Important Fall Estates Auction - September 11,12 & 13, 2020 by Neal Auction

Fall Estates Auction

September 11, 12 & 13, 2020 FEATURING:

Property from the Collection of Noted New Orleans Preservationist and Aesthete Dorian M. Bennett Select Antiques from Historic 2700 Coliseum St., New Orleans Garden District Fine, Decorative and Pre-Columbian Art, and Maps from the Collection of Brooke and Maria Fox, Metairie, LA Property Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections Additional Property from the Collection of Wendy and the Late George (1944-2013) Rodrigue Estate of Newcomb Artist Eunice Bate Coleman, New Orleans, LA Estate of Oscar Z. Levy (1925-2020), New Orleans, LA Property Sold for the Benefit of Save Our Cemeteries, New Orleans Property Sold for the Benefit of the Arts Council of New Orleans Estate of New Orleans Antiquarian Richerson Rhodes And Property of Others EXHIBITION Preview is available by appointment only. To schedule an appointment, please contact us at clientservices@nealauction.com Auction Will Be Virtual. Bidding by telephone or absentee bid, or one of our online platforms. Friday, September 11, beginning at 2:00 p.m. Saturday, September 12, beginning at 11:00 a.m. Sunday, September 13, beginning at 11:00 a.m.

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PROPERTY FROM THE COLLECTION OF DORIAN M. BENNETT

NEW ORLEANS

Neal Auction Company is pleased to present property from the collection of noted New Orleans businessman, preservationist and aesthete Dorian M. Bennett. Founder of the eponymous real estate firm now affiliated with Sotheby’s International Realty, Dorian Bennett has enjoyed a long and distinguished career, specializing in historic properties and featuring a clientele of luminaries. In fact, he is often referred to as “Real Estate Agent to the Stars.” The award-winning restoration of his Faubourg Marigny office, 2340 Dauphine Street, speaks to Dorian’s preservation credentials, as does his personal residence, the Boutin House. Built in 1825 in ‘The Bend of Bourbon,’ the Creole cottage was once home to the son of Louisiana’s first American governor, William C.C. Claiborne. Longtime patrons of the arts, Dorian and his beloved wife, Kell, amassed a beautifully curated collection of important fine art highlighting their interest in contemporary and southern artists. Through close relationships and friendships, the Bennetts displayed a true passion for supporting artists, and with a keen eye, they selected works that embody the best of each one. In their home, the contemporary art combined with significant historical southern paintings and art pottery to create a uniquely New Orleans interior. The resulting collection represents a diverse array of voices, artistic styles and media. Active in civic affairs, Bennett has served on boards including the New Orleans Jazz & Heritage Festival, New Orleans Opera, Le Petit Theatre, Contemporary Arts Center and New Orleans Museum of Art.

Photo Courtesy Sotheby’s International Realty

SELECT ANTIQUES FROM HISTORIC 2700 COLISEUM ST., NEW ORLEANS 2700 Coliseum Street, in New Orleans’ Garden District, is one of five originally identical Greek Revival townhouses built in 1861 by noted New Orleans architect William A. Freret as a speculative venture. The outbreak of the Civil War doomed the project, and the row of townhouses, 27002706 Coliseum, became known as “Freret’s Folly”. Today they are beautifully restored Garden District landmarks.

Neal Auction Company is pleased to present select objects from 2700 Coliseum, fresh to the marketplace. The family’s collection, carefully selected over more than half a century, includes fine examples attributed to New York cabinetmakers J. & J.W. Meeks, John Henry Belter and Charles Baudouine, a labeled C. Lee tester bed of generous size, and a New Orleand lit en bateau and armoire.

Photo Courtesy Hill Riddle & Associates LLC

Session One Friday, September 11, 2 p.m.

Additional information at www.nealauction.com

1. Valery Kosorukov (Russian/New Orleans, b. 1937), “At the Barre”, 1998, oil on masonite, signed lower right, signed, dated, artist stamp and label with artist, title and date en verso, 9 in. x 12 in., framed. [$500/800] Provenance: Acquired from the artist

2. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Nude on Rocky Lakeshore”, watercolor and graphite on paper, signed lower right, 12 in. x 18 in., unframed. [$500/800] Provenance: Descended in the family of the artist

4. Keith Sonnier (American/ Louisiana, 1941‑2020), “Star of David”, neon and transformer, unsigned, 12 1/2 in. x 12 1/2 in., fastened with chord and two‑prong plug. [$2500/3500]

3. Ti‑Rock Moore (American/New Orleans, b. 1959), “I May Not Get There With You”, 2015, neon tubing, unsigned, with transformer, 3 1/2 in. x 59 in., fastened with chord and two‑prong plug. [$1500/2500] Provenance: Acquired from the artist.

5. José-Mariá Cundín (Spanish/New Orleans, b. 1938), “Brancusi in Bilbao”, 2003, bronze, signed, titled and dated on stone and wood self‑base, overall h. 23 3/4 in. [$1000/1500]

6. José‑Mariá Cundín (Spanish/New Orleans, b. 1938), “The Dangerous Cow”, 2006, painted plastic and wood, signed, titled, dated, inscribed “Folsom” and “Gallery Bienvenu” label with artist, title and date under self‑base, h. 9 1/2 in., w. 9 1/2 in., d. 6 in. [$2000/3000] Provenance: Callan Contemporary, New Orleans, LA

7. Paul Emile Berthon (French, 1872‑1909), “Sa très gracieuse Majesté la Reine Wilhelmine”, lithograph in colors, signed and dated in plate, 15 1/2 in. x 14 in., framed. [$200/250]

9. Paul Parker (American/Illinois, 1905‑1987), “Abandoned House Horlbeck Street, Charleston”, “Untitled (Street Scene, Charleston)” and “Untitled (Empty Lot, Charleston)”, 1971, 3 watercolors on paper, each signed lower right, each dated and inscribed lower left, one pencil‑titled and inscribed en verso, “Carolina Fine Painting and Prints, Charleston, SC” labels on backing papers, each 14 in. x 17 in., framed alike. (3 pcs.) [$1000/1500]

8. Dean Mitchell (American/Florida, b. 1957), “Out Building”, 2011, watercolor on board, signed and dated lower left, typed label with artist, title and date on backing, 3 1/4 in. x 5 3/8 in., framed. [$700/1000]

10. Maude Schuyler Clay (American/Mississippi, b. 1953), “Cassidy Bayou Dogs, Sumner, Tallahatchie County, Mississippi”, 2000, gelatin silver print, signed, titled and dated lower margin, sight 14 3/4 in. x 18 3/4 in., framed [$400/600] Ill.: Clay, Maude Schuyler. Bayou Dogs. Jackson: University Press of Mississippi, 2014

11. Clarence John Laughlin (American/ Louisiana, 1905‑1985), “Elegy for the Old South (No.6) Woodlawn Plantation”, 1946 negative creation date, gelatin silver print mounted to board, signed, titled and dated lower margin, artist stamp, title, negative creation date and printing dates in artist’s hand en verso of mounting board, 10 3/4 in. x 13 1/2 in., framed. [$800/1200]

12. Deborah Luster (American/ Louisiana, b. 1951), “62 ‑ East Carroll Parish Prison Farm, Transylvania, LA, Kenny Smith, Sentence 18 Months, DOC #111222, DOB 7‑20‑59”, silver gelatin print on aluminum, typed label with artist, title and edition number “2/25” on backing paper, 5 in. x 4 in., framed. [$700/1000]

Provenance: A Gallery for Fine Photography, New Orleans, LA.

Provenance: Arthur Roger Gallery, New Orleans, LA.

Ill.: Laughlin, Clarence John. Ghosts Along the Mississippi. New York: John Scribner’s Sons, 1951, pl. 98.

15. Theodore “Fonville” Winans (American/ Louisiana, 1911‑1992), “Fat of the Land, Morgan City, (Cajun Fare)”, 1938, gelatin silver print, signed and dated lower left, 15 7/8 in. x 19 7/8 in., framed. [$1500/2500]

13. George Yerger (American/New Orleans, b. 1941), “Abandoned Boat and Flying Pelicans, Delacroix, LA”, 2005, archival pigment print on paper, pencil‑signed, dated and numbered “4/75” lower margin, pencil‑signed, titled and dated en verso, from the series “Phantom Winds: A Mystic Hymn of Louisiana”, 17 1/8 in. x 18 in., framed. [$500/700]

Provenance: A Gallery for Fine Photography, New Orleans, LA.

14. Large Group of Antique New Orleans Architectural Photographs, 80 gelatin silver prints, each with location pencil‑inscribed en verso, one with “Leon M. Trice Photographer N.O.L.A.” stamp en verso, sheets 5 in. x 7 in. to 8 1/8 in. x 10 in., unframed. (80 pcs.) [$400/600] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

Provenance: Ogden Museum of Southern Art “O What a Night” Auction, 2006.

16. Yousuf Karsh (Armenian/ Canadian, 1908‑2002), “Tennessee Williams”, 1956 negative creation date, silver gelatin print, unsigned, 14 in. x 12 in., framed. [$1800/2500] Provenance: Faulkner Bookstore, New Orleans, LA.

17. Bertram “Bert” Stern (American/New York, 1929‑2013), “Nude on the Bed”, 1962 negative creation date, pigment test print on Kodak paper, signed en verso, sheet 16 in. x 20 in., framed. [$500/1000] Ill.: Stern, Bert and Annie Gottlieb. The Last Sitting. New York: William Morrow and Co., 1982, p. 101.

18. Diane Arbus (American/New York, 1923‑1971), “Russian Midget Friends in a Living Room on 100th Street, NYC”, 1963 negative creation date, gelatin silver print, signed, titled, dated and numbered “29/75”, printed by Neil Selkirk, Diane Arbus and Doon Arbus stamps en verso, “A Gallery for Fine Photography, New Orleans” label on backing, 20 in. x 16 in., framed. [$10000/15000] Provenance: A Gallery for Fine Photography, New Orleans, LA. Note: Diane Arbus was an American photographer best known for her intimate black-and-white portraits. Arbus often photographed people considered on the fringes of society at the time, including the mentally ill, transgender people and circus performers. “A photograph is a secret about a secret. The more it tells you the less you know,” she once mused. Arbus was raised in a wealthy family, enabling her to pursue artistic interests from an early age. She first saw the photographs of Mathew Brady, Paul Strand and Eugène Atget while visiting Alfred Stieglitz’s gallery with her husband in 1941. During the mid-1940s, the couple began a commercial photography venture that contributed to Vogue and Harper’s Bazaar. By the 1950s, Arbus began roaming the streets of New York with her camera, documenting the city through its residents. These images were later shown alongside those of Garry Winogrand and Lee Friedlander in The Museum of Modern Art’s exhibition “New Documents” of 1967. In the famous image offered here, Arbus captures not only a group of New York citizens, but also the intersectional and intangible community bonds formed amongst the individuals living life as little people and immigrants in the city. Additional information at www.nealauction.com

19. George Rodrigue (American/Louisiana, 1944‑2013), “Sand Dollar Beach”, 2009, silkscreen, pencil‑signed lower left, pencil‑inscribed “Artist Proof” lower right, edition of 90 plus artist proofs, sheet 18 in. x 40 in., unframed. [$1500/2500]

20. George Rodrigue (American/Louisiana, 1944‑2013), “Destination Anywhere (City of New Orleans Train Series)”, 2010, remastered digital print, pencil‑signed, inscribed “Artist Proof” and personalized lower margin, sheet 24 in. x 30 in., unframed. [$1500/2500]

21. George Rodrigue (American/Louisiana, 1944‑2013), “Washington Blue Dog”, 1993, lithograph, signed lower left margin, signed in plate lower right, open edition, 20 in. x 24 in., unframed. [$700/1000] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, p. 213.

22. Walt Disney Studios “Snow White and the Seven Dwarfs” Animation Cels, “Snow White and Bashful”, 1937, production cel from Snow White and the Seven Dwarfs, sight 8 1/2 in. x 9 1/4 in.; AND “Sleepy”, 1938, hand‑painted animation cel in Courvoisier setup, from Snow White and the Seven Dwarfs, produced for the Courvoisier Gallery, San Francisco, sight 5 1/2 in. x 5 1/4 in., framed alike. (2 pcs.) [$800/1200]

23. John McCrady (American/Mississippi, 1911‑1968), “Carnival in New Orleans”, 1941, lithograph on paper, pencil‑signed and titled lower margin, edition of 250, published by Associated American Artists, New York, sheet 11 1/2 in. x 16 in., framed. [$400/600]

24. Douglas Bourgeois (American/Louisiana, b. 1951), “Fear of Phones”, 1982, woodblock on paper, pencil‑signed, titled, dated and inscribed “A/P” lower margin, inscribed upper margin, sheet 9 in. x 11 5/8 in., framed. [$400/600] 25. Paul Cornoyer (American/New York, 1864‑1923), 1922, “A Corner of Gloucester Harbor”, oil on board, signed and dated lower left, titled “Christie’s” label and typed biography en verso, 8 in. x 10 in., framed. [$8000/12000]

Note: Paul Cornoyer was born and raised in St. Louis, Missouri, where he began studying at the School of Art in 1881. By 1889, Cornoyer had traveled to Paris for further training at the Académie Julien under Jules Lefebvre, Benjamin Constant and Louis Blanc. Impressionism had been well-established in Paris since the preceding decade, and the movement had a profound impact on Cornoyer. He abandoned the Barbizon style of his earlier work in favor of the new aesthetic. Returning to the United States, Cornoyer established a studio in New York upon the advice of William Merritt Chase, who had admired and purchased his work. In the city, Cornoyer’s career flourished as he was greatly admired as both a painter and a teacher. The urban scenery and people of New York became his main subjects, and his skillful, impressionistic renderings of reflections on water and snowcovered parks were particularly beautiful and desired. Later in life, Cornoyer spent his summers in Gloucester, Massachusetts, seen in the work offered here, where he taught, painted and assisted in forming the North Shore Art Association. Ref.: “Paul Cornoyer: American, 1864-1923.” Mark Murray Fine Paintings. www.markmurray.com. Accessed Aug. 2, 2020

Provenance: Christie’s New York, East, “American Paintings and Sculpture”, Sep. 29, 1999, lot 138.

26. Abbott Fuller Graves (American/Massachusetts, 1859‑1936), “Jamaica”, oil on canvas, signed lower right, pencil‑inscribed “#32610” on stretcher, titled on “Vose Galleries of Boston” label on backing board, 14 in. x 20 1/4 in., framed. [$3000/5000] Note: An influential Boston painter best known for his floral garden scenes and still lifes, Abbott Fuller Graves combined Realism with Impressionism through thick, impasto brushstrokes and bright, colorful sunlit subjects. In 1884, Graves traveled to Paris and Italy, often working with his good friend and fellow artist Edmund Tarbell. Graves and Tarbell roomed together in Europe, where they both studied still-life painting. Returning to Boston in 1885, Graves became a member of the faculty of the Cowles Art School, where fellow faculty member Childe Hassam and his impressionist style influenced his work. In 1887, Graves returned to Paris where he enrolled at the Académie Julian to study figure painting with Jean Paul Laurens. From 1891 onward, Graves’ paintings would frequently combine his two passions: strong impressionist style and floral garden scenes often featuring female figures in bright sunlight. Graves continued to travel throughout his career, and like many of his contemporaries, he was inspired by the light, color and culture of the Caribbean, as seen in the vibrant work offered here. Ref.: “Biography - Abbott Fuller Graves (1859-1936).” Rehs Galleries, Inc. www.rehs.com Accessed Aug. 1, 2020

28. Terrance Osborne (American/New Orleans, b. 1976), “New Orleans Street with Rolling Hills”, acrylic bas relief on shaped panel, signed lower right, 32 3/4 in. x 64 in. [$7000/10000] 27. José‑Mariá Cundín (Spanish/New Orleans, b. 1938), “The Corrupt”, 1970, double‑sided oil on canvas, signed and dated upper left, sight 20 1/2 in. x 17 1/2 in., framed. [$3000/5000]

29. Terrance Osborne (American/ New Orleans, b. 1976), “Post Katrina Blues”, 2005, acrylic and mixed media bas relief on shaped panel, signed lower right, signed and dated en verso, 28 1/2 in. x 100 1/2 in. [$15000/25000]

Note: Born and raised in the Crescent City, Terrance Osborne attended the prestigious New Orleans Center for Creative Arts high school and graduated with a BFA from Xavier University of Louisiana. His unique artistic style has garnered him widespread admiration and success, and he has collaborated with Nike, the New Orleans Hornets and the New Orleans Jazz and Heritage Festival for which he created several posters. The monumental painting offered here, “Post-Katrina Blues,” is an iconic work by the beloved local artist and served as the inspiration for his best-selling lithograph of the same title. Osborne employs a vivid color palette to render the city at its lowest point – still with standing water and houses in disarray. In the background, a search party in a boat is on watch for anyone in need of rescue. Despite the sober scene, the houses are resplendent with color and vivacity. They glow from within as if to indicate that a rebirth, a new dawn, is attainable on the horizon. Osborne’s method of overlaying shaped wood elements adds a strong sense of dimensionality and movement, as the scene poignantly encapsulates the spirit of New Orleans.

30. Terrance Osborne (American/New Orleans, b. 1976), “New Orleans Street Scene”, acrylic on canvas, signed lower center, 24 in. x 48 in., framed. [$5000/7000]

31. George Valentine Dureau (American/New Orleans, 1930‑2014), “Portrait of Red”, oil wash and graphite on paper, signed lower center, 33 in. x 29 in., framed. [$1800/2500] Provenance: Acquired from the artist, c. 1970s.

Additional information at www.nealauction.com

32. Bob Graham (American/New Orleans, b. 1947), “Boeuf Gras”, 2012, acrylic on canvas, signed and dated lower right, 18 in. x 36 in., framed. [$1500/2500] Ill.: Graham, Bob. The Mardi Gras Paintings of Bob Graham. Gretna: Pelican Publishing Company, 2015 Note: “A parade only exists when it rolls. It is an abstract idea produced by the sequencing of exciting elements. When it’s over the floats and people still exist, but the parade ceases to exist.” ~ Bob Graham Local artist Bob Graham is primarily known for his impeccable portraiture. Notably, he is annually commissioned to paint the portraits of the inductees of the Saints Hall of Fame. He is also a master at painting local scenes, including his moving portrayals of Mardi Gras revelry that prove enchanting tributes to the city’s most beloved and celebrated past-time. With his vivid palette and impressionistic brushstrokes, Graham succeeds in capturing the movement and exuberance of the larger-than-life festivities. In this canvas, entitled “Bœuf Gras,” Graham depicts the iconic Rex float, mid-ride amidst the roaring crowd. The parade-goers are represented with frenzied strokes of color, perfectly capturing the ephemeral, euphoric energy of Mardi Gras day. Ref.: Graham, Bob. The Mardi Gras Paintings of Bob Graham. Gretna: Pelican Publishing Company, 2015

33. Hunt Slonem (American/ Louisiana, b. 1951), “Black and Gold Bunnies”, 2014, oil on panel, signed and dated en verso, 27 in. x 18 in., framed. [$5000/7000]

34. James Michalopoulos (American/New Orleans, b. 1951), “Blue Car”, 1997, oil on canvas, signed lower left, signed and dated en verso, 31 1/2 in. x 47 1/4 in., framed. [$3000/5000]

35. William Hemmerling (American/Louisiana, 1943‑2009), “New Orleans”, mixed media on bed sheet, signed lower right, titled lower center, 103 in. x 86 1/4 in., unframed. [$30000/50000] Provenance: Collection of Wendy and the late George (1944‑2013) Rodrigue Note: William “Bill” Hemmerling was born in Chicago and moved to his mother’s hometown of Ponchatoula, Louisiana as a young man, where he worked as a window dresser for Sears & Roebuck until 2002. Upon retirement, Hemmerling began painting in his own distinctive style on wood and found objects. His subjects ranged from jazz musicians to a series of works inspired by African American history and culture. In “New Orleans” offered here, Hemmerling depicts the Young Men Olympian Jr. Benevolent Association during a second line parade. YMO is the oldest benevolent association in New Orleans and continues to maintain the goals, ideals and format it forged at the turn of the century. The group was formed by ten African American men on September 3, 1884. At the time, the African American community in New Orleans was experiencing soaring mortality rates; recovering from an 1882 Mississippi River flood; and undergoing federal civil rights protections that accompanied Reconstruction being replaced beginning in 1877 with disenfranchising Jim Crow laws. A mainstay of the community, the YMO, supported by dues and fundraisers, protected members in times of illness and defrayed the cost of funerals—complete with jazz bands, tombs and a stipend for the deceased’s family. As the club has evolved and grown dramatically over the years, passing down the tradition of second lining from generation to generation has been another important goal. The support provided by YMO continues to be felt in the community to this day. The emotions, cultural history and visual spectacle of the second line would have appealed greatly to Hemmerling and almost certainly guided his choice in subject matter when approaching such a large “canvas.” His love of people and enthusiasm for Louisiana’s culture is clear and helps to lend an energy and sense of excitement to the classic New Orleans subject. Another iconic Louisiana artist, George Rodrigue developed a friendship with Hemmerling, often visiting him in Ponchatoula with gifts of art supplies and art books. Rodrigue greatly admired his friend’s work and was quoted in 2005 upon the debut of Hemmerling’s official Jazz Fest poster as saying: “Hemmerling is a pure artist. He paints from his heart, from his soul, he really paints what he feels…and the paintings are honest and straightforward. It’s beautiful art.” Rodrigue himself selected this masterwork for his and Wendy’s personal collection, and the monumental scene hung in a place of honor in the Rodrigue’s home in New Orleans for many years. Ref.: Odell, Jennifer. “Young Men Olympian Celebrates its 130-Year Anniversary.” Offbeat Magazine. May 1, 2014

36. Benny Andrews (American/Georgia, 1930‑2006), “Chess”, 1964, oil on canvas, signed, titled and dated lower left, “The Charleston Renaissance Gallery, Charleston, SC” label on backing, sight 14 3/4 in. x 10 3/4 in., framed. [$5000/8000] Provenance: The Charleston Renaissance Gallery, Charleston, SC. Note: Benny Andrews was born in 1930 to a mixed-race family in rural Georgia. After becoming the first member of his family to graduate from high school, he attended Fort Valley State College supported by a scholarship as he was not allowed to attend the University of Georgia due to the color of his skin. After serving as a military policeman in the Korean War, Andrews utilized the G.I. Bill to attend the School of the Art Institute of Chicago in 1954. For the first time, Andrews was able to enter an art museum and view original art, an experience that would inspire a lifetime of his own work. After graduating in 1958, Andrews moved to New York, where he maintained a studio for the rest of his life. Despite limited connections to the city’s art world, he began to exhibit regularly at the Forum Gallery by 1962, where his first solo exhibition received favorable reviews in the New York Times. Within his first six years of residence in New York, Andrews became an established artist. His work was accepted for exhibition in New York, Philadelphia, Detroit and Provincetown. During the 1960s, Andrews also became increasingly active with the Civil Rights Movement, protesting institutional racism on picket lines at the Metropolitan Museum of Art and the Whitney Museum of American Art and co-founding the Black Emergency Cultural Coalition in 1969, which demanded greater visibility for people of color in art museums and within the historical canon. Andrews developed a reputation as a socially minded artist dedicated to community activism and education. “Chess” offered here is a powerful example of the canvases behind Andrews’ early success in New York, and it makes clear why his figurative works are among his most memorable subjects. As Catherine Fox wrote of Andrews: “His art was stubbornly figurative when abstraction was boss, hot when art was cool. He bridled at being pigeonholed as a ‘black artist,’ lambasting critics for ‘not being able to see a black figure done by a black artist without automatically assuming that the work is propagandistic or politicizing.’ Whatever the color of his characters’ skins, his subject was the human spirit.” Early in his career, Andrews developed a technique of roughly incorporating collaged fabric and paper into his paintings, and this “rough collage” became a stylistic hallmark of his work. He had clearly mastered this technique by the time he created “Chess” in 1964, as areas of the scene emerge from the canvas towards the viewer with a strong three-dimensional quality. The red chess pieces stand in stark contrast to the black and white board and loom in front of the figure almost as if on a surrealist landscape. Throughout his career Benny Andrews’s painting practice combined elements of figuration, abstraction and surrealism. His subject matter ranged from personal narrative and cultural history to political allegory. Andrews’ work is the subject of an ongoing permanent collection exhibition at the Ogden Museum of Southern Art celebrating one of the South’s greatest voices in the visual arts, and the newly re-opened and expanded Museum of Modern Art in New York currently has on exhibit Andrews’ “No More Games” of 1971 from its permanent collection. Ref.: Fox, Catherine. “Benny Andrews: 1930-2006: Native Georgian Illustrated America’s Soul.” The Atlanta Journal-Constitution. Nov. 12, 2006. Gruber, Richard J. American Icons: From Madison to Manhattan, the Art of Benny Andrews, 1948-1997. Jackson: University Press of Mississippi, 2005. Sims, Lowery Stokes. Benny Andrews: From Earth to Heaven and Back. New York: Michael Rosenfeld Gallery, 2013. “Overview” and “Gallery and Exhibitions.” Benny Andrews Estate. www. bennyandrews.com. Accessed July 26, 2020.

37. Cynthia Bissell (American/ New Mexico, 1924-2000), “Riding into the Sun”, 1971, oil on canvas, signed and dated lower left, 42 in. x 60 in., framed. [$800/1200]

38. George Rodrigue (American/ Louisiana, 1944‑2013), “Blue Dog Supersize”, 2001, mixed media on paper, signed, dated and inscribed lower right, sight 49 1/2 in. x 37 1/2 in., framed. [$8000/12000]

39. George Rodrigue (American/Louisiana, 1944‑2013), “Cajun and Blue Dogs under the Oaks with Flowers and Swirls”, pen and ink on rice paper, signed lower right, 9 in. x 12 1/2 in., framed. [$3000/5000]

40. Mel Bochner (American/Pennsylvania, b. 1940), “Irascible”, 2006, oil on velvet, signed, titled. dated and “Barbara Davis Gallery, Houston, TX” label with artist, title and date on stretcher, 35 3/4 in. x 45 1/4 in., framed. [$40000/60000] Provenance: Barbara Davis Gallery, Houston, TX. Note: Mel Bochner is a conceptual artist best known for his works incorporating language, and he is widely acknowledged as a leading figure in the development of Conceptual Art in New York in the 1960s and 1970s. “Irascible,” like all of his text-based works, takes its name from the first word in the series. The following words or phrases are all synonyms, some immediately recognizable, while others more colloquial. In this important series of works, Bochner explores the intersection of linguistic and visual representation, with the individualized color scheme of each word or each letter within the series serving to further this investigation. “My feeling was that there were ways of extending, or re-inventing visual experience, but that it was very important that it remain visual,” Bochner has stated. “The viewer should enter the idea through a visual or phenomenological experience rather than simply reading it.” Ref.: “Mel Bochner.” Maddox Gallery. www.maddoxgallery.com. Accessed Aug 1, 2020 Additional information at www.nealauction.com

41. Robert Joseph Warrens (American/Louisiana, b. 1933), “Space Station Apartment”, 1989, mixed media and acrylic on wood, initialed on underside, h. 107 in., w. 34 in., d. 43 in. [$15000/25000]

42. James Surls (American/Texas, b. 1943), “I Am in the House”, carved wood sculpture, unsigned, h. 77 in., w. 39 in., d. 18 in. [$8000/12000]

Provenance: Acquired from the artist, 1989.

Provenance: Carpenter + Hochman Gallery, Dallas, TX.

Exh.: “Paintspitter: Paintings and Construction by Robert Warrens”, New Orleans Museum of Art, 1990 and illustrated in accompanying catalogue, p. 34. Note: “Warrens is the interpreter of the ridiculous and absurd that dwell among the commonplace and superfluous. He utilizes mundane material retaining the original form but presenting it in a new situation, more objectively, creating unexpected variants... banal objects and decorative clichés become vehicles of mystery or droll comedy.” ~ Robert M. Doty Robert Joseph Warrens’ fanciful body of work effortlessly unites familiar real-life imagery with fantasy. Warrens’ creations are often a reflection of his views on societal ills, autobiographical statements on art-making or powerful visual allegories condemning environmental pollution. Warrens uses attention-grabbing colors and compositions to visually stun viewers while imparting a satirical commentary on the lunacy of the current day. In the monumental and important sculpture offered here entitled “Space Station Apartments,” Warrens has concocted a whimsical montage of colors and familiar forms. Small suspended apartments, the same shape as birdhouses, punctuate the construction while curious cones, planet-like orbs and fan-like objects adorn the structure. A plume of technicolor smoke and pollutants rise from the chimney into the virgin alien atmosphere, perhaps as a wink to the viewer that while humans in this space station have escaped Earth, they continue to commit the same sins against their environment. Ref.: Doty, Robert M. Paintspitter: Paintings and Constructions by Robert Warren, New Orleans: New Orleans Museum of Art, 1990

43. Bradley Sabin (American/New Orleans, 20th c.), “Untitled (Bowl of Fruits and Vegetables)”, ceramic, unsigned, h. 13 1/2 in., dia. 21 in. [$2000/3000] Provenance: Acquired from the artist.

Note: Artist James Surls has been creating and exhibiting his work nationally and internationally for five decades, and he is one of the most widely celebrated sculptors of the American West. His works have a distinctive modernist style that combines metal and wood in dynamic fashion. Primarily based on natural forms, his pieces often consist of needles or branches radiating from a core element, as evidenced by “I Am in the House” offered here, and symbolizing growth to the artist. Trees have long been at the center of Surls’ work, and many of his sculptures are influenced by the East Texas landscape where he was raised and spent many years. Surls’ evident mastery over his materials allows him to imbue his work with intriguing paradoxes that have evolved over the course of his career and continue to fascinate viewers. Ref.: “James Surls.” Arthur Roger Gallery. www.arthurrogergallery.com. Accessed July 29, 2020.

44. Clyde Connell (American/Louisiana, 1901‑1998), “NO 16”, 1991, wood, metal and mixed media, signed, initialed, titled and dated on reverse, h. 19 1/2 in., w. 5 in., d. 2 in. [$500/700] Provenance: Arthur Roger Gallery, New York, NY.

45. Gen Paul (French, 1895‑1975), “Still Life with Flowers”, oil on canvas, signed lower right, 28 3/4 in. x 23 1/2 in., framed. [$7000/10000] 46. Gen Paul (French, 1895‑1975), “Le Joueurs de Polo”, watercolor and gouache on paper, signed lower center, obscured inscriptions lower right and left, 19 3/4 in. x 25 5/8 in., framed. [$2500/3500]

47. Elemore Morgan, Jr. (American/ Louisiana, 1931‑2008), “Shifting Weather”, 1997, pastel and chalk on paper, pencil‑initialed lower right, handwritten label with artist, title and date on backing, 12 in. x 9 in., framed. [$700/900]

48. Harold Hitchcock (British, 1914‑2009), “A Seaside Capriccio”, 1971, gouache on board, monogrammed and dated lower left, signed, titled, dated and inscribed on backing, 25 1/2 in. x 41 3/4 in., framed. [$1200/1800]

50. George Weissbort (British, 1928‑2013), “Playing Cards”, 1972, oil on canvas board, signed and dated lower right, label with artist and title on backing paper, 36 in. x 48 in., framed. [$2000/3000]

49. Frederick Clifford Harrison (British, 1902‑1984), “Plates & Horse, Delft Figure at Top & Swans”, 1973, oil on masonite, signed and dated lower center, label with title and inscribed “Fitzwilliam Museum, Cambridge” en verso, 38 1/2 in. x 24 1/2 in., framed. [$1000/1500]

51. Group of Italian Architectural Plans and Motifs, “Villino Affende”, “Villino Levi”, “Ferramenti Ornamentali nella Città di Siena” and “Scuderia del Sig. Cav. Ermanno Curiel”, 1882, 4 lithographs on paper, from Ricordi di Architettura, sights 13 in. x 18 1/2 in. to 19 in. x 13 1/2 in., framed alike. (4 pcs.) [$1000/1500] Provenance: Acquired from an antique shop on the Piazza Santa Croce, Florence, Italy.

52. Johann Martin Weiss (French, 1711‑1751), 5 double‑page engravings, from Représentation des fêtes données par la ville de Strasbourg Pour la Convalescence du Roi; à l’arrivée et pendant le séjour de Sa Majesté en cette Ville, Paris, Laurent Aubert, c. 1750, sights 17 1/4 in. x 22 3/4 in., framed alike. (5 pcs.) [$700/1000] Provenance: Estate of James H. Stone, New Orleans.

53. Pierre‑Joseph Redouté (Belgian, 1759‑1840), “Allium Longispathum”, “Allium Foliosum”, “Asparagus Tenuifolius”, “Yucca Filamentosa”, “Canna Indica”, “Iris Monnier”, “Eucomis Rogia” and “Musa Paradisiaca”, c. 1805, hand‑colored stipple engravings, from Les Liliacees, each with “W. Graham Arader III Galleries, King of Prussia, PA” label, 4 with information page on backing paper, 20 3/4 in. x 14 in., framed alike. (8 pcs.) [$3000/5000] Provenance: Arader Galleries, New York, N.Y Additional information at www.nealauction.com

54. Will Henry Stevens (American/Louisiana, 1881‑1949), “Untitled (Fishing Boat)”, 1934, pastel on paper, signed and dated lower left, typed label “On Loan to Alexandria Museum of Art 1995‑96, from Blue Spiral 1, Asheville, N.C.” with artist on backing paper, 17 7/8 in. x 21 7/8 in., framed. [$3000/5000] Provenance: Blue Spiral 1, Asheville, NC

55. Alvyk Boyd Cruise (American/New Orleans, 1909‑1988), “St. Louis Cathedral”, watercolor on paper, signed lower right, “Cohen’s Picture Store, Washington, D.C.” label in an envelope on backing paper, 14 in. x 11 in., framed. [$1000/1500] Provenance: Neal Auction Company, Oct. 16, 1992, lot 137. 56. Joseph Lambert Cain (American/New Orleans, 1904‑2003), “Bathing Beauty”, oil on masonite, signed lower left, “The Charleston Renaissance Gallery” labels with artist and title en verso, 24 1/8 in. x 20 1/4 in., framed. [$5000/7000] Provenance: The Charleston Renaissance Gallery, Charleston, SC. Exh.: “New Orleans Revisited: The Paintings of Joseph L. Cain”, The Charleston Renaissance Gallery, Charleston, SC, 2003

57. Nell Choate Jones (American/ Georgia, 1879‑1981), “Summer”, mixed media on paper, pencil‑signed lower center, “Knoke Fine Arts, Marietta, Georgia” label with artist and title, “Atlanta Fine Art Framers” label and handwritten label with artist, title and inscription on backing paper, 20 3/8 in. x 16 1/2 in., framed. [$2000/3000]

58. Aaron Bohrod (American/Wisconsin, 1907‑1992), “Asian Arts”, 1980, oil on gesso panel, signed upper right, artist label with title and date en verso, 8 in. x 10 in., framed with artist and title plaque. [$1500/2500]

59. Jean-Pierre Serrier (French, 1934‑1989), “Surrealist Composition”, 1967, oil on canvas, signed and dated lower right, inscribed on stretcher, 28 in. x 36 in., framed. [$1000/1500] 60. Pablo Picasso (Spanish, 1881‑1973), “Serment des Femmes”, “Couple et Enfant”, “Cinésias et Myrrhine” and “Accord Entre les Guerrieres de Sparte et d’Athènes”, Plates 267, 268, 269 and 271, 4 etchings on paper, each unsigned, from Lysistrata, printed by Lacouiere, published by The Limited Editions Club, copy of title sheet with edition number 548 of 1500 on 2 backing papers, sheets 11 7/16 in. x 9 1/4 in., framed alike. (4 pcs.) [$700/1000] Ill.: Aristophanes and Gilbert Seldes. Lysistrata: A New Version by

Gilbert Seldes. New York: The Limited Editions Club, 1934, pl. 267, 268, 269 and 271

62. Richmond Barthé (American/Mississippi, 1901‑1989), “Male Nude”, bronze, signed and incised “Modern Art Fdry NY” on self‑base, h. 9 1/4 in., w. 2 1/2 in., d. 2 1/2 in. [$6000/8000]

Note: Harlem Renaissance sculptor Richmond Barthé was born and raised in Bay St. Louis, Mississippi. His Catholic upbringing and the scenic Gulf coast provided early inspiration for his childhood artistic pursuits. With only a middle school education, Barthé accepted a position as a houseboy in New Orleans at the age of fourteen, where he was supported in his art by both the family who employed him and his surrounding community. After Barthé donated two oil paintings to his church, the parish priest raised funds in 1924 for Barthé to enroll at the Art Institute in Chicago, one of only two art schools that accepted African American students at the time. Upon graduation from the Art Institute in 1929, Barthé moved to New York, where he established a studio in Harlem. Immersing himself in the cultural renaissance flourishing there, Barthé developed a reputation among scholars of the New Negro Movement, including Alain Locke, who became a passionate collector and promoter of his work, as well as Langston Hughes.

Barthé believed that if an artist considered how an object felt, rather than how it looked, then his hands could execute the sculpture with little interference from the conscious mind. As a homosexual African American man, Barthé maintained an openness to studying people of all races, creeds and demographics. Eager to understand the nature of societies and the people who function within them, Barthé sought to capture the spiritual essence of his subjects. He is best known for the allegorical and genre figures he executed during the 1930s and 1940s, subjects inspired by his Christian faith, interest in African lore, and fascination with theatre and dance. During these decades, Barthé was the only African American sculptor for whom the male nude was a focus. These important figures initially appear to fall within the tradition of realism, but their elongated and sometimes distorted forms lend an expressionist quality, as seen in the bronze offered here. Ref.: “Barthé, Richmond (1901-1989).” The Johnson Collection. www.thejohnsoncollection.org. Accessed July 27, 2020

61. Enrique Alferez (Mexican/New Orleans, 1901‑1999), “Seated Figure”, terracotta, unsigned, h. 15 3/4 in., w. 10 1/2 in., d. 10 1/2 in. [$7000/10000]

63. John T. Scott (American/ New Orleans, 1940‑2007), “Bunk Johnson’s Corner”, kinetic bronze, unsigned, titled on reverse, h. 13 in., w. 26 in., d. 36 1/2 in. [$1500/2500] Provenance: Arthur Roger Gallery, New Orleans, LA

65. Douglas Bourgeois (American/ Louisiana, b. 1951), “Untitled (Head & Moth)”, 1998, mixed media assemblage, artist, title, date, inscribed “(note inside) New Orleans” and “Bassetti Fine Art” label on backing paper, 9 3/4 in. x 6 in., shadow box frame. [$1000/1500] Provenance: Bassetti Fine Art, New Orleans, LA

67. Leonard Flettrich (American/New Orleans, 1916‑1970), “Untitled (Flambeau)”, oil and mixed media on panel, signed lower left, 22 1/2 in. x 11 3/8 in., framed. [$800/1200] Provenance: Gift of the artist’s wife.

64. Elemore Morgan, Jr. (American/Louisiana, 1931‑2008), “Rice Field Vista”, acrylic on shaped masonite, initialed lower right, pencil‑signed, titled and inscribed on stretcher, 18 in. x 31 in., unframed. [$8000/12000]

66. Dox Thrash (American/ Pennsylvania, 1893‑1965), “Nude in a Cubist Composition”, oil on canvas, signed lower right, 17 in. x 22 in., framed. [$1200/1800]

68. Leonard Flettrich (American/New Orleans, 1916‑1970), “Untitled (Floral Still Life)”, oil on canvas, signed lower right, 36 in. x 30 in., framed. [$1000/1500] Provenance: Collection of Jacob Manguno, New Orleans, LA.

Additional information at www.nealauction.com

69. William Woodward (American/Louisiana, 1859‑1939), “Untitled (Creole Tomatoes)”, 1899, oil on canvas, initialed and dated lower left, signed, dated and “Charles G. Calder, Providence, R.I.” label on stretcher, 6 in. x 8 in., framed. [$2000/3000]

70. Blake Boyd (American/Louisiana, b. 1970), “Bunny”, 2008, watercolor on paper, pencil‑signed lower right, “Arthur Roger Gallery, New Orleans” label with artist, title and date on backing paper, 13 in. x 10 1/2 in., framed. [$800/1200]

71. Doyle Gertjejansen (American/Louisiana, b. 1948), “The Great Wave ‑ 5”, 2007, acrylic on gallery‑wrapped canvas, signed, titled, dated and inscribed en verso, 30 1/4 in. x 30 1/4 in., unframed. [$1500/2500] Provenance: Arthur Roger Gallery, New Orleans, LA.

Provenance: Arthur Roger Gallery, New Orleans, LA. 72. Jacqueline Bishop (American/New Orleans, b. 1955), “Metamorphosis”, 1987, mixed media on panel, pencil‑signed, titled and dated en verso, 4 1/2 in. x 6 1/2 in., shadow box frame hand-painted by artist. [$1200/1800] Provenance: Acquired from the artist.

73. Raine Bedsole (American/Louisiana, b. 1960), “Rilke’s Love Poetry”, mixed media on panel, signed lower right, 24 in. x 80 in., unframed. [$2500/3500] Provenance: Callan Contemporary, New Orleans, LA.

74. Robert Hodge (American/Texas, b. 1979), “All My Sons”, 2014, mixed media on panel, signed and dated en verso, 39 in. x 27 in., framed. [$1000/1500] Provenance: Acquired from the artist. Exh.: “Robert Hodge: Destroy and Rebuild”. Contemporary Arts Museum Houston. Oct. 2014 ‑ Jan. 2015.

Note: Robert Hodge studied visual art at the Pratt Institute, Atlanta College of Art and the Skowhegan School of Painting and Sculpture before returning to his hometown of Houston, Texas where he currently lives and works. He is an interdisciplinary artist working in multiple media who has become a fixture in the city’s art scene and exhibited his work in numerous national and international institutions. Hodge developed a signature “cut-out” technique, in which he prepares foraged and found papers for his paintings through a labor-intensive process in which he glues or sews countless layers together. He may then bury the papers or leave them exposed to the elements to achieve a more weathered aesthetic that best expresses the tactility of urban environments. The fused papers take on a sculptural presence with richly textured surfaces that Hodge can then precisely carve, initially using an X-Acto knife and then a laser cutter. Each cut reveals the intricate layers beneath through an overlying powerful message of “windows” of text. “All My Sons” offered here was part of a series Hodge created for his first solo exhibition “Robert Hodge: Destroy and Rebuild” at the Contemporary Arts Museum Houston in 2014. The series features paintings which superimpose hip-hop references over prints of historical paintings and drawings, primarily images including a master and slave. Self-described as one of the artist’s favorites in the show, “All My Sons” pairs John Trumbull’s portrait of George Washington of 1780 with text from Nas’ “If I Ruled the World (Imagine That).” The Trumbull portrait also depicts the president’s slave and valet, Billy Lee. Hodge addressed this inclusion: “Billy Lee had a 30-year relationship with George Washington. They were really close. Movies never show you that side; it’s always black and white. But these relationships were complicated.” Because he also was thinking about the horrors of Hurricane Katrina when creating “All My Sons,” Hodge replaced Washington’s head with an image of George W. Bush. “My work primarily consists of drawing, printmaking and mixed media collage that evokes culturally relevant themes and is informed by histories of West Africa, and political events of historical and cultural significance. My intention is to tell stories about our diverse culture; knowing this is critical to understanding why I appropriate and collage POP images together to create a new dialogue out of the commercial language that surrounds us in everyday life.” - Robert Hodge. Described in Artforum as “insistently uncompromising,” Hodge’s work utilizes irreverent irony to address concerns about race and equality while compelling his viewers to take a stand. Ref.: Bryan-Wilson, Julia. “Openings: Robert Hodge.” Artforum. Mar. 2015. www.artforum.com. Accessed July 27, 2020. Glentzer, Mollly. “Robert Hodge’s ‘Destroy and Rebuild’ confronts European art with hip-hop culture.” Houston Chronicle. Oct. 10, 2014. www.houstonchronicle.com. Accessed July 27, 2020

75. Valery Kosorukov (Russian/New Orleans, b. 1937), “Guests, Nutcracker Ballet in the Bolshoi Theatre”, 1991, pastel on paper, signed and dated lower right, signed, titled, dated and inscribed en verso, 19 5/8 in. x 24 1/2 in., framed. [$700/1000] Provenance: Acquired from the artist

76. James Michalopoulos (American/New Orleans, b. 1951), “Calypso (Sho Bar Series)”, 1998, oil on panel, monogrammed lower left, 33 in. x 74 in., unframed. [$3500/5000] 78. Valery Kosorukov (Russian/New Orleans, b. 1937), “Two Dryads”, pastel on paper, signed lower right, signed and titled en verso, 23 1/2 in. x 31 5/8 in., framed. [$600/800]

77. Ron Bechet (American/New Orleans, b. 1956), “Reconciliation”, 2006, charcoal on paper, unsigned, 63 1/2 in. x 72 in., framed. [$1500/2500] Provenance: Acquired from the artist.

Provenance: Acquired from the artist.

Exh.: “Lovely As A Tree”, Louisiana Art and Science Museum, Baton Rouge, LA, Aug. 6 to Nov. 27, 2016, and illustrated in accompanying catalogue, p. 10.

79. Aaron Bohrod (American/Wisconsin, 1907‑1992), “Church”, watercolor on paper mounted to board, signed lower right, 16 in. x 11 in., framed. [$700/1000]

80. Pedro Friedeberg (Italian/Mexico, b. 1936), “Candelabra”, gilt and carved wood, signed on underside, h. 16 1/2 in., w. 14 1/2 in., d. 6 in. [$2000/3000] Provenance: Collection of Donna Perret, New Orleans, LA.

81. Gaston Sebire (French, 1920‑2001), “Le Bouquet Rouge”, oil on canvas, signed lower left, signed and titled on stretcher, 21 1/2 in. x 15 in., framed. [$600/800]

82. Attributed to Charles Dudouyt (1885‑1946) Carved and Cerused Oak Armchair, mid‑20th c. France, tall tapering back, padded arms, cyma turned block legs, nail head trim, seat brace stenciled “RD”, h. 43 in., w. 25 1/4 in., d. 24 in. [$700/1000]

84. Dan Johnson (1918‑1979) Bronze and Cane “Gazelle” Chair, late 1950s, Italy, unmarked, model 20B, shaped tablet back, restrained arms, shaped seat and rails, tapered angles, h. 31 1/4 in., w, 18 1/2 in., d. 19 3/4 in. [$4000/6000]

83. Carlo Nason (b. 1935) for Mazzega Model “LT316” Glass Floor Lamp, c. 1969, Italy, with seven stacking white “sfumato” glass elements, brass base, h. 52 in., dia. 13 in. [$2000/3000] Additional information at www.nealauction.com

86. Pair of Contemporary Murano Glass Lamps, Swank Lighting, ribbed, tapered standard, lucite stepped base, h. (to socket) 22 in. [$600/900]

87. Emma Gismondi Schweinberger (b. 1934) for Artemide “Chi” Table Lamp, unmarked, designed 1962, frosted glass globe, nickel‑plated brass standard, h. 10 in., dia. 6 1/2 in. [$250/350]

85. Etruscan‑Style Patinated Metal and Glass Table, acanthine and rope twist scroll supports, pineapple finial, shield shaped glass top, h. 29 1/2 in., w. 54 in., d. 54 in. [$500/700] 88. American Studio Oak Dining Table, designed by Peter McCarthy, Long Beach, MS, with inset rotating center, canted pierced legs, stretchers, h. 30 in., dia. 74 1/2 in. [$1000/1500]

90. Cesare Toffolo (Italian, b. 1961), “Granelli di Sabbia Green”, 2001, glass, from the “Granelli” series, signed, dated, and inscribed “Murano”, h. 13 in., w. 6 in., d. 6 in. [$1200/1800]

89. Cesare Toffolo (Italian, b. 1916), “Vase with Paint Brushes and Paint Tubes”, glass, unsigned, vase h. 8 1/2 in., brush l. 16 1/2 in., paint tubes l. 5 in. [$1800/2500]

92. Thomas Bruno (American/ Louisiana, b. 1960), “Caribbean Dancer”, bronze, signed and numbered “5/10” on left leg, h. 19 1/2 in., w. 9 1/2 in., d. 5 in., marble base, overall h. 20 1/2 in. [$1500/2500] Provenance: Jean Bragg Gallery, New Orleans, LA.

91. Gene Koss (American/New Orleans, b. 1947), “Ridge”, 1988, glass, signed, titled, and dated lower left, h. 15 1/4 in., w. 14 3/4 in., d. 4 in. [$2000/3000] Provenance: Arthur Roger Gallery, New Orleans, LA

93. Arthur Kern (American/Louisiana, b. 1931), “Mardi Gras Horse”, polyester resin, signed on underside, h. 8 3/4 in., w. 12 in., d. 4 1/8 in., wood base, overall h. 10 5/8 in. [$2000/3000] Provenance: Mario Villa Gallery, New Orleans, LA.

94. Luis Cruz Azaceta (Cuban/ American, b. 1942), “Road to Recovery[sic]”, 2010, mixed media, signed, titled and dated in shoe, h. 72 in., w. 11 1/4 in., d. 4 in. [$5000/8000] Provenance: Commissioned from the artist.

95. Giovanni Battista Piranesi (Italian, 1720‑1778), “Tombs and Architectural Elements”, 8 engravings on paper, unsigned, sheets 20 3/4 in. x 15 in. to 21 3/4 in. x 60 1/2 in., unframed. (8 pcs.) [$2500/3500]

97. Andy Warhol (American, 1928‑1987), “Love 311 (Blue)”, 1983, screenprint on paper, unsigned, Warhol Foundation stamp and inscribed “121B UT. 018” and “VF” en verso, sheet 30 1/2 in. x 21 3/4 in., framed. [$10000/15000] Provenance: Collection of Wendy and the late George (1944‑2013) Rodrigue. Special thanks to Ron Rivlin of Revolver Gallery for his assistance in cataloging this work. Note: “People should fall in love with their eyes closed. Just close your eyes. Don’t look and it’s like magic.” ~ Andy Warhol In 1978, Andy Warhol created a series of prints titled Sex Parts, which were characterized by explicit sexuality. In 1983, he countered that series (and perhaps critics calling his work pornography) by creating the Love series. Whereas the first series focused on the sexual act, the Love series prints each depict a nude couple in a different embrace, showcasing their full bodies rather than focusing on select body parts. The series is not explicit and is meant to highlight the passion and deep emotional intimacy behind the physicality of sexual intercourse. The full series consists of three screen prints that can be seen as telling a romantic narrative. Two of those prints, Love 311 (Blue) and Love 312 (Gold), are offered here. Each of these images presents a unique color variation from the numbered series.

96. Andy Warhol (American, 1928‑1987), “Love 312 (Gold)”, 1983, screenprint on paper, unsigned, Warhol Foundation stamp and inscribed “121C UT. 004” and “VF” en verso, sheet 26 in. x 19 3/4 in., framed. [$10000/15000] Provenance: Collection of Wendy and the late George (1944‑2013) Rodrigue. Note: Special thanks to Ron Rivlin of Revolver Gallery for his assistance in cataloging this work.

99. Tiffany & Co. Makers Sterling Silver Tray in the Art Deco Taste, 1947‑1955, pattern introduced 1930, engraved cipher “DC”, marked “TIFFANY & CO./ MAKERS/ STERLING SILVER/ 12598/ M”, w. 20 in., d. 7 1/2 in., wt. 38.20 troy ozs. [$800/1200]

98. Louis Vuitton Trunk, early 20th c., serial number 162538, LV logo canvas, marked hardware, interior with removable basket, squat wheels, h. 22 in., w. 24 in., d. 19 in. [$1000/1500]

Provenance: M.S. Rau, Inc., New Orleans, October 12, 1994.

