Village”, oil on board, unsigned, 17‑1/2” x 26‑1/2”. Framed. [200/400]

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648American School (Second Quarter 20th Century), “Coastal Landscape”, oil on board, signed lower right “Michael Lynch”, 12” x 16”. Framed. [300/500]

649Luis Ricardo Amendolla Gasparo (Mexican, 1939-2000), “Portrait of a Gray‑Haired Man with Blue Eyes”, oil on canvas, signed and dated lower right “Amendolla 76”, 28” x 22”. Framed. [500/800]

650Three Wooden Collector’s Trays with Native American Arrowheads, found in Oklahoma and Arizona, h. 8‑3/4”, w. 12‑3/4”. [200/400]

650ATwo Collector’s Cases Containing Native American Arrowheads, found in Oklahoma, presented in glazed mahogany frames, w. 12”, l. 15”. [200/400]

651Painted and Bas-Relief-Carved Dummy Board, supported by an easel, h. 33‑1/2”, w. 12”. [75/125]

652Nicely Detailed Model of a Clipper Ship, first quarter 20th century, probably American, mounted on a pine board painted to simulate waves, h. 20‑1/4”, w. 32‑1/2”, d. 11‑3/4”. [75/125]

653An Antique French Map of “Golfe du Mexique”, including Louisiana, sight 30‑1/4” x 17‑1/2”. Matted and framed. [100/200]

654Vernacular Southern Cypress Farmhouse Table, 19th century, with a pegged top, the deep apron fitted with a single wide drawer, raised on tapering square legs, h. 30‑1/8”, w. 40‑1/2”, d. 23‑1/2”. [300/500]

655American Federal-Style Mahogany Cabinet, second quarter 20th century, with a brass plaque reading “W. & J. Sloane Saw‑Kill Furniture”, the molded cornice over a pair of mullioned glazed doors, the base with a pair of drawers, h. 83”, w. 39”, d. 18‑1/2”. [400/700]

656American Sheraton Mahogany Library Table, first quarter 19th century, Mid‑Atlantic, of octagonal form with inset tooled leather work surface, the conforming apron with inset figured panels and a pair of drawers, raised on reeded tapering legs ending with cup casters, h. 30‑1/2”, w. 61‑1/2”, d. 47‑1/2”. [4000/7000]

657American Sheraton Cherry Tall Post Bed, second quarter 19th century, the head posts supporting a headboard with a scrolling broken‑arch crest, the foot posts joined by a turned blanket roll, the side rails later, h. 76”, inside w. 51”, inside l. 75”, outside w. 59”, outside l. 85”. [400/700]

658American Classical Parcel-Gilt, Brass-Mounted and Stenciled Mahogany Parlor Cabinet, ca. 1825, the projecting cornice over a stenciled frieze and a sliding glazed door, the lower portion with a projecting drawer with stenciled face on turned, carved legs, formerly fitted as a piano, h. 74‑3/4”, w. 51”, d. 23‑1/4”. [1000/1500] Illustrated

645

658

45

659American Classical Mahogany Sideboard, first quarter 19th century, probably New York, the case with projecting drawers over a pair of doors flanking a pair of narrow bottle drawers, h. 43”, w. 60”, d. 24”. [800/1200]

660Pair of American Classical-Style Mahogany Armchairs, 20th century, each of gondola form with scroll arms, a vasiform splat and saber legs, h. 36”. [100/200]

661Pair of American Late Classical Mahogany Dining Chairs, 19th century, with molded crest rail, vasiform splat and saber legs, h. 34‑1/4”. [150/300]

662American Late Classical Mahogany Secretary Bookcase, second quarter 19th century, in two parts, the upper section with a pair of mullioned and glazed doors, the base with a fold‑out writing surface, three drawers and scroll columns and feet, h. 66”, w. 48”, d. 21”. [400/700]

663American Late Classical Mahogany Work Table, second quarter 19th century and later, with a single frieze drawer, and scroll feet, height reduced, h. 29”, w. 20”, d. 18‑1/2”. [100/200]

664American Late Classical Mahogany Game Table, second quarter 19th century, New York, the fold‑over top over a paneled frieze, supported by a tapering column with concave faces on a concave base with scroll feet, h. 29‑3/4”, w. 35‑3/4”, d. 18”, extended l. 36”. [150/300]

665Continental Alabaster Bust of a Woman in a Hat, first quarter 20th century, the figure depicted in a large feather‑trimmed hat and raised on a tapered socle, indistinctly signed on the back, h. 21‑1/4”, w. 12‑3/4”, d. 7‑3/4”. [300/500]

666Continental School (Fourth Quarter 19th Century), “Portrait of an Italian Beauty in Black”, oil on canvas, signed illegibly lower left, 20” x 16”. Unframed. [200/400]

667Max Bohm (American, 1868-1923), “Portrait of Dr. Albert R. Baker”, 1892, oil on board, signed and dated lower right, old inscription en verso, 10‑1/2” x 9”. In a period cove‑molded, gessoed and giltwood frame. [800/1200]

668Clara Mamre Norton (American, 19th/20th Century), “The Flower Seller and Her Child”, oil on canvas, unsigned, fourth quarter 19th century, 16” x 33”. Presented in a giltwood exhibition frame with artist plaque. [700/1000]

669American School (Second Quarter 20th Century), “Reclining Nude”, oil on canvas, signed verso “D. M. Cooper”, 29” x 38”. Framed. [300/500]

670Pair of American Cast Iron Figural Andirons, third quarter 19th century, depicting African American males, with separate billet bars which dovetail to the front, h. 10”, w. 14‑3/4”, d. 21”. [200/400]

671Rare American Cast Iron and Polychrome Jockey Hitching Post, Trenton, New Jersey, ca. 1888, h. 47”, w. 20”, d. 20”. [1200/1800]

672Pair of Cast Iron Garden Urns, late 20th century, each having swan‑form handles and swags of floral decor, h. 28”, w. 22”, d. 14”. [600/900]

673Pair of “Blue Bird” Cast Iron Garden Urns, 19th century, the bases bearing the label “The Kramer Bros FDY Co. Dayton, O”, h. 32”, dia. 20”. [400/700]

674American Cast Iron Garden Suite in the “Renaissance Scroll” Pattern, ca. 1900, comprised of a settee and a pair of armchairs, the crests depicting Betsy Ross, with elaborate scroll backs, shaped seats and floral‑molded cabriole legs, settee, h. 33”, w. 45”, d. 17”, armchairs, h. 33”. [800/1200] Illustrated

675Pair of Cast Aluminum Garden Armchairs, second half 20th century, in the “Lyre and Rose” pattern, h. 32”. [200/400]

676Pair of Victorian-Style Cast Iron Pedestals, the columns each modeled depicting trophies, h. 33”, w. 23‑1/2”, d. 23‑1/2”. [700/1000]

674

46

677Pair of Victorian-Style Cast Iron Pedestals, the columns each modeled depicting trophies, h. 33”, w. 23‑1/2”, d. 23‑1/2”. [600/900]

678American School (19th Century), “Portrait of a Gentleman”, pastel on paper, unsigned, sight 19‑1/4” x 16‑1/4”. Glazed and framed. [300/500]

679American School (First Quarter 19th Century), “Portrait of a Young Gentleman”, oil on canvas, unsigned, 30” x 25”. Framed. [350/500]

680American School (Second Quarter 19th Century), “Portrait of a Man Seated, Holding a Document”, oil on canvas, unsigned, 33” x 28”. Framed. [600/900]

681American School (Fourth Quarter 19th Century), “Portrait of a Lady with a Lace Collar”, oval oil on canvas, unsigned, 28” x 23‑1/2”. Presented in an antique giltwood frame. [800/1200]

682American School (Second Quarter 19th Century), “Portrait of Two Young Women, One Playing a Lute”, oil on canvas, unsigned, 27” x 27”. Presented in a giltwood and gesso frame with a circular window. [10000/15000]

683American Rococo Revival Chestnut Sideboard, second quarter 19th century, in two parts, the upper section with a cabochon‑centered foliate‑carved crest over a serpentine shelf with shaped mirror below, the base containing its period variegated marble top and a pair of drawers over a pair of doors, all with shaped panels, the doors mounted with fruit carving, h. 86‑1/2”, w. 47‑1/2”, d. 18‑1/2”. [300/500]

684Steinway and Sons Rosewood Parlor Grand Piano, third quarter 19th century, New York, of rectilinear form, the end folding back to reveal a keyboard and sheet music stand in the form of a lyre flanked by arabesques, raised on generous cabriole legs with a carved shield at the knee and ending in French toes, h. 38”, w. 81”, d. 39‑1/4”. [500/800]

685American Rococo Revival Mahogany Center Table, third quarter 19th century, in the manner of Foster and Lee, the tortoise‑form marble top over a conforming carved apron, with vasiform pedestal and dolphin‑carved legs, h. 28‑1/2”, w. 39”, d. 27‑1/2”. [300/500] Illustrated

686American Rococo Revival Mahogany and Marble-Top Center Table, third quarter 19th century, attributed to Foster and Lee, with a tortoise‑form marble top, the vasiform pedestal joined to dolphin and foliate‑carved legs, h. 29‑3/4”, w. 39”, d. 27”. [400/700]

687American Rococo Revival Mahogany Center Table, in the manner of Foster and Lee, the tortoise‑form marble top over a conforming apron, the base with a vasiform pedestal and scrolling foliate‑carved legs with dolphin heads, h. 28‑1/2”, w. 38”, d. 27‑1/2”. [300/500]

688American Rococo Revival Mahogany Center Table, third quarter 19th century, in the manner of Foster and Lee, with a tortoise‑form marble top, h. 29‑1/2”, w. 38‑3/4”, d. 27‑1/2”. [400/700]

689Pair of American Rococo Revival Rosewood Armchairs, third quarter 19th century, the backs with a foliate‑ and cabochon‑carved crest, with open arms, bowed seat rail and cabriole legs, now upholstered in green brocade, h. 39”. [300/500]

690Diminutive American Rococo Revival Walnut Settee, third quarter 19th century, h, 32”, w. 50”, d. 25”. [50/80]

691Rococo Revival Painted and Gilded Oval Ceiling Medallion, ca. 1900, w. 39”, l. 54‑1/2”. [200/400]

692American Neoclassical Painted Chest of Drawers, second quarter 19th century, probably Baltimore, Maryland, h. 41”, w. 35”, d. 19”. [300/500]

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47

693Three-Piece American Girandole Set, mid‑19th century, the “Paul and Virginia” model, mounted with a set of period coffin‑shaped prisms, h. 18‑1/2”, w. 18”, d. 4”. [300/500] Illustrated

694Pair of Brilliant Period Cut Glass Table Lamps, first quarter 20th century, attributed to Pairpoint, Sagamore, Massachusetts, the standards cut with bull’s eyes and palmettes, and supporting silverplated lamp rings and Argand‑type shades associated with Pairpoint, h. 16‑3/4”, dia. 5”. [200/400]

695Late Victorian Two-Light Brass Chandelier, ca. 1900, in the Renaissance Revival style, mounted with ruffled and etched poinsettia pattern shades, h. 25‑1/2”, w. 17‑1/2”, d. 3”. [300/500]

696Three-Light Gas and Electric Brass Chandelier, ca. 1900, the two upturned sockets, originally gas, fitted with opalescent ribbed cranberry ruffled edge shades, with a matching flame‑shaped shade in the downturned facing electric socket, h. 28”, w. 12”, d. 9”. [300/500] Illustrated

697Pair of Brass Wall Sconces, first quarter 20th century, mounted with blue satin glass ruffled edge shades, h. 6‑1/2”, w. 8‑1/2”, d. 10‑3/4”. [200/400]

698Vintage Clock and Microscope, consisting of a Schwartz brass and beveled glass electronic clock, of German origin, h. 10‑1/4”, w. 8”, d. 4”; and a Bausch and Lomb enameled iron and gilt‑brass microscope, patented in 1925, h. 13”, w. 4”, d. 7”. [75/125]

699Classical Revival Carved Marble Floor Lamp Standard, ca. 1927, probably Italian, the bold paw feet support the cove‑molded base, carved with swags, the tapered leaf‑carved standard supports four interlocking carved putti, under the upper acanthus leaf‑carved standard, h. 71”, dia. 17‑1/2”. Provenance: Saenger Theatre, New Orleans, Louisiana. [2000/4000] Illustrated

700Large Paris Porcelain Vase, having a pink ground with gilt highlights, the obverse featuring a painted panel of a courting couple, h. 17”. [200/400]

701Paris Porcelain Pink-Ground Garniture Vase, third quarter 19th century, h. 12‑3/4”, dia. 6‑3/4”. [100/200]

702Large Paris Porcelain Handled Vase, fourth quarter 19th century, having a magenta ground with gilt highlights, the obverse with a painted cartouche of classical maidens, h. 16‑3/4”. [200/400]

693

696

699

48

703Three Paris Porcelain Claret-Ground Vases, third quarter 19th century, the smaller vase drilled for a lamp, h. 10‑3/4” to 12‑1/2”. [300/500]

704American Renaissance Revival Inlaid Banquet Table, third quarter 19th century, the circular top opening to accommodate four later skirted leaves, h. 30‑1/4”, dia. 48”, extended l. 135‑3/4”. [500/800]

705American Renaissance Revival Walnut Dining Table, third quarter 19th century, the circular top on a shaped split pedestal with fruit‑carved legs and scroll feet, h. 29‑1/4”, dia. 48”. [1000/1500]

706Suite of Eight American Renaissance Revival Burled Walnut and Walnut Dining Chairs, third quarter 19th century, each with stiles with burled panels over fluted turning, a gently bowed front seat rail centered by a roundel with burled panels and turned legs, now lacking the upholstery, h. 35”. [400/700]

707American Renaissance Revival Gilt-Incised Walnut Looking Glass, third quarter 19th century, the rectilinear mirror plate in a gilt‑incised frame with a cartouche‑carved crest, h. 56‑1/2”, w. 28”. [100/200]

708American Renaissance Revival Burled Walnut and Walnut Sidechair, third quarter 19th century, h. 38‑1/2”. [200/400]

709American Renaissance Revival Walnut Bed Tester, third quarter 19th century, with a cabochon‑ and floral‑carved cartouche crest, the bowed front and concave sides how hung in quilted and fringed floral print fabric, h. 11”, w. 54”, d. 31”. [150/300]

