Louisiana Purchase Auction - November 20, 21 & 22, 2020 by Neal Auction

Louisiana Purchase Auction

November 20, 21 & 22, 2020

FEATURING: 18th and 19th c. American, French and English antiques, important paintings, historical material and decorative arts especially consigned by discerning collectors, estates and institutions including: Objects from an Important Collection of Early Louisiana Material Culture Gentleman’s Collection of Fine American Rococo Furnishings and Period Decorations, Seabrook, TX Property from the Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans Estates of Joyce and Donald Laidlow, Bluffton, SC Fine Art from the Estate of Houston H. and Carolyn H. Harte, San Antonio, TX Important Southern Paintings from the Collection of Michael Wilkinson, New Orleans Select Property from a New Orleans Gentleman Collector Additional Property from the Collection of Brooke and Maria Fox, Metairie, LA Property Sold to Benefit the Acquisition Fund of the New Orleans Museum of Art Fine Chinese Bronzes and Cloisonne Deaccessioned from the Mobile Museum of Art and Sold to Benefit their Collections, Care and Acquisition Fund Property from the Collection of Jacqueline Pailet, Metairie, LA Property from the 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, November 20, beginning at 2:00 p.m. Saturday, November 21, beginning at 11:00 a.m. Sunday, November 22, beginning at 11:00 a.m.

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PROPERTY FROM THE ESTATE OF JOYCE AND DONALD LAIDLAW Neal Auction Company is pleased to offer property from the Estates of Joyce Harper (1928-2019) and Donald A. Laidlaw (1930-2017) of Bluffton, SC. Mr. Laidlaw was a business executive who later served as Assistant Secretary of Education under President George H.W. Bush. The couple amassed a significant collection of fine and decorative art during their sixty-two years of marriage. Although they traveled widely, their collecting focus was on American Southern Regional Art. The Laidlaws were well-known philanthropists in South Carolina and Savannah, Georgia. They were also major contributors to the Florida State University College of Social Work, Mrs. Laidlaw’s alma mater. A portion of the estate’s auction proceeds will be donated to a scholarship fund in the Laidlaws’ names at the school. Neal Auction Company would like to thank Robert W. Harper for his assistance with this essay.

Session One Friday, November 20, 2 p.m.

2. John James Audubon (American, 1785‑1851), The Birds of America, Edition Leipzig, Leipzig and Ariel Press, London, 1973, 20 double‑elephant folio (38 1/2 in. x 26 1/2 in.) collotypes, edition # 641, with original boards and shipping box, plates loose, as issued including Black‑billed Cuckoo, Louisiana Heron, Louisiana Hawk, Roseate Spoonbill, White Heron, Glossy Ibis, Blue Crane or Heron, Swallow‑tailed Hawk, Willow Grouse, Tufted Auk, Shoveller Duck, Long Tail or Dusky Grous, Cock of the Plains, Scarlet Ibis, Western Duck, Red Phalarope, Purple Heron, Tropic Bird, King Duck, and Harlequin Duck [$3000/5000] 3. Kurz & Allison / Publishers, “Battle of New Orleans”, 1890, chromolithograph, sight 21 in. x 27 1/2 in., framed. [$400/600]

1. Johann Wilhelm Weinmann (German, 1683‑1741), “Amaranthus Spica Herbacea”, “Brassica Sylvestris Turrits and Brassica Sylvestris Maxima”, “Anagyris Quinque Foliate” and “Angerina Argentine”, 1737‑1745, 4 hand‑colored lithographs, from Phytanthoza Iconographia, sights 13 1/4 in. x 8 3/4 in., framed alike. (4 pcs.) [$800/1200]

4. Three Spanish Colonial Carved and Polychrome Wood Figures of Saints, 18th/19th c., tallest h. 16 in. [$600/900] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

5. Antique Carved and Polychrome Figure of a Bishop, Cartagena, Columbia, h. 35 in., w. 9 in., d. 8 1/2 in., later scrolled, plaster base, overall h. 39 in. [$500/700] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

6. Antique Italian Marquetry Collector’s Cabinet, c. 1890, foliate and scroll inlay, interior configuration of drawers centered by large drawer with lion bail handle, bun feet, h. 17 1/8 in., w. 16 in., d. 8 1/8 in. [$800/1200]

7. Pair of French Tole Peinte Tricolor Trophée Two‑Light Sconces, 20th c., with a drum, trumpet, and flag, h. 24 in., w. 12 in., d. 4 in. [$200/300]

8. Pair of Neoclassical‑Style Gilt Bronze‑Mounted Cut Glass and Malachite Campagna Urns, floral scroll handles terminating in Classical masks, malachite veneered base, bun feet, h. 17 1/2 in., dia. 7 1/8 in. [$800/1200] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC Additional information at www.nealauction.com

9. Grand Tour Bronze of Napoleon, 19th c., marble base, h. 13 in., w. 3 1/2 in., d. 3 1/2 in. [$500/800]

10. Japanese Sterling Silver After‑Dinner Coffee Service, K. Uyeda, mid‑20th c., incl. after‑dinner coffee pot, covered sugar, creamer, and tray; each of paneled octagonal form with reeded borders, pot h. 8 3/8 in., tray 18 1/8 in. x 12 1/8 in., combined wt. 76.70 troy ozs. [$1000/1500] Note: Kichigoro Uyeda, founded in Tokyo in 1884, is the oldest Japanese silver manufactory in operation.

12. Louis XVI‑Style Creme Peinte and Chrome‑Mounted Carving Trolley, revolving domed cover opening to service platter and work surface, brass‑mounted frieze fitted with dish ring and handle, fluted legs, pierced stretcher, casters, h. 43 in., w. 27 1/2 in., d. 32 1/2 in. [$1200/2000]

14. Regency Mahogany Barometer, early 19th c., signed “J. TAGLIABUE, 11 BROOK STREET, HOLBORN”, case incorporating hygrometer, thermometer, convex mirror, and level, h. 46 in., w. 14 in., d. 13 in. [$1000/1500]

17. Bronze Figure of a Lamb, after Paul Silvestre, signature and “Susse Fr[ères] Ed[itions] Paris” inscribed, “France” and foundry stamps on self‑base, h. 3 1/4 in. [$400/600]

11. Japanese Sterling Silver Tea Service, K. Uyeda, probably early 20th c., incl. teapot, open sugar, and creamer; each ovoid form with handsome engraved “H” monogram, teapot h. 5 3/4 in., combined wt. 27.45 troy ozs. [$400/600]

13. Pair of Louis XV‑Style Gilt Bronze Two‑Light Sconces, foliate design, electrified, h. 16 in., w. 11 in., d. 8 in. [$400/600]

15. Pair of Napoleon III‑Style Carved Giltwood Two‑Light Sconces, 19th c., torch‑form backplate, spread winged swans standard, h. 21 in., w. 11 1/2 in., d. 5 in. [$400/600]

18. French Patinated Bronze Bust of Napoleon, after Renzo Colombo, signature and “Paris” inscribed on proper right shoulder, “Tiffany & Co. / France” stamp on reverse, h. 12 1/2 in., w. 9 in., d. 5 1/2 in. [$700/1000]

16. Angiolo Malavolti (Italian, 1876‑1947), “Bust of a Maiden”, carved alabaster, signature incised on removable self‑base, h. 12 3/4 in., w. 13 1/2 in., d. 7 in. [$500/700]

19. Large Antique Silver Gilt Looking Glass, mid‑19th c., coved and astral molded surround, old mirrorplate, h. 59 1/4 in., w. 48 in., d. 3 in. [$1200/1800]

21. Napoleon III Bronze and Marble Mantel Clock, 19th c., surmounted by urn, silvered dial, silk‑thread movement, h. 19 1/4 in., w. 10 1/4 in., d. 6 1/4 in. [$500/750] 20. Pair of Venetian Beveled and Engraved Glass Mirrors, shield shaped, segmented surround with foliate crest, h. 31 in., w. 19 in. [$400/600]

22. Georg Jensen Sterling Silver Coffee and Tea Service, pattern 80A, designed by Georg Jensen 1915, c. 1950, incl. coffee pot (h. 6 7/8 in.), teapot, creamer, and covered sugar; together with Georg Jensen sterling tray, pattern 223C, designed by Georg Jensen 1917, 13 5/8 in. x 9 3/4 in., total wt. 59.50 troy ozs. [$2000/3000] Ref.: Taylor & Laskey. Georg Jensen Holloware: The Silver Fund Collection, pp. 78‑79 and 104.