100. Henricus Hondius II (Dutch, 1597‑1651), “Nova Totius Terrarum Orbis Geographica AC Hydrographica Tabula”, Amsterdam, 1630, first state, hand‑colored double‑hemisphere map, exuberantly decorated with representations of the elements fire, water, air, and earth; the corners with portraits of Caesar, Ptolemy, Mercator and the author’s father, Jodocus Hondius, 14 7/8 in. x 21 1/2 in., tipped onto a mat. [$2000/3000] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

101. Hendrick Hondius II (Dutch, 1597‑1651), “Americae Pars Meridionalis”, Amsterdam, 1638, hand‑colored engraved map, from Atlas Novus, elaborate cartouche, the ocean filled with ships and sea monsters, the land with animals and people, 18 1/4 in. x 21 1/2 in., matted and framed. [$500/700] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

102. Willem and Joan Blaeu (Dutch, 1571‑1638 and 1596‑1673), “Turcicum Imperium”, Amsterdam, c. 1635, hand‑colored map of the Ottoman Empire, from an edition of Theatrum Orbis Terrarum, 16 1/4 in. x 20 1/2 in., framed. [$600/900] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

103. Guillaume de L’Isle and Peter Schenk “L’Amerique Septentrionale Dressee sur les Observations...”, Amsterdam, Pierre Schenk, 1708, hand‑colored engraved map, 17 1/2 in. x 23 in., matted and framed. [$600/900] Provenance: Jonathan Potter Antique Maps, London, 1985; Collection of Brooke and Maria Fox, Metairie, LA.

Additional information at www.nealauction.com

104. Jodocus Hondius (1563‑1612), “Septentrio America”, Amsterdam, 1630, hand‑colored engraved map, from the Mercator atlas, embellished with sea monsters and ships, a lower panel depicts Brazillian men and women making and drinking a traditional drink chica de yuca, 14 3/4 in. x 19 3/4 in., matted and framed. [$1200/1800] Provenance: Collection of Brooke and Maria Fox, Metairie, LA 105. Matthäeus Seutter (German, 1678‑1757), “Diversi Globi Terr‑Aquei Statione Variante...”, Augsburg, c. 1735, hand‑colored twin‑hemisphere map, incorporating eight equatorial and polar projections, decorated with numerous wind heads, 17 3/4 in. x 20 1/2 in., unframed. [$700/1000] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

106. Issak Tirion (Dutch, 1705‑1765), “Grondvlakte van Nieuw Orleans, de Hoosdstad van Louisiana...”, Amsterdam, 1767, 3 hand‑colored copper‑engraved maps on one sheet, 13 in. x 17 5/8 in., unframed. (3 pcs.) [$500/700]

107. Johannes van Keulen (Dutch, 1654‑1715), “Pas kaart van de Noord Kust van Espaniola met d Eylanden daar Benoorden”, Amsterdam, 1684, hand‑colored engraved sea‑chart, with inset maps of Tortuga and Porto de Guanives; map shows the island of San Salvador/Guanahami, the first land Columbus visited in 1492, 20 1/4 in. x 23 in., matted and framed. [$500/700]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

Provenance: Jonathan Potter Antique Maps, London, 1990; Collection of Brooke and Maria Fox, Metairie, LA

108. Jan Janssonius (1588‑1664), “Nova et Accurata Poli Arctici et terrarum Circum iacentium Descriptio”, Amsterdam, c. 1640, hand‑colored map of the polar region, interesting cartouche with a polar bear, foxes, and people with bow and arrows; decorated with compass roses, wind‑heads, and ships, 16 in. x 23 in., framed. [$400/600] Provenance: Jonathan Potter Antique Maps, London, 1995; Collection of Brooke and Maria Fox, Metairie, LA

109. Two Antique Hand‑Colored Maps, incl. “Typus Orbis Terrarum”, c. 1601, from Abraham Orelius’ miniature atlas, 3 in. x 4 1/4 in.; and “A New Map of ye North Parts of America claimed by France...”, 1729, from Herman Moll’s Atlas Minor, 8 in. x 10 3/4 in., both framed. [$400/600]

111. Jacques Nicolas Bellin (French, 1703‑1772), two small maps incl., “Carte de la Floride, de la Louisiane, et Pays Voisins”, 1757, 8 5/8 in. x 11 7/8 in.; “Plan de la Nouvelle Orleans”, 1764, 8 1/8 in. x 11 3/4 in.; together with “Plan of New Orleans”, 1867, by Mitchell, 9 1/4 in. x 11 in., all unframed. [$300/600]

110. Johannes Blaeu (1596‑1673), “Yucatan Conventus luridici Hispaniae Novae Pars Occidentalus, et Guatimala Conventus luridicus”, Amsterdam, c. 1662, hand‑colored engraved map, 16 1/2 in. x 20 3/4 in., framed. [$400/600] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

112. Joannes Janssonius (1588‑1664), “Vienna Austriae/ Wien in Oostenreyk”, Amsterdam, 1682, engraved bird’s‑eye view of Vienna; with a key, in Latin, of notable landmarks, 15 1/2 in. x 20 in., matted and framed. [$300/500] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

113. Thomas Jefferys (English, 1719‑1717), “The Coast of West Florida and Louisiana/ The Peninsula and Gulf of Florida or Channel of Bahama with the Bahama Islands”, London, Robert Sayer, 1775, two‑sheet engraved map, 18 3/4 in. x 48 1/4 in., framed. [$1000/1500] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

114. Thomas Jefferys (English, 1719‑1771), “The Isthmus of Panama with the Coast from Great River on the Moskito Shore to Cartagena”, London, Laurie & Whittle, 1794, from West India Atlas, 19 in. x 24 1/2 in., matted and framed. [$600/900] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

115. William Henry Toms (English, 1700‑1765), “This Plan of the Harbour, Town and Forts of Porto Bello (Taken by Edward Vernon Esqr. Vice Admiral of the Blue on the 22 of November 1739, With Six Men of War only”, London, 1740, engraved map showing an early battle in the War of Jenkins’Ear, 16 1/4 in. x 22 3/4 in. [$500/700] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

116. Robert Sayer (English, 1725‑1794), “Curacao, from the Original, of Gerard van Keulen, Regulated by Astronomical Obervations”, London, 1775, with inset “Plan of Fort Amsterdam”, 18 1/4 in. x 24 1/8 in., unframed. [$600/900]

117. Emanuel Bowen (Welsh, 1694‑1767), “Accurate Map of the West Indies...”, London, 1747, hand‑colored map, cartouche featuring native Americans and a lion, 13 3/4 in. x 16 1/2 in., unframed. [$500/700]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

119. English Brass Universal Compass Sundial, 19th c., hinged chapter ring engraved “Troughton & Simms/ LONDON”, 3 1/4 inch silvered dial engraved with compass rose; two levels, needle with lifter, folding gnomon and latitude arm, on threaded leveling feet, h. (open) 5 in., dia. 5 1/2 in. [$700/1000] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

118. Two John Ogilby Road Maps, “The Road from London to Wells...”, and “The Road from Carmarthen to...”, London, 1675, engraved strip maps, one hand‑colored, from Britannia, 13 1/2 in. x 17 1/2 in., both matted and framed. [$300/500] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

120. Georgian Bronze Horizontal Sundial, engraved in a banner “John Field, Londini/HORA FUGIT”, and “Anno Dom 1715”, octagonal form with Roman numeral chapter ring, scroll gnomon, compass rose, over figure of Father Time, beveled mounting holes, h. 6 in., dia. 13 in. (at points). [$1000/1500] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

121. Fine William IV Birdseye Maple Bow-Fronted Stick Barometer c. 1837, silvered‑brass scale marked “Dollond, London”, sliding rack and pinion vernier with bone set key; thermometer showing Fahrenheit and Reaumur scales, case with ebony inlay, fitted with bowed glass, h. 38 in., w. 4 1/2 in., d. 3 1/2 in. [$1500/2500]

121A. Rare English Lignum Vitae Anglo‑Egyptian War Commemorative Compass, 1882, solid barrel‑form, incised detail, inset with compass, silver plate engraved “CONDOR/ versus/MARABOUT/July 11, 1882”, h. 6 1/4 in., dia. 3 1/4 in. [$700/1000] Provenance: The Parker Gallery, London; Collection of Brooke and Maria Fox, Metairie, LA. Note: Commander Lord Charles Beresford controlled the HMS Condor, boldly engaging Fort Marabout in the bombardment of Alexandria.

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

122. Diminutive Dollond Brass and Mahogany Telescope; 19th c., marked “Dolland/ London”, three drawtubes, l. 6 in., l. (extended) 16 3/4 in.; together with a larger English brass and mahogany three‑draw telescope, l. 12 in., l. (extended) 33 1/2 in. [$400/700] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

123. Good French Brass Surveyor’s Graphometer, c. 1850, signed “Malizard, Optn., quai de l’horloge 37, Paris”, two fixed vanes, two on rotating alidade, 180 degree scale running both ways, inset compass with needle lifter, ball joint, over unusual turned standard, cabriole legs, slipper feet, h. 13 in., w. 9 3/4 in., d. 8 1/2 in. [$400/600] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

124. Antique English Brass Telescope, marked “Reynolds & Branson/Leeds”, one draw tube, with focus knob, folding cabriole legs, slipper feet, h. 14 in., l (extended) 39 in.; together with a c. 1940 partial heliograph or signaling mirror, marked “Helio. Mark V/HEC/Serial No. B41960. [$600/1000] Provenance: Collection of Brooke and Maria Fox, Metairie, LA Additional information at www.nealauction.com

125. American Brass and Ebony Octant, c. 1820, marked “Browning maker Boston” ivory nameplate and degree arc (0‑95), three swing filters, 13‑inch radius, w. 11 1/2 in. [$400/600] Provenance: Collection of Brooke and Maria Fox, Metairie, LA. Note: Samuel Browning is listed in the 1803‑1840 Boston City Directories as a ship chandler, and a mathematical and optical instrument maker

126. George II Mahogany Cased Field Compass, c. 1750, by Benjamin Cole, floral‑engraved card signed “COLE FLEET Street London”, engraved brass scale with 0‑90 degrees at each quadrant, glazed, dia. of dial 5 in., box h. 1 in., w. 6 in., d. 6 1/8 in. [$300/600] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

127. Antique English Brass Prismatic Compass, c. 1850, floating dry card marked “Thomas Jones/4 Rupert St., Haymarket/late 62 Charing Cross/London”, folding sight vane, hinged prism sight with two filters, dia. 3 in. [$200/300] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

128. Napoleon III Gilt Bronze Figural Mantel Clock, 19th c., allegorical figure of “Harvest”, case mounted with grain and grapes, silk‑thread movement, h. 15 1/2 in., w. 10 1/4 in., d. 3 3/4 in. [$800/1200]

129. Fine Louis XVI Gilt and Patinated Bronze Mantel Clock, late 18th c., dial marked “Giraud a Paris”, silk‑thread movement, indicating time, calendar, and days of week, case surmounted by figure holding a gong, the pagoda supports surmounted by umbrellas, and festooned with bells, shaped marble base, on toupie feet, h. 23 in., w. 18 1/2 in., d. 8 in. [$1500/2500] Provenance: Estate of James H. Stone, New Orleans, LA.

130. Eight Royal Copenhagen “Flora Danica” Porcelain Soup Plates, dated 1949‑56, dentil border and central botanical paintings, marked with green Royal Copenhagen logos, underglaze blue waves, pattern no. 20, shape no. 3546 and initials, dia. 8 5/8 in. [$2000/3000]

132. Twelve Royal Copenhagen “Flora Danica” Porcelain Dessert Plates, with dentil border and central botanical paintings of various flowers, marked with green Royal Copenhagen logo, underglaze blue wave, pattern no. 20, shape no. 3551, and initials, dia. 6 3/4 in. [$3500/4500]

131. Five Royal Copenhagen “Flora Danica” Porcelain Dinner Plates, dated 1967‑73, reticulated dentil border and central botanical paintings of various flowers, marked with green Royal Copenhagen logos, underglaze blue waves, pattern 20, shape no. 3553 and 3558, and initials; together with three “Flora Danica” dinner plates, dentil borders, dia. 10 in. [$3000/4000]

133. Eight Royal Copenhagen “Flora Danica” Porcelain Salad Plates, dated 1959‑73, dentil border and central botanical paintings, marked with green Royal Copenhagen logo, underglaze blue wave, pattern no. 20, shape no. 3573, dia. 7 3/4 in. [$2000/3000]

135. Arnold A. Blanch (America/Minnesota, 1896‑1968), “Still Life with Flowers”, 1956, oil on masonite, signed and dated lower right, “Krasner Gallery, New York, NY” label with artist and title en verso, 29 1/4 in. x 40 in., framed. [$2000/3000]

134. Twelve Royal Copenhagen “Flora Danica” Porcelain Bread Plates, dated 1968‑83, dentil border with central painting of various flowers, marked with green Royal Copenhagen logo, underglaze blue wave, pattern no. 20, shape no. 3552, and initials, dia. 5 5/8 in. [$1800/2400]

137. Gendron Jensen (American/New Mexico, 1939‑2019), “Untitled”, 1976, graphite on paper, pencil‑monogrammed and dated lower right, 20 in. x 20 in., framed. [$3000/5000]

136. Gendron Jensen (American/New Mexico, 1939‑2019), “Nenda Watood”, 1983, graphite on paper, pencil‑monogrammed and dated lower right, titled lower left, 13 1/16 in. x 23 1/8 in., framed. [$4000/6000]

139. Antique Roman Bronze Lion and Ring Door Handle, remnant mounting nails, h. (with ring) 8 1/2 in., 6 3/4 in., d. 2 1/2 in. [$500/700]

138. Grand Tour Bronze Model of the “Fontana delle Tartarughe” (Turtle Fountain), 19th c., after the example in Rome’s Piazza Mattei by Giacomo della Porta and Taddeo Landini, the upper basin over four addorsed ephebes holding turtles, over dolphin and shell‑form basins, central spout plumbed, h. 10 in., w. 9 1/4 in., d. 9 1/4 in. [$2500/3500]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

140. Restauration Gilt Bronze Mirrored Plateau, 19th c., guilloche and egg and dart surround, mask feet, h. 2 1/8 in., w. 21 1/4 in., d. 14 in. [$200/400] Provenance: Temple Heights, Columbus, MS.

141. Ancient Greek Ceramic Kylix, well with incised decoration, h. 2 in., w. 9 in., d. 6 3/8 in. [$300/500] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

142. Ancient Roman Glass Vessel, molded rim, iridescent surface, h. 4 1/4 in., dia. 3 1/2 in. [$200/300] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

143. Two Ancient Roman Bronze Vessels, one with lion term handle, larger h. 1 1/2 in., dia. 6 in. [$250/350] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

144. Two Ancient Roman or Greek Pottery Oil Lamps, larger h. 2 1/8 in., w. 4 1/2 in., d. 2 1/4 in. [$200/300] Provenance: Collection of Brooke and Maria Fox, Metairie, LA Additional information at www.nealauction.com

145. Continental Bronze‑Mounted Onyx Corinthian Columnar Pedestal, c. 1900, h. 30 in., w. 14 1/2 in., d. 14 1/4 in. [$400/600] 146. French Bronze Allegorical Figure of a Reclining Putto, mid‑19th c., seraphic young male leaning on mound of cut wheat with nest of two birds in one hand, naturalistic base with cut wheat and scythe, stamped “5197”, h. 8 in., l. 11 1/4 in., d. 4 1/2 in. [$500/750]

148. Pair of Continental Faux Tooled Leather Obelisks, 20th c., typical form, h. 28 1/4 in., w. 5 1/2 in., d. 5 1/2 in. [$300/500]

147. Continental Painted Wood Architect’s Model of a Castle, late 19th c., enclosed in a pine vitrine, blue interior, bun feet, h. 16 1/2 in., w. 31 3/4 in., d. 11 3/4 in. [$300/500]

149. Three Fine Continental Shagreen Boxes, c. 1910, largest with hinged lid and fall‑front, three divided compartments for cards, h. 4 in., w. 10 in., d. 5 1/2 in; medium with hinged lid and multi‑color design, h. 2 1/4 in., w. 6 1/2 in., d. 4 1/4 in.; smallest with hinged inlaid lid with cavetto border, h. 2 1/4 in., w. 6 in., d. 4 in. [$700/1000]

151. Pair of Contemporary Rock Crystal Lamps, rope twist standard, gilt metal base, h. (to socket) 19 1/2 in. [$1000/1500]

150. Pair of Antique Neoclassical‑Style Bronze‑Mounted Carved Sodalite Urns, elaborate bronze and carved handles modeled as winged mermaids, mounted as lamps, urn h. 16 1/4 in. [$2000/3000]

152. French Iron and Tole Peinte Six‑Light Chandelier, c. 1900, scroll and leaf design, with polychrome French royal crest shields, h. 34 in., dia. 29 in. [$700/1000]

153. Pair of English Cut Crystal Argand Lamps, mid‑19th c., with faceted prisms, marble base, h. 23 in., w. 10 in., d. 7 in. [$700/900]

Provenance: Whitehall Antiques, Chapel Hill

154. Pair of Cast Iron Garden Figures of Flamingos, naturalistic bases, taller h. 28 1/2 in., w. 8 in., d. 15 in. [$500/800]

155. Continental Terracotta Garden Statue, modeled as a bearded robed man wearing a turban, carved foliate decoration, h. 60 1/2 in., w. 20 in., d. 18 in.; Note: lacking hands. [$700/1000] Provenance: Estate of James H. Stone, New Orleans, LA

156. Vally Wieselthier for the Weiner Werstatte Glazed Pottery Table Lamp, c. 1920, impressed marks “WW”, “VW”, “426”, and “Made in Austria”, pierced design, h. (to socket) 11 in. [$1000/1500] Provenance: Kunsthandel Kolhammer, Vienna

157. Gudrun Baudisch for the Wiener Werkstatte Glazed Pottery Vase, c. 1925, marked “WW”, “Made in Austria”, “280”, and “GB”, three cylinders, with spiral and stylized elements, h. 9 1/4 in., w. 5 3/4 in., d. 4 3/4 in. [$1000/1500] Provenance: Kolhammer, Vienna, Austria.

159. Twelve Lahóche and Pannier Paris Porcelain Fish Plates, 19th c., stencilled mark “Lahóche & Pannier/ Escalier de Cristal Palais Royal 162”, handpainted aquatic fish scenes, scalloped rims, dia. 9 1/4 in. [$300/500]

158. Art Deco Longwy for Atelier Primavera Faience Vase, c. 1935, marked “Atelier/primavera/Longwy/ FRANCE”, “Aux Baigneuses” design, h. 12 3/4 in., dia. 9 in. [$800/1200] Provenance: TOJ Gallery, Annapolis, MD.

Ref.: Guillebon, Paris Porcelain, pp. 243-244 & 320.

160. Rolph Scarlett (Canadian/American 1889‑1984) “Black and Red”, mixed media on paper, signed upper left and lower right, 19 1/4 in. x 25 1/2 in., framed. [$1000/1500]

161. Newcomb College Art Pottery High Glaze Vase, 1907, decorated by Margaret Sterling Lea, decorated with relief‑carved Cherokee roses, blue, green and yellow underglaze, base marked with decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. BU48 and marked W for white clay body, h. 6 in., dia. 7 1/2 in. [$5000/7000]

162. Newcomb College Art Pottery High Glaze Tyg, 1903, decorated by Harriet Joor, with stylized wisteria motif, blue and green underglaze, inscribed “Love Cannot Be Spent Nor Dimmed But Must Fulfill It’s Perfect Beauty Being Freeliest Given” around bottom edge, base marked with decorator’s mark, Joseph Meyer’s potter’s mark, Newcomb cipher, reg. no. BB41, and marked W for white clay body, h. 8 in., dia. 8 in. [$10000/15000]

163. Newcomb College Art Pottery Plaque, 1915, decorated by Sadie Irvine, low relief of old Newcomb Chapel, matte glaze with blue, green, and pink underglaze, Newcomb cipher top right, reverse with decorator’s mark, reg. no. HM14, and remnants of original label, 6 in. x 10 in., framed. [$4000/6000] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA. Note: The Newcomb Chapel was built in 1894 at Newcomb’s old Washington Avenue campus in New Orleans. Like the college, the chapel was dedicated to Sophie Newcomb, the daughter of the college’s benefactress, Josephine Louise Newcomb. When the college outgrew the original campus in 1918, the chapel was vacated, and along with the college, was razed in the 1950s to make way for residential development in the Garden District.

164. Newcomb College Art Pottery Vase, 1930, decorated by Henrietta Davidson Bailey, with relief carved pine cone motif, matte glaze with blue, green, and purple underglaze, base marked with Newcomb cipher, decorator’s mark, reg. no. SR7, h. 13 in., dia. 5 3/4 in. [$6000/9000] Provenance: Jean Bragg Gallery, New Orleans, LA.

165. Dale Chihuly (American, b. 1941), “Untitled”, c. 2000, early Macchia series, signed, speckled, with red lip wrap, h. 8 in., w. 6 1/2 in., d. 6 in.; presented in a plexiglas case, h. 11 3/4 in., w. 10 1/2 in., d. 10 1/2 in. [$3000/5000] Provenance: Arthur Roger Gallery, New Orleans, LA.

Additional information at www.nealauction.com

166. Large George Ohr Art Pottery Double‑Handled Vase, baluster form, with in‑body twist, cobalt glaze, green speckled glaze interior neck, cursive signature “G.E. Ohr”, h. 10 1/8 in., dia. 6 3/4 in. [$30000/50000]

167. George Ohr Art Pottery Teapot, inverted lid, green glaze with speckles, mustard finish interior, stamped “G.E. Ohr/ Biloxi, Miss.”, h. 4 1/4 in., w. 5 in., d. 6 1/4 in.[$12000/18000]

Provenance: Jean Bragg Gallery, New Orleans.

Provenance: Jean Bragg Gallery, New Orleans, LA.

168. Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Untitled (Shrimp Boats)”, c. 1965, watercolor and graphite on paper, unsigned, “Luise Ross Gallery, New York” label with artist, title and date, typed label with artist, title and date and “Debra Rhodes Fine Art Services, New York” stamp en verso, 11 in. x 8 1/2 in., framed. [$10000/15000] Provenance: Luise Ross Gallery, New York

169. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Swimming Ducks (Red Head Design)”, watercolor and graphite on paper, unsigned, estate stamp lower right, “Jean Bragg Gallery” label with artist and title and certificate of authenticity from “The Family Of Walter Anderson” with title on backing paper, 8 3/8 in. x 11 in., framed. [$10000/15000] Provenance: Jean Bragg Gallery, New Orleans. 170. Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Fish”, watercolor and graphite diptych on paper, unsigned, each sheet 10 7/8 in. x 8 7/16 in., overall 21 3/4 in. x 8 7/16 in., framed. [$12000/18000] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

171. George Ohr Art Pottery Vase, corseted form, green and red speckled glaze, umber interior, base stamped “G.E. Ohr/ Biloxi, Miss.”, h. 7 3/4 in., dia. 3 1/2 in. [$4000/6000]

Provenance: Jean Bragg Gallery, New Orleans, LA.

172. George Ohr Art Pottery Cream Pitcher, ribbon handle, glossy black glaze, base stamped “G.E. Ohr/ Biloxi, Miss.”, h. 4 3/8 in., w. 2 1/2 in., d. 3 in. [$4000/6000]

173. George Ohr Art Pottery Lidded Vessel, scalloped rim, umber glaze with black spattering, base stamped “G.E. Ohr/ Biloxi, Miss.”, h. 4 1/4 in., dia. 4 3/4 in. [$2000/3000]

174. Newcomb College Art Pottery Chocolate Pot with Six Cups and Saucers, before 1928, matte glaze with blue, green, and pink underglaze, bases with Joseph Meyer’s potter’s mark, pitcher and cups with relief‑carved narcissus motif, pitcher h. 9 1/2 in., w. 6 in., d. 5 1/2 in.; cup h. 3 in., w. 2 3/4 in., d. 3 in., saucers with additional Newcomb cypher, and date code EB (1910), dia. 5 7/8 in. (13 pcs.) [$4000/6000]

175. Newcomb College Art Pottery Vase, 1917, decorated by Sadie Irvine, with relief carved floral motif, matte glaze with glue, green and purple underglaze, base marked with Newcomb cipher, decorator’s mark, and reg. no. IP79, h. 7 1/8 in., dia. 3 3/4 in. [$1500/2500]

Provenance: Estate of Eunice Bate Coleman, New Orleans, LA Newcomb College graduate, 1919

176. Newcomb College Art Pottery Vase, 1917, decorated by Henrietta Davidson Bailey, with stylized iris band, matte glaze with blue and green underglaze, base marked with Newcomb cipher, Joseph F. Meyer’s decorator’s mark, potter’s mark, reg. no. JD53, h. 7 in., dia. 8 1/4 in. [$1500/2500] Provenance: Jean Bragg Gallery, New Orleans, LA.

Provenance: Jean Bragg Gallery, New Orleans, LA.

177. Newcomb College Art Pottery Vase, 1915, decorated by Anna Frances Simpson, with relief carved hollyhocks motif, matte glaze with blue and green underglaze, base marked with Newcomb cipher, Joseph Meyer’s potter’s mark, decorator’s mark, reg. no. HQ6, h. 8 3/4 in., dia. 4 3/4 in. [$1500/2500]

Provenance: Jean Bragg Gallery, New Orleans, LA.

179A. Angela Gregory (American/New Orleans, 1903‑1990), “Bienville Study”, 1952, bronze, signed, dated and foundry mark on self‑base, h. 10 in., w. 7 in., d. 6 in. [$3000/5000]

178. Newcomb College Art Pottery Vase, decorated by Corinne Marie Chalaron, with incised floral motif, matte glaze with blue and yellow underglaze, base marked with Newcomb cipher, Joseph Meyer’s potter’s mark, decorator’s mark, reg. no. MZ61, h. 7 3/4 in., dia. 3 1/2 in. [$1500/2500]

179. Newcomb College Art Pottery Bowl, 1923, decorated by Anna Frances Simpson, with relief carved Japanese quince motif, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. MX18, h. 3 1/8 in., dia. 8 7/8 in. [$1000/1500] Provenance: Jean Bragg Gallery, New Orleans, LA.

Provenance: Jean Bragg Gallery, New Orleans, LA.

180. George Ohr Art Pottery Bisque Vessel, ruffled rim with crimped body, red and beige marbleized clays, cursive signature “G.E. Ohr”, h. 4 1/4 in., w. 4 3/4 in., d. 5 1/4 in. [$1200/1800]

Provenance: Jean Bragg Gallery, New Orleans, LA.

182. George Ohr Art Pottery Mug, loop handle, bronze metallic glaze, with black spattering, cursive signature “G.E. Ohr”, h. 4 1/4 in., w. 2 3/4 in., d. 4 in. [$800/1200]

181. George Ohr Art Pottery Vase, squat form with tapered neck, gun‑metal glaze, with mustard interior finish, cursive signature “G.E. Ohr”, h. 4 1/2 in., dia. 4 1/4 in.[$1200/1800]

Provenance: Jean Bragg Gallery, New Orleans, LA.

183. Newcomb College Art Pottery Vase, decorated by Anna Frances Simpson, in the Moon and Moss design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. MR26, h. 5 in., dia. 4 in. [$800/1200]

Additional information at www.nealauction.com

184. Newcomb College Art Pottery Vase, 1920, decorated by Edith Barnes Hohn, with relief carved tulip motif, matte glaze with blue, green and purple underglaze, base marked with Newcomb cipher, Joseph Meyer’s potter’s mark, decorator’s mark, reg. no. LA 66, h. 6 in., dia. 4 1/2 in. [$1000/1500]

185. Newcomb College Art Pottery Pitcher, 1925, decorated by Sadie Irvine, with relief carved floral band, matte glaze with blue, green and purple underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. OB69, h. 8 in., dia. 5 1/2 in. [$1200/1800]

186. Newcomb College Art Pottery Vase, 1920, decorated by Sadie Irvine, with relief carved band of freesia, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. KS49, h. 5 in., dia. 5 1/4 in. [$1000/1500]

188. Newcomb College Art Pottery Vase, 1918, decorated by Anna Frances Simpson, with relief carved floral motif, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, and reg. no. JI90, h. 2 3/4 in., dia. 3 in. [$600/900]

189. Three Newcomb College Art Pottery Coasters, 1912, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, Joseph Meyer’s potter’s mark, reg. no. FH20 and B for buff clay body, h. 1/4 in., dia. 4 in. [$700/1000]

190. Pair of Newcomb College Art Pottery Candlesticks, decorated with geometric cut‑outs, white high glaze, interior marked with “H.R.T.”, h. 7 in., dia. 3 3/4 in. [$150/250]

Provenance: Jean Bragg Gallery, New Orleans, LA.

191A. George Ohr Art Pottery Vase, rolled rim, green, mustard and black speckled glaze, base stamped “G.E. Ohr/ Biloxi, Miss.”, h. 6 in., dia. 4 1/2 in. [$1000/1500]

Provenance: Antique store in Gulfport, MS.

192A. Newcomb College Art Pottery Cup and Saucer, 1910-1913, cup with stylized floral motif, matte glaze with blue underglaze, base marked reg. no. EC40, h. 2 in., dia. 4 in.; saucer with matte glaze, blue and green underglaze, base marked reg. no. GH5. [$700/1000]

187. Newcomb College Brass Mailbox, early 20th c., typical tapered form, handwrought brass sheeting, pierced design featuring a wolf, unmarked, h. 11 1/4 in., w. 7 3/34 in., d. 2 1/4 in. [$1000/1500]

Provenance: Jean Bragg Gallery, New Orleans, LA.

191. Shearwater Art Pottery Vase, decorated with sea, earth, and sky pattern, designed by Walter Inglis Anderson, bronze and white glaze, base marked Shearwater, h. 12 1/4 in., dia. 7 1/2 in. [$600/900]

192. Newcomb College Art Pottery Vase, early 20th c., stylized berries relief, matte glaze with blue and green underglaze, base marked with Newcomb cipher, h. 5 3/4 in., dia. 3 1/2 in. [$700/1000] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA, Newcomb College graduate, 1919.

193. Art Nouveau Galle Ceramic Vase, c. 1895, marked, fan‑form, decorated with florals and a grasshopper, h. 6 1/4 in., w. 12 1/2 in., d. 4 3/8 in. [$1000/1500] Provenance: Treadway Gallery, Sept., 15, 2019.

195. Continental Terracotta Garden Urn, decorated with roundel and rose swag, h. 33 1/4 in., dia. 30 in. [$1500/2500]

194. Latin American School, 19th c., “Holy Family”, gilt and tempera on panel, illegible stamp en verso, 10 5/8 in. x 9 1/4 in., unframed. [$400/600]

196. Pair of American Cast Iron “Peacock” Pattern Garden Benches, after the design by Coalbrookdale, fan formed pierced back, shell and foliate decoration, slatted seat, outswept legs, h. 37 in., w. 47 in., d. 25 in. [$2500/3500]

198. Phoenician Carved Marble Figural Corbel Fragment, probably ancient, lion with bared teeth, h. 28 in., w. 5 in., d. 9 in. [$500/700] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

199. Pair of Decorative Bronze Figures of Pelicans, opposing heads, h. 22 1/2 in., w. 7 1/4 in., d. 26 1/2 in. [$800/1200]

197. Pair of Large Cast Iron Race Horses, patinated surface, h. 30 in., w. 13 in., d. 22 in. [$1000/1500]

200. Cast Iron Cross with Crown of Thorns, 19th c., decorated with flowers and foliage, h. 50 1/2 in., w. 27 in., d. 6 1/2 in. [$500/700]

203. Large Chinese Sancai Glazed Tilework Figural Group, modeled as a rider astride a qilin, side with wax “WEN” seal, h. 26 in., w. 9 in., d. 28 1/2 in. [$1500/2500]

204. Pair of Chinese Cloisonné Enamel Candle Stands, globular lotus mouths, elaborate stems, splayed tripod feet, h. 21 1/2 in. [$1000/1500]

201. William Ludwig (American/New Orleans, 1935‑2011), “Bust of a Woman “ 1981, patinated bronze, signed and dated on helmet, h. 29 in., w. 11 in., d. 11 1/2 in., on square black metal base, overall h. 34 1/4 in. [$700/1000]

202. Chinese Opaque Turquoise Blue Floriform Glass Bowl, early 20th c., lobed sides, everted flat rim, short circular foot, h. 3 3/4 in., w. 10 1/4 in., wood stand, overall h. 5 3/4 in. [$400/600] Provenance: Descended in the New Orleans family of Collector William Allan Manford (1913‑2009).

205. Pair of Chinese Famille Rose Porcelain Covered Garniture Vases, Qing Dynasty, 18th c., vibrantly enameled with pheasants amid rocks, peony and butterflies, h. 15 1/2 in., wood stands, overall h. 17 in. [$600/800]

206. Chinese Famille Verte Porcelain Rouleau Vase Qing Dynasty (1644‑1911), painted with a continuous landscape with a seated dignitary surrounded by numerous court ladies, h. 18 in., now mounted as a lamp, h. (incl. socket) 25 1/2 in. [$1000/1500] Provenance: Blackamoor Antiques, New Orleans.

Additional information at www.nealauction.com

207. Chinese Transitional‑Style Wucai Porcelain “Mythical Beast” Covered Jar decorated with three panels enclosing a qilin, chimera, and Buddhist lion, h. 16 1/2 in., wood stand, overall h. 18 1/2 in. [$1000/1500]

208. Pair of Chinese Famille Rose Porcelain “Chicken and Rooster” Covered Baluster Vases, Qing Dynasty (1644‑1911), vibrantly enameled with a chicken and a rooster in a floral landscape with butterflies and rocks, h. 12 1/2 in., wood stand, overall h. 14 1/2 in., Note: Restoration. [$1000/1500]

Provenance: Blackamoor Antiques, New Orleans

209. Monumental Chinese Mirror Black Glazed Porcelain Bottle Vase, overall deep black glaze thinning to brown at the rim and pooling toward the unglazed foot ring, white glazed interior and base, h. 28 in. [$800/1200]

211. Chinese Famille Verte Porcelain Sleeve Vase, Qing Dynasty, probably 18th c., decorated with a nobleman and attendant in fenced garden with crane, banana palm, pine, and bamboo, h. 9 1/2 in., now mounted as a lamp, probably not drilled, h. (incl. finial) 22 1/2 in. [$600/900]

212. Chinese “Peacock’s Eye” Glazed Porcelain Bottle Vase, probably 18th c., mottled lavender, blue and oxblood flambe spots on mottled brown ground, h. 15 3/4 in., now mounted as a lamp, overall h. (incl. finial) 26 1/8 in. [$1000/1500]

215. Pair Japanese Art Deco Patinated Bronze Bottle Vases, c. 1930, h. 9 in. [$300/500]

216. Japanese Samurai Black Lacquer and Blue Odashi Partial Suit of Armor, probably Edo Period (1603‑1868) incl. menpo or half mask (lacking nose piece) with attached yodare kake (throat guard); do (cuirass) with black lacquered leather kozane scales laced in blue silk odashi, l. 28 in.; haidate (cuisse) with blue damask, painted leather and further kozane, cloth lined, l. 21 1/2 in; and single sode (spaulder), l. 11 in.; together with unrelated metal foot protector, l. 12 in. (5 pcs.) [$1000/2000]

Provenance: Thomas K. Libby, Stamford, CT, Aug. 2015.

Provenance: Polly Latham Asian Art, Boston, June 2013.

213. Chinese Peachbloom Glazed Porcelain Baluster Vase, Qing Dynasty (1644‑1911), overall green streaked copper red glaze pooling neatly toward the unglazed foot, interior and base with cream crackle, h. 17 in. [$500/700]

Provenance: Property deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

217. Pair of Antique Thai Bronze Hands of Buddha, embellished with floral stars on palms, rings on fingers, and wide cuff bracelets, h. (raised in abhaya mudra) 8 1/2 in. [$300/500] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

218. Korean School, Joseon Dynasty (1392‑1897), “Bodhisattva with Bamboo Sprig and Alms Bowl”, ink, color and gold on paper, 20th century collector’s seal lower left, 119 3/4 in. x 51 1/8 in., mounted as a hanging scroll, overall 152 in. x 62 1/2 in. [$2500/3500]

Provenance: Kleykamp Gallery, The Hague, Netherlands; Johan Wilhelm Adriaan’s, Holland, c. 1930s; Adriaans Antiques, New Orleans, 1976; Estate of New Orleans Antiquarian Richerson Rhodes.

210. Pair of Chinese Iron Red and Gilt Decorated Porcelain Bottle Vases, Qing Dynasty (1644‑1911), decorated with leaf tips, flower sprays and auspicious emblems, h. 15 1/2 in., bronze mounted and fitted as lamps, h. (incl. finial) 29 in. [$1000/1500]

214. Chinese Marble Figure of Guanyin, carved standing on a lotus pod base with hands raised in namaskara mudra, wearing bead necklace, earrings, bracelets, celestial scarf, and tiara, h. 35 in. [$1000/1500]

219. Chinese Carved and Painted Lacquer Eight Panel Screen, front with elaborate court scenes between landscape vignettes, reverse with birds, flowers and landscapes, h. 77 in., w. 128 in. [$1500/2500]

221. Pre‑Columbian Polychrome Pottery Vessel, 800‑1350 A.D., Costa Rica, possibly Nicoya, avian head, zoomorphic design, splayed ring base, h. 8 1/2 in., w. 5 1/2 in., d. 4 in. [$800/1200]

222. Pre‑Columbian Pottery Tripod Bowl, 800‑1500 A.D., Costa Rica, possibly Nicoya, red slip design, animal head rattle legs, h. 8 in., dia. 12 1/2 in. [$700/1000] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

220. Chinese Carved and Painted Lacquer Eight Panel Screen, with ladies at leisurely pursuits in a garden setting with pavilions, reverse with birds on branches, h. 96 in., w. 145 in. [$1000/1500]

223. Pre‑Columbian Carved Limestone Mask, 1‑600 A.D., Teotihuacan, Mexico, sides drilled for mounting wire, h. 9 1/2 in., w. 9 in., d. 5 1/4 in. [$1000/1500]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

225. Large Pre‑Columbian Polychrome Pottery Tripod Bowl, 600‑1350 A.D., Costa Rica, possibly Nicoya, zoomorphic mounts and design, h. 6 1/4 in., dia. 11 in. [$600/900]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

224. Pre‑Columbian Polychrome Pottery Vessel, 800‑1350 A.D., Costa Rica, possibly Nicoya, avian head, fluted body, zoomorphic designs, splayed ring base, h. 9 1/2 in., dia. 5 1/2 in. [$800/1200]

226. Pre‑Columbian Carved Limestone Three‑Cornered Zemi, 1200‑1400 A.D., Greater Antilles, h. 4 1/4 in., w. 2 1/2 in., d. 4 1/2 in. [$500/700]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

227. Pre‑Columbian Carved Stone Ceremonial Mace Head, 500‑1500 A.D., Costa Rica, stylized avian figure with upright wings, h. 3 3/4 in., w. 5 1/2 in., d. 3 in. [$500/700]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

229. Pre‑Columbian Carved Greenstone Standing Figure, 100 B.C. ‑ 400 A.D., Teotihuacan, Mexico, h. 8 1/4 in., w. 2 3/4 in., d. 1 1/4 in. [$500/700]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

228. Pre‑Columbian Pottery Figural Fragment, before 1200 A.D., Comalapa, Chimaltenango, Guatemala, possibly from a funerary urn or other large vessel, h. 5 in., w. 9 1/4 in., d. 4 in. [$500/700]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

230. Pre‑Columbian Carved Stone Ceremonial Metate, 400‑1000 A.D., possibly Nicaragua, volcanic tuff, incised geometric designs, h. 6 in., w. 15 1/4 in., d. 9 1/2 in. [$600/900]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

Additional information at www.nealauction.com

231. Pre‑Columbian Polychrome Pottery Vessel, 800‑1350 A.D., Costa Rica, possibly Nicoya, avian head, zoomorphic designs, splayed ring base, h. 10 1/2 in., dia. 5 1/2 in. [$800/1200]

232. Pre‑Columbian Carved Limestone Head of an Elite, 250‑1500 A.D., Maya, possibly Honduras, remnant pigment, modeled with earrings and head band, molded base, h. 13 in., w. 6 1/2 in., d. 6 1/2 in. [$3000/5000]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

234. Pre‑Columbian Polychrome Pottery Tripod Bowl, 250‑900 A.D., probably Maya, remnant red and black design, restored, h. 2 7/8 in., dia. 10 in.; together with painted pottery bowl fragment, h. 2 3/4 in., dia. 8 in. (2 pcs.) [$300/500] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

235. Two Pre‑Columbian Carved Stone Objects, before 1500 A.D., incl. tall male figure, Haiti, probably Arawak, h. 11 1/2 in.; and axehead, h. 4 1/2 in., w. 7 in. [$500/700]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

233. Pre‑Columbian Pottery Standing Figure, 550‑950 A.D., Veracruz, Remojadas, Mexico, smiling figure with outstretched hands, h. 8 1/2 in., w. 5 1/2 in., d. 2 in. [$500/700] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

236. Pre‑Columbian Carved Stone Effigy Figure, 1300‑1519 A.D., Aztec, modeled with bared teeth, ear plugs and distinctive hair style, h. 8 1/2 in., w. 5 in., d. 3 1/2 in. [$400/600]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

237. Two Pre‑Columbian Carved Stone Figures of Animals, before 1500 A.D., Yucatan, Mexico, incl. frog and a turtle, larger h. 2 3/4 in., w. 4 in., d. 6 1/2 in. [$500/700] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

239. Pre‑Columbian Carved Greenstone Figure, 300‑100 B.C., Mezcala, Guerrero, Mexico, h. 4 1/2 in., w. 1 3/4 in., d. 1 1/4 in. [$400/600] 238. Pre‑Columbian Pottery Ritual Tripod Bowl, 200‑600 A.D., Maya, Guatemala, with ceiba tree thorn design, h. 4 1/2 in., dia. 6 1/2 in. [$300/500]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

240. Pre‑Columbian Carved Stone Zoomorphic Ceremonial Mace Head, 500‑1500 A.D., Costa Rica, h. 1 1/2 in., w. 2 in., d. 3 1/2 in. [$300/500]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

241. Two Pre‑Columbian Pottery Figural Fragments, 550‑950 A.D., Veracruz, Remojadas, Mexico, male and female heads, taller h. 6 in. [$500/700]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

242. Pre‑Columbian Flint Double‑Axe Head, pre 1500 A.D., h. 4 in., w. 9 in., d. 1 in. [$200/300]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

243. Pre‑Columbian Carved Stone Figure, before 1500 A.D., Greater Antilles, possibly Arawak, h. 6 1/4 in., w. 2 1/2 in. [$250/350]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

244. Two Pre‑Columbian Clay Effigy Figures, before 1500 A.D., Mesoamerica, incl. one kneeling, with necklace; other standing, taller h. 8 in. [$400/600]

245. Two Pre‑Columbian Pottery Vessels, before 1500 A.D., Mesoamerica, one with loop handles, and smaller removable inner vessel; other with broken spout, taller h. 4 1/4 in. [$300/500]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

246. Three Pre‑Columbian Pottery Vessels, before 1500 A.D., incl. tall incised ritual goblet, h. 6 1/4 in., dia. 6 7/8 in.; small incised vessel; and fragment of an avian vessel. [$500/700] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

247. Two Pre‑Columbian Pottery Vessels, before 1500 A.D., possibly Costa Rica, with face reliefs, polychrome design, larger h. 7 in., dia. 8 1/2 in. [$400/600]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

251. Three Pre‑Columbian Effigy Figures, before 1500 A.D., Mesoamerica, incl. kneeling pottery figure with red slip; carved pumice figure with bared teeth; and molded pottery zoomorphic figure with necklace and loin cloth, tallest h. 7 3/4 in. [$300/500]

248. Two Pre‑Columbian Pottery Vessels, before 1500 A.D., Central America, incl. compressed globular vessel with remnant of polychrome design interior, and blackware vessel with ring foot, taller h. 5 1/2 in. [$300/500]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

252. Four Small Pre‑Columbian Pottery Vessels, before 1500 A.D., Mesoamerica, tallest h. 3 1/4 in. [$200/300]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

253. Three Pre‑Columbian Stone Axe Heads, pre 1500 A.D., incl. greenstone celt, and two flint, tallest h. 6 1/4 in. [$300/500]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

254. Three Pre‑Columbian Pottery Rattles, A.D. 600‑900, Maya, largest with remnant pigment, h. 9 in., w. 5 1/4 in. [$600/900]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

255. Two Pre‑Columbian Carved Stone Figures of Animals, before 1500 A.D., Haiti, probably Arawak, incl. sea turtle and lizard, larger h. 2 1/4 in., w. 4 in., d. 5 1/4 in. [$500/700]

249. Three Pre‑Columbian Polychrome Pottery Effigy Figures, 800‑1200 A.D., Costa Rica, possibly Nicoya, largest h. 7 3/4 in., w. 3 in., d. 3 in. [$600/900]

250. Three Pre‑Columbian Blackware Vessels, 1000‑1300 A.D., incl. jug with face spout, Columbia, h. 6 1/8 in., dia. 5 3/4 in.; and two smaller. [$400/600]

256. Pre‑Columbian Carved Greenstone Were‑Jaguar Seated Figure, 1200‑300 B.C., Olmec, now with drilled hole for hanging, h. 3 1/2 in., w. 2 in., d. 1 1/8 in. [$500/700]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

259. Three Pre‑Columbian Pottery Figures, incl. female figural rattle, Maya; black clay figure; and anthropomorphic vase, tallest h. 5 1/8 in. [$200/300] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

257. Pre‑Columbian Pottery Figure of a Dog, 200 B.C. ‑ 300 A.D., Colima, Mexico, red‑slip surface, modeled snarling, with protruding back bone, h. 12 1/2 in., w. 15 in., d. 7 1/4 in. [$600/900]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

258. Pre‑Columbian Pottery Figural Urn Fragment, before 1200 A.D., Comalapa, Chimaltenango, Guatemala, h. 7 in., w. 7 in., d. 6 1/2 in. [$400/600]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA

260. Seven Small Pre‑Columbian Items, before 1500 A.D., incl. two jade or greenstone beads, jade or greenstone ear spoon; inlaid metal ring; fragment of a polished greenstone axe head; copper bell; and carved piece of obsidian, l. 3 1/4 in. [$250/350] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

Additional information at www.nealauction.com

Session Two Saturday, September 12, 11 a.m.

263. Regency Giltwood and Mahogany Wall Bracket, c. 1820, shaped molded top, lobed support, ropetwist standard, foliate pendant, h. 11 1/2 in., w. 12 3/8 in., d. 7 3/4 in. [$300/500]

262. Antique English Ottoman, button tufted cushion, tapered square legs, caps and casters, h. 13 1/2 in., w. 46 in., d. 28 in. [$300/500] Provenance: Whitehall Antiques, Chapel Hill. 261. Anglo‑Colonial Brass‑Mounted Mahogany Bowfront Campaign Chest, 19th c., in two sections, top drawer with fitted secretary, over three conforming drawers, inset pulls, bail carrying handles, h. 38 in., w. 49 in., d. 22 1/4 in. [$500/700]

264. Empire Bronze‑Mounted Mahogany Lit en Bateau, 19th c., paneled sides, colonnette supports, h. 44 in., l. 72 in., w. 45 in. [$800/1200]

266. Continental Marquetry Window Bench in the Neoclassical Taste, 19th c., tulip and vine motif, scrolled legs, compressed spherule feet, h. 25 1/2 in., w. 47 in., d. 16 1/2 in. [$800/1200]

265. Italian Lombardy Bone Inlaid Collector’s Cabinet, late 19th c., broken pediment crest with central landscape cartouche, dentilated cornice, blocked canted case, glazed doors and sides, shelf interior, lower cabinet, block feet, h. 85 in., w. 43 1/4 in., d. 14 in. [$800/1200]

267. Attributed to James Seymour (British, 1702‑1752), “The Hunt”, graphite and watercolor on paper, unsigned, inscribed with artist en verso and on backing, 9 3/4 in. x 14 5/16 in., framed. [$800/1200]

268. Abraham Cooper (British, 1787‑1868), “Thomas Rounding, Esq. on his Favorite Hunter ‘Spankaway’ with Gladsome, Governess and Syren Staghounds of the Epping Forest Hunt”, oil on canvas, unsigned, “The Santa Barbara Museum of Art, Santa Barbara, CA” label, label with history of painting and “Sotheby’s New York” labels on frame, 24 in. x 29 3/4 in., framed. [$4000/6000] Provenance: Sotheby’s, New York, June 4, 1987, lot 49; Sotheby’s, New York, Nov. 29, 2007, lot 59. Exh.: “The Exhibition of the Royal Academy”, The Royal Academy, London, 1821.

Ref.: Gilbey, Walter, Sir. Animal Painters of England. London: Vinton & Co., 1900. 269. George Cole (British, 1810‑1885), “John Peale on his Favorite Hunter and a Dog”, oil on canvas, signed and illegibly dated lower left, handwritten label inscribed “Cole ‑ Squire on Horse” on stretcher, Sotheby’s label on frame, 23 in. x 29 1/4 in., framed. [$3000/5000]

Provenance: Sotheby’s, New York, The Sporting Sale: Equestrian, Wildlife & Maritime Art, Dec. 5, 2008, lot 58. Additional information at www.nealauction.com

270. John James Audubon (American, 1785‑1851), “Florida Cormorant”, Plate CCLII, hand‑colored aquatint with engraving, from The Birds of America, Havell edition, “J. Whatman / 1836” watermark, sheet 24 3/4 in. x 32 7/8 in., framed. [$2000/3000] Provenance: The Collector’s Exchange, Jacksonville, FL.

271. John James Audubon (American, 1785‑1851), “Carolina Parrot”, Plate 278, chromolithograph, from The Birds of America, Bien edition, sheet 35 in. x 24 in., framed. [$3000/5000] Provenance: Estates of George and Mary Beth Thomson, Franklin, LA.

273. John Gould (British, 1881‑1804), “Pteroglossus Inscriptus” and “Pteroglossus Hypoglaurus”, 2 hand‑colored lithographs on paper, each signed in plate, from A Monograph of the Ramphastidae or Family of Toucans, sights 20 3/4 in. x 14 1/8 in., framed alike. (2 pcs.) [$700/1200]

272. After William Edward West (American/Kentucky, 1788‑1857), “Battle of New Orleans and Death of Major General Packenham”, 1817, engraving on paper, engraved by Joseph Yeager (American/ Pennsylvania, 1792‑1859), published by McCarty and Davis, Philadelphia, sight 15 1/2 in. x 19 3/4 in., framed. [$700/1000] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

274. British School, 19th c., “Portrait of a Gentleman with Horse”, oil on canvas, unsigned, 35 in. x 26 5/8 in., framed. [$2000/3000]

275. Group of Chamberlain’s Worcester “Bengal Tiger/Dragon in Compartments” Porcelain, c. 1795, incl. oval platter (14 1/2 in. x 11 1/4 in.), pair of plates (dia. 9 1/2 in.) and pair of soup plates (dia. 9 1/8 in.) [$1000/1500] Provenance: Bardith Ltd., New York, NY.

276. Pair of Polychrome Clobbered Chinese Export Blue and White Porcelain Platters, late 18th c., oval wells with willows rising from rockery beside antiques and flowers, colorful enamels throughout, foliate rims, h. 1 1/2 in., w. 15 5/8 in., d. 11 5/8 in. [$600/800] Provenance: William Word Fine Antiques, Atlanta, May 2012.

