Information below is the lot/description information from our Holiday Estates Auction, December 6 & 7, 2008. Descriptions listed below are NOT guaranteed accurate. Call 1-800-467-5329 for general information on Neal Auction Company. Follow the catalogue link to order our beautifully illustrated catalogue.

201. A Large Chinese Blue and White Vase, by Wan Ding (Chinese, b. 1955), the tapering baluster body boldly painted with large flowering plants on a white crackle ground, drilled base, height 34 1/4 in. $1000/1500
Provenance: Gift of the artist.

202. Pu Zuo (Chinese, 1918-2003), "Catching the Horse", ink and color on paper, signed and sealed upper right, 26 3/4 in. x 13 1/4 in., framed and glazed. $2000/4000
Provenance: Purchased Beijing 1940s; thence by descent to the current owner.
Note: In addition to receiving great respect and honors throughout his career as a versatile modern artist working within the classical Chinese tradition, Pu Zuo was a member of the Qing Dynasty imperial family. He was the great grandson of Minning, the Daoguang Emperor (1782-1850), and first cousin to Pu Yi, the Xuantong Emperor (1908 and 1924)--most commonly known as "The Last Emperor" of China.
Pu Zuo realized great success with public exhibitions (Beijing, 1937 and Tianjin, 1944). Pu Zuo's collected works were published in 1984, and in 1986 he was honored by the Chinese Department of Arts and the Ministry of Culture when his work was selected for inclusion in a UNESCO publication presenting China's most important living artists. Pu Zuo formally retired from painting in 1988.

203. Chinese School, probably 19th/20th c., "Bamboo", a set of four paintings after Zheng Xie (1693-1765), ink on paper, each 36 3/4 in. x 10 3/4 in., framed and glazed. $800/1200

204. Chinese School, probably 19th c., "The Queen Mother of the West with the Monkey King and the Peach of Immortality", possibly after Dong Qichang (1555-1636), ink and light color on paper, 37 in. x 18 1/2 in., framed and glazed. $400/600

205. Chinese School, 19th c., "Birds and Flowers of the Seasons", a set of eight album leaves depicting the birds and flowers of the four seasons, ink and color on silk, one sealed lower left, each 3 3/4 in. x 4 1/4 in., presented in two frames. $400/600

206. Zha Sheng (18th c.), "Plantain Tree, Rock and Lingzhi Fungus", ink on paper, signed "Zha Sheng" and dated 1756 ("Qianlong era, the bingzi year, qinghe month, third day") lower right, 31 1/2 in. x 7 1/4 in, framed and glazed. $3000/5000
Note: Plantains are common in southern Chinese gardens, where they are admired for their broad leaves. When combined with the rock (permanence) and the lingzhi fungus (symbol of immortality) they create a variation on the "three friends of winter" theme, representing resistance to the elements and the ability to withstand hardship.
The above artist appears to have the same name as the 17th century calligrapher Zha Sheng (1650-1707).

207. Gu Fang (Chinese, active 1690-1730), "Village Landscape", ink and color on silk, signed and sealed upper left, collector's seal lower right, 67 3/4 in. x 19 1/2 in., framed and glazed. $15000/20000
Note: Gu Fang, from Huating, Jiangsu Province in China, was a student of the pre-eminent artist Wang Hui (1632-1717), one of the so-called "Four Wangs" of the Orthodox School of Qing painting. Gu accompanied his teacher to Beijing and assisted on commissions for the Kangxi emperor. In accordance with accepted practice, Gu studied and copied illustrious works by the old masters, often painting in the manner of a specific ancient master. The "blue-green" in the hills and mountains of this work reference earlier, Tang-dynasty paintings.

208. A Pair of American Reform Carved Oak "Turner's" Chairs in the Gothic Manner, late 19th c., turned crest rail, spindled back with a central turned standard, turned arms, triangular slatted seat, spindled conforming base, disc feet, height 41 1/2 in. $2500/3500
Note: With prototypes dating before the 13th c., this distinctive chair form was the apogee of the skill of the English Gothic-period turner. Remarkably stable in construction, the rails attach to the uprights through bored holes. Chairs of this form were some of the earliest imported to and made in New England. The Colonial Revival movement and interest in Gothic history in the late 19th and early 20th c. induced a fashion for bench-made versions of turner's chairs such as those seen here.
A chair identical to those here is shown in a photograph of the drawing room of the Knight D. Chesney house, South Manchester, Connecticut, in Turner and Mc Quinllin, The Opulent Interiors of the Gilded Age, All 203 Photographs from "Artistic Houses", pl. 66.

209. An Antique Regency-Style Carved, Painted and Gilt-Decorated Thuyawood Sideboard in the Adam Taste, c. 1880, stamped "Lamb Manchester 37253", egg and dart molded broken arch pediment centered with anthemion and rosette, tripartite mirror with anthemion, fluted, rosette and paint-decorated friezes, low shaped shelves, pair of pedestal end cabinets painted with oval reserves of Classical maidens, central glazed door and panels, blocked corners with gilt paterae, square tapered legs, lavishly decorated with gilt moldings, painted beribboned floral pendants and swags, height 126 in., width 79 in., depth 19 in. $12000/18000
Note: The lower case of this sideboard is very similar to an inlaid server also made by Lamb of Manchester in the Carnegie Museum, Pittsburgh. Interestingly, Herter Brothers in New York also used a similar case form for a number of commissions.
Reference: Howe, et. al. Herter Brothers, Furniture for a Gilded Age, p. 164.