710American Renaissance Revival Burled Walnut and Walnut High-Back Bedstead, third quarter 19th century, the arched carved molded crest over an inset burlwood panel, the headposts with raised panels and roundels, the footboard with an arched top over raised and reversed burled panels, the headposts now reduced in height, h. 87”, inside, w. 59‑1/2”, l. 81”, outside, w. 68”, l. 91”. [2000/4000] Illustrated

711American Victorian Oak Extension Table, ca. 1900, with shell‑carved knees and scrolled corner brackets, the skirt incised with anthemia, raised on cabriole legs with pad feet, h. 28”, w. 50”, d. 38‑1/2”. [150/300]

712American Late Victorian Walnut Bookcase-Armoire, fourth quarter 19th century, the projecting cornice supporting a foliate‑ and scroll‑carved crest, over a pair of glazed doors, the base fitted with a pair of drawers, each with fruit‑ and foliate‑carved pulls, h. 95”, w. 53” , d. 19”. [400/700]

713American Oak Sectional Map Case, ca. 1900, with the brass plaque of Keuffel and Essen Co., New York, Hoboken, New Jersey, the molded cornice over two sections, each fitted with five deep drawers, h. 46”, w. 45‑1/2”, d. 35”. [250/400]

714American School (Contemporary), “Quiet Harbor”, oil on canvas, signed lower right “Rampas”, 30” x 40”. Attractively framed. [800/1200] Illustrated

710

714

49

715Judi Betts (American/Louisiana, b. 1936), “Nocturne”, watercolor, signed lower left “J. Betts”, sight 14‑1/2” x 21‑1/2”. Glazed, handsomely matted and framed. Provenance: Private collection, Birmingham, Alabama. [200/400]

716American School (20th Century), “Boatyard”, watercolor on paper, illegibly signed lower left, sight 12” x 20‑1/2”. Glazed, matted and framed. [100/200]

717American School (First Quarter 20th Century), “Sunset Sail”, oil on canvas, unsigned, 14” x 20”. Presented in a molded giltwood frame. [100/200]

718American School (Third Quarter 20th Century), “Busy Harbor Scene”, oil on canvas, signed lower right “M. Headermann”, 24” x 36”. Framed. [350/500]

719Continental School (Second Quarter 20th Century), “Fishing Village in Winter”, oil on board, unsigned, 18” x 14‑3/4”. Attractively framed. [150/300]

720American School (Third Quarter 20th Century), “Autumnal River Landscape”, oil on canvas, signed lower right “Reynolds”, 40” x 50”. Framed. [200/400]

721Boehm Limited Edition Figure of an Owl on a Stump, made in England, with a horsehead mark, h. 10‑1/2”, w. 6‑3/4”, d. 5”. [300/500]

722Boehm Figure of a White-Faced Scops Owl on an Ivy-Covered Branch, limited edition, marked “no. 98”, h. 14‑1/2”, w. 9‑3/4”, d. 3‑3/4”. [400/700] Illustrated

723Boehm Figure of an Owl Eating a Moth, made in England, signed with a horsehead mark, h. 6‑1/2”, w. 4‑1/4”, d. 3‑3/4”. [300/500]

724Boehm “Owl” Covered Box, composed of Belleek‑type porcelain, marked and numbered “700‑2”, h. 3”, w. 5‑1/4”, d. 4‑1/2”. [100/200]

725Iron and Brass Doll Bed, ca. 1900, probably American, the cast iron bed frame fitted with brass finials, h. 19‑1/4”, w. 14‑1/2”. [100/200]

726Classical Revival Mahogany Kidney-Form Desk, first quarter 20th century, the shaped top over a conforming frieze with a concave drawer flanked by a pair of convex drawers, raised on cabriole legs with paw feet, h. 31‑1/4”, w. 49”, d. 27”. [300/500]

727American Oak Dining Table in the Arts and Colonial Revival Inspiration, early 20th century, with a circular top, an octagonal central pedestal and turned legs, h. 31‑1/2”, dia. 49”. [200/400]

728American Eastlake Victorian Walnut Side Table, fourth quarter 19th century, h. 28‑1/2”, w. 19”, d. 14”. [50/80]

729Victorian Gilt-Bronze Three-Light Gasolier Wall Sconce, fourth quarter 19th century, the scrolled arms ornamented with lion’s heads, the Louis XV‑style backplate of cartouche form in a surround of laurel leaves, the top socket now mounted with a glass spire, the three sockets with electrified candles, h. 15‑3/4”, w. 15‑1/4”, d. 12‑1/2”. [350/500]

730Two Molded Glass Toilette Bottles, both labeled, h. 6”, w. 3‑1/4”, d. 2”. [20/40]

731Group of Seven American Vintage Glass Canisters, second quarter 20th century, each labeled, h. 4‑1/2” to 6‑1/4”. [60/90]

732Pair of Monumental Cut Glass Dresser Jars, in the American Brilliant style, the sides decorated with cut palmettes alternating with Russian‑cut panels, the lids with hobstar centers and borders of palmettes alternating with Russian‑cut panels, h. 5”, dia. 8”. [300/500]

733Set of Ten Crystal Shrimp Cocktail Dishes, first quarter 20th century, engraved with thistles, h. 4”, dia. 5‑1/4”. [150/300]

722

50

734Group of Four Lead Crystal and Cut Glass Decanters, 20th century, including two Baccarat examples, one square, h. 9‑3/4”, w. 4”, d. 4”, the other globular and with a matching stopper, h. 10‑3/4”, dia. 3‑1/2”, both signed “Baccarat”; a cylindrical fluted decanter, signed “St. Louis, France”, h. 10‑1/4”, dia. 4‑3/4”; and an unsigned cylindrical star‑cut decanter, h. 11‑1/2”, dia. 4”. [150/300]

735Pair of William IV Cut Glass Decanters, second quarter 19th century, with matching stoppers, h. 10‑1/4”, dia. 4”. [100/200]

736Two Continental Tripodal Stands, including an iron and steel plant stand, first quarter 20th century, h. 30”, dia. 10‑3/4”; and an iron stand fitted with a glass vase, h. 37‑1/2”, dia. 12”. [100/200]

737American Aesthetic Period Silverplate and Glass Fruit Stand, fourth quarter 19th century, Pelton Bros., St. Louis, Missouri, the silverplate stand with a domed base raised on four palmette feet and fitted with a pale cranberry glass inset with ruffled edge and opalescent ribbing, h. 9‑1/2”, dia. 10”. [100/200]

738Six-Piece Collection of Cut Glass, including a William IV decanter, second quarter 19th century, h. 11”; a Victorian thumbprint‑cut decanter, mid‑19th century, h. 9‑3/4”; a pair of signed Baccarat cognac decanters, h. 8‑1/4”; a Waterford‑type decanter, h. 12‑1/4”; and a Brilliant‑type jug, h. 7‑1/2”. [200/400]

739American Blown and Enamel-Decorated Cut Glass Bride’s Basket, fourth quarter 19th century, in a silverplate frame by E. G. Webster and Sons, Brooklyn, New York, h. 11‑3/4”, w. 13‑3/4”, dia. 10‑3/4”. [300/500]

740Cowan Pottery Seahorse Vase, ca. 1925‑1931, Rocky River, Ohio, marked, h. 7”, w. 6‑7/8”, d. 1‑1/2”. [100/200]

741Contemporary Framed Tile Wall Plaque, depicting a monkey in a banana tree, the frame ornamented with painted metal leaves and flowers, h. 32”, w. 26‑1/2”. [200/400]

742Bronze Figure of a Female en Deshabille, depicted clutching a cloak, mounted on a white‑veined black marble base, the whole resting on a black stone base, h. 53”, dia. 15”. [1000/1500]

743Three Figural Objects, including a pair of brass “The Thinker” bookends, h. 7‑1/4”, w. 3”, d. 3‑1/2”, and a cast stone Uffizi lion, h. 6”, l. 6‑1/2”. [50/80]

744Polychrome Carousel Bench, early 20th century, the foliate‑ and floral‑adorned carriage with a pair of fancy plank seats and wooden spoke wheels, h. 36‑1/4”, w. 44”, d. 32”. [350/500]

745Willie White (American/New Orleans, 1908-2001), “Birds in Flight” and “Bird and Flower”, marker on poster board, each 8‑3/4” x 13‑3/4”. Unframed. [100/200]

746Mose Ernest Tolliver (American/Alabama, 1919-2006), “Pelican”, acrylic on a triangular wood panel, signed, 10” x 22”. Provenance: Private collection, New Orleans, Louisiana. [250/400]

747Haitian Beadwork Embroidery Depicting “La Sirene”, with a fabric backing, sight 21” x 19”. Glazed, float mounted and framed. [300/500]

748Mose Ernest Tolliver (American/Alabama, 1919-2006), “Bird on a Branch”, acrylic on a wood panel, signed, 12” x 12‑1/2”. Provenance: Private collection, New Orleans, Louisiana. [250/400]

749Mose Ernest Tolliver (American/Alabama, 1919-2006), “Blue Cow”, acrylic on a wood panel, signed, 7‑3/4” x 14”. Provenance: Private collection, New Orleans, Louisiana. [250/400]

750William Hemmerling (American/Louisiana, 1943-2009), “Louisiana Strawberry Growers Association, 1930”, acrylic on wood panel, signed lower right, 26‑1/2” x 26‑3/4”. Provenance: Purchased from the artist; Private collection, New Orleans, Louisiana. [4000/7000] Illustrated

750

51

751William Hemmerling (American/Louisiana, 1943-2009), “Little Pass, Notre Cote de Mer”, 2003, acrylic on wood panel, signed bottom right, inscribed, signed, and dated en verso, 42‑3/4” x 16”. Unframed. Provenance: Purchased from the artist; Private collection, New Orleans, Louisiana. [4000/7000] Illustrated

752Francis X. Pavy (American/Louisiana, b. 1954), “Bangura”, oil on canvas, signed, titled, dated “1990”, and bearing an inventory number verso, 11‑3/4” x 9‑3/4”. Framed. [500/800] Illustrated

753Mose Ernest Tolliver (American/Alabama, 1919-2006), “Shark”, acrylic on a wood panel, signed, 7” x 22”. Provenance: Private collection, New Orleans, Louisiana. [250/400]

754Horace Clark (American/Illinois, 20th Century), pair of gouaches on paper, “Figural Study, Sea Shore”, 1959, signed and dated lower left, and “Figural Study, Tennis Player”, 1958, signed and dated lower right, each 13‑3/4” x 10‑1/4”. Attractively glazed and framed alike. [200/400]

755American School (Fourth Quarter 20th Century), “Reclining Male Nudes”, pair of watercolors on paper, both illegibly signed lower right, sight 13‑1/2” x 17” and 19‑1/2” x 13”. Both glazed, matted and framed. [150/300]

756Noel Rockmore (American/Louisiana, 1928-1995), “Kabuki Still Life”, watercolor on paper, signed and titled lower left, sight 21‑1/2” x 26‑1/2”. Glazed and presented in an ebonized, faux bamboo frame. [450/700]

757Waven Boone (Louisiana/Contemporary), “View of a Shed, Crosscut Saw and a Washtub”, watercolor, signed lower right “Waven Boone”, retains label en verso “Heritage Galleries, Lafayette, Louisiana”, sight 19‑1/2” x 15‑1/2”. Glazed, matted and framed. Provenance: Private collection, Birmingham, Alabama. [150/300]

758Sixteen Books on Medieval Through Renaissance History, including works on the Plantangenets, the Medici, the Borgias and others. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200]

759Thirteen Art and Culture Books on Medieval and Renaissance Women and Family. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200]

760Fourteen Art Books, covering various museums and collections. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200]

761Group of Twelve General Art Reference Books. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200]

762Twenty-Five Miscellaneous References on Photography, Sculpture and Textiles, Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200]

751

752

52

763Seven Reference Works on Chinese Export Porcelain. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200]

764Sixteen Books, Catalogues and Journals on Japanese Art and Culture. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200]

765Twelve Books on Boston, its Famous Citizens and Environs. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200]

766Set of Ten Swedish Leather-Bound Books, ca. 1927, h. 7‑1/2”, w. 5‑1/4”. [40/70]

767Forty-Seven Miscellaneous Catalogues and Monographs of American Artists. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200]

768Approximately One Hundred and Twenty-Five Miscellaneous Art Catalogues, Monographs and Journals, including around sixty Marlborough catalogues, fourteen Andre Emerich Catalogues, twenty‑two Metropolitan Museum of Art Bulletins, various studies and guides from the National Gallery of Art and more. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. The copies of the College Art Association Art Bulletin included in this lot contain Ms. Sullivan’s series of articles on Duccio’s “Maesta”. [100/200]

769Thirty-Six Important Sotheby’s and Christie’s Sale Catalogues of Impressionist and Modern Art. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200]

770Framed Poster Depicting “Gone with the Wind”, depicted in a period setting, h. 42”, w. 51‑1/2”. [50/80]

771Framed Collection of Las Vegas Memorabilia, including photographs of Frank Sinatra and Elvis Presley, and ephemera from The Sands, presented in a shadowbox frame, h. 30‑1/2”, w. 26‑1/2”. [200/400]

772Framed Lithographed Reproduction of a Poster, advertising Charlie Chaplin’s “A Dog’s Life”, h. 43‑1/2”, w. 29”. [50/80]

773Louise Guidry (American/Louisiana, b. 1930), “Rie’s Dream II”, acrylic on canvas, signed lower right, 30” x 24”. Unframed. [900/1200]

774Louise Guidry (American/Louisiana, b. 1930), “Tree Shapes”, acrylic and mixed media on hand wove paper, signed lower right, sheet 28” x 19‑1/2”. Mounted, glazed and framed. [900/1200]

775A Hand-Painted Silk Textile, probably by Kate Blee (British, b. 1961), in shades of navy and emerald, sight 56” x 26”. Mounted, glazed and framed. [100/200]

776A Hand-Painted Silk Textile, probably by Kate Blee (British, b. 1961), in shades of navy, royal blue and orange, sight 52” x 24”. Mounted, glazed and framed. [100/200]

777A Hand-Painted Silk Textile, by Kate Blee (British, b. 1961), in shades of blue and orange, signed and dated “1991” lower left, sight 33” x 34”. Mounted, glazed and framed. [100/200]

778Byron Levy (American/ New Orleans, Contemporary), “Coastal Sunset”, oil on canvas, signed and dated lower right “Byron Levy 84”, 48” x 48”. Unframed. [1500/2500]

779Southern School (Late 19th Century), “A Mississippi Delta Man”, oil on canvas, indistinctly inscribed lower left “W. Walken”, titled in pencil en verso, 18” x 24”. Presented in a giltwood frame. Provenance: Private collection, Birmingham, Alabama. [200/400]