277. George III Tortoiseshell Bombé Sarcophagus-Form Tea Caddy, early 19th c., interior with two lidded compartments, pad feet, h. 5 in., w. 7 1/2 in., d. 4 3/8 in. [$1000/1500]

278. George III Green Tortoiseshell Tea Caddy, early 19th c., interior with two lidded compartments, pad feet, h. 4 3/4 in., w. 6 1/2 in., d. 4 in. [$1500/2500]

279. English Marquetry and Mahogany Gallery Tray, late 19th c., floral decoration, brass handles, h. 2 1/4 in., w. 22 in., d. 14 1/2 in. [$200/400] Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL

280. George III Satinwood and Rosewood Banded Tea Caddy, early 19th c., two original lidded interior tea boxes, lion mask‑ring handles, brass paw feet, h 6 1/2 in., w. 13 in., d. 7 in. [$100/200]

281. George IV Sterling Silver Flatware Service in the Fiddlethread Pattern, Morris and Michael Emanuel, London, 1823‑1829, incl. 12 table forks (l. 8 in.), 12 tablespoons (l. 8 7/8 in.), 12 soup spoons (l.7 1/2 in.), 12 dessert forks (l. 6 1/2 in.), 12 teaspoons, (l. 5 5/8 in.) and 2 sauce ladles (l. 7 1/4 in.); total wt. 138.20 troy ozs. (62 pcs.) [$1500/2500] Provenance: Garrard & Co. Ltd., London, 1971.

285. George III Sterling Silver Plate, London, 1808, marks rubbed, gadroon border, crested cavetto, dia. 9 3/4 in., wt. 16.55 troy ozs. [$400/600]

282. Fine Scottish George III Sterling Silver Hot Water Urn, W.& P. Cunningham, Edinburgh, 1792‑93, retains heater tube with a detachable silver cover (unmarked), pedestal base on a rectangular plinth with ball feet, vertical reeding on lower half of the body and on the cover, Classical applied borders, lion mask drop ring handles, acorn finial on cover, marked on the cover rim and plinth, h. 19 in., w. 12 1/2 in., dia. 12 in., wt. 126.30 troy ozs. [$2500/3500]

283. George III Sheffield Plate Tea Machine, c. 1790, comprised of hot water urn flanked by pair of tea urns, all engraved with Clan Colville crest and motto “Oblier ne puis” (I cannot forget), hot water urn with domed cover and telescoping finial with steam vent, urn rotating on its base, fitted stand on ball feet, reeded detail throughout, urns and stand retain original tinned backs, h. 23 in., w. 16 1/2 in., d. 12 1/2 in. [$2500/3500] Provenance: Kentshire Galleries, New York.

Note: The Sykes Gallery of Museums Sheffield houses a tea machine by Daniel Holy, Wilkinson & Co. from c. 1798.

286. Pair of Georgian‑Style Silverplate Wine Coasters, turned hardwood bases with inset buttons marked “ROYAL CASTLE/SHEFFIELD”, h. 5 1/4 in., dia. 8 3/4 in. [$300/500]

291. George III Green Tortoiseshell Tea Caddy, early 19th c., canted corners, lid with void cartouche, interior with lidded compartment, h. 4 1/2 in., w. 4 1/4 in., d. 3 5/8 in. [$1000/1500]

Provenance: William Walter Antiques Ltd., London Silver Vaults, 1960. Note: A similar example is illustrated in Seymour Wyler’s The Book of Sheffield Plate.

287. Elkington & Co. Silverplate Fish Service for Twelve, 1852, incl. 12 each fish forks (l. 7 7/8 in.) and fish knives (l. 8 3/4 in.) engraved crests, in fitted mahogany case with “Elkington & Co. Liverpool” plaque. [$200/400]

288. Georgian Sheffield Plate Soup Tureen, 19thc., oval with domed cover, matching acanthus and scroll handles, gadroon border, bracketed scroll feet, h. 10 in., w. 15 in., d. 9 in. [$800/1200]

290. George III Red Tortoiseshell Tea Caddy, 19th c., lens form, void cartouche, interior with lidded compartment, h. 5 in., w. 7 1/2 in., d. 3 1/2 in. [$1000/1500]

284. George III Sheffield Plate Hot Water Urn, Daniel Holy, Parker & Co., c. 1804, pineapple mark, domed cover, leaf and berry banding, lion mask and ring handles, reeded supports ending in paws, urn‑form burner, incurvate plinth, ball feet, retains original tinned interior and underside, h. 17 1/2 in., w. 8 1/2 in. [$700/1000]

289. Elkington & Co. Silverplate Plateau, date mark for 1857, circular mirror plate, rockwork surround, old backboards, h. 2 1/4 in., dia. 17 3/4 in. [$600/900]

292. George III Inlaid Mahogany Tea Caddy, early 19th c., canted corners, shell and vase inlay, interior with lidded compartments, h. 5 in. w. 7 1/4 in., d. 4 1/8 in. [$300/500]

293. George III Tortoiseshell Tea Caddy, early 19th c., interior with two lidded compartments, pad feet, h. 6 in., w. 7 1/2 in., d. 4 1/2 in. [$1000/1500]

Additional information at www.nealauction.com

295. Two Antique English Brass Figural Doorstops, one a cherub, other a stag, taller h. 19 1/4 in. [$300/500] 294. Large Antique English Mother‑of‑Pearl Inlaid Rosewood Tea Caddy, velvet-lined interior, fitted with cut glass canisters and later mixing bowl, case with inset handles, h. 7 in., w. 15 1/4 in., d. 8 in. [$600/900]

296. French Iron and Tole Peinte Six‑Light Chandelier, early 20th c., green ground, gilt accents, prisms, h. 32 in., dia. 30 in. [$700/1000]

Provenance: Whitehall Antiques, Chapel Hill.

299. Pair of French Neoclassical Gilt Bronze and Black Marble Gueridons, inset fossilized marble top, coined edge, tripartite scrolled supports, medial shelf, finialed stretcher, foliate paw feet, h. 29 1/4 in., dia. 27 3/4 in. [$1500/2500] Provenance: Whitehall Antiques, Chapel Hill.

297. Antique French Marquetry and Burlwood Bonnetiere, stepped, canted cornice, inlaid frieze, fluted stiles, molded panel door, lower drawer, scrolled toes, h. 93 in., w. 47 1/2 in., d. 28 in. [$1500/2500] Provenance: Whitehall Antiques, Chapel Hill.

298. Monumental Antique French Provincial Carved Cherrywood Buffet a Deux Corps, 19th c., Normandy, upper case with stepped molded cornice, turret corners, frieze with central floral basket, two spurred raised panel doors, exuberant hardware, conforming base with molded top, frieze drawers over paneled cabinet doors, flower basket carved apron, h. 98 1/2 in., w. 64 1/2 in., d. 23 in. [$2500/3500] Provenance: Whitehall Antiques, Chapel Hill.

300. Eight Marcel Kammerer (Austrian, 1878‑1959) for Gebruder Thonet Armchairs, c. 1910, marked “THONET”, stained beech, barrel form, slatted supports, high stretcher, square tapered legs, h. 30 1/2 in., w. 24 in., d. 24 in. [$1200/1800]

301. Secessionist Five‑Piece Parlor Suite, c. 1910, attr. to Marcel Kammerer (Austrian, 1878‑1959), incl. settee, two armchairs, two side chairs, with original upholstery, shaped back with slatted supports, high rounded stretcher, square tapered legs, capped toes, settee h. 36 1/2 in., w. 47 in., d. 24 in., armchair h. 36 1/2 in., w. 23 1/2 in., d. 22 in., side chair h. 36 1/2 in., w. 16 5/8 in., d. 16 1/2 in. [$1000/1500]

302. Italian Renaissance Carved Walnut Bookcase, architectonic dentil molded cornice, open bookshelves flanked by columnar stiles, lower case with paneled doors, conforming plinth, h. 89 in., w. 98 1/2 in., d. 18 in. [$1500/2500]

303. Italian Renaissance Carved Oak Table, late 18th/early 19th c., hexagonal top, conforming frieze, scrolled acanthus supports with paw feet, conforming molded plinth base, h. 28 1/4 in., w. 33 1/4 in., d. 29 in. [$700/1000]

304. Charles‑Guillaume Diehl Louis XV‑Style Bronze‑Mounted and Inlaid Rosewood Poudreuse, late 19th c., engraved lock signed “Diehl, Paris, Rue Michelle Comte”, molded shaped hinged lid, mirrored figured maple interior, sliding tray, cabriole legs, sabot toes, h. (closed) 29 in., h. (open) 43 in., w. 22 3/4 in., d. 16 3/4 in. [$1500/2500]

305. Contemporary French Gilt and Lacquer Low Table, Atelier Midavaine, Paris, in the Ming style, chrysanthemum and bird motif top, scalloped apron, horse hoof feet, h. 17 1/2 in., w. 56 1/2 in., d. 33 1/2 in. [$800/1200] 306. Pair of Italian Grand Tour Carved Marble Recumbent Lions, 19th c., after Canova, Egyptian marble bases, h. 5 1/4 in., w. 8 1/2 in., d. 3 in. [$1000/1500]

307. Pair of French Gilt Bronze Nineteenâ&#x20AC;&#x2018;Light Torcheres in the Gothic Taste, 19th c., floriform casting, clusterâ&#x20AC;&#x2018;column standard, h. 55 1/2 in., dia. 22 in. [$2000/3000]

309. Pair of Italian Rococo Carved and Gilded Mirrors, probably 19th c., floral and shell crest, pierced rocaille surround, old mirror plates, h. 33 in., w. 26 in., d. 2 in. [$700/900]

308. Louis Philippe Trumeau Mirror, c. 1840, gilt frame with cartouches, oil on canvas depicting hunters in a landscape, h. 62 in., w. 31 1/2 in. [$1000/1500] 310. Chinese Carved and Painted Lacquer Eight Panel Screen, front with figures in garden setting, reverse with birds and flowers, h. 96 in., w. 140 in. [$600/900]

312. Antique Serapi Carpet, red and pink ground, blue border, overall stylized floral design, 12 ft. 10 in. x 18 ft. [$6000/8000]

313. Antique Farahan Sarouk Carpet, central field in green and blue ground, overall floral design, 12 ft. 6 in. x 15 ft. 8 in. [$3000/5000]

311. Pair of Chinese Carved and Ebonized Armchairs, late 19th/20th c., reticulated back rail, carved with fruiting grapevines, quatrefoil backsplat with muskrat and grapes, scroll arms, inset plank seat, h. 37 in., w. 23 1/2 in., d. 18 in. [$200/400]

314. Oushak Carpet, in pale yellow ground, floral designs in pink, olive and blue, 14 ft. 3 in. x 20 ft. in. [$700/1000]

315. Antique Heriz Carpet, red ground, central medallion, allover foliate design, 7 ft. 9 in. x 11 ft. 7 in. [$1800/2000]

Additional information at www.nealauction.com

316. West Indies Carved Mahogany Armoire, c. 1830-1840, reeded, molded and stepped cornice above flush panel doors, fluted false stile, shelf interior, turned legs, h. 83 in., w. 57 in., d. 23 in. [$1000/2000] Provenance: Sir Arthur Norman Wolffsohn, Governor of British Honduras, 1946-1947, and Lady Erica Wolffsohn, Mobile, AL.

316A. West Indies Mahogany Tall Hunt Board, likely 19th c., later molded top, reeded frieze, one hidden side drawer, ring turned vasiform tapered legs, h. 42 1/2 in., w. 59 1/2 in., d. 24 in. [$500/1000]

317. American Classical Gilt Stenciled and Inlaid Mahogany Pier Table, early 19th c., attr. to Anthony G. Quervelle, Philadelphia, later marble top, ogee frieze, heavily scrolled supports, shaped plinth with fan veneer, lobed feet, h. 39 in., w. 39 1/4 in., d. 21 in. [$1500/2500] Provenance: Didier Inc., New Orleans, Jan. 10, 1990.

318. Federal Mahogany Three‑Part Dining Table, early 19th c., drop‑leaf center section, h. 29 1/4 in., w. 48 1/4 in., l. 102 in. [$1500/2500] Provenance: Cleland Antiques, Pensacola, FL, 1994; Selma Plantation, Washington, MS.

319. Federal Carved Mahogany Gentlemen’s Chest of Drawers, early 19th c., Salem, superstructure fitted with two drawers and shaped backsplash, over four long drawers flanked by pineapple‑carved and spiral‑turned stiles, baluster turned feet, h. 53 1/2 in., w. 44 3/4 in., d. 22 in. [$1200/1800]

320. American Classical Brass Inlaid and Bronze-Mounted Carved Mahogany Sideboard, School of Duncan Phyfe, New York, blocked, molded top, conforming case, central fall front compartment enclosing silver trays, over mirror-back plinth, flanked by revolving barrel form compartments each flanked by colonnettes, blocked base, brass hairy paw feet, h. 44 1/2 in., w. 85 1/2 in., d. 24 1/2 in. [$4000/6000]

Note: Interestingly, of the well-known group of New York sideboards most often attributed to Duncan Phyfe, and referred to as a Modified “French Sideboard”, the lot offered here (# 039) has a number of similarities to the sideboard that descended in the Phyfe family, now conserved at the Museum of the City of New York; including: architectural scale, distinctive figured veneer and specific classical attributes. Ref.: Kenny, Peter M. et al. Duncan Phyfe: Master Cabinetmaker in New York. New York: The Metropolitan Museum of Art, 2011, p. 195, plate 24.

321. American Federal Inlaid Mahogany, Cherrywood and Inlaid Maple Server, late 18th/ early 19th c., probably New England, mahogany top, single long drawer, conforming case, bowfront cabinet flanked by reverse serpentine geometric inlaid panels, tapered legs, h. 41 in., w. 39 in., d. 22 5/8 in. [$1500/2500]

Note: The present offering, an interesting unique form, relates to examples of inlaid Massachusetts furniture. The “black diamond” inlay around the top and lower skirt are referenced on pg. 31, fig. 52. This inlay pattern is present on a Newburyport, Massachusetts Card Table pg. 327, fig. 294.

322. Louisiana Figured Mahogany Armoire, mid‑19th c., stepped ogee cornice, molded bookmatched door panels, modified interior with hanging space, shelves and two drawers, triple reeded molded feet, h. 96 in., w. 70 in., d. 26 in. [$1500/2500]

Ref.: Montgomery, Charles F. American Furniture The Federal Period 1788-1825: Winterthur Museum, 1966.

323. American Rococo Carved Mahogany Full Tester Bed, mid‑19th c., stamped “C. LEE/ 1546”, stepped ogee cornice, reverse tapered lobed posts with quatrefoil collars, carved crest with pendant grapes and pomegranate, paneled headboard, scrolled shaped rails, conforming plinth feet, retains original iron casters, h. 120 in., l. 78 in., w. 65 in. [$7000/10000]

324. Federal Inlaid Cherrywood Chest, late 18th c., dovetailed inset molded top, fan and string inlay, chamfered corners, two over three graduated drawers, shaped apron, French bracket feet, h. 44 1/4 in., w. 39 3/4 in., d. 21 3/4 in. [$1500/2500]

325. Federal Carved Mahogany Card Table, Early 19th c., Salem, Massachusetts, carving attributed to Samuel McIntire, serpentine reeded top, acanthus carved capitals, tapered reeded legs, compressed spherule feet, h. 29 in., w. 38 in., d. 18 in. [$1000/1500] Note: For study of interest please see Ref. : Lahikainen, Dean T. Samuel McIntire- Carving an American Style, Peabody Essex Museum, 2007.

326. Pair of American Chippendale Carved Mahogany Side Chairs, c. 1765, Philadelphia, scrolled crest rail, pierced splat, shaped apron, ball and claw feet, h. 38 1/4 in., w. 23 in., d. 20 1/2 in. [$700/1000] Provenance: Herbert Schiffer Antiques, Exton, PA, 1974; Selma Plantation, Washington, MS.

327. American Late Classical Mahogany Pier Table, mid‑19th c., New York, possibly Meeks, marble top, bronze mounts, tapered marble columns, carved and gilt capitals, mirror-back stretcher shelf, large carved paw feet with cornucopia brackets, h. 38 in., w. 43 in., d. 19 1/4 in. [$1000/1500]

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328. American Gothic Carved Oak Hall Suite, mid‑19th c., by the “Stanton Hall Maker”, possibly New Orleans, incl. settee and two armchairs, the triple back settee with crocketed spires, pierce carved crest, square pierced stiles, foliate arms with pierced uprights, conforming seat rail on square molded tapered legs; the armchair en suite, settee h. 75 in., w. 84 1/2 in., d. 28 in., armchair h. 73 1/2 in., w. 27 1/2 in., d. 25 1/2 in. [$6000/9000] Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

Note: On August 30th, 1986, Neal Auction Company conducted an on-site sale of the contents of the Sisters of Mercy Convent in Vicksburg, Mississippi, featuring four American Gothic oak chairs, the matching sofas and a hall stand. The chairs and hallstand were identical to those original to Frederick Stanton’s grand antebellum mansion, Stanton Hall, in Natchez, Mississippi. This was the first-time furniture matching the Stanton Hall pieces had ever been offered publicly for sale. Two additional chairs by the “Stanton Hall Maker” were sold in these rooms May 28th, 1988.

One of the chairs of the 1986 Sisters of Mercy sale is now part of the High Museum of Atlanta, Georgia; another is now in the Bybee Collection at the Dallas Museum of Art. Other Pieces by the “Stanton Hall Maker” include a couch found in New Orleans conserved at the Metropolitan Museum of Art, a couch at New Orleans Museum of Art, a chair in the Winterthur collection, a chair at Grace Episcopal Church, St. Francisville, Louisiana, a sofa from a New Orleans collector sold in these salesrooms as lot 261 on April 5th, 2003, and a bench from Arlington Plantation, Franklin, Louisiana, sold in these salesrooms as lot 251 on May 3rd, 2008. This distinctive suite, exhibiting construction without traditional joinery for the back, three-dimensional reticulation of square supports, and a low pointed arch forming the padded back, is certainly from the same workshop as the “Stanton Hall Maker” examples discussed.

Ref.: Antiques and the Arts Weekly, October 3rd, 1986, p. 42. Howe and Warren. The Gothic Revival Style in America, pl. 48 and 107; Otto, American Furniture of the 19th Century, pl. 269-271; Venable. American Furniture in the Bybee Collection, Dallas Museum of Art entry 70-70A, pp. 152-153; Pierce. Art and Enterprise, 1825-1917, The Virginia Carroll Crawford Collection, High Museum of Art, pl. 33, pp. 66-67; Davidson and Stillinger. The American Wing, The Metropolitan Museum of Art, fig. 721, p. 175.

329. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Scene with Live Oak”, oil wash on board, signed lower left, 20 in. x 30 in., framed. [$2500/3500]

330. Alexander John Drysdale (American/ New Orleans, 1870‑1934), “Louisiana Bayou”, oil wash on board, signed lower left, 20 in. x 30 in., framed. [$2500/3500]

331. French School, 19th/20th c., “Charleston Viewing Fort Sumter Repulsing 9 Iornsides [sic]”, oil on canvas, titled, inscribed and French canvas stencil en verso, 24 3/4 in. x 40 in., framed. [$1200/2000]

Provenance: Estate of A. Leon Hebert; Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

332. William Henry Buck (Norwegian/New Orleans, 1840‑1888), “Louisiana Bayou with Live Oak and Fishermen in Boat”, oil on canvas, signed lower right, 11 5/8 in. x 19 1/2 in., framed. [$30000/50000]

333. Pierre Mignard (French, 1612‑1695), “Marie‑Madeleine Pioche de la Vergne, Comtesse de La Fayette (1634‑1693)”, oil on canvas, unsigned, partial handwritten labels with artist, date and sitter en verso, 32 in. x 25 in., framed with artist and title plaque. [$7000/9000]

Note: The Countess of La Fayette, known to many as “Madame de Lafayette,” was born Marie-Madeleine Pioche de la Vergne in 1634 in Paris. Her family were wealthy and prominent minor nobles, and she married François Motier, Count of La Fayette, in 1655. As a young woman, she received an excellent education at court as a lady-in-waiting to Queen Regent Anne of Austria, whose son would become Louis XIV upon reaching his majority. Due to her education and the fact that her parents often entertained writers, philosophers, and scholars during her childhood, it is not surprising that Madame de La Fayette developed an interest in writing. Publishing anonymously or under a pen name, Madame de La Fayette wrote seven novels, including her most famous work The Princess of Cleves.

As a successful and prolific portrait painter, Pierre Mignard would have had many opportunities to paint nobility such as the Countess of La Fayette. Mignard came from a family of artisans, and both he and his brother, Nicolas, became painters. Studying with prominent artists of the time such as Simon Vouet, Jean Bouchet and Nicolas Poussin, Mignard became known in Rome for his religious paintings. Leaving Rome for Paris, he became even more well known for his portraits; among his most famous sitters are the playwright Molière and the mathematician René Descartes. Known for his rich palette with jewel-like tones and fine brushwork, this portrait of Madame de La Fayette is a beautiful example of Mignard’s skill.

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334. Very Fine Carved Mahogany Lit en Bateau in the French Taste, midâ&#x20AC;&#x2018;19th c., likely New Orleans, pilaster molded paneled stiles, pierced scrolled brackets, cabochon-carved shaped skirt, egg and dart feet, h. 49 1/2 in., l. 70 in., w. 47 in. [$1000/1500]

335. American Classical Carved Mahogany Sideboard, early 19th c., New York, blocked backsplash, outset frieze with two long drawers and central candle drawer, over colonnettes flanking doors and bottle drawers, acanthine paw feet, h. 53 1/4 in., w. 61 1/2 in., d. 24 in. [$2000/3000]

336. Louisiana Creole Cherrywood Armoire, early 19th c., ogee cornice, shaped apron, cabriole legs, later interior with belt of drawers, h. 81 1/4 in., w. 56 in., d. 19 7/8 in. [$4000/6000] Provenance: Acquired from Dee Mollenkopf, New Orleans, LA.

337. Federal Mahogany Sideboard, early 19th c., shaped bowfront top, conforming case with frieze drawers over doors, tapered legs, banded ankles, h. 40 in., w. 66 in., d. 26 1/2 in. [$1000/2000]

338. Louisiana Carved and Inlaid Hardwood Campeche Chair, early 19th c., tablet crest, foliate and geometric inlay, carved stiles, outswept arms, curule base, turned stretchers, leather seat, nailhead trim, h. 37 1/4 in., w. 27 3/4 in., d. 32 3/4 in. [$4000/6000] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

Note: The chair offered here (Lot 338) has nearly identical features to a documented example of Louisiana origin, sold in these salesrooms (1987) illustrated in Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835. Both very closely related chairs exhibit clipped upper stile backs, notch with rising scroll tablet sides, tapered turned stretchers, and cabriole arm supports. Ref.: Holden, Jack, et al. Furnishing Louisiana: Creole and Acadian Furniture, 17351835. The Historic New Orleans Collection, 2010, pg. 349.

339. Jose Francisco Xavier de Salazar y Mendoza (Mexican/New Orleans, c. 1750‑1802), “Portrait of Marie Marguerite Reine Sarde Le Bourgeois (1752‑1833)”, 1797, oil on canvas, signed and dated lower right, inscribed in French en verso, 36 1/2 in. x 28 7/8 in., framed. [$50000/70000] Provenance: Descended in the family of the sitter; Neal Auction Company, Dec. 5-7, 1997, lot 776; Private Collection, LA. Note: Marie Marguerite Reine lived through a tumultuous and fascinating period in Louisiana history and was one of the rare ladies depicted by the illustrious Jose Francisco Xavier de Salazar y Mendoza. Situated within Salazar’s characteristic fictive oval, she is seated at a right angle to the viewer in a Louis XVI chair with her arm resting on a marble top commode. The scene likely was composed in Salazar’s studio, based on the inclusion of similar furniture in other portraits, notably his depiction of Marie Jeanne Bozonnier De Marmillion Loubies (1768-1833). Marie Marguerite’s costume includes a draped white shawl in a sumptuous fabric and white hair ribbon, along with delicately rendered gold earrings, onyx bead necklace and gold ring. At the age of forty-five when depicted here in 1797, Marie Marguerite was a woman of means, married to her second husband and mother to eleven surviving children. Marie Marguerite was the daughter of French immigrants Etienne Pierre Reine (c. 1729-1788) and Marie Françoise Renard (c. 1725-1795). She was one of ten children and spent her life in the New Orleans area. She married Nicolas Sarde (c. 1748-1780) in 1768 and had six children: Marie Francoise “Marguerite” Sarde (c. 1769-1835) who married Joseph Gillard (born c. 1760); Marguerite Jeanne “Manette” Sarde (c. 1772-1835) who married Urbain Gaiennie (1754-1824); Eulalie Alexandrine Sarde (c. 1774-1820) who married Francois “Joseph” Gaiennie (c. 1760-1804); Euphrosine Sarde (c. 1776-1862) who married Jean Gleises (c. 1770); Etienne Sarde (c. 1778), and Eugenie Sarde (c. 17811865) who married Jacques Nadaud (c. 1762-1822). Widowed in 1780, Marie Marguerite re-married to Pierre Le Bourgeois (c. 1752-1824) around 1784. Pierre Le Bourgeois had immigrated to the United States from Normandy, France in 1772, and he first settled in Philadelphia, where he engaged in the silk trade. In 1776, he moved to New Orleans to avoid disruptions to his business during the American Revolution and met the widow Marie Marguerite Sarde. The couple had five more children: Louis Le Bourgeois(1785-1837) who married

Erasie Haydel Becnel (1782-1857); Etienne Pierre Le Bourgeois (c. 1787-1850) who married Louise Arthemise Matherne (c. 1806-1850); Adolestine “Celeste” Le Bourgeois (c. 1789-1853) who married Valery Armant (c. 1780-1862); Guillaume Henry Le Bourgeois (c. 1791); and Arnaud Le Bourgeois (c. 1797-1862) who married Catherine Aimee Boucry (c. 1806-1839). From a notable family tree, Marie Marguerite’s father, Etienne Pierre Reine, served in the Militia Regiment of Louisiana under General Bernardo Galvez. Louis Le Bourgeois, her eldest son with her second husband, owned the original land and house in St. James Parish where Belmont Plantation was built after his death by his widow, Erasie Haydel Becnel Le Bourgeois. Belmont Plantation was located on the east bank of the Mississippi River directly opposite of the well-known Oak Alley Plantation. Belmont was described as “one of the finest plantation mansions in Louisiana, a magnificent example of a wealthy planter’s home…it typifies the luxurious scale of living during the golden era of the state.” The house survived the Civil War only to be heavily damaged by the Belmont crevasse of the early 1890s and then destroyed by fire a year later. Ref.: Churchill, Charles Robert. Bernardo de Galvez: Services to the American Revolution. Baton Rouge, LA: Louisiana Society of the Sons of the American Revolution, 1925. Chapin, Adèle Le Bourgeois. Their Trackless Way: A Book of Memories. New York: Henry Holt and Company, 1932. Gontar, Cybèle, ed. Salazar: Portraits of Influence in Spanish New Orleans 1785-1802. New Orleans: Ogden Museum of Southern Art/ University of New Orleans Press, 2018. Seebold, Herman Boehm de Bachellé. Old Louisiana Plantation Homes and Family Trees. Gretna, LA: Pelican Publishing, 1941

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340. Helen Maria Turner (American/New Orleans, 1858‑1958), “Portrait of Ann Spencer”, 1925, oil on canvas, signed and inscribed “N.Y.” lower left, “The Corcoran Gallery of Art, Washington D.C.”, “The National Arts Club, New York, NY” and “The Akron Art Museum, Akron, OH” exhibition labels on backing board, 40 in. x 30 1/4 in., framed; together with handwritten letter from the artist to the sitter’s family, Dec. 29, 1925, framed with envelope. (2 pcs.) [$60000/80000] Provenance: Commissioned directly from the artist by Mr. and Mrs. C. G. Spencer, New York (parents of the sitter), 1925-1964; thence by descent to Ann Spencer Pratt, New York (sitter), 1964-1972; thence by descent to Lawrence Spencer Pratt, Massachusetts (sitter’s son), 19721992; Blake Benton, New York, 1992-1996; Private Collection. Exh. : “Member’s Annual Exhibition of Paintings and Sculpture”, National Arts Club, New York, Jan. 13 – Feb. 6, 1926; Grand Central Art Gallery, New York, Mar., 1926; “Tenth Exhibition of Contemporary American Oil Paintings”, Corcoran Gallery of Art, Washington, D.C., 1926; “Paintings by Helen M. Turner, N. A.”, multiple locations, 19261927; “Helen M. Turner, NA A Retrospective Exhibition”, multiple locations, 1983-1984 and illustrated in accompanying catalogue, p. 16.

Note: American Impressionist Helen Maria Turner was only the third woman elected to full membership in the National Academy of Design, the first from Louisiana, and one of the first from the South. In the second half of her career, Turner achieved significant critical acclaim and financial success, and her awards were as numerous as her exhibitions. The 1880s saw the art world open significantly for women in America, and Turner benefited greatly from the art clubs and associations in both New Orleans and New York, where she studied under artists such as Andres Molinary, Bror Anders Wikstrom, William Merritt Chase, and Joseph De Camp. She became part of a growing group of women who were able to support themselves as professional artists through hard work and perseverance in a field dominated by men.

As Lewis Hoyer Rabbage writes: “Among all the influences on Helen Turner’s personal life, and on her work, none could be considered more profound than her association with the artists’ colony at Cragsmoor, New York.” Beginning with her first summer there in 1906 upon the invitation of Charles Curran, Turner spent the summers from 1906 through 1941 in Cragsmoor, with only two exceptions. In 1911, she attended the William Merritt Chase class in Italy, and in 1922, she visited with an artist friend, Thalia Millett Malcom, in Paris. By 1910, Turner had built her own house in Cragsmoor and named it “Takusan.” The home featured a spacious second floor art studio, expansive porches and a lush garden. While other artists depicted Cragsmoor’s mountain, forest and meadow landscapes, Turner focused on her surroundings closer to home. In particular, the graceful porches encircled by a yard full of birch trees, rhododendrons, hollyhock and other bright flowers were a constant source of inspiration. Women on porches and in garden settings were popular subjects among American Impressionists, and Turner’s body of work within this realm are among her most successfully realized and important canvases. Faced with the challenge of capturing the richness of color, pattern and texture of the garden, without distracting from the importance of the model, Turner displayed her full skill and range as an artist.

The notable portrait offered here of Ann Spencer (1914-1972) was a commission by her parents in 1925 and exemplifies Turner’s skill in portraiture. The accompanying letter dated December 29, 1925 from Helen Turner to Mr. Spencer in acknowledgement of receipt of the final payment of $250 says in part: “Indeed, I rejoice with you that you and your family are now the full possessors of this beloved likeness of your precious daughter, and that you were able to make this most acceptable Christmas gift.” Mr. and Mrs. C.G. Spencer of New York treasured the painting of their daughter, and it remained in the family until 1992.

Depicting Spencer on her porch at Takusan, the vividness of the Cragsmoor garden in the background is perfectly offset by the geometry of the porch post and railing supporting the figure in an artfully draped blue dress. The lovely young girl gazes at the viewer with a complete lack of artifice; her red hair and pale skin in striking contrast to the green of the foliage surrounding her. Jane Faquin has written: “Turner painted people as she saw them, even portrait commissions.” In this case, Turner needed no flattery to capture the innocence and spirit of her sitter.

Interestingly, Ann Spencer herself would later become an artist, inspired by her time as a girl spent with the esteemed Helen Turner. Born in Ontario, Spencer’s best friend as a child was Lenna Glackens, daughter of the renowned artist William J. Glackens, and this connection also provided Spencer with early exposure to the New York art world. She later studied at the National Academy of Design and Sarah Lawrence College. Spencer’s work was diverse in subject and media and often inspired by her world travels. Throughout her life, Spencer must have cherished the portrait that represented her own inspiration to pursue the arts and was one of the most widely exhibited and crowning canvases of a true trailblazer in an important chapter of American art history – Helen Maria Turner. Ref.: Faquin, Jane Ward. Helen M. Turner: The Woman’s Point of View. Memphis: Dixon Gallery and Gardens, 2010. Jalenak, Maia. Helen M. Turner: American Impressionist (M.A. Thesis). Baton Rouge: Louisiana State University, 2003. Rabbage, Lewis Hoyer. Helen M. Turner, NA (1858-1958) A Retrospective Exhibition. Cragsmoor, NY: The Cragsmoor Free Library, 1983

341. William Woodward (American/Louisiana, 1859‑1939), “Madame John’s Legacy”, 1914, Rafaelli crayon on board, signed and dated lower right, signed, titled and inscribed en verso, 14 3/4 in. x 20 in., framed. [$25000/35000] Provenance: Estate of Naomi Marshall; Tim Foley, New Orleans.

Note: Through his paintings of New Orleans, William Woodward was intent on capturing the French Quarter in the late 19th and early 20th centuries, both its architecture and the vanishing customs of the Creole people who inhabited it. Woodward depicted street scenes with iconic structures such as “Madame John’s Legacy” offered here, as well as private homes and commercial buildings. His intent – to preserve a moment in time of a city that was constantly changing – yielded important works of art that capture much more than a period photograph by incorporating Woodward’s skillful handling of the vibrant medium with his sense of romance for New Orleans. This series of works, while not primarily an architectural record, laid the foundation for the local preservationist movement soon to follow in the French Quarter.

One of the few surviving 18th century building complexes in Louisiana and one of the best examples of French colonial architecture in North America, the original structure of Madame John’s Legacy managed to survive the 1794 fire in the French Quarter unscathed. There is some debate regarding the loss sustained in the prior 1788 fire. The owner, Manuel de Lanzos, instructed his American contractor, Robert Jones, to recycle as much brick and iron hardware as possible from his damaged house, suggesting that enough of it survived the fire to be included in the rebuilding. Whether entirely rebuilt in 1788 or a restoration of a previous structure, the house retained the French colonial style that prevailed before the disaster and is now designated an official National Historic Landmark. The house’s name was inspired by George Washington Cable’s 1874 short story “‘Tite Poulette,” in which the character Monsieur John bequeaths a Dumaine Street house to his mistress, known as Madame John. Though older parts of the French Quarter were once dotted with similar structures, today very few houses like Madame John’s Legacy remain.

Woodward, who often created several slightly varying works portraying the same scene, included a 1902 etching of Madame John’s Legacy in his book, French Quarter Etchings of Old New Orleans, published in 1938. The permanent collection of the Louisiana State Museum holds a larger painting of Madame John’s Legacy by Woodward, while one other depiction is known to be held in a private collection. Interestingly in the view offered here, Woodward forgoes the inclusion of the horsedrawn cart seen in the other views in favor of a vendor depicted in the open doorway of the lower level with additional varied figures along the walkway. This choice allowed the architecture of the famous building to take center stage in the more closely centered and carefully constructed composition. Ref.: Bragg, Jean and Susan Saward. Painting the Town: The Woodward Brothers Come to New Orleans. New Orleans: Jean Bragg Gallery, 2004. Hinkley, Robert. William Woodward: American Impressionist. New Orleans: MPress, 2009. Woodward, William. French Quarter Etchings of Old New Orleans. New Orleans: Franklin Printing Company, 1938. Byrnes, James B. Early Views of the Vieux Carre. New Orleans: Isaac Delgado Museum of Art, 1965.

342. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Resurgence”, oil on canvas, signed lower right, signed, titled, inscribed and label with title on stretcher, 28 in. x 24 in., framed. [$7000/9000]. Provenance: Estate of Dr. Edward C. and Ruth P. Atwater, Rochester, NY

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343. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Market Scene with Figure”, watercolor on paper, pencil‑signed lower right, 18 3/4 in. x 13 3/4 in., framed. [$2000/3000]

344. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Road to Town”, oil on board, signed lower left, pencil‑signed, indistinctly titled and inscribed “825 Belhaven St / Jackson, Miss” en verso, 15 in. x 20 in., framed. [$4000/6000]

Provenance: Acquired from the artist, c. 1948; Estate of Richard and Harriett Crago; thence by descent.

345. William Henry Buck (Norwegian/New Orleans, 1840‑1888), “Louisiana Bayou with Live Oaks and Water Lilies at Dusk”, oil on canvas, signed lower right, 13 1/4 in. x 18 in., framed. [$30000/50000]

346. William Woodward (American/Louisiana, 1859‑1939), “New Orleans Harbor”, 1901, oil on board, signed, dated and inscribed “N.O.” lower right, 12 5/8 in. x 19 3/4 in., framed. [$3000/5000]

347. Clarence Millet (American/New Orleans, 1897‑1959), “Sculptor’s Holiday”, oil on canvas, signed lower right, “National Academy of Design 129th Annual Exhibition 1954” label with artist and title on stretcher, 28 in. x 22 in., period frame. [$7000/10000]

348. Joseph Lambert Cain (American/New Orleans, 1904‑2003), “House with Four Gables”, oil on masonite, signed lower right, “The Charleston Renaissance Gallery” label with artist and title on frame, 48 1/4 in. x 37 1/4 in., framed. [$10000/15000]

Note: Clarence Millet returned to New Orleans in 1924 after completing studies at the Art Students’ League in New York. His favored subject during this time was the distinctive buildings and street life of the French Quarter. Millet taught night classes at the Arts and Crafts Club of New Orleans of which he was a founding member. In December of 1927, a number of members of the Arts and Crafts Club, including Millet, organized the New Orleans Art League. The organization held weekly meetings, organized annual exhibitions at the Delgado Museum of Art, opened studios and mounted traveling exhibitions of members’ work. The New Orleans Art League maintained their headquarters in the French Quarter at 630 Toulouse Street in the old Governor Claiborne house. The courtyard, depicted in the work offered here, with its exterior stairway and distinctive archways provided the inspiration for many artistic renderings by artists such as Millet, who maintained a studio in the building, and visitors alike. In this rare perspective on the famous architecture, Millet depicts the discarded tools and works in progress of an anonymous sculptor from the vantage point of the top of the staircase.

Note: New Orleans-born Joseph Lambert Cain began his art career at the age of sixteen when he cut short his high school education to pursue studying drawing at the Chicago Academy of Fine Art as well as the Art Institute of Chicago. He would continue his artistic studies under the tutelage of Hans Hoffman and at such prestigious institutions as the Art Students League of New York and the Sorbonne. Cain often exhibited with his equally talented contemporaries such as Milton Avery, Adolph Gottlieb, and Max Weber, and he even formed “The Group” with them and several other artists including Mark Rothko and Hans Hoffman. Together they would gather and discuss art theory and modernism. In between his teaching jobs and mural commissions, Cain would return to the imagery of his native New Orleans, often painting in a much more representational style while utilizing vibrant colors to underscore the sense of vitality and vigor which he sought to capture in the city of his birth. In “House with Four Gables” offered here, the architecture of the house is both highlighted and obscured by Cain’s masterful use of expressive line.

Provenance: Neal Auction Company, June 7, 2003, lot 395.

Ref.: Bonner, Judith. “New Orleans Art League.” 64 Parishes. www.64parishes.org. Accessed July 28, 2020.

349. James Lamantia (American/New Orleans, 1923‑2011), “Open Marsh”, 1975, oil on canvas, signed mid‑right, signed and dated en verso, signed, titled, dated and illegibly inscribed, artist label with title and “Arts Council” label with artist and title on stretcher, 16 in. x 27 in., framed. [$1500/2500] Provenance: Sold to benefit the Arts Council New Orleans.

Provenance: The Charleston Renaissance Gallery, Charleston, SC.

Ref.: Cain, Peter Michael. The Work and Progress of Man: Selections from the Scrapbook of Joseph Lambert Cain. Warwick, NY: Albert Wisner Public Library, 2012, pp. 4-22.

350. George Louis Viavant (American/ Louisiana, 1872‑1925), “Bob White Quail”, 1921, watercolor on paper, signed and dated lower left, 23 11/16 in. x 15 7/8 in., unframed. [$5000/7000]

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351. William Aiken Walker (American/South Carolina, 1838‑1921), “Cotton Picker in a Field with Basket”, oil on academy board, signed lower left, 12 1/4 in. x 6 1/8 in., framed. [$4000/6000]

352. Karl Wolfe (American/Mississippi, 1904‑1985), “Backyard of the Will’s House on Congress Street”, oil on canvas, signed lower left, handwritten note with location on backing paper, 16 in. x 20 in., framed. [$1000/1500]

Provenance: Dr. D.A. Spring, Baton Rouge, LA; Neal Auction Company, Apr. 21, 2012, lot 321.

Ill.: Trovaioli, August P. and Roulhac B. Toledano. William Aiken Walker: Southern Genre Painter. Baton Rouge and New Orleans: LSU Press and Pelican Press, 1972 (first edition) and 2008 (second edition), pp. 61 and 115. To be included in John Fowler’s catalogue raisonne on the artist.

354. John McCrady (American/Mississippi, 1911‑1968), “The Old Woman and The Pig”, 1964‑65, carbon acrylic on masonite, signed lower right, titled lower left, label with artist, title and medium and “New Orleans Museum of Art/ John McCrady Retrospective” label with title and date on backing paper, 17 1/2 in. x 24 3/4 in., original artist frame. [$10000/15000] Provenance: Descended in the family of the artist.

Exh.: “John McCrady 1911‑1968”. New Orleans Museum of Art. Sept. 26 ‑ Nov. 2, 1975; and illustrated in accompanying catalogue #44.

353. John McCrady (American/Mississippi, 1911‑1968), “Used Car Bargains”, c. 1938, oil on canvas board, unsigned, 22 in. x 20 in., framed with artist and title plaque; accompanied by a copy of the certificate of authenticity from Naomi Marshall. (2 pcs.) [$10000/15000]

Note: In the catalogue for the 1975 retrospective of John McCrady’s work at the New Orleans Museum of Art, curator Keith Marshall writes, “[McCrady’s] decision to paint the rural South was not an objective choice; it was a necessity.” McCrady painted the rural life and people he knew from his youth in Mississippi and adulthood in New Orleans, often taking inspiration from gospel music and folktales. The work offered here entitled “The Old Woman and the Pig,” was inspired by the nursery rhyme of the same name, a cumulative tale meant to teach children the chain of cause and effect. At the end of the story, the old woman succeeds in getting the stubborn pig to go over the stile. Although originally an English folktale, McCrady places the action in the rural south. Using a technique he invented, he layered acrylic paint over a carbon drawing. With this method, he paints layers of dark blue and teal making the skies overhead look ominous, a warning of the struggles to come as the woman fights to get the animal home after purchasing it at market. Ref.: Marshall, Keith. John McCrady 1911-1968. New Orleans: New Orleans Museum of Art, 1975. p. 49.

355. Mildred Nungester Wolfe (American/Mississippi, 1912‑2009), “Farmers Market (Decatur, Alabama)”, 1970, gouache on cardboard, signed and dated lower left, pencil‑signed, titled and inscribed en verso, 10 1/2 in. x 13 in., framed. [$1500/2500]

356. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Woman Walking”, watercolor and graphite on paper, pencil‑signed lower right, partial sketch en verso, 12 in. x 15 in., framed. [$1500/2500]

357. Marie Atkinson Hull (American/ Mississippi, 1890‑1980), “Trees”, watercolor on paper, pencil‑signed lower right, 11 3/4 in. x 16 3/4 in., framed. [$1800/2500]

358. Mildred Nungester Wolfe (American/Mississippi, 1912‑2009), “Train Tracks”, 1941, watercolor on paper, signed and dated lower left, pencil‑signed en verso, 14 in. x 20 in., framed. [$1500/2500]

360. Nicholas de Grandmaison (Russian/ Canadian, 1892‑1978), “Blackfoot Child”, pastel on sandpaper, signed lower right, 11 1/4 in. x 9 3/8 in., framed. [$6000/8000]

359. Clementine Hunter (American/Louisiana, 1886‑1988), “Hauling Cotton”, oil on board, monogrammed lower right, artist biography and handwritten note on backing paper, 11 1/4 in. x 16 in., framed. [$2000/3000]

361. Conrad Albrizio (American/Louisiana, 1894‑1973), “Italian Landscape”, oil on canvas, unsigned, “Tilden‑Foley Gallery, New Orleans” label with artist and title on stretcher, 19 in. x 23 in., framed. Provenance: Tilden‑Foley Gallery, New Orleans, LA. [$1000/1500]

362. Douglas Bourgeois (American/Louisiana, b. 1951), “Small Objects Series #37”, 1999, gouache on paper, signed and dated lower right, “Arthur Roger Gallery, New Orleans” label with artist, title and date on backing paper, 15 in. x 11 1/4 in., framed. [$1000/1500] Provenance: Arthur Roger Gallery, New Orleans, LA.

363. Ralph Moffett Arnold (American/Illinois, 1928‑2006), “Storm”, acrylic and collage on canvas board, signed and titled en verso, 18 in. x 24 in., framed. [$2000/3000]

364. Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Man O’ War Birds”, hand‑colored linocut on paper, unsigned, 93 1/2 in. x 19 in., framed. [$5000/7000] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy the Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007 color plate illustrations. Additional information at www.nealauction.com

365. Hunt Slonem (American/Louisiana, b. 1951), “Channel Bill Toucans”, 1989, oil on canvas, signed, titled and dated en verso, signed on stretcher, 72 in. x 84 in., unframed. [$7000/10000]

366. Hunt Slonem (American/Louisiana, b. 1951), “Blue Streak Lories”, 1988, oil on canvas, signed, titled and dated en verso, signed and dated on stretcher, 66 in. x 44 in., unframed. [$6000/8000]

367. Hunt Slonem (American/Louisiana, b. 1951), “Jungle”, 1985, oil on canvas, signed and dated en verso, signed on stretcher, 84 in. x 72 in., framed. [$6000/8000] 368. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Symbols 82‑B”, 1981, mixed media on canvas, signed lower left, labels with artist, title and date on stretcher, 37 1/4 in. x 24 in., framed. [$15000/25000] Provenance: Gimpel & Weitzenhoffer Gallery, New York.

370. Jessie Hazel Arms Botke (American/ California, 1883‑1971), “Hyacinth Macaw”, oil on canvas mounted to board, signed lower right, inscribed en verso, 12 in. x 15 3/4 in., framed. [$4000/6000]

369. Emile Albert Gruppe (American/Massachusetts, 1896‑1978), “Trees in Winter”, oil on canvas board, signed lower right, 18 in. x 20 in., framed. [$3000/5000] 371. Jessie Hazel Arms Botke (American/California, 1883‑1971), “Hyacinth Macaws”, oil on canvas mounted to board, signed lower right, 15 3/4 in. x 12 in., framed. [$5000/7000]

372. George Rodrigue (American/ Louisiana, 1944‑2013), “Bobby Charles”, oil on canvas, signed lower right, signed, titled and “George Rodrigue Gallery” card en verso, 30 in. x 24 in., framed. [$12000/18000]

Note: Robert Charles Guidry (1938-2010), known as Bobby Charles, was born in Abbeville, LA and pioneered the south Louisiana musical genre “swamp pop.” He wrote hits such as “Walking to New Orleans” (recorded by Fats Domino) and “See Ya’ Later Alligator” (recorded by Bill Haley and the Comets). Charles appeared at the legendary “Last Waltz” concert in 1976, where he performed “Down South in New Orleans” with The Band and Dr. John. Charles returned to the studio in 1987, recording an album called Clean Water - the same year George Rodrigue created the portrait on offer here, which was utilized as the cover image of the record. According to Rodrigue, Charles wanted to be immortalized not just through his music, but also with an image of the strongest and longest love he had ever known – maternal love. Behind the adult Bobby in a rocking chair with his guitar (most likely inspired by a famous photograph of Charles in the collection of the Louisiana State Museum), Rodrigue painted the baby Bobby swaddled in the arms of his mother. Ref.: Rodrigue, Wendy. “Who Dat! …. Plus Voodoo, Cow Heads, and DC Mardi Gras.” Life & Legacy: Musings of an Artist’s Wife. Jan. 25, 2010. www.wendyrodrigue.com. Accessed Oct. 15, 2019.

373. George Rodrigue (American/Louisiana, 1944‑2013), “Purity of Soul”, 2005, silkscreen on paper, signed lower right, numbered “86/190” lower left, 15 in. x 12 in., unframed. [$1000/1500] 374. George Rodrigue (American/ Louisiana, 1944‑2013), “Blue Skies Shining on Me”, 2005, silkscreen on paper, signed lower right and numbered “103/190” lower left, 15 in. x 12 in., unframed. [$1000/1500]

375. Vintage Photographs of New Orleans, “Antique Shop”, “Vieux Carré”, “Home of Senator Long”, “Canal Street” and “Corner Patio”, 1939, 5 gelatin silver prints mounted to board, each pencil‑signed “A. Schmidt”, dated and titled on boards, sheets 8 in. x 10 7/16 in., unframed. (5 pcs.) [$200/300]

Additional information at www.nealauction.com

376. Hazel Guggenheim McKinley King‑Farlow (American/ Louisiana, 1903‑1995), “Delta Queen”, double‑sided watercolor on paper, signed and inscribed “For Gretchen with much love” lower left, 13 5/8 in. x 18 1/2 in., framed; together with postcard from artist. (2 pcs.) [$500/700]

377. Billy Solitario (American/New Orleans, b. 1972), “Green Water” and “Dune, Shrubs, Dune”, 2000, 2 oils on canvas, both signed and dated lower right, each signed, titled and dated en verso, 16 in. x 20 in. and 18 in. x 24 in., both framed. (2 pcs.) [$1500/2500]

378. Ellsworth Woodward (American/Louisiana, 1861‑1939), “Live Oak Lined Pathway”, watercolor on paper, initialed lower left, 10 in. x 9 1/4 in., framed. [$800/1200] Provenance: Estate of Eunice Bate Coleman, New Orleans.

379. Miranda Lake (American/New Orleans, b. 1969), “Lady with Butterflies”, 2003, encaustic and mixed media collage on panel, pencil‑signed and dated en verso, 16 in. x 12 in., unframed. [$300/500]. Provenance: Collection of Wendy and the late George (1944‑2013) Rodrigue.

380. Knute Heldner (Swedish/Louisiana, 1877‑1952), “Courtyard with Figure”, oil on canvas board, signed lower left, 4 3/8 in. x 5 3/4 in., framed. [$700/1000]

381. Wayman Elbridge Adams (American/New Orleans, 1883‑1959), “Mother and Child”, oil on board, signed upper right, 10 1/4 in. x 8 1/4 in., framed with artist and title plaque. [$2000/3000]

382. William Melton Halsey (American/ South Carolina, 1915‑1999), “Study ‑ Stones of Time”, 1982, acrylic and ink on paper, signed lower right, pencil‑signed, titled, dated and inscribed en verso, “Johnson Hagood Fine Art, South Carolina” label with artist and title and handwritten label with artist, title and date on backing paper, 17 5/8 in. x 15 in., framed. [$2000/3000]

383. James Augustus McLean (American/North Carolina, 1904‑1989), “Figure Sketch ‑ Female”, oil on masonite, unsigned, artist label with title and “The Charleston Renaissance Gallery” label with artist and title en verso, 13 1/8 in. x 11 3/4 in., framed. [$1000/1500] Provenance: The Charleston Renaissance Gallery, Charleston, SC.