210. A Pair of George III-Style Mahogany Club Chairs in the Sheraton Taste, early 20th c., barrel backs, serpentine seats, tapering legs, upholstered in red leather with nailhead trim, height 29 1/2 in. $800/1200

211. A Good William IV Carved Oak Sarcophagus-Form Cellarette, mid-19th c., stamped Gillows, stepped, beveled foliate carved lid opening to a fitted lead-lined interior, paneled front with cartouche of grapes, foliate molded base, casters, height 24 in., width 31 in., depth 23 in. $4000/6000
Note: With beginnings as a family firm in the early 18th c., Gillows & Co. expanded beyond Lancaster into a London office in 1769. Noble commissions and various patents increased the prestige of the firm up through the early 19th century, when it established its dual role as trend-setting cabinetmaker and interior decorator.
Reference: An extensive history appears in Lindsay Boynton, Gillows Furniture Designs, 1995.

212. An Iberian Carved Rosewood Side Table, 19th c., gadrooned rectangular top, foliate-carved trestle supports with wrought iron stretcher, height 30 in., width 48 in., depth 30 in. $1800/2500

213. An Antique Louis XVI-Style Bronze-Mounted Mahogany Escritoire, 19th c., the hinged slant top opening to a baize writing surface and fitted interior, skirt with long drawer, fluted tapering legs ending in ferrules, the whole with bronze moldings, height 35 in., width 26 1/2 in., depth 16 1/2 in. $1200/1800

214. A Continental Neoclassical Carved Crème Peinte and Gilt-Decorated Console, late 18th/early 19th c., probably Baltic, the variegated marble top above a molded frieze with swagged husks, a foliate tablet at the center on fluted square tapering legs, lobed feet terminating in spheres, height 38 1/2 in., width 51 in., depth 21 in. $4000/6000

215. Italian School, 18th c., "Judith with the Head of Holofernes", oil on canvas, unsigned, 17 1/4 in. x 10 3/4 in., in a giltwood frame. $1000/1500
Note: When the Babylonian king Nebuchadnezzar dispatched Holofernes on rebellious western cities, the Hebrew widow Judith saved her people by beheading the general while he was inebriated. The Old Testament Book of Judith is devoted to the heroine, for she embodies the defeat of an enemy through cunning and courage. Traditionally, this scene is depicted with Judith, her elderly maid, and a gruesome Holofernes. The beheading of Holofernes by Judith was a subject for works by such artists as Donatello, Sandro Botticelli, Andrea Mantegna, among others.

216. Charles Euphrasie Kuwasseg (French, 1883-1904), "Village by the Sea", oil on board, signed lower right, 19 in. x 29 3/4 in., framed. $3000/5000
Note: An accomplished and respected marine painter of the Breton and Normandy coasts, Kuwasseg was from an artistic Austrian family; two of his uncles and his father Karl-Josef Kuwasseg (1802-1870) were successful artists. He was initially trained by his father, who believed travel was essential to an artistic education. Father and son traveled extensively across Europe, South America, and England and this experience proved invaluable to Kuwasseg's development as a painter.
After spending several years as a sailor, Kuwasseeg moved to Paris where he resumed his studies under the acclaimed marine painters Jean-Baptist Durand-Brager (1814-1879) and Eugene Isabey (1803-1886). He debuted at the Paris Salon in 1855 and throughout his career he exhibited regularly at the Paris Salon and the Salon des Artistes Française (where he received a third place medal in 1892). Kuwasseg became a professor of Art in Paris where his students included Marie-Joseph Clavel (1850-1923).
Reference: Bénézit. Dictionnaire des Peintres. Librairie Grund. 1976. Vol. VI, p. 362.

217. German School, early 19th c., "Portrait of a Gentleman, Probably Georg Frederic Handel", oil on canvas, unsigned, 29 1/2 in. x 25 in., in a giltwood frame. $1500/2500
Provenance: Broussard's Restaurant, New Orleans.

218. A Continental Patinated Bronze of "The Bacchantes", 19th c., after Guillaume Denière (also known as Deninger), (French, 19th c.), signed Denière at left, height 26 in., width 19 in., depth 11 1/2 in. $8000/10000

219. An Antique Louis XV-Style Carved Giltwood and Aubusson Salon Suite, 19th c., comprising a canapé, two fauteuils and four chaises upholstered in tapestry, each with molded crest, serpentine seat rail and molded cabriole legs, casters, sofa height 38 1/2 in., width 68 in., depth 30 in.; chair height 35 1/2 in., (7 pcs.) $20000/30000

220. A Pair of Continental Patinated Bronzes of Infant Satyrs, the cherubic figures in the guise of young Bacchantes, height 22 1/2 in., width 8 1/2 in., depth 9 in., on round marble bases. $4000/6000