780Robert Cook (American, b. 1948), “Scarlet Sisters”, giclee on canvas, signed in print lower right, signed and numbered verso “R Cook 16/195”, 40” x 22”. Framed. [500/800]

781Lee White (American/Atlanta, 20th Century), “Untitled”, mixed media on paper, signed lower right, sheet 30‑1/4” x 22”. Float mounted. [500/800]

782Tom Secrest (Louisiana, Contemporary), two charcoal and pastels on paper, including “Tree”, signed lower right, 15” x 11”, and “Skull”, signed mid‑right, 9” x 12”. [300/500]

783Tom Secrest (Louisiana, Contemporary), “Untitled”, charcoal and pastel on paper, signed lower right, 30” x 22”. [300/500]

784Tom Secrest (Louisiana, Contemporary), “Untitled”, pencil and pastel on paper, 30” x 22”. Unframed. [300/500]

785Tom Secrest (Louisiana, Contemporary), “Untitled”, acrylic on canvas, unsigned, 28” x 22”. Unframed. [700/1000]

786Collection of Four 20th-Century Lithographic Posters, including three after Marc Chagall (Russian/French, 1887‑1985), of varying sizes; and one after Andy Warhol (American, 1928‑1987), printed for “Colorado State University, Fort Collins, Colorado, September 1‑23, 1981”, 35” x 25”. All unframed. [600/900]

53

787After Henri Matisse (French, 1869-1954), two lithographic posters, including “Henri Matisse, Oeuvres Gravees”, Maeght Editeur, 1999, sheet 30” x 20”, and “Nice Travail et Joie”, sheet 39” x 25”. Both unframed. [1000/1500]

788After David Hockney (British, b. 1937), “Modern Museum of Art, Santa Ana”, lithographic exhibition poster, 1989, sheet 36” x 26”. Unframed. [700/1000]

789After Joan Miro (Spanish, 1893-1983), suite of four lithographic posters, including “Galerie Maeght, Miro, Sobreteixims”, 1973, sheet 32‑1/2” x 22”; “Berggruen, Hommage a Joan Prats: 15 Lithographies Originales de Joan Miro”, 1972, sheet 29‑1/2” x 23”; “Unesco, Miro, Droits de l’Homme”, sheet 28‑3/4” x 21‑1/4”; and “Miro Bronzes, Hayward Gallery”, 1972, sheet 35” x 22”; together with a chromolithograph by Alexander Calder (American, 1898‑1976), “Untitled”, initialed and dated “74” in plate lower right, sheet 27” x 22”. Five total pieces; all unframed. [700/1000]

790Pablo Picasso (Spanish/French, 1881-1973), “Pour Fernand Mourlot”, color lithograph, 1957, signed in stone, sheet size 15” x 11”; “The Youth Dancers”, color lithograph, 1961, signed in stone, sheet 25‑3/8” x 19‑3/8”; “Galerie Craven, Collages, Aquarelles, Gouaches”, lithographic poster, 1958, sheet 26” x 18‑1/2”; “XXXII Festival d’Avignon, Cinquante Annees de Lithographie aux Ateliers Mourlot, au Palais des Papes”, lithographic poster, 1978, sheet 29‑5/8” x 20”; and “Musee d’Art Moderne‑Ceret, Picasso et la Tauromachie”, lithographic poster, 1982, sheet 35” x 23‑1/8”. Five pieces, all unframed. [800/1200] Illustrated

791After Marc Chagall (Russian/French, 1887-1985), suite of nine lithographic exhibition posters, including “La Ruche et Montparnasse”,1979, sheet 28” x 21”; “Marc Chagall, Peintures Bibliques Recentes”, Musee National Message Biblique, Nice, 1977, sheet 30” x 20”; two “Chagall, Galerie Maeght”, 1962, sheet 28” x 21”; “Ceret, Marc Chagall, Oeuvres Graphiques”, Musee d’Art Moderne, 1968, sheet 28‑3/4” x 20”; “Marc Chagall, Grand Palais”, 1969‑1970, sheet 28” x 20”; “Chagall, Galerie Maeght”, 1972, sheet 30” x 20”; “Marc Chagall, Kiallitas Mucsarnok”, Budapest, 1972, sheet 34” x 22”; “From the Collection, Museum of Art Kibbutz Ein Harod”, Israel, 1979, sheet 33” x 34‑5/8”; and “Le Couple a l’Arbre”, black and white lithograph, unsigned, sheet 12‑1/2” x 9‑1/2”. All unframed. [1500/2500]

792Collection of Two French Lithographic Posters, including “L’Atelier de Braque, Musee du Louvre”, Mourlot, 1961, after Georges Braque (French, 1882‑1963), sheet 20‑3/4” x 29‑3/4”; and “L’Atelier Mourlot”, Mourlot, 1984, after Fernand Leger (French, 1881‑1955), sheet 20‑1/2” x 28‑1/2”. Both unframed. [600/900]

793Group of Five Exhibition Posters, including Picasso, Warhol and Chagall, dimensions of largest 39‑1/2” x 25‑1/2”. All unframed. [200/400]

794Eva Stettner (American, Contemporary), “Torso Fragment” and “Fragment of a Woman’s Back”, two Raku‑fired clay wall sculptures, former mounted inside an artist‑made shadowbox frame, signed and dated “1984” verso, latter signed and dated “1986” verso, former 23” x 21”, latter 26” x 17”. [400/700]

795American School (20th Century), “The Boxer Jack Johnson”, oil on canvas, illegibly signed, 38” x 28”. Unframed. [100/200]

796George Valentine Dureau (American/New Orleans, b. 1930), “Battiste”, silver gelatin print, signed in ink lower right, titled and marked artist’s proof lower left, sheet 18‑1/2” x 16”. Unframed. [600/900]

797American Glazed Pottery Sculpture of a Male Torso, clad in a mended and textured shirt, h. 25‑1/4”, w. 23”, d. 5”. [200/400]

798Waylande Gregory (American, 1905-1971), “Holly Zausner”, glazed pottery bust, signed and titled at back of neck, set upon a natural stone base, h. 18‑1/2”, w. 11”, l. 14‑1/4”. [300/500]

798Cast Steel Newel Post Lamp in the Form of a Cavalier, ca. 1900, with a slag glass shade, h. 47”, w. 13”, d. 14”. [500/800]

799Debbie Fleming Caffery (American/New Orleans, b. 1948), “Gator Love”, 1995, silver gelatin print, titled, dated, numbered “24/25”, and signed in pencil en verso, sheet 23‑3/4” x 20”. Matted and framed. [500/800]

790suite of five

54

800Four American Sterling and Silverplate Art Nouveau Dishes, ca. 1900, all with embossed floral or scroll decor, including sterling pieces: a Gorham circular bowl, dia. 5‑1/2”, an Alvin oblong bowl, l. 7‑1/2”, and an unmarked circular bowl, monogrammed “L”, dia. 6”; and a Queen City Silver oblong swing‑handle basket, l. 12”; 7.07 total t. oz. (sterling pieces only). [250/400] Illustrated

801Two Pieces of American Sterling Silver Tableware, 20th century, including a 1947 Reed & Barton “Burgundy” bonbon bowl, l. 7‑3/4”, and a Manchester circular sandwich plate, monogrammed “W”, dia. 10‑1/4”, 16.33 total t. oz. [300/500]

802Three American Sterling Silver Serving Pieces, 20th century, including a Wendell “Athenia” ladle, l. 12”, 7.46 t. oz.; and a Frank M. Whiting “Adams” two‑piece salad serving set with wooden fittings, l. 11”, no monograms. [150/300]

803American Art Nouveau Sterling Silver Cup, ca. 1900, by Towle Silversmiths, Newburyport, Massachusetts, of inverted pear form with applied floral banding, h. 4”, l. 4‑1/2”, 7.58 t. oz. [150/300] Illustrated

804Fourteen Pieces of Miscellaneous American Sterling Silver Tableware, late 19th‑ to mid‑20th centuries, including a pair of Duhme & Co. “Fiddle Swell” teaspoons, engraved “Wood”, l. 5‑3/4”; a pair of Wendell Mfg. Co. “Fiddle Swell” teaspoons, monogrammed “KP”, l. 5‑7/8”; a pair of Webster Co. napkin rings, monogrammed “R” and “M”, dia. 1‑3/4”; a John Hasselbring porringer, monogrammed “LPM”, l. 5‑1/2”; an Amston porringer, l. 5‑1/2”; a Webster Co. colonial revival cheese spade with stainless steel blade, l. 5‑3/8”; a Durgin “Fairfax” lettuce fork, l. 8‑3/4”; a pair of Dominick & Haff “Pointed Antique” sauce ladles, l. 5‑1/4”; an F. M. Whiting “Adams” sauce ladle, l. 5”; and a Reed & Barton “Windsor” card tray, l. 10‑1/2”, w. 5‑1/2”; 20.70 total t. oz. (excluding cheese spade). [200/400]

805Eleven Pieces of Samuel Kirk & Son and Other Sterling Silver Tableware, first half 20th century, including a pair of Kirk footed cauldron salts, dia. 2‑1/4”, and matching spoons, l. 3‑1/4”; a Kirk ball‑footed candy dish, dia. 5‑3/4”; a Kirk “Repousse” letter opener, l. 5‑3/4”; a pair of unmarked Baltimore‑style salts, dia. 2‑3/4”; a pair of Krider “Queen’s” pattern salt spoons, l. 3‑3/4”; and a Frank W. Smith “Federal Cotillion” salt spoon, l. 3‑3/4”; 14.40 total t. oz. [250/400] Illustrated

800

803

805

55

806Two Pairs of American Sterling Silver Salt Cellars, 20th century, of footed cauldron form with repousse decoration, including a Gorham pair, dia. 2‑3/4”, and a pair by S. Kirk & Son, dia. 2‑5/8”, the latter with the original salt spoons, l. 3”, 8.80 total t. oz. (six total pieces). [150/300]

807Seven Pieces of American Art Nouveau Sterling Silver-Handled Dessert Flatware, ca. 1900, including six dessert knives, l. 7‑1/2”, and a cake breaker, l. 10‑1/4”, all with stainless steel blades. [125/250]

808Eight American Sterling Silver Teaspoons, first quarter 20th century, by Bigelow, Kennard & Co., Boston, Massachusetts, in the traditional “Old English” pattern, monogrammed “S”, l. 5‑5/8”, 5.65 total t. oz. [100/200]

809Nineteen Pieces of Miscellaneous Silver and Silverplate Tableware, 20th century, including American sterling silver pieces: Tiffany “Audubon” sugar tongs, l. 4‑1/2”, enameled Watson “Bead” sugar tongs, l. 3‑1/2”, a Towle “Lafayette” serving fork, l. 8‑1/2”, a Davis & Galt scroll‑edge sauce ladle, l. 6‑1/4”, an unmarked colonial revival buffet knife with steel blade, l. 14”, a Peter L. Krider circular butter pat, dia. 3”, four International Silver beaded oval butter pats, l. 3‑1/2”, and six unmarked reticulated circular nut dishes, dia. 3‑3/8”; with a pair of German .800 silver rococo‑style salt cellars, l. 2‑1/4”, and an English silverplate egg frame with four cups, dia. 7‑1/4”; most monogrammed, 14.27 total t. oz. (excluding knife and egg frame). [300/500] Illustrated

810Twenty-One Pieces of Assorted American Sterling Silver Tableware, including 19th‑century pieces: six Louis Seewald (1831‑1904), Seneca, Ohio, engraved “Medallion” blank teaspoons, l. 5‑1/2”, and two Wood & Hughes “Fiddle Thread” teaspoons, retailed by Max Kuhner, Vicksburg, Mississippi, monogrammed “L & F M”, l. 8‑1/4”; and 20th‑century pieces: four Wallace “Waverly” teaspoons, monogrammed “G”, l. 5‑1/2”, three Gorham “Poppy” demitasse spoons, monogrammed “AR”, l. 3‑3/4”, four F. M. Whiting circular butter pats, dia. 2‑1/2”, and a pair of unmarked, lobed butter pats, dia. 2‑1/2”; 13.36 total t. oz. [200/400]

811Two American Art Nouveau Sterling Silver Eyeglass Cases, first quarter 20th century, including a La Secla, Fried & Co. example with floral and scroll engraving, monogrammed “AIW”, l. 5”; and a Clarence A Vanderbilt example with acid‑engraved “poppy” decor, monogrammed “CCS”, l. 4”; 4.43 total t. oz. [100/200]

812Whiting “Lily” Sterling Silver Berry Spoon, the pattern designed in 1902 by Charles Osborne (1847‑1920), Providence, Rhode Island, monogrammed “M”, l. 9”, 3.79 t. oz. [150/300]

813Three Sterling Silver-Handled Carving Sets, first half 20th century, all with stainless steel fittings, including a Gorham “King Edward” three‑piece banquet set in the original box, l. 10‑3/4” to 16‑1/2”; a French two‑piece Louis XVI‑style set, l. 10‑3/4” and 12‑3/4”; and an unmarked two‑piece neoclassical‑style set, monogrammed “D”, l. 9” and 10‑1/2” (seven total pieces). [200/400]

814Sixteen Pieces of Reed & Barton “Columbia” Sterling Silver Flatware, the pattern introduced in 1914, Taunton, Massachusetts, including eight dinner forks, l. 7‑1/8”, and eight demitasse spoons, l. 4‑1/4”, all monogrammed “M”, 13.95 total t. oz. [250/400]

815International Wilcox “DuBarry” Silverplate Tea Tray, 20th century, Meriden, Connecticut, l. 32”, w. 20‑3/4”. [300/500] Illustrated

809

815

56

816Eight-Piece Cased International “Royal Danish” Sterling Silver Bar Set, the pattern designed in 1934 by Alfred G. Kintz (1885‑1963), including two bar spoons, l. 9‑1/4” and 12‑1/4”, a lemon fork, l. 6”, an olive fork, l. 7‑1/4”, a double jigger, l. 4‑1/2”, a bottle opener, l. 5”, a corkscrew, l. 4‑1/2” (the latter two with stainless steel fittings) and a muddler with turned wood fitting, l. 6‑1/4”, 7.26 total t. oz. (excluding items with steel or wood fittings), presented in the original tan leather case, 2” x 13‑1/4” x 8‑3/4”. [125/250] Illustrated

817American Sterling Silver Horse Show Trophy Bowl, dated 1929, G. H. French & Co., North Attleboro, Massachusetts, with presentation inscription of the American Remount Association, Hawaiian Division, dia. 10”, 17.81 t. oz. [300/500]