384. Merton D. Simpson (American/South Carolina, 1928‑2013), “Poem of the Sea”, 1955, oil on canvas, signed and dated lower right, pencil‑titled en verso, 9 7/8 in. x 7 7/8 in., framed. [$2500/3500]

385. Allison Stewart (American/New Orleans, b. 1941), “Abstract Composition #74”, c. 1990, mixed media collage with handmade paper, unsigned, titled lower left, 48 in. x 18 in., framed. [$1500/2500]

386. Cora Kelley Ward (American/New Orleans, 1920‑1989), “Lyrical Pour”, 1969, acrylic on canvas, signed, titled and dated en verso, 68 in. x 48 in., framed. [$1800/2500]

387. Mary Katherine Loyacano McCravey (American/ Mississippi, 1910‑2009), “Fishing Camps”, oil on canvas board, signed lower left, 14 in. x 20 in., framed. [$1800/2500]

388. Richard Kelso (American/ Mississippi, 20th c.), “Red Sky, Sunrise”, oil on panel, signed lower right, label with artist and title en verso, 12 in. x 16 in., framed. [$1500/2500]

389. George Frederick Castleden (British/New Orleans, 1861‑1945), “Old St. Louis Cathedral”, oil on board, signed lower left, signed, titled and inscribed en verso, 6 1/2 in. x 4 1/4 in., framed. [$1000/1500]

390. Knute Heldner (Swedish/Louisiana, 1875‑1952), “Fisherman on the Lake”, oil on canvas, signed lower left, 4 in. x 5 1/4 in., framed. [$700/1000]

391. Nicholas Richard Brewer (American/Minnesota, 1857‑1949), “Everglades”, oil on canvas, signed on stretcher, titled en verso, 32 in. x 40 1/4 in., framed. [$2500/3500]

392. Attributed Richard LaBarre Goodwin (American/ New York, 1840‑1910), “Untitled (Fish)”, oil on canvas, unsigned, inscribed “Painted by R. LaBarre Goodwin” en verso, 18 in. x 24 in., framed. [$800/1200] Provenance: Estate of W. E. Groves, New Orleans, LA.

Additional information at www.nealauction.com

393. Very Fine American Carved Rosewood Bedroom Suite, mid‑19th c., labeled A. (Alexander) Roux, incl. bed, armoire, dressing chest, commode; pierced figural bust crests, floral, foliate, shell and scroll accents, lobed finials, cabochons, molded panels, casters, bed h. 82 1/2 in., l. 78 1/2 in., w. 60 in., dresser h. 101 in., w. 52 in., d. 21 1/2 in., armoire h. 107 in., w. 52 in., d. 23 1/2 in., night stand h. 31 1/2 in., w. 18 in., d. 18 in. [$20000/30000]

394. Fine American Rococo Carved and Laminated Rosewood Parlour Suite, mid‑19th c., attr. to J. & J.W. Meeks, in the pattern commonly referred to as “Hawkins”, incl. settee, armchair, pair of side chairs, anthemion mounted molded crests above pierced floral and fruit clusters, pierced acanthine scrolled surround, padded arms, chairs with rounded seats, cabriole legs, casters, sofa h. 50 1/2 in., w. 66 1/2 in., d. 40 in., armchair h. 47 1/2 in., w. 26 3/4 in., d. 34 in., side chair h. 42 3/4 in., w. 19 1/4 in., d. 25 1/2 in. (3 pcs.) [$8000/12000]

397. American Rococo Carved and Laminated Rosewood Parlour Chair, attr. to Charles Baudouine (1808‑1895), New York, foliate scroll pierced crest, serpentine seat, acanthine cabriole legs, casters, h. 38 in., w. 20 in., d. 23 in. [$1000/1500]

395. American Late Classical Mechanical Library Chair, c. 1830‑1840, possibly Boston, padded back, reeded stiles, lappet carved brackets, padded scrolled arms, telescoping ogee rail concealing reeded footrest, legs with ferrules and casters, h. 64 in., w. 25 1/2 in., d. 39 1/2 in. [$500/700] Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

396. Pair of Eastlake Carved, Ebonized and Parcel Gilt Pedestals, c. 1875, stepped tops, flared brackets, turned standards, stepped base, flared feet, h. 41 in., w. 14 in., d. 14 in. [$500/700] Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

398. American Rococo Carved Rosewood Slipper Chair, c. 1850-1860, N.Y., crested pierced scroll, foliate and floral back, foliate carved cabriole legs, h. 42 1/4 in., w. 19 1/4 in., d. 24 in. [$1000/1500]

399. Federal Carved Mahogany Pembroke Table, early 19th c., Philadelphia, drop leaves with chamfered corners, frieze drawer, ring turned reeded legs, caps, casters, h. 29 1/4 in., 23 3/4 in., d. 35 1/2 in. [$700/1000]

400. American Classical Carved Mahogany Work Table, early 19th c., banded reeded top, two drawers, reeded apron, trestle base, turned stretcher, brass paw feet, casters, h. 28 1/2 in., w. 21 1/2 in., d. 19 1/4 in. [$700/1000]

Provenance: Selma Plantation, Washington, MS.

401. American Gothic Carved Mahogany Armchair, c. 1840, finialed high back, padded arms with lappet carved supports, foliate carved knees, cabriole legs, lobed toes, h. 57 1/2 in., w. 25 in., d. 27 in. [$800/1200]

402. American Aesthetic Parcel Ebonized and GiltIncised Walnut Fern Stand, 19thc., onyx top, ring turned standard, pierced brackets, splayed legs, h. 38 3/4 in., w. 20 1/4 in., d. 17 3/4 in. [$600/900]

403. American Aesthetic Ebonized, Carved and Parcel Gilt Walnut Cabinet, late 19th c., in the manner of Herter Brothers, molded top, two long doors over two short doors, floral and foliate spray panels, adjustable shelf interior, conforming base, bun feet, h. 60 1/4 in., w. 33 in., d. 19 in. [$1200/1800]

404. American Aesthetic Ebonized, Carved and Parcel Gilt Walnut Cassone, late 19th c., in the manner of Herter Brothers, molded lift top interior with two sliding bins, foliate spray panels, leaf and berry carved stiles, molded base, compressed bun feet, h. 22 in., w. 62 in., d. 24 in. [$400/600]

405. Frederick D. Jones, Jr. (American/ Chicago, 1913‑1996), “Carousel”, oil on canvas, signed lower right, “North Town Guild, Chicago” labels on stretcher, 32 in. x 24 in., framed. [$3000/5000]

406. William Smith Robinson (American, 1861‑1945), “Country Houses”, 1898, oil on board, signed lower left, monogrammed and dated en verso, 12 in. x 16 in., framed. [$1000/1500]

Additional information at www.nealauction.com

409. William Dunlap (American/Mississippi, b. 1944 ), “Selma McClaines’s Place”, watercolor on paper, signed center left, signed and titled lower left, 21 1/8 in. x 27 in., framed. [$1500/2500]

407. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Banana Stalks”, watercolor and graphite on paper, unsigned, estate stamp lower right title inscribed en verso, 11 in. x 8 1/2 in., framed. [$8000/12000]

408. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Shoots of the Bamboo Vine”, watercolor and graphite on paper, unsigned, title inscribed en verso, 11 in. x 8 1/2 in., framed. [$8000/12000] 410. George Rodrigue (American/Louisiana, 1944‑2013), “Blue Dog on Guard”, 1994, oil on canvas, signed lower right, 20 in. x 24 in., framed. [$30000/50000]

411. Large Spanish Colonial Carved Giltwood and Polychromed Altarpiece, 18th/19th c., Mexico, red‑orange ground, gilt scrolls and shell, centered by a bust of a putto, h. 46 in., w. 113 in., d. 2 in., d. (with bust) 5 3/4 in. [$5000/7000] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

412. Pair of Jeffrey Lee Adler Painted Wood Panels, 20th c., ink and watercolor, depicting European city views, 44 in. x 24 in. [$700/900]

413. Yellow Gold, Silver and Gemset Carved Rock Crystal Bird-Form Cup and Cover, 20th c., in the style of Hermann Ratzendorfer of Vienna, set with sapphire and diamond eyes, the body and base with cabochon emeralds and rubies, h. 8 3/4 in., w. 5 in., d. 2 3/4 in. [$12000/18000]

415. Robert Jupe‑Style Exotic Woods Inlaid Mahogany Extension Dining Table, early 20th c., stamped “CASA MUZARD”, segmented top with crank extension mechanism, reeded standard, shaped legs, lobed feet, h. 32 in., dia. 54 1/2 in. [$4000/6000]

417. American Classical Mahogany Server, early‑to‑mid 19th c., possibly Philadelphia, molded marble top, frieze drawer over recessed cabinet flanked by oblong paneled doors, stepped base, figured woods throughout, h. 39 3/4 in., w. 47 3/4 in., d. 20 3/4 in. [$700/1000]

419. Regency Carved Mahogany Etagere, early 19th c., four tiers, blocked baluster and ring turned supports, tapered legs, brass ferrules and casters, h. 57 1/2 in., w. 16 1/8 in., d. 16 1/8 in. [$800/1200]

414. Georgian‑Style Chinoiserie Secretary Bookcase, upper case with double dome crest and finials, paneled doors, well-fitted interior, candle slides, lower case with slant front lid, conforming fitted interior, four graduated drawers, bun feet, h. 89 1/2 in., w. 43 3/4 in., d. 23 1/2 in. [$4000/6000]

416. William IV Mahogany Trolley, lobed finials, three galleried tiers, medial drawers, blocked turned and fluted supports, toupie feet, brass ferrules and casters, h. 48 in., w. 48 in., d. 18 3/4 in. [$1000/1200]

418. George III Mahogany Architect’s Desk, 19th c., foldover adjustable easel top, pull out compartment with sliding leather writing surface, enclosing fitted compartments, hidden drawers, spandrel brackets, closed h. 30 1/4 in., w. 35 3/4 in., d. 23 1/2 in., open h. 39 3/4 in., w. 35 3/4 in., d. 41 1/2 in. [$700/1000]

420. Regency Mahogany and Satinwood Inlaid Sofa Table, early 19th c., drop‑leaf top, two frieze drawers, trestle base with paired colonnettes, saber legs, brass caps, casters, h. 27 1/4 in., w. (closed) 36 1/2 in., w. (open) 59 3/4 in., d. 27 1/4 in. [$600/900]

Additional information at www.nealauction.com

421. Large Pair of Giulia Mangani Gilt Bronze‑Mounted Porcelain Urns, marked, marbleized bodies, bronze bases, swag handles, and bud finials, h. 29 1/4 in. [$800/1200]

422. Continental .800 Silver Centerpiece or Punchbowl, German, late 19th/early 20th c., marks rubbed, footed ovoid form with scroll handles, reticulated and elaborately chased with birds, floral garlands and scrolls, retains glass liner, h. 10 3/4 in., w. 20 1/2 in., wt. 69.95 troy ozs. [$1500/2500]

423. Antique French Silverplate and Cut Crystal Centerpiece in the Neoclassical Taste, marked “P.B&C” in rectangle and “13.” in rectangle, stand with griffin supports, husk, and stiff leaf borders and bracketed paw feet, scalloped cut crystal bowl, overall h. 7 7/8 in., dia. 7 7/8 in. [$500/750] 426. Rare Pair of American Sterling Silver Repousse Ewers, Peter L. Krider & Co., Philadelphia, act. 1850‑1910, grape, grapeleaf and vine chasing, grapevine handle and applied grapevine rim and foot rim, period script monogram “EM”, h. 15 1/2 in., combined wt. 93.50 troy ozs. [$3000/5000]

425. French Neoclassical Silver Covered Tureen, Paris, 1809‑1819, maker’s mark “JFI” untraced, oblong, domed cover with entwined serpent handle, body with gadrooned rim, lion mask and drop handles, ball feet, h. 9 1/2 in., w. 9 in., d. 11 1/4 in., wt. 81.20 troy ozs. [$1500/2500]

Provenance: Descended in a New Orleans Family.

424. Portuguese 1st Standard (.916) Silver Soup Tureen, Lisbon, mid‑20th c., domed cover with coquille finial, decorated with fluting and chased bands with dolphins and acanthus scrolls, dolphin and acanthus handles, h. 11 in., w. 11 1/2 in., wt. 63.45 troy ozs. [$500/750]

427. Fine American Sterling Silver Repousse Footed Bowl, Peter Krider & Co., Philadelphia, act. 1850‑1910, grape, grapeleaf and vine chasing, applied grapevine rim and foot rim, period script monogram “EM”, en suite with the previous lot, h. 6 1/4 in., dia. 9 3/4 in., wt. 25.50 troy ozs. [$700/1000]

Provenance: Christie’s, New York, Apr. 29, 1986, lot 203A. 428. Gorham Sterling Silver Presentation Tyg, date mark for 1897, engraved presentation “TO/H.G.HESTER/SECRETARY/NEW ORLEANS COTTON EXCHANGE/AS A TESTIMONIAL OF APPRECIATION/FROM/THE ATLANTA CONSTITUTION/JAN’Y 1903”, h. 6 5/8 in., w. 9 3/8 in., wt. 31.30 troy oz; together with “Hester Says” booklet, published in 1926 in tribute to Col. Hester’s eightieth birthday and fifty‑six years of service as the Secretary of the New Orleans Cotton Exchange. [$700/1000] Provenance: Descended in the Family of Col. Henry G. Hester (1846‑1934), New Orleans.

Note: Col. Hester was Secretary and Superintendent of the New Orleans Cotton Exchange from its founding in 1871 until shortly before his death. A statistician, Hester compiled the weekly “Hester’s Report” on the cotton market. Previously cotton market information had been generated far from the source of production. The influential “Hester’s Report” was transmitted around the world by cable, a novel method at the time. Another innovation instituted by Col. Hester was the introduction of futures trading to the Exchange. New Orleans would become the primary cotton spot market of the world, and a leading futures market, outranked only by Liverpool and New York.

429. Gorham Sterling Silver Punch Ladle in Rare “Hound” Pattern, introduced 1865, shaped bowl, l. 11 3/4 in., wt. 4.30 troy ozs. [$400/600]

430. Tiffany “Hampton” Pattern Sterling Silver Flatware Service, pat. 1943, incl. 12 each: dinner forks (l. 7 3/4 in.), dinner knives (l. 10 in. ), salad forks, cream soup spoons, teaspoons and demitasse spoons; 6 dessert spoons, 10 butter knives (hh), 2 butter knives with handles and blades detached but retained, 4 cocktail forks, 2 tablespoons, cold meat fork, gravy ladle, master butter knife, sugar spoon, and large jelly spoon; total wt. (weighable) 140 troy ozs. (101 pcs.); together with associated Mexican sterling sauce ladle, monogrammed en suite, and Gorham hollow‑handle bottle opener. [$3500/4500]

431. Gorham Coin Silver Presentation Cup in the Renaissance Revival Taste, c. 1860, floral repoussé panels, strapwork, stippled ground, molded borders with beading, hollow cast angular handle, engraved “John A. Wiser”, h. 3 in., wt. 2.60 troy ozs. [$150/250]

432. American Coin Silver Presentation Cup, Jones, Ball & Co., Boston, wc. 1853‑1855, marked incuse “JONES BALL & CO” over “BOSTON” over “PURE SILVER COIN” in arc, seamed construction with center point, applied molded borders, hollow cast angular handle, acanthus scroll cartouche engraved “B of GT to Samuel Hale Parker”, h. 4 1/8 in., wt. 6.45 troy ozs. [$150/250]

Note: Samuel Hale Parker (1781‑1864) was a publisher and bookseller who also operated the Boston Circulating Library.

433. Continental 1st Standard Silver‑Mounted Crystal Mustard Pot in the Neoclassical Taste, with associated Georgian sterling silver gilt mustard spoon, 1818, maker S.P. untraced. [$200/400]

434. Good Group of Antique Silver Flatware Serving Pieces, incl. Continental silver fiddlethread soup ladle (l. 13 1/4 in.), Gorham “King George” sterling soup ladle (l. 12 1/2 in.), and Watson “Lily” sterling serving fork and spoon (l. 8 3/4 in.), total wt. 23.10 troy ozs. [$300/500]

435. Antique Bloodstone‑Inset Silver Gilt Vinaigrette, oval with 2 heliotrope panels, pierced grill, h. 5/8 in., w. 1 3/4 in., d. 1 1/2 in. [$150/250]

Provenance: Lucullus Antiques, New Orleans.

Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

437. Georgian Sheffield Plate Serving Tray, 19th c., foliate scroll border and handles, engraved crest on inset silver shield, flat chased well, openwork bracketed scroll feet, retains original tinned back, l. 28 3/4 in., w. 21 in. [$600/900]

441. Pair of American Sterling Silver Coquille‑Shaped Dishes, Fred M. Hirsch Co., act. 1920‑1945, ball feet, 6 3/8 in. x 6 1/8 in., together with a sterling baluster‑form muffineer, Ellmore Silver Co., Meriden, CT, mid‑20th c., h. 7 5/8 in.; total wt. 13.60 troy ozs. [$300/400]

438. Mobile Coin Silver Christening Cup, Alanson Knapp, act. 1826‑1873, marked “A.KNAPP” in rectangle, floral repousse, molded rims with beading, seamed construction, hollowcast scroll handle, cartouche engraved “J.M. Cady/from B. Tardy/Sep. 1859”, h. 2 5/8 in., wt. 2.80 troy ozs. [$300/500]

442. Tiffany “Chrysanthemum” Pattern Sterling Silver Serving Spoon, pat. 1880, l. 9 3/4 in., wt. 4.25 troy ozs. [$200/400]

436. George III Sterling Silver and Mother‑of‑Pearl Dessert Service for Eighteen, 1801, silver knife blades marked for John Orme II, mark reg. 1796, in fitted rosewood case, incl. 18 each dessert forks (l. 6 3/8 in.) and dessert knives (l. 8 in.) [$200/400]

439. Cased Pair of American Aesthetic Movement Sterling Silver Master Salt Cellars, Gorham, 1871, pattern 550, with butterfly handles and traces of gilt wash interiors, h. 2 in., w. 3 1/2 in., WITH associated sterling master salt spoons, S.D. Brower & Son, Albany, NY, act. 1867‑1884, total wt. 4.80 troy ozs. [$400/600]

443. Virginia Coin Silver Ladle, Williams & Victor, Lynchburg, act. 1813‑1845, with later presentation, l. 12 in., wt. 6.5 troy ozs. [$150/250] Provenance: Estate of Stephen Cabot Forbes Harvey.

445. Important John Ewan (1786‑1852), Charleston Coin Silver Tea Service, wc. 1823‑1852, marked “J.EWAN” in rectangle, double struck, incl. teapot, covered sugar, creamer and waste bowl, each with lobed body and grape and grapevine die‑rolled borders, teapot and sugar with domed lobed covers with dolphin finials, teapot with square hollow handle, sugar and creamer with C‑scroll handles, old script monograms “GRH”, teapot h. 9 1/2 in., total wt. 63.95 troy ozs. [$8000/12000]

440. Gorham “Plymouth” Pattern Sterling Silver Tray, date mark for 1911, l. 12 1/2 in., wt. 13.40 troy ozs. [$300/500]

444. Maryland Jockey Club Sterling Silver Racing Trophy, inscribed “The Maryland Jockey Club/ Pimlico Race Course/ The Lady Baltimore Handicap... 1944...”, hallmarked Birmingham, 1938, maker W & S untraced, footed bowl with stylized scroll handles and reeded banding, h. 9 in., w. 13 1/8 in., wt. 31.85 troy ozs. [$800/1200]

446. Mauser Sterling Silver Vintage Motif Centerbowl, act. Mount Vernon, NY, 1892‑1913, undulating rim with cast grapes, grapevine and leaves, h. 4 in., w. 15 1/8 in., wt. 37.20 troy ozs. [$600/900]

Ref.: Burton, E. Milby. South Carolina Silversmiths 1690‑1860. pp. 54‑57. A similar three‑piece set is in the MESDA collection, Acc. No. 4698.1‑3. Additional information at www.nealauction.com

447. Black Starr & Frost Sterling Silver Revere Bowl, engraved presentation “Deal Golf Club 1924 Ladies Trophy”, h. 4 5/8 in., dia. 9 1/4 in., wt. 16.45 troy ozs. [$150/250]

448. Group of Antique English Sterling Silver Flatware Serving Pieces, incl. George III fiddle shell stuffing spoon, William Eley & William Fearn, London, 1818, l. 12 1/8 in.; Victorian “King’s” pattern fish serving knife, Chawner & Co. (George William Adams), London, 1851, l. 12 7/8 in.; and George III downturned “Old English” typt sauce ladle, Richard Crossly, London, 1782, l. 6 7/8 in.; total wt. 12.75 troy ozs. [$300/500]

449. American Sterling Silver Flatware Service, Watson “Meadow Rose” pattern, pat. 1907, incl. 10 forks (l. 7 3/4 in.), 12 knives (l. 9 5/8 in.), 12 salad forks, 11 cocktail forks, 4 cream soup spoons, 10 dessert spoons, 12 teaspoons, 12 ice teaspoons, 12 demitasse spoons, 11 butter spreaders (fh), 3 tablespoons, 2 cold meat forks, serving fork and spoon, 2 gravy ladles, cream ladle, 2 master butter knives, jelly spoon, sugar shell, relish spoon, carving knife and fork (hh) and cake knife (hh), total wt. (weighable) 134.10 troy ozs. (124 pcs.) [$1200/1800] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

452. Italian Alabaster Figural Lamp, 19th c., etched globe atop columnar support, flanking figure of a young child reading, molded red onyx base, h. 26 in., w. 9 1/4 in., d. 11 in. [$800/1200] 450. Gorham “Versailles” Pattern Sterling Silver Partial Flatware Service, pat. 1888, incl. 5 forks (l. 7 3/4 in.), 12 knives (l. 9 5/8 in.), 5 tablespoons, 4 dessert spoons,2 teaspoons, 10 ice teaspoons, jelly server, sugar tongs and carving knife (l. 14 3/4 in.) and fork (l. 11 3/8 in.); together with a Gorham “Medici” master butter knife; 43 pcs., total wt. (weighable) 49.55 troy ozs. [$700/1000]

451. Derby Trial Churchill Downs Sterling Silver Trophy Won by Meetyouatthebrig, 2001, presentation inscription “DERBY TRIAL/ CHURCHILL DOWNS/ APRIL 28, 2001/ WON BY/ MEETYOUATTHEBRIG”, hallmarked Stevenson & Law, London, 1921; h. 8 in., wt. 17.65 troy ozs. [$400/600]

453. Swedish Neoclassical Patinated Brass and Alabaster Torchere, early 20th c., reeded standard, on paw feet, h. 65 in. [$600/900]

Provenance: Estate of James H. Stone, New Orleans, LA.

Provenance: Eileen Lane Antiques, New York.

455. Antique French Tole Peinte Fluid Lamp, floral decoration, adjustable height, h. 18 1/2 in., w. 11 in., d. 5 3/4 in. [$600/800] 454. French Rococo Revival Gilt and Patinated Bronze Six‑Light Gasolier, mid‑19th c., foliate canopy, vasiform standard, three addorsed Classical female terms, scroll and acanthus arms, electrified, h. 52 in., dia. 42 in. [$2000/3000] Provenance: Lucullus Antiques, New Orleans; 511 St. Ann Collection, Historic Pontalba, New Orleans. Note: One frosted glass shade is associated.

456. American Classical Giltwood “Cornucopia” Looking Glass, c. 1830, old oval mirror plate, cornucopiae issuing grape clusters, pomegranates and corn, the scrolling terminals bound by a ribbon pendant, h. 34 in., w. 22 in. [$700/900] Note: A nearly identical mirror is illustrated in Oscar Fitzgerald’s Three Centuries of American Furniture, p. 323, fig. VI‑28.

458. American Late Federal Giltwood and Eglomise Mirror, early 19th c., molded cornice with spherule pendants, gilt and penwork eglomise panel, rope‑twist columnar supports, old mirror plate, h. 36 1/4 in., w. 20 in., d. 4 5/8 in. [$500/700]

457. Hurricane Shade with Cobalt Folded Upper Rim, engraved floral design, folded lower rim, h. 23 1/2 in., dia. 9 in. [$1000/1500]

459. Pair of Empire‑Style Bronze Seven‑Light Candelabra, 19th c., decorated with palmettes, acanthus and scrolls, electrified, h. 28 in., dia. 10 in. [$800/1200]

460. Neoclassical‑Style Rouge Marble and Gilt Bronze‑Mounted Vase, 19th c., now mounted as a lamp, h. (to socket) 23 in., w. 6 in., d. 6 in. [$500/700]

461. French Empire Bronze-Mounted Mahogany Lit en Bateau, 19th c., astragal molded head rails, paneled sides half-column supports, shaped front rail, blocked base, block feet, h. 37 in., l. 80 in., w. 36 1/2 in. [$1000/1500]

462. Charles Grey (British, 1808‑1892), “Highland Gentleman after the Hunt”, oil on canvas, signed and indistinctly dated lower right, 35 3/4 in. x 56 1/4 in., framed. [$6000/8000]

463. Charles‑Louis Baugniet (Belgian, 1814‑1886), “Admiring the Slippers”, 1873, oil on panel, signed, dated and inscribed “Sévres” lower left, 2 handwritten labels en verso, 27 in. x 21 1/2 in., framed with brass artist plaque. [$12000/18000] Note: Born in Brussels, Charles-Louis Baugniet attended the Académie Royale des Beaux-Arts from 1827-1829, where he studied under Joseph Paelinck, a student of Jacques-Louis David, and Florent Willems. Working primarily as a lithographer upon becoming a full-time artist, Baugniet created portraits of the Belgian House of Representatives and fellow artists. He was commissioned to paint portraits of the Belgian Royal Family and subsequently appointed court painter in 1841. With the growing popularity of photography in the 1850s, Baugniet found less call for lithography and thus began to focus more on oil painting, with a work accepted for the 1858 French Exhibition in London. He eventually moved to Paris and regularly exhibited there, London and Brussels until his death in Sèvres in 1886.

Unlike his lithographic portraiture, Baugniet’s paintings almost exclusively focus on women in rich interiors, as he captured seemingly insignificant moments of time in spectacular detail. “Remorse, sadness, joy, a whole range of feelings is staged with the elegance, the charm but also the frivolity of this Parisian life of the second half of the 19th century.” In the work offered here from this period, two fashionable ladies admire a slipper just peeking from below the hem of a dress while a maid oversees the scene. Baugniet paints the figures, fabric and fine details of the interior as if awash with light from an unseen window - inviting the viewer to admire the slipper and the skillful painting.

Ref.: Wachtelaer, Aline. “Biographie.” Charles Baugniet: L’élégance du siècle. http://charlesbaugniet.be/ biographie. Accessed July 19, 2020

Additional information at www.nealauction.com

464. Pair of Exceptional Continental Variegated Marble Pedestals, square tops with rounded corners, ring turned molded standard, square bases with rounded corners, h. 32 1/4 in., w. 14 in., d. 14 in. [$1200/1800]

466. American Late Classical Carved Mahogany Pier Table. c. 1840, stamped “J.W. & C. Southack/ 196 Broadway, New York”, shaped Egyptian marble top, conforming frieze with bead trim, foliate carved scrolled supports, shaped plinth, scrolled feet, casters, h. 30 in., w. 38 in., d. 19 3/4 in. [$1000/1500]

465. Continental Satinwood Inlaid Mahogany Center Table, malachite veneer top, apron inlaid with paterae, tapered legs inlaid with rosettes and fruiting vines, leaf and bronze gadroon sabots, h. 26 in., dia. 31 in. [$700/1000] 467. Hepplewhite‑Style Inlaid Mahogany Secretary Bookcase, brass urn and eagle‑mounted crest, Gothicized astragal glazed doors, tambour doors, fitted interior, fold-over writing surface, three drawers, tapered legs, h. 83 1/2 in., w. 40 in., d. 19 1/4 in. [$1000/1500]

468. Renaissance Revival Bronze‑Mounted Rosewood and Marquetry Pedestal, inset marble top, fluted frieze, single molded door with musical trophée, conforming side panels, blocked base, incised decoration with traces of old gilt, h. 34 in., w. 25 3/4 in., w. 19 1/2 in. [$1500/2500]

469. Antique French Fruitwood Folding Library Ladder, truss supports, h. 70 in., w. 21 in., d. 39 1/4 in. [$300/500] Provenance: Whitehall Antiques, Chapel Hill

470. French Empire Bronze‑Mounted Marble Top Gueridon in the Egyptian Taste, inset marble top, tapered legs with bronze bush capitals, incurvate triangular stretcher, paw feet, h. 30 1/2 in., dia. 21 1/2 in. [$800/1200]

471. Louis Philippe Carved Mahogany Secretaire à Abattant, c. 1840, molded top, cove‑molded frieze with drawer, fall front writing surface, fitted interior over three drawers, bracket feet, h. 57 in., w. 40 in., d. 18 in. [$500/1000] Provenance: Selma Plantation, Washington, MS

473. After Dom Bernard de Montfaucon (French, 1655‑1741), “Diane” and “Soldats Daces ou des Nations Voisines”, c. 1719, 2 copperplate engravings on paper, from L’Antiquité Expliquée et Representee en Figures, inscriptions on handmade folios, sheets 15 1/2 in. x 10 1/4 in. and 15 1/2 in. x 10 3/8 in., each in modern handmade folio; together with After James Gibbs (Scottish, 1682‑1754), “Architectural Engraving”, c. 1728, from A Book of Architecture Containing Designs of Buildings and Ornaments, engraved by Elisha Kirkhall. (British, 1682‑1742), sheet 20 1/2 in. x 14 3/8 in., unframed. (3 pcs.) [$300/500] Provenance: Sold to benefit Save Our Cemeteries, New Orleans, LA. 472. Leopold Reiser‑Vaney (German, b. 1921), “La Charite Sur Loire”, 1972, oil on canvas, signed and dated lower right, titled, dated and inscribed en verso, 29 3/4 in. x 40 in., framed. [$1000/1500]

474. Fine Paris Porcelain Vase, c. 1818, possibly Darte Freres, opposing reserves depicting a trio of rogues committing robbery, signed “halbedel, pinxit, 1818”; the other with magenta ground, painted with Empire designs from Percier & Fontaine, flanked by acanthus scrolled handles, centered by rosettes, spreading socle, plinth base, h. 18 in., w. 9 in., d. 5 3/4 in. [$800/1200] 476. Three Paris Polychrome and Gilt‑Decorated Porcelain Cabinet Plates, early 19th c., all three with impressed mark “1901”, two stamped in red “Ed. Honoré / Bould. Poissonnière, No. 4 / à Paris / à Champroux, Manufacture / Allier... “ two of the central wells painted with young women in festival finery, with gilded scroll borders; the other with identical borders, its well painted with a garden fountain in a grand courtyard, each dia. 9 1/8 in. [$300/500]

475. Large Paris Porcelain Polychrome and Gilt Portrait Vase, early 19th c., underside stamped in red “Darte / Palais Royale / No: 21”, reserve with an Empire beauty in a violet dress, ram’s head handles, h. 17 1/4 in. Note: Some rubbing to gilt surfaces. [$500/700]

477. Pair of French Porcelain Wine Coolers, polychrome floral decoration with gilt accents, molded decorative handles, Samson type marks, h. 7 in. [$500/700]

478. Paris Gilt and Bleu de Roi Porcelain Navette‑Form Corbeille, 19th c., oval reticulated basket, waisted standard, rectangular base, h. 10 3/4 in., w. 13 1/4 in., d. 7 1/4 in. [$500/700]

479. Paris Porcelain Parcel Gilt NavetteForm Corbeille, 19th c., bisque winged lion supports, paw feet, h. 9 5/8 in., w. 9 in., d. 5 1/2 in. [$300/500]

480. Ten Paris Porcelain Dinner Plates, mid-19th c., signed Boyer, robin’s egg blue and gilt banded, gilt monogram, dia. 9 1/4 in. [$400/600]

481. Pair of Antique French Polychrome Porcelain Carcel Lamps, robin’s egg blue ground, cartouche with Classical portrait, electrified, h. (to socket) 24 in., dia. 6 1/2 in. [$300500] 482. English Sterling Silver‑Mounted Tortoiseshell Diminutive Compote, marked “MAPPIN & WEBB”, h. 3 1/2 in., dia. 4 1/2 in.; together with English tortoiseshell inlaid horn snuff box, hinged lid, h. 1 in., w. 3 3/4 in., d. 1 1/2 in. [$300/500]

483. Pair of Georgian‑Style Silverplate Three‑Light Candelabra, Goldfeder Silver Co., Yalesville, CT, founded 1932, urn‑shaped candlecups, trumpet‑shaped standards, gadroon borders, removable candlearms converting to single candlesticks, missing bobeches, h. 19 1/2 in. [$300/400]

484. Rare Pair of American Sterling Silver Cake Baskets, William Bogert & Co., New York, NY, act. 1866‑1880, each navette form with swing handle, engine‑turned banding, well with flat‑chased Aesthetic border, each centering a different chased floral bouquet, h. (to top of handle) 10 in., w. 11 3/4 in., d. 9 5/8 in., combined wt. 57.85 troy ozs. [$1500/2500] Note: William Bogert & Co. was a major supplier to Tiffany & Co. 1866‑1868.

485. Pair of American Sterling Silver Repousse Vintage Motif Candlesticks, Mauser, NY, act. 1892‑1913, h. 9 3/8 in., integral bobeche, weighted base. [$200/400]

486. Reed and Barton Sterling Silver Footed Center Bowl, pattern X811, fluted navette form, bracketed paw fee, h. 4 in., w. 12 1/2 in., d. 9 in., wt. 20.60 troy ozs. [$300/500]

Additional information at www.nealauction.com

487. English Cut Crystal Double Arm Argand Lamp, 19th c., now electrified, h. 24 in., w. 19 in., d. 6 in. [$400/600]

488. Moser Bronze‑Mounted and Enameled Cranberry Glass Dresser Box, late 19th c., gilt canted corners, hinged lid, overall foliate design, h. 4 1/2 in., w. 5 1/2 in., d. 3 1/4 in. [$1000/1500] Provenance: M.S. Rau Antiques, New Orleans

489. Bohemian Brass‑Mounted Enameled Black Glass Dresser Box, c. 1900, hinged lid, overall floral design, leaf and ball feet, h. 5 1/4 in., w. 6 in., d. 3 1/4 in. [$600/900]

490. French Brass‑Mounted Cobalt Cut‑to‑Clear Glass Dresser Box, c. 1900, hinged lid, ring handles, ball feet, h. 5 in., w. 6 in., d. 4 3/4 in. [$600/900]

491. American Brilliant Cut Glass Bowl with Gorham Sterling Silver Mounts, date mark for 1897, h. 3 in., dia. 11 1/8 in. [$400/600] 492. English Handblown Barrel-Form Punch Bowl, 19th c., clear and frosted body, reeded banding, scalloped matching undertray, h. 13 in., tray dia. 12 3/4 in. [$600/900]

495. Antique French Painted Tall Case Clock, early 19th c., rocaille carved case, brass repousse dial, later electric movement, h. 90 1/2 in., w. 12 in., d. 8 1/2 in. [$700/800]

496. Pair of American Gilt and Patinated Bronze Argand Lamps, c. 1834, marked J & I Cox/New York”, mask‑decorated font and base, prism‑ring cast with swans, paw feet, electrified, h. 19 in., w. 12 in., d. 7 in. [$500/700]

493. Napoleon III Ebonized and Brass Inlaid Portico Clock, 19thc., striking bell movement marked “Japy Freres” and with retailer “Barlow, Paris”, h. 18 3/4 in., w. 9 3/4 in., d. 5 1/4 in., presented in glass dome, total h. 26 1/2 in. [$700/900]

494. Antique French Bronze Bracket Clock, dial and movement marked “DEMIA A PARIS”, surmounted by a globe and book, h. 12 1/2 in., w. 9 in., d. 6 in., on carved mahogany bracket, total h. 22 in. [$400/600]

497. Pair of American Gothic Carved Mahogany Parlor Chairs, c. 1840, attr. Thomas Brooks, finialed crest, quatrefoil piercing, octagonal tapered legs, caps, casters, h. 45 in., w. 18 in., d. 20 in. [$500/800]

498. English Oak Trestle Bench, 19th c., tenoned and pegged construction, stretcher, h. 17 3/4 in., w. 78 1/2 in., d. 13 3/4 in. [$600/800] Provenance: Collection of Brooke and Maria Fox, Metairie, LA

499. English Cockfighting or Reading Chair, 19th c., padded horseshoe shaped crest rail, adjustable book rest, Queen Anne legs, blocked stretchers, pad feet, casters, red leather upholstery, h. 35 in., w. 31 in., d. 24 in. [$1200/1800]

500. Antique Georgian‑Style Satinwood‑Banded Mahogany Two Pedestal Dining Table, oval top, vasiform standards, saber legs, paw feet, casters, one leaf, h. 29 3/4 in., w. 99 in., d. 46 1/4 in. [$700/1000]

502. Georgian Oyster Veneer and Banded Burled Walnut Chest of Drawers, late 18th/early 19th c., cove molded bookmatched top, two short over three long drawers, conforming base, bun feet, h. 356 1/2 in., w. 39 1/2 in., d. 22 3/4 in. [$600/900]

501. Eight Georgian‑Style Mahogany Dining Chairs, incl. 2 armchairs and 6 side chairs, scrolled crest rail, tassel carved pierced splat, foliate knee, ball and claw feet, armchair h. 37 in., w. 26 1/2 in., d. 24 in., side chair h. 37 in., w. 23 1/2 in., d. 22 1/4 in. [$700/1000]

Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

503. Antique Georgian Burl Walnut Chest-onStand, upper case with cove molded crest, two short over three long graduated drawers, molded base with three drawers, shaped apron, cabriole legs, pad feet, h. 64 1/2 in., w. 41 in., d. 22 1/2 in. [$700/1000] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

505. English Zinc‑Plated Sandcast Iron Mantel Surround, molded top, Greek key frieze, acanthus scrolled urn center panel, egg and dart border, h. 53 in., w. 52 3/4 in., d. 4 in. [$1000/1500] 506. Continental Carved and Parcel Gilt Kingwood Console Table, 19th c. and later, stone clad plaster top, guilloche frieze, monopod cabriole legs, shaped plinth base, h. 39 3/4 in., w. 53 1/2 in., d. 27 1/8 in. [$1000/2000]

504. English Mahogany Tilt‑Top Tea Table, early 19th c., single board top, ring turned baluster standard, cabriole legs, pad feet, h. 27 1/2 in., w. 25 3/4 in., d. 25 1/4 in. [$400/600] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

507. Antique Italian Neoclassical Inlaid Petite Commode, 18th c., molded top, front with three false drawers, three small side drawers, keyed apron, tapered square legs, shaped feet, h. 33 1/2 in., w. 25 1/2 in., d. 12 1/2 in. [$1000/1500]

508. Antique French Inlaid and Burl Walnut Armoire, Bresse, molded stepped cornice, fluted stiles, doors with “star‑in‑oval” motif, shelf interior with double belt of drawers, lower drawer, scroll feet, h. 91 1/2 in., w. 65 in., d. 27 1/2 in. [$2500/3500]

Provenance: Whitehall Antiques, Chapel Hill.

Provenance: Ford A. Kalil, Inc., Bethesda.

Additional information at www.nealauction.com

509. Provincial Louis XV‑Style Oak Buffet à Deux Corps, 18th c., upper case with arched molded cornice, botanical carved frieze and doors, shelf interior, three drawers, lower case with conforming doors, shaped apron, h. 95 1/2 in., w. 58 1/4 in., d. 27 in. [$1200/1800]

511. Pair of Large Sevres‑Style Gilt Bronze‑Mounted “Bleu Celeste” Covered Urns, scroll and ram’s head handles, reserves painted with courting couples and floral decoration, h. 24 1/2 in., w. 11 1/4 in., d. 7 1/2 in. [$3000/5000]

513. Chinese Export Famille Rose “Tobacco Leaf” Porcelain Oval Tray, late 18th/early 19th c., central floral and leaf cartouche, molded basketweave band, reticulated rim, w. 9 1/4 in., d. 7 5/8 in. [$500/700] Provenance: Sallea Antiques, New Canaan, CT, May 2010.

510. Louis Philippe Style Kingwood Commode, Gris de St. Anne marble top, molded frieze drawer, over three drawers with dolphin pulls, blind plinth drawer, on later feet, h. 38 1/2 in., w. 51 in., d. 23 1/2 in. [$1000/1500]

512. Large Antique Sevres‑Style Polychrome and Gilt Porcelain Dresser Box, late 19th c., polychrome courting scene, signed “Mallet”, interior of lid with manuscript commemoration of a royal wedding between The Duke of Richelet(sic) and Anne‑Marie‑Joseph of Lorraine in 1734, h. 4 1/2 in., w. 13 in., d. 7. [$500/700]

514. Wedgwood & Bentley Blue “Porphyry” Creamware and Black Basalt Vase on Stand, 18th c., impressed “WEDGWOOD” serif mark, ovoid body with applied garlands, band and floral heads, h. 9 1/4 in. [$800/1200] 515. George III Sarcophagus-Form Tortoiseshell Tea Caddy, c. 1800, lidded interior compartment, ball feet, h. 5 1/4 in., w. 5 in., d. 3 3/4 in. [$200/400]

517. Good English Silverplate Decanter Stand, anchor and rope handle, incurvate triangular base with dolphin supports, fitted with 3 pressed glass decanters, h. 15 3/4 in. [$300/500]

516. Ten Chippendale‑Style Silverplate Chargers, serpentine gadrooned borders, marked “ROYAL CASTLE/SHEFFIELD”, dia. 12 1/4 in. [$800/1200]

518. Group of Three Decorative Pillows incorporating Antique Elements, incl. Victorian beadwork on mulberry Berlin wool work ground, now backed in mulberry velvet (19 in. x 9 3/4 in.); chenille work on linen canvas, now backed in buff velvet (20 in. x 16 in.); and linen tapestry, now applied to olive velvet (13 in. x 5 in.); all with decorative fringe. [$300/500]

519. Pair of Gold Silk Brocade Pillows, with matching fringe and beige linen backing (19 in. x 16 1/2 in.) [$300/500] Provenance: Melissa Levinson Antiques, Los Angeles.

520. Pair of Fawn Linen Velvet Pillows with Antique French Chenille and Metallic Applique (24 in. x 19 1/2 in.), some losses to metallic fringe. [$300/500] Provenance: Melissa Levinson Antiques, Los Angeles.

523. Two Pairs of Decorative Pillows incorporating Antique and Vintage Elements, incl. antique metallic applique on pewter silk and velvet with metallic fringe (20 in. x 20 in.), and vintage Chinese silk on silk dragon embroideries with raw silk border and backing (16 1/2 in. x 11 in.) [$300/500] Provenance: Melissa Levinson Antiques, Los Angeles; Pat McGann Gallery, Los Angeles.

521. Group of Three Decorative Pillows with Antique Wool Tapestry Panels, incl. pair of pewter velvet with passementerie trim, backed in bronze silk. (18 in. x 14 in.); and mulberry velvet with metallic fringe (15 in. x 10 in.) [$300/500]

522. Two Pairs of Decorative Silk Brocade Pillows, both with rose linen backing (22 in. x 15 in. and 20 in. x 16 1/2 in.) [$300/500] Provenance: Melissa Levinson Antiques, Los Angeles.

524. French Tole Peinte Bouillotte Lamp, 20th c., adjustable shade, electrified, h. 25 in., dia. 15 1/2 in. [$300/500]

525. Antique Carved Wood Figure of “St. Francis of Assisi”, 19th c., unsigned, h. 29 1/4 in., w. 11 in., d. 8 in. [$600/1000]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

527. Antique French Empire Pier Mirror, floral garland outer molding, “C” scroll inner liner, old divided mirror plate, h. 63 1/2 in., w. 33 1/4 in. [$600/900]

526. Angiolo Vanetti (Italian, 1881‑1922), “Gladiator on Chariot Pulled by Three Rearing Horses”, gilt bronze, signed and “213 / Marcel Guillemard / bronze” stamped on self‑base, h. 15 1/2 in., w. 25 in., d. 12 in., stepped marble plinth, overall h. 18 in. [$1000/1500]

528. Continental Giltwood Trumeau Mirror, 19th c., classical reserve, beaded surround, divided mirror plate, h. 63 7/8 in., w. 25 3/4 in. [$500/1000]

529. Bronze‑Mounted Sevres‑Style Porcelain Lamp, fitted on gilt metal torchere with rams’ head mounts, acanthine finialed stretcher, furry hoof feet, h. (with finial) 71 in., dia. 19 in. [$1000/1500]

530. Three Pieces of Swedish Art Deco Ceramics, 1926 and 1927, Josef Ekberg for Gustavsberg, each marked, with luster glaze, tallest h. 14 3/4 in., dia. 6 1/4 in. [$800/1200] Provenance: Bowl, Kerry Beauchemin, New York; and vases, B4 20th Century Design, New York.

531. Gudrun Baudisch for the Wiener Werkstatte Glazed Pottery Vase and Bowl, c. 1925, each marked “WW”, “Made in Austria”, “GB”, and model numbers “305” (bowl, and “369” (vase), vase h. 12 1/4 in., dia. 4 1/2 in. [$700/1000] Provenance: Bowl, Kolhammer, Vienna, Austria; vase, Kim Cherova, New York, NY.

532. Vally Wieselthier for the Wiener Werkstatte Glazed Pottery Vase, c. 1925, marked “WW”, “Made in Austria”, “VW”, and “9016”, spiral handles, floral decoration, h. 8 in., w. 7 1/4 in., d. 4 1/4 in. [$600/900]

Provenance: Lillian Nassau, LLC, New York, NY.

Additional information at www.nealauction.com

533. Vally Wieselthier for the Wiener Werkstatte Glazed Pottery Lidded Bowl, c. 1922, marked “Made in Austria”, “VW”, “7078”, reticulated lid, spout‑form handles, pierced base, h. 7 1/2 in., w. 12 1/2 in., d. 7 in. [$800/1200]

534. Art Deco Charles Catteau for Boch Freres Ceramic Vase, c. 1935, Belgium, fully marked, h. 9 1/2 in., dia. 6 1/2 in. [$700/1000]

535. Dutch Mid‑Century Metallic Lustre Vase, c. 1950, Jan van Schaik for Gouda, signed, h. 10 1/2 in., dia. 8 3/4 in. [$300/500]

Provenance: Donzella 20th Century Gallery, New York.

537. Two Vally Wieselthier for the Wiener Werkstatte Glazed Pottery Bowls, c. 1924, marked “WW”, “Made in Austria”, “VW”, and model numbers “178” and “176”, both pierced, one with scroll handles, the other with grotesque figure handles, larger h. 4 3/4 in. w. 14 in., d. 9 1/2 in. [$800/1200]

538. Art Deco Charles Catteau for Boch Freres Ceramic Vase, c. 1935, Belgium, fully marked, h. 11 1/2 in., dia. 6 in. [$700/1000]

Provenance: Kolhammer, Vienna, Austria.

539. Chinese Export Gilt and CopperDecorated Black Lacquer Miniature Cheston-Stand, 19th c., doors enclosing fitted compartment with drawers, footed stand, overall h. 13 in., w. 13 in., d. 8 3/8 in. [$300/500]

541. Asian School, probably 19th c., “Exotic Birds”, ink and color on silk, inscribed and sealed lower right, sight 48 1/2 in. x 21 3/4 in., framed and glazed. [$500/1000]

536. Jean Barol (French, 1873‑1966) Art Deco Metallic Glaze Vase, c. 1930, signed “Barol” on the side, two reserves with a reclining nude, with sun in the background, h. 7 7/8 in., dia. 4 1/8 in. [$500/700]

540. Pair of Hispano Moresque‑Style Inlaid Mirrors, octagonal frames extensively inlaid with mother‑of‑pearl, exotic woods and bone, h. 30 1/2 in., w. 22 1/2 in., d. 2 in. [$800/1200]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

542. American Aesthetic Carved and Ebonized Wood Stand, late 19th c., foliate carved baluster standard flanked by cranes, shaped base, bun feet, h. 35 1/2 in., w. 25 in., d. 13 in. [$500/700]

543. Late Regency Rosewood Tilt‑Top Center Table, 19th c., reverse tapered hexagonal standard, incurvate triangular base, compressed bun feet, h. 29 in., dia. 45 in. [$700/1000]

544. Antique English Walnut Slant Top Desk, galleried top, two frieze drawers, shaped apron, chamfered legs, h. 40 in., w. 48 in., d. 24 1/2 in. [$700/1000]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

545. English Carved Mahogany Sofa in the George III Taste, 19th c., reeded frame, shaped crest rail, downswept arms, tapered legs, brass cuffs, casters, h. 35 in., w. 74 1/2 in., d. 28 in. [$700/1000]

546. Fine Anglo‑Colonial Carved Rosewood Tilt‑Top Table, 19th c., circular top with egg and dart molding, scrolled acanthus frieze, foliate baluster standard, incurvate triangular plinth, disc feet, h. 30 1/2 in., dia. 22 1/2 in. [$1000/1500]

547. Georgian Burl Walnut Chest-on-Stand, case with two short drawers over three graduated drawers, stand with single drawer, arched apron, trumpet legs, shaped stretcher, bun feet, h. 56 1/4 in., w. 40 1/4 in., d. 22 1/4 in. [$700/1000]

548. Diminutive George III Mahogany Chest, late 18th/early 19th c., molded top, graduated cockbeaded drawers, bail pulls, shaped bracket feet, h. 31 1/2 in., w. 31 in., d. 20 1/2 in. [$400/600]

Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

549. English Elm Hoop Back Windsor Chair, pierced splat, outswept arms, ringturned stretchers and legs, h. 42 3/4 in., w. 26 1/4 in., d. 27 in. [$400/600]

550. Georgian‑Style Wingchair, foliate carved legs with ball and claw feet, leather upholstery with brass nailhead trim, h. 43 3/4 in., w. 35 1/2 in., d. 32 in. [$400/600]

Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

551. William and Mary‑Style Carved Walnut Sofa, 19th c., triple arched back, downswept arms, turned baluster uprights, nailhead trim, turned blocked stretchers, bun feet, h. 42 in., w. 87 in., d. 26 in. [$800/1200]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

552. Restauration Bronze‑Mounted Mahogany Lit en Bateau, tubular crest rails, spherule finialed colonnettes, rounded feet, h. 34 1/2 in., w. 70 in., d. 30 3/4 in. [$800/1200]

553. Antique Continental Biedermeier Parcel Ebonized and Inlaid Vitrine, pedimented crest, glazed doors with diamond mullions, glass shelves, compass star inlaid doors, tapered legs, h. 63 1/4 in., w. 40 1/4 in., d. 16 in. [$600/900]

Provenance: Descended in a New Orleans Family.

554. Pair of Baroque‑Style Ottomans, pierced scrolled apron, cabriole legs, scrolled toes, h. 19 in., w. 28 in., d. 24 in. [$200/400]

555. Antique Country French Chest, inset molded top, three drawers faced as six, fluted stiles, blocked base, distressed paint surface, h. 42 in., w. 21 in., d. 16 in. [$400/600]

556. Georgian Burl Walnut Chest-on-Stand, case with two short drawers over three long graduated drawers, stand with scrolled apron, barley twist legs, shaped stretchers, bun feet, h. 56 3/4 in., w. 38 3/4 in., d. 23 1/4 in. [$700/1000]

Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

Additional information at www.nealauction.com

557. Louis XVI Cherrywood Commode, 19th c., shaped marble top, conforming case with three molded small drawers (middle drawer fitted with secret locking candle box) over two long drawers, fluted columnar stiles, turned feet, h. 34 3/8 in., w. 50 1/2 in., d. 34 3/8 in., d. 23 1/4 in. [$800/1200]

558. Petite French Provincial Fruitwood Server, late 18th/early 19th c., canted top, conforming case, two frieze drawers over cabinet doors, shaped feet, h. 42 1/2 in., w. 40 in., d. 26 in. [$400/600]

Provenance: Whitehall Antiques, Chapel Hill.