221. An Italian Bronze Bust of Dante, after the 1921 original by Onorio Ruotolo (Italian/American, 1888-1966), signed "Ruotolo" on back, inscribed on side "Alma sclegnosa, benedetta colei che'n te s'incinse (Disdainful Soul, Blessed be she who bore thee in her bosom)" from The Inferno, cant 08, height 22 in., width 15 in., depth 10 1/2 in. $1500/2500
Note: Ruotolo studied at the Royal Academy of Fine Arts in Naples before immigrating to the United States in 1908. Long involved in political and social causes, he established the Leonardo Da Vinci Art School in Manhattan in 1923 to provide free art instruction to impoverished men and women who would otherwise have had no opportunity for an art education. A sculptor of the realist academic tradition, Ruotolo produced sculptures of many historical figures from art and politics, including his 1921 bust of Dante.
Reference: Sciorra and Vellon. "Bringing Art to the People". A&I Review. April 4, 2004.

222. A Good Pair of Antique Italian Carved, Ebonized and Gilt Girandole Mirrors, each surmounted by a Neo-Classical urn and swag, oval mirror plate over bracket shelf mounted with candlearms, height 49 in., width 25 in., depth 9 in. $5000/7000

223. An Italian Carved Walnut Armchair, late 18th c., height 37 in. $1200/1800

224. A Queen Anne Red Lacquered Chinoiserie Looking Glass, 18th c., arched crest, molded scalloped frame, divided beveled mirror plate, the whole with later landscape and floral gilt and lacquer decoration, height 45 in., width 18 in. $1200/1800

225. A Monumental Louis XVI-Style Patinated and Gilt Bronze Marble Figural Clock Garniture de Cheminée, 19th c., the clock mounted with "Hebe and Jupiter", after Jules Pierre Roulleau (French, 1855-1895), signed "J. Roulleau", the seven-light candelabra with eagle head and scrolling supports, over urn standard with satyr handles, the Languedoc red marble inset with relief plaques of cherubs, on tall anthemion decorated feet, clock: height 25 in., width 22 in., depth 15 in., candelabra: height 32 in., width 13 1/2 in. $20000/30000

226. A Louis XV/XVI-Style Gilt Bronze-Mounted Rosewood and Parquetry Bureau Plat, early 20th c., shaped top over long drawer, cabriole legs with mounted knees and sabots, height 31 1/2 in., width 53 1/2 in., depth 32 1/2 in. $3000/5000

227. A Louis XVI-Style Gilt Bronze-Mounted Fern Stand, c. 1860, galleried rouge marble top, turned legs over outswept feet connected by incurvate X-stretcher, height 37 in., 12 in. square. $800/1200

228. Alfred Serre (French, late 19th c.), "Charity with her Children", enamel on copper, signed and dated "1877", inscribed "maison F.Barbedienne" for Ferdinand Barbedienne (French, 1810-1892), in a very rare contemporaneous gilt bronze frame. $1200/1800

229. Riccardo Meacci (Italian, b. 1856), "View of Santa Maria Novella, Florence", watercolor, signed lower right, sight 7 3/4 in. x 4 1/4 in., matted and framed. $2500/3500
Note: Meacci studied under Luigi Mussini (Italian, 1813-1888) at the Instituti di Belle Arti in Siena from 1871-1880. After spending a year working in the area, he moved to Florence. It was there that Meacci was exposed to the work and artistic tenets of the English Pre-Raphaelites, likely in the person of John Roddam Spencer Stanhope (English, 1829-1908) who had recently immigrated to the city. Meacci was able to successfully combine aspects of this new style with more traditional Italian painting techniques, and he soon found himself a favorite of the expatriate aristocratic English society.
His appealing, precisely lined watercolors and tempera paintings inevitably made their way to England where he received commissions from Queen Victoria, the Duke of Connaught, and the Earl of Lothian, among others. Meacci was also appreciated in his own country; the Palazzo Pitti commissioned a series of three paintings, and he designed murals for various churches in Siena and Florence.
Reference: Bénézit. Dictionnaire des Peintres. Librairie Grund. 1976. Vol. VII, p 297.

230. A Large Pair of Continental Gilt and Polychrome-Decorated Covered Jars, baluster form, magenta ground with floral sprays, the reserves painted with courting couples, height 22 1/2 in., diameter 12 in. $1800/2500

231. Four Silvered Metal and Rock Crystal Six-Light Sconces, having scroll arms and ornate tiered backplates in the shape of floral baskets decorated with glass flowers, electric, height 31 in., width 27 in., depth 13 in. $2000/3000
Provenance: Ex-Collection Wyndham Canal Place, New Orleans, LA.