818Four American Silverplate Serving Dishes, 20th century, all oval, including two unmarked pieces: a sauceboat‑on‑stand, l. 8‑1/2”, and a covered vegetable dish, 12‑1/2”; and two footed well‑and‑tree platters: one Rogers & Bro., l. 16‑1/2”, the other J. W. Robinson, l. 18‑1/2”. [150/300] Illustrated

819Five American Silverplate Serving Dishes, 20th century, all circular, including an Oneida “Revere”‑style saucebowl‑on‑stand, dia. 7‑1/2”; a William Rogers “Spring Flowers” candy dish, dia. 7‑3/8”; an Oneida sandwich plate, dia. 10‑1/2”; a William Rogers galleried drinks tray, dia. 15”; and a Gorham neoclassical‑style fruit bowl, dia. 10‑1/2”. [150/300]

820Sixty-Two Pieces of Silverplate “Fiddle Thread” Flatware, 20th century, by International Silver, Meriden, Connecticut, including eight dinner forks, l. 7‑3/4”, eight salad forks, l. 6‑1/2”, eight seafood/cocktail forks, l. 5‑3/8”, eight teaspoons, l. 5‑1/2”, eight dessert/soup spoons, l. 7‑1/8”, eight dinner knives with stainless steel “New French”‑shaped blades, l. 9‑1/4”, seven butter spreaders, l. 6‑1/8”, a master butter knife, l. 6‑3/8”, a tablespoon, l. 8‑1/8”, a serving spoon, l. 8‑3/4”, two serving forks, l. 8‑3/4”, a sauce/gravy ladle, l. 6”, and a sugar spoon, l. 5‑1/2”, presented in an unusual painted faux granite “Gothic”‑style case with fitted, violet Silverseal cloth‑lined fitted interior, 3‑1/4” x 20‑1/4” x 11‑1/4”. [200/400] Illustrated

821 American Silverplate Tray and Platter, 20th century, both unmarked and with rococo decoration, the tray, l. 22‑1/2”, the platter, l. 18”. [150/300]

822Large Abalone Shell Dish, the shell presented on a silver‑leafed wooden stand, h. 7‑1/2”, w. 8‑1/4”, d. 6‑1/4”. [60/90]

823Two Beautiful Silver-Leafed Nautilus Shells on Stands, h. 12” and 20‑1/2”. [100/200]

824Pair of Abalone Shell Garnitures, the shells with beautiful iridescence and luster, set on silver‑leafed stands, h. 9”. [50/80]

816

818

820

57

825Group of Five Shadowboxes, each displaying various shells, h. 8” to 10”, w. 6” to 8”. [150/300]

826Daum Nancy Art Deco Table Lamp, second quarter 20th century, mounted on a signed Louis Katona gilt‑iron base, with acid‑etched Art Deco designs, with a two‑light standard and interior light, the base with an intaglio signature reading “Daum Nancy” with the Cross of Lorraine, the base signed “L. Katona / Beaux Arts / France”, vase, h. 14‑1/2”, overall, h. 27”, dia. 6‑1/4”. [600/900]

827French Art Deco-Style Iron and Art Glass Four-Light Chandelier, the primary shade signed “Muller Freres, Luneville”, h. 36”, dia. 23”. [800/1200]

828Art Deco-Inspired Four-Shelf Baker’s Rack/Etagere, the shelves with glass insets and supported by serpentine front legs, h. 73‑1/4”, w. 40‑1/4”, d. 15‑1/4”. [300/500]

829French Pierced Polished Steel Console Table, second quarter 20th century, decorated with a molded brass leaf and set with a mottled tan stone top, h. 36”, w. 20‑3/4”, d. 11‑3/4”. [200/400]

830Art Deco-Style Glass and Steel Lighted Wall Bracket Console, h. 18‑1/2”, w. 50‑1/4”, d. 11‑5/8”. [1000/1500]

831Art Deco-Style Brass Framed Looking Glass, late 20th century, h. 48”, w. 24”. [200/400]

832Post-Modern “S” Scroll Metal and Lucite Floor Lamp, h. 73”, dia. 20‑1/4”. [150/300]

833Pair of Art Deco-Style Copper-Finished Double Candle Holders, h. 30‑1/2”, w. 13‑1/4”, dia. 9”. [100/200]

834Venetian Glass Twelve-Light Chandelier of Secessionist Inspiration, in gold‑flecked glass, the segmented stem joined to a bowl with long arms terminating in a bowl‑form bobeche fitted with an electric candle, h. 33‑1/2”, dia. 53‑1/2”. [5000/8000]

835Pair of Contemporary Parcel-Gilt and Ivory-Painted Recamiers, each of S‑scroll form, with shell‑form rear legs and black and gold cut velvet upholstery, h. 31”, w. 32”, l. 68”. [1000/1500] Illustrated

836Contemporary Chaise Longue, upholstered in a traditional paisley shawl motif, h. 33”, w. 34”, l. 72”. [300/500]

837Art Nouveau-Inspired Bronze-Toned Chaise Lounge, with arched back and scroll arms, in carved floral decor, h. 41”, w. 29”, d. 68”. [200/400]

838Lucio Pozzi (American/Italian, b. 1935), “Kuna”, color monoprint, signed and dated lower right “Pozzi 1987”, titled lower left, 33” x 29‑1/4”. Unframed. [500/800]

839Darrel Austin (American, 1907-1994), “Little Explorer”, oil on canvas, signed and dated lower right “Darrel Austin ‘54”, verso frame with a “Perl’s Galleries, New York, NY” label, 8” x 10”. Framed. [300/500]

840Barbara Gallagher (American, 1933-2006), “Floral Still Life with Pink Hydrangeas”, giclee print, signed lower right, numbered lower left “294/500”, sight 28” x 21”. Glazed, matted and framed. [200/400]

841Lucio Pozzi (American/Italian, b. 1935), “Onflow”, color monoprint, signed and dated lower right “Pozzi 88”, titled lower left, 36” x 28”. Unframed. [500/800]

842Zhao Bao Cheng (Chinese, 20th/21st Century), “Wooded Landscape”, oil on canvas, initialed lower right, 18” x 21”. Framed. [300/500]

843Zhao Bao Cheng (Chinese, 20th/21st Century), “Floral Arrangement in Lilac”, oil on canvas, signed lower right “Bao Cheng”, 18” x 22”. Framed. [300/500]

844American School (20th Century), pair of double‑sided oils on board, each with a front depicting a “Floral Still Life” and a reverse with a “Village Scene”, both signed lower right, 27” x 23”. Both framed. [600/900]

835

58

845Italian School (20th Century), “Floral Still Life”, oil on canvas, signed lower left “Salvi”, 16” x 13”. Framed. [400/700]

846Continental School (18th/19th Century), “Floral Still Life in a Classical Urn”, oil on canvas, unsigned, 24” x 29”. Framed. [350/500]

847Painted Metal Tripartite Firescreen, with pierced scrollwork set over a mesh back, h. 35‑3/4”, w. 54”. [100/200]

848Contemporary Wrought Iron and Brass-Mounted Wine Rack Console Table, fitted with a glass top, h. 30‑1/2”, w. 36”, d. 16”. [75/125]

849Two Tropical-Themed Occasional Pieces, consisting of an iron and composition tray‑form table, h. 25‑1/2”, w. 22”, d. 16‑1/2”; and a stand in the form of a bronze palm tree supporting a glass compote, h. 23”, dia. 17”. [100/200]

850Pierced Gong-Shaped Medallion on Stand, of Oriental inspiration, h. 29”, w. 24”, d. 6‑1/4”. [100/200]

851Stained Wood and Wrought and Cast Iron Stand, with a circular top on wrought legs, joined with cast‑metal foliate brackets and a caned low shelf, h. 30”, dia. 13‑3/4”. [100/200]

852Unusual Pair of Boudoir Lamps, employing bronze painted star‑form bases, the sinuous standards supporting Medusa‑inspired decorative elements, with matching shades, overall, h. 37‑1/4”, dia. 10”. [100/200]

853Pair of Polychromed Pottery Pendant Lanterns, mid‑20th century, the pierced tops and sides depicting tropical wildlife, electrified and fitted with brass hanging chains and canopies, lantern, h. 8”, overall h. to top of canopy, 26”. [100/200]

854Dutch Rococo-Inspired Polychrome and Parcel-Gilt Bombe Commode, the marble top over a foliate‑carved giltwood frieze, the case with three drawers, scalloped apron and cabriole legs, h. 33”, w. 36‑1/2”, d. 17‑3/4”. [500/800]

855Pair of Contemporary Overstuffed Armchairs, covered in white canvas upholstery, h. 38”, w. 40”, d. 40”. [0]

856Pair of Art Deco-Inspired Upholstered Armchairs, each with a trisected back, the face in upholstery depicting tigers, the verso in leopard print fabric, on a swivel base, h. 35”. [300/500]

857Contemporary Glass and Argente-Painted Breakfast Table of Neoclassical Inspiration, the circular glass top supported by a pedestal with four gently scrolled legs, each adorned with a shell and anthemion, on a plinth base, h. 29”, dia. 60”. [400/700]

858Suite of Six Contemporary Silver Gilt Armchairs of Neoclassical Inspiration, each with a shaped back, low foliate‑carved scroll arm supports and tapering paneled legs, h. 45”. [700/1000]

859Contemporary Three-Piece “Hickory-White” Pickled Oak Bedroom Suite, including a queen‑sized bedstead, h. 56”, w. 71”, l. 90”, a broad dressing cabinet, h. 48”, w. 58”, d. 20”, and a side table, h. 28”, w. 32”, d. 18‑1/2”. [500/800]

860Mid-Century Modern Blonde Wood Stool, mid‑20th century, the tufted and padded ovoid seat raised on six supports to a broken oval stretcher, h. 17”, w. 24‑1/2”, d. 16”. [200/400]

861Contemporary Overstuffed Sofa with Eight Pillows, h. 31”, w. 93”, d. 48”. [200/400]

862Contemporary Overstuffed Settee with Five Pillows, h. 31”, w. 72”, d. 48”. [200/400]

863Contemporary Overstuffed Settee with Matching Ottoman and Five Pillows, settee, h. 31”, w. 62”, d. 48”, ottoman, h. 18”, w. 43”, d. 23”. [300/500]

864Contemporary Upholstered Stool of Ovoid Form, upholstered in melon damask, h. 18”, w. 34”, d. 46”. [150/300] Illustrated

865Large Contemporary Composition, Cast Iron and Glass-Top Coffee Table, of Tuscan inspiration, h. 21‑1/2”, w. 50”, d. 50”. [100/200]

864

59

866Contemporary Giltwood Looking Glass, the beveled rectangular plate with a paneled and beveled mirrored banding, all within a molded frame with argente accents, h. 45‑1/2”, w. 32”. [200/400]

867Contemporary Polychrome and Marble-Top Cocktail Table, the rectangular pieced marble top with projecting corners, and raised above a deep pierced frieze on cabriole legs ending in paw feet, h. 18”, w. 48”, d. 38”. [75/125]

868George III-Style Gilt-Finished Composition Pier Mirror, h. 93‑3/4”, w. 33‑1/2”. [150/300]

869Continental School (20th Century), “Abstract Still Life”, oil on board, signed illegibly lower left, 31‑1/2” x 25‑1/2”. Framed. [200/400]

870Byron Levy (American/New Orleans, Contemporary), “Swamp in Spring”, oil on canvas, signed and dated lower right “Byron Levy 07”, 36‑1/2” x 36”. Unframed. [900/1200]

871American School (Second Quarter 20th Century), “Blue Still Life”, oil on canvas, signed lower left, signed and dated “Summer 1934” verso, 25” x 28”. Framed. [200/400]

872Don Wright (American/Louisiana, 1938-2007), “View of Oak Trees in a Sunny Landscape”, 1976, oil on canvas, signed and dated lower left “Don Wright ‘76”, 16” x 12”. Framed. Provenance: Private collection, Birmingham, Alabama. [400/700]

873American School (Contemporary), “Lunch in the Garden”, oil on canvas, unsigned, 33” x 33”. Framed. [800/1200] Illustrated

874Edward Adam Kramer (American/New York, 1866-1941), “Wooded Landscape with a Pond”, oil on canvas, signed lower left “Edward Adam Kramer”, 20” x 24”. Framed. [300/500]

875Hildegard Rath (American, 1909-1994), “Two Horses”, 1951, oil on canvas, signed “Hildegard” lower right, 39” x 42”. Framed. [500/800]

876Vilko Seferov (Croatian, 1895-1974), “Autumn in Motovun”, tempera on paper, 1969, signed and dated lower left, titled verso, sheet 20” x 14”. Glazed and framed. Accompanied by an illustrated book of works by the artist. [400/700] Illustrated

877Walter Vaes (Belgian, 1882-1958), “Blue and Green Landscape”, oil on panel, signed lower right “Walter Vaes”, 10” x 13‑1/2”. Attractively framed. [150/300]

878Orrefors Lead Crystal Bowl, Swedish, in the fleur pattern, signed “Orrefors” and having a pattern number in engraved script, h. 4‑1/4”, dia. 6‑1/4”. [200/400]

879Lalique Contemporary Vase, made in France, of ovoid form, the colorless glass with an amber/green plant bud decorating the facade, signed “Lalique France”, h. 14”, w. 9‑3/4”, d. 5‑1/2”. [500/800]

873

876

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880Group of Four Vintage Blown Glass Sculpture Bowls, mid‑20th century, h. 6‑3/4” to 12‑3/4”, w. 9‑3/4” to 17”. [300/500]

881Group of Three Green-Over-White Plated Pillar-Molded Blown Glass Vases, mid‑20th century, h. 10‑1/2” to 15‑1/2”, dia. 7” to 9‑1/2”. [100/200]

882Set of Moser-Style Gilt and Enamel-Decorated Stemware, first quarter 20th century, including six goblets, h. 6”, two liqueur glasses, h. 3‑1/2”, two vodka cups, h. 4”, and a punch cup, h. 2”. [400/700]

883Eight-Piece Collection of Continental Vintage Blown Glass, including an amethyst‑shaded swirled and ribbed baluster vase, h. 13‑1/2”, dia. 7”; a colorless‑to‑amethyst cornucopia‑form vase, h. 12”, w. 10‑3/4”, d. 6”; a green sculptured bowl, h. 9‑1/2”, dia. 11”; an orange/red vase, h. 10”, w. 8”, d. 4‑1/4”; a green vase, h. 8”, dia. 4‑1/4”; a green basket decorated with white petals on the side, h. 7‑1/2”, dia. 5‑3/4”; a colorless and amber centerpiece, h. 10‑3/4”, w. 12‑1/2”, d. 3‑1/2”; and a blue basket with a ruffled edge, h. 10‑1/4”, dia. 8‑1/2”. [200/400]