559. Pair of French Child’s Fruitwood Chairs, 18th c., pegged construction, square backs, plank seat, baluster turned legs, molded stretchers, bulbous feet, h. 34 in., w. 16 in., d. 15 in. [$300/500]

560. Restauration Mahogany Chaise de Bureau, 19th c., barrel back, scrolled arms, lappet carved knees, sabre legs, h. 31 1/2 in., w. 22 1/2 in., d. 22 1/2 in. [$400/600]

561. Pair of Antique Louis XV‑Style Side Chairs, floral crest rail, shaped back and seat, cabriole legs, custom moiré silk upholstery, h. 34 in., w. 21 in., d. 21 in. [$250/350]

564. Pair of Dr. Wall (1st Period) Worcester “Bengal Tiger/ Dragon in Compartments” Porcelain Scalloped Plates, c. 1765, underglaze blue fretted square mark, dia. 7 5/8 in.; together with a Chinese Export porcelain platter with similar decoration, c. 1820, 13 1/8 in. x 10 1/4 in. [$600/900] 562. Antique Louis XV‑Style Carved Fruitwood Bergère, 19th c., molded crest rail, scrolled arms, cabriole legs, custom silk upholstery, h. 41 in., w. 31 in., d. 32 in. [$300/500]

563. Antique Regence‑Style Lacquer and Gilt Settee, arched crest rail, out‑swept arms, serpentine apron, cabriole legs, hoof feet, custom silk upholstery, h. 36 in., w. 55 1/2 in., d. 24 in. [$400/500]

566. Antique French Steel Miniature Suit of Armor, riveted construction, fully articulated, pieces decorated with rope‑twist border, supported on wood, canvas, and straw filled figure, h. 32 in., w. 10 in., d. 6 1/2 in., ACCOMPANIED by glazed display case, h. 41 in., w. 17 1/2 in., d. 17 1/2 in. Note: hands lacking finger plates. [$600/900] 565. Large Pair of Continental Brass Ionic Columnar Andirons, h. 36 in., w. 14 in., d. 27 in. [$700/1000]

Provenance: David Pownall Willis, Plainfield, NJ; and William Word Fine Antiques, Atlanta, respectively.

567. French Brass and Tole Peinte Bouillotte Lamp, swan form candle holders, dished base, fitted with a two‑light fixture, h. 28 in., dia. 14 1/2 in. [$300/500]

568. Contemporary Italian Art Glass Table Lamp, late 20th c., shade labeled “ Vetro Artistico Murano”, standard with interior fluting, h. 22 in., dia. 11 1/4 in. [$500/700]

570. Regency Carved Giltwood and Parcel Ebonized Girandole Mirror, early 19th c., spread‑wing eagle crest, spherule‑mounted cavetto, ebonized rabbet, scrolled candlearms, foliate pendant, convex mirror plate, h. 31 3/4 in., w. 21 in., d. 9 3/4 in. [$800/1200]

571. Louis XV‑Style Bronze‑Mounted Inlaid Table Clock, c. 1890, in the form of a tall case clock, movement marked “A.D. MOUGIN”, case surmounted by a trophee, scroll and garland mounts, scroll feet, h. 20 1/2 in., w. 6 1/2 in., d. 4 1/8 in. [$800/1200]

Provenance: Estate of Eunice Bate Coleman, New Orleans, LA. 569. Patinated Bronze Figural Group of “Hébé and Jupiter’s Eagle”, after Louis Charles Hippolyte Buhot, signature inscribed on self‑base, h. 17 in., w. 11 in., d. 8 in., revolving marble base with bronze relief band, overall h. 19 1/2 in. [$500/1000]

573. Large Pair of Chinese Famille Noire Porcelain Yen Yen Vases, 20th c., baluster bodies decorated in mirror image with scenes of a royal hunting party, h. 25 in. [$300/500] Provenance: Acquired Dallas, TX 1980s.

572. French Brass and Cloisonné Clock Garniture, c. 1920, clock with striking gong movement, conforming campagna urns, clock h. 14 in., w. 9 3/4 in., d. 5 in. [$300/500]

574. Chinese Gilt and Lacquered Low Table, floral and foliate molded top, keyed frieze, dragon mask knees, claw and ball feet. h. 9 1/2 in. W. 23 3/4 in. D 15 in. [$200/400]

Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

577. Bronze Figural Group of Hercules Wrestling the Nemean Lion, 20th c., h. 16 1/4 in., on marble base, overall 17 3/4 in. [$500/750]

575. Decorative “Flying Ball” Clock, modern reproduction of the French mechanical clock, glass case, wood base, h. 128 1/2 in., w. 13 1/4 in., d. 10 1/2 in. [$600/800]

576. Antique Georgian‑Style Carved Pine Bullseye Mirror, surmounted by entwined dolphins and foliage, cavetto with ebonized spherules, ebonized rabbet, convex mirror plate, acanthus pendant, h. 45 in., w. 27 3/4 in., d. 4 in. [$700/1000]

578. Pair of American Cast Iron Figural Chenets and Fireguard, late 19th c., as illustrated in 1882 catalogue of J.L. Mott Ironworks of New York, griffins holding rings with chains, whole with decorative moldings, h. 16 1/2 in., crossbar l. 42 1/4 in. [$300/500]

579. Pair of French Art Moderne Metal and Faceted Crystal Seven‑Light Sconces, bead and pendeloque pendant hung scrolling branches, gilt flower‑form bobeches, h. 22 in., w. 20 in. [$200/400]

Provenance: The Eva and Jerry Gotlib Collection, Fort Smith, AR & New York, NY.

580. Pair of Neoclassical‑Style Four‑Light Torcheres, hurricane shades, carved and painted pedestals, h. 69 1/2 in., d. 10 in., w. 10 in. [$400/600]

Provenance: Estate of James H. Stone, New Orleans, LA. Additional information at www.nealauction.com

581. Pair of Diminutive Italian Bronze and Hardstone‑Mounted Cushion Mirrors, c. 1900, octagonal with cherub and scroll decoration, h. 14 1/2 in., w. 12 1/4 in., d. 3/4 in. [$600/900]

582. Italian Pietra Dura and Leather Dresser Box, hinged lid with view of Florence Duomo, velvet lined interior, h. 1 3/4 in., w. 5 1/4 in., d. 4 in. [$250/350]

585. Louis XV Walnut Side Table, 18th c., dished top, single drawer, shaped apron, cabriole legs, h. 25 3/4 in., w. 24 3/4 in., d. 17 in. [$400/600] Provenance: Jacqueline Adams, Atlanta.

583. Pair of Napoleon III Bronze and Marble Tazzas, late 19th c., Classical bust standard, black and rouge marble base, paw feet, h. 10 3/4 in., w. 10 1/2 in., d. 6 1/2 in. [$700/1000]

586. Pierre Ino (French, 1909‑1989), “Léda”, oil on canvas, signed lower left, titled and inscribed en verso, 36 1/4 in. x 28 3/4 in., framed. [$800/1200]

584. Christopher Dresser (1834‑1904) for Linthorpe Pottery Silver‑Mounted Ceramic Bowl, c. 1880, marked “LINTHORPE, CH. Dresser”, aesthetic foliate design, h. 5 1/2 in., dia. 10 in. [$600/900] Provenance: 507 Antiques, Toronto, Canada.

587. English Oak Thebes Stool, concave slatted seat, spherule corners, spindled stretchered supports, incised legs, h. 14 3/4 in., w. 17 in., d. 17 in. [$300/500]

590. Pair of Yellow Chinese Barrel-Form Garden Seats, pierced decoration, h. 17 1/2 in., dia. 13 in. [$300/500]

588. Aesthetic Movement Walnut Stand, 19th c., circular top with studded flange, turned standard with studded sphere, hoof feet, h. 30 1/2 in., dia. 19 in. [$500/700]

589. Cast Iron Garden Figure of a Rooster, now in red paint, h. 22 in., w. 6 1/4 in., d. 14 in. [$400/600]

591. [Battle of New Orleans Map], “Plan of an Attack made by the British Forces on the American Lines in Advance of Orleans on the 8th January 1815”, engraved map, hand‑colored in blue and red, ND but c. 1815, 15 1/2 in. x 14 1/4 in., matted and framed. [$400/700] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

592. Zuni Pueblo Pottery Canteen, c. 1880, New Mexico, red and brown zoomorphic design, corn cob plug, remnants of leather cord, h. 11 1/4 in., w. 10 1/2 in., d. 7 in., on a custom Lucite stand, total h. 12 1/4 in. [$1200/1800] Provenance: Dewey Galleries, Santa Fe, NM, 1986; Collection of Brooke and Maria Fox, Metairie, LA.

593. Acoma Polychrome Pottery Olla, c. 1920, tapered neck and shoulder, with solid and hatched geometric designs, h. 9 1/8 in., dia. 10 in. [$1200/1800] Provenance: Indian Trader‑West, Santa Fe, NM, 1986; Collection of Brooke and Maria Fox, Metairie, LA.

595. Pair of Ute Beaded Hide Cuffs, early 20th c., interior lined with cotton fabric, h. 11 in., w. 8 1/2 in. [$500/700] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

596. Louisiana Native American Clay Vessel, Caddo Parish, Red River Valley, incised design, h. 6 in., dia. 6 3/4 in. [$300/500]

594. Cochiti Polychrome Pottery Olla, c. 1895, stylized designs, h. 6 1/2 in., dia. 7 1/2 in. [$500/700] Provenance: Indian Trader‑West, Santa Fe, NM, 1986; Collection of Brooke and Maria Fox, Metairie, LA.

Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

598. Antique Hopi Polychrome Carved Wood Kachina, with applied feathers, h. 8 1/4 in. [$200/300] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

597. Zuni Kiva Pottery Bowl, c. 1920, remnant decoration, h. 4 1/4 in., dia. 9 1/4 in.; together with a small painted pottery vessel of unknown origin, h. 2 3/4 in., dia. 4 1/4 in. [$300/500] Provenance: Indian Trader‑West, Santa Fe, NM, 1986 (Kiva bowl); Collection of Brooke and Maria Fox, Metairie, LA.

600. Anasazi Gourd Rattle, 20th c., decorated with eagle design and feathers, h. 10 in. [$150/250]

599. Acoma Polychrome Pottery Vessel, 20th c., loop handles, zoomorphic design, h. 7 in., dia. 6 in. [$150/250]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

601. Edward Borein (American/California, 1872‑1945), “Blackfoot Woman Moving Camp No. 1”, etching and drypoint on paper, pencil‑signed lower margin, sheet 10 1/4 in. x 12 1/2 in., framed. [$800/1200]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

602. Elihu Vedder (American/New York, 1836‑1923), “Hill Town”, charcoal on paper, unsigned, “Kennedy Galleries, Inc., New York, NY” label with artist and title on backing, 5 7/8 in. x 9 in., framed. [$800/1200]

604. After George Stubbs (British, 1724‑1806), “Bulls Fighting”, c. 1788, engraving on paper, engraved by George Townsly Stubbs (British, 1756‑1815), published by Benjamin Beal Evans, London, sheet 18 7/16 in. x 23 3/16 in., framed. [$600/1000] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

603. Group of Antique Italian Military Weapon Instruction Prints, 4 hand‑colored engravings on paper, sights 12 in. x 8 1/2 in., framed alike. (4 pcs.) [$500/700] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

605. Marion Greenwood (American/New York, 1909‑1970), “Fringed Scarf”, 1946, lithograph on paper, pencil‑signed lower margin, edition of 250, published by Associated American Artists, New York, sheet 15 1/8 in. x 12 in., framed. [$200/400]

Additional information at www.nealauction.com

606. Paul H. Smith (American/New Orleans, b. 1894), “Old French Market, New Orleans”, “The Cooperage New Orleans” and “French Market N.O.”, 3 etchings on paper, each pencil‑signed and titled, 2 with edition, one inscribed lower margin, one inscribed en verso, sheets 4 1/8 in. x 4 3/4 in. to 8 3/4 in. x 11 3/4 in., unframed; WITH faux white alligator folio. (4 pcs.) [$300/500]

607. Indian School, probably 18th c., “Seated Couple and a Blue Skinned Lord, probably Krishna, with a Child”, opaque watercolor heightened with gold on paper, possibly an illustration to a Ragamala series, mounted on paper, 5 3/4 in. x 6 1/4 in.; together with another illustration, gouache and gold on paper, sight 9 1/2 in. x 6 3/4 in. (2 pcs.) [$200/400]

609. Anglo‑Indian Bone Inlaid Games Table, floral accented top, two opposing frieze drawers, vine decorated apron and legs, with chess figures, h. 30 1/4 in., w. 24 3/8 in., d. 24 3/8 in. [$600/900] 610. Continental Variegated Marble Pedestal, square top with canted corners, ring turned standard, molded octagonal base, h. 42 1/2 in. [$400/600] 612. French Gilt and Patinated Bronze Candlestick, early 19th c., modeled as a swan amid cattails, marble base, h. 9 1/2 in., w. 6 1/4 in., d. 5 in.; together with Grand Tour bronze model of the Vendome column, c. 1900, marble base, thermometer, glass now lacking, h. 10 1/2 in., w. 3 3/4 in., d. 3 3/4 in. (2 pcs.) [$300/500]

608. Indian School Illuminated Painting, probably 19th c., worked in gouache heightened with gold on paper depicting nobles in a floral landscape, thick scrollwork border centered by animal cartouche, sight 14 3/8 in. x 10 5/8 in., double matted and framed. [$200/300] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

611. Pair of Chinese Export-Style Polychrome Porcelain Armorial Urns, 19th c., possibly Samson, h. 12 3/4 in., now mounted as lamps, h. (incl. finial) 26 1/2 in. [$300/500]

613. Two Antique Tortoiseshell Calling Card Cases, late 19th c., l. 4 1/8 in. and 3 1/2 in. [$400/600]

614. Monumental Clam Shell, tridacna giga, h. 12 1/2 in., w. 30 in., d. 20 in. [$2500/3500]

615. Antique Heriz Rug, central medallion, red ground, overall stylized floral design, 9 ft. 3 in. x 13 ft.. [$1000/1500]

616. Persian Carpet, red ground, foliate design, 10 ft. 5 in. x 14 ft. 7 in. [$700/1000]

617. Persian Kashan Carpet, central medallion, dark and light brown ground, allover vining floral design,, 9 ft. 8 in. x 12 ft. 8 in. [$3000/4000]

618. Fine Oushak Carpet, light blue and beige ground, stylized floral designs, 10 ft. 2 in. x 11 ft. 8 in. [$3000/4000] 619. Persian Tabriz Carpet, red ground, double border, repeating floral motifs, 9 ft. 4 in. x 12 ft. 3 in. [$2500/3500]

620. Turkish Oushak Carpet, muted brown, pink and green, 6 ft. 10 in. x 11 ft. 2 in. [$500/700]

621. Sultananbad Carpet, khaki ground, stylized floral design, 10 ft. x 13 ft. [$500/700]

Provenance: Jacqueline Vance, New Orleans, LA.

622. Persian Carpet, cream ground, floral design in pink and gold, 15 ft. 1 in. x 14 ft. 9 in. [$700/1000]

624. Persian Rug, red ground, dark blue border, overall stylized floral design, 13 ft. 8 in. x 19 ft. 8 in. [$700/1000]

625. Persian Carpet, red ground, cartouche field, cream border, 10 ft. 4 in. x 14 ft. 2 in. [$700/1000]

623. Persian Carpet, blue ground, red border, repeating design, 11 ft. 4 in. x 19 ft. 1 in. [$700/1000]

626. Six Contemporary Silk Pillows, incl. pair of blue and gray; 3 red and beige, and 1 beige and green. [$100/200]

627. Henry Faulkner (American/Kentucky, 1924‑1981), “Lady Bathing”, oil on masonite, signed lower left, label with artist and title on backing board, 5 1/8 in. x 7 1/8 in., framed. [$700/1000]

Note: Born in rural Kentucky, Henry Faulkner overcame being orphaned in childhood to leading an avant-garde lifestyle as an artist. Faulkner is best known for his wildly colorful oil paintings and eccentric acts, including bringing a bourbon-drinking goat to parties and art shows. He was a close friend of Tennessee Williams, who called him “a creative poet and artist.” While briefly hospitalized in a Washington D.C. psychiatric facility, Faulkner also befriended fellow patient and poet Ezra Pound. Settling in Lexington, Kentucky in 1956, Faulkner created and exhibited still life paintings, as well as figural and landscape works, usually executed in a flamboyant palette with a whimsical sensibility. His style is often compared to the Surrealist and Colorist artists, and he took inspiration from locales ranging from California to Italy to his native Kentucky. In the work offered here, the perspective, unusual scale of the objects and bold planes of color lend a fantastical element to the otherwise everyday scene of a woman bathing.

628. Turtle‑Form Polychromed and Patinated Garden Fountain, h. 8 in., w. 19 in., d. 10 in. [$600/900]

Ref.: “Faulkner, Henry (1924-1981).” The Johnson Collection. www. thejohnsoncollection.org. Accessed Aug. 1, 2020.

Additional information at www.nealauction.com

629. Italian Sterling Silver Cable Bangle Bracelet with 18 kt. Yellow Gold Accents. [$200/300]

630. Vintage Cartier “Must de Cartier” Vermeil Tank Watch, rectangular dial marked “Must de Cartier” over entwined Cs and “Swiss”, reverse stamped “Cartier / Paris” and “925 / Argent” with serial no., case l. 1 in., w. (excl dial) 7/8 in., embossed leather strap; together with Bulova two‑toned stainless wristwatch, l. 7 in. (2 pcs.) [$400/600] Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

633. 14 kt. Yellow Gold, Opal and Diamond Ring, center bezel set oval cabochon opal, wt. approx. 6.20 cts., 15.00 x 11.00 mm; numerous round brilliant cut diamonds, total wt. approx. 0.40 ct., H‑I color, SI‑3 to I‑1 clarity; size 7; IAS report. [$800/1200]

634. 14 kt. White Gold, Opal and Diamond Ring, center prong set oval cabochon opal, wt. approx. 4.51 cts., approx. 17.45 x 12.00 mm; numerous round brilliant cut diamonds, total wt. approx. 0.75 ct., H‑I color, I‑1 to I‑2 clarity; size 7; IAs report. [$800/1200]

637. 14 kt. Yellow Gold, Cultured Pearl and Diamond Ring; together with pair of earrings. [$250/350]

638. Tahitian Pearl Necklace, comprised of 37 graduated round cultured dark gray pearls, 10.00 to 14.00 mm, 14 kt. scalloped white gold bead clasp, l. 17 1/2 in.; AIGL report. [$1200/1800]

635. South Sea Pearl Necklace, comprised of 27 graduated round cultured cream‑colored pearls, 14.00 to 18.00 mm, 14 kt. white gold scalloped bead clasp, l. 17 in.; AIGL report. [$1500/2500]

639. 14 kt. Yellow Gold, Tourmaline Catseye and Diamond Ring . [$500/1000]

642. Diamond Crystal Geode, h. 3 1/4 in., carrying pouch. [$100/200]

Provenance: Estate of New Orleans antiquarian Richerson Rhodes. 641. Rectangular Emerald Cut Rutilated Quartz Loose Stone, wt. approx. 51.00 cts., 26 x 21 x 13.7 mm. [$200/300] Provenance: Estate of New Orleans antiquarian Richerson Rhodes.

631. Longine 14 kt. Yellow Gold Mosaic Opal Dial and Diamond Bezel Wristwatch, note: damage to gold strap. [$500/700]

632. Platinum, Opal and Diamond Cocktail Ring, center prong set oval cabochon opal, 16.80 x 11.10 mm; bezel with numerous tapered baguette and round brilliant cut diamonds; size 6.75. [$1200/1800]

636. 14 kt. Yellow Gold, Cultured Pearl and Diamond Ring; together with pair of earrings. [$250/350]

640. Pair of French Sterling Silver Vermeil and Diamond Hoop Earrings, set with 34 princess cut diamonds. [$300/500] Provenance: Collection of Wendy and the late George (1944‑2013) Rodrigue.

643. 14 kt. White Gold and Pavé Diamond Knot Cluster Ring, signed “SD”, set with numerous full cut diamonds. [$1500/2500]

644. “Florentine” Yellow Gold and Diamond Flexible Bracelet, unmarked, probably 18 kt., comprised of 11 sections, set with 99 single cut diamonds totaling approx. 1 ct., weight 43 dwt., l. 6 3/4 in. [$3000/5000]

646. Pair of 18 kt. White Gold and Diamond Dangle Earrings, each comprised of 3 floral clusters with 2 marquise cut diamonds and 2 round brilliant cut diamonds, suspending 1 pear shape diamond, total wt. approx. 3.50 cts.; l. 2 in. [$2500/3500]

649. 14 kt. White Gold and Diamond Necklace, 10 mm cut curb chain set with pavé diamonds, total wt. approx. 17.26 cts., l. 18 1/4 in. [$12000/18000]

645. 18 kt. White Gold and Diamond Bracelet, comprised of 37 half bezel set diamonds, total wt. approx. 6.77 cts., l. 8 1/4 in. [$3000/5000]

647. Pair of 18 kt. White Gold and Diamond Earrings, each prong set with center round brilliant cut diamond, each wt. approx. 1.02 cts. and 1.12 cts.; surrounds with numerous diamonds, total approx. wt. 0.09 ct.; dia. 1/2 in. [$2500/3500]

650. 18 kt. Yellow Gold and Diamond Station Necklace, cable chain spaced with 68 bezel set round brilliant cut diamonds of varying sizes, total wt. approx. 11.52 cts.; l. 60 in. [$3000/5000]

652. 18 kt. White Gold and Diamond Necklace, comprised of 112 half bezel set diamonds, total wt. approx. 7.31 cts.; l. 16 1/2 in. [$3000/5000]

648. Pair of 14 kt. White Gold and Diamond Hoop Earrings, each oval hoop prong set with 19 round brilliant cut diamonds, total wt. approx. 7.00 cts., l. 2 1/8 in., w. 1 5/16 in. [$2500/3500]

651. 14 kt. White Gold and Diamond Necklace, comprised of 49 prong set round brilliant cut diamonds within circular bezels, total wt. approx. 2.83 cts., adjustable length box chain, l. (largest) 33 in. [$2000/3000]

654. 18 kt. White Gold and Diamond Necklace, comprised of 109 prong set round brilliant cut diamonds, total wt. approx. 27.91 cts., H‑J color, SI‑1 to I‑1 clarity, l. 17 1/2 in.; AIGL report. [$15000/25000] 653. Pair of 18 kt. Yellow Gold and Diamond Earrings, each prong set with 2 round brilliant cut diamonds, 1 princess cut diamond, and 1 emerald cut diamond, total wt. approx. 5.70 cts., l. 1 in. [$2500/3500]

655. 18 kt. White Gold and Diamond Bracelet, comprised of 42 round brilliant cut diamonds, total wt. approx. 5.50 cts., G‑H color, VS‑2to SI‑2 clarity, l. 7 in.; AIGL report. [$4000/6000]

656. 14 kt. White, Yellow and Rose Gold and Diamond Pendant on 14 kt. Rose Gold Chain, 99 prong set round brilliant cut diamonds, total wt. approx. 1.44 cts., G‑I color, SI‑1 to I‑1 clarity; pendant l. (incl. bail) 2 1/8 in., w. 1 3/4 in.; chain l. 18 in.; AIG report. [$1800/2500] Additional information at www.nealauction.com

657. 18 kt. Yellow and White Gold and Diamond Ring, prong and partial bezel set with 1 marquise, 1 heart, 1 princess, and 1 cushion cut diamond, total wt. approx. 2.96 cts.; bezels and shanks with numerous round brilliant cut diamonds; size 6.75. [$2500/3500]

658. 18 kt. White Gold and Diamond Ring, center prong set round, brilliant cut diamond within pave surround flanked by 2 prong set round, brilliant cut diamonds, pave shoulders, total wt. approx. 3.03 cts., size 6.5. [$4000/6000]

659. 14 kt. Yellow and White Gold and Diamond Ring. [$350/450]

663. 14 kt. White Gold, Sapphire and Diamond Necklace, comprised of 51 prong set oval mixed cut sapphires, total wt. approx. 28.50 cts., 5.00 x 4.00 mm to 8.00 x 6.00 mm; surrounded by approx. 696 round brilliant cut diamonds, total wt. approx. 8.20 cts., G‑I color, S‑1 to I‑2 clarity, 1.2 to 1.5 mm; l. 17 in.; AIGL report. [$4000/6000]

666. Platinum, Sapphire and Diamond Ring, center prong set oval mixed cut sapphire, wt. 1.51 cts., 8.72 x 6.13 x 3.45 mm; bezel and shoulders with approx. 82 prong set round brilliant and tapered baguette cut diamonds, total wt. approx. 1.39 cts., G‑J color, VS‑1 to I‑1 clarity; size 7; GIA (sapphire) and AIG reports. [$2500/3500]

Provenance: Estate of New Orleans antiquarian Richerson Rhodes.

662. 14 kt. White Gold, Sapphire and Diamond Necklace, comprised of 90 prong set oval mixed cut sapphires, total wt. approx. 38.01 cts., 5.00 x 4.00 x 2.60 mm; and approx. 2 160 prong set, round brilliant cut diamonds, total wt. approx. 5.12 cts., F‑H color, I‑1 to I‑3 clarity; l. 18 1/4 in.; AIG report. . [$5000/7000]

661. Pair of 14 kt. White Gold, Blue Quatrefoil, and Diamond Earrings, w. 3/4 in., d. 5/8 in. [$500/700]

665. 14 kt. White Gold, Tanzanite and Diamond Ring, center prong set round cut tanzanite, wt. approx. 1.70 cts., approx. 7.60 mm; bezel and shoulders with numerous round brilliant cut diamonds, total wt. approx. 0.63 ct., G color, SI‑3 to I‑1 clarity; size 7.25; IAS report. [$800/1200]

660. Pear Shaped Ceylon Sapphire Loose Stone, wt. approx. 1.90 cts., 10.50 x 5.75 x 4.4 mm. [$200/300]

667. Platinum, Sapphire and Diamond Ring, center bezel set emerald-cut sapphire, wt. approx. 2.00 cts., approx. 8.00 x 6.00 mm; tiered bezel and shoulder with numerous prong, bezel and channel set round brilliant and baguette cut diamonds, total wt. approx. 1.17 cts., G color, SI‑1 to SI‑2 clarity; size 7.25; IAS report. [$2000/3000]

664. 14 kt. White Gold, Sapphire and Diamond Bracelet, comprised of 23 oval mixed cut sapphires, total wt. approx. 9.81 cts., 5.00 x 4.00 mm; and approx. 322 round faceted diamonds, total wt. approx. 1.91 cts., H‑‑J color, SI‑2 to I‑2 clarity, 1.00 to 1.20 mm; l. 7 in.; AIGL report. [$2000/3000]

668. 14 kt. Yellow Gold, Sapphire and Diamond Ring, set with oval faceted natural blue sapphire, approx. 2.5 cts., 14 round diamonds and 20 tapered baguette diamonds, totaling approx. 1.25 cts. [$800/1200]

670. 14 kt. Yellow Gold Circle Brooch, set with 8 full cut diamonds totalling approx. .40 ct.; together with 14 kt. yellow gold flower basket in set with 5 each: sapphires, rubies, and emeralds, and 4 single cut diamonds. [$500/700]

669. Retro 18 kt. Rose Gold Openwork Dome Brooch, set with 7 small round blue sapphires, 18 small round rubies and 12 small round emeralds; together with Italian 18 kt. yellow gold circle brooch set with 5 cultured pearls and 15 small round blue sapphires; and Italian 18 kt. yellow gold and turquoise enamel brooch. (3 pcs.) [$600/800]

673A. 18 kt. Yellow Gold, Cabochon Ruby and Diamond Cluster Ring, set with oval cabochon ruby, approx. 5 ct., and numerous small brilliant cut diamonds, totaling approx. 1.4 ct., SI1-SI-2, J-K color. [$1200/1800]

671. Group of 14 kt. Yellow Gold, Ruby, Sapphire, Emerald and Diamond Jewelry, incl. ring, pair of earrings, ball pendant and chain, bracelet, (unmarked). [$800/1200]

672. 18 kt. Yellow Gold, Ruby, Sapphire, Emerald and Diamond Cocktail Ring, set with 1 oval emerald, 7 baguette emeralds, 1 oval ruby and 5 baguette rubies, 1 oval sapphire and 5 baguette sapphires, and numerous diamonds, note: missing 1, sapphire .65 cts total, diamond .60 cts total, rubies .75 cts total, emerald cts. [$400/600]

674. 18 kt. Yellow Gold, Ruby and Diamond Ring, set with oval faceted ruby, approx. 1.8 ct., 15 full cut diamonds, approx. .80 ct., and 31 tapered baguette diamonds, approx. 1.5 ct., SI1-SI2, J-K color. [$1200/1800]

678. Group of 14 kt. Yellow Gold, Baguette Ruby and Diamond Jewelry, incl. pair of earrings, bracelet and ring. [$1500/2500]

673. Pair of 14 kt. Yellow Gold, Cabochon Ruby and Diamond Clip Earrings. [$300/400]

675. 18 kt. Rose Gold, Ruby, Emerald, and Diamond “Serpent” Ring, head and back set with numerous oval and round mixed cut rubies, total wt. approx. 1.72 cts.; eyes set with round cut emeralds; tail with pavé diamonds, size 6.75, l. 1 7/16 in. [$1800/2500]

679. Pair of 14 kt. Yellow Gold, Diamond and Faceted Ruby Earrings; together with matching ring. [$300/400]

680. Vintage Pair of Yellow Gold and Abalone Cuff Links, squared bodies with slightly rounded corners, chain connectors, bar backs, face 3/4 in. x 3/4 in. [$100/150] Provenance: Estate of New Orleans antiquarian Richerson Rhodes.

677. Platinum, Ruby and Diamond Ring, center prong set rectangular cushion mixed cut ruby, wt. 1.12 cts., 7.45 x 4.67 x 3.33 mm; bezel and shoulders with 48 prong set round brilliant cut diamonds, total wt. approx. 0.57 ct., G‑H color, SI‑1 to I‑1 clarity; size 7; GIA (ruby) and AIG reports. [$1800/2500]

681. White Gold, Diamond and Green Glass Flexible Bracelet, 4 filigree lengths bezel set with 4 round brilliant cut diamonds and numerous pavé diamonds; oval links with pave diamonds; 8 connectors channel set with rectangular cut green glass; l. 7 1/4 in. Note: last connector missing 3 glass piecs. [$2000/3000]

676. Platinum, Diamond and Ruby Ring, center prong set round brilliant cut diamond, wt. approx. 1.00 ct.; flanked by 4 prong set round brilliant cut diamonds; tiered bezel and split shoulders with channel set rubies and pave diamonds; size 7. [$1500/2500]

682. Pair of 18 kt. White Gold, Emerald and Diamond Dangle Earrings, fan shaped upper segment comprised of 3 clusters of 3 diamonds, suspending diamond‑set floral surround with central prong set round brilliant cut diamond, suspending diamond set floral surround with central oval faceted cut emerald, l. 1 3/8 in. [$2500/3500]

683. Platinum, Emerald and Diamond Eternity Ring, comprised of 17 bezel set round brilliant cut diamonds, total wt. approx. 2.60 cts.; flanked by numerous triangular cut emeralds, total wt. approx. 1.25 cts.; size 8. [$2000/3000]

684. 18 kt. White Gold, Emerald and Diamond Ring, center prong and partial bezel set pear shape brilliant cut emerald, wt. approx. 4.62 cts., 15.60 x 8.98 x 5.94 mm; divided dome shoulder pavé set with numerous round brilliant cut diamonds, total wt. approx. 4.07 cts.; size 6; GIA (emerald) report. [$3000/5000]

Additional information at www.nealauction.com Additional information at www.nealauction.com

8181

686. Platinum, Diamond and Emerald Ring, center bezel set round brilliant cut diamond, wt. approx. 1.14 cts.; flanked by 2 bezel set round brilliant cut diamonds, total wt. approx. 1.68 cts.; surround with numerous channel set emeralds, total wt. approx. 1.10 cts.; bezel and shoulders with numerous pave set diamonds; size 8. [$2000/3000] 687. 14 kt. White Gold, Emerald and Diamond Bracelet, comprised of 18 prong set oval mixed cut emeralds, total wt. approx. 14.14 cts., 6.00 x 4.00 mm to 8.00 x 6.00 mm; surrounded by approx. 284 round brilliant cut diamonds, total wt. approx. 3.05 cts., G‑I color, SI‑2 to I‑1 clarity; l. 7 in.; AIGL report. [$3000/5000]

685. 18 kt. White Gold, Emerald and Diamond Ring, center prong set cushion shape brilliant cut emerald, wt. approx. 2.32 cts., 10.01 x 7.38 x 4.57 mm; bezel and openwork surround set with numerous near colorless round brilliant cut diamonds; size 6.5; GIA (emerald) report. [$2000/3000]

688. 14 kt. White Gold, Emerald and Diamond Bracelet, mounted with center octagonal step cut emerald, wt. approx. 4.45 cts., 10.10 x 8.40 x 6.70 mm; and approx. 190 round brilliant and baguette cut diamonds, total wt. approx. 2.98 cts., G‑I color, SI‑2 to I‑2 clarity; size 7; AIGL report. [$2500/3500]

692. 14 kt. Yellow Gold, Blue Topaz and Diamond Ring, large oval center stone surrounded by smaller round blue topaz and diamonds. [$400/600]

689. Platinum, Emerald and Diamond Ring, center prong set rectangular cut cornered step cut emerald, wt. approx. 1.84 cts., 8.10 x 6.10 x 4.7 mm; surround and shoulders set with approx. 68 baguette and round brilliant cut diamonds, total wt. approx. 1.33 cts., G‑H color, VS‑2 to SI‑2 clarity; size 7; AIGL report. [$2500/3500]

693. 14 kt. Yellow Gold, Aquamarine and Diamond Ring, large oval faceted aquamarine surrounded 20 full cut diamonds, 12 tapered baguettes, aquamarine approx. 20 cts. [$1000/1500]

695. Group of 14 kt. Yellow Gold, Peridot, Garnet, Blue Topaz, Amethyst, and Citrine Jewelry, incl. pair of earrings, ring, pendant, bracelet and cross. [$600/900]

82 82

690. Platinum, Emerald and Diamond Ring, center prong set octagonal step cut emerald, wt. approx. 2.45 cts., 9.30 x 7.5 x 4.9 mm; tiered bezel and split shoulders with approx. 124 round brilliant cut diamonds, total wt. approx. 0.58 ct., F‑G color, VS‑1 to SI‑1 clarity; size 6.5; AIGL report. [$2000/3000]

691. Pair of 14 kt. White Gold, Emerald and Diamond Dangle Earrings, set with 2 prong set octagonal step cut emeralds, total wt. approx. 2.00 cts., 7.00 x 5.00 mm; and approx. 120 baguette and round brilliant cut diamonds, total wt. approx. 3.34 cts., G‑I color, SI‑1 to I‑1 clarity; l. 1 3/4 in.; AIGL report. [$2500/3500]

694. 14 kt. Yellow Gold and Gemstone Bracelet, set with garnet, citrine, amethyst, peridot; together with pair of earrings set with garnet, citrine, peridot and amethyst. [$400/600]

696. Group of 14 kt. Yellow Gold, Peridot, Garnet, Blue Topaz, Amethyst, and Citrine Jewelry, incl. ring, pair of earrings, pendant and bracelet. [$600/900]

698. 14 kt. White Gold, Multi‑Color Sapphire and Diamond Bracelet, 21 prong set multi‑color oval mixed cut sapphires, total wt. approx. 8.53 cts., 5.00 x 3.00 to 7.00 x 5.00 mm; surrounded by approx. 138 round brilliant cut diamonds, total wt. approx. 1.81 cts., H‑I color, I‑1 to I‑2 clarity; l. 7 in.; AIGL report. [$2000/3000]

697. 18 kt. Yellow Gold, Pink Tourmaline and Diamond Ring . [$400/600]

699. 14 kt. Yellow Gold, Kunzite and Diamond Pendant on 14 kt. Yellow Gold Chain, center prong set pear shape mixed cut kunzite, wt. approx. 68.80 cts., approx. 30.00 x 21.00 x 15.90 mm; and approx. 226 prong and bezel set round brilliant cut diamonds, total wt. approx. 2.89 cts., G‑I color, I‑1 to I‑3 clarity; pendant l. (incl. bails) 2 3/4 in.; chain l. 17 in. [$5000/7000]

700. 14 kt. Yellow Gold, Kunzite and Diamond Cluster Ring, oval faceted kunzite and 32 full cut diamonds. [$400/600]

702. Pair of 14 kt. White and Yellow Gold, Brown Diamond, Yellow Diamond, and Colorless Diamond Dangle Earrings, comprised of 4 prong set marquise shaped cut diamonds, total wt. approx. 2.20 cts., light brown to fancy deep orangy brown color, I‑1 to I‑2 clarity, approx. 7.80 x 4.00 x 2.48 mm; approx. 110 prong set round brilliant cut diamonds, total wt. approx. 0.94 ct., Fancy Light Yellow color, SI‑1 to I‑1 clarity, 1.50 to 1.10 x 0.78 mm; and 28 prong set round brilliant cut diamonds, total wt. approx. 0.46 ct., H‑L color, I‑1 clarity; l. 1 5/8 in.; AIG report. [$3500/4500]

701. Platinum, Yellow Sapphire and Diamond Ring, center prong set oval cut yellow sapphire, wt. approx. 1.82 cts., approx. 8.00 x 6.50 mm; surrounded by numerous round brilliant cut diamonds, total wt. approx. 0.47 ct., G‑H color, S1 clarity; size 6.5; IAS report. [$800/1200]

703. 18 kt. White Gold, Colored Diamond and Colorless Diamond Ring, center prong set heart shape brilliant cut diamond, wt. approx. 3.37 cts., fancy deep brownish orangy yellow, 9.55 x 11.80 x 5.43 mm; shoulders with numerous colorless round brilliant cut diamonds; size 7.25; GIA (central diamond) report. [$7000/9000]

705. 14 kt. Rose Gold, Morganite and Diamond Cocktail Ring, center prong set oval mixed cut morganite, wt. 15.03 cts., reddish orange color, type 1 eye clean clarity, 21.20 x 13.30 x 9.50 mm; bezel and divided should with 90 round brilliant cut diamonds, total wt. 0.88 ct., F‑H color, SI‑2 to I‑2 clarity; size 8; AIG reports. [$1800/2500]

704. 14 kt. Yellow Gold, Diamond and Emerald‑Cut Golden Beryl Ring, set with 20 full cut diamonds and 12 tapered baguettes diamonds, approx. 1.5 ct. [$500/1000]

706. 14 kt. Yellow Gold, Topaz and Diamond Cluster Ring, set with 10 marquise cut diamonds and 10 round diamonds, total wt. approx. 1 ct. [$400/600]

707. Pair of 14 kt. White Gold, Black Diamond and Colorless Diamond Dangle Earrings, 2 prong set pear shape black diamonds, total wt. approx. 8.97 cts., approx. 12.00 x 10.00 mm; and numerous round faceted diamonds, total wt. approx. 1.44 cts.; l. 1 1/2 in.; IAS report. [$2000/3000] Additional information at www.nealauction.com Additional information at www.nealauction.com

8383

708. Ten Modern Inside Painted Glass Snuff Bottles by Xisan Academy Artists, incl. Liu Yancai, h. 3 1/4 in.; Wang Chen, h. 3 1/8 in.; Li Xue Gang, h. 3 in.; Han Mei, h. 3 5/8 in.; Wang Wenpan, h. 3 3/8 in.; Hu Chun Hui, h. 3 1/2 in.; Wei Jianchao, h. 3 3/8 in.; Xu Ping, h. 3 1/8 in.; Zhen Yu, h. 3 1/8 in.; and Cui Ling Hua, h. 3 3/8 in., each with storage box. [$200/300] Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

711. Two Chinese Rutilated Quartz “Hair Crystal” Snuff Bottles, incl. golden hair, globular, h. 2 in.; and black hair, double gourd‑form carved with beetle and vines, l. 3 3/4 in. [$300/500]

709. Three Chinese Yixing Pottery Snuff Bottles, incl. melon‑form borne on vines surmounted by a toad, l. 3 in.; moon flask‑form, slip decorated with landscapes, h. 3 in.; globular with landscape and prunus, h. 2 3/8 in. [$250/350] Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

712. Antique Chinese Tortoiseshell Snuff Bottle, tapered hexagonal form, larger facets incised, h. 2 5/8 in. [$250/350]

713. Chinese Green Jade Double‑Gourd Form Snuff Bottle, carved with floral sprays, h. 2 3/4 in. [$200/300]

Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

710. Three Chinese Snuff Bottles, incl. green jade, h. 2 3/8 in.; puddingstone, h. 2 1/2 in.; and glass imitating agate, h. 2 3/8 in. [$400/600] Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

714. Chinese Ruby Red Overlay Snowflake Glass Snuff Bottle, late 19th c., carved through the overlay with lotus flowers and leaves to a bubble‑suffused ground, h. 3 1/8 in. [$300/500]

717. Chinese Scholar’s Rock, tall tapering form with numerous crags and crevices, h. 18 in., wood stand, overall h. 21 3/4 in. [$500/700]

716. Collection of Seventeen Chinese Soapstone Seals, incl. 1 carved with a dragon grasping a flaming pearl, carved chop, h. 2 3/4 in.; remaining 16 uncarved, h. 2 in. to 3 1/4 in. [$200/300]

715. Chinese Huanghuali Brush Washer and Boxwood Brush Washer, former of tapering square form, bracket feet, h. 2 3/4 in., w. 2 3/4 in. d 2 3/4 in.; latter as lotus leaf borne on prickly branch surmounted by bees, h. 1 1/2 in., l. 4 1/8 in. (2 pcs.) [$400/600]

Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

718. Antique Chinese Green and Russet Jade Bi Disk, probably Ming Dynasty (1368‑1644), carved with chilong to the front, reverse with c‑scrolls, dia. 1 1/4 in., suspended on leather strap. [$200/300] Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

720. Pair of Chinese Marble Buddhist Lions, carved seated on their haunches on rectangular plinths, male with right forepaw resting on brocade ball, female with left forepaw resting on cub, h. 30 in., w. 12 1/2 in. and 11 1/2 in., d. 17 1/4 in. [$1000/1500]

721. Chinese Inkstone in Mother‑of‑Pearl Inlaid Hardwood Case, 20th c., inkstone incised on both sides, w. 5 1/2 in., d. 7 1/4 in.; fitted hardwood case inlaid with flowers and rock, h. 1 7/8 in., w. 6 1/4 in., d. 8 1/4 in. [$300/500]

719. Chinese Agate Pendant, carved with central boss flanked by c‑scrolls, reverse with conch shell, dia. 1 1/2 in. [$200/300] Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

722. Chinese Pale Celadon Jade Bangle and Silk Embroidery Purse, comprised of 2 bangles tied with couched gold threads suspending pouch worked in satin stitch and couched metallic threads with silver pheasants amid clouds and waves, bangle dia. 3 1/8 in., overall h. 13 1/2 in., w. 10 1/2 in. [$400/600]

723. Kiyoshi Saito (Japanese, 1907‑1997), 2 woodblock prints, sheets 17 1/4 in. x 11 1/2 in. [$300/500]

724. Chinese Blue and White Porcelain Vase, 18th c. decorated with butterflies amid flowering and fruiting plants, h. 3 3/4 in., wood stand, overall h. 5 in. [$400/600]

Provenance: Adriaan’s, New Orleans, c. 1979.

725. Chinese Junyao Porcelain Water Coupe or Brush Washer, Qing Dynasty (1644‑1911), compressed globular body with purple streaked oxblood glaze, h. 1 1/2 in., dia. 3 1/2 in. [$300/500] Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

728. Seven Chinese Yixing Pottery Teapots, 20th c., variously marked, some inscribed, h. 2 1/2 in. to 4 1/4 in. [$300/500]

726. Chinese Yixing Pottery Cricket Cage, incised with pine and rock, base with 3‑character potter’s mark, h. 3 in., dia. 2 7/8 in. [$200/300] Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

727. Two Chinese Glass Brush Washers, incl. blue overlay clear glass, carved with fish amid water reeds, h. 1 3/4 in., dia. 3 in.; and 4‑color overlay snowflake glass, with lotus pond scene with fish and ducks, h. 1 1/2 in., dia. 2 3/4 in. [$150/250] Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

729. Nine Chinese Yixing Pottery Teapots, 20th c., variously marked, h. 2 1/8 in. to 3 7/8 in. [$400/600]

730. Six Chinese Yixing Pottery Teapots, 20th c., variously marked, h. 3 1/8 in. to 4 3/4 in. Note: condition of footed one. [$200/300]

731. Chinese Yixing Pottery Teaware, 20th c., variously marked, incl. 3 teapots, h. 4 1/4 in. to 7 1/8 in.; and 6 cups and saucers, saucer dia. 3 1/8 in. (15 pcs.) [$400/600]

732. Pair of Chinese Famille Rose Porcelain Vases, early 20th c., Buddhist lion handles, decorated with figural panels, pink ground with gourds and flowers, h. 18 in., mounted as lamps, Colefax and Fowler shades, h. (excl. finial) 34 in. [$250/350] 733. Chinese Claire‑de‑Lune Glazed Porcelain Bottle Vase, 20th c., overall even lavender glaze, decorated with leaf tips, ruyi scrolls, and scrollwork, base with impressed Qianlong mark, h. 13 3/4 in. [$300/500] Additional information at www.nealauction.com

735. Japanese Art Nouveau Noritake Polychrome and Moriage Decorated Porcelain Vase, c. 1890‑1921, M in green wreath mark with “Hand Painted” and “Nippon”, decorated with continuous landscape, h. 14 1/4 in. [$75/125]

734. Chinese Bisque and White Glazed Stoneware Vase, mid‑20th c., relief‑decorated with crabs amid water reeds, base with Chenghua mark, h. 12 1/8 in. [$300/500]

736. Pair of Imari‑Style Covered Jars, 20th c., gilt Buddhist lion finials, decorated with textile patterns and phoenix and flower reserves, h. 19 1/2 in. [$200/300]

737. Pair of Japanese Cloisonné Enamel Vases, Meiji Period (1868‑1912), decorated with dragon cartouches and floral roundels on pinks grounds, bases signed Tsukamoto zo, h. 5 in. [$200/400]

739. Japanese Rootwood Embellished Woven Bamboo Ikebana Basket, h. 13 1/2 in. [$150/250] Provenance: Acquired Hawaii, c. 1997.

738. Three Japanese Imari Porcelain Petal Lobed Dishes, late 19th/20th c., incl. pair with central fruit roundel, bases marked, possibly fuku, dia. 8 1/2 in.; and single, with central dragon roundel, base with Jiajing mark, dia. 8 1/2 in. [$200/400]

740. Three Tibetan Cabochon Embellished Hardstone Healing Wands, l. 6 1/2 in., 3 1/4 in. and 3 1/4 in. [$100/150]

741. Indonesian Ceramic Shard‑Inset, Carved and Painted Wood Fish, h. 11 1/2 in., l. 45 1/2 in., w. 16 in., mounted to a wood plinth, overall h. 16 in. [$300/500]

Session Three Sunday, September 13, 11 a.m.

Additional information at www.nealauction.com

743. Antique French Gilt Bronze‑Mounted Rouge Marble Pedestal 19th c., foliate capital, reverse tapered standard, stepped base, h. 43 1/4 in., w. 10 1/4 in. [$300/500] Provenance: Whitehall Antiques, Chapel Hill.

742. Pair of Art Deco Mahogany Cabinets, inset marble top, stepped rounded case, single burled maple door, splayed sabre legs, h. 26 in., w. 19 in., d. 13 1/2 in. [$700/1000]

744. Pair of Louis Philippe Fruitwood Fauteuils, arched back, scrolled arms, lappet carved legs, floral needlepoint, h. 37 1/4 in., w. 22 in., d. 22 1/2 in. [$400/600]

745. Antique Continental Pine Bench, latticework back, plank seat, turned tapered legs, h. 35 in., w. 72 1/8 in., d. 22 in. [$400/600]

746. Faux Tortoiseshell Pedestal , h. 42 in. [$150/250]

Provenance: The Friedle‑Garrison Collection, New Orleans.

747. Sarah Sole Ferguson (American/New Orleans, 20th c.), “Bride”, 2013, oil on canvas, signed, titled and dated en verso, 42 1/4 in. x 34 in., unframed. [$1000/1500]

Note: Sara Sole Ferguson was raised in New Orleans and worked as a mathematician before deciding to move to New York to become an artist. She gained widespread recognition with her various portraits of Hillary Clinton, many times superimposed onto different iconic images and celebrity bodies such as Marilyn Monroe, Elizabeth Taylor and various nineteenth century American presidents. The canvas on offer here depicts the bride of Frankenstein, iconic imagery borrowed from the 1935 film. The painting was exhibited in her 2013 exhibition “E Pluribus Unum” at Coup d’oeil Art Consortium and showed alongside an interesting array of characters, including politicians like Hillary Clinton and actors such Boris Karloff of the 1932 film The Mummy. The juxtaposition of the political with the pop and the underlying connotation is where the meaning of her work lies. She handles popular imagery with gravitas just as she approaches the political with levity.

Ref.: Wilkerson, Emily. “Last Call: Sarah Ferguson at Coup d’oeil Art Consortium.” Pelican Bomb. www.pelicanbomb.com. Accessed July 26, 2020.

749. Paul Parker (American/Illinois, 1905‑1987), “Untitled (Doorway, Charleston)”, “Untitled (Courtyard Gate, Charleston)” and “Untitled (Houses, Charleston)”, 1971, 3 watercolors on paper, each signed lower right, and dated and inscribed lower left, “Carolina Fine Art Painting and Prints, Charleston, SC” labels on backing papers, 11 3/4 in. x 16 in. to 16 in. x 11 7/8 in., framed alike. (3 pcs.) [$1000/1500]

751. Joseph Dudley Downing (American/ Kentucky, 1925‑2007), “As I Was Going to St. Ives”, paper, staples and mixed media, pencil‑signed lower right, typed label with title on backing, 6 in. x 9 in., framed. [$200/400] Provenance: Estate of James H. Stone, New Orleans, LA.

748. Paul Parker (American/Illinois, 1905‑1987), “Back Alley, Charleston”, “St. Michael’s from Queen Street, Charleston” and “St. Phillip’s from Queen Street, Charleston”, 3 watercolors on paper, each signed lower right and dated and inscribed lower left, “Carolina Galleries, Johnson Hagood III, Charleston” labels with artist, title and date on backing papers, 11 7/8 in. x 16 in. to 14 in. x 17 in., framed alike. (3 pcs.) [$1000/1500]

750. Nestor Frugé (American/Louisiana, 1914‑2011), “Café Du Monde”, “Pirate’s Alley” and “Brulatour Courtyard”, 3 watercolors on paper, each signed lower right, one signed and inscribed en verso, each 15 in. x 11 in., unframed. (3 pcs.) [$300/500]

752. Mid‑Century Modern Carved Jacaranda Abstract Wall Panel, 39 in. x 18 3/4 in. [$250/350]

753. Pair of Koch and Lowy Chrome Floor Lamps, mid‑20th c., marked “OMI” (Otto Meinzer Iserlohn), square base, h. 62 in., w. 10 in., d. 10 in. [$600/900]

754. Billy Haines (1900‑1973) Burl Faux Bois Low Table, c. 1959, California, h. 18 1/2 in., w. 57 1/2 in., d. 26 in. [$400/600] Provenance: Christie’s, New York, Property from the Estate of Armand & Harriet Deutsch, Sept. 7, 2006, lot 1038.

755. Cassina Beige Sofa with Metal Frame, late 20th c., Italian, loose back and seat cushions, inward sloped arms, tubular chromed framed, h. 31 in., w. 86 in., d. 39 in. [$400/600] Provenance: Collection of Wendy and the late George (1944‑2013) Rodrigue.