232. A Pair of Louis XV-Style Gilt Bronze Three-Light Sconces, the scrolling foliate arms hung with rock crystal prisms, height 16 in., width 17 1/2 in. $1000/1500

233. A Strand of White South Sea Pearls, 14mm, 14 kt. yellow gold and diamond clasp, length 18 1/2 in. $7000/9000

234. A 14 kt. Yellow Gold and Diamond Solitaire Engagement Ring, European cut diamond, approx. 1.75 ct., I-J color, SI1 clarity, size 6. $4000/6000

235. An Art Deco 18 kt. White Gold and Diamond Dinner Ring, with 16 European cut diamonds set in platinum filigree with a white gold band, approx. 1.90 ct. total weight, G-H color, VS2-SI1 clarity, size 7 1/4. $800/1200

236. An Antique Yellow Gold and Micromosaic Brooch, mid-19th c., the micromosaic depicting St. Peter's Basilica on a goldstone background, together with a hand-carved and painted box with a Tyrolean Alps scene and inscription, width 1 3/8 in. $400/600

237. A French Bronze Group of "Chasse à la Perdrix (The Partridge Hunt)", 19th c., after Pierre-Jules Mene (French, 1810-1879), signed "P.J. Mene", on naturalistic base, height 9 in., width 15 1/2 in., depth 8 1/2 in. $1200/1800

238. A Pair of Patinated Bronze Blackamoors, each figure with one hand raised and the other holding a torchère, each height 27 in., width 11 1/2 in., depth 7 1/2 in. $1400/1800

239. An Antique Louis XVI-Style Carved Giltwood Mirror, scrolling foliate crest with laurel leaves and plumed helmet, pendant tasseled sides, beaded, dentil-molded framed, height 47 in., width 30 in. $2000/3000

240. A Decorative Continental Paint-Decorated Four-Panel Screen, each tripartite panel with musical vignettes, scrolling floral cascades, putti and Rococo motifs on black background, height 68 in., open width 96 in. $2000/3000

241. A Chinese Embroidered Blue Silk Gauze Summer Dragon Robe (Jifu), 19th c., finely embroidered and worked in couched gold and silver threads with nine five-clawed dragons in pursuit of and grasping flaming pearls amid scrolling clouds tossed with bats, crab, carp and other auspicious objects, above a terrestrial diagram and lishui stripe, separated by ruyi-shaped clouds, the neck, chest band and horsehoof cuffs decorated en suite, the black silk sleeves stripe banded, length 84 1/2 in. $2500/3500
Note: The robe offered here is embroidered with the traditional terrestrial diagram design. The multi-colored diagonal bands at the hem represent the universal ocean. On the central axis is an abstract mountain signifying the earth. Above, are the heavens, inhabited by dragons. The dragon was the primary symbol of the emperor and each Jifu robe displays nine of them. The first four, encircling the neckline at the front, back, and shoulders, represent the cardinal directions of the compass. The four on the front and back of the robe's skirt represent the intervening directions of the compass. The ninth dragon lies hidden inside the robe's interior flap.

242. Nguyên Thanh Le (Vietnamese, b. 1919), "Monument", lacquer on panel with eggshells and gold, incised "Thanh Le" lower right, 28 1/4 in. x 25 in. $600/800
Note: Nguyên Thanh Le's style represents a melodious blend of Western painting tradition conceived in the acutely Vietnamese modern lacquer technique. Nguyên Le is, perhaps, most famous for his lacquer interior decorations for the French luxury super-liner, the SS Normandie, before the Second World War. In 1940 the artist established the Thanh Le Lacquer Company in Thu Dau Mot. His reputation was such that it attracted many other well-respected lacquer artists to the company, including Thai Van Ngon, Tran Van Khiem, and Truong Van Thanh.
Reference: Nguyet, Tuyet, "Editorials", Arts of Asia, Jul-Aug 2001 Vol. 31, Issue 4; [online] available: http://www.thanhniennews.com, October 24, 2008.

243. Xu Shi-Qi (Chinese, 20th c.), "Eagle on a Rock Above a Stormy Sea", ink and color on paper, signed, inscribed and sealed upper to middle right, 53 3/4 in. x 26 1/4 in., framed and glazed. $800/1200
Provenance: Gift of the artist to Chinese WW II Lieutenant General Hu Bohan (1900-1973), General Officer Commanding 8th New Army (1944-1945); thence by descent to the current owner.

244. An American Classical Carved Mahogany Grecian Sofa, early 19th c., in the manner of Anthony Quervelle, Philadelphia, the acanthus-carved scrolled back terminating in a concentric boss, rounded arms with a large foliate carved roundel and a volute acanthus scrolled terminal, gadrooned seat rail, foliate-carved volute bracket paw feet, casters, height 33 in., width 71 in., depth 20 in. $5000/7000
Reference: A Grecian sofa attributed to Anthony Quervelle, illustrated in Smith, "The Furniture of Anthony Quervelle, Part V: Sofas, Chairs and Beds", Magazine Antiques, March 1974, fig 6, is closely related to this lot.