23. English Aesthetic Brass and Copper Coal Scuttle, c. 1895, checkered surface, lion handles, removable coal bucket, h. 23 1/2 in., w. 15 in., d. 13 1/2 in. [$700/1000]

25. Lino Tagliapietra (Italian, b. 1934) Glass “Filligrana Sphere”, 1995, clear with brown canes in “vetro a reticello” style, signed and dated, h. 13 in. [$4000/6000] Provenance: Pismo, Denver, 1997; Collection of Dr. Isidore Cohn, Jr. (1921‑2015), New Orleans.

24. Three Pino Signoretto (Italian, b. 1944) Glass Horses, each signed, tallest h. 9 in., presented loose on frosted glass base, overall h. 10 1/2 in., w. 10 3/4 in., d. 10 3/4 in. [$500/700] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921‑2015), New Orleans.

26. Grand Tour‑Style Bronze of Athenienne, 19th c., basin with zoomorphic mounts, tripod stand, paw feet, h. 39 1/2 in., dia. 18 1/2 in. [$1200/2800]

27. Pair of American Art Deco Bronze Elevator Indicator Sconces, c. 1920, turret‑form case, fitted with arrowhead‑form cast‑glass, now mounted on molded wood back, electrified, h. 10 1/4 in., w. 6 in., d. 3 1/2 in. [$400/600]

29. Contemporary Mid‑Century Modern‑Style Lapis Veneered Cantilever Occasional Table, in the manner of Angelo Mangiarotti’s “Eros” table, 2 parts, cone base with oblong top, h. 24 in., w. 29 in., d. 18 in. [$1500/2500]

28. Italian Faience Figural Six‑Light Candelabrum, 19th c., marked Italy and “AVF” or “AMF”, modeled as putti seated on rockwork holding foliate candleholders, rocaille base, h. 22 3/4 in. [$800/1200] Provenance: With German Expressionist artist, Hans Friedrich Grohs (1892‑1981), Germany; thence by descent in the family.

30. Four Ludwig Mies van der Rohe (German/American, 1886‑1944) Stainless Steel and Upholstery “Brno” Armchairs, 1999, Knoll, proper left feet incised “KnollStudio / Mies van der Rohe”, two with upholstery labels, mohair upholstery, h. 31 1/2 in., w. 23 in., d. 22 in. [$3000/5000]

Additional information at www.nealauction.com

32. Charles (American, 1907‑1978) and Ray (American, 1912‑1988) Eames for Herman Miller Ash, Leather and Aluminum Lounge Chair and Ottoman, 2004, Zeeland, MI, each with Herman Miller label, chair with manufacture date, model no. 670 and 671, chair h. 31 in., w. 33 in., d. 32 1/2 in; ottoman h. 16 in., w. 26 in., d. 22 in. [$1500/2500]

31. Isamu Noguchi (Japanese/American, 1904‑9188) for Herman Miller Walnut and Glass Coffee Table, late 20th c., Zeeland, MI, signed on edge of glass, labeled “Herman Miller / Isamu Noguchi” on base of wood, h. 15 1/2 in., w. 49 3/4 in., d. 35 1/2 in. [$1000/1500]

33. Harvey Probber (American, 1922‑2003) for Harvey Probber, Inc. Bleached Rosewood and Ebonized Mahogany Credenza, late 1950s/early 1960s, labeled, 2 sliding doors opening to interior fitted with 8 drawers, 4 side drawers with brass pulls, straight legs with brass caps, later glass top, h. 36 7/8 in., w. 77 3/8 in., d. 17 7/8 in. [$700/1000]

34. Harvey Probber (American, 1922‑2003) for Harvey Probber, Inc. Upholstery and Steel Three‑Piece “Cubo” Modular Sofa, c. 1970s, one section labeled, original button‑tufted green upholstery, each h. 24 1/2 in., w. 32 in., d. 32 1/2 in. [$700/1000]

35. Rare Pedro Friedeberg (Mexican, b. 1938) Carved and Giltwood “Hand Foot” Coffee Table, c. 1970s, signed on base of one proper right foot, glass top, stretcher, h. 18 in., w. 22 1/2 in., d. 44 in. [$3000/5000]

36. Pair of Art Moderne‑Style Black Marble Face Chairs, barrel‑form seats, h. 27 in., w. 25 in., d. 26 in. [$3000/5000]

38. Pablo Picasso (Spanish, 1881‑1973), “Serment des Femmes (Block 267)”, 1934, etching, pencil‑signed lower left margin, pencil‑numbered “150/145” lower right margin, from Lysistrata, printed by Lacourière, Paris, published by The Limited Editions Club, “Original print collections group, Ltd., New York” label on backing, sheet 15 in. x 11 1/8 in., framed; accompanied by a copy of certificate of authenticity from Original PrintCollectors Group, Ltd., New York, NY. [$1000/1500] Ill.: Aristophanes and Gilbert Seldes. Lysistrata: A New Version by Gilbert Seldes. New York: The Limited Editions Club, 1934, pl. 267 37. Henri Matisse (French, 1869‑1954), “L’Idole”, 1906, lithograph on Japon paper, signed in plate, sheet 17 5/8 in. x 10 7/8 in., framed; accompanied by a copy of certificate of authenticity from Original Print Collectors Group, Ltd., New York, NY. [$2000/3000]

39. José‑Mariá Cundín (Spanish/New Orleans, b. 1938), “El Extra Año Desayuno del Gran Dictador”, gouache on paper, signed, titled, and inscribed lower center, 21 5/8 in. x 29 in., framed. [$1000/1500] 40. José‑Mariá Cundín (Spanish/New Orleans, b. 1938), “Untitled Figure”, polyester resin, cloth and mixed media sculpture, h. 33 in., w. 25 in., d. 11 3/4 in., painted wood base, overall h. 33 1/2 in. [$3000/5000] Provenance: Purchased from the artist; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

41. Hunt Slonem (American/Louisiana, b. 1951), “Pink for Audrey Hepburn”, 2015, oil on canvas, signed, titled, and dated en verso, 40 in. x 30 in., framed. [$7000/10000]

43. Robert Gordy (American/New Orleans, 1933‑1986), “The Garden”, 1966, acrylic on canvas, initialed and dated lower right, signed, dated and “The Glade Gallery, New Orleans, LA” label with artist and title en verso, “Galerie Simonne Stern, New Orleans, LA” and “Tampa Bay Art Center, Tampa, FL” labels on frame, 26 in. x 28 in., framed. [$3000/5000]

42. Hunt Slonem (American/Louisiana, b. 1951), “Butterflies”, 2005, oil on canvas board, initialed and dated en verso, 16 in. x 20 in., framed. [$4000/6000]

44. Richard Johnson (American/New Orleans, b. 1942), “Soft and Silky”, 1983, acrylic and mixed media on canvas, initialed lower center, dated lower right, signed, titled, and dated en verso, 40 in. x 46 in., framed. [$3000/5000] Additional information at www.nealauction.com

45. Joseph Lambert Cain (American/New Orleans, 1904‑2003), “Land Bands”, 1964, Hyplar copolymer on masonite, signed and dated lower right, “Texas Fine Art Association Spring Jury and Membership Exhibitions, 1964” label with artist and title on stretcher, artist biography en verso, 36 in. x 48 in., framed. [$6000/8000]

46. Hunt Slonem (American/Louisiana, b. 1951), “Eyes of God”, 2015, oil on canvas, signed, titled, and dated en verso, 30 in. x 30 in., framed. [$3000/5000] 47. James Michalopoulos (American/New Orleans, b. 1951), “Mid‑City Miasma”, 1997, oil on canvas, signed lower left, signed, titled, and dated en verso, 29 5/8 in. x 60 in., unframed. [$4000/6000]

48. George Rodrigue (American/ Louisiana, 1944‑2013), “Kiss Me I’m Cajun, Too!”, 1992, oil on linen, signed lower left, signed, titled, and dated en verso, 24 in. x 18 in., framed. [$30000/50000] Provenance: Rodrigue Gallery of New Orleans, Inc., New Orleans, LA, 1994.

49. Hunt Slonem (American/ Louisiana, b. 1951), “Birds on Wires”, oil on board, unsigned, 12 in. x 9 in., framed. [$3000/5000] Provenance: Private Collection, FL; Freeman’s Auction, Philadelphia, PA, Nov. 7, 2010, lot 472.