756. Contemporary Chrome Side Table, glass top, geometric open sides, mirrored lower shelf, h. 24 in., w. 22 1/8 in., d. 22 1/8 in. [$300/500]

757. Pair of George Nelson (1908‑1986) for Herman Miller Walnut and Parcel Ebonized Nightstands, c. 1950, Zeeland, MI, cubic tower form, three open shelves, one slide‑out shelf, shaped block feet, “Mixed Modern”, Nashua, NH, label, h. 40 in., w. 17 in. d. 12 in. [$700/900]

760. Vintage Pace Collection or Pace Collection‑Style Chromed Steel and Glass Coffee Table, unmarked, h. 20 1/2 in., w. 31 in., d. 31 in. [$300/500]

759. Contemporary Faux Rouge Marble Ceramic Table Lamp, bottle form, socle base, h. (to finial) 31 1/4 in., dia. 10 in. [$200/300]

762. KAWS (American, b. 1974), “KAWS X Jun Takahashi Undercover Bear Companion (Black)”, painted cast vinyl, stamped “UNDERCOVER ©KAWS..09 MEDICOM TOY 2009 CHINA” on underside, h. 6 in. [$800/1200]

764. Laurel Porcari (American/ New Orleans, 20th c.), “Untitled: Grid Life Series”, 2004, geometric fused opaque glass and wood sculpture, signed and dated mid‑left, h. 52 in. [$300/500]

758. Pair of Mid‑Century Modern Chrome and Leather Cantilever Lounge Chairs, tufted upholstery, chromed flat bar frames, h. 31 in., w. 30 in., d. 37 in. Note: heavy wear. [$400/600]

761. Contemporary Polished Chrome Table Lamp, vase form, shade with mirrored interior surface, h. 28 in., dia. 17 1/2 in. [$300/500]

763. KAWS (American, b. 1974), “KAWS X Jun Takahashi Undercover Bear Companion (White)”, painted cast vinyl, stamped “UNDERCOVER ©KAWS..09 MEDICOM TOY 2009 CHINA” on underside, h. 6 in. [$800/1200]

765. Sidonie Villere (American/New Orleans, b. 1976), “Abstract Form”, 2005, ceramic, signed and dated on underside, h. 5 3/4 in., w. 11 in., d. 5 3/4 in. [$500/700]

Provenance: Collection of Wendy and the late George (1944‑2013) Rodrigue. Additional information at www.nealauction.com

766. Charles Fritchie (American/New Orleans, 1936‑2013), “Seated Nude with Handkerchief”, 1993, patinated bronze, signed and dated on handkerchief, h. 11 3/4 in., w. 7 1/2 in., d. 15 in. [$400/600] Provenance: Collection of the artist; Neal Auction Company, Apr. 19, 2015, lot 1098.

767. Louis XVI‑Style Bronze‑Mounted Bouillotte Table, inset rouge marble top, single frieze drawer, fluted tapered legs, caps, h. 29 in., dia. 24 1/2 in. [$400/600]

768. Biedermeier‑Style Fruitwood Occasional Table, top with canted corners, frieze drawer, cabriole legs, shaped stretcher shelf, h. 28 in., w. 28 in., d. 28 in. [$250/350]

769. French Provincial Carved Walnut Buffet Bas, 18th c., molded top, frieze fitted with three drawers over paneled doors, plinth base, h. 36 in., w. 57 in., d. 25 in. [$300/500]

770. Lynne E. Windsor (British/New Mexico, b. 1953), “Reflections II”, oil on panel, signed lower left, signed, titled, inscribed and biography of artist from “Alexandra Stevens Gallery, Taos, NM” on backing, 11 1/4 in. x 23 1/4 in., framed. [$400/600]

771. Ronald Arthaud (American/ Nevada, b. 1961), “Barrels”, 2000, “Shadows”, 1998 and “Mainstreet Shadow”, 2000, 3 oils on canvas, all signed lower right or left, each signed, titled, dated and inscribed “Tuscarora, NV” on stretchers, 14 in. x 24 in. to 18 in. x 24 in., all framed. (3 pcs.) [$400/600]

772. American School, 20th c., “Abstract Composition in Red”, oil on canvas, unsigned, 27 in. x 27 in., framed. [$1000/1500]

773. Robert Gordy (American/Louisiana, 1933‑1986), “Le Parc #3”, silkscreen on paper, signed and numbered “25/34” lower margin, 24 in. x 31 in., unframed. [$300/500]

774. Robert Gordy (American/Louisiana, 1933‑1986), “Sister Act”, 1979, screenprint on paper, signed and numbered “47/65” lower margin, 32 in. x 35 3/4 in., framed. [$500/700]

776. Warrington W. Colescott (American/Wisconsin, 1921‑2018), “Picasso at Mougins: the Etchings”, 2002, soft‑ground etching with aquatint, pencil‑signed, titled, dated and numbered “68/200” lower margin, “Ro Gallery, New York” label with artist, title and date on backing paper, sight 19 3/4 in. x 26 in., framed. [$200/300]

775. Robert Gordy (American/Louisiana, 1933‑1986), “River Bathers”, silkscreen on paper, signed and numbered “60/65” lower margin, 29 in. x 34 in., unframed. [$300/500]

777. Indo‑Colonial Paint‑Decorated Table, reeded top, spindled frieze, spandrel brackets, turned tapered legs, h. 33 in., w. 96 in., d. 36 in. [$500/1000]

779. Pair of Continental Iron and Brass Curule Chairs, spherule mounted frame, loose cushion seats, brass cap feet, h. 31 1/2 in., w. 23 in., d. 23 in. [$500/700]

778. Antique New Orleans Ironwork Balcony Rail Console bullnose marble top, h. 37 in., w. 58 1/4 in., d. 24 in. [$500/1000]

780. Ronald Davis (American/California, b. 1937), “Half Cylinder”, 1980, watercolor on paper, pencil‑signed, dated and dedicated lower margin, sight 10 1/2 in. x 14 1/2 in., framed. [$500/700]

781. Mavique (Peruvian, b. 1950), “Landscape in a Floral Trompe l’Oeil”, oil on canvas laid on foamcore, signed lower right, 30 in. x 39 3/4 in., framed. [$300/500]

782. Ellsworth Woodward (American/ Louisiana, 1861‑1939), “Valley of the Tauber (Bridge with Town in Background, Boyer 10)”, “The Squire (Boyer 84)” and “The Foster Mother: Romulus and Remus (Boyer 74)”, 3 etchings on paper, each pencil‑signed and 2 titled lower margin, each initialed “E.W.” in plate, 10 in. x 13 in. to 14 in. x 11 in., unframed. (3 pcs.) [$400/600] Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans.

784. Sculpture by Fabienne Picaud (French, b. 1959), c. 1986, signed and dated “86” at upper middle, a grid of nine colorful cased glass undulating forms contained in square metal frames, presented between two squares of clear glass, h. 24 in, w. 24 in., d. 5 in. [$700/1000] 785. Art Glass Sculpture by Robert Willson (American 1912‑2000). red, yellow and turquoise millefiori form in a white swirl encased in a clear glass faceted form, signed at side of base h. 22 1/4 in., w. 8 1/4 in., d. 7 1/4 in., on a Plexiglas pedestal with artist plaque. [$500/700]

783. Pair of Continental Bronze‑Mounted Terrazo Table Lamps, 20th c., h. (to socket) 26 1/2 in., w. 7 in., d. 7 in. [$250/350]

786. Scandinavian Mid‑Century Art Glass Bowl, c. 1955, cast glass in blue, h. 5 in., dia. 8 1/2 in. [$200/300]

788. Loetz “Titania” Glass Vase, c. 1904, orange interior, pulled feather decoration, h. 4 3/8 in., dia. 7 1/4 in. [$800/1200]

787. Three Art Glass Bowls, incl. Steuben oval, Verlys “Moth” Pattern, dia. 13 3/4 in., and a Continental blue tint. [$400/600]

789. Contemporary Sunburst Mirror, New Orleans, comprised of painted wood fragments, dia. 38 in. [$300/500]

Provenance: James Infante, NY.

Additional information at www.nealauction.com

790. Cypress Breakfront, 20th c., arched stepped cornice, four shaped shelves, molded base, two cabinet doors, shaped apron, remnants of green paint, h. 96 1/2 in., w. 61 1/2 in., d. 22 in. [$600/900] 791. Roycroft Oak Dining Table and Eight Chairs, table with tapered legs, stretcher base, club feet, chairs with slat backs, orange peel leather seats, nailhead trim, tapered stretched legs, club feet, table h. 30 in., w. (open) 65 in., w. (closed) 54 in., d. 54 in., chair h. 38 in., w. 18 in., d. 17. [$1500/2500]

792. Rose Tarlow Oak Dining Table, radial segmented top, reverse tapered, fluted standard, square base, conforming feet, h. 29 in., dia. 60 in. [$500/700]

793. Carolyn Biggio (American/Louisiana, b. 1958), “Still Life of Pitcher and Sunflowers”, “Still Life with Champagne Flute and Apples” and “Still Life with Watermelon”, 3 oils on canvas, all signed, each 16 in. x 20 in., framed. (3 pcs.) [$800/1200]

794. Martin Laborde (American/New Orleans, b. 1943), “He Fiddled with the Yellow Moon”, 1992, oil on canvas, signed and dated lower right, signed, titled, dated and inscribed en verso, 30 in. x 24 in., framed. [$1000/1500]

795. Martin Laborde (American/New Orleans, b. 1943), “The Soft Air Accepted Their Presence as a Friend”, 1998, oil on canvas, signed and dated lower right, signed, titled, dated and inscribed en verso, 14 in. x 11 in., unframed. [$700/1000]

796. Jim Richard (American/ Louisiana, b. 1943), “Lush Life”, 1981 and “Interior”, 1992, 2 silkscreens on paper, former pencil‑signed, titled, dated and numbered “52/100” lower margin, latter pencil‑signed and dated lower margin, sights 8 3/16 in. x 27 3/8 in. and 27 3/8 in. x 21 1/2 in., framed alike. (2 pcs.) [$400/600]

798. Gump’s San Francisco Inset Leather Mahogany Coffee Table, stamped “Designed By Gumps”, spandreled open cube design, adjustable medial shelf, inset base, h. 22 in., w. 26 in., d. 26 in. [$200/500]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

797. Peter Jogo (American/New York, b. 1948), “Suburban Nocturne II”, 1992 and “Ravine III”, 1988, 2 mezzotints on paper, each pencil‑signed, titled, dated and numbered “3/25” and “23/25” respectively lower margin, sheets 18 5/8 in. x 22 3/8 in. and 10 3/8 in. x 11 11/16 in., framed alike. (2 pcs.) [$400/600]

799. Modern Low Coffee Table, tubular chrome frame, 2 inset rouge panels, h. 4 1/4 in., w. 77 1/2 in., d. 37 in. [$200/400] Provenance: Collection of Wendy and the late George (1944‑2013) Rodrigue.

800. Contemporary Wood and Chrome Dining Table, X‑form flat bar base, h. 28 3/4 in., l. 94 1/2 in., w. 35 1/2 in.; together with six Philippe Starck (b. 1949) for Cassina thermo‑plastic and aluminum “Miss C.O.C.O” folding side chairs, designed 1998, Italy, impressed marks, h. 31 1/4 in., w. 15 1/4 in., d. 17 3/4 in. (7 pcs.) [$800/1200] Provenance: Collection of Wendy and the late George (1944‑2013) Rodrigue.

801. Hollywood Regency Ebonized Secretary Bookcase, c. 1940, Grosfeld House, New York, scrolled cornice, reeded stiles, grillework doors, fitted desk drawer, lucite pulls, base with three cabinet doors, h. 85 in., w. 60 in., d. 16 3/4 in. [$1500/2500] 802. Charles Hollis Jones (b. 1945) Acrylic and Chrome “Post Line” Waste Basket, c. 1960s, Los Angeles, four square chromed steel posts, h. 14 in., w. 11 1/4 in., d. 9 1/2 in. [$300/500]

804. Baker “Far East Collection” Lacquer Side Table, h. 24 in., w. 26 in., d. 24 in. [$100/200]

806. Craftsman Oak Bookcase in the Style of Stickley, two glazed cabinet doors and sides, strapwork sun face hinges on lower cabinet, shaped apron, bracket feet, h. 70 in., w. 50 in., d. 17 1/2 in. [$500/1000]

805. Large Asian Basket, 20th c., h. 10 3/4 in., dia. 31 in. [$100/200]

807. Hancock & Moore Leather Sofa, loose cushion, back and seat, rolled arms, nailhead trim, bun feet, h. 35 in., w. 84 in., d. 41 in. [$500/700] 808. Art Deco‑Style Red Leather Chair and Ottoman, rounded arms, bun feet, braided leather welt, chair h. 35 in., w. 39 in., d. 36 in., ottoman h. 15 in., w. 28 in., d. 22 in. [$400/600]

810. American Brushed Stainless Steel Medicine Cabinet, 20th c., labeled “Progressive Metal Equipment, INC...”, rounded edges, two glazed doors and sided, shelf interior, tapered legs, h. 72 1/4 in., w. 36 1/4 in., d. 16 1/4 in. [$400/600]

Provenance: Collection of Wendy and the late George (1944‑2013) Rodrigue.

803. Pair of Contemporary Patinated Metal Demilune Consoles, mirrored top, h. 35 in., w. 30 in., d. 15 1/4 in. [$250/350]

811. Art Deco Dinanderie Lamp, France, c. 1930, globe form, with painted celluloid shade, h. 13 in., dia. 12 in. [$400/700]

809. Square Iron and Glass Coffee Table, comprised of two 19th c. inset window grates, modern stretcher base, shaped feet, h. 19 in., w. 42 1/2 in., d. 42 1/2 in. [$700/1000]

812. Pair of Art Deco Ceramic Figural Lamps, early 20th c., fully formed busts, h. (to socket) 19 in., w. 10 in., d. 5 in. [$500/700]

Additional information at www.nealauction.com

813. Karen Stastny (American/New Orleans, 20th c.), “Reclining Nude” and “Seated Nude”, 1991, 2 watercolors on paper, each pencil‑signed and dated lower right, 17 in. x 19 in. and 9 in. x 12 in., framed alike. (2 pcs.) [$200/400]

815. Pair of Continental Wrought Iron Curule Chairs, fleur‑de‑lis finials, incised frame, griffin motif needlepoint cushions, h. 35 in., w. 26 in., d. 16 in. [$500/700]

814. Post Modern Art Furniture Painted Mirror and Dressing Chest Suite, late 20th c., by Peter Pierobon, (Vancouver, b. 1959), signed and dated “Pierobon 1994”, rectangular mirror with fluted frame, chest with inverted molded rectangular top, twelve drawers faced with horizontal fluting, chevron bracket base, bronze “W” form pulls, h. 35 1/8 in., w. 50 1/2 in., d. 21 5/8 in. [$500/1000]

819. George Rodrigue (American/ Louisiana, 1944‑2013), “Luck Be a Lady”, 1999, poster, signed lower right and in plate, edition of 500, 18 in. x 24 in., unframed. [$400/600] 816. George Rodrigue (American/ Louisiana, 1944‑2013), “To Stay Alive We Need Levee 5”, 2006, silkscreen, signed lower right, open edition, 21 in. x 16 in., unframed. [$400/600]

Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 234.

817. George Rodrigue (American/ Louisiana, 1944‑2013), “Throw Me Something F.E.M.A”, 2006, silkscreen, pencil‑signed lower right, edition of 500, 23 in. x 16 in., unframed. [$700/1000]

Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 234.

818. George Rodrigue (American/ Louisiana, 1944‑2013), “Cut Through the Red Tape”, 2006, silkscreen, pencil‑signed lower left, open edition, 21 in. x 17 in., unframed. [$400/600] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 235.

820. George Rodrigue (American/ Louisiana, 1944‑2013), “Double Blue Dog Pin”, “Pair of Blue Dog Earrings” and “Blue Dog Charm Bracelet”, sterling silver, each marked “©Rodrigue” and sterling, 1 3/4 in. x 1 7/8 in., 1 1/4 in. x 1 in. and 1 1/4 in. x 7 in. respectively. (3 pcs.) [$300/500]

822. Betty Spindler (American/California, b. 1943), “Bell Peppers” and “Tomatoes”, 1999, 2 ceramic sculptures, each signed and dated on underside, h. 4 3/4 in. and 8 in. (2 pcs.) [$300/500] Provenance: Collection of Wendy and the late George (1944‑2013) Rodrigue.

823. Betty Spindler (American/California, b. 1943), “Apples”, 1998, “Olives”, 1999 and “Pears”, 1998, 3 ceramic sculptures, each signed and dated on underside, h. 5 in. to 6 1/4 in. (3 pcs.) [$300/500] Provenance: Collection of Wendy and the late George (1944‑2013) Rodrigue.

Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 218.

821. Chinese Celadon and Russet Jade Figure of a Recumbent Cat, l. 2 5/8 in. [$100/200]

824.Willie Birch (American/New Orleans, b. 1942), “For Sassy (Sarah Vaughn)”, 1992, papier‑mâché, mixed media and plexiglass, signed, titled and dated on right side, h. 25 5/8 in., w. 21 in., d. 12 5/8 in. [$1000/1500] Provenance: Arthur Roger Gallery, New Orleans, LA.

826. Gerald Laing (British, 1936‑2011), “Gold Standard” and “Glide”, 1968, 2 silkscreens on paper, each pencil‑signed, dated, numbered “4/75” and artist blind stamp lower margin, sights 22 3/4 in. x 27 3/4 in., framed alike. (2 pcs.) [$400/600]

827. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Findlay’s Print”, 1979, lithograph on paper, pencil‑signed, titled, dated and numbered “55/190” lower margin, 30 3/8 in. x 42 1/2 in., unframed. [$300/500] 825. George Rodrigue (American/ Louisiana, 1944‑2013), “Number One Tiger Fan”, 2012, silkscreen on paper, pencil‑signed lower margin, open edition, sight 29 in. x 20 in., framed; together with “The Kingfish”, 1980, lithograph on paper, signed and numbered “15/100” lower margin, signed in plate, 19 3/4 in. x 10 1/4 in., framed. [$400/600]

828. Shearwater Art Pottery Vase, decorated with purple glaze, base marked Shearwater, h. 12 in., dia. 8 in. [$300/500]

829. Shearwater Art Pottery Bowl, c. 1982, decorated by Peter Michael Anderson, floral design, bronze and white enamel glaze, base marked Shearwater, with Peter Anderson’s potter’s mark, h. 3 in., dia. 6 in. [$300/500]

831. Pair of American Glazed Pottery Frog Vases, indistinct mark, h. 6 1/2 in., w. 5 1/4 in., d. 7 in. [$500/700]

830. Shearwater Art Pottery Vase, decorated with purple mottled glaze, base marked Shearwater, h. 9 in., dia. 4 1/2 in. [$300/500]

832. Frank Gehry for Tiffany “Rock” Vase, c. 2005, bone china, made in Ireland, h. 11 1/2 in., w. 7 in., d. 4 1/2 in. [$100/150]

Provenance: Collection of Wendy and the late George (1944‑2013) Rodrigue.

834. Bill Binnings (American/Louisiana, 20th c.), “Waiting (The Seed Bearer Series)”, bronze, signed and catalogue number “0113” incised on self‑base, h. 34 3/4 in., w. 11 1/2 in., d. 8 in. [$500/700] Provenance: Acquired from the artist, c. 1980s.

833. Jeffery Cook (American/New Orleans, 1961‑2009), “Untitled”, 1989, mixed media wood sculpture, signed and dated lower left above base, h. 25 in., w. 18 in., d. 3 1/2 in. [$300/500]

835. Bill Binnings (American/Louisiana, 20th c.), “Movement from 5th Position”, bronze, signed on self‑base, unique cast, h. 25 3/4 in., w. 21 in., d. 15 in., granite base, overall h. 33 3/4 in. [$300/500] Provenance: Acquired from the artist, c. 1980s.

Additional information at www.nealauction.com

836. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Scene with Live Oak and Cypress”, oil wash on board, signed lower left, 20 in. x 28 in., framed. [$2500/3500]

837. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Still Life of Dogwood Blossoms and Roses”, oil on canvas, signed lower right, 24 in. x 36 in., framed. [$2500/3500] 838. Tom M. Nicholas (American/Massachusetts, b. 1963), “East Gloucester”, oil on board, signed lower left, 30 1/8 in. x 40 1/8 in., framed. [$3000/5000]

839. Tom M. Nicholas (American/Massachusetts, b. 1963), “Afternoon Light, Rowley”, oil on canvas, signed lower left, titled in accompanying letter, 24 in. x 30 in., framed; accompanied by letter from the artist. [$2500/3500]

840. Emmitt Thames (American/Mississippi, b. 1933), “Moon Madness”, 1989, egg tempera on panel, signed lower right, artist label with artist stamp, title and date en verso, 18 in. x 24 in., framed. [$2000/3000]

841. Emmitt Thames (American/Mississippi, b. 1933), “Moonrise”, oil on canvas, signed lower left, titled on backing paper, 16 in. x 20 in., framed. [$1800/2500]

842. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Scene with Live Oak and Pirogue”, oil on canvas laid on board, signed lower left, 6 5/8 in. x 11 in., framed. [$1500/2500]

843. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Scene with Live Oak and Water Lilies”, oil on canvas board, signed lower right, 6 1/4 in. x 12 1/8 in., framed. [$1500/2500]

844. William Woodward (American/Louisiana, 1859‑1939), “Old Barn‑Mass”, c. 1890, watercolor on paper mounted to board, initialed lower right, “Dr. James Nelson Collection, Gonzales, Louisiana” label with artist, title, date and provenance on backing, 8 1/2 in. x 5 1/2 in., framed. [$800/1200]

846. William Dunlap (American/Mississippi, b. 1944), “Watershed Runoff”, 1989, mixed media on paper, signed and dated lower right, titled lower left, 30 1/4 in. x 79 1/4 in., framed. [$1500/2500]

845. Andrew Bucci (American/ Mississippi, 1922‑2014), “Nude”, 1970, watercolor on paper, pencil‑signed lower right, dated en verso, 22 1/2 in. x 17 1/2 in., framed. [$800/1200]

848. Leo Meiersdorf (German/American, 1934‑1994), “Jazz in the Quarter”, 1974, watercolor on paper mounted on board, signed, dated and inscribed lower right, 22 in. x 30 in., framed. [$800/1200] 849. Ellsworth Woodward (American/Louisiana, 1861‑1939), “Sailboat”, watercolor on board, unsigned, 6 3/4 in. x 9 1/2 in., framed. [$600/800]

847. George Hand Wright (American/ Connecticut, 1872‑1951), “Bayou Country”, watercolor on paper, signed lower right, “Grand Central Art Galleries, Inc., New York” label with artist and title on frame, 8 5/8 in. x 11 1/2 in., framed. [$600/800] 850. Emmitt Thames (American/Mississippi, b. 1933), “Above Popp’s Ferry”, 1991, watercolor on paper, signed lower right, titled, dated, numbered “2050” and artist stamps en verso, 11 1/2 in. x 15 1/4 in., framed. [$500/700]

852. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Scene with Live Oak”, 1932, oil wash on board, signed and dated lower right, 10 in. x 22 in., framed. [$1200/1800]

851. Stanley Bate (American/Tennessee, 1903‑1972), “The Crossing”, oil on canvas, signed lower left, signed, titled and inscribed en verso, 16 in. x 20 in., framed. [$1500/2500]

853. William Ousley (American/Louisiana, 1866‑1953), “West Fork of Calcasieu River, LA, Autumn”, oil on canvas, signed lower right, titled lower center, signed and pencil‑inscribed en verso and on stretcher, 15 3/4 in. x 27 1/8 in., framed. [$1000/1500]

Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

854. Wyatt Waters (American/Mississippi, b. 1956), “Victorian House”, watercolor on paper, signed lower left, sight 14 in. x 21 in., framed. [$600/800]

855. Willie Earl Robinson (American/Mississippi, b. 1950), “Loading Cotton”, acrylic on canvas, signed lower right, 30 1/2 in. x 31 1/2 in., framed. [$700/1000]

Additional information at www.nealauction.com

857. George Thurmond (American/Mississippi, b. 1949), “Spring Wildflower/ Heavy Haze”, 1990, oil on panel, signed lower right, signed, titled, dated and artist biography attached en verso, 19 in. x 23 3/4 in., framed. [$700/1000] 856. Elizabeth M. Pajerski (American/Mississippi, 1916‑2003), “Mississippi River Bridge”, watercolor on paper, signed lower right, sight 10 in. x 16 1/4 in., framed. [$600/800]

858. Ora Ream (American/New Orleans, 1891‑1988), “University Night, Tulane Stadium”, 1913, ink on paper, signed and dated center right, 13 in. x 8 1/2 in., framed. [$700/1000]

859. William Woodward (American/ Louisiana, 1859‑1939), “Buck‑Sawyer”, 1932, graphite on paper, pencil‑signed and dated lower right, titled lower center, 8 7/8 in. x 11 1/4 in., unframed; together with “Buck‑Sawyer, Tile Roof, St. Peter Street, 1904”, 1932, drypoint etching on paper, pencil ‑signed lower right, initialed in plate, sheet 9 7/8 in. x 9 3/4 in., matted. (2 pcs.) [$300/400]

860. Ellsworth Woodward (American/ Louisiana, 1861‑1939), “Marshes, Shinnecock”, “Venice”, “Unfinished European Landscape”, “S.S. Rotterdam” and “Two Rowboats by the Shore”, 5 watercolors on paper, one signed lower left and titled en verso, 4 unsigned, 9 1/2 in. x 15 1/4 in. to 20 in. x 15 in., unframed. (5 pcs.) [$400/600]

Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans.

Ill.: Woodward, William. French Quarter Etchings of Old New Orleans. New Orleans: The Magnolia Press and The American Academy of History, 1938, pl. 44.

Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans.

861. Colette Pope Heldner (American/Louisiana, 1902‑1990), “Swamp Idyl (Louisiana)”, oil on canvas, signed lower left, signed and titled en verso, 18 in. x 22 in., framed. [$1500/1800]

862. Don Reggio (American/Louisiana, b. 1950), “Sugar Barrels on the Levee”, 2004, oil on canvas, signed and dated lower right, 18 in. x 24 in., framed. [$1500/2500] 863. William R. Hollingsworth, Jr. (American/Mississippi, 1910‑1944), “Figural Studies”, graphite and charcoal on paper, unsigned, 19 in. x 23 in., framed. [$1000/1500] Provenance: Reputedly in the artist’s widow’s collection; Brown’s Fine Art & Framing, Jackson, MS, c. 2003.

865. Will Hinds (American/Louisiana, 1936‑2015), “Forest Path”, oil on masonite, signed lower left, 16 in. x 20 in., framed. [$800/1200]

864. Attributed to William R. Hollingsworth, Jr. (American/Mississippi, 1910‑1944), “Birdhouse”, oil on board, unsigned, 10 in. x 8 in., framed. [$800/1200]

866. Will Henry Stevens (American/ Louisiana, 1881‑1949), “Forest Flowers”, pastel on paper, pencil‑signed lower right, 16 in. x 13 7/8 in., unframed. [$600/900]

867. Frank Swift Chase (American, 1886‑1958), “Autumn Landscape”, oil on canvas board, signed lower right, 8 in. x 10 in., framed. [$1000/1500]

868. Frank Swift Chase (American, 1886‑1958), “Birch Forest in Autumn”, oil on canvas board, signed lower right, 8 1/4 in. x 10 3/8 in., framed. [$1000/1500]

869. Attributed to John James Audubon (American, 1785‑1851), “Portrait of a Young Woman”, graphite on paper, unsigned, 4 7/8 in. x 3 7/8 in., framed. [$700/1000]

870. Lalla Walker Lewis (American/ Mississippi, 1912‑2006), “Mississippi Cabin”, 1973, oil on canvas board, signed lower left, signed and dated en verso, 8 in. x 10 in., framed; together with “Figure Study”, watercolor on paper, signed lower right, drawing en verso, 9 in. x 12 in., unframed. (2 pcs.) [$700/1000]

Provenance: Estate of Lois Elmer Bannon (1925‑1999), co‑author of The Handbook of Audubon Prints; Taylor Clark Gallery, Baton Rouge, LA. 871. Louisiana School, c. 1859, “Miss Anna Eliza Barrow (1848‑1931)”, oil on canvas, unsigned, 18 7/8 in. x 14 3/4 in., framed; together with The Book of Common Prayer belonging to the sitter. (2 pcs.) [$500/700]

Note: The Barrow family arrived in Louisiana Territory in 1800, remaining in Natchez while their plantations were being purchased and likely settling in West Feliciana Parish in early 1801. Upon their arrival, William Barrow III began to acquire large land holdings, which would make him one of the wealthiest citizens of the parish. Highland Plantation (known as Locust Grove until the 1840s) was the first house built by members of the Barrow family. Similar to grand homes in North Carolina, Highland Plantation was significant for introducing federal-style architecture and new building traditions to West Feliciana. The portrait offered here depicts Anna Eliza Barrow (18481931), daughter of Bennett Hilliard Barrow (1811-1854), heir to William Barrow III and Highland Plantation, and his second wife, Ann “Nancy” Joor (1811-1888), the widowed sister of his first wife. Anna Eliza was one of three children born to her parents at Highland Plantation and spent her early years there with her siblings and halfsiblings before moving to Bolivar County, Mississippi and settling at East Fork Plantation shortly after the death of her father.

872. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Morning in a Cypress Swamp”, 1909, watercolor on paper, signed and dated lower right, signed, titled and inscribed en verso, 9 1/8 in. x 12 1/8 in., framed. [$600/800]

Provenance: Estate of Eunice Bate Coleman, New Orleans, LA

Ref.: Floyd, William Barrow. The Barrow Family of Old Louisiana. Lexington, KY: 1963.

873. Eunice Bate Coleman (American/New Orleans, b. 1898), “Bayou Scene with Cabin”, 1939, “Bayou Sentinel” and “Bayou House, 3 graphite and watercolors on paper, one pencil‑signed and dated lower right, one pencil‑signed lower right and handwritten label with artist and title on backing paper one unsigned, 11 in. x 14 in. to 11 in. x 15 1/4 in., framed alike. (3 pcs.) [$800/1200] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA

Additional information at www.nealauction.com

875. American Mahogany Tilt‑Top Tea Table, early 19th c., single board top, ring turned baluster standard, arched legs, pad feet, h. 29 in., w. 34 in. d. 33 1/2 in. [$600/900]

874. American Carved Mahogany Accounting Desk, c. 1870, slant top, three frieze drawers, base with tapered turned legs, blocked stretcher, h. 45 in., w. 74 in., d. 35 1/2 in. [$800/1200]

Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

877. American Late Classical Carved Mahogany Full Tester Bed, early‑to‑mid 19th c., ogee cove‑molded tester, reverse tapered cluster columns, shell S and C scroll crest, shaped rails, chamfered blocked post base, h. 112 1/2 in., l. 78 in., w. 66 1/2 in. [$5000/8000]

Note: The tester and columned posts with Egyptian capitals and block bases on the bed offered here Lot 877 are identical to those on a tester bed descended in a New Orleans family with a C. Lee pattern number stamp, sold by Neal Auction Company as Lot 684, July 17th, 2010. Another related example sold in these very salesrooms as Lot 236, July 13th, 2013, from the estate of noted antiquarian J. C. Chargois, Jr., Lafayette, Louisiana.

876. American Federal‑Style Inlaid Mahogany Sideboard, shaped top, central long drawer over false tambour drawer, side cabinets, tapered spade feet, h. 37 3/4 in., w. 68 in., d. 22 3/4 in. [$700/1000] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

878. American Federal Banded Mahogany Chest of Drawers, early 19th c., four graduated drawers, shaped apron, French feet, h. 41 1/4 in., w. 41 1/4 in., d. 20 1/4 in. [$700/1000]

879. American Carved Oak Metamorphic Two‑Tier Trolley, 19th c., egg and dart molded upper tier, lower tier with apron, trestle base, bun feet, h. 39 in., w. 48 in., d. 21 in. [$400/600]

880. Six American Sheraton‑Style Mahogany Side Chairs, fluted tablet crests, square backs with reeded colonnettes having fan carved capitals, reeded tapered legs, spade feet, h. 36 1/4 in., w. 22 1/2 in., d. 19 in. [$700/900] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA, Ginsburg & Levy, Inc., NY, 1975.

882. Mississippi Walnut Secretary Bookcase Desk, 19th c., spurred shaped crest, glazed doors, fall front writing surface, fitted interior, single drawer, square ring turned legs, spherule feet, h. 83 in., w. 42 in., d. 21 in. [$800/1200] 883. American Mahogany Work Table, early 19th c., drop leaf top, two drawers, ring turned tapered legs, h. 29 3/4 in., w. 16 1/2 in., d. (closed) 15 3/4 in., d. (open) 29 1/4 in. [$400/600] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

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881. American Chippendale‑Style Carved Mahogany Camelback Sofa, c. 1876, scrolled arms, foliate ball and claw cabriole legs, h. 37 in., 85 in., d. 30 in. [$400/800] Provenance: Barrett‑Blaine Antiques, Houston, TX, 1984; Selma Plantation, Washington, MS.

884. George III Burled Walnut Chest of Drawers, late 18th/early 19th c., cove molded bookmatched top, two over three graduated drawers, bracket feet, h. 34 in., w. 37 3/4 in., d. 22 1/2 in. [$500/700] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

885. American Maple Chest, late 18th c., molded top, three glove drawers over three graduated drawers, spurred bracket feet, h. 42 3/4 in., w. 38 1/4 in., d. 18 1/2 in. [$500/1000]

886. Southern Cherrywood and Walnut Washstand, lobed and scrolled gallery, top fitted for basin, lower shelf, turned blocked legs, h. 33 in., w. 23 1/2 in., d. 23 in. [$300/500]

887. Vernacular Sheraton Walnut Work Table, c. 1830, two board top, single bolection drawer, mushroom pull, turned tapered legs, h. 30 in., w. 26 1/4 in., d. 30 in. [$600/900]

889. George III‑Style Figured Mahogany Sideboard, shaped top, conforming case with center drawer flanked by cabinets, serpentine apron, tapered legs, spade feet, h. 36 in., w. 60 1/4 in., d. 22 3/4 in. [$600/800]

888. Georgian‑Style Mahogany Writing Table, inset leather top, five drawers on each side, square tapered legs, spade feet, h. 30 in., w. 94 in., d. 48 in. [$1000/1500]

Provenance: Neal Auction Company, July 2008, lot 1175.

Provenance: St. Martini Antiques, Jackson, MS, c. late 1990s.

890. French Provincial Fruitwood Bonnetiere, late 18th c., molded cornice, incised panels, block feet, h. 75 in., w. 38 1/4 in., d. 25 1/2 in. [$500/700]

891. Antique French Carved Rosewood Bed, swagged acanthine crest, turned finials, paneled headboard and foot board, stop‑fluted columnar supports, h. 63 in., l. 75 1/2 in., w. 48 1/2 in. [$800/1200] Provenance: Schwitz Collection, Franklin, LA.

893. Greek Icon of St. John Chrysostom, Archbishop of Constantinople, gilt and tempera on panel, 23 5/8 in. x 16 in., unframed. [$400/600] 892. After Alessandro Turchi (Italian, 1578‑1649), “The Flight into Egypt”, oil on canvas, unsigned, 36 in. x 28 in., framed. [$800/1200]

894. Greek Icon of Twelve Saints, gilt and tempera on panel, inscribed and partial sketch on reverse, 16 7/8 in. x 11 3/8 in., unframed. [$300/500]

Additional information at www.nealauction.com

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895. Nicola Simbari (Italian, 1927‑2012), “Young Woman with Umbrella”, oil on canvas, signed lower right, 18 1/2 in. x 21 3/4 in., framed. [$1500/2500]

896. Attributed to Constantin Ernest Adolphe Hyacinthe Guys (French, 1802‑1892), “Soldier on Horseback”, ink wash on paper, unsigned, artist name on matting, 7 3/4 in. x 8 in., framed. [$600/800]

899. Georges Lemmers (Belgian, 1871‑1944), “Portrait of a Seated Military Officer”, 1898, oil on canvas, signed and dated lower right, period “Envoi De J.‑B. Pauwels, Bruxelles” shipping label on reverse of frame, 45 1/2 in. x 37 1/2 in., ornate gilt frame. [$700/900]

898. Casimiro Tomba (Italian, 1857‑1929), “Girl with Gourd”, watercolor on paper mounted to board, signed and inscribed “Roma” lower right, 20 in. x 13 in., framed. [$400/600]

897. Continental School, 19th c., “Windmill”, oil on canvas, illegibly signed lower right, 20 in. x 16 in., framed. [$600/800]

900. Vincente de Garcia Paredes (Spanish, 1845‑1903), “Gathering in the Parlor”, oil on canvas, signed lower right, 24 in. x 36 in., framed. [$1500/2500]

901. Lallah Miles Perry (American/Mississippi, 1926‑2008), “Artist at Easel”, oil on canvas, signed lower right, 48 in. x 24 in., framed. [$1200/1800]

902. Edith Emily d’Hemecourt Hibbard (American/New Orleans, 20th c., act. Newcomb College, 1923‑1927), “Seated Nude”, 1927, graphite on paper, signed and dated lower right, 14 in. x 10 in., framed; together with Newcomb report card for Edith Hibbard, 1927, 6 in. x 3 1/4 in., framed. (2 pcs.) [$300/500]

904. Carrie Hill (American/ Alabama, 1875‑1957), “Cabin on Shades Mountain”, oil on canvas, initialed lower left, pencil‑titled and partial “W.D. Colby’s, Birmingham” label on stretcher, 16 in. x 12 in., framed. [$800/1200] Provenance: Descended in the family of the artist; Case Antiques, Inc., Jan. 24, 2015, lot 248.

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903. Emmitt Thames (American/ Mississippi, b. 1933), “Home Nestled in the Rolling Hills”, 1971, watercolor on paper, signed and dated lower right, 22 in. x 30 1/4 in., framed. [$300/500]

905. Southern School, 1950, “Banana Trees and Courtyard”, oil on canvas, signed “M.I.H. Stockwell” and dated lower right, 24 in. x 28 in., framed. [$400/600]

906. John Vanderlyn (American/New York, 1775‑1852), “Boat Sketch (Study for ‘The Landing of Columbus in San Salvador’)”, pencil on paper, unsigned, “Kennedy Galleries, Inc.” documentation attached on reverse, 11 in. x 8 1/2 in., framed. [$400/600]

Provenance: Catherine Vanderlyn; her attorney Judge Augustus Schoonmaker; his daughter Mrs. William Laughton; Fred Johnston, Kingston, NY; Kennedy Galleries, Inc., New York, NY; Schwitz Collection, Franklin, LA.

907. Gregory Saunders (American/Florida, b. 1952), “Arrangement of Appalachian Objects No. 1”, graphite and powdered graphite on paper, unsigned, 60 3/8 in. x 125 in., framed. [$3000/5000]

908. Pair of American Late Classical Gilt Bronze Two‑Light Argand Lamps, c. 1830‑40, foliate and scroll decoration, h. 21 in., w. 17 in., d. 8 in. [$600/900]

Note: Gregory Saunders’ work elevates drawing - a medium that is traditionally used more as a preparatory material. With intense focus on detail, his drawings are often mistaken for photographs. Saunders’ has developed a labor-intensive method of layering powdered graphite with acrylic spray that allows for extremely subtle tonal ranges within the grey scale. This method enables him to capture even the slightest effect of light on or in a subject, but the process is a painstaking one, often taking over four hundred hours per drawing to complete. In addition to focusing on a medium that is often overlooked, Saunders also chooses subjects he refers to as “overdone” in an attempt to take a “cliché” and render it with such focus and intensity that it is imbued with new life. He describes his drawings thus: “My work deals with dichotomy and contradiction; the methods I employ are contemporary, the materials traditional….I intend to challenge both contemporary and traditional concepts of art by presenting drawing which is not line, painting without color and sculpture that is two dimensional. My work submits the clichéd image as a contemporary object.” The monumental work offered here exemplifies Saunders’ use of scale, attention to detail and choice of subject. In “Arrangement of Appalachian Objects No. 1,” he creates a powerful vertical design composed of tipped planes of sun-dappled stone that interlock with architectural certainty, an effect accentuated by the deep shadows which make the rocks seem to loom with weighty dimensionality. Ref.: Saunders, Gregory. “Statement.” Gregory B. Saunders. www.gregorysaunders.com. Accessed July 29, 2020

910. American Classical Carved Giltwood Mirror, early 19th c., ring turned and foliate decorated split‑baluster surround with blocked corners, lamb’s tongue liner, old mirror plate, h. 36 3/4 in., w. 58 1/4 in., d. 3 1/2 in. [$200/400]

909. Continental Carved and Polychromed Wood Figure of St. George Slaying the Dragon, 2 “Tiroler/Heimatwerk/Innsbruck” labels on reverse of figure and base, carved emblem on back of base, h. 29 1/2 in., w. 10 in., d. 6 1/2 in. [$400/600]

Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

911. English Inlaid Mahogany Tall Case Clock, 19th c., dial painted with a riverscape and buildings, h. 88 in., w. 20 1/2 in., d. 9 in. [$700/1000] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

913. Confederate Calvary Saber, 1861, marked on quillon “Memphis Novelty Works, Thomas Leech & Co.”, wire‑wrapped leather grip, presented on a custom wall plaque, blade l. 35 1/2 in. [$1200/1800]

912. Scottish Mahogany Tall Case Clock, 19th c., dial signed “Jas. Aitken, Glasgow”, painted with allegories of the continents and a meeting, h. 83 1/2 in., w. 19 in., d. 9 in. [$800/1200]

Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

914. Eunice Bate Coleman (American/New Orleans, b. 1898), “Momus”, 1930, 2 graphite and watercolors on paper, both pencil‑signed, titled and dated lower right, sights 12 in. x 18 in., framed alike. (2 pcs.) [$500/700] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

Additional information at www.nealauction.com

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915. After Henry Mosler (American, 1841‑1920), “The Lost Cause”, oil on canvas, unsigned, 21 1/2 in. x 31 1/4 in., framed. [$300/500]

917. British School, 19th c., “Highland Laddie”, oil on canvas, unsigned, 46 1/4 in. x 30 in., framed. [$500/700]

916. Benjamin Wigfall (American/Virginia, 1930‑2017), “Two Boats”, oil on canvas, signed en verso, 24 1/4 in. x 33 in., framed. [$600/800]

918. Antique Prints of United States Army Uniforms, Regulations for the Uniform of the Army of the United States with Illustrations, Philadelphia, Depot of the Quartermaster’s Department, 1888, folio (16 3/4 in. x 15 in.), with 12 chromolithographs after Henry Ogden, and 13 black and white plates, original pebbled brown cloth lettered in gilt. [$400/600]

Provenance: Neal Auction Company, Feb. 3, 2001, lot 167; Williamson‑LeBlanc Collection, Cornstalk Fence House, New Orleans.

919. Antoine Hérisset (French, c. 1685‑1769), “Fontaine des Domes dans un des Bosquets des Jardins de Versailles”, 18th c., hand‑colored engraving, sight 20 in. x 25 in., framed. [$150/250] Provenance: Estate of James H. Stone, New Orleans, LA.

920. China Trade School, late 19th c., “Chinese Junk on Open Water”, oil on canvas, reverse mounted with Louisiana State Museum label, stretcher with accession number “07539”, 17 5/8 in. x 23 1/4 in., unframed. [$400/600] Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

922. Group of Twenty‑Four Antique Hand‑Colored Maps, 17th to 19th c., majority showing provinces of Europe, unframed. [$600/900]

Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

921. [Harper Lee Signed Book], Lee, Harper. To Kill a Mockingbird, Philadelphia & New York, J.B. Lippincott Company, 1960, first edition, twenty‑fourth impression, with dust jacket, signed on first free endpaper “To Dick and Del Johnson with best wishes, Harper Lee “. [$500/700]

923. Tudor Carved Oak Fireplace Breast and Mantel Element, 17th c., composed of a dentil molded overmantel with a highly carved back with tapered pilasters flanking deeply molded and carved panels with seraphim, cartouches and strapwork, h. 105 in., w. 95 in., d. 10 in. [$1000/1500] Provenance: Museum of Fine Arts, Houston.

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925. Aubusson Carpet, labeled “Made in France”, cream ground, central medallion, floral designs in pink, olive, gold and green, 11 ft. 2 in. x 26 ft. 8 in.. [$1200/1800]

924. Persian Carpet, sienna, blue, beige and green ground, floral and stylized animal design, 9 ft. 3 in. x 12 ft. 4 in. [$700/900]

928. Persian Sultanbad Carpet, light brown ground, border in light brown and red, repeating central medallions, 9 ft. 6 in. x 13 ft. 7 in. [$2800/3800]

926. Needlepoint Carpet, central field with light green ferns, floral border, 9 ft. x 11 ft. 12 in. [$700/900]

929. Persian Malayer Carpet, repeating motifs of lions and florals, 5 ft. x 9 ft. 7 in. [$1000/1500]

930. Persian Qashqai Carpet, red ground, three medallions, 5 ft. 4 in. x 8 ft. 4 in. [$1200/1800]

927. Aubusson‑Style Carpet, mustard ground, olive border, floral designs, 7 ft. 10 in. x 10 ft. [$400/600]

931. Two Persian Carpets, incl. a small antique, 3 ft. 2 in. x 5 ft.; and a semi‑antique runner, 2 ft. 9 in. x 12 ft. [$500/700]

932. Kashkuli Runner, signed, color bands, 2 ft. 8 in. x 8 ft. [$300/500]

934. Regency‑Style Mahogany Breakfront Secretary Bookcase, labeled “M.A. Berkey and Co., Est. 1881”, cove molded cornice, over astragal mullioned glazed doors, shelf interior, base with fitted secretary drawer over three graduated drawers, flanked by side cabinets, blocked base, h. 84 in., w. 65 in., d. 14 1/2 in. [$800/1200]

933. Persian Rug, flat weave, overall floral design, 7 ft. 11 in. x 10 ft. 8 in. [$500/700]

Provenance: Estate of Eunice Bate Coleman, New Orleans, LA

935. Pair of American Renaissance Carved Rosewood and Grained Settees, c. 1860, bowknot centered crest, shield shaped back, blocked acanthus scroll arms, turned tapered octagonal legs, casters, h. 45 in., w. 65 in., d. 32 in. [$8001200]

Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections. Additional information at www.nealauction.com

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936. American Renaissance Carved Mahogany Single Door Armoire, late 19th c., finialed crest, canted cove frieze, bust‑mounted shaped astragal molded mirror surround, ring and spiral turned corners, single lower drawer, shaped apron with pendant, egg and dart feet, h. 92 in., w. 43 in., d. 19 in. [$800/1200]

937. American Rococo Carved Mahogany Center Table, mid‑19th c., shaped white marble top, conforming apron, hexagonal standard, inset mirror panels, S scroll legs, h. 31 in., w. 42 in., d. 35 in. [$700/1000]

939. American Aesthetic Carved Mahogany Triple Bookcase, molded cornice, bowknot frieze with acorns and oak leaves, bowfront center section with conforming glazed door, shelf interior, glazed side cabinets, barley twist colonnettes over acanthine fluted supports, conforming base with three lower drawers, h. 76 1/2 in., w. 70 in., d. 21 in. [$1200/1400]

938. Pair of American Rococo Carved Rosewood “Fancy” Chairs, mid-19th c., New York, attr. to J. & J.W. Meeks, floral crest, pierced scrolled foliate back, centered by grapes and grapevines, shaped incised legs, h. 37 1/4 in., w. 15 1/2 in., d. 22 1/2 in. [$800/1200]

940. American Renaissance Walnut Octagonal Rent Table, frieze with eight faux drawers, carved dolphin supports, artichoke pendant, h. 30 1/2 in., w. 38 3/4 in., d. 38 3/4 in. [$800/1200]

941. American Rococo Carved and Laminated Rosewood Meridienne, c. 1850‑1860, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Henry Clay”, fruit and foliate crest, undulating scrolled tufted back, serpentine seat, conforming seat rail, rose‑carved cabriole legs, scrolled feet, h. 36 1/2 in., w. 42 in., d. 21 1/2 in. [$1000/2000]

942. Renaissance Carved Oak Metamorphic Server, late 19th c., hinged top creates gallery, two frieze drawers with relief carved floral and vine pulls, paneled back with central medallions, stepped base, paw feet, h. (closed) 39 1/2 in., h. (open) 58 in., w. 53 in., d. 21 in. [$400/600]

Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

943. American Renaissance Carved and Ebonized Pedestal, late 19th c., h. 44 in., w. 10 in., d. 10 in. [$250/350] Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

944. American Rococo Carved Rosewood Center Table, mid‑19th c., molded turtle top, floral and scroll apron with lobed pendants, acanthine baluster standard, acanthine cabochon scroll feet, h. 28 3/4 in., w. 52 in., d. 30 3/4 in. [$800/1200]

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945. American Classical Carved Mahogany Sofa Table, early 19th c., shaped drop‑leaf top, turreted frieze, trestle base with reverse tapered supports, scrolled legs, casters, h. 30 1/4 in., w. 25 in., d. 39 1/4 in. [$500/700]

946. Federal‑Style Inlaid Mahogany Pembroke Table, drop‑leaf top, frieze drawer, ellipse and spear point inlay, tapered legs, h. 28 in., w. (closed) 21 3/4 in., w. (open) 40 1/2 in., d. 32 1/2 in. [$400/600] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA, Ginsburg & Levy Inc., NY, 1975.

948. Continental Neoclassical Paint‑Decorated Bench, 19th c., out-scrolled arms, wave incised frame, square tapered stop‑fluted legs, h. 26 in., w. 78 in., d. 25 3/4 in. [$600/800] 947. Restauration Carved Mahogany Pier Table, early‑to‑mid 19th c., shaped marble top, blind frieze drawer, canted scrolled supports on paw feet, incurvate plinth base, bun feet, h. 34 in., w. 38 1/2 in., d. 16 1/4 in. [$800/1200]

949. Continental Mahogany Bibliotheque, early 20th c., bullnose cornice, beveled glazed doors, shelf interior, block feet, h. 71 in., w. 51 3/4 in., d. 19 in. [$400/600] 950. Antique Continental Polychromed and Parcel Gilt Dressing Table, kidney‑shaped rouge marble top, conforming case with 5 drawers, tapered fluted legs, decorated with floral sprays, h. 30 in., w. 47 1/4 in., d. 19 1/2 in. [$200/400]

951. French Restauration Bronze‑Mounted Mahogany Fauteuil, 19th c., scrolled back, padded arms with eagle’s heads, tapered square cabriole legs, paw feet, h. 39 3/4 in., w. 25 in., d. 25 in. [$500/700] Provenance: Schwitz Collection, Franklin, LA.

952. Napoleon III Bronze‑Mounted, Inlaid and Ebonized Parlour Cabinet, late 19th c., shaped marble top, cartouche paneled door with specimen hardstone bird and urn reserve, fluted columnar stiles, conforming base, h. 44 1/2 in., w. 34 1/2 in., d. 16 in. [$300/500]

953. French Art Deco Mahogany Bibliotheque, c. 1930, stepped top, molded cornice, glazed and paneled doors, shelf interior, shaped feet, h. 69 in., w. 41 in., d. 16 in. [$600/900] Provenance: Amsterdam Modernism.

Provenance: Schwitz Collection, Franklin, LA.

954. Pair of B & B Italia Beige Armchairs with Metal Frames, late 20th c., box form, loose cushion, tubular frames, h. 30 in., w. 40 1/2 in., d. 36 1/2 in. [$400/600]

Provenance: Collection of Wendy and the late George (1944‑2013) Rodrigue

955. Antique English Burl Walnut and Tunbridge‑Banded Lap Desk, 19th c., elaborate key motif, on a later stand, h. 26 in., w. 20 1/2 in., d. 10 3/4 in. [$400/600] Provenance: Whitehall Antiques, Chapel Hill.