245. An Important American Renaissance Carved Walnut Sideboard, mid-19th c., attributed to Alexander Roux, New York, the architectonic crest centered by a boar's head, strapwork and acanthus carving, pineapple finials, two shelves with lion's head and fruit-carved panels in high relief, the original inset Rose de Valence marble top on a conforming case, frieze drawers over four doors carved with fish, fowl and fruit vignettes, conforming plinth, height 93 in., width 79 in., depth 26 in. $50000/70000
Note: This sideboard has elements similar to five other known examples from the Roux workshop and connected to the renowned example presented by the firm at the 1853 Crystal Palace Exhibition in New York City illustrated in The World of Science Art and Industry, Illustrated Examples in the New York Exhibition. The fruit carved stile terminals and the door panel with an eel scrolling a fish are identical to those on the black walnut sideboard stamped by Roux at the Metropolitan Museum of Art and very similar to those on the "companion" piece conserved by the Newark Museum. The sideboards in these two museum collections likely were commissioned by the Astor family for Rokeby, their house in the Hudson River Valley built in the 1850's.
Interestingly, the sideboard at the Met is crested with a stag, the sideboard in Newark is crested with a steer, and the sideboard here is crested with a boar. Beef, venison and pork are all presented in the three sideboards. A boar's head very similar to that on this lot decorates the skirt of a center table at the New York Historical Society illustrated in Otto, American Furniture of the 19th c.
A walnut sideboard also attributed to Roux with case carving similar to that seen here was sold by Neal Auction Company as lot 841 on December 1, 2007. A rosewood sideboard labeled by Roux with proportions, case configuration and carved decoration very similar to that seen here was offered in these rooms as lot 560, February, 1995.

246. An American Classical Mahogany and Rosewood Banded Pier Table, c. 1825, Philadelphia, white marble top, cove-molded frieze, Ionic tapered supports, mirrored back flanked by half-round tapered pilasters, scalloped segmented and banded plinth, paw feet with gadrooned collars, height 40 in., width 43 in., depth 21 in. $5000/7500

247. An American Classical Carved Mahogany and Brass Inlaid Drop-Leaf Table, c. 1820, New York, the leaves with chamfered corners, deep end drawer, ebonized molding; turned supports, incurvate plinth, acanthus-carved legs ending in paw feet with casters, height 28 1/2 in., extended length 49 in., width 39 in. $1200/1800

248. Hayley Lever, N.A. (Australian/New York, 1876-1958), "Nantucket", oil on canvas, signed lower center, titled and dated "1915" en verso, 10 in. x 12 in. $4000/6000
Provenance: Estate of the artist, Clayton Liberatore Gallery, Bridgehampton, New York.

249. Hayley Lever, N.A. (Australian/New York, 1876-1958), "River Exe", oil on canvas, c. 1906, signed lower left, titled en verso, 6 1/2 in. x 9 1/2 in., attractively framed. $2000/3000
Provenance: Estate of the artist, Clayton Liberatore Gallery, Bridgehampton, New York.

250. Hayley Lever, N.A. (Australian/New York, 1876-1958), "St. Ives, Cornwall", oil on canvas, signed lower right, 6 1/2 in. x 9 1/2 in., attractively framed. $2000/3000
Provenance: Estate of the artist, Clayton Liberatore Gallery, Bridgehampton, New York.

251. Hayley Lever, N.A. (Australian/New York, 1876-1958), "River Exe", oil on canvas, signed lower right, titled and dated "1907" en verso, 6 1/2 in. x 9 1/4 in., attractively framed. $2000/3000
Provenance: Estate of the artist, Clayton Liberatore Gallery, Bridgehampton, New York.

252. Hayley Lever, N.A.(Australian/New York, 1876-1958), "Storm Clouds", oil on canvas, signed lower left, titled and dated "1906" en verso, 6 1/4 in. x 9 1/2 in., attractively framed. $2000/3000
Provenance: Estate of the artist, Clayton Liberatore Gallery, Bridgehampton, New York.

253. A Set of Twelve American Sterling Silver Service Plates, Gorham, date symbols for 1908 and 1912, the plain centers having embossed floral swags and bowknot rims with reeded edges, diameter 10 1/16 in., weight 178.40 troy ounces. $1200/1800

254. A Gorham Sterling Silver Partial Coffee and Tea Service, 1910 date symbol, comprising a coffee pot, teapot, sugar and a 1915 kettle-on-stand, straight sided partially fluted oblong forms, bright-cut engraved bands, engraved monogram, kettle-on-stand height 13 in., coffee pot height 8 1/4 in., combined weight 95.20 troy ozs., (4 pcs.) $1000/1500

255. A Tiffany Sterling Silver Footed Candy Dish, pattern number 22673, after 1939, plain fluted shallow circular form on three ball supports, height 1 7/8 in., diameter 6 in., weight 6.95 troy ounces. $150/250

256. A Three Piece Gorham Sterling Silver After-Dinner Coffee Set, 1901 date symbol, comprising a coffeepot, sugar and creamer, floral and scroll embossed bulbous oblong forms, the coffeepot with a long neck, engraved script monogram, coffeepot height 8 in., combined weight 13.35 troy ozs. $600/800

257. A Pair of Kirk Sterling Silver Three Light Candelabra, each in three sections with interchangeable parts, circular bases, baluster stems, reeded arms and characteristic Kirk floral repoussé borders, "AMB" engraved on bottom of bases, height 14 1/4 in., width 13 3/4 in. $600/900