884Italian Swirled Iridescent Blown Glass Charger, dia. 19‑1/2”. [100/200]

885Unusual Post-Modern-Style Single Light Chandelier, with combined smoked and mirrored prisms with orbs of “diamonds”, h. 11‑1/4”, dia. 9‑1/2”. [125/250] Illustrated

886Pair of Hammered Copper and Brass Lamps, mid‑20th century, fitted with paisley metallic‑thread fabric shades, h. to top of finial 17”. [250/400]

886AContemporary Tinned Metal Lamp, of ginger jar shape with vertical reeding and a cover, now mounted as a lamp, h. 19‑3/4”, dia. 8‑3/4”. [50/80]

887Contemporary Lamp of Neoclassical Inspiration, the faux marble base supporting a gilt‑metal caryatid standard, mounted with a leopard‑print shade, base, h. 20”, overall, h. 28‑1/2”, w. 7‑1/2”, d. 7‑1/2”. [100/200]

888Contemporary Gilded Pottery Table Lamp, with a black sgraffito‑decorated central panel, mounted with a matching shade, base, h. 18”, overall, h. 30”, w. 12‑1/2”. [100/200]

889Wood and Metal Industrial Artifact, now mounted as a lamp, base, h. 23”, overall, h. 42”, dia. 6‑3/4”. [50/80]

890Contemporary Tapering Fluted Pottery Lamp, with gilt finish, h. 25”, dia. 7‑3/4”. [75/125]

891Pair of White-Painted Architectural Elements, fourth quarter 19th century, now mounted as lamps, base, h. 14‑1/2”, overall, h. 19‑1/2”. [125/250]

892Faux Zebra Rug, made by Minuano, Brazil, and labeled on the back, w. 74”, l. 76”. [500/800] Illustrated

893Pair of Molded Composition Lamps, each depicting an Indian‑inspired monkey on an elephant’s back, h. 35”, w. 10”, d. 5”. [100/200]

885

892

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894African Carved and Painted Mask, Yohure type, Ivory Coast, the mask with horns on top, h. 12‑1/4”, w. 7”, d. 6‑1/2”. [150/300]

895Two Similar African Masks, possibly Baule tribe, Ivory Coast, elongated faces depict men with beards and distinctive animal ears, ebonized surface, h. 16‑3/4”, w. 9‑1/4”, and h. 16”, w. 7‑3/4”. [75/125]

896*Two African Tribal Masks, possibly Baule tribe, Ivory Coast, one appears to be a cross between a man and an animal, with human eyes and nose, h. 15”, w. 8‑1/4”, the other depicting an elongated human face with a tall hairpiece, h. 15‑3/4”, w. 6‑1/2”. [75/125]

897Bronze Figure of a South African Female, depicted wearing neck rings in the style of the Ndebele people, decorated with polychrome enamels, h. 38‑1/2”, w. 11‑3/4”, d. 10”. [300/500]

898Terracotta Nude Male Torso, the surface in an antique bronze patina, h. 34”. [150/300]

899Pair of Articulated Wooden Human Hands, mid‑20th century, probably English, l. 11”. [150/300]

900Pair of Chinese Carved Wood Buddha Hands, mid‑20th century, delicately modeled and having lotus‑form cuffs, l. 8”. [100/200]

901Pair of Gold-Leafed Springbok Skulls, each retaining their natural horns, h. 17”, w. 7”. [125/250]

902Dramatic Gold-Leafed Skull of a Wildebeest, retaining the horns which have been left natural, h. 25”, w. 23”. [150/300]

903Gold-Leafed Skull of a Red Hartebeest, retaining the horns, left natural for a dramatic contrast, h. 26”, w. 9”. [150/300]

904Striking Polished Buffalo Horn Centerpiece, composed of polished buffalo horns in various colors and sizes, mounted to a stained walnut base, h. 22”, w. 14”, d. 11‑3/4”. [150/300]

905Whimsical Composition and Iron Tall Table, of bar height, with a shaped top supported by a pedestal in the form of an elephant with two opposing heads, the legs joined by a metal foot rail, h. 43”, w. 52”, d. 28”. [200/400]

906Suite of Four Polychromed and Argente Stools, of Italian neoclassical inspiration and counter height, h. 42”, w. 23”, d. 19”, seat, h. 30”. [300/500]

907Suite of Six Wrought Metal and Banded Leather Counter Stools, with animal print seat cushions, h. 45‑3/4”. [400/700]

908Ebonized Looking Glass, 20th century, the rectangular plate within a rounded ebonized frame with corner foliate‑incised silvered accents, h. 33”, w. 27”. [300/500]

909Postmodern Giltwood Bull’s-Eye Mirror, in a fluted and molded surround, dia. 44”. [100/200]

910Cove-Molded Giltwood Mirror, decorated with bronze‑finished molded overlapping banana leaves, set with a beveled mirror plate, h. 67‑1/2”, w. 55”, d. 6‑1/4”. [150/300]

911Art Deco Stained Oak and Brass-Mounted Looking Glass, early 20th century, h. 41”, w. 26”. [200/400]

912Contemporary Burnished Steel and Glass Side Table, of Directoire inspiration, the rectangular glass top raised on a curule‑form base with central ram’s head accents and joined by a stretcher modeled as antlers, ending in hoof feet, h. 27”, w. 42”, d. 24‑1/4”. [40/70]

913Contemporary Chrome and Lucite Pastry Trolley, the interior fitted with a white marble top and shelf, h. 43”, w. 45”, d. 28”. [150/300]

914Pair of Chrome-Banded Lucite Obelisks, mid‑20th century, h. 17‑3/4”. [125/250]

916

62

915Modern Three-Tiered Clear Acrylic Stand, late 20th century, each shelf with a gallery, supported by uprights at each corner, h. 28”, w. 20”, d. 12”. [250/400]

916Pair of Whimsical Polychromed Molded Plywood and Steel Chairs, each in a form depicting a stylized seated man and woman, h. 50”. [400/700] Illustrated

917Eleco Electronic Slot Machine, type A, Super Time Country Club Edition, h. 32”, w. 16‑1/2”, d. 17”. [400/700]

918“Golden Nugget” One-Armed Bandit Manual Slot Machine, in a retro brass and enameled metal case, h. 25‑1/2”, w. 18”, d. 16”. [500/800]

919Retro Popcorn Trolley Cart, composed of metal and glass, set with an electric popper, h. 64‑1/2”, w. 19”, d. 27”. [300/500]

920Framed Collection of “Dances with Wolves” Memorabilia, including an autographed poster, photographs and a uniform buckle, h. 34”, w. 42”. [200/400]

921Framed Collection of Jack Nicholson Movie Memorabilia, including reproductions of movie posters and a signed copy of an Oscar award, all in a shadowbox frame, h. 26‑1/2”, w. 27”. [200/400]

922Leonard Baskin (American, 1922-2000), “Andrea Mantegna”, etching with aquatint, artist’s proof, pencil signed lower right, titled lower left, sight 28‑1/2” x 20”. Attractively matted, glazed and framed. [200/400]

923Arnold Belkin (Canadian, 1930-1992), “Untitled”, black and white lithograph, signed in plate “Belkin”, pencil signed and dated lower right margin “Belkin, 1962”, sight 12” x 8‑5/8”. Glazed, matted and framed. [150/300]

924David A. Bumbeck (American, b. 1940), “Parasol”, etching, artist’s proof, signed in pencil lower right, titled in pencil lower left, 12‑1/2” x 9‑1/2”. Framed. [100/200]

925William Majors (American, 1930-1982), “Ecclesiastes”, 1965, etching, signed and dated in pencil lower right, numbered “2/10”, from the “Ecclesiastes” series, sheet 18‑1/2” x 19‑1/2”. Unframed. [100/200]

926Charles Crodel (French, 1894-1973), “Massacre of the Innocents”, lithograph, pencil signed lower right “Ch. Crodel”, dated in pencil lower left “1924”, sheet size 12” x 16”. Unframed. [50/80]

927Alfred Kubin (Austrian, 1877-1959), “Das Hochmoor”, lithograph, pencil signed lower right “Kubin”, signed and titled in plate, sheet size 16” x 12”. Unframed. [50/80]

928Yvonne Davis (American, 20th Century), “Crow’s Feet”, hand‑colored etching, signed in pencil lower right, titled lower left, and numbered “27/200”, sight 5‑3/4” x 7‑1/4”. Attractively matted, glazed and framed. [100/200] Illustrated

929Itzchak Tarkay (Israeli, b. 1935), “Untitled, Seated Woman”, color serigraph, signed in plate lower right, numbered lower left “131/350”, 26” x 22‑1/2”. Glazed, attractively matted and framed. [100/200]

930Itzchak Tarkay (Israeli, b. 1935), “Untitled, Three Women”, color serigraph, signed in pencil lower right margin, numbered lower left “32/250”, 13” x 16”. Glazed, attractively matted and framed. [100/200]

931Barbara Gallagher (American, 1933-2006), “Women with Parasols”, giclee print, signed lower right, numbered lower left “283/500”, sight 33‑1/2” x 22”. Glazed, matted and framed. [200/400]

932Barbara Gallagher (American, 1933-2006), “Three Women In Kimonos”, giclee print, signed lower right, numbered lower left “61/350”, sight 23‑3/4” x 30”. Glazed, matted and framed. [400/700]

933Leroy Neiman (American, 1921-2012), “Celebrity Bash”, color serigraph, signed lower right, numbered “589/600”, sight 28” x 38”. Attractively matted and framed. [150/300]

934Guillaume A. Azoulay (Moroccan, b. 1949), “O’Salto”, serigraph with gold leaf, signed lower right “Guillaume Azoulay”, titled, numbered “2/3”, and dated “1988” lower left, sight 29” x 39”. Glazed, matted and framed. [500/800]

935Contemporary Decorative Print of a Woman in Black, sight 25” x 36”. Glazed, handsomely matted and framed. [100/200]

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936French School (First Quarter 18th Century), “Portrait of a Courtier and His Wife”, pair of oval oils on canvas, both unsigned, 39‑1/2” x 30”. Attractively framed. [3000/5000] Illustrated

937French Handwoven Tapestry, depicting a floral tableau of an urn, column and drapery, set within a floral border, h. 87”, w. 73”. [1000/1500]

938French Handwoven Floral Tapestry, depicting two robust floral bouquets, h. 122”, w. 92”. [1000/1500]

939Louis XV-Style Fruitwood Firescreen, third quarter 19th century, the gros point and needlepoint screen surmounted by a floral crest and within a molded frame, raised on splayed supports headed by acanthine carving and ending in scrolled toes, h. 40‑1/2”, w. 25‑1/2”. [200/400]

940Fine Louis XV-Style Inlaid and Ormolu-Mounted Dining Set, comprised of an extension table with two additional 24‑inch skirted leaves, h. 31”, w. 51”, l. 106” (without leaves), together with two armchairs and eight sidechairs, h. 43”. [3000/5000] Illustrated

941Pair of Louis XV-Style Marble-Top Commodes, marquetry inlaid and ormolu mounted, h. 34”, w. 48”, d. 18”. [500/800]

942Louis XV-Style Kingwood and Marble-Top Side Cabinet, early 20th century, the upper doors with leather bindings, the lower doors with brassing wire grillwork, h. 43”, w. 29”, d. 15‑1/2”. [200/400]

943Large Louis XV-Style Ormolu-Mounted and Parquetry-Inlaid Marble-Top Commode, late 20th century, h. 37”, w. 57”, d. 20”. [400/700]

936

940

940

64

944Louis XVI-Style Mahogany and Marble-Top Commode, mid‑19th century, the rectangular variegated gray marble top with canted corners, above a conforming case fitted with three long drawers, flanked to either side by a fluted pilaster, raised on tapering square legs, h. 35”, w. 47”, d. 26”. [400/700]

945Dutch Neoclassical-Style Ormolu-Mounted, Polychromed and Inlaid Credenza, of serpentine form and having a faux rouge royal marble top, h. 43‑1/2”, w. 74”, d. 18”. [800/1200]

946Provincial Louis XV-Style Mahogany Display Cabinet, 20th century, the scrolling foliate crest above a central glazed cupboard, flanked to either side by set‑back beveled mirrored panels, the lower section fitted with a drop‑front compartment over a glazed cupboard, raised on scrolled feet, the whole accented with foliate scrolling designs, h. 98”, w. 50”, d. 16‑1/4”. [1200/1800]

947“L’Age d’Or” Patinated Metal Figure, depicting a flute‑playing shepherd with his dog, in the manner of Henri Fugere (French, 1872‑1944), h. 25‑3/4”, w. 17‑1/4”, d. 8‑3/4”. [200/400]

948Louis XVI-Style Kingwood Occasional Table, the oval top with a three‑quarter pierced brass gallery, banded and with a central lattice‑pattern inlay, above a like‑inlaid conforming case fitted with three drawers, raised on slender, slightly splayed legs ending in sabots, h. 29‑1/2”, w. 24”, d. 17”. [900/1200]

949Louis XV-Style Polychrome Occasional Table, early 20th century, in the chinoiserie taste, the kidney‑form top with polychrome figural accents, above a conforming case fitted with three drawers, joined to a like‑shaped lower shelf by square supports, raised on splayed legs, h. 28‑1/2”, w. 17‑1/2”, d. 12‑1/4”. [200/400]

950Belle Epoque Parcel-Gilt Trumeau Mirror, fourth quarter 19th century and later, the upper panel depicting Psyche surprising the sleeping Cupid, with a giltwood and painted frame, h. 71”, w. 39”. [800/1200]

951French Giltwood Trumeau Mirror, 19th century, all within a molded frame with foliate corner accents, the upper portion with a canvas depicting a mounted medieval lady and her page falconing in a castle landscape, the lower section with a mirror plate, h. 59”, w. 28‑1/4”. [500/800]

952Louis XVI-Style Giltwood Looking Glass, mid‑20th century, the rectangular plate surmounted by a foliate urn crest issuing foliate swags, surrounded by a fluted frame with scrolling foliate pendant feet, h. 72”, w. 28‑1/2”. [1000/1500] Illustrated