956. Antique Regency‑Style Inlaid Mahogany Writing Desk, tooled leather top, single center drawer flanked by two fitted swing out compartments, opening to reveal two secret drawers, tapered legs, caps, casters, h. 28 in., w. 39 in., d. 19 in. [$300/500]

Additional information at www.nealauction.com

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958. Antique Irish Carved Mahogany Pole Screen, later needlepoint panel, spiral finial, acanthine tripod base, paw feet, h.57 in., w. 22 1/2 in. [$100/200]

Provenance: Selma Plantation, Washington, MS. 957. Antique English Chest of Drawers with Later Paint Decoration, top painted with H.M.S. Aurora in oval rope framed reserve, three graduated long drawers bearing depictions of various ships, bracket feet, note condition, h. 30 1/2 in., w. 38 in., d. 20 1/2 in. [$400/600]

959. Louis XV‑Style Paint-Decorated Commode, molded top, frieze drawer over two long drawers, foliate knees, scrolled toes, h. 33 1/4 in., w. 54 in., w. 23 3/4 in. [$600/800]

961. Antique Louis XVI‑Style Bronze‑Mounted Vitrine, galleried top, caryatid mounts, serpentine case, cabriole legs, sabots, h. 60 in., w. 32 1/2 in., d. 15 1/2 in. Note: no shelves. [$400/600]

Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

960. Napoleon III Ebonized Bronze‑Mounted Cabinet, c. 1875, shaped molded top, conforming case, frieze and doors mounted with Sevres-style porcelain plaques, h. 42 1/2 in., w. 56 1/2 in., d. 18 in. [$800/1200]

Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

962. Pair of Louis XVI‑Style Carved Mahogany Fauteuils, square padded back, padded scrolled arms, rosette blocked seat rail, stop-fluted tapered legs, toupie feet, h. 37 in., w. 26 in., d. 21 1/2 in. [$500/750]

964. Six Antique Dutch Queen Anne‑Style Parcel Ebonized and Carved Oak Side Chairs, shaped crest rail, vasiform splat, cabriole legs, pad feet, h. 40 in., w. 18 1/2 in., d. 17 in. [$200/400]

965. Antique Italian Rococo‑Style Carved Fruitwood Daybed, out-scrolled headboard and foot board, serpentine foliate carved rails, shaped feet, h. 35 1/4 in., w. 71 1/2 in., d. 31 in. [$200/400]

963. Louis XVI‑Style Mahogany Demilune Commode, later blue granite top, stop‑fluted frieze with drawer, paneled cabinet doors, tapered legs, h. 37 1/2 in., w. 56 3/8 in., d. 24 1/4 in. [$400/600] 966. Adolfo Dumini (Italian, b. 1863), “Happy Couple Reading the Paper”, oil on canvas laid on metal, signed upper left, 9 1/2 in. x 7 1/4 in., framed. [$600/800]

967. A. Belardinelli (Italian, 20th c.), “Canal in Venice”, oil on canvas, signed lower right, 39 in. x 27 in., framed. [$300/500]

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968. Continental School, early 20th c., “Nude in the Bedroom”, oil on panel, illegibly signed lower right, 8 3/4 in. x 6 1/2 in., framed with brass artist plaque. [$700/1000]

971. Belgian Ceramic Covered Vase by La Maitrise de Nimy, c. 1940, signed, incised decoration in gilt and polychrome, h. 19 1/4 in., dia. 7 1/4 in. [$300/500]

969. Jean Pierre Alaux (French, b. 1925), “Portrait of a Woman”, oil on canvas, signed lower left, “Galerie Drouant, Paris” label on stretcher, 16 1/4 in. x 13 in., framed. [$200/400]

973. Pair of Antique Nymphenburg Porcelain Commedia dell’Arte Figures of Julia and Pantalone, impressed shield marks, after designs by Franz Anton Bustelli, impressed “11” and “0”, h. 8 1/4 in., w. 4 1/2 in., d. 4 1/2 in.; and “57” and “0”, h. 7 in., w. 3 in., d. 4 in. [$300/500]

Provenance: L’Art de Vivre, New York.

970. Theodoros Stamos (American/Greek, 1922‑1997), “Untitled”, serigraph, pencil‑signed lower left, pencil‑numbered “117/125” lower right, from the Lefkada series, 24 in. x 30 3/4 in., framed. [$200/300]

974. Pair of American Late Classical Bronze Six‑Light Candelabra, mid‑19th c., possibly Cornelius & Company, Philadelphia, foliate arms, columnar standard, stepped base, h. 27 in., overall w. 18 in. [$300/500]

976. German Jugendstil Enamel and Metal Dinanderie Vase, c. 1927, marked “WMF/ IKORA”, h. 8 3/4 in., dia. 6 1/2 in. [$200/300]

975. Monticello Mahogany Revolving Tabletop Bookstand, with 5 adjustable book supports, closed h. 12 3/4 in., w. 12 1/2 in., d. 12 1/2 in.; together with pair of neoclassical carved and painted wall brackets, h. 9 1/2 in., w. 7 1/4 in., d. 3 1/2 in. [$300/500]

Provenance: Kelly Gallery, NY.

978. Billy Haines Chinese‑Style Bisque Pottery Table Lamp, mid‑20th c., body with applied lotus relief decoration, wood cylinder base, h. (incl. socket) 22 in. [$500/700]

977. Continental Polychromed Terracotta Figure of a Moorish Woman, early 20th c., in the style of Frederic Goldscheider, base incised “264”, h. 36 1/2 in., w. 15 in., d. 14 in. [$700/900]

Provenance: Christie’s, New York, Property from the Estate of Armand & Harriet Deutsch, September 7, 2006, lot 1072.

977A. Continental Polychromed Terracotta Figure of a Moorish Woman, early 20th c., in the style of Frederic Goldscheider, impressed “Copywrite 1900”, h. 31 1/2 in., w. 11 1/2 in., d. 8 1/2 in. [$700/900]

980. Patinated Bronze Figure of Seated Young Man, 19th c., after “Spinario”, unsigned, h. 10 in., bronze base, overall h. 11 1/4 in. [$200/400]

972. Pair of French Art Nouveau Mixed‑Earth Pichon Baluster Vases, c. 1880, impressed mark “Pichon a Uzes”, contrasting clay colors in blue, green, brown, red and cream, h. 14 1/4 in. [$300/500]

979. Billy Hainese White Glazed Porcelain Table Lamp, c. 1959, tapered form, painted wood base, h. (incl. socket) 25 in. [$500/700]

981. Patinated Bronze Figure of a Conquistador, unsigned, h. 21 1/2 in. [$200/400]

982. French Bronze‑Mounted Rosewood and Marquetry Portico Clock, 19th c., foliate bezel, harp pendulum, h. 20 1/2 in., w. 10 1/2 in., d. 6 1/4 in. [$400/600] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

Additional information at www.nealauction.com

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985. Continental Hardwood Plate Rack, spurred cornice, four galleried shelves, h. 45 in., w. 47 1/2 in., d. 14 1/2 in. [$200/400] 983. French Black Marble Mantel Clock, 19th c., striking gong movement, case with incised decoration, h. 12 1/2 in., w. 11 1/4 in., d. 6 1/2 in. [$300/500] Provenance: Schwitz Collection, Franklin, LA.

984. American Rococo Carved Mahogany Center Table, molded turtle top, acanthus scrolled cabriole legs, scrolled stretcher, casters, h. 29 in., w. 51 in., d. 28 in. [$700/1000]

986. Pair of Louis XV‑Style Carved Mahogany Fauteuils, padded back, arms and seat, cabriole legs, h. 36 in., w. 24 in., d. 25 1/2 in. [$400/600]

988. Antique French Stool, upholstered seat, nailhead trim, incised foliate and scroll apron, barley twist legs, stretcher, h. 17 in., w. 21 1/4 in., d. 13 1/2 in. [$200/400]

987. Pair of Regence-Style Fruitwood Fauteuils, foliate and cabochon crest, padded arms, cabriole legs, foliate toes, h. 37 1/4 in., w. 29 1/4 in., d. 28 in. [$500/700]

Provenance: Jacqueline Adams Antiques, Atlanta.

990. Antique Louis XV‑Style Giltwood Bergère, floral carved crest, padded arms, cabriole legs, h. 34 1/2 in., w. 29 in., d. 20 1/2 in. [$200/400]

989. Louis XVI‑Style Kingwood Parquetry Armoire, 19th c., finialed cornice, leaf and berry frieze, fluted colonnettes, beveled mirrored door, tapered ring turned feet, h. 93 in., w. 42 1/4 in., d. 20 in. [$400/600]

991. Continental Rococo‑Style Carved and Painted Armchair, mid‑20th c., wing‑back, dolphin figural arms, cabriole legs, custom Bergamo upholstery, h. 31 1/2 in., w. 28 in., d. 37 in. [$300/500] 992. Bronze Figural Group of a Doe and Fawn on a Riverbank, indistinctly signed and dated “06” on self-base, h. 6 1/4 in., w. 7 3/8 in., d. 4 3/4 in., mounted to a faux wood plinth, overall h. 7 3/8 in., w. 10 1/8 in., d. 7 5/8 in. [$300/500]

993. Art Nouveau Bronze Figural Lamp, cast as a female nude holding a lotus flower aloft, footed circular stand inset with onyx, h. (incl. socket) 21 in. [$200/300]

994. Neoclassical‑Style Gilt Bronze‑Mounted Amphora Table Lamp, octagonal base, h. (to socket) 28 in., dia. 6 1/2 in. [$400/600]

995. Antique English Mahogany Tilt‑Top Breakfast Table, late 19th c., molded oval top, bulbous‑turned standard, arched scrolled legs, casters, h. 29 in., w. 55 in., d. 46 1/2 in. [$300/500]

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996. William IV Mahogany Writing Table, mid‑19th c., molded top, two frieze drawers, turned tapered legs, toupie feet, casters, h. 30 in., w. 42 in., d. 21 1/2 in. [$300/500] Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

997. English Comb-Back Elm Windsor Chair, spindled supports, plank seat, bulbous stretchers, ring turned legs, h. 39 1/2 in., w. 21 3/4 in., d. 23 in. [$300/500]

998. Antique Mahogany Writing Table, inset red leather top with canted corners, frieze drawers, turned legs, h. 28 1/2 in., w. 50 1/2 in., d. 47 in. [$200/400]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

999. Chris Dennis (British, 20th c.), “Suffocates III”, 2009, oil on panel, signed, titled and dated en verso, artist card attached en verso, 10 in. x 8 in., unframed. [$150/250]

1000. After Knute Heldner (Swedish/Louisiana, 1877‑1952), “Banjo Annie”, “Fort McComb”, “Bread Line”, “Nude” and “The Family”, 5 etchings, each pencil‑signed and titled lower margin, printed by Whisnant Galleries from the original copper plates, sheets 11 in. x 14 5/8 in. to 15 in. x 11 1/16 in., unframed. (5 pcs.) [$400/600]

1001. French Quarter Prints, “Pirates Alley”, “The Brulatour Courtyard” and “French Quarter Courtyard”, 1936, 3 etchings on paper, each unsigned, one dated and inscribed on backing paper, sheets 7 in. x 5 in., framed alike. (3 pcs.) [$200/300]

1002. Dora Henley Going (American/ Mississippi, 1916‑2016), “Hay Time” and “While the Sun Shines”, 2 silver gelatin prints, each pencil‑signed and titled on matting, “Birmingham Camera Club” labels with artist and title and inscriptions on backings, both 11 in. x 14 in., framed alike. (2 pcs.) [$150/250]

1006. Arts and Crafts Hand Hammered Copper Vase, c. 1900, Aladdin form, h. 13 3/4 in., dia. 6 1/4 in. [$200/400]

1005. Gilbert Portanier for Rosenthal Ceramic Bowl, c. 1970, h. 8 1/2 in., dia. 10 1/4 in. [$150/250]

1003. Shadyside Pottery Vase, late 20th c., New Orleans, swamp landscapes design, h. 12 1/2 in., dia. 9 in. together with Shearwater art pottery vase, 1993, decorated with green and purple glaze, h. 10 in., dia. 4 1/2 in. [$200/400]

1007. Gilt and Mother of Pearl Magnifying Glass, antique and later, marked “DONEGAN OPTICAL U.S.A.”, l. 17 1/4 in., dia. 4 1/8 in. [$250/350]

1004. American School Contemporary Pottery Vase, 20th c., crescent form, h. 14 in., w. 38 in., d. 7 in. [$250/350] Provenance: TOJ Gallery, Annapolis, MD.

1008. Two Continental Gilt Metal Mounted Opaline Glass Dresser Boxes, c. 1900, one octagonal coffer‑form, h. 6 1/4 in., w. 7 in., d. 4 1/8 in., other Moser‑style with yellow swirl and enamel foliate decoration, h. 4 1/2 in., w. 4 1/4 in., d. 2 3/4 in. [$600/900]

Provenance: TOJ Gallery, Annapolis, MD.

1009. Continental Silvered Metal‑Mounted Agate Dresser Box, hinged lid, h. 1 5/8 in., w. 3 1/2 in., d. 2 3/4 in.; together with agate seal, h. 1 1/2 in., w. 3 1/2 in., d. 2 3/4 in. [$200/300]

1010. Antique Continental Gilt Bronze‑Mounted Leather Dresser Box, velvet lined interior, hinged lid, h. 1 3/4 in., w. 4 in., d. 2 3/4 in. [$200/300]

Additional information at www.nealauction.com

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1011. Pair of French Bronze Candlesticks, 18th c., acanthus and turned standards, scroll feet embellished with putto masks, h. 13 3/4 in. [$200/300]

1014. American Art Nouveau Sterling Silver Bowl, Meriden trademark (became International 1898), shallow lobed circular form having embossed lilies on the flared shaped rim, h. 2 1/2 in., dia. 11 1/2 in., wt. 17.35 troy ozs. [$200/400]

1012. Late Georgian Mother‑of‑Pearl Inlaid Rosewood Sarcophagus-Form Tea Caddy, 19th c., interior with two lidded compartments, h. 5 3/4 in., w. 8 1/2 in., d. 5 in. [$200/300] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

1013. Silverplate Lighthouse‑Form Cocktail Shaker, spurious hallmarks, h. 13 7/8 in. [$400/600]

Provenance: Williamson‑LeBlanc Collection, Cornstalk Fence House, New Orleans.

1015. Wallace “Rose Point” Pattern Sterling Silver Flatware Service, pat. 1934, incl. 14 each: dinner forks (l 7 5/8 in.), dinner knives (l. 9 3/4 in.), salad forks and cream soup spoons; 6 cocktail forks, 20 teaspoons, place fork and knife, butter spreader (fh), tablespoon, gravy ladle and child’s spoon total wt. (weighable) 82.90 troy ozs. (88 pcs.) [$1000/1500]

1019. Group of American Victorian Sterling Silver Serving Pieces, incl. a fish serving knife and fork, Frank M. Whiting, “Josephine” pattern; a J.B. Knowles serving spoon, a Whiting “Duke of York” tablespoon, and a Gorham “Old English Tipt” pattern tablespoon and pierced tablespoon, (6 pcs.), total wt. 15 troy ozs. [$200/300]

1023. English Silverplate Coquiform Biscuit Box, James Dixon & Sons, Sheffield, act. 1804‑1992, h. 10 3/4 in., w. 9 1/4 in. [$300/500]

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1016. American Sterling Silver Pedestal Bowl, Gorham, date mark for 1878, pattern 1276, anthemion border, reserved with an engraved Gothic “C”, h. 3 1/4 in., dia. 8 1/2 in., wt. 13 troy ozs. [$200/400]

1017. English Silverplate Biscuit Box, Lee & Wigfall, Sheffield, 20th c., hinged cover, h. 9 1/8 in., w. 8 in. [$300/500]

1020. Group of American Victorian Sterling Silver Serving Pieces, various makers and patterns, incl. 2 berry spoons, Gorham “Old Medici” pattern, introduced c. 1880; 2 tablespoons and 2 pierced tablespoons, Whiting “Heraldic” pattern, introduced 1880; a tablespoon and a pierced tablespoon, Whiting “Berry” pattern, introduced c. 1880; a tablespoon, Towle “Pomona” pattern, introduced 1887; a tablespoon and pierced tablespoon, Dominick & Haff “Labors of Cupid”; and a sardine fork, floral motif hollow handle, (12 pcs.), total wt.(weighable) 27 troy ozs. [$300/500]

1018. Group of American Sterling Silver Serving Pieces, various makers and patterns, incl. a carving knife and fork, Theodore B. Starr, cherub motif; a tablespoon, Shiebler “Montezuma” pattern; a serving spoon, Wallace “Cherub” pattern; a tablespoon, Gorham “Mask” pattern; two tablespoons, Gorham “Baronial” pattern; a serving spoon, Shiebler “Gothic” pattern; and a Renaissance Revival serving spoon, (9 pcs.), total wt. (weighable) 11 troy ozs. [$150/250]

1021. Antique Continental Silverplate Compote and Cover, reticulated fruit, vine and leaf decoration, cobalt blown glass liner, h. 8 5/8 in., dia. 8 3/4 in. [$150/250]

1022. Continental Silverplate Three‑Light Bouillotte Lamp, 20th c., adjustable tole shade, fluted standard, electrified, h. 25 in., dia. 14 1/2 in. [$150/250]

Provenance: Estate of James H. Stone, New Orleans, LA.

1024. Cased Victorian Sterling Silver Child’s Flatware Set, Yapp & Woodward, mark reg. 1849, hollow handles, fitted presentation case with engraved silver shield. [$150/250]

1025. Decorative Silverplate and Marble Citrus Press, h. 11 3/4 in., w. 9 1/2 in. [$300/500]

1026. Edwardian Silverplate Cruet Stand, c. 1910, with condiment bottles, h. 10 in. [$150/250]

1027. Cased Set of George V Sterling Silver Teaspoons, Cooper Brothers and Sons Ltd., Sheffield, 1924, “Old English” pattern, teaspoon l. 4 1/4 in., total wt. 5.30 troy ozs. [$100/200]

1028. Churchill Downs “Crown Royal American Turf” Silverplate Racing Trophy, won by Royal Strand on May 2, 1997, footed bowl with lion’s mask and ring handles, h. 8 in., w. 11 3/8 in.; together with an antique English silverplate revolving breakfast tureen, now mounted on a wood base, probably as a racing trophy. [$150/250]

1029. Four Gilt and Patinated Metal Sconces, 20th c., scroll and leaf standard, with hand suspending a ring held by a hand, electrified, h. 25 in., w. 7 in., d. 12 in. [$600/800]

Provenance: Estate of James H. Stone, New Orleans, LA.

1030. Continental Gilt Metal and Crystal Six‑Light Chandelier, scrolled arms embellished with beads, h. 32 in., dia. 32 in. [$500/700]

1032. Lino Tagliapietra (Italian, b. 1934), “Dinosaur”, hand‑blown glass, 2001, signed on bottom, h. 32 in., w. 13 in., d. 6 1/4 in. Note: Loss. [$300/500]

1033. Pair of Durand Threaded Blue Glass Vases, early 20th c., h. 6 1/8 in., dia. 5 1/2 in. [$600/900]

1031. Two Baccarat Crystal “Harmonie” Vases, acid etched marks, h. 12 in. and 7 in. [$250/350]

1035. Pair of Large Steuben Glass “Quatrefoil” Bowls, etched marks, model #8228, designed 1968 by George Thompson, h. 3 3/4 in. and 3 7/8 in., dia. 10 7/8 in. [$300/500]

1034. Pair of Steuben Glass “Star Spangled” Bowls, etched marks, model #8114, designed 1961 by George Thompson, h. 4 in. and 4 1/8 in., dia. 10 1/8 in. and 10 1/4 in., one accompanied by original Marshall Field & Company “Steuben Glass Room” box with attached gift receipt from 1966. (3 pcs.) [$300/500]

1036. Steuben Glass “Snail‑Scroll” Sugar Bowl and Cream Pitcher, etched marks, models #7941 and #7942, designed 1947 by Irene Benton, h. 2 7/8 in., w. 5 1/4 in. and h. 3 1/8 in., w. 5 in. (2 pcs.) [$200/300]

1037. Pair of Steuben Glass “Snail‑Scroll” Olive Dishes, etched marks, model #7857, designed 1939 by John Dreves, h. 3 1/2 in. and 3 3/4 in., w. 6 in. and 6 1/8 in., d. 5 1/4 in. [$200/300]

1039. Lorraine Art Glass Vase, early 20th c., marked “Lorraine Made in France”, h. 8 in., dia. 7 3/4 in. [$300/500]

1038. Pair of Steuben Glass “Low Footed” Bowls, etched marks, model #7967, designed 1942 by John Dreves, scroll feet, h. 3 in. and 3 1/8 in., dia. 8 in. [$200/300]

1041. Pair of Monumental Gilt Metal‑Mounted Glass Covered Apothecary Urns , h. 38 in., dia. 12 in. [$200/300] 1040. Four Murano Glass Cornucopia Table Ornaments, 20th c., h. 5 1/2 in. to 5 3/4 in., l. 7 1/2 in. to 7 3/4 in. [$250/350]

1042. Steuben Glass Footed Bowl, marked, h. 4 1/2 in., dia. 12 1/2 in. [$200/300]

Provenance: Estate of James H. Stone, New Orleans, LA.

1043. Painted Cast Iron Garden Figure of a Reclining Mermaid, h. 17 in., l. 38 in., d. 13 in. [$400/800]

Additional information at www.nealauction.com

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1045. French Verdigris Wrought Iron Garden Table, inset glass top, scrolled supports, elliptical stretchers, scroll feet, h. 29 1/4 in., w. 84 in., d. 45 in. [$400/600] Provenance: Bush Antiques, New Orleans.

1044. Rococo Cast Iron Garden Console Table, later marble top, h. 28 in., w. 40 1/2 in., d. 21 in. [$800/1200]

1046. Provincial‑Style Verte Peinte Window Bench, outswept arms, baluster turned stretchers, shaped apron, cabriole legs, button tufted upholstery, h. 26 1/4 in., w. 49 in., d. 15 3/4 in. [$100/200]

1047. Spanish Carved Fruitwood Refectory Table, 19th c., three board top, single foliate carved drawer, baluster turned legs, lappet decorated stiles and stretchers, rosette blocks, turned feet, h. 32 1/4 in., w. 25 1/4 in., d. 27 in. [$400/600]

1048. American School, early 20th c., “Swamp Scene”, oil on board, illegibly signed lower right, “Banco Municipal de la Cuidad de Buenos Aires” label en verso, 19 in. x 15 5/8 in., framed. [$800/1200]

Provenance: Collection of Wendy and the late George (1944‑2013) Rodrigue.

1050. P. Sanders McNeal (American/Mississippi, b. 1949), “Double Wedding”, 1993, oil on canvas, signed and dated lower right, titled on “Brown’s Fine Art and Framing, Jackson, MS” label on backing paper, 24 in. x 16 in., framed. [$800/1200] 1049. Chris Burkholder (American/Texas, b. 1952), “Marshy Landscape”, 1986, pastel on paper, pencil‑signed and dated lower left, “Harris Gallery, Houston” label on backing, 19 11/16 in. x 25 3/4 in., framed. [$400/600]

1051. Zella Funck (American/Louisiana, 1917‑2009), “Servants of the Holy Eucharist: Cities of the Dead Series”, 1975, ink on Japanese paper mounted to board, signed, dated and inscribed lower right, pencil‑signed, titled, dated, inscribed and “Friends of the Cabildo” label on mounting board, 16 in. x 34 15/16 in., framed. [$800/1200] Provenance: Sold to benefit Save Our Cemeteries, New Orleans, LA

1052. Camille Ford Maher (American/ Louisiana, 1914‑2007), “New Orleans Cemetery”, mixed media collage on wood, signed lower right, 20 in. x 29 in., framed. [$400/600] Provenance: Sold to benefit Save Our Cemeteries, New Orleans, LA.

1054. Edmund “Ed” Blouin, Jr. (American/ New Orleans, b. 1941), “Pirate’s Alley”, oil on canvas, signed lower right, 14 in. x 11 in., framed. [$400/600]

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1055. Eve Gonsoulin Segura (American/Louisiana, 1913‑2009), “St. John Refinery at St. Martinville, LA”, watercolor on paper, signed lower left, label with title and inscribed “By Eve Segura, Loreauville, property of Buddy Bordelon” on backing, 15 in. x 22 in., framed. [$150/250]

1053. Scott Turk (American/New Orleans, 20th c.), “Visiting the Cemetery”, 2017, watercolor on paper, signed and dated lower right, sheet 12 in. x 15 in., unframed. [$300/500] Provenance: Sold to benefit Save Our Cemeteries, New Orleans, LA.

1056. John Reed Campbell (American/Louisiana, 1925‑1997), “Hay Barn”, oil on canvas, signed lower right, 11 in. x 14 in., framed. [$500/700]

1057. John Reed Campbell (American/Louisiana, 1925‑1997), “Cabin with Oak Trees in the Bayou”, oil on canvas, signed lower right, 8 in. x 10 in., framed. [$500/700]

1058. Nolan Braud (American/Louisiana, 20th c.), “Bayou Landscape with Live Oak”, mixed media on canvas board, signed lower left, 16 in. x 20 in., framed. [$500/700]

1059. Zella Funck (American/Louisiana, 1917‑2009), “Jefferson Fire Company No. 22, Lafayette Cemetery #1”, 1976, watercolor on paper, signed lower right, titled lower left, pencil‑signed, titled, dated and inscribed en verso, from the “New Orleans Cemeteries” Series, 22 1/4 in. x 30 in., unframed. [$400/600] Provenance: Sold to benefit Save Our Cemeteries, New Orleans, LA.

1060. Nancy Hirsch Lassen (American/ New Orleans, 20th c.), “Untitled Abstract in Brown and Tan”, mixed media on canvas, signed lower right, 23 7/8 in. x 23 7/8 in., unframed. [$500/700]

1064. Rhea Gary (American/Louisiana, 20th c.), “Wetland Landscapes”, 3 oils on paper, 2 signed lower left, one signed lower right, 10 1/4 in. x 10 in. to 12 in. x 10 in., framed alike. (3 pcs.) [$500/700]

1061. Charles A. Janvier (American/ Louisiana, 1832‑1897), “Out in the Country” and “Parlor Scene”, 1889, oil on canvas and oil on board respectively, both signed and dated lower left, one with “W.E. Seebold, New Orleans” label on frame, each 10 in. x 12 1/4 in., framed. (2 pcs.) [$400/600]

1062. Rolland Harve Golden (American/ New Orleans, 1931‑2019), “Smokestacks”, 1965, graphite on paper, pencil‑signed and dated lower center, signed and dated right margin, 4 1/4 in. x 8 1/8 in.; “By The Tracks”, 1968, graphite on paper, pencil‑signed and dated lower right, 8 13/16 in. x 7 1/4 in.; and “Watermelons for Sale”, graphite on paper, pencil‑signed lower left, 8 1/2 in. x 6 3/4 in., framed alike. (3 pcs.) [$300/500]

1063. Helen Prickett (American/New Orleans, 20th c.), “Trucks of New Orleans (New Orleans’s Market)”, watercolor on paper, signed and inscribed “New Orleans” lower left, titled lower left on matboard and en verso, 10 in. x 14 in., framed. [$300/500]

1065. Paul Strisik (American/Massachusetts, 1918‑1998), “Woodward’s Wharf”, 1988, oil on canvas, signed and dated lower right, artist label with title on stretcher, 18 in. x 20 in., framed. [$800/1200] 1066. Clyde Aspevig (American/Montana, b. 1951), “The Black Sailor”, 1988, oil on canvas, signed lower left, titled on stretcher, “Grand Central Art Galleries, Inc., New York” label with artist, title and date on backing board, 22 in. x 28 in., framed. [$2500/3500]

1067. Joe Gray II (American/Ohio, 20th c.), “Houses”, 1950, oil on canvas, signed lower right, signed and dated en verso, 22 1/4 in. x 27 1/8 in., framed. [$800/1200]

1068. Paul Strisik (American/ Massachusetts, 1918‑1998), “Morgan’s Hollow”, 1988, oil on canvas, signed and dated lower left, artist label with title on stretcher, 20 in. x 30 in., framed with artist and title plaque. [$800/1200]

Additional information at www.nealauction.com

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1069. James Avati (American/New York, 1912‑2005), “Oriental Romance”, oil on masonite, signed lower left, titled en verso, 30 in. x 30 in., framed in oval mat. [$1800/2500]

1070. Richard “Dickie” Doyle (British, 1824‑1883), “Enter, an Elf in Search of A Fairy”, “He Finds Her, and this is the Consequence” and “She Runs Away, and this is His Condition”, c. 1870, 3 ink and watercolors on paper, each initialed lower left, 2 pencil‑signed en verso, from In Fairyland: A Series of Pictures from the Elf‑World, each 10 in. x 8 in., framed together. [$800/1200] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

1073. Gray Layton (American/Mississippi, 20th c.), “Conversation I”, mixed media collage on paper, signed lower right, partial signature and partial title on backing, 18 7/8 in. x 14 1/2 in., framed. [$200/400]

1072. Theodore Demerest Coe (American/ Florida, 1866‑1958), “Autumn Landscape”, oil on canvas, signed lower right, 16 in. x 20 in., framed. [$200/400]

1076. Mark Bercier (American/New Orleans, b. 1950), “Baby’s First Home”, 2000, oil on canvas, signed lower left, signed, titled and dated en verso, 40 in. x 30 in., unframed. [$300/500]

1071. Emmitt Thames (American/ Mississippi, b. 1933), “Cabin with Two Citrus Trees”, 1971, watercolor on paper, signed and dated lower right, 22 1/4 in. x 30 in., framed. [$200/300]

1074. Philip Harrison (American/New Orleans, 20th c.), “Banana Warehouse, New Orleans”, 1958, ink on paper, signed, titled and dated lower right, 13 3/4 in. x 11 in., framed. [$150/250]

1077. Patinated Tin Horse Weathervane on Stand, h. 27 1/2 in., w. 25 in., d. 5 1/2 in. [$300/500]

1075. Elva Jane Hawkins (American, 20th c.), “Camping on the Bayou”, oil on board, signed and inscribed lower right, 12 1/4 in. x 18 1/2 in., framed. [$200/300] 1078. Pair of American Cast Iron Garden Urns, 19th c., bird motif, associated plinth base, h. 24 3/4 in., w. 17 in., d. 17 in. [$200/400]

Provenance: Collection of Charles S. and the late Janie P. Houser, The Governor’s Club, Magnolia Springs, AL.

1079. Pair of Cast Iron Oblong Garden Planters, pierced lattice panels, pad feet, metal liners, h. 12 1/2 in., w. 25 1/2 in., d. 10 1/4 in. [$300/500]

1080. Pair of American Cast Iron Campagna-Form Garden Urns, square plinth base, h. 16 3/4 in., dia. 11 in. [$300/500]

1081. Pair of Large Bronze Garden Figures of Cranes, one upright, one feeding, taller h. 38 in., w. 6 3/4 in., d. 19 in. [$600/900]

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1082. Pair of New Orleans Wrought Iron Window Grilles, 19th c., New Orleans, scroll design, rustic molded wood frame, h. 30 1/4 in., w. 43 in., d. 2 1/2 in. [$800/1200]

1083. Copper Wash Machine Tub, now a beverage cooler, flanged lip, barrel form, tap valve for draining, iron stand, casters, h. 32 in., dia. 24 1/2 in. [$400/600]

1086. Kuni Tripathy (American/ Louisiana, 20th c.), “Sidewalk View”, oil on canvas, signed lower right, 16 in. x 20 in., unframed. [$300/500]

1093. Antique American Pine Hutch, molded cornice, scalloped frieze, two plate shelves, shaped molded top, three outset drawers, side cabinets, toupie feet, h. 84 3/4 in., w. 55 in., d. 18 in. [$600/900]

1084. Puerto Rican School, 20th c., “Island Market”, lithograph on paper, initialed “RL” in plate, inscribed “Island House, Ashford, P.R.” on backing, sheet 16 in. x 21 1/4 in., matted. [$150/250]

1087. James Steg (American/Louisiana, 1922‑2001), “Head”, 1993, mixed media on paper mounted on panel, signed lower left, incised signature and date lower right, 11 in. x 16 3/4 in., framed. [$300/500

1090. Southern Cypress Server, mid‑to‑late 19th c., molded dished marble top, two frieze drawers, over cabinet doors, shelf interior, block base, h. 38 3/4 in., w. 50 in., d. 21 1/4 in. [$400/600]

1085. Lorenzo Bergen (Dominican/New Orleans, b. 1951), “At the Trap”, 1973, silkscreen on paper, pencil‑signed, titled, dated and numbered “56/60” lower margin, sheet 26 1/4 in. x 20 in.; together with Robert Gordy (American/Louisiana, 1936‑1986), “Mardi Gras 1980 New Orleans”, 1979, poster, signed and numbered “177/850” lower margin, 32 1/2 in. x 22 in.; “Arthur’s 3005 Michael A. Ledet” exhibition poster, pencil‑signed by Michael Ledet, 24 in. x 18 in.; “Ida Kohlmeyer 30 Years Retrospective Exhibition” poster, sight 35 1/2 in. x 23 1/2 in., one framed. (4 pcs.) [$100/150]

1088. Shine and William “Leroy’s Boys” Sonnier (American/Louisiana, 20th c.), “Heaven and Hell”, 2006, mixed media and oil on sheet metal, signed, titled and dated with sketches en verso, 28 1/8 in. x 27 3/4 in., unframed. [$200/300]

1091. American Late Classical Carved Mahogany Slipper Settee, mid‑19th c, serpentine back, inset serpentine seat, bracket feet, h. 30 1/4 in., w. 39 in., d. 23 1/2 in. [$300/500]

1094. Southern Walnut Pie Safe, 19th c., scallop molded opening, shelf interior, now glazed as a display cabinet, h. 74 3/4 in., w. 42 3/4 in., d. 19 3/4 in. [$400/600]

1089. Shine and William “Leroy’s Boys” Sonnier (American/Louisiana, 20th c.), “Tribute to David Butler”, 2003, oil and mixed media on corrugated metal, signed and inscribed “82” lower right, signed, titled, dated and inscribed en verso, 26 3/4 in. x 50 1/2 in., unframed. [$300/500]

1092. American Centennial Carved Mahogany Banquet Table, late 19th c., gadrooned top, fluted octagonal vasiform base, acanthus carved legs, h. 30 in., w. (closed) 60 1/2 in., w. (open) 135 1/2 in., d. 60 in. [$1200/1400]

1095. Southern Pine Chest, 19th c., two over three graduated drawers, scrolled bracket feet, old distressed paint surface, h. 41 1/2 in., w. 42 in., d. 20 in. [$200/400]

1096. American Walnut Gun Cabinet, late 19th c., molded cornice, two glazed arched doors, 9 gun slots, paneled base with four doors, h. 95 in., w. 57 in., d. 16 1/4 in. [$300/500]

Additional information at www.nealauction.com

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1098. American Federal Carved Cherrywood Corner Cupboard, early 19th c., stepped cornice, upper section with open shelves and scalloped surround, lower paneled door, serpentine base, h. 66 1/2 in., w. 24 1/2 in., d. 24 1/2 in. [$200/400]

1097. Antique Queen Anne‑Style Oak and Inlaid Dresser Base, three drawers, shaped pierced apron, cabriole legs, spade feet, h. 35 in., w. 66 1/2 in., d. 18 in. [$300/500]

1099. American Classical Mahogany Four Post Bedstead, scrolled headboard, reverse tapered ring turned octagonal posts, shaped rails, toupie feet. [$700/1000] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

1101. Six Chippendale‑Style Mahogany Dining Chairs, incl. two armchairs and four side chairs, foliate shell crest, pierced splat, foliate knees, cabriole legs, ball and claw feet, armchair h. 39 in., w. 24 1/2 in., d. 24 in., side chair h. 37 1/2 in., w. 19 3/4 in., d. 21 1/2 in. [$500/700]

1100. Large Pine Circular Dining Table, molded top, reverse tapered standard, incurvate triangular base, bun feet, h. 30 in., w. 72 in., d. 72 in. [$400/600]

1102. Italian Patinated Plaster Wall Relief depicting Roman Ruins, h. 40 in., w. 60 in., d. 4 in. [$300/500]

1103. French Provincial Carved Walnut Candlebox, sliding cover, with relief of musical trophée, h. 16 1/2 in., w. 7 in., d. 4 1/2 in. [$300/500]

1104. Continental Patinated Bronze Figural Lighter, c. 1900, lidded cherub head opens to filler cap, arm holding the torch, socle base, h. 7 3/4 in., dia. 4 1/4 in; together with pair of bronze Classical maiden bust furniture mounts, h. 6 1/4 in., w. 3 1/4 in., d. 4 1/4 in. [$150/250]

1105. Sevres‑Style Gilt, Bisque and Glazed Porcelain Cachepot, with ram’s heads and Classical frieze, body molded with procession of dancing putti, h. 5 3/4 in., dia. 6 3/4 in. [$300/500] Provenance: Gerald Tomlin Antiques, Dallas, 1996.

1106. Pair of Continental Patinated and Gilt Metal Columnar Lamps, Corinthian capitals, stepped bases, h. (to socket) 27 in., w. 7 in., d. 7 in. [$500/700]

1107. Empire‑Style Patinated Plaster Figural Lamp, Classical figure beside a winged lion, flame form shade, h. 43 in., w. 15 in., d. 13 in. [$500/700] Provenance: Schwitz Collection, Franklin, LA.

1108. Waterford Cut Crystal “Millennium” Ice Bucket, marked, h. 10 1/2 in., dia. 9 1/2 in. [$150/250]

1110. Louisiana School, 20th c., “Field of Sugarcane at Sunset”, 2002, oil on canvas, illegibly signed lower right, initialed “M.P.” and dated en verso, 12 in. x 16 in., unframed. [$200/300]

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1111. Mahrea Cramer Lehman (American/Mississippi, 1896‑1991), “Choir Singles”, watercolor on paper, pencil‑signed mid‑left, titled lower left, 9 in. x 8 1/2 in., unframed. [$150/250]

1109. Mexican Carved Pine Refectory Table, stamped “Hecho en Mexico”, plank top with wrought iron roundels, shaped trestle base, h. 33 in., w. 79 in., d. 41 3/4 in. [$400/600]

1112. American School, 20th c., “Cityscape at Twilight”, pastel on paper mounted on board, unsigned, 10 1/4 in. x 15 3/8 in., framed. [$200/400] Provenance: Williamson‑LeBlanc Collection, Cornstalk Fence House, New Orleans.

1013. Henry Hobart Nichols, Jr. (American/District of Columbia, 1869‑1962), “Winter Landscape”, oil on panel, signed lower left, 8 in. x 10 in., framed. [$200/400]

1114. Patricia Wallis (American/ California, b. 1944), “Seascape with Rocky Shore”, 1997, oil on canvas, initialed lower left, signed and dated en verso, 10 in. x 8 in., framed. [$200/300]

1115. Lawrence “Larry” Volk (American/California, 1951‑2010), “The Embrace Will Touch Life Itself” and “A Prisoner of Something”, 2 mixed medias on paper, both signed lower right and signed and titled on backing paper, 25 7/8 in. x 22 1/4 in., framed alike. (2 pcs.) [$300/500]

1116. American School, 20th c., “Abstract Composition”, oil on canvas, signed “L. Johnstone” lower left, 30 in. x 36 in., framed. [$300/500]

1117. Haitian School, 20th c., “Busy Street Scene with Two Mules”, oil on masonite, illegibly signed lower right, 23 1/2 in. x 31 3/4 in., framed. [$300/500]

1120. Jonathan Adler White Glazed Pottery “Aorta” Vase, 20th c., Couture line, h. 9 in., w. 8 1/4 in., d. 5 1/2 in. [$100/200]

1118. Laurent Casimir (Haitian, 1928‑1990), “Village Scene”, oil on board, signed lower right, 20 in. x 23 7/8 in., framed. [$300/500] 1119. Four American Polychrome and Gilt Porcelain Compotes, decorated with Great Seal of the United States and “E. Pluribus Unum”, h. 3 3/4 in., dia. 8 in. [$300/500] Provenance: Schwitz Collection, Franklin, LA.

1122. Eight Mother‑of‑Pearl Shell Dishes, largest 8 in. x 9 1/2 in. [$150/250] 1121. Eight German Polychrome Porcelain Portrait Busts, incl. Lord Nelson, Napoleon, Josephine, and others, h. 3 3/4 in. [$200/300] 1123. Tsukioka Kogyo (Japanese, 1869‑1927), two woodblock print diptychs, overall sight 14 12/2 in. x 19 3/4 in and 14 1/2 in. x 20 in., each matted and framed (2 pcs.) [$200/300]

1124. Toyohara Chikanobu (Japanese, 1838‑1912), woodblock print triptych featuring a beauty with attendants in moonlight, overall sight 13 3/4 in. x 27 3/4 in., double matted and framed. [$200/300]

1125. Imao Keinen (Japanese, 18451924), two woodblock print diptychs featuring birds and flowers, each sheet sight 12 1/2 in. x 9 1/8 in., matted and framed. (2 pcs.) [$200/300]

1127. Tsukioka Kogyo (Japanese, 1869‑1927), two woodblock print triptychs, overall sight 14 1/2 in. x 29 3/4 in., each double matted and framed. (2 pcs.) [$250/350]

1126. Tsukioka Kogyo (Japanese, 1869‑1927), three woodblock prints, sight 14 1/2 in. x 9 3/4 in., double matted and framed alike. (3 pcs.) [$250/350]

1128. Ogata Gekko (Japanese, 1859‑1920), “In the Company of a Cat”, woodblock print, sight 12 3/4 in. x 8 1/2 in., matted and framed. [$100/200]

Additional information at www.nealauction.com

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1129. Tsukioka Kogyo (Japanese, 1869‑1927), three woodblock prints, sight 14 in. x 10 in. and 14 1/2 in. x 9 3/4 in., each double matted and framed, two framed alike. (3 pcs.) [$250/350] 1130. Chinese Export Famille Rose Porcelain Oval Serving Dish, 19th c., decorated with figural scenes and bird, butterfly and floral vignettes, central bird and flower medallion, h. 2 1/4 in., w. 17 3/4 in., d. 14 1/2 in. [$200/300]

1131. Louisiana Carved Wood Decoy, 1980s, green‑winged teal, Roy Legaux Sr., Chalmette, LA, l. 13 1/2 in. [$400/600]

1135. Louisiana Carved Wood Decoy, mallard drake, in the style of Alcide Carmadel, Bayou Gauche, LA, l. 17 in. [$300/500]

1138. Continental Brass and Copper Lavabo, 19th c., globe‑form font, shell‑form basin, font h. 13 in., basin h. 7 1.2 in., w. 12 in., d. 11 in. [$250/450]

1132. Two Louisiana Carved Wood Decoys, incl. duck drake by Bert Perez; and gadwall drake by Al Aucoin, Bourg, LA; larger l. 16 1/2 in. [$300/500]

1033. Two Carved Wood Duck Decoys, incl. mallard drake from the Illinois River, c. 1950s; and a bluebill drake from Quebec, CA, c. 1960s; larger l. 16 1/2 in. [$300/500]

1136. Four Boxes, incl. Victorian marquetry octagonal, h. 5 1/2 in., w. 10 3/4 in., d. 7 1/2 in.; birch book‑form, h. 1 1/2 in., w. 6 in., d. 5 1/4 in.; birdseye maple blanket chest‑form, 19th c., h. 3 1/4 in., w. 6 7/8 in., d. 3 7/8 in.; and Continental polychrome painted oval form, 20th c., h. 2 1/4 in., w. 5 in., d. 3 in. [$200/300]

1139. Pair of American Pressed Brass Kerosene Two‑Light Chandeliers, c. 1880, Angle Manufacturing Company, NY, patented “Angle Lamp”, fleur‑de‑lis pattern, electrified, h. 18 in., w. 22 in., d. 10 in. [$300/500]

1134. Pair of American Carved Wood Duck Decoys, mallard drake and hen, by Pratt Manufacturing Co., larger l. 17 1/2 in. [$300/500]

1137. Upholstered Circular Ottoman, skirted with bullion fringe, casters, h. 20 in., dia. 36 in. [$150/250]

1140. Pair of Murano Glass Two‑Light Sconces, scroll arms, lobed urn‑form glass, electrified, h. 11 1/2 in., w. 18 1/2 in., d. 10 1/4 in. [$300/500]

1143. Pair of American Rococo Carved Mahogany Bergères, barrel back, floral crest and seat rail, padded arms, cabriole legs, casters, h. 38 1/2 in., w. 24 in., d. 30 in. [$400/600] 1141. Dutch‑Style Brass Six‑Light Chandelier, scrolled arms, electrified, h. (excluding chain) 19 in., dia. 26 in. [$200/300]

1142. American Neo‑Grec Carved and Burled Walnut Half‑Tester Bed, lobed finials, architectonic crest, raised panels, h. 121 1/2 in., l. 77 in., w. 57 in. [$800/1200]

Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

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Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

1144. American Late Classical Carved Mahogany Bedstead, mid‑19th c., foliate scroll pediment, paneled headboard, stepped octagonal posts, acanthine rails. [$500/1000]

1146. American Late Classical Walnut Lincoln Rocker, scroll and foliate crest, padded arms, pierced scroll supports, serpentine seat, shaped feet, h. 41 in., w. 24 1/4 in., d. 40 1/4 in. [$300/500]

1147. American Late Classical Mahogany Dresser Mirror, mid‑19th c., tilting octagonal bolection surround, cyma‑molded stand, h. 29 1/4 in., w. 37 1/2 in., d. 3 3/4 in. [$200/400]

1145. Two American Rococo Carved Mahogany Parlor Armchairs, mid‑19th c., each with floral and foliate crest, padded arms, serpentine apron, cabriole legs, casters, “Pomegranate” pattern bargello needlepoint upholstery, taller h. 43 1/2 in., w. 25 1/2 in., d. 24 1/2 in., smaller h. 42 in., w. 25 1/2 in., d. 24 in. [$600/800]

1149. American Rococo Bronze Three‑Light Gasolier, c. 1855, mounted with cherubs and masks, h. 46 in., dia. 33 in. [$300/500]

1148. American Late Classical Mahogany DropLeaf Breakfast Table, 19th c., New York, ogee frieze, paneled baluster standard, molded plinth, shaped bracket feet, h. 29 1/4 in., w. 42 in., d. (open) 55 in., d. (closed) 25 3/4 in. [$300/500]

Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

1150. American Tole Peinte Single‑Light Bouillotte Lamp, brass standard, adjustable shade, h. 20 1/2 in., w. 10 in., d. 6 1/2 in. [$250/350]

1053. Mamie Eisenhower Christening Champagne Bottle for the N.S. Savannah, 1959, mahogany case, glazed and hinged lid, engraved plaque reading “MRS. DWIGHT D. EISENHOWER/SPONSOR/N.S. SAVANNAH/JULY 21, 1959/NEW YORK SHIPBUILDING CORP./CAMDEN, N.J.”, with champagne bottle labeled “NOT FOR HUMAN CONSUMPTION/FOR CHRISTENING SHIPS ONLY”, h. 5 1/2 in., w. 15 in., d. 5 in. [$300/500]

1152. Pair of Biedermeier‑Style Maple Obelisk Lamps, h. (to socket) 22 in., w. 4 3/8 in., d. 4 3/8 in. [$200/300]

Provenance: Estate of Eunice Bate Coleman, New Orleans, LA. Note: The N.S. Savannah was the first nuclear powered merchant ship. It was built as part of Eisenhower’s “Atoms for Peace” initiative.

1151. Pair of French Bronze‑Mounted Marble Vasiform Table Lamps, h. (to socket) 20 in. [$300/500]

1154. William Woodward (American/ Louisiana, 1859-1939), “Jim Walker’s Cider Mill-Seekonk, Mass, 1883”, 1932, “Argent a Grey Hound Paffant & a Cheif [sic] is Borne by the Name of Carpenter”, “Capt. Wooster Carpenter Place - Yard”, 1932, “Wooster Carpenter Homestead over the Meadow, Foggy, 1900”, 1932, “Moonlit Glade” and “Woodward Crest”, 1933, 6 drypoint etchings on paper, each pencil-signed lower margin, 4 titled lower margin, each signed and 4 dated in plate, sheets 7 1/2 in. x 4 in. to 15 1/4 in. x 11 in., unframed. (6 pcs.) [$600/800]

1155. [Louisiana Architecture], 11 vols. of New Orleans Architecture, incl. The Esplanade Ridge (2), Jefferson City (2), The Creole Faubourgs (2), The Lower Garden District (2), The American Sector, The University Section, and The Cemetaries; together with The Fortier Family and Allied Families, and John Giffen Weinman, A Life of Diplomacy, 13 vols. [$200/300]

1156. Group of Five Captain’s Armchairs, c. 1880‑1900, barrel form, caned and spindled backs, caned seats, near matching. [$300/500]

1158. Southeast Asian Wood Boat Prow, rectangular shaft carved with arched bird’s neck terminal, h. 21 in., l. 33 in., mounted to a metal base, overall h. 26 1/4 in. [$150/250]

Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

1157. Pair of American Carved Pine Draperies, 19th c., h. 42 in., w. 41 in., d. 2 1/2 in. [$600/800]

Additional information at www.nealauction.com

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1159. American Classical Carved Mahogany Backsplash, 19th c., with basket of fruit flanked by acanthus scrolls, h. 20 in., w. 73 in. [$150/250] 1160. Vintage American Maple and Mahogany Roulette Wheel, marked “Mason & Co./ Newark, N.J.”, with gilt and painted elements, dia. 30 in., inset in a later padded wood and vinyl stand, 35 in. x 35 in. [$700/1000] 1162. Antique American Cast Iron and Brass Hand‑Operated Pump, large crank wheel activates piston pump, spoked wheels, oak handles, h. 55 1/2 in., w. 58 in., d. 21 in. [$1000/1500]

1161. American Casino Gaming Wheel, painted wood, metal and plastic, dia. 60 in., on steel stand, h. 86 in. [$500/700]

1163. Reproduction U.S. Navy Copper and Brass “Mark V” Diving Helmet, h. 18 in., w. 13 1/2 in., d. 18 in., black Formica stand with stepped brass base, overall h. 50 in., w. 16 3/4 in., d. 16 3/4 in. [$250/350]

Provenance: Estate of James H. Stone, New Orleans, LA.

1164. Colt Model 1849 Pocket Revolver, c. 1852, .31 cal., five‑shot cylinder, rounded trigger guard styling, serial no. 39983, barrel l. 4 1/2 in. [$600/1000]

Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

1166. English Flintlock Pistol, 19th c., walnut stock, butt with lanyard ring, barrel l. 9 in. [$250/350] 1165. Antique French Papier-Mâché “Growler” Bulldog Pull Toy, c. 1890, leather and badger hair collar, wooden wheels, with growler mechanism, h. 14 in., w. 17 1/2 in., d. 6 1/2 in. [$800/1200]

1168. Knud Kyhn (1880‑1969) for Royal Copenhagen Stoneware Figure of a Monkey, KK and 1951 above triple wave mark, h. 12 1/4 in., w. 9 3/4 in., d. 7 1/4 in. [$100/200] Provenance: The Estate of Caroline P. Ireland.

1171. Vintage English Leather Suitcase, c. 1940, Revelation, leather covered wood, brass hardware, h. 7 in., w. 24 in., 16 1/2 in. [$100/200]

Provenance: The Estate of Caroline P. Ireland.