258. A Pair of Five-Light Silverplate Candelabra in the Rococo Taste, 20th c., inspired by late second quarter 19th c. example, each in two sections, the shaped and weighted bases with acanthus and scroll decoration as well as the upper borders and bobêches, reeded branches, height 16 1/4 in., diameter 16in. Note: Two bobêches replaced. $500/700

259. An Antique Russian Brass and Blown Glass Candleholder, spring-loaded, marked in Cyrillic on cap, hung with prisms, etched shade with cranberry rim, height 18 1/2 in., diameter 6 1/4 in. $500/700

260. A French Patinated Bronze and Repoussé Brass Three-Piece Mantel Garniture, early 19th c., comprising a double socket candleholder and two single socket flanking pieces, having round bases, drum-like standards with raised floral designs and individual flowers forming a variant of "J" shaped prism supports, centerpiece has serpent form scroll arms, centerpiece height 9 1/2 in., width 10 1/4 in. Note: Some prisms damaged. $400/600

261. A Patinated Bronze Figure of a Boy on the Beach, early-to-mid 20th c., titled "A Nocino...", signed Chiparus and dated 1912, height 5 in., width 10 in., depth 6 1/4 in. $600/900

262. A Pair of Tiffany and Co. Sterling Silver Wine Coasters, having removable turned hardwood inset bases with vacant silver bosses, marked Tiffany on base, plain rounded forms with molded rims, height 1 1/2 in., diameter 4 3/4 in, weight 9.25 troy ounces. $400/600

263. A French Tôle Peinte Four-Light Chandelier, early 19th c., red ground with gilt decoration, lyre-form standard, oil fonts with tôle shades, now electrified, height 32 1/2 in., diameter 28 in. $2000/3000

264. A Pair of Georgian-Style Gilt Bronze and Etched Glass Lanterns, acanthine corona, scrolling frame, fitted with curved glass panels and four-light fixture, height 38 in., width 18 in. $1500/2000

265. A Pair of Small Brass and Crystal Chandeliers, of circular form with anthemion mounts and cut faceted crystals, the two tiers connected by draped graduated crystal beads, height 18 in. $500/1000

266. A Fine French Polished and Patinated Bronze Urn with a Bas-Relief Frieze of Priestesses Offering Sacrifices, late 19th c., the base inscribed "F. Barbedienne", double-horn handles in the form of grotesque masks, the collar, stem and socle with ornamental moldings, on a beveled bronze base above a variegated black marble plinth, now mounted as a lamp, height 16 in., base plinth 7 in. square. $1000/1500

267. A Pair of Antique Georgian-Style Carved Mahogany Armchairs, arched foliate crest and stiles, intertwined pierced splats, scrolled padded arms, concave upholstered seat rail, square molded legs to the front and pad feet to the rear, height 36 in. $1500/2500

268. A Pair of Georgian-Style Carved Mahogany Console Tables, rectangular top with egg and dart molding, pollard oak frieze, cabriole legs with eagle head terminals and feathered claw and ball feet, height 33 in., width 58 1/2 in., depth 24 1/2 in. $2500/3500

269. An English Paint-Decorated and Satinwood Kidney-Shaped Desk, c. 1890, inset leather top, incurvate kneehole drawer flanked by a banks of drawers on square tapered legs, brass cuff casters, floral swags and scrolling vines overall, height 30 3/4 in., width 48 1/4 in., depth 21 3/4 in. $2000/3000

270. John Frederick Herring, Jr. (British, 1815-1907), "A Barnyard Scene with Horse, Sheep, and Border Collie", oil on canvas, signed "J.F. Herring" lower left, 12 in. x 16 in. $8000/12000
Note: This charming scene reflects a quiet moment in a stable-yard being shared by three four-footed "friends": the sheepdog and his charge, both closely observed by the feeding horse. The reassuring tranquility, the carefully rendered details, and the warmly shadowed light all represent the younger Herring's most characteristic style.

271. English School, mid-19th c., "British Officer of The Light Cavalry of The Anglo-Sikh Wars", oil on canvas, unsigned, bearing an "AMC London" label en verso, 30 in. x 25 in., in a period giltwood frame. $1000/2000
Note: The Anglo-Sikh Wars were two distinct but closely related conflicts occurring between 1845-1846 and 1848-1849, involving the Sikh Empire, the British East India Company, and the British Government. The East India Company was formed in 1600; by the mid 19th c. it was a formidable commercial, trade, political, and increasingly military entity in India. For centuries there had been a tenuous, but mostly peaceful, relationship between the Sikhs and the English. After the death in 1839 of the Maharaja Ranjit Singh, who had expanded, consolidated, and successfully controlled the Sikh Kingdom of Punjab, civil strife and conflict ensued. Fearing this would soon expand beyond the confines of Punjab, the East India Company began to build a considerable, and very visible, military presence. In December of 1845, the two sides entered into open combat. After many months and several bloody battles, the victorious English offered a somewhat surprisingly generous truce; the British would gain control of a portion of the Sikh territory while the remaining regions would be allowed to maintain nominal self-rule. While the Sikhs were initially content with this situation, dissatisfaction over the English involvement and presence in India grew, eventually resulting in war. This time, the triumphant English were not so generous and they took military and political control of the entire area, thus beginning the era of complete British rule in India.
Reference: Read and Fisher. The Proudest Day-India's Long Road to Independence. W.W. Norton & Co., New York. 1998.