953Continental Belle Epoque Mirror in the Venetian Taste, ca. 1900, set with a beveled mirror plate, h. 36‑1/2”, w. 39‑1/2”. [300/500]

954Two Belle Epoque Gilt-Bronze Mirror Frames, ca. 1900, in the Louis XVI style, one h. 42”, w. 25” (the mirrored plate lacking); the other h. 22”, w. 15‑3/4”. [200/400]

955Louis XV-Style Composition Looking Glass, of cartouche form, h. 32”, w. 20”. [100/200]

956Large Louis XV-Style Giltwood Looking Glass, the tall pierced foliate‑carved crest above a shaped rectangular plate with a larger one below, each within a molded frame with applied scrolling and floral patterns, with an acanthine‑pierced pendant, h. 89‑1/2”, w. 40”. [500/800] Illustrated

952

956

65

957French Carved Giltwood Frame, second quarter 20th century, in the Louis XV style, h. 41”, w. 32”. [200/400]

958Polished Brass Triptych Mirror in the Renaissance Revival Style, ca. 1900, probably French, h. 16‑1/4”, w. 19‑1/2”. [400/700]

959Louis XVI-Style Polychrome and Giltwood Trumeau, early 20th century, the molded cornice above a rectangular canvas depicting a courting couple within a pastoral landscape, surmounted by a floral crest, over a rectangular plate within an annulated frame with ribbon crest, h. 59‑1/2”, w. 31‑1/2”. [1200/1800] Illustrated

960Pair of Continental Neoclassical Gilt-Metal Three-Light Sconces, decorated with sprays of leaves supporting swags of prisms, h. 24‑1/2”, w. 17”, d. 10”. [1400/1800]

961Pair of Gilt-Bronze Four-Light Sconces in the Neo-Grec Style, fourth quarter 19th century, now electrified, h. 14‑1/2”, w. 10‑1/2”, d. 12”. [250/400]

962Whimsical Brass, Abalone and Crystal Four-Light Wall Sconce, each arm adorned with a polished abalone shell bobeche and finished with tear‑drop‑shaped crystals dangling from small whole polished abalone shells, electrified, h. 24”, w. 27”, d. 12”. [125/250]

963Pair of Brass-Plated Metal Three-Light Sconces, in the Louis XV style, h. 25”, w. 14”, d. 3‑1/2”. [100/200] Illustrated

959

963

965

66

964Pair of Louis XVI-Style Molded and Parcel-Gilt Two-Light Sconces, h. 13”, w. 11‑1/2”, d. 5‑1/2”. [350/500]

965Pair of Polychrome-Painted Wooden Panels, decorated in the Directoire style with caryatids supporting fountains and arabesque flourishes, h. 94‑1/2”, w. 20‑1/2”. [1500/2500] Illustrated

966Louis XVI Carved and Painted Cartouche, 18th century and later, h. 37”, w. 32”. [100/200]

967Louis XVI-Style Carved and Painted Canopy, decorated with carved and pierced swags, with a wreath‑form finial, formerly mounted with lights, h. 11‑1/2”, w. 29‑1/4”, d. 19‑1/2”. [100/200]

968Pair of Faux Boulle-Painted Panels, in the Louis XIV style, with conforming gilt frames, h. 48‑1/2”, w. 38”. [200/400]

969Molded Roundel-Form Wall Plaque, with gilt scrollwork on a faux stone ground, d. 4‑1/2”, dia. 38”. [75/125]

970Pair of Louis XV-Inspired Giltwood Stools in the Rococo Taste, early 20th century, with scalloped apron, the cabriole legs beneath lion masques, h. 19‑1/2”, w. 24”, d. 19”. [400/700]

971Pair of Louis XVI-Style Polychrome Stools, early 20th century, each with a square padded top above a laurel garland and patera‑carved frieze, raised on tapering circular legs headed by foliate bands and ending in ball feet, h. 20”, w. 18”, d. 18”. [700/1000]

972Pair of Louis XV-Style Giltwood Stools, each with scalloped shell‑ and foliate‑carved aprons, raised on cabriole legs, h. 20”, w. 21”, d. 20”. [300/500]

973Pair of Faux Sienna Marble and Faux Bronze Urns, in the Louis XIV taste, h. 26”, w. 13”, dia. 11”. [100/200]

974Pair of Molded Brass Footed Cachepots, in the French taste, h. 10‑1/4”, dia. 7”. [50/80]

975Louis XVI-Style Parcel-Gilt Book Rest, 20th century, with a gilt medallion on the back and trimmed in carved “fringe”, h. 14”, w. 13‑1/4”, d. 12‑1/2”. [100/200]

976Belle Epoque Bronze Putto, ca. 1900, the patinated bronze figure resting on a gilt‑bronze beaded plinth above a walnut base with gilt‑bronze ball feet, h. 5‑1/4”, dia. 3”. [150/300]

977Antique French Gilt-Bronze and Marble Encrier, with a central figure of ìCourage Militaire”, after the ca. 1875 sculpture by Paul Dubois (1829‑1905) from the tomb of General Lemoriciere (1806‑1865) at Nantes, cast signature and inscribed ìF. Barbedienne, Fondeurî at base, on a dark gray‑mottled red marble base, overall, h. 15‑1/2î. [1400/1800]

978Louis XVI-Style Faience Urn, hand‑painted with neoclassical ruins, now mounted as a lamp on a turned wooden base, urn, h. 19‑1/4”, overall, h. 32”. [100/200]

979Two Pairs of Meissen-Style Garniture Urns, the larger pair marked “Sitzendorf Porcelain Manufactory”, post 1954, h. 14”, and the smaller pair marked by Bros. Voigt and Alfred Voigt VEB Sitzendorf Porcelain Manufactory, post 1887, h. 9”. [300/500]

980Set of Eleven French Coffee Cups with Saucers, fourth quarter 19th century, probably Limoges, cup, h. 3‑1/4”, saucer, dia. 5‑3/4”. [100/200]

981French Porcelain Seated Putto, ca. 1900, in the Meissen style, the mark illegible, h. 7‑1/2”, w. 5‑1/2”. [75/125]

982Old Limoges Hand-Painted Floral Partial Tea Set, mid‑19th century, including a teapot, h. 7‑1/2”, three dessert plates, dia. 7‑1/4”, three saucers, dia. 5”, and six cups, dia. 3‑1/2”. [100/200]

983Three Pieces of Hand-Painted Old Limoges, including a waste bowl, dia. 8”, a cream jug, h. 7”, and a sugar base without the lid, dia. 5‑1/2”. [100/200]

984Limoges Raised-Gilt Porcelain Jardiniere, first quarter 20th century, signed “Perlam France” and “Limoges France”, h. 4”, w. 6‑3/4”, l. 12‑1/2”. [200/400]

985Franco-Bohemian Two-Part Reticulated Porcelain Compote, h. 8‑1/4”. [100/200]

986Louis XVI-Style Porcelain Covered Garniture Urn, the gilt‑highlighted and molded urn with reserve panels decorated en grisaille with a neoclassical grouping on the obverse and an 18th‑century barnyard scene on the reverse, the cover decorated to match, h. 20”, w. 11”, d. 7‑1/2”. [400/700]

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987Paris Porcelain-Style French Empire Porcelain Urn, now mounted as a lamp, with a tapered base and gilt accents, and fitted with a shade, h. 38”. [200/400] Illustrated

988Suite of Six Louis XV-Style Polychromed Dining Chairs, comprised of four sidechairs and two armchairs, each with a foliate‑ and floral‑carved crest over a shaped back, upholstered in cream brocade adorned with fleurs‑de‑lis, h. 39‑1/4”. [500/800]Illustrated

989Provincial Louis XV-Style Polychrome Fauteuil, the shaped and caned back surmounted by a foliate crest, joined to the caned seat by shaped foliate carved arms, raised on cabriole legs joined by a shaped X‑form stretcher and ending in foliate toes, h. 40‑1/2”. [100/200]

990Louis XV-Style Fruitwood Lady’s Dining Table Stool/Child’s Chair, early 20th century, the low back with molded stiles and crest rail with floral carving, h. 22”. [100/200]

991Louis XVI-Style Polychrome Sidechair, early 20th century, the curved crest above a padded splat, the circular, revolving seat raised on fluted tapering circular legs ending in toupie feet, h. 37”. [200/400]

992Pair of Louis XVI-Style Polychromed and Parcel-Gilt Armchairs, ca. 1900, each with a floral‑ and bow‑carved crest, open arms on foliate‑carved supports, and tapering fluted legs, h. 39‑3/4”. [500/800] Illustrated

993Louis XVI-Style Mahogany Bergere and Ottoman, 20th century, the bergere with a padded back within a molded frame with side finials, joined by closed downswept arms to the padded seat, raised on fluted tapering circular legs ending in toupie feet, h. 38”; together with a matching ottoman, h. 15‑1/2”, w. 32‑1/4”, d. 28”. [700/1000]

994Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded medallion‑form back within a molded frame, joined by padded scrolling arms to the like seat, raised on stop‑fluted tapering circular legs ending in toupie feet, h. 35”. [400/700] Illustrated

987

988

992

68

995Louis XVI-Style Painted, Parcel-Gilt and Ormolu-Mounted Occasional Table, the circular marble top over a conforming frieze, raised on fluted tapering square legs, h. 26‑1/2”, dia. 30”. [400/700]

995AGroup of Twelve Decorative Clamp-on Lamp Shades, h. 3". [100/200]

995BGroup of Twelve Decorative Clamp-on Lamp Shades, h. 3". [100/200]

995CGroup of Twelve Decorative Clamp-on Lamp Shades, h. 3". [100/200]

996Louis XV-Style Oak, Mahogany and Kingwood Parquetry Inlaid Poudreuse, 19th century, fitted with a central mirror flanked by fold‑out bins, the apron with a band of drawers, h. 28”, w. 30”, d. 18”. [300/500]

997Transitional Louis XV-into-Louis XVI-Style Fruitwood Desk, early 20th century, the rounded rectangular top above a conforming frieze fitted with a single frieze drawer flanked to either side by two small drawers, raised on cabriole legs, h. 31‑1/2”, w. 52”, d. 28”. [300/500]

998Petite Louis XV-Style Ormolu-Mounted and Floral Inlaid Rosewood Writing Desk, early 20th century, the case of unusual bombe form and having an inlaid floral spray across the top deck, lid and drawer front, the edges, knees and feet trimmed in cast brass ormolu mounts, the interior fitted with four drawers and a felt‑lined writing surface, h. 39‑1/2”, w. 29‑1/2”, d. 18‑1/2”. [500/800]

999Louis XV-Style Kingwood and Marble-Top Bureau de Dame, late 19th century, the superstructure with a rouge royal marble top with a pierced three‑quarter brass gallery, above two central open shelves flanked to either side by two small quarter‑veneered drawers, the top with a pull‑out inset leather writing surface above two like‑veneered frieze drawers, raised on cabriole legs headed by sabots, h. 39‑3/4”, w. 37‑1/2”, d. 20‑1/4”. [1000/1500]

1000Louis XV-Style Kingwood Writing Table, early 20th century, the rectangular top banded and quarter‑veneered and with raised corners, above a frieze fitted with a pull‑put leather writing surface, pushing back to an interior fitted with drawers and compartments, raised on cabriole legs ending in sabots, h. 31”, w. 48”, d. 24”. [800/1200]

1001Louis XV-Style Ormolu-Mounted and Inlaid Bureau Plat, 20th century, with an inset leather writing surface, one side fitted with drawers, h. 32”, w. 70”, d. 38”. [2000/4000] Illustrated

994

1001

69

1002Louis XV-Style Kingwood Bureau Plat, 20th century, the shaped rectangular top with an inset leather surface and brass banding, above a frieze fitted with a central drawer with a foliate‑modeled ormolu panel, flanked to either side by a smaller drawer, raised on cabriole legs headed by ormolu acanthine scrolls and joined by ormolu millwork to paw feet, h. 30”, w. 62”, d. 34”. [3000/5000]

1003Louis XV-Style Gilt-Brass and Bronze-Mounted, Marquetry-Inlaid Two-Tier Table, each circular top in floral‑leaf inlay, the upper surface joined to the base with scrolling mounts capped by winged caryatids, on cabriole legs joined by shaped X‑form stretchers with a gilt‑bronze foliate finial, h. 35‑1/2”, w. 31‑1/4”, d. 29‑3/4”. [800/1200]

1004Louis XV-Style Ormolu-Mounted Oak Prie-Dieu, ca. 1900, of generous proportions, the edges with ormolu and brass mounts, upholstered in forest‑green velvet, h. 41‑1/2”, w. 27”, d. 26‑1/2”. [300/500]

1005Tuscan-Inspired Faux Travertine, and Cast and Wrought Metal Low Table, with an inset glass top, h. 22”, w. 50”, d. 50”. [150/300]

1006Contemporary Faux Mahogany and Simulated Marble-Top Occasional Table, h. 24‑1/2”, w. 25‑1/2”, d. 25‑1/2”. [100/200]

1007Patinated Metal and Prism-Hung Two-Tier Chandelier, of rococo inspiration, h. 44”, dia. 25‑1/4”. [500/800]

1008Suite of Three French-Style Five-Light Hall Lights, in the form of miniature prism‑hung basket‑form chandeliers, finished in bronze, h. 20”, dia. 6‑3/4”. [100/200]

1009Gilt-Metal and Cut Glass Six-Light Chandelier, in the French style, h. 51”, dia. 34”. [400/700]

1010Pair of Blue Brocade Pillows, with tasseled trim, w. 16”, l. 16”. [75/125]

1011Niek van der Plas (Dutch, b. 1954), “Beach Umbrellas”, oil on panel, signed lower right “Vander Plas”, stamped verso, 11” x 13”. Presented in an attractive Louis XV‑style frame. [1200/1800] Illustrated

1012Niek van der Plas (Dutch, b. 1954), “Reading on the Beach”, oil on panel, signed lower right “Vander Plas”, stamped verso, 11‑3/8” x 9”. Presented in an attractive Louis XV‑style frame. [1000/1500] Illustrated

1013Claude-Marie Buford (French, b. 1946), “Picnic on the Beach”, oil on panel, signed lower right “Buford”, 24‑1/2” x 20‑1/2”. Presented in a rococo‑style giltwood and composition frame with a linen liner. [1000/1500] Illustrated

1014French School (20th Century), “Sur La Plage”, oil on canvas, signed lower left “M. Fourniels”, signed and titled verso canvas, 14” x 18”. Presented in a giltwood frame with a linen liner. [800/1200] Illustrated