50. George Rodrigue (American/Louisiana, 1944‑2013), “Female Figure Study” and “Male Figure Study”, 2 graphites on paper mounted to foamcore, former pencil‑signed lower center, latter pencil‑signed lower right, 21 in. x 14 in. and 13 1/2 in. x 14 1/8 in., framed. (2 pcs.) [$1200/1800]

51. William Hemmerling (American/Louisiana, 1943‑2009), “Jesus Likes Pool”, mixed media on panel, signed lower right, signed, titled, dated, and extensively inscribed en verso, 26 1/4 in. x 48 1/8 in., unframed. [$4000/6000] Provenance: Hemmerling Gallery, Ponchatoula, LA.

53. David Harouni (Iranian/New Orleans, b. 1962), “Untitled (Face)”, 1998, oil on gallery‑wrapped canvas, signed lower left, 48 in. x 48 in., unframed. [$4000/6000]

52. William Hemmerling (American/Louisiana, 1943‑2009), “Buster”, 2008, mixed media on panel, signed lower left, signed, dated, and extensively inscribed en verso, 37 1/2 in. x 11 in., unframed. [$3000/5000]

Provenance: Harouni Gallery, New Orleans.

Provenance: Hemmerling Gallery, Ponchatoula, LA. Note: A recurring subject in William Hemmerling’s paintings, “Buster” was inspired by a client’s dog of the same name who fascinated the artist upon their initial meeting in his gallery. In this original work, Hemmerling depicts the dog on a checkered floor with neutral background in a strong vertical format, emphasizing its black and white fur and inquisitive gaze. The artist’s characteristic self-taught style elevates the dog to a human level while complementing the found materials utilized.

54. David Harouni (Iranian/New Orleans, b. 1962), “Untitled (Bronze Heads)”, 5 patinated bronzes, all signed and numbered, 3 inscribed “S”, h. 1 in. to 3 in. (5 pcs.) [$600/800]

55. Sister Gertrude Morgan (American/ New Orleans, 1900‑1980), “Hurricane Betsy Sept. 9th, 1965”, mixed media on paper, signed upper right, titled upper center, 14 in. x 16 7/8 in., framed. [$2500/3500] Provenance: Collection of Michael Wilkinson, New Orleans, LA.

56. Sister Gertrude Morgan (American/ New Orleans, 1900‑1980), “Hospital Visit”, mixed media on paper, unsigned, 15 in. x 20 in., framed. [$2500/3500] Provenance: Collection of Michael Wilkinson, New Orleans, LA. 57. Theora Hamblett (American/ Mississippi, 1895‑1977), “Feeding Chickens”, 1976, oil on canvas board, signed and dated lower right, 10 in. x 8 in., framed. [$8000/12000]

58. William R. Hollingsworth, Jr. (American/Mississippi, 1910‑1944), “Widow Man”, watercolor on paper, signed lower right, partial label and handwritten label with artist and title on backing paper, 11 in. x 17 in., framed. [$3000/5000] Provenance: Collection of Michael Wilkinson, New Orleans, LA.

59. Mildred Nungester Wolfe (American/Mississippi, 1912‑2009), “Washday”, c. 1930s, watercolor on paper, pencil‑signed lower left, 11 3/4 in. x 17 7/8 in., framed. [$1800/2500] Ill.: Wolfe, Elizabeth. Mildred Nungester Wolfe. Jackson:University Press of Mississippi, 2005, p. 65.

Additional information at www.nealauction.com

60. Mildred Nungester Wolfe (American/ Mississippi, 1912‑2009), “Fall Foliage”, oil on canvas, signed lower left, “Wolfe Creations” label on stretcher, 16 in. x 14 in., framed. [$1200/1800]

61. Karl Wolfe (American/Mississippi, 1904‑1984), “Floral Still Life”, watercolor and graphite on paper, pencil‑signed lower right, “Charlton Hall Galleries, West Columbia, SC” label on backing paper, 18 1/2 in. x 19 1/4 in., framed. [$1200/1800]

62. Karl Wolfe (American/Mississippi, 1904‑1984), “Mountain Valley”, gouache on board, pencil‑signed lower left, 9 1/4 in. x 13 in., framed. [$800/1200]

Provenance: Charlton Hall Galleries, Inc., June 13, 2014, lot 10.

63. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Cordes Aug 14”, 1929, watercolor and graphite on paper, pencil‑signed lower left, titled lower right, 14 3/4 in. x 12 1/4 in., framed. [$1800/2500] Ill.: Levingston, Bruce. Bright Fields: The Mastery of Marie Hull. Jackson: University Press of Mississippi, 2015, p. 63. Note: In the spring of 1929, Marie Hull commenced an eightmonth journey that would be one of the most inspirational and important periods of her long and celebrated career. Massachusetts artist George Elmer Brown, who was living in France at the time, ran a series of travel study programs which provided students, and other established artists such as Hull, the opportunity to visit various countries for artistic study of the landscapes and cultures. Hull’s own passion for landscape, as evidenced by her earlier travels throughout the United States, was a perfect fit for the program, and her resulting depictions of the countryside of France, Spain and North Africa reveal her skill and lifelong openness to stylistic experimentation and growth. As Bruce Levingston writes of the significance of this trip: “It was not only that for the first time she saw many great masterpieces in person; she also was forced to rethink everything she knew about her concepts of art…this trip was a new beginning for her.” The watercolor offered here of Cordes, France shows Hull is clearly exploring ideas of space and color through keen observation, rapid brushstrokes and carefully chosen line details.

64. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Cuenca”, 1929, watercolor and graphite on paper, pencil‑signed lower left, titled lower right, 12 in. x 15 in., framed. [$1800/2500] Ill.: Levingston, Bruce. Bright Fields: The Mastery of Marie Hull. Jackson: University Press of Mississippi, 2015, p. 77.

Ref.: Levingston, Bruce. Bright Fields: The Mastery of Marie Hull. Jackson: University Press of Mississippi, 2015

65. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Untitled (Gallinules in Water Lilies)”, c. 1960, 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 on backing, 8 1/2 in. x 10 7/8 in., framed. [$12000/18000]

66. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Untitled (Trees, Horn Island)”, c. 1960, watercolor and graphite on paper, unsigned, pencil‑titled en verso, “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 on backing, 8 1/2 in. x 11 in., framed. [$10000/15000]

Provenance: Luise Ross Gallery, New York, NY.

68. Karl Knaths (American, 1891‑1971), “Spirits of the Hondo”, oil on paper laid on board, signed lower left, inscribed with artist and title and artist biography en verso, 22 in. x 27 in., framed. [$3000/5000] Note: Karl Knaths, recognized as a painter with a unique and individual interpretation of Cubism, was born in Wisconsin in 1891. In 1912, Knaths enrolled at the Art Institute of Chicago. As a guard at the Chicago presentation of the Armory Show in 1913, he was first exposed to modernism and began to incorporate aspects of the progressive artists, particularly that of Cézanne, into his work. After a brief stay in New York in 1919, he became a lifelong resident of Provincetown, Massachusetts, where he exhibited landscapes and still life paintings regularly with the Provincetown Art Association. Also influenced by the works and writings of Wassily Kandinsky, Knaths became interested in music and believed that there were correspondences between musical intervals and spatial proportions, a theory that suited his cubist pictorial structure. In the work offered here, Knaths’ use of color, line and geometric shapes create a visual cacophony which perfectly represents this distinctive American artist.

67. Rolph Scarlett (Canadian/New York, 1889‑1984), “Abstract Composition”, gouache on paper, signed lower left, 18 1/2 in. x 23 5/8 in., framed. [$800/1200] Provenance: Fletcher Gallery, Woodstock, NY, Oct. 23, 2011, lot 23.

69. Raymond A. Whyte (American, 1923‑2002), “Reflections of the Future Venice”, 2002, oil on board, signed lower right, signed, titled, and dated en verso, 27 in. x 32 in., framed. [$600/900]

70. Raymond A. Whyte (American, 1923‑2002), “Untitled (Three Figures)”, 1965, oil on masonite, signed and dated lower right, dated and inscribed with artist en verso, “Banfer Gallery” label with artist and date on frame, 34 in. x 45 in., framed. [$600/900]

Provenance: Banfer Gallery, New York, 1967; Collection of Dr. Isidore Cohn, Jr. (1921‑2015), New Orleans.

Provenance: Banfer Gallery, New York, 1966; Collection of Dr. Isidore Cohn, Jr. (1921‑2015), New Orleans.