272. English or Scottish School, late 18th/early 19th c., "Lady Jane Hume-Campbell as a Child, with a Basket of Flowers", oil on canvas, 24 in. x 20 in., in a period giltwood frame. $3000/5000

273. Professor Albert William Holden (English 1848-1932), "The Billiard Room", oil on canvas, signed and dated 1902, 34 1/4 in. x 44 in., framed. $10000/15000
Note: A London painter of historical and genre scenes, Holden studied at the Royal Academy Schools. He exhibited at Suffolk Street and the Royal Academy and was an instructor at King's College.
Reference: Wood. Victorian Painters. Antique Collector's Guild. 1995. Vol. I, p. 252.

274. Henry Moore (English, 1831-1895), "Sailing Away", watercolor on paper, signed lower left, bearing label "The Boots Chemists Picture Framing & Art Dept" en verso, 4 1/2 in. x 12 1/2 in., attractively matted and framed. $2500/3500
Note: Moore received his early artistic training from his father William Moore of York (1790-1851), as did his younger brother Albert Joseph Moore (1841-1893), and later attended the York School of Design and the Royal Academy Schools. An accomplished animal and landscape painter, Moore's career flourished once he decided to concentrate on marine scenes.
Praised for his ability to accurately render the sea's movement, Moore was considered one of the most significant Marine painters of the late 19th c. Between 1853 and 1895 he exhibited at the Royal Academy, becoming an Associate in 1885 and a full Academician in 1893; he also participated in exhibitions at Grosvenor Gallery, the Royal Hibernian Society, the Society of British Artists, and the Royal Water Colour Society. In 1889 he was awarded the Grand Prize at the Exposition Universelle in Paris. Moore's paintings are in numerous permanent collections including the Musée d'Orsay, the National Maritime Museum, Manchester Art Gallery, the Tate Gallery, the National Portrait Gallery in London, and the Victoria and Albert Museum, among others.
Reference: Wood. Victorian Painters. Antique Collector's Guild. 1995. Vol. I, pp 361-2.

275. A Regency Mahogany Hanging Candle Box, c. 1800, tapering rectangular lidded box, hinged on the outside with brass "H", height 22 in., width 7 3/4 in. $400/600

276. An English Inlaid Mahogany Tea Caddy, early 19th c., with fitted interior, containing three well-detailed boxes, the lid having a compartment for two spoons and sugar tongs, the exterior decorated with compass, oval and geometric designs, height 6 1/4 in., length 11 in., depth 5 3/4 in. $500/700

277. A Large Antique English Leaded Glass Shop Sign, c. 1900, possibly a transom, deeply carved molding, advertising "Brophy's, Purveyors of Fine Teas and Coffees", height 32 in., width 59 in., depth 3 3/4 in. $500/700

278. An Antique English Carved Mahogany and Satinwood Inlaid Barometer, c. 1850, broken pediment with ivory bosses, incorporating a hygrometer, thermometer, butler's mirror, indicator dial with ivory knob and level indicator, height 37 1/2 in., width 10 in., depth 2 in. $400/600

279. An English Brass Fireplace Fender, 20th c., with two tiers of tubular rope elements above a molded base, height 9 in., width 58 in., depth 14 in. $300/500

280. A Set of Four Georgian Sheffield Plate Candlesticks, early 19th c., sunburst mark on footrim of each, plain weighted round bases, tapered stems, and urn-shaped sockets, reeded borders and removable bobêches, height 11 in. Note: Bobêches associated. $500/800

281. A Sheffield Plate Hot Water Urn, 19th c., in the Regency manner, two-handled circular body with classical borders, fluted cover, cast floral finial, raised on a pedestal base, height 17 in., width 15 1/2 in. $800/1200

282. A George III Crested Sterling Silver Coffee Pot, Benjamin Brewood (ent. 1755), London, 1764-65, plain baluster form with acanthus decorated goose neck spout, applied gadrooned circular foot and cover, retains original carved ebonized handle, height 10 3/4 in., weight 28 troy ounces. $1500/2500

283. A Handsome Mahogany, Silverplate and Stainless Steel Meat Trolley, the revolving dome with steam vents and handle, interior fitted with spirit lamp, studded carving tray and 2 removable pans, the stand with chamfered legs, retractable au jus pan and plate holder, stretcher shelf, casters marked "patent pending", height 46 in., diameter 34 in. $8000/12000

284. A Mappin & Webb Silverplate Revolving Tureen, two-handled domed oval form raised on cabriole legs, fitted with pierced and plain liners and raised on cabriole legs, engraved cover surrounding a vacant reserve, height 8 in., width 14 1/8 in., diameter 8 1/4 in. $150/250

285. An American Federal Inlaid Walnut Chest of Drawers, late 18th/early 19th c., Southern, the top with string inlay above four graduated string inlaid drawers, scalloped skirt and bracket feet, yellow pine secondary wood, height 37 in., width 37 1/2 in., depth 19 in. $2000/3000