1170. Vintage Toy Pedal Car, c. 1930. [$75/125]

Provenance: Deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

1169. Large Decorative Figure of a Crab, polychrome composite, h. 6 in., w. 33 in., d. 26 in. [$300/500]

1172. Antique Miniature Painted Pine Spice Chest, shaped backsplash, two short drawers over two long drawers, h. 8 1/4 in., w. 7 3/4 in., d. 3 3/4 in. [$100/150]

1175. Meissen “Blue Onion/Blau Zwiebelmuster” Porcelain Lidded Teapot, 20th c., marked, bud finial, h. 5 1/4 in. [$250/350]

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Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

1167. German Porcelain Figure of a Seated Monkey, crossed lines mark, probably German, h. 8 in. [$150/250]

1073. Continental Carved Marble Figure of a Male Dog, plinth base, h. 13 1/2 in., w. 4 1/2 in., d. 10 in. [$200/300]

1174. Meissen Porcelain Scent Bottle, marked, impressed “160”, elongated bottle form with applied leaves and flowers, h. 8 1/4 in. Note: restoration to cover. [$300/500] Provenance: M.S. Rau Antiques, New Orleans, 1997.

Wayman Elbridge Adams, 381 Jeffrey Lee Adler, 412 Jean Pierre Alaux, 969 Conrad Albrizio, 361 Enrique Alferez, 61 American School, 772, 1048, 1112, 1116 Walter Inglis Anderson, 168-170, 364, 407, 408 Benny Andrews, 36 Diane Arbus, 18 Ralph Moffett Arnold, 363 Ronald Arthaud, 771 Asian School, 541 Clyde Aspevig, 1066 John James Audubon, 270, 271, (attr) 869 James Avati, 1069 Luis Cruz Azaceta, 94

Henry Faulkner, 627 Sarah Sole Ferguson, 747 Leonard Flettrich, 67, 68 French School, 331 Pedro Friedeberg, 80 Charles Fritchie, 766 Nestor Frugé, 750 Zella Funck, 1051, 1059

Martin Laborde, 794, 795 Gerald Laing, 826 Miranda Lake, 379 James Lamantia, 349 Nancy Hirsch Lassen, 1060 Latin American School, 194 Clarence John Laughlin, 11 Gray Layton, 1073 Mahrea Cramer Lehman, 1111 Georges Lemmers, 899 Lalla Walker Lewis, 870 Louisiana School, 871, 1110 William Ludwig, 201 Deborah Luster, 12

D Ronald Davis, 780 Chris Dennis, 999 Joseph Dudley Downing, 751 Richard “Dickie” Doyle, 1070 Alexander John Drysdale, 329, 330, 836, 842, 843, 852, 872 Adolfo Dumini, 966 William Dunlap, 409, 846 George Valentine Dureau, 31

H Haitian School, 1117 William Melton Halsey, 382 Frederick Clifford Harrison, 49 Philip Harrison, 1074 Elva Jane Hawkins, 1075 Colette Pope Heldner, 861 Knute Heldner, 380, 390, (aft) 1000 William Hemmerling, 35 Antoine Hérisset, 919 Edith Emily d’Hemecourt Hibbard, 902 Carrie Hill, 904 Will Hinds, 865 Harold Hitchcock, 48 Morris Henry Hobbs, 2 Robert Hodge, 74 William R. Hollingsworth, Jr., 863, (attr) 864 Marie Atkinson Hull, 342, 343, 344, 356, 356, 837 Clementine Hunter, 359 I Indian School, 607, 608 Pierre Ino, 586 J Charles A. Janvier, 1061 Gendron Jensen, 136, 137 Peter Jogo, 797 Frederick D. Jones, 405 Nell Choate Jones, 57 K Yousuf Karsh, 16 KAWS, 762, 763 Imao Keinen, 1125 Richard Kelso, 388 Arthur Kern, 93 Hazel Guggenheim McKinley KingFarlow, 376 Tsukioka Kogyo, 1123, 1124, 1126, 1127, 1129 Ida Rittenberg Kohlmeyer, 368, 827 Korean School, 218 Valery Kosorukov, 1, 75, 78 Gene Koss, 91

M Camille Ford Maher, 1052 Mavique, 781 John McCrady, 23, 353, 354 Mary Katherine Loyacano McCravey, 387 James Augustus McLean, 383 P. Sanders McNeal, 1050 Leo Meiersdorf, 848 James Michalopoulos, 34, 76 Pierre Mignard, 333 Clarence Millet, 347 Dean Mitchell, 8 Ti-Rock Moore, 3 Elemore Morgan, Jr., 47, 64 Henry Mosler (aft), 915 N New Orleans School, 1001 Tom M. Nicholas, 838, 839 Henry Hobart Nichols, Jr., 1013 O Terrance Osborne, 28-30 William Ousley, 853 P Elizabeth M. Pajerski, 856 Vincente de Garcia Paredes, 900 Paul Parker, 9, 748, 749 Gen Paul, 45, 46 Lallah Miles Perry, 901 Pablo Picasso, 60 Fabienne Picaud, 784 Giovanni Battista Piranesi, 95 Laurel Porcari, 764 Helen Prickett, 1063 Puerto Rican School, 1084 R Ora Ream, 858 Pierre-Joseph Redouté, 53 Don Reggio, 862 Leopold Reiser-Vaney, 472 Jim Richard, 796 William Smith Robinson, 406 Willie Earl Robinson, 855 George Rodrigue, 19-21, 38, 39, 372-374, 410, 816-820, 825

T Lino Tagliapietra, 1032 Emmitt Thames, 840, 841, 850, 903, 1071 Dox Thrash, 66 George Thurmond, 857 Cesare Toffolo, 89, 90 Casimiro Tomba, 898 Kuni Tripathy, 1086 Alessandro Turchi (aft), 892 Scott Turk, 1053 Helen Maria Turner, 340 V John Vanderlyn, 906 Angiolo Vanetti, 526 Elihu Vedder, 602 George Louis Viavant, 350 Sidonie Villere, 765 Lawrence “Larry” Volk, 1115 W William Aiken Walker, 351 Patricia Wallis, 1114 Cora Kelley Ward, 386 Andy Warhol, 96, 97 Robert Joseph Warrens, 41 Wyatt Waters, 854 Johann Martin Weiss, 52 George Weissbort, 50 William Edward West (aft), 272 Benjamin Wigfall, 916 Robert Wilson, 785 Theodore “Fonville” Winans, 15 Lynne E. Windsor, 770 Karl Wolfe, 352 Mildred Nungester Wolfe, 355, 358 Ellsworth Woodward, 378, 782, 849, 860 William Woodward, 69, 341, 346, 844, 859, 1154 George Hand Wright, 847

Artist Index

Joseph Lambert Cain, 56, 348 John Reed Campbell, 1056, 1057 Laurent Casimir, 1118 George Frederick Castleden, 389 Frank Swift Chase, 867, 868 Dale Chihuly, 165 China Trade School, 920 Maude Schuyler Clay, 10 Theodore Demerest Coe, 1072 George Cole, 269 Eunice Bate Coleman, 873, 914 Warrington W. Colescott, 776 Clyde Connell, 44 Continental School, 897, 968 Jeffery Cook, 833 Abraham Cooper, 268 Paul Cornoyer, 25 Alvyk Boyd Cruise, 55 José-Mariá Cundin, 5, 6, 27

Rhea Gary, 1064 Ogata Gekko, 1128 Doyle Gertjejansen, 71 Dora Henley Going, 1002 Rolland Harve Golden, 1062 Richard LaBarre Goodwin (attr), 392 Robert Gordy, 773-775 John Gould, 273 Bob Graham, 32 Nicholas de Grandmaison, 360 Abbott Fuller Graves, 26 Joe Gray II, 1067 Greek School, 893, 894 Marion Greenwood, 605 Angela Gregory, 179A Charles Grey, 462 Emile Albert Gruppe, 369 Constantin Ernest Adolphe Hyacinthe Guys (attr), 896

Bradley Sabin, 43 Kiyoshi Saito, 723 Jose Francisco Xavier de Salazar y Mendoza, 339 Gregory Saunders, 907 Rolph Scarlett, 160 John T. Scott, 63 Gaston Sebire, 81 Eve Gonsoulin Segura, 1055 Jean-Pierre Serrier, 59 James Seymour (attr), 267 Nicola Simbari, 895 Merton D. Simpson, 384 Hunt Slonem, 33, 365-367 Paul H. Smith, 606 Billy Solitario, 377 Keith Sonnier, 4 Shine and William Sonnier, 1088, 1089 Southern School, 905 Betty Spindler, 822, 823 Theodoros Stamos, 970 Karen Stastny, 813 James Steg, 1087 Bertram “Bert” Stern, 17 Will Henry Stevens, 54, 866 Allison Stewart, 385 Paul Strisik, 1065, 1068 George Stubbs (aft), 604 Walt Disney Studios, 22 James Surls, 42

•

Richmond Barthé, 62 Stanley Bate, 851 Charles-Louis Baugniet, 463 Ron Bechet, 77 Raine Bedsole, 73 A. Belardinelli, 967 Mark Bercier, 1076 Lorenzo Bergen, 1085 Paul Emile Berthon, 7 Carolyn Biggio, 793 Bill Binnings, 834, 835 Willie Birch, 824 Jacqueline Bishop, 72 Cynthia Bissell, 37 Arnold A. Blanch, 135 Edmund “Ed” Blouin, Jr., 1054 Mel Bochner, 40 Aaron Bohrod, 58, 79 Edward Borein, 601 Jessie Hazel Arms Botke, 370, 371 Douglas Bourgeois, 24, 65, 362 Blake Boyd, 70 Nolan Braud, 1058 Nicholas Richard Brewer, 391 British School, 274, 917 Thomas Bruno, 92 Andrew Bucci, 845 William Henry Buck, 332, 345 Louis Charles Hippolyte Buhot (aft), 569 Chris Burkholder, 1049

September 11,12 & 13, 2020

Y George Yerger, 13

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PLEASE VISIT NEALAUCTION.COM TO REQUEST AND VIEW CONDITION REPORTS, REGISTER TO BID LIVE ONLINE, AND SUBMIT ABSENTEE/TELEPHONE BIDS CONDITIONS OF SALE; WAIVERS OF WARRANTY; LIMITATIONS OF LIABILITY Registering for and/or placing a bid at auction constitutes the acceptance of and agreement to these Conditions of Sale; WAIVERS OF WARRANTY; and LIMITATIONS OF LIABILITY (collectively, the “Conditions of Sale”). These Conditions of Sale are binding and enforceable on all bidders and buyers. 1. WARRANTY WAIVERS; LIABILITY LIMITATIONS. All lots are sold “AS IS, WHERE IS” – WITH ALL FAULTS and WITH NO EXPRESS OR IMPLIED WARRANTIES. No statement or description regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, value, size, or quality of a lot, whether made orally at the auction or at any other time, in electronic messages, online, in writing, or in a catalogue, website, correspondence, advertising, literature, or elsewhere, is or shall be construed to be a guarantee, an express or implied warranty, or assumption of liability, obligation, or responsibility. The bidder or buyer WAIVES any such warranty, WAIVES any warranty of fitness for ordinary use or for any intended use, and further WAIVES any warranty against redhibitory vices and defects, whether latent, hidden, or apparent, and whether imposed by the Louisiana Civil Code or any other applicable statute, law, jurisprudence, or legal authority. The buyer further WAIVES any rights or remedies in redhibition to a return or reduction of the purchase price for any lot, including for any lot with any defect rendering the lot useless, inconvenient, or of diminished usefulness. All sales are final, without exception.

Each bidder and buyer agrees and acknowledges that: (a) the bidder or buyer is not relying on Neal Auction Company’s actual, perceived, or expressed skill, expertise, experience, knowledge, or judgment in deciding to purchase any lot; (b) no oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value is the cause of or reason behind the buyer’s purchase of any lot; (c) the buyer would have purchased any lot regardless of any oral, written, or electronic statement or description about attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value, made in a catalogue, website, correspondence, advertising, literature, or elsewhere; (d) Neal Auction Company did not know, nor should it have known that attribution, authenticity, authorship, character, condition, kind, period, provenance, size, quality, or expressed value is the cause or reason why the buyer decides to purchase any lot; (e) the buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; (f) Neal Auction Company did not know, nor should it have known, that any oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere would cause a pecuniary or nonpecuniary loss to any bidder or buyer; (g) the bidder or buyer has had the opportunity prior to bidding to make independent inspections of, and conduct due diligence on, all lots being offered; (h) there is no inspection or examination period after the auction bidding; (i) the bidder’s or buyer’s failure to be fully informed as to the attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value of a lot will not be grounds for any reduction of the purchase price or rescission of the sale; (j) Neal Auction Company shall not be liable, obligated, or responsible for the presence of lead-based paint or any other environmental or other hazard of any lot; (k) Neal Auction Company shall not be liable, obligated, or responsible to the buyer as to third parties who may claims rights to or interests in any lot; (l) the buyer is buying at the buyer’s sole risk and peril; (m) Neal Auction Company shall not be liable, obligated, or responsible for any errors or omissions in any oral, written or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere. Each bidder and buyer WAIVES and RELEASES any and all claims arising out of the matters expressed above. All such waivers, releases, and limitations of liability shall apply to Neal Auction Company and its owners, officers, directors, representatives, insurers, agents, and employees. 2. Fine Art. Subject to the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, with respect to authorship of works of fine art, the following phrases have the following meanings: ARTIST - In our qualified opinion, we believe the work is by the artist named.

Attributed to ARTIST - In our qualified opinion, we believe the work may be ascribed to the artist named on the basis of style and period, but our opinion is less certain than in the previous category. Signed “ARTIST” - In our qualified opinion, the signature, monogram, or other indication of authorship is a signature of the artist. School of ARTIST - In our qualified opinion, the work is of the period of the artist named, by a student or a follower of the artist, but not by the artist. Manner of ARTIST - In our qualified opinion, although the work is in the style of the artist named, it is actually of a later period. After ARTIST - In our qualified opinion, the work is a copy of a known work of the artist named.

Bears signature “ARTIST” - In our qualified opinion, although the work bears the signature or monogram of the artist, the work most likely is not that of the artist. 3. Discretionary Rescission. Notwithstanding the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale of a work of fine art on the basis of authenticity of authorship only under the following terms, conditions, and LIMITATIONS OF LIABILITY, all of which apply, and the buyer WAIVES and RELEASES any other rights, relief or remedies: A. Neal Auction Company shall not grant rescission of any lot identified by the terms “attributed to,” “signed,” “school of,” “manner of,” “after,” or “bears signature.” B. Neal Auction Company shall not grant rescission of any lot unless the buyer notifies Neal Auction Company in writing within 25 calendar days from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale. C. Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written document signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery. D. Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the original buyer, and any rights or interests of the original buyer are not transferrable, inheritable, or assignable. E. Neal Auction Company shall not grant rescission when: (a) there is a conflict of expert opinion as to the authorship; (b) expert opinion supported authorship at the time of auction, although expert opinion may have changed afterward; and (c) scientific or other tests, examinations, investigations, research, or processes that were unavailable, expensive, or impractical at the time of the auction have revealed since that time that the author, character, condition, kind, provenance, period, quality, or value Neal Auction Company believed to be accurate at the time of sale was inaccurate. In any dispute between Neal Auction Company and the bidder or buyer regarding authorship of a work of fine art, rescission of the sale and refund of the purchase price paid shall be the buyer’s sole recourse or remedy, if

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any is available. Neal Auction Company (and its owners, officers, directors, representatives, agents, insurers, and employees) shall not be liable, obligated, or responsible for any damages (including compensatory, general, incidental, consequential, exemplary, or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorneys’ fees, or any other monetary, declaratory, equitable, or injunctive relief or remedy. The buyer WAIVES and RELEASES any and all such damages, relief, and remedies. AUCTION BIDDING AND SALE 1. The auctioneer shall have absolute discretion in determining the highest and best bid on each lot. The auctioneer may decide that any original bid is not commensurate with the value of the lot offered, or that any advance thereafter is not of sufficient amount, and the auctioneer may reject or refuse to recognize that bid or advance.

2. At the fall of the auctioneer’s hammer, the bidder acknowledged by the auctioneer, whether in person or absentee, thereupon assumes the obligation to pay for the offered lot, and shall pay the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs. 3. Title to the offered lot shall pass to the bidder acknowledged by the auctioneer upon payment of the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs. The buyer thereupon assumes full risk, obligation, and responsibility for the lot. 4. At any time before the sale of a lot, Neal Auction Company reserves the right to withdraw the lot or any part of the lot, to combine lots, or to separate items within a lot. 5.

No lots will be released before the end of the auction.

6. If the buyer fails to comply with any of these Conditions of Sale, Neal Auction Company reserves the right to (a) hold such defaulting buyer liable, obligated, and responsible for the total amount due and to commence legal proceedings to recover the entire amount along with interest, reasonable attorneys’ fees, expenses, and costs; (b) charge outstanding amounts to the buyer’s credit card; (c) apply any payments to outstanding amounts chosen by Neal Auction Company notwithstanding the instructions of the buyer; (d) cancel the sale, retaining as liquidated damages any payment made by the buyer; (e) resell the lot without reserve at public auction, online-only auction, or privately on seven calendar days’ notice to the buyer; (f) enforce specific performance of the sale; (g) require a deposit in future auctions; (h) exclude the buyer from future auctions or bidding on particular lots; (i) exercise the rights and remedies of a person holding security and/or privilege over property in Neal Auction Company’s possession, whether by pledge, security interest or any other mechanism, to the full extent allowed under Louisiana law, and Neal Auction Company may hold the property of the buyer as collateral security for the buyer’s obligations; (j) and/or take such other actions allowed by law in Neal Auction Company’s sole discretion. If Neal Auction Company resells the lot, the defaulting buyer shall be liable, obligated, and responsible for the payment of any deficiency in the purchase price and any damages, including but not limited to all costs and expenses of both sales, such as, by way of example only, storage, handling, insurance, repairs, illustrations, consultations, examinations, moving, shipping, promotions, advertising, reasonable attorneys’ fees, commissions, and incidental damages.

7. Virtually all lots offered have been subject to use over a considerable period of time. No mention of cracks, scratches, chips, tears, breaks, weaknesses, or any damages or wear will be included in oral, written, or electronic statements or descriptions in the catalogue, website, correspondence, advertising, or literature. Condition reports may be provided upon request, but condition reports may not mention all cracks, scratches, chips, defects, hazards, tears, breaks, weaknesses, or other damages or wear. Neal Auction Company makes no representations or warranties as to the accuracy or completeness of any information or description in a condition report or elsewhere, whether oral, written, electronic, or online. Neal Auction Company reserves the right to decline to provide a condition report for any specific lot, at its sole discretion. 8. Neither high nor low estimates in a catalogue, website, advertising, correspondence, literature, or elsewhere should be relied on as a representation, prediction, appraisal, guarantee, or warranty that a particular lot will sell for a particular price or that a particular lot has a particular value.

9. Neal Auction Company has absolute discretion to admit a bidder to the auction premises, to expel a bidder from the auction premises, or to refuse a bidder from participating in the auction. 10. Neal Auction Company and its auctioneers shall not be liable, obligated, or responsible for failure to recognize or execute any bids for any reason whatsoever, or for no reason. Bidders and buyers WAIVE and RELEASE any rights to damages, and equitable, declaratory, and injunctive relief arising out of the failure or rejection of any bid, or any errors or omissions relating to the bidding process. 11.

Interfering with the auction in any way is prohibited.

13.

Canvassing or solicitating on the auction premises is prohibited.

12. Bid rigging is strictly prohibited. Any agreement, understanding, or arrangement not to bid against another or otherwise to dampen the bidding is unlawful. The auctioneer reserves the right to bid on behalf of the consignor for the protection of the consignor if this illegal activity by two or more bidders is detected, disclosed, alleged, or suspected. 14. The auctioneer has the sole discretion as to the increments of bidding, the recognition of any bid, the acceptance of the final bid, and resolving any disputes among bidders.

15. Neal Auction Company represents the consignors only and is not acting as agent or representative of bidders or buyers. The payment of the buyer’s premium by the buyer does not indicate a dual agency relationship. Neal Auction Company is to be paid a fee or commission by the consignor pursuant to a separate written agreement between the consignor and Neal Auction Company. The consignor is the seller of the lot sold. Neal Auction Company is the consignment agent or representative, not the seller. 16. The successful bidder is obligated to pay the purchase price in full unless Neal Auction Company has consented in writing at the time of the bidder’s registration that the bidder is acting as an agent on behalf of an identified person and that said principal is obligated to pay the purchase price in full. Neal Auction Company reserves the right to require an advance deposit for such bids.

17. Prior to placing any bid, all bidders must complete a standard Neal Auction Company Registration Form in use at the time of the auction. 18.

Dealers must provide Neal Auction Company with proper documentation prior to bidding.

20.

Bids are required to be made in U.S. dollars.

19.

First time bidders are required to produce a valid state-issued identification card or passport.

21. Neal Auction Company may require a bidder or buyer at any time to produce financial, banking, or trade references and information.

22. All bidders are required to provide credit card information (such as but not limited to the type of card, card number, name as it appears on the card, billing zip code, expiration date, and security code).

23. All bidders are required to select, and notify Neal Auction Company of, a method of payment (cash, check, wire, or credit card) in writing at the time of registration. 24. Neal Auction Company reserves the right to describe or to make photographic, video, or audio recordings of the auction, or any part thereof, and to publish such descriptions, photographs and/or recordings.

25. Lots may be offered subject to a reserve, which is the confidential minimum hammer price below which the lot will not be sold, for the protection of the consignor. Such reserve will not exceed the low estimate for the lot. The auctioneer may open the bidding on any lot by placing a bid on behalf of the consignor, auctioneer, or an absentee bidder that is below the reserve. The auctioneer may continue to bid on behalf of the consignor, auctioneer, or absentee bidder up to the amount of the reserve, by placing consecutive bids or by bidding in response to other bidders. Neal Auction Company may sell a lot at a hammer price below the reserve at its discretion, subject to its agreement with the consignor. ABSENTEE/TELEPHONE/ONLINE BIDS 1. All absentee bids and/or telephone bids must be received by Neal Auction Company by 5 p.m. Central Time the Thursday prior to the auction. 2. All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at the discretion of Neal Auction Company. Each lot must have a minimum low estimate of $500 for telephone bidding. Absentee bids are accepted for any lots regardless of estimate, at the discretion of Neal Auction Company.

3. Neal Auction Company intends to endeavor to protect the confidentiality of absentee/telephone bids. In the event that the identity of absentee/telephone bidders or buyers or of the amounts of absentee/ telephone bids is disclosed, Neal Auction Company shall not be liable, obligated, or responsible for such disclosure, and each bidder and buyer WAIVES and RELEASES Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any claims arising out of such disclosure. 4. Neal Auction Company reserves the right, in its sole discretion, to require that any advance bids be accompanied by a security deposit.

5. Neal Auction Company shall not be liable, obligated, or responsible for any failure, design flaw, error, act, omission, or negligence of third party sites or their agents. Bidders WAIVE and RELEASE any rights to damages and equitable, declaratory, and injunctive relief and remedies arising therefrom.

HANDLING AND STORAGE

Unless other arrangements are made and confirmed in writing by Neal Auction Company, all lots must be removed within 15 calendar days of the auction. On the first business day following that time period, any lots remaining in the Neal Auction Company gallery may be turned over to a storage facility, at Neal Auction Company’s discretion. The buyer will be responsible for all handling and storage charges. Handling charges shall be a minimum of $50 per lot. Storage costs shall be a minimum charge of $50 per month per lot. Storage charges accrue monthly and must be paid in full before any lots purchased by the buyer are released. At its discretion, Neal Auction Company may charge the full amount of any storage and handling charges, on a periodic basis, on the buyer’s credit card, including interest at the rate of one and one-half percent per month.

All purchased lots will be handled and stored at the buyer’s sole risk and peril. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for handling or storage, or for any damage to or loss of, any lot after the sale. The buyer WAIVES and RELEASES all such claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees). INTELLECTUAL PROPERTY RIGHTS

Neal Auction Company retains the copyright and other intellectual property rights to all photographs, video, illustrations, text, and other works in its catalogue, website, advertising, correspondence, literature, and elsewhere. Such photographs, video, illustrations, text, and other works may not be used, copied, published, exhibited, revised, or displayed without the prior written permission of Neal Auction Company. Neal Auction Company and the consignor make no representation or warranty that the buyer of a lot will acquire any copyright or other intellectual property right or interest in the lot. IMPORT/EXPORT

9. Neal Auction Company reserves the right to record any telephone bidding or conversation relating to said bidding, or any part thereof, and to publish said recordings. By participating in telephone bidding, the bidder consents to such recording and publication, notwithstanding the laws or regulations of the state or jurisdiction of the bidder.

Lots made of or incorporating endangered or protected wildlife materials, irrespective of age or amount of material, may require a license or certificate authorizing export from the United States as well as relevant authorizations from the country of import. It is the responsibility of the bidder or buyer to determine and be satisfied that the requirements of any applicable laws and regulations applying to the transportation, whether international or interstate, can be met before bidding. The inability of a buyer to transport lots containing endangered or protected wildlife material is not a basis for cancellation or rescission of the sale or discount of the purchase price. Although licenses may be obtainable to export certain types of endangered species, some types may not be exported at all, and other types may not be resold in certain states in the United States. Neal Auction Company cannot assist the bidder or buyer in attempting to obtain the appropriate licenses and/or certificates, and bidders and buyers can be given no assurance that an export license or certificate can be obtained. Each bidder should verify with an attorney or qualified shipping company if uncertain as to whether a lot is subject to export/import license and certificate requirements and any other restrictions or prohibitions on the interstate transportation or exportation from the United States. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for any oral, written, or electronic advice given or representations made by it or by any shipping company, legal counsel, or other person. Buyers WAIVE and RELEASE any and all claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) relating to such advice and representations.

PAYMENT

MANDATORY AND EXCLUSIVE FORUM SELECTION; CHOICE OF LAW

6. Prior to placing any absentee, telephone, or online bid, all bidders are required to complete the applicable Registration Form prior to such bidding.

7. In the event of ambiguity, uncertainty, or discrepancy, the lot number and not the lot description on any bid will be deemed to be the lot on which the bid is made. 8. If more than one absentee bid on a particular lot is received with the same maximum bid amount, and that bid amount is the highest and best bid for the lot, the lot will be sold to the bidder whose absentee bid was accepted first by Neal Auction Company after receiving it. If a bid placed on a lot by a bidder who is physically present at the auction is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is physically present at the auction. If a bid placed on a lot by a bidder who is present at the auction (in person or by telephone) is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is present at the auction (in person or by telephone).

1. The successful bidder (except a successful online bidder) shall pay a buyer’s premium in the amount of 25% of the hammer price on each lot up to and including $200,000, plus 15% of the hammer price greater than $200,000. For payments made by cash, check, or wire transfer (except by online bidders) within 15 calendar days of the auction, the buyer’s premium will be discounted to 22%. 2. The successful online bidder shall pay a buyer’s premium in the amount of 28% of the hammer price on each lot. A discount for payments made by cash, check, or wire transfer is not available for purchases made by online bidders. 3.

In the event of any dispute, the Neal Auction Company sale record is conclusive.

4. Unless exempt by law, the buyer will be required to pay Louisiana and local taxes, and, if applicable, any federal luxury or other tax, on the total purchase price. 5. Documentation of tax exemption must be provided upon registration. Billing name and address of a bidder must agree with that on the sales tax exemption certificate. 6. Payment in full of the purchase price must be made by the successful bidder in U.S. Dollars within 15 calendar days of the auction. Interest charges of one and one-half percent per month shall apply to invoices paid after this period expires. Neal Auction Company reserves the right to require payment in full of the purchase price immediately following declaration of the successful bidder. 7. Payment for all jewelry purchases must be made by cash, check or wire transfer.

8. VISA, MasterCard, Discover, and American Express are accepted for payment of invoices (except jewelry) up to $25,000 per buyer. 9. Checks must be drawn on a U.S. bank. All lots shall be held by Neal Auction Company until the check clears.

10. The buyer’s signature on a registration form (or other writing with the buyer’s credit card number) gives Neal Auction Company permission to charge the buyer’s credit card the full amount of the buyer’s invoice if full payment is not received within 15 calendar days of the auction or, in Neal Auction Company’s discretion, to charge the buyer’s credit card later, with interest at the rate of one and one-half percent per month. PACKING, MOVING, SHIPPING, AND DELIVERY

Neal Auction Company may furnish information on packers, movers, or shippers for bidders or buyers making packing, moving, shipping, and delivery arrangements, but Neal Auction Company shall not be liable, obligated, or responsible therefore, and buyers retain packers, movers, and shippers at their own risk and peril. Shipping, moving, packing, and delivery arrangements and agreements are strictly between the buyer and the shipper, mover, or packer. Neal Auction Company shall not be liable, obligated, or responsible for any damage to property, including vehicles, or for any personal injuries of buyer or any third parties involved in packing, moving, shipping, or delivery. Buyers WAIVE and RELEASE Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any and all claims relating to packing, moving, shipping, and delivery of purchased lots, and any damage or injuries to persons or property arising therefrom.

Any action of any nature brought by a bidder or buyer against Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot in any court, whether federal or state, shall be brought exclusively in Orleans Parish, Louisiana. Every bidder and buyer agrees to submit to jurisdiction and venue in federal or state court in Orleans Parish, Louisiana, waives all objections or challenges to such jurisdiction or venue, and waives any rights to jurisdiction or venue in any other forum. Any dispute between the bidder or buyer and Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot shall be governed by the law of the State of Louisiana, notwithstanding any conflicts of laws principles. MISCELLANEOUS LEGAL PROVISIONS

If any part of these Conditions of Sale is held to be invalid, null, or unenforceable, that part shall be reformed so as to implement the intent of the parties as expressed herein, and any such holding shall not affect the remaining provisions of these Conditions of Sale, which shall remain in full force and effect, subject to reformation to implement the intent of the parties as expressed herein. The paragraph headings contained herein are for convenience of reference only and shall not affect the meaning or interpretation of these Conditions of Sale. All prior and contemporaneous representations, communications, and agreements, if any, between the bidder or buyer and Neal Auction Company (and any of its owners, officers, directors, representatives, insurers, agents, and employees) relating to any of the lots offered for sale or to the auction or sale are hereby superseded and merged into these Conditions of Sale, which are the entire and only contract between the bidder or buyer and Neal Auction Company relating to the subject matter herein. Any modifications, amendments, or waivers of these Conditions of Sale must be made in a writing signed by both Neal Auction Company and the bidder or buyer. In the event of any disputes arising out of the auction or sale of lots or these Conditions of Sale, Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated or responsible for any general, special, exemplary, incidental, or consequential damages (including but not limited to lost profits and attorneys’ fees). Every bidder and buyer WAIVES and RELEASES any rights to such damages. This LIMITATION OF LIABILITY does not, and is not intended to, enlarge or expand any rights or interests of a bidder or buyer that are restricted or limited elsewhere in these Conditions of Sale (including but not limited to the WARRANTY WAIVERS and LIABILITY LIMITATIONS set forth herein). These Conditions of Sale constitute a binding legal contract between Neal Auction Company and each bidder or buyer. Each bidder and buyer acknowledges having read and understood these Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY. All bidders and buyers further acknowledge that they enter into these Conditions of Sale of their own free will, with full authority, and under no duress or coercion.

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Neal Auction Company Neal Auction Company Neal Auction Company Neal Auction Company

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Auctioneers Appraisers Antiques Fine ArtArtArt Auctioneers Appraisers Antiques Fine Auctioneers && Appraisers of of Antiques && Fine Art Auctioneers && Appraisers of of Antiques && Fine 4038 Magazine Street, New Orleans, Louisiana 70115 4038 Magazine Street, New Orleans, Louisiana 70115 4038 Magazine Street, New Orleans, Louisiana 70115 4038 Magazine Street, New Orleans, Louisiana 70115 s &AX s WWW NEALAUCTION COM s &AX s WWW NEALAUCTION COM s &AX s WWW NEALAUCTION COM s &AX s WWW NEALAUCTION COM

Confidential Absentee / Telephone Bid Form Confidential Absentee / Telephone Bid Form Confidential Absentee / Telephone Bid Form Confidential Absentee / Telephone Bid Form

15/06M 15/06M 16/08M 15/06M 16/08M 19/10M 15/06M 20/08M

PLEASE REVIEW GUIDELINES FOR AOR BSENTEE TELEPHONE BIDDING PLEASE REVIEW GUIDELINES F ABSENTEE & TELEPHONE BIDDING PLEASE REVIEW GUIDELINES FOR BSENTEE && TELEPHONE BIDDING : : : : PLEASE REVIEW GUIDELINES FAOR ABSENTEE & TELEPHONE BIDDING 4 ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE 4ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE 4 ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE 4ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW ! LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION !LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday ! LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday !LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday prior to the auction . )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE . !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE ! LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN ! LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN ! LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN !LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE

First Last First Last First Last First Last Name: _________________________ Name: ____________________________________ Company: __________________________ Name: _________________________ Name: ____________________________________ Company: __________________________ Name: _________________________ Name: ____________________________________ Company: __________________________ Name: _________________________ Name: ____________________________________ Company: __________________________ Address: ______________________________________________________________________________________________________ Address: ______________________________________________________________________________________________________ Address: ______________________________________________________________________________________________________ Address: ______________________________________________________________________________________________________ #ITY ????????????????????????????????????????????? 0ROV 3TATE ??????????????????????? 0OSTAL #ODE ???????????????? #ITY ????????????????????????????????????????????? 0ROV 3TATE ??????????????????????? 0OSTAL #ODE ???????????????? #ITY ????????????????????????????????????????????? 0ROV 3TATE ??????????????????????? 0OSTAL #ODE ???????????????? #ITY ????????????????????????????????????????????? 0ROV 3TATE 0OSTAL #ODE : ??????????????????????? : ???????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealers must provide Neal Auction Company with proper documentation prior to bidding. Dealers must provide Neal Auction Company with proper documentation bidding. Dealers must provide Neal Auction Company with proper documentation prior to prior bidding. Dealers must provide Neal Auction Company with proper documentation prior to to bidding.

-534 02/6)$% -534 02/6)$% : : : : -534 02/6)$% -534 02/6)$% -534 0ROVIDE: -534 0ROVIDE: -534 0ROVIDE: -534 0ROVIDE: Cash Cash Credit Cash Cash 0AYMENT Credit 0AYMENT Credit 0AYMENT 0AYMENT Credit Check Check Card Check 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? Method: Card Method: Check Card Method: Method: Card 7IRE 7IRE 7IRE 7IRE Credit Card V-code:________ Credit Card V-code:________ )& 35##%33&5, PLEASE BILL MY CARD Credit Card V-code:________ Credit Card V-code:________ )& 35##%33&5, PLEASE BILL MY CARD )& 35##%33&5, PLEASE BILL MY CARD )& 35##%33&5, PLEASE BILL MY CARD .UMBER #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ?????????????????????????? .UMBER 4O #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ?????????????????????????? .UMBER 4O 4O #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ?????????????????????????? .UMBER 4O #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ??????????????????????????

,OT ,OT ,OT ,OT

$ESCRIPTION $ESCRIPTION $ESCRIPTION $ESCRIPTION

"ID !MOUNT OR 4ELEPHONE .O "ID !MOUNT OR 4ELEPHONE .O "ID !MOUNT OR 4ELEPHONE .O "ID !MOUNT OR 4ELEPHONE .O

I Iunderstand that Neal Auction Company undertakes execution of absentee bids as aasconvenience clients and is not responsible inadvertent failI understand that Neal Auction Company undertakes the execution of absentee a convenience for clients and is not responsible for inadvertent failI Iunderstand that Neal Auction Company undertakes the execution ofofabsentee bids as aabids convenience for clients and is not responsible forfor inadvertent failure understand that Neal Auction Company undertakes thethe execution absentee bids as convenience forfor clients and is not for inadvertent failI Iunderstand understand that Neal Auction Company undertakes the execution of absentee bids as aaconvenience convenience for clients and isresponsible not responsible for inadvertent failure understand that Neal Auction Company undertakes the execution ofabsentee absentee bids convenience for clients and is not responsible inadvertent failthat Neal Auction Company undertakes the execution of bids as aas for clients and is not responsible for inadvertent failure ure to execute or any in the execution Iread have read and agree to the â&#x20AC;&#x153;Conditions Saleâ&#x20AC;? as stated in the catalogue. understand thatthat ure to execute bids, or for any error in the bids. Iand have read and agree to the â&#x20AC;&#x153;Conditions Saleâ&#x20AC;? in the catalogue. I understand that or for any error in the of bids. IIIhave read and agree toto the ofof Saleâ&#x20AC;? asas stated instated the I understand to execute or for any error inexecution the execution of of bids. I have read and agree toâ&#x20AC;&#x153;Conditions the â&#x20AC;&#x153;Conditions of Saleâ&#x20AC;? as stated incatalogue. the catalogue. I understand toure execute bids, orbids, forbids, error inerror the ofexecution bids. I bids. have agree to the â&#x20AC;&#x153;Conditions of Saleâ&#x20AC;? as of stated inas the catalogue. I understand thatthat toure execute bids, orany forfor any error inexecution the execution ofof bids. have read and agree to the â&#x20AC;&#x153;Conditions ofof Saleâ&#x20AC;? as stated in the catalogue. understand that to execute bids, any error in the execution of bids. have read and agree the â&#x20AC;&#x153;Conditions Saleâ&#x20AC;? stated in the catalogue. III understand that a aabuyerâ&#x20AC;&#x2122;s premium will be charged each lot purchased at 22% up to and including $200,000 plus 10% of hammer price greater than $200,000. ForFor apremium buyerâ&#x20AC;&#x2122;s premium will be charged on lot purchased at 22% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For buyerâ&#x20AC;&#x2122;s premium will be charged onon each loteach purchased at 25% 22% up toup and including $200,000 plus 10% of the price greater than $200,000. For abuyerâ&#x20AC;&#x2122;s buyerâ&#x20AC;&#x2122;s premium will be charged on each lot purchased at25% 22% up toincluding and including $200,000 plus 10% of the hammer price greater than $200,000. aabuyerâ&#x20AC;&#x2122;s will be charged on each lot purchased at up to and $200,000 plus 10% of thethe hammer price greater than $200,000. For buyerâ&#x20AC;&#x2122;s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% ofhammer the hammer price greater than $200,000. For premium will be charged on each lot purchased at to and including $200,000 plus 15% of the hammer price greater than $200,000. For purchase made by cash, check or wire transfer within 15 days of the auction, buyerâ&#x20AC;&#x2122;s premium shall be discounted of 22%. No exceptions. purchase by cash, or wire transfer within 15 days of the auction, the buyerâ&#x20AC;&#x2122;s premium be discounted 2.5% of this No exceptions. purchase made bymade cash, check orcheck wire transfer within 15 days of the auction, thethe buyerâ&#x20AC;&#x2122;s premium shall beshall discounted 2.5% ofthis this 22%. No22%. exceptions. purchase made cash, check orwire wire transfer within 15 days of the auction, the buyerâ&#x20AC;&#x2122;s premium shall be discounted 2.5% of this 22%. No exceptions. purchase made by cash, check or wire transfer within 15 days of the auction, the buyerâ&#x20AC;&#x2122;s premium shall be discounted 3%2.5% of3% 25%. No exceptions. purchase made byby cash, check or wire transfer within 15 days of the auction, the buyerâ&#x20AC;&#x2122;s premium shall be discounted 3% ofthis this 25%. No exceptions. purchase made by cash, check or transfer within 15 days of the auction, the buyerâ&#x20AC;&#x2122;s premium shall be discounted of this 25%. No exceptions.

Signature Required Signature Required Signature Required Signature Required

Date Date Date Date

Internal Use Only: Approved _____________Registered ___________ Entered ____________ Fax Form on or before Friday, 1/31/15 For Internal Use Only: Approved _____________Registered ___________ Entered ____________ Fax Fax Form on or before Friday, 1/31/15 ForFor Internal Use Only: Approved _____________Registered ___________ Entered ____________ Form on or before Friday, 1/31/15 For Internal Use Only: Approved _____________Registered ___________ Entered ____________ Fax Form on or before Friday, 1/31/15 Fax Form on or Friday,6/26/15 Fax Form on or Friday,6/26/15 Fax Form on or before Friday, 9/23/16 Fax Form on or Friday,6/26/15 Fax Form on or before Friday, 9/23/16 Fax Fax or E-mail Form form on or on or before Friday,6/26/15 Thursday, 2/6/20 9/10/20 Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________

to 504-617-6431 504-617-9990 to 504-617-6431 or504-617-9990 504-617-9990 504-617-6431 504-617-9990 toto 504-617-6431 or 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 or 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 to to 504-617-6431 504-617-6431 oror bids@nealauction.com 504-617-9990

229 229 229 229

126

Louisiana Purchase Auction

November 21-22, 2020

We are especially interested in Fine American, Continental and Contemporary Paintings, Drawings, Prints and Photography • Sculpture • Period Furniture and Decorative Objects Asian Art • Lighting • Silver • Art Pottery • Historical Documents, Books, and Maps.

Neal Auction AUCTIONEERS & APPRAISERS OF ANTIQUES & FINE ART

127

4038 Magazine Street, New Orleans, LA • 504-899-5329 • www.nealauction.com • clientservices@nealauction.com 127

Additional information at www.nealauction.com Buyer’s Premium: 25% of the hammer price on each lot up to and including $200,000, plus 15% of the hammer price greater than $200,000.

127 127

June 12, 13 & 14, 2020 â&#x20AC;¢ Auction Results 128

0001 - 704 0002 - 427 0003 - 750 0004 - 1024 0005 - 704 0006 - 320 0007 - 256 0008 - 671 0009 - 793 0010 - 320 0011 - 7320 0012 - 7320 0013 - 832 0014 - 768 0015 - 512 0016 - 305 0017 - 14030 0018 - 640 0019 - 305 0020 - 915 0021 - 1250 0022 - 31720 0023 - 488 0024 - 768 0025 - 1408 0026 - 448 0027 - 384 0028 - 562 0030 - 12800 0031 - 1586 0032 - 11590 0034 - 14080 0035 - 18300 0036 - 19375 0037 - 10980 0038 - 17690 0039 - 9150 0041 - 976 0042 - 732 0043 - 576 0044 - 1216 0045 - 2944 0048 - 1220 0049 - 1220 0050 - 512 0051 - 687 0052 - 687 0053 - 704 0054 - 640 0056 - 1152 0057 - 1586 0058 - 1952 0059 - 4270 0061 - 2432 0062 - 366 0063 - 384 0064 - 576 0067 - 793 0068 - 192 0071 - 2196 0072 - 832 0076 - 28060 0077 - 14640 0079 - 6710 0080 - 1024 0081 - 671 0082 - 1098 0083 - 305 0084 - 1024 0085 - 6100 0086 - 3840 0087 - 1220 0088 - 854 0089 - 576 0090 - 640 0091 - 488 0092 - 5440 0093 - 3840 0094 - 2688 0095 - 610 0096 - 244 0097 - 122 0098 - 960 0099 - 576 0100 - 976 0101 - 2048 0102 - 854 0103 - 488 0104 - 5760 0105 - 305 0106 - 427 0107 - 1098

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0810 - 1664 0811 - 4992 0812 - 218 0813 - 576 0814 - 4880 0815 - 1342 0816 - 610 0817 - 793 0818 - 384 0819 - 1159 0820 - 1098 0821 - 640 0822 - 960 0823 - 704 0824 - 640 0825 - 250 0826 - 312 0827 - 687 0828 - 256 0829 - 256 0830 - 183 0831 - 512 0832 - 320 0833 - 305 0834 - 384 0835 - 320 0837 - 1098 0839 - 250 0843 - 4026 0844 - 1708 0845 - 1586 0846 - 2440 0847 - 1952 0848 - 1464 0849 - 1586 0850 - 1408 0851 - 1875 0852 - 1342 0853 - 1920 0854 - 732 0855 - 2688 0856 - 384 0857 - 3584 0858 - 1586 0859 - 2562 0860 - 1830 0861 - 896 0862 - 768 0863 - 854 0864 - 610 0866 - 1152 0867 - 854 0868 - 256 0869 - 610 0870 - 250 0871 - 183 0872 - 427 0873 - 366 0873A - 512 0873B - 305 0873C - 427 0873E - 384 0874 - 1830 0875 - 1098 0876 - 427 0877 - 2684 0878 - 1098 0882 - 976 0883 - 1464 0884 - 1792 0885 - 250 0886 - 1342 0887 - 2688 0889 - 256 0890 - 1000 0891 - 375 0892 - 6400 0893 - 1024 0897 - 512 0898 - 2440 0899 - 320 0901 - 671 0902 - 250 0903 - 896 0904 - 1220 0905 - 832 0906 - 3172 0907 - 576 0908 - 608 0909 - 610 0910 - 549 0911 - 183

0912 - 274 0913 - 427 0914 - 396 0915 - 488 0916 - 128 0917 - 192 0918 - 244 0919 - 93 0920 - 732 0921 - 793 0923 - 256 0924 - 549 0925 - 427 0926 - 375 0927 - 187 0928 - 256 0929 - 256 0930 - 128 0931 - 187 0932 - 128 0934 - 366 0935 - 704 0937 - 305 0939 - 250 0940 - 218 0941 - 1216 0943 - 750 0944 - 732 0945 - 549 0946 - 488 0947 - 896 0949 - 854 0950 - 704 0951 - 384 0952 - 125 0954 - 1062 0955 - 244 0957 - 832 0959 - 305 0960 - 416 0961 - 244 0962 - 384 0963 - 250 0964 - 960 0965 - 576 0967 - 732 0969 - 610 0971 - 610 0973 - 448 0974 - 448 0975 - 1024 0976 - 384 0977 - 384 0978 - 1920 0979 - 1250 0980 - 610 0981 - 1408 0982 - 250 0983 - 576 0985 - 625 0986 - 1342 0987 - 976 0988 - 56 0989 - 1464 0990 - 183 0991 - 488 0992 - 640 0993 - 250 0994 - 488 0995 - 192 0996 - 488 0998 - 732 0999 - 896 1000 - 256 1001 - 1098 1004 - 128 1005 - 375 1006 - 250 1007 - 1408 1011 - 305 1013 - 244 1017 - 1708 1019 - 384 1020 - 768 1021 - 1000 1022 - 512 1023 - 1342 1025 - 256 1026 - 256 1027 - 437 1029 - 244 1030 - 896

1032 - 366 1033 - 576 1034 - 244 1035 - 192 1036 - 183 1037 - 610 1038 - 610 1039 - 976 1040 - 1220 1041 - 793 1042 - 2816 1043 - 854 1044 - 250 1051 - 122 1052 - 152 1053 - 100 1054 - 427 1058 - 256 1059 - 125 1060 - 256 1062 - 256 1063 - 256 1064 - 366 1065 - 160 1066 - 218 1067 - 250 1068 - 244 1069 - 875 1070 - 366 1072 - 732 1073 - 704 1074 - 488 1075 - 1708 1076 - 732 1077 - 896 1078 - 976 1079 - 976 1083 - 854 1084 - 488 1085 - 549 1086 - 384 1087 - 305 1088 - 671 1089 - 512 1090 - 610 1091 - 576 1092 - 250 1093 - 427 1094 - 768 1095 - 512 1096 - 549 1097 - 244 1098 - 1220 1099 - 187 1100 - 576 1101 - 366 1102 - 244 1103 - 244 1104 - 244 1105 - 488 1106 - 448 1107 - 793 1108 - 384 1109 - 366 1110 - 128 1111A - 610 1112 - 256 1113 - 192 1114 - 640 1115 - 366 1116 - 187 1117 - 384 1119 - 305 1120 - 732 1121 - 256 1122 - 671 1123 - 488 1124 - 3050 1125 - 960 1126 - 3965 1127 - 512 1128 - 256 1130 - 610 1132 - 128 1133 - 312 1134 - 256 1135 - 122 1136 - 1159 1137 - 488 1138 - 256 1140 - 1708 1141 - 192

1142 - 671 1143 - 320 1145 - 366 1146 - 854 1147 - 5185 1148 - 250 1149 - 256 1150 - 576 1151 - 2048 1152 - 183 1153 - 576 1154 - 256 1155 - 1586 1157 - 832 1158 - 549 1159 - 256 1160 - 122 1161 - 160 1162 - 187 1163 - 305 1164 - 448 1165 - 244 1166 - 1220 1167 - 427 1172 - 183 1173 - 125 1174 - 732 1175 - 437 1176 - 320 1178 - 854 1179 - 305 1180 - 366 1181 - 305 1183 - 1098 1184 - 832 1185 - 256 1186 - 976 1187 - 375 1188 - 366 1189 - 366 1191 - 512 1193 - 187 1194 - 384 1196 - 488 1197 - 875 1198 - 122 1199 - 320 1200 - 160 1201 - 384 1202 - 384 1203 - 366 1204 - 608 1205 - 976 1206 - 610 1207 - 384 1208 - 305 1209 - 793 1210 - 960 1211 - 976 1212 - 305 1213 - 2074 1214 - 793 1215 - 768 1216 - 1098 1217 - 3965 1218 - 732 1219 - 549 1220 - 640 1221 - 896 1222 - 549 1223 - 976 1224 - 1952 1225 - 549 1226 - 1220 1227 - 610 1228 - 610 1229 - 610 1230 - 125 1231 - 366 1232 - 437 1233 - 732 1234 - 256 1235 - 305 1236 - 183 1237 - 750 1238 - 704 1239 - 549 1240 - 671 1241 - 384 1242 - 488 1243 - 375 1244 - 183

Neal Auction Company John R. Neal (1940-2018), Founder Neal Alford President

Katherine Hovas Senior Vice President

Marc Fagan Vice President Consignments ADMINISTRATION

Michelle LeBlanc Leckert, CAI Vice President

Bettine Field Carroll Vice President Business Development CONSIGNMENTS

Director of Administration & Finance Michelle LeBlanc Leckert, CAI

Furniture & Decorative Arts Neal Alford; Josh Broussard

Client Services / Accounts Receivable Rebekah Abernathy

Database Management / Internet Auction Administrator Lisa Weisdorffer

Paintings, Prints & Photography Marney Robinson; Sophie Hirabayashi; Beth Sherwood; Casey Foote

Books, Maps & Natural History Prints Marc Fagan

Silver & Decorative Arts Katherine Hovas

Asian Arts Bettine Field Carroll

Consignments Administrator / Condition Report Manager Matthew Cohn

Bookkeeper Rita LaGrange-Perez

Social Media Coordinator / Junior Cataloger Cameron McHarg

General Manager Jason Leckert

AUCTION SERVICES

GRAPHICS

Graphics Director / Catalogue Design David Roberts

Photography Jason Leckert Gerard Lewis Owen Murphy

Operations Staff Charlie Clay Kelvin Gibson Jerry Majors

EXHIBITION STAFF Cecile Ballard Cammie Mayer Margo Phelps AUCTIONEERS

Director of Museum Services & Research Douglas Lewis, Ph.D., F.A.A.R.

Trust & Estates Advisor Henry G. McCall

Senior Appraiser Fine Arts Amanda Mantle Winstead

Appraisals Marc Fagan

OPERATIONS

Benjamin Rhodes Marvin Varnado

Yvette Semmes Carolyn Wogan Claire Whitmore

Neal Alford #797 Michelle LeBlanc Leckert #1514 Bettine Field Carroll #1874 Marc Fagan #1935

CATALOGUE CONSULTANTS

Paintings & Fine Arts Amie Strickland

Furniture & Decorative Arts Doris Mollenkopf

Newcomb Pottery & Decorative Arts Sally Main

Silver Carey Mackie

Decorative Arts & Victoriana Ann M. Masson

Jewelry Stephen A. Moses, GIA Graduate Gemologist