71. Charles Whedon Rain (American, 1911‑1985), “Violets”, 1965, oil on masonite, signed lower right, signed, titled, dated, inscribed “New York” and “Banfer Gallery” label with artist, title, and date en verso, 12 in. x 18 in., framed. [$6000/9000] Provenance: Banfer Gallery, New York; Collection of Dr. Isidore Cohn, Jr. (1921‑2015), New Orleans. 72. Tom Richard Cavanaugh (American/Illinois, b. 1923), “Ladies Taking Tea”, oil on board, initialed lower right, “Taylor Clark, Baton Rouge, LA” label on backing paper, 18 7/8 in. x 23 3/8 in., framed. [$800/1200]

73. Jack Youngerman (American/New York, 1926‑2020), “Wellspring”, 1987, oil on linen, signed, titled, and dated en verso, dia. 58 3/4 in., unframed. [$12000/18000] Note: Born in Louisville in 1926, Jack Youngerman was a leading member of the generation of artists who sought to explore abstraction in more analytical terms following the disordered impulsivity of Abstract Expressionism. From 1947 to 1948, he studied painting at the École des Beaux-Arts in Paris, where he continued to live and work until returning to New York upon the encouragement of Betty Parsons in 1956. After relocating to New York, he was included in the seminal “Sixteen Americans” exhibition in 1959 at the Museum of Modern Art, where he shared wall space with fellow luminaries and friends such as Frank Stella, Jasper Johns, Robert Rauschenberg and Ellsworth Kelly. Youngerman’s fluid, emblem-like shapes embrace flatness, seeming to leap forward to meet the viewer with bold primary colors. The vaguely organic shapes flirt with representation but remained nonrepresentational - “floating like mysterious essences in a timeless spirit world.” The artist wrote in Art in America in 1968: “We are immersed in the powerful and autonomous effigies of the world before these forms are possessed and diminished by names and uses, the name pre-empting the form. Painting involves the restoring of the image to that original primacy.” In 1987, Youngerman returned to his first love of painting following a twelve-year hiatus as a sculptor, working on a more modest scale with a newfound interest in texture. Gleaming slicks of oil paint are juxtaposed against bare areas of canvas in whirling kaleidoscopes of color, as seen in the work offered here of the same year. “Wellspring” harkens to the paradox presented by Roy Lichtenstein’s famous “Brushstroke” series - a celebration of expressionist gesture through meticulously designed stylization. Ref.: Grimes, William. “Jack Youngerman, Distinctively Abstract Artist, Dies at 93.” The New York Times. Feb. 20, 2020 Additional information at www.nealauction.com

76. Bill Wiman (American/ Texas, b. 1940), “Hats, Boots and Gun”, 1976, oil on canvas, signed lower left, signed, titled, and dated en verso, 33 in. x 36 in., framed. [$2000/3000]

74. George Valentine Dureau (American/ New Orleans, 1930‑1924), “Four Figures”, watercolor and charcoal on paper, signed lower center, 29 in. x 23 in., framed. [$1200/1800]

75. George Valentine Dureau (American/ New Orleans, 1903‑2014), “Two Figures”, watercolor and graphite on paper, pencil‑signed lower center, “Cassell Gallery, New Orleans” label on backing paper, 29 in. x 23 in., unframed. [$1200/1800]

77. George Rodrigue (American/Louisiana, 1944‑2013), “Row with Me Henry”, 1995, silkscreen, signed lower right, inscribed “Artist Proof” lower left, edition of 200 plus artist proofs, 29 in. x 22 in., framed. [$1800/2500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Calalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 97.

79. George Rodrigue (American/ Louisiana, 1944‑2013), “Blue Dogs”, pair of French clip sterling silver earrings, each marked “©Rodrigue” and sterling, each 3/4 in. x 1 in. [$500/700]

81. George Rodrigue (American/ Louisiana, 1944‑2013), “George’s Sweet Inspirations”, 2000, silkscreen, signed lower left, numbered “96/150” lower right, 20 in. x 16 in., unframed. [$800/1200] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 179.

Note: Born in Roscoe, Texas, Bill Wiman is a photorealist painter of conceptual still lifes and portraits. He studied at East Texas State University and the University of Florida. Wiman served as an assistant professor of painting at East Texas State University from 1966 to 1971 and began teaching at the University of Texas at Austin in 1972. Wiman’s photorealist technique gives the illusion of a full-scale color photograph due to the meticulous application of paint, careful attention to detail and stark high-contrast lighting. In the work offered here, the juxtaposed shapes and textures of familiar objects, such as the cowboy hat, mismatched flippers and menacing staple gun, combine tensely and somewhat unsettlingly together within a neutral setting to create a surreal and thoughtprovoking still life.

78. George Rodrigue (American/Louisiana, 1944‑2013), “Three’s a Crowd”, 1996, silkscreen, signed lower left, inscribed “Artist Proof” lower right, edition of 100 plus artist proofs, 33 in. x 21 in., framed. [$1800/2500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 156.

80. George Rodrigue (American/Louisiana, 1944‑2013), “Blue Dog Pin ‑ Full Body”, sterling silver vermeil, marked “©Rodrigue” and sterling, a rare prototype, 1 3/4 in. x 1 1/2 in.; together with George Rodrigue (American/Louisiana, 1944‑2013) and Douglas Magnus (American/New Mexico, b. 1946), “Blue Dog ‑ Full Body”, 1999, sterling silver with 14 kt. gold aura, signed “Rodrigue” on front, marked “©GR 1999”, sterling, 14k and Magnus hallmark, 1 3/4 in. x 1 1/5 in. (2 pcs.) [$600/800]

82. George Rodrigue (American/ Louisiana, 1944‑2013), “Sweet Like You”, 2000, silkscreen, signed lower left, numbered “11/150” lower right, 20 in. x 16 in., unframed. [$800/1200] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 179.

83. George Rodrigue (American/ Louisiana, 1944‑2013), “Hawaiian Blues”, 1998, silkscreen, pencil‑signed and numbered “338/500” lower margin, signed in plate, commissioned by Neiman Marcus, 18 in. x 31 in., unframed. [$1200/1800]

84. George Rodrigue (American/ Louisiana, 1944‑2013), “Butterflies Are Free”, 1996, silkscreen, pencil‑signed and numbered “105/1000” lower margin, signed in plate, commissioned by Neiman Marcus, 19 in. x 32 in., unframed. [$1000/1500]

Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonne 1970‑2007. New York: Abrams, 2008, p. 222.

85. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Morning Glories”, watercolor and graphite on paper, unsigned, 11 in. x 8 1/2 in., framed. [$10000/15000]

86. Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Buck Rabbit”, hand‑colored woodblock print on wallpaper mounted to board, unsigned, “Run No. 3, Straight Across Match, Made in USA, 1955” printed along right edge, 36 1/2 in. x 19 3/4 in., framed. [$4000/6000]

Provenance: Collection of Dr. and Mrs. Walter D. Cockerham.

Provenance: Neal Auction Company, Sept. 30, 2006, lot 638. Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 77.

87. Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Least Tern (Single Tern)”, linocut on paper, unsigned, sight 14 in. x 24 1/2 in., framed. [$1000/1500] Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 68.

89. Alberta Kinsey (American/New Orleans, 1875‑1952), “French Quarter Street Scene”, oil on canvas board, signed lower left, 15 1/2 in. x 11 in., framed. [$1200/1800]

91. Colette Pope Heldner (American/Louisiana, 1902‑1990), “Orleans Alley, New Orleans”, oil on canvas, signed lower left, signed, and titled en verso, 22 1/8 in. x 18 1/4 in., framed. [$2000/3000] Provenance: Collection of Michael Wilkinson, New Orleans, LA.

88. Anne Wells Munger (American/Mississippi, 1862‑1945), “Corner of Brulatour Courtyard”, oil on canvas board, signed lower left, titled en verso, “Portraits C. Bennette Moore, New Orleans, LA” label on frame, 10 in. x 8 in., framed. [$1000/1500]

90. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Tropical Dream”, watercolor on paper, signed lower right, 20 3/16 in. x 15 1/2 in., matted. [$1500/2500] Provenance: Descended in the family of the artist.