286. A Set of Eight Antique George III-Style Carved Mahogany Dining Chairs, comprised of two arm and six side chairs, serpentine crest rails with acanthus scrolled ears and stiles, entertwined splats flanked by C scrolls, trapezoidal gadrooned seat rails, acanthus and volute-carved cabriole legs ending in ball and claw feet, armchair height 42 in. $5000/7000

287. A Fine George III-Style Carved Mahogany Secretary-Bookcase, early 19th c., the broken arch scrolled pediment with Gothicized fretwork and dentil moldings, glazed doors enclosing shelves; escritoire drawer with well-fitted inlaid desk interior including a complex of secret compartments and fretwork prospect door, three drawers on molded base with bracket feet, height 104 in., width 52 in., depth 24 in. $10000/15000

288. A Good Patinated and Gilt Metal Twelve-Light Chandelier in the Louis XVI Taste, the corona with foliate collar over four scrolling arms with conforming crystal beading and crystal medallions, the whole hung with rock crystal pendants, each arm issuing three candlecups, foliate pendant below, height 42 in., diameter 36 in. $1200/1800
Provenance: Ex-Collection, Wyndham Canal Place, New Orleans, LA

289. A George III-Style Mahogany Bookcase, 19th c., the upper case with four Gothic mullion glazed doors enclosing adjustable shelves; lower case with paneled cupboard and shelf interior, height 84 1/2 in., width 81 in., depth 16 in. $6000/8000
Provenance: Henry Stern, New Orleans.

290. A Pair of Antique Empire-Style Parcel-Gilt Mahogany Fauteuils, late 19th c., molded crest, rectangular padded back, scrolled arms terminating in dolphin heads, curved seat rail, saber legs, height 36 in. $2000/3000

291. A George III-Style Inlaid Mahogany Dining Table, 19th c., rectangular tilt top with banding, turned stem, hipped sabre legs ending in brass feet, casters, height 30 in., length 52 in., width 32 in. $1200/1800

292. A Fine Suite of Eight Antique George III-Style Carved Mahogany Dining Chairs, comprising two armchairs and six side chairs, each having serpentine acanthus-carved crest rail, pierced vasiform intertwined splat, serpentine seat upholstered over the rail, on molded Marlborough legs connected by H stretcher, height 36 1/2 in. $7000/10000

293. An Antique George II-Style Inlaid and Banded Walnut Chest-on-Stand, cove molded cornice, fluted and star inlaid frieze, three short over three graduated long drawers, fluted chamfered corners, the later stand with three drawers, pierced scalloped apron on cabriole legs ending in ball and claw feet, crossbanded and chevron banded drawers, nicely figured walnut throughout, height 65 in., width 46 1/2 in., depth 23 in. $4000/6000

294. English School, c. 1770, "Portrait of a British Gentleman ", oil on canvas, unsigned, 43 1/2 in. x 35 in., in a later giltwood frame. $1500/2500

295. Norwich School, 19th c., "Woman in a White Lace Bonnet", oil on canvas, bearing label "Freeman Looking Glass Manufacturer, Carvers, Gilders, Print-sellers and General Dealer in Works of Art, Lamps, Antiquities etc. 2 London Street, Norwich" en verso, 14 1/2 in. x 12 in., in the original gilt and gessoed wood frame. $1500/2500
Note: The Norwich School of Artists is significant for being the first regional school of art in England. The town had been the site of a thriving artistic community for a number of years before the Society was officially formed in 1803. Essential to the success of the society was the Freeman family, which owned a successful gilding and frame-making shop. Members of this family worked closely with the artists (most of whom were close personal friends), helped organize exhibitions, and held significant positions within the society – Jeremiah Freeman was President of the Society in 1818; his son William in 1820.
Reference: Fawcett. "Eighteenth Century Art in Norwich". Walpole Society. XLVI. National Portrait Gallery Listing of Artist Suppliers: www.npg.org.uk

296. English School, 18th c., "A Fisherman in a Moonlit Cove, Below a Castle", oil on canvas, 19 3/4 in. x 23 3/4 in., unframed. $3000/5000
Note: This dramatic and evocative scene strongly recalls the compositional types of two of the best-known English landscape artists of the 18th c., Richard Wilson (1713-1782), whose trees, ruins and deep perspectives are invoked by this painter, and Joseph Wright of Derby (1734-1797), whose frequent moonlit nocturnes certainly inspired the striking atmosphere of this charming idyll.

297. An English or American Carved Giltwood Bullseye Mirror, 19th c., the molded frame with spherules, beading and ebonized rabbet, surmounted by a boldly carved acanthus spray, mounted at the base with a smaller cluster, retaining original gilt surface, height 42 in., diameter 30 in. $3000/5000

298. A Pair of Italian Carved Alabaster Garniture Urns, 19th c., on tall square plinths, height 21 in., 6 in. Note: Restorations. $1200/1800

299. Two Pairs of English Brass Candlesticks, beehive-form standards, chamfered square bases, height 9 in. and 8 in. $150/250