1015Jean Lefort (French, b. 1948), “Children Playing on the Beach”, oil on panel, signed lower right “J. Lefort”, 11‑1/2” x 16”. Framed. [800/1200]

1011

1012

70

1016Andre Chalet (Belgian, b. 1946), “Treasure Seekers”, oil on panel, signed lower left “A. Chalet”, 7” x 9‑1/2”. Presented in a charming Louis XVI‑style frame. [400/700]

1017Geoffrey Lewis (American, 20th Century), “The Boatmen”, oil on board, unsigned, verso with a “Maxwell Galleries, San Francisco, CA” label, 9” x 11”. Presented in a parcel‑gilt frame with a linen liner. [300/500]

1018After Adolph Artz (Dutch/French, 1837-1890), “Children at Seaside”, oil on panel, signed lower right “Artz”, 7” x 10‑1/2”. Framed. [300/500]

1019Uzbek Kazak Carpet, 4’ 10” x 6’ 10”. [450/700]

1020Uzbek Kazak Carpet, 5’ 6” x 6’ 7”. [450/700]

1021Louis-Philippe Aubusson Carpet, 9’ x 12’. [1000/1500] Illustrated

1022Louis-Philippe Aubusson Carpet, 8’ x 10’. [700/1000]

1023Louis-Philippe Aubusson Carpet, 6’ x 9’. [500/800]

1024Antique Persian Sarouk Carpet, 10’ 10” x 14’. [1200/1800]

1025Malayer Carpet, 3’ 11” x 6’ 3”. [400/700]

1026Hamadan Carpet, 5’ x 9’. [300/500]

1013

1014

1021

71

1027Semi-Antique Kashan Carpet, 9’ 7” x 13’ 4”. [300/500]

1028Antique Persian Kerman Carpet, 10’ x 14’. [400/700]

1029Malayer Carpet, 4’ 9” x 6’ 6”. [300/500]

1030Turkish Angora Oushak Carpet, 9’ 3” x 12’ 2”. [1400/1800]

1031Chinese Carpet, 9’ x 12’. [300/500]

1032Chinese Aubusson-Style Carpet, 8’ 8” x 11’ 11”. [300/500]

1033Kilim Carpet, 8’ 1” x 12’ 4”. [200/400]

1034Tabriz Carpet, 7’ 4” x 11’ 8”. [150/300]

1035Collection of Five British Hand-Colored Engravings of Whales, second or third quarter 19th century, engraved by J. Stewart, from Naturalist’s Library - Mammalia, each 3‑3/4” x 6‑1/4”. Matted and framed alike. [150/300]

1036John Gould and H. C. Richter (British, 19th Century), “Odontophorus Pachyrhynchus” and “Odontophorus Columbianus”, two hand‑colored lithographs, printed by C. Hullmandel, sight 14” x 21”. Both glazed and framed. [700/1000] Illustrated

1037Collection of Four Chinese Paintings on Silk, 20th century, depicting various flowers, mounted on brocade fabric, 13‑3/4” x 10”. All matted and framed, three glazed.. [400/700]

1038Pair of Decorative Botanical Prints, sight 26‑1/4” x 18‑1/2”. Attractively matted, glazed and framed. [200/400]

1039Collection of Three French Chromolithographs of Seashells, 19th century, each sight 9” x 7”. All glazed, handsomely matted and presented in burlwood frames. [500/800]

1040Pierre Joseph Buc’hoz (French, 1731-1807), a set of four copper‑plate engravings of botanicals, each sight 13” x 8‑1/4”. Attractively matted, glazed and framed alike. [900/1200]

1041After John James Audubon (American, 1785-1851), “Brown Pelican”, offset chromolithograph, 20th century, sight 18” x 14”. Glazed, matted and framed. [100/200]

1042Pair of Sir William Jardine Hummingbird Prints, from The Naturalist’s Library, published in Edinburgh,1833, including a “Northern Humming Bird” and a “Magnificent Humming Bird”, both hand‑colored engravings, each sight 6‑1/2” x 4‑1/2”. Both glazed, attractively matted and framed. [350/500]

1043After Francois Levaillant (French, 1753-1824), “The Bouquet Parrot” and “The Female Red‑Faced Parrot”, pair of 20th‑century limited edition prints, each sight 21” x 15‑1/4”. Both glazed and framed. [350/500]

1036pair

1045pair

72

1044Circle of Aert Schouman (Dutch, 1710-1792), “Green Parrot on a Branch”, watercolor on paper, unsigned, 13‑1/4” x 10”. Glazed, matted (the hand‑colored mat inscribed “Schouman” lower center) and presented in a charming giltwood and gesso frame. [300/500]

1045Pair of French Botanical Chromolithographs, first quarter 20th century, sight 18‑3/4” x 13”. Both glazed, attractively matted and framed. [600/900] Illustrated

1046After John Gould (British, 1804-1881), “Baza Gurneyi” from The Birds of New Guinea and the Adjacent Papua Islands, London, 1875‑1888, and “Aquila Naeria” from Birds of Great Britain, London, 1862‑1873, two hand‑colored lithographs, each sight 20” x 13‑1/2”. Both glazed, handsomely matted and framed. [600/900] Illustrated

1047Moses Harris (British, 1733- ca. 1788), pair of hand‑colored engravings of butterflies, sight 12‑1/2” x 9‑1/2”. Attractively matted, glazed and framed. [450/700] Illustrated

1048Johann Wilhelm Weinmann (German, 1683-1741), pair of hand‑colored botanical engravings from Phytanthoza Iconographia, each sight 14” x 9‑1/4”. Attractively matted, glazed and framed. [700/1000] Illustrated

1049Two British Hand-Colored Botanical Engravings, from The Universal Herbal, by Thomas Green, printed 1816‑1824, each sight 7” x 9”. Both glazed, French‑matted and presented in giltwood frames. [350/500]

1050John Gould and H. C. Richter (British, 19th Century), “Metallura smaragdinicollis” and “Urosticti Benjamini”, two hand‑colored lithographs, sight 18‑3/4” x 11‑3/4”. Both glazed, handsomely matted and framed. [200/400]

1046pair

1047pair

1048pair

73

1051Continental School (Third Quarter 20th Century), “Floral Still Life in a Neoclassical Urn”, hand‑colored engraving, sight 16” x 15‑3/4”. Glazed and presented in a parcel‑gilt and polychrome frame. [100/200]

1052After Basilius Besler (German, 1561-1629), “Leucoium bulbosum Autumnale tenufolium”, hand‑colored engraving, probably 17th century, sight 19‑3/4” x 15‑1/2”. Glazed, matted and presented in an attractive parcel‑gilt and polychrome frame. [300/500]

1053Continental Majolica Ewer, fourth quarter 19th century, made in two parts, signed “DB” underfoot in script, h. 11‑3/4”, w. 6”, d. 5”. [200/400]

1054Glazed Pottery Water Bottle, possibly French, set with three lug handles and corresponding air vents, h. 12”, dia. 6‑1/4”. [100/200]

1055Faience Chevrette in the 18th-Century Style, decorated with a blue shell edge and panels of flowers hung from bowknots in raspberry cartouches, with a border of green diapering, the yellow and raspberry‑hued handle modeled in the form of a dragon, h. 7‑1/2”. [100/200]

1056Continental Faience Covered Urn, probably Spanish, the white‑bodied urn trimmed with cobalt rippled moldings, and decorated with raised orange swags and tassels, applied flowers and applied scrolled handles around the neck, the domed cover decorated with applied flowers, h. 15”, dia. 8‑1/4”. [150/300]

1057Two Majolica Oyster Plates, fourth quarter 19th century, one an English turquoise example, dia. 9”, and the other a French green example, dia. 9‑1/2”. [150/300]

1058Set of Six Limoges-Style Oyster Plates, with pink‑glazed shell‑form oyster indentations, dia. 10‑1/4”. [200/400]

1059French Faience-Style Hand-Painted Partial Dinner Service, 20th century, comprised of eight dinner plates, dia. 10”, eight salad plates, dia. 7‑3/4”, eight bread and butter plates, dia. 6”, eight saucers, dia. 6‑1/4”, and seven cups, dia. 4”, marked “Longchamp”. [150/300]

1060Raoul Dufy (French, 1877-1953), “Bather”, etching, ca. 1930, signed in pencil and stamped lower right, numbered lower left “21/75”, sheet 19‑3/4” x 25‑3/4”. Glazed and framed. [300/500]

1061Mary Cassatt (American, 1844-1926), “Sara Smiling” (B. 195), drypoint etching on thin cream wove paper, ca. 1904, unsigned, sheet 12” x 9”. Glazed and framed. [600/900]

1062French Provincial Polychrome Vasselier, the molded rectangular cornice above three open shelves, the lower section fitted with two cupboard doors, each inset with a shaped panel, raised on a plinth base, h. 77‑1/2”, w. 53‑1/2”, d. 19‑1/2”. [500/800]

1063Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a domed, padded and slightly tapering rectangular back joined by scrolling padded arms to the like seat, raised on fluted tapering circular legs ending in toupie feet, h. 33‑1/2”. [400/700]

1064Provincial Louis XV-Style Pickled Oak Armoire, 19th century, with a molded cornice over a pair of doors, the doors fitted with woven wire panels, the interior painted and fitted with five adjustable shelves, h. 88”, w. 58‑1/4”, d. 20‑1/2”. [800/1200]

1065French Provincial Fruitwood Armoire, mid‑19th century, the domed and molded cornice above a case fitted with a floral basket and garland‑carved frieze over two tri‑paneled doors, raised on shaped legs, h. 97”, w. 63”, d. 24”. [900/1200] Illustrated

1065

74

1066French Provincial Walnut Armoire, mid‑19th century, the heavily molded cornice above a case fitted with a foliate‑inlaid paneled frieze centered by a star‑inlaid panel, over two long doors, each inset with three shaped panels over a foliate‑inlaid apron, raised on molded block feet, h. 95”, w. 69”, d. 29”. [1500/2500] Illustrated

1067Pair of Provincial Louis XV-Style Fruitwood Fauteuils, late 19th century, each with a padded and rounded back within a molded frame, joined by scrolling arms to the padded seat, raised on molded cabriole legs ending in scrolled toes, h. 35”. [500/800]

1068Pair of Louis XV-Style Polychrome Fauteuils, each with a shaped and padded back surmounted by a scrolling foliate and floral crest, joined by padded arms to the like seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 40”. [500/800]

1069Provincial Louis XV-Style Oak Bedside Commode, late 19th century, the rectangular top with a slightly bowed top above a conforming case fitted with two drawers, each paneled and with foliate carving, above a shaped apron, raised on cabriole legs ending in upturned toes, h. 26‑1/2”, w. 25”, d. 15‑1/2”. [300/500]

1070Pair of Provincial Louis XV-Style Walnut Fauteuils, late 19th century, each with a padded rectangular back surmounted by a tall shell crest, joined by scrolling padded arms to the like seat, raised on molded cabriole legs headed by foliate shield carving and ending in peg toes, h. 34‑1/4”. [500/800] Illustrated

1071Pair of Louis XV-Style Oak Sidechairs, fourth quarter 19th century, now in russet leather upholstery, h. 36‑1/2”. [150/300]

1072French Provincial Walnut Sidechair, late 19th century, the flat crest above a molded splat and wooden seat, raised on bulbous and block legs joined by stretchers and ending in bulbous feet, h. 37”. [50/80]

1073Victorian Mahogany Stool, third quarter 19th century, the floral needlepoint upholstery over a molded edge apron extending to cabriole legs, h. 18”, w. 38”, d. 25”. [200/400]

1074French Rosewood Stool, third quarter 19th century, the concave rectangular padded seat above a conforming molded frame, raised on cabriole legs headed by shield carving and ending in scrolled toes, h. 18”, w. 22”, d. 17‑1/2”. [500/800]

1075Carved Mahogany Open Arm Wing Chair, early 20th century, h. 39”, w. 33”, d. 32”. [150/300]

1076French Moderator Lamp with a Japanese Pottery Base, fourth quarter 19th century, base, h. 14”, overall, h. 24”. [150/300]

1066

1070

75

1077Pair of French Restauration Brass Candlesticks, second quarter 19th century, fitted with side‑mounted “push‑ups”, the top of the domed foot trimmed with engine turning, h. 6‑3/4”, dia. 3‑1/2”. [200/400]

1078Two Pairs of European Candlesticks, including an assembled pair of tripartite‑form altar sticks, second quarter 19th century, h. 13”, and a pair of brass Corinthian column candlesticks, first quarter 20th century, h. 6”. [100/200]

1079Contemporary Faux Mahogany and Simulated Marble-Top Sofa Table, h. 30”, w. 48”, d. 18”. [200/400]

1080Provincial Fruitwood Side Table, late 19th century, the rectangular top with raised edge above a conforming case fitted with a single frieze drawer and joined by tapering square legs to a stretcher shelf, h. 28”, w. 22”, d. 17‑1/2”. [100/200]

1081Unusual Provincial Elm and Fruitwood Wine Tasting Table, partially composed of antique elements, the tilting circular top covered in a polychrome canvas featuring a starburst inlay, raised on end and swinging supports to shaped runner feet, h. 31”, dia. 59‑1/2”. [700/1000]

1082Louis XV-Style Oak Side Table, 20th century, with a scalloped top and fitted with a drawer, h. 28‑1/2”, w. 36”, d. 23”. [150/300]

1083French Copper Planter, first quarter 20th century, h. 6”, w. 9”, l. 32‑1/4”. [300/500]

1084Four-Piece Collection of Copper Cookware, including four saute pans with iron handles and one with a brass handle, h. 2‑1/2” to 4”, dia. 5‑1/2” to 7‑3/4”. [150/300]

1085French Copper Braising Pot, fourth quarter 19th century, stamped “6V” on the side and “H” on the handle, h. 6”, dia. 11”. [250/400]

1086French Copper Sauce Pan, first quarter 20th century, signed “Gaillard, Paris, Faubourg St. Denis” and “31”, h. 7‑1/2”, dia. 12‑1/4”, l. 24‑3/4”. [300/500]

1087French Hammered Copper Sauce Pan, first quarter 20th century, stamped “Gaillard, Paris, Faubourg St. Denis” and “34”, h. 8‑1/4”, dia. 14”, l. 29”. [300/500]

1088French Copper Warming Pan, ca. 1900, the pierced lid engraved with stars, clouds and palmettes, stamped by the coppersmith Letelier Havard in the Village of Dieu, the lid opening with a brass shell‑form thumb latch, h. 5‑1/4”, dia. 10‑1/4”, l. 36‑1/2”. [50/80]