92. Franz Felix (Austrian/American, 1892‑1967), “New Orleans Street Scene”, oil on canvas, signed and inscribed “New Orleans, LA” lower left, 31 1/4 in. x 21 in., framed. [$800/1200] Note: Franz Felix was born in Vienna, Austria and pursued artistic studies there prior to immigrating to the United States shortly after World War I. He initially settled in San Francisco, where he worked as a portrait painter and commercial illustrator. In the late 1920s, Felix moved to New York and established a studio in Spring Valley. He remained there throughout World War II and painted a series of murals of wartime activities of Spring Valley residents. At some point during his travels, likely in the 1930s, Felix visited New Orleans, where he captured with an illustrator’s eye for color and shape the charming street scene of the French Quarter offered here.

Additional information at www.nealauction.com

94. Knute Heldner (Swedish/ Louisiana, 1877‑1952), “Untitled (Seascape With Boat)”, oil on canvas board, signed lower left, 2 “Wisdom Collection” labels on backing board, one with artist and title, 4 3/8 in. x 6 1/2 in., framed. [$700/1000]

93. Knute Heldner (Swedish/Louisiana, 1877‑1952), “Untitled (Seascape With Boats)”, oil on canvas board, signed lower left, 2 “Wisdom Collection” labels on backing board, one with artist and title, 4 3/8 in. x 6 1/2 in., framed. [$700/1000]

95. Contemporary Bronze and Glass Illuminated Etagere, 1993, designed by Ian J. Cohn of Diversity: Architecture & Design, NYC, fabricated by Tony Conway, New York, brush‑finished bronze, vertical supports conceal rear‑facing, dimmable halogen lights, 3/4 inch glass shelves, h. 96 in., w. 60 in., d. 20 in. [$700/1000]

96. David Wider (American, 20th c.) Inlaid Rosewood Illuminated Wall Cabinet, c. 1965, New York, inset frosted glass top, brass and ivory inlay, two doors, brass pulls, white lacquer interior, h. 22 1/2 in., w. 72 in., d. 19 1/2 in. [$800/1200] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921‑2015), New Orleans.

97. David Wider (American, 20th c.) Mahogany Framed Cushion Mirror, c. 1965, New York, canted, segmented beveled mirrored border, h. 52 in., w. 39 3/4 in. [$400/600] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921‑2015), New Orleans.

99. Three Art Deco Emile Lombart for St. Ghislain Pottery Vases, c. 1935, incl. brown ground, signed “E. Lombart”, h. 11 1/2 in.; and blue and green grounds, Ghislain logos, h. 7 1/4 in. and 15 in. [$800/1200]

98. Contemporary Teak Vitrine, c. 1960, glass doors opening to interior fitted with glass shelves enhanced with lighting, three small drawers, h. 61 1/4 in., w. 35 in., d. 14 1/2 in. [$500/700]

100. Jose Alve Cunha Majolica Palissy‑Ware Plate, 19th c., Portugal, impressed mark, modeled as a snake attacking a lizard with other insects on a moss ground, foot rim with mounting holes, h. 4 in., dia. 9 1/2 in. [$700/1000]

101. Pair of Continental Mirrored Obelisks, late 20th c., h. 40 in., w. 8 in., d. 8 in. [$500/700]

102. Pair of Regency Rouge Marble and Gilt Bronze Candle Vases, early 19th c., Neoclassical‑form cassolettes with pierced, convertible candle lids, continuous frieze of Bacchic putti, tall plinth base, h. 12 in., dia. 3 7/8 in. [$800/1200]

103. Semon Bache & Co. Brass, Glass and Mirrored Glass Biomorphic Coffee Table, 1959, labeled with manufacture date, two tiered, glass over mirrored glass on brass supports, h. (glass top) 15 1/2 in., w. 82 1/2 in., d. 20 in. [$600/800]

104. Jacques Quinet (French, 1912‑1922) Bronze and Glass Two‑Tiered Table, c. 1960s, h. 17 in., w. 28 in., d. 28 in. [$500/700]

105. Pair of Jens Quistgaard (Danish, 1919‑2008) for Dansk Designs Teak Cube Ice Buckets, c. 1960s, marked “Dansk / Designs / Denmark / IHQ [or JHQ]”, black plastic liners, h. 9 in., w. 9 in., d. 9 in. [$500/700]

106. Pair of Jens Quistgaard (Danish, 1919‑2008) for Dansk Designs Teak Round Ice Buckets, c. 1960s, marked “Dansk / Designs / Denmark / IHQ [or JHQ]”, black plastic liners, h. 5 1/4 in., dia. 9 1/2 in. [$300/500]

108. Pair of French Consulat Crème Peinte and Parcel‑Gilt Fauteuils, late 18th/early 19th c., molded padded back, padded arms, tubular ring turned stiles, arched seat rail, spherule feet, h. 36 1/2 in., w. 19 in., d. 19 in. [$800/1200] 107. Regency Inlaid Mahogany Sofa Table, drop‑leaf top, two frieze drawers, opposing false drawers, paired colonettes over saber legs and stretcher, brass caps, casters, h. 28 1/2 in., w. (closed) 38 1/2 in., w. (open) 60 1/2 in., d. 24 1/4 in. [$1200/1800] Provenance: Whitehall Antiques, Chapel Hill.

109. Directoire Iron and Slate Top Dining Table, octagonal top, conforming frieze, tapered spindled legs, flat bar feet, h. 29 5/8 in., w. 50 in., d. 49 1/2 in. [$2000/4000]

111. Pair of Art Nouveau Continental Patinated Bronze Figural Torcheres, early 20th c., cast in mirror image as loosely draped Classical maidens holding rhytons aloft, edges of drapes with cast signature “Doret Sep. 1780”, h. 61 in.; bronze mounted black lacquer stands, overall h. 78 1/4 in. [$2000/3000]

110. Italian Marquetry and Verde Marble Center Table, 19th c., molded top, incurvate molded standard, foliate and anthemion inlay, tripartite base, scroll feet, h. 32 in., dia. 40 1/2 in. [$1000/1500]

112. Gilt Bronze and Porcelain “Portrait de Monsieur Le Marquis de Lafayette”, after Jean‑Antoine Houdon, signature and “1790” inscribed under proper right arm, title inscribed on back, h. 22 1/2 in., marble base, overall h. 28 1/2 in. [$1000/2000]

Provenance: Estate of Shirley Stewart, Jefferson Parish, LA; Sold to benefit the Acquisitions Fund of the New Orleans Museum of Art.

113. Maurice Braun (American/ California, 1877‑1941), “Spring Landscape”, oil on canvas, signed lower left, 14 in. x 24 in., framed. [$4000/6000] Note: Born in Hungary, Maurice Braun immigrated with his family to the United States in 1881 and settled in New York. In 1897, he began a five-year period of study at the National Academy of Design, followed by one year with William Merritt Chase. Braun was an established portrait and figure painter in New York before moving to San Diego in 1910. After opening a studio on Point Loma, he founded the San Diego Academy of Art in 1912 and served as its director for many years. Braun remained primarily in San Diego, except for the years 1922 to 1924 when he maintained a studio in Silvermine, Connecticut. His Impressionist paintings of the Southern California hills, Southwest desert and High Sierra brought him great national acclaim. An ardent follower of Theosophy, its teachings on the unity of nature and man is evident in his landscapes. The work offered here displays Braun’s inherent sensitivity and tender response to both color and nature. Additional information at www.nealauction.com

115. Harry Willson Watrous (American, 1857‑1940), “Still Life of Vases and Silver Duck”, oil on canvas, signed lower right, remnant of label on backing board, 21 in. x 16 in., framed. [$1500/2500]

114. A.D. Greer (American, 1904‑1998), “Still Life of Chrysanthemums”, oil on canvas, signed lower right, “Newman Galleries, Philadelphia” label on frame, 30 in. x 36 1/4 in., framed. [$1000/1500]

116. Etienne Léon Trebutien (French, 1823‑1871), “Still Life of Cross and Flowers”, 1864, oil on canvas, signed and dated lower right, inscribed en verso, “E. LeFèvre, Newark, N.J.” labels on stretcher and frame, 25 5/8 in. x 21 1/4 in., framed. [$400/600]

117. James Northcote (British, 1746‑1831), “Portrait of Admiral Christopher Mason”, c. 1790, oil on canvas, signed and indistinctly dated lower right, label with artist and title on frame, 30 1/4 in. x 25 in., framed. [$1500/2500] Provenance: Property deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

118. Attributed to Thomas Sidney Cooper (British, 1803‑1902), “Pastoral Landscape with Cattle and Sheep”, oil on canvas, unsigned, 48 1/4 in. x 78 1/2 in., unframed. [$2000/3000] Provenance: Property deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

119. American School, 1858, “Still Life with a Basket of Peaches” and “Still Life with Berries, Sugar and Cream”, 2 oils on canvas, both initialed “W.H.H.” and dated lower right, London canvas stamps en verso, 14 in. x 18 in., framed alike. (2 pcs.) [$1500/2500] Provenance: Didier Inc., New Orleans.

120. George III Rosewood and Inlaid Satinwood Games Table, early 19th c., foldover top, apron finished on all sides, tapered legs, spade feet, possibly lacking caps, h. 30 1/4 in., w. 38 in., d. (closed) 18 3/4 in., d. (open) 38 in. [$800/1200]

122. Regency Carved Mahogany Sarcophagus-Form Cellarette, c. 1820, ropecarved corners, brass ring handles, carved paw feet, h. 22 in., w. 28 1/2 in., d. 18 in. [$800/1200] 121. Fine William IV Carved Mahogany Etagere Cabinet, 19th c., three tiers with backsplashes, lotus carved supports, over three cabinet doors, plinth base, h. 54 1/2 in., w. 54 in., d. 21 in. [$1000/2000]

123. Eight Antique George III Carved Mahogany Dining Chairs, incl. 2 arms and 6 side chairs, stamped “T WILLSON” and “Queen Street, London”, each with foliate crest rail, pierced splat, acanthus carved knees, cabriole legs, ball and claw feet, armchair h. 38 in., w. 24 1/4 in., d. 23 in., side chair h. 37 in., w. 22 1/2 in., d. 23 in. [$2500/3500]

124. William IV Carved Mahogany Sideboard, 19th c., foliate and scroll bookmatched backsplash, one long and two short bolection drawers, central inset cabinet, shelf interior, acanthus corbel‑mounted side cabinets, blocked base, h. 59 3/4 in., w. 66 in., d. 24 in. [$1000/1500]

125. Antique Napoleon III Brass and Inlaid Secretaire à Abbatant, frieze drawer, fall front lid with fitted desk interior, over three drawers, flanked by colonnettes, blocked base, inlaid Napoleonic scenes throughout, h. 57 3/8 in., w. 35 5/8 in., d. 18 3/4 in. [$4000/6000]

126. Antique Biedermeier Burl Walnut Vitrine, molded cornice with rounded corners, conforming case, oval segmented glazed doors, shelf interior with French wallpaper, block feet, h. 77 5/8 in., w. 50 in., d. 21 1/2 in. [$700/1000]

127 Continental Neoclassical Mahogany Settee, 19th c., gilt rosette and pedimented crest rail, scrolled arms, palmette decoration, flared legs, h. 41 1/2 in., w. 72 in., d. 28 1/2 in. [$7001000]

129. Alfred Thompson Bricher (American, 1837‑1908), “Rocky Shores”, oil on canvas, signed lower right, 38 in. x 28 in., framed with artist and title plaque. [$20000/30000] Provenance: Estate of Houston H. and Carolyn H. Harte, San Antonio, TX.

128. Attributed to James Edward Buttersworth (American, 1817‑1894), “Frigate in a Heavy Sea”, oil on canvas, unsigned, 18 1/2 in. x 22 in., framed with artist and title plaque; accompanied by a letter from paintings dealer and appraiser, Lewis G. Nierman, attesting to his strong attribution of the painting. [$1000/1500] Provenance: Samuel L. Lowe, Jr., Antiques Inc., Boston, 1982; Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans.

Note: Master of the seascape, Alfred Thompson Bricher spent his career traveling the coast of New England and Canada and the length of the Mississippi, capturing the banks of the mighty river and the shores of the Atlantic in exquisite detail. He was born in Portsmouth, New Hampshire, the son of British immigrants, and his youth was spent in Newburyport, Massachusetts. During later years in Boston, he became familiar with the art of the Hudson River School and was specifically inspired by the work of the Luminists. Largely selftaught, Bricher was meticulously attentive to details and the atmospheric effects of sunlight. He emphasized the transcendent beauty of nature in his works, painting scenes that are both naturalistic and sublime. Bricher is best known for his views of deserted shorelines edged with dramatic rocky outcroppings, such as the scene offered here, with perfectly captured foam-capped cresting waves, tiny seagulls and distant sailboats silhouetted against the horizon. Additional information at www.nealauction.com

130. Alfred Thompson Bricher (American, 1837‑1908), “Waves Crashing at the Shore”, 1883, oil on canvas, signed and dated lower right, “Harte‑Hanks Communication, Inc.” label with inventory number on frame, 25 in. x 30 1/4 in., framed. [$15000/25000] Provenance: Estate of Houston H. and Carolyn H. Harte, San Antonio, TX.

131. Louis Akin (American/Arizona, 1868‑1913), “Full Sun over the Grand Canyon”, 1904, oil on board, signed and dated lower left, inscribed en verso, 12 in. x 10 in., framed. [$1500/2500] Provenance: Collection of Michael Wilkinson, New Orleans, LA.

132. Newton Reeve Howard (American/New Orleans, 1912‑1984), “Untitled (Marsh Burn Geese)”, 1970, oil on canvas, signed and dated lower left, exhibition label with artist, title, date and biography on frame, 29 in. x 41 7/8 in., framed. [$7000/10000] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham. Exh.: “Newton Howard: Painter of the Sportsman’s Paradise”, Ogden Museum of Southern Art, New Orleans, LA, Sept. 6, 2018 ‑ Jan. 13, 2019. Note: Newton Reeve Howard was a New Orleans painter known for his serene landscapes of the marshes and bayous of South Louisiana. An avid duck hunter, fisherman and naturalist, Howard’s paintings evoke the calm solitude he found during countless hours of paddling through the marshes near Lafitte, Avery Island and many other swampy settings of the region. Often recognized by New Orleans residents as the architect of Monkey Hill, a beloved city landmark located in the Audubon Zoo, Howard graduated from the Tulane University School of Architecture and was subsequently employed by the Federal Works Progress Administration to oversee improvements to the zoo during the Depression. After having difficulty finding work as an architect, Howard decided to embrace his lifelong love of painting and drawing and studied at the Chicago Institute of Art. When he returned to New Orleans, he joined Fitzgerald Advertising, where he served as the agency’s art director and designed regional and national campaigns for companies including Brown’s Dairy and Tabasco. Described by those who knew him as a stoic gentleman who captivated many with a quiet charm and intellect, Mr. Howard painted oil, acrylic and watercolor works which emphasized where the bayou waters met the horizon, broken only by a slow-moving shrimp trawler or the flutter of bird wings over the marsh. The painting offered here perfectly captures the artist’s minimalist style and sense of quiet reflection. Ref.: Rolman-Smith, Polly, Guest Curator, “Newton Howard: Painter of the Sportsman’s Paradise”, Ogden Museum of Southern Art, Sept. 6, 2018 to Jan. 13, 2019.

133. Newton Reeve Howard (American/New Orleans, 1912‑1984), “Untitled (Cypress Dugout Pirogue)”, 1981, oil on canvas, signed and dated lower left, exhibition label with artist, title and date on frame, 20 in. x 30 in., framed. [$5000/7000] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham. Exh.: “Newton Howard: Painter of the Sportsman’s Paradise”, Ogden Museum of Southern Art, New Orleans, LA, Sept. 6, 2018 ‑ Jan. 13, 2019.

134. James McConnell “Mac” Anderson (American/ Mississippi, 1907‑1998), “The Blue Heron at Low Tide”, 1987, oil on masonite, signed and dated lower right, label with title and “Eddie’s Frame Shop, Ocean Springs, MS” label on backing paper, 24 in. x 16 in., framed. [$2000/3000] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham.

135. James McConnell “Mac” Anderson (American/Mississippi, 1907‑1998), “Two Coots in the Cattails”, 1989, oil on masonite, signed and dated lower right, label with title on backing paper, 18 in. x 14 in., framed. [$1500/2500] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham.

136. Newton Reeve Howard (American/New Orleans, 1912‑1984), “Untitled (Newton’s Duck Pond)”, 1980, oil on board, signed and dated lower left, exhibition label with artist, title and date en verso, 16 in. x 20 in., framed. [$4000/6000] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham. Exh.: “Newton Howard: Painter of the Sportsman’s Paradise”, Ogden Museum of Southern Art, New Orleans, LA, Sept. 6, 2018 ‑ Jan. 13, 2019.

137. Newton Reeve Howard (American/New Orleans, 1912‑1984), “Avery Island”, 1979, oil on canvas board, signed and dated lower left, 14 in. x 20 in., framed. [$3000/5000]

138. Sartine, Antoine, “Carte d’Une Partie des Cotes de la Floride et de la Louisiane...”, Paris, 1778, Revolutionary War era map of the North Gulf Coast area from the confluence of the Red River with the Mississippi River to the Apalachicolas River in Florida, the map was intended for use by the French Navy during the Revolutionary War, 16 in. x 23 in., framed. [$500/700]

Provenance: Collection of Dr. and Mrs. Walter D. Cockerham.

140. Paul Stotts (American/ New Orleans, 1872‑1944), “Two Coast Oakes at Felice 400 Years Old”, 1939, oil on academy board, signed and dated lower right, titled en verso, 18 in. x 24 in., framed. [$2000/3000] 139. New Orleans School, 1925, “The Presbytère, French Quarter”, oil on canvas board, illegibly signed and dated lower right, 12 in. x 18 in., framed. [$1500/2500] Provenance: Collection of Michael Wilkinson, New Orleans, LA.

141. Corinna Morgiana Luria (American/ New Orleans, 1890‑1975), “Madame John’s Legacy”, watercolor on paper mounted to board, signed lower left, handwritten label with artist and title en verso of mount, “Jean Bragg Gallery, New Orleans” label with artist and title on backing paper, 9 in. x 12 in., framed. [$1200/1800] Provenance: Collection of Michael Wilkinson, New Orleans, LA.

142. William Ousley (American/Louisiana, 1866‑1953), “The West Fork of Calcasieu River, S.W., Louisiana”, 1938, oil on canvas, signed lower right, titled and inscribed “909” lower center, signed, titled, dated and heavily inscribed en verso, 18 in. x 34 in., framed. [$1000/1500] Additional information at www.nealauction.com

143. James Josey (American/Mississippi, b. 1973), “Bair’s Pool #1”, 1987, watercolor on paper, signed lower right, pencil‑signed, titled and dated en verso, 23 in. x 44 in., framed. [$1000/1500]

145. Emmitt Thames (American/Mississippi, b. 1933), “Country House”, 1972, watercolor on paper, signed and dated lower right, 30 in. x 22 in., framed. [$700/1000]

144. James Josey (American/ Mississippi, b. 1973), “Snake Doctor”, watercolor on paper, signed lower left, pencil‑signed, titled and dated en verso, “Brown’s Fine Art & Framing, Jackson” label with artist and title on backing paper, 29 in. x 41 in., framed. [$1000/1500]

146. Emmitt Thames (American/Mississippi, b. 1933), “Hanging in the Shed”, 1983, watercolor on Arches watercolor board, signed lower right, titled, dated, copyright and artist stamps en verso, 30 in. x 22 in., framed. [$700/1000]

147. Vernacular Louisiana Cypress Shelf, 19th c., serpentine backsplash, trestle back, four open shelves, h. 64 1/2 in., w. 48 in., d. 14 1/4 in. [$400/600]

150. Louisiana Cypress Petite Armoire, 19th c., cove molded cornice, plain frieze, paneled doors below with outside mounted hinges; later shelves, tall chamfered bracket feet, h. 72 in., w. 49 in., d. 15 1/2 in. [$1500/2500] Provenance: Found in St. Landry Parish, Louisiana; Neal Auction, Dec. 2005, lot 476.

148. Rare Louisiana Cypress Slant Top Desk, early 19th c., hinged lid, frieze drawer, primitive brass escutcheons, tapered chamfered legs, original surface, h. 34 in., w. 27 3/4 in., d. 30 1/2 in. [$600/900]

149. Louisiana Cypress Ladderback Chair, early 19th c., shaped stiles, two rungs, corn husk seat, h. 31 3/4 in., w. 17 1/2 in., d. 17 in. [$250/350]

151. Louisiana/Acadian Cypress Bench, early 19th c., railroad tie back, plank seat, stretchered base, h. 30 3/4 in., w. 48 in., d. 14 in. [$800/1200]

152. Rare Louisiana Federal Painted Cypress Armoire, c. 1790‑1800, found in St. Landry Parish, original “lamp black” paint visible, restored cornice above a wide frieze, over two paneled doors with cockbeaded molding opening to shelves, graceful chamfered legs, h. 68 3/4 in., w. 42, d. 16 1/2 in. [$3000/5000] Provenance: Neal Auction, Feb. 2005, lot 660. Note: Two related armoires are illustrated in Louisiana French Furnishings 1700-1830, Bicentennial Art Center for Southwestern Louisiana, p. 36 & 37.

153. Good Louisiana Cypress Blanket Chest, early 19th c., hand‑forged carrying handles, composed of six boards, lid with fine molded edge, open interior, molded bracket foot base, original finish, h. 29 in., w. 50 in., d. 23 1/2 in. [$1500/2500]

154. Southern Hardwood Slant Top Accounting Desk, mid‑19th c., two drawers, eight rolling ledger slots, turned tapered legs, h. 50 in., w. 66 in., d. 30 in. [$1000/2000]

Provenance: Ex-Collection Coerte Voorhies, Neal Auction, Feb. 2005, lot 709

156. American Mahogany Tall Chest, late 18th c., molded top, six drawers, cabriole legs, ball and claw feet, batwing pulls, h. 66 in., w. 39 1/2 in., d. 21 in. [$800/1200]

155. American Sailor‑Made Mahogany and Scrimshaw Candlestand, late 19th c., inlaid bone and ebonized canted‑corner top, with birds and geometric designs, the scrolled legs with bone‑inlaid chevrons, h. 29 1/8 in., w. 14 1/2 in., d. 10 3/4 in. [$500/700] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

157. American Carved Cherrywood Chest-on-Stand, late 18th/early 19th c., case with molded top, center spiral carved drawer flanked by short drawers over three graduated long drawers, stand with lobed apron, tapered turned legs, pad feet, h. 54 1/4 in., w. 39 1/2 in., d. 19 1/2 in. [$700/1000]

158. American Vernacular Harvest Table, 19th c., molded framed top, molded apron, spandrel decorated tapered legs, retains traces of blue paint, h. 31 in., w. 112 in., d. 38 1/2 in. [$1000/1500]

159. Southern Red‑Washed Pine Jackson Press, early 19th c., superstructure with molded cornice, glazed doors, shelf interior, ring turned legs, spherule feet, lower case with beveled long drawers over doors flanked by pendants, ring turned legs, spherule feet, h. 84 in., w. 42 1/2 in., d. 18 1/4 in. [$1000/1500]

160. Clementine Hunter (American/Louisiana, 1886‑1988), “Gift of the Magi”, oil on board, initialed lower right, 15 1/2 in. x 23 3/4 in., framed. [$3000/5000]

161. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Louisiana Bayou”, 1912, oil wash on board, signed and dated lower left, 18 in. x 24 in., framed. [$1800/2500] Additional information at www.nealauction.com

162. Dorothy S. Emmons (American, 1891‑1960), “Magnolia Plantation on the Ashley‑ Where the Rice Fields Rolled Gold to the Sea”, 1926, oil on canvas board, handwritten label with artist and title, dated, inscribed “In Magnolia Gardens / Charleston S.C.” and “The Charleston Renaissance Gallery” label with artist, title and date en verso, 14 in. x 12 in., framed. [$5000/7000] Provenance: Neal Auction Company, Feb. 12, 2011, lot 312; Estates of Joyce and Donald Laidlaw, Bluffton, SC. Note: The daughter of photographer Chansonnetta Emmons, Dorothy Emmons was a painter, etcher, illustrator and writer. She studied at Wellesley College and in Ogunquit with Charles Woodbury. Emmons lived in Newton, Massachusetts and often traveled to paint in Charleston, Savannah, Florida and Bermuda. She was a member of the Copley Society and the Massachusetts Federated Women’s Club, from which she won exhibition prizes in 1933 and 1934. Magnolia Plantation on the Ashley, depicted here, was established in 1676 by Thomas Drayton and his wife Ann upon their arrival from Barbados to the new English colony of Charles Towne. They were the first in a direct line of Magnolia family ownership that has lasted more than 300 years. Magnolia Plantation saw immense wealth and growth through the cultivation of rice during the Colonial era, however the gardens eventually became the focus over agriculture following the Civil War. The gardens opened to the public for the first time in 1870, and since that time, the plantation and gardens have grown into one of the greatest public gardens in America. The natural beauty of the landscape undoubtedly would have attracted visiting artists such as Emmons, and the work offered is a dazzling impressionistic view of the sun striking the colorful foliage and water surrounding the solitary figure.

163. Aleen Aked (Canadian/Florida, 1907‑2003), “By the Open Window”, 1938‑40, oil on canvas, signed lower left, “Southern States Art League / Witte Memorial Museum / San Antonio, Tex.” exhibition labels and plaques with artist, title and dates on backing, 25 in. x 30 in., framed. [$1200/1800] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC. Note: Aleen Aked was born in England in 1907 and immigrated to Canada in 1910. Aked was a close friend of the famed Canadian “Group of Seven” painters and found inspiration and tutelage from Arthur Lismer, Fred Varley and A.Y. Jackson among other noted artists. From 1929 to 1944, she wintered in Sarasota, Florida where she further developed her artistic talents. In the winter of 1935, she attended the Ringling School of Art, and in 1936, she studied privately with the acclaimed American artist, Abbott Fuller Graves. From 1932 to 1939, Aked was a member of the Sarasota Art Association, serving as president in 1942. She also was a member of the Southern States Art League and the Florida Federated Art program. In 1935, Aked won a prize for the best landscape painting at the Ringling Museum of Art in Sarasota, and she acquired another prize there for the most popular oil painting in 1938. In 1940, Aked was the subject of solo exhibitions at the New York City Public Library and the Sarasota Art Association, where her beautiful impressionist renderings of the Florida landscape and its people were greatly admired. The painting offered here combines the best of Aked’s work by melding the exterior with the interior in a quiet moment of contemplation framed by the lush foliage of Florida.

164. Hattie Saussy (American/Georgia, 1890‑1978), “Twilight in the Swamp”, oil on board, signed lower right, 8 in. x 10 in., framed. [$3000/5000]

165. Myrtle Jones (American/Georgia, 1913‑2005), “Day at the Park”, acrylic on canvas, signed lower right, 32 in. x 40 in., framed. [$2000/3000]

Provenance: Neal Auction Company, Feb. 3, 2007, lot 351; Estates of Joyce and Donald Laidlaw, Bluffton, SC.

Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

166. Clarence John Laughlin (American/Louisiana, 1905‑1985), “Narcissica in the Bathtub‑Coffin”, 1957, silver gelatin print mounted to board, signed, titled and dated lower margin, artist stamp, signature, initials, print date of 1973 and inscribed en verso of mounting board, sheet 11 in. x 14 in., framed. [$1800/2500]

167. Andreas Feininger (American, 1906‑1999), “View from the Queensboro Bridge”, 1940 negative creation date, silver gelatin print, signed, titled, dated, inscribed and artist stamp en verso, “Bonni Benrubi, New York” label and typed label each with artist, title and date on backing, sheet 10 in. x 8 in., framed. [$1000/1500]

168. Ansel Adams (American/ California, 1902‑1984), “Half Dome and Moon, Yosemite National Park, California”, 1960 negative creation date, printed later, silver gelatin print mounted to board, pencil‑initialed on mount, “Special Edition Photographs of Yosemite” stamp with artist and title on reverse of mount, image 9 3/4 in. x 7 1/2 in., mount 16 1/2 in. x 13 1/2 in., framed. [$600/900] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

169. Brett Weston (American/California, 1911‑1993), “#4” and “#6”, 1946, 2 silver gelatin prints mounted to board, one pencil‑signed, titled and dated on reverse of mount, one titled on reverse of mount, both with “Carl Siembab Gallery of Photography, Boston” labels with artist, title and date and both inscribed with artist, title and date on backing, sheets 7 1/2 in. x 9 1/2 in., framed alike. (2 pcs.) [$700/1000] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

170. Ansel Adams (American/California, 1902‑1984), “Lake Tenaya, Yosemite National Park, California”, 1946 negative creation date, printed later, silver gelatin print mounted to board, pencil‑initialed on mount, “Special Edition Photographs of Yosemite” stamp with artist and title on reverse of mount, image 7 5/8 in. x 9 1/2 in., mount 13 1/2 in. x 16 1/2 in., framed. [$600/900]

171. Theodore “Fonville” Winans (American/ Louisiana, 1911‑1992), “Cajun Fare”, 1939, silver gelatin print mounted to board, pencil‑signed, titled and dated on mount, 7 3/4 in. x 9 7/8 in., framed. [$1500/2500]

Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

172. Theodore “Fonville” Winans (American/Louisiana, 1911‑1992), “Home of the Washwoman ‑ Grand Isle (The Hermittess) [Sic]”, 1933, silver gelatin print mounted to board, pencil‑signed, titled and dated on mount, pencil‑inscribed on reverse of mount, 7 5/8 in. x 9 5/8 in., framed. [$1500/2500]

173. Theodore “Fonville” Winans (American/Louisiana, 1911‑1992), “Making a Living”, 1934, silver gelatin print mounted to board, pencil‑signed, titled and dated on mount, 7 3/4 in. x 9 3/4 in., framed. [$1200/1800] Ill.: Vetter, Cyril E. Fonville Winan’s Louisiana: Politics, People and Place. Baton Rouge: Louisiana State University Press, 1995, p. 83

174. Theodore “Fonville” Winans (American/ Louisiana, 1911‑1992), “Tony Kristicevich”, 1938, silver gelatin print mounted to board, pencil‑signed, titled and dated on mount, 9 5/8 in. x 7 5/8 in., framed. [$1200/1800] Ill.: Vetter, Cyril E. Fonville Winans’ Louisiana: Politics, People and Places. Baton Rouge: Louisiana State University Press, 1995, p. 104 Additional information at www.nealauction.com

175. Prentiss Taylor (American, 1907‑1991), “Christ in Alabama”, 1932, lithograph on paper, pencil‑signed, titled, dated and inscribed “45 prints” lower margin, handwritten label inscribed “Property of George Houston Bass” on backing, 13 3/16 in. x 10 in., framed. [$1000/1500] Note: “Christ in Alabama” is one of four lithographs made in New York by Prentiss Taylor to illustrate three poems and a play by Langston Hughes for their book Scottsboro Limited. This book was sold to benefit the legal defense fund of the Scottsboro Boys, nine young Black men falsely accused of raping two white women on a train traveling from Chattanooga to Huntsville in 1931. The resulting legal cases are now considered egregious miscarriages of justice, spanning decades of appeals, yielding two landmark Supreme Court rulings and ending in 2013 with posthumous pardons for the remaining three of the Scottsboro Boys who were never pardoned nor had their convictions overturned. In the lithograph here entitled “Christ in Alabama”, Taylor illustrates Hughes’ poem of the same title. He uses compelling imagery including two black silhouette-like figures representing Christ and Mary. Stylized images of cotton to the right indicate the Southern locale. The emotional tone of the lithograph is, like the poem, elegiac in response to threatened death by lynching and rife with the turmoil surrounding the Scottsboro case. The handwritten label on the backing indicates that this print was likely in the collection of George Houston Bass, literary secretary to and the executor and trustee of Hughes’ literary estate. Ref.: Williams, Lynn Barstis. Imprinting the South: Southern Printmakers and Their Images of the Region 1920s-1940s. Tuscaloosa, AL: University of Alabama Press, 2007

176. After Frances “Fanny” Flora Bond Palmer (British/American, 1812‑1876), “’High Water’ in the Mississippi” and “Low Water in the Mississippi”, 1868, 2 hand‑colored lithographs, printed by Currier & Ives, each with “Mongerson Wunderlich, Chicago” label with artist, title, date and printing information on backing, one with “Douglas Kenyon, Inc., Chicago” label on backing, each 22 5/8 in. x 31 in., framed alike in ogee molded birdseye maple frames. (2 pcs.) [$4000/6000]

177. After Jean‑Hyacinthe Laclotte (French/American, 1766‑1829), “Defeat of the British Army 12 000 Strong Under the Command of Sir Edward Packenham”, c. 1850, lithograph on paper mounted to board, “Collection of Leonard V. Huber, New Orleans” stamp en verso of backing, printed by Case & Green Hartford, sheet 19 7/8 in. x 25 1/4 in., framed. [$800/1200]

179. McKenney and Hall / Publishers, “Keokuk Chief of the Sacs & Foxes”, c. 1838, hand‑colored lithograph, from History of the Indian Tribes of North America, printed by J.T. Bowen, after Charles Bird King (1785‑1862), accompanied by the original text pages, sight 19 3/4 in. x 13 1/2 in., framed. [$600/900]

178. Francisco Scacki (