1089Three Pieces of Copper Cookware, including a hammered tin‑lined “fait tout”, h. 3‑1/4”, dia. 8‑1/2”; and two hammered tin‑lined graduated sauce pans, h. 4‑1/4” and 4‑1/2”, dia. 7‑1/4” and 9”. [150/300]

1090French Copper Kugelhopf Mold, first quarter 20th century, h. 4‑1/4”, dia. 11‑1/2”. [150/300]

1091Turned and Painted Wooden Bowl with a Collection of Fruit, 19th century, the stone, wooden and plaster fruit of various ages, bowl, h. 7‑3/4”, dia. 12”. [250/400]

1092Two Pieces of Continental Pottery, comprised of a terracotta lekythos, h. 11‑1/2”, and a Middle Eastern pottery dish, dia. 9”. [60/90]

1093Antique French Iron and Slate-Top Baker’s Table, 19th century, h. 31”, w. 41”, d. 27”. [300/500] Illustrated

1094Delphin Massier Majolica Frog, ca. 1900, French, with a painted, underglazed brown mark “Delphin Massier. Vallauris (H.M.), h. 6‑3/4”, w. 8‑1/2”, l. 13‑1/4”. [400/700]

1095French Provincial-Style Terracotta Hen on Nest, the paint‑decorated hen depicted resting in a woven nest, h. 13”, w. 14‑1/2”, d. 6‑1/4”. [150/300]

1093

76

1096Patinated Bronze Turtle Sculpture, h. 7‑1/2”, w. 15”, l. 20‑1/2”. [150/300]

1097Brass and Painted Metal Seated Monkey Sculpture, h. 29‑3/4”, w. 21”, d. 17‑3/4”. [200/400]

1098Two Pottery Figures, one depicting a pig, h. 15”, w. 22”, d. 7”, and the other a dog, h. 12”, w. 13”, d. 6”. [600/900]

1099Pair of Pottery Figures of Seated Terriers, h. 26”, w. 10‑1/2”, d. 22‑1/2”. [800/1200]

1100Wrought Iron Oval Hanging Pot Rack, decorated with silhouettes of moose, rabbits and pointers, h. 18‑1/2”, w. 40‑1/2”, d. 22‑1/2”. [300/500]

1101Wrought Iron Oval Hanging Pot Rack, decorated with silhouettes of moose, rabbits and pointers, h. 18‑1/2”, w. 40‑1/2”, d. 22‑1/2”. [300/500]

1102Tole and Limed Wood Two-Tier, Twelve-Light Chandelier, of classical inspiration, h. 40”, dia. 39”. [500/800]

1103Provincial Louis XV-Style Oak Six-Panel Screen, each with an upper wire mesh panel over a raised lower panel, h. 78‑1/4”, each panel, w. 18”. [400/700]

1104Pair of Louis XVI-Inspired Ebonized and Giltwood Tub Chairs, with leatherette upholstery edged with tacks, h. 33‑1/4”. [200/400]

1105Bacchanalian-Themed Patinated Metal Wine Casket, depicting a putto astride a wine barrel, a bottle and cup in his hand, h. 28‑3/4”, w. 15‑1/2”, d. 18”. [300/500]

1106French Wrought Iron Jardiniere Stand, first quarter 20th century, h. 38‑3/4”, dia. 18”. [300/500]

This Form Must Be Submitted by 5 p.m., Thursday, June 6, 2013

Paddle #_______________

801 Magazine Street, New Orleans, LA 70130

Name (Please Print): ______________________________________________ Date: ____________Business Name: _____________________________________________________________________Dealer Resale # (Dealers must also sign official State of Louisiana document): ________________________Address: __________________________________________________________________________City: _____________________________________________ State: ____________ ZIP: ________Telephones: Work (_____)___________ Home (_____)____________ Fax (_____)___________E-mail Address: _____________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalog. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale. See previous pages for the complete Conditions of Sale.

Lot # Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$$$$$$$$$$$

VISA / MasterCard #: ____________________________________________ Expiration Date: ________________Credit Card V-Code: _______________ (Three-digit code on the back of credit card, following the account number)

I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 23% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 23% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): ________________________________ Please fax this completed form to: 504-566-1851 orE-mail to info@cakebreadauction.com

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CakebreadDesigner Auction

NEW ORLEANS AUCTION GALLERIESPresents

absentee/telephone bid form(continued)

Name (Please Print): ______________________________________

Lot # Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

This Form Must Be Submitted by Thursday at 5:00 p.m.

– 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: __________________________________________

fax this form to 504-566-1851 / E-Mail to info@cakebreadauction.com

Note: Items will not be released without a signed authorization

801 Magazine Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: info@cakebreadauction.com

CakebreadDesigner Auction

NEW ORLEANS AUCTION GALLERIESPresents

REQUEST FOR CONDITION REPORTS (DEADLINE: Thursday, June 6, 2013, AT 5:00 P.M.)

Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition

reports will not be given verbally. Photo requests will only be processed for items not illustrated in our catalog or website

(www.cakebreadauction.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: 504-566-1851or Email info@cakebreadauction.com

Please Select:Method of Receiving Reports: _____Fax _____Mail _____Email Method of Receiving Photographs: _____Mail _____Email

CakebreadDesigner Auction

NEW ORLEANS AUCTION GALLERIESPresents

This Form Must Be Submitted by 5 p.m., Friday, January 19, 2013

Paddle #_______________

801 Magazine Street, New Orleans, LA 70130

Name (Please Print): ______________________________________________ Date: ____________Business Name: _____________________________________________________________________Dealer Resale # (Dealers must also sign official State of Louisiana document): ________________________Address: __________________________________________________________________________City: _____________________________________________ State: ____________ ZIP: ________Telephones: Work (_____)___________ Home (_____)____________ Fax (_____)___________E-mail Address: _____________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalog. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale. See previous pages for the complete Conditions of Sale.

Lot # Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$$$$$$$$$$$

VISA / MasterCard #: ____________________________________________ Expiration Date: ________________Credit Card V-Code: _______________ (Three-digit code on the back of credit card, following the account number)

I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 23% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 23% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): ________________________________ Please fax this completed form to: 504-566-1851 orE-mail to info@neworleansauction.com

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NEW ORLEANS AUCTIONGALLERIES

absentee/telephone bid form(continued)

Name (Please Print): ______________________________________

Lot # Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

This Form Must Be Submitted by Thursday at 5:00 p.m.

– 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: __________________________________________

fax this form to 504-566-1851 / E-Mail to info@neworleansauction.com

Note: Items will not be released without a signed authorization

801 Magazine Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: info@neworleansauction.com

NEW ORLEANS AUCTIONGALLERIES

Customers, Please Note:Deadline for Absentee/Telephone Bidding

Guidelines for Telephone Bidding5:00 p.m. Central - Friday, January 18, 2013

estimate on each item.

Deadline for Condition Report Requests5:00 p.m. Central - Friday, January 18, 2013

We Accept VISA and MasterCardfor 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.

NEW ORLEANS AUCTIONGALLERIES

New Orleans Auction Galleries is not responsiblefor damage to property during pick ups and loading.

We will assist clients with moving and loadingitems at the client’s own risk.

We are not responsible for any damage toitems during moving, packing, or loading within

or outside our premises.

I have read and understand the above statement:

Signature:_____________________________ Date: ________

CATALOGUE ORDER FORM

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new orleans auCtion Galleries

801 maGazine street, new orleans, la 70130Phone: (504) 566-1849 • Fax (504) 566-1851email: inFo@neworleansauCtion.Com

www.neworleansauCtion.Com

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CHeCK made PaYaBle to new orleans auCtion Galleries

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sinGle CataloGue For uPCominG auCtion (domestiC) $25.00

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i do not wisH to suBsCriBe at tHis time, But Please inClude me on Your mailinG list.

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NEW ORLEANS AUCTIONGALLERIES

CONDITIONS OF SALEALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER.PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. INTRODUCTION(a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows:

• An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG.

• The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG.• A “Bid” is a bid made by a party at the Auction to purchase a Lot.• A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid,

through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding).

• A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction.• “Buyer’s Premium” is defined in Section 4 below.• “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction.• The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue

presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction.

• The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges.

• A “Lot” is specific item of property offered for sale at Auction.• The “Reserve” is defined in Section 3 below.• The “Purchase Price” is defined in Section 4 below.• A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot.• The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or

is otherwise the seller of the Lot.• The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and

best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer.

(d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.2. BEFORE THE AUCTION(a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER.

(i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.”

(ii) No warranty of redhibition. ANY WARRANTY AGAINST REDHIBITORY DEFECTS IS

WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose.

(iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale.

(iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED.

(v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership.

(vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a).(b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion. (c). Catalogue and other descriptions.

(i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others.

(ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot.

(iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price.

(iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material.(d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that:

(i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot;(ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause

of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any

oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere;

(iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot;

(iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and(v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the

catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.3. AT THE AUCTION(a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements:

(i) A Bidder must complete and sign the attached registration form and provide identification to NOAG;(ii) NOAG may require the production of bank or other financial references or any other additional

information;(iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the

event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment

(iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set

by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below).(b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids.

(i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”).

(ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid.

(iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. (d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction

in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above.(e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller.(f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot.(g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion.(h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction.(i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG.(j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.4. AFTER THE AUCTION(a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG:

(i) the Hammer Price; and(ii) the “Buyer’s Premium” consisting of a premium of 23% of the Hammer Price (discounted to 20% if

the method of payment is by check, cash, or wire transfer) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and

(iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form.(b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 801 Magazine Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer.(c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the

full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card.(d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction.(e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction.

(g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for

such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved.

(i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5. COPYRIGHTThe copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.6. SEVERABILITYIf any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.7. DATA COLLECTIONIn connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.8. LAW AND JURISDICTIONThe rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

CATALOGUE ORDER FORM

Please Print, ComPlete and mail or Fax

new orleans auCtion Galleries

801 maGazine street, new orleans, la 70130Phone: (504) 566-1849 • Fax (504) 566-1851email: inFo@neworleansauCtion.Com

www.neworleansauCtion.Com

name ________________________________________________________________________________________

street address ______________________________________________________________________________

CitY _________________________________________________________________________________________

state ________________________________________ ziP ____________________________________________

Business PHone ______________________________________________________________________________

Home PHone ________________________________________________________________________________

Fax PHone __________________________________________________________________________________

e-mail _______________________________________________________________________________________

PLEASE INDICATE YOUR METHOD OF PAYMENT

CHeCK made PaYaBle to new orleans auCtion Galleries

annual suBsCriPtion (domestiC)(6 issues) - $150.00

annual suBsCriPtion (international)(6 issues) - $300.00

sinGle CataloGue For uPCominG auCtion (domestiC) $25.00

sinGle CataloGue For uPCominG auCtion (international) $50.00

i do not wisH to suBsCriBe at tHis time, But Please inClude me on Your mailinG list.

Your satisFaCtion is imPortant to us. iF You HaVe anY ProBlems witH Your order Please Call (504) 566-1849. Please Visit us online www.neworleansauCtion.Com For more inFormation.

Visa masterCard

Credit Card numBer ________________________________

exPiration date _____________________________________

amount $ _________________________________________

siGnature _________________________________________

date _____________________________________________

oFFiCe use: mail Code __________ suB. end date _____________

NEW ORLEANS AUCTIONGALLERIES

CONDITIONS OF SALEALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER.PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. INTRODUCTION(a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows:

• An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG.

• The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG.• A “Bid” is a bid made by a party at the Auction to purchase a Lot.• A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid,

through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding).

• A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction.• “Buyer’s Premium” is defined in Section 4 below.• “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction.• The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue

presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction.

• The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges.

• A “Lot” is specific item of property offered for sale at Auction.• The “Reserve” is defined in Section 3 below.• The “Purchase Price” is defined in Section 4 below.• A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot.• The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or

is otherwise the seller of the Lot.• The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and

best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer.

(d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.2. BEFORE THE AUCTION(a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER.

(i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.”

(ii) No warranty of redhibition. ANY WARRANTY AGAINST REDHIBITORY DEFECTS IS

WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose.

(iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale.

(iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED.

(v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership.

(vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a).(b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion. (c). Catalogue and other descriptions.

(i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others.

(ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot.

(iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price.

(iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material.(d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that:

(i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot;(ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause

of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any

oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere;

(iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot;

(iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and(v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the

catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.3. AT THE AUCTION(a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements:

(i) A Bidder must complete and sign the attached registration form and provide identification to NOAG;(ii) NOAG may require the production of bank or other financial references or any other additional

information;(iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the

event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment

(iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set

by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below).(b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids.

(i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”).

(ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid.

(iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. (d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction

in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above.(e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller.(f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot.(g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion.(h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction.(i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG.(j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.4. AFTER THE AUCTION(a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG:

(i) the Hammer Price; and(ii) the “Buyer’s Premium” consisting of a premium of 23% of the Hammer Price (discounted to 20% if

the method of payment is by check, cash, or wire transfer) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and

(iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form.(b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 801 Magazine Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer.(c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the

full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card.(d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction.(e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction.

(g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for

such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved.

(i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5. COPYRIGHTThe copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.6. SEVERABILITYIf any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.7. DATA COLLECTIONIn connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.8. LAW AND JURISDICTIONThe rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

Customers, Please Note:Deadline for Absentee/Telephone Bidding

Guidelines for Telephone Bidding5:00 p.m. Central - Thursday, June 6, 2013

estimate on each item.

Deadline for Condition Report Requests5:00 p.m. Central - Thursday, February 21, 2013

We Accept VISA and MasterCardfor 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, June 6, 2013, at 5:00 P.M.)

Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition

reports will not be given verbally. Photo requests will only be processed for items not illustrated in our catalog or website

(www.cakebreadauction.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: 504-566-1851or Email info@cakebreadauction.com

Please Select:Method of Receiving Reports: _____Fax _____Mail _____Email Method of Receiving Photographs: _____Mail _____Email

CakebreadDesigner Auction

NEW ORLEANS AUCTION GALLERIESPresents

New Orleans Auction Galleries is not responsiblefor damage to property during pick ups and loading.

We will assist clients with moving and loadingitems at the client’s own risk.

We are not responsible for any damage toitems during moving, packing, or loading within

or outside our premises.

I have read and understand the above statement:

Signature:_____________________________ Date: ________

CakebreadDesigner Auction

NEW ORLEANS AUCTION GALLERIES

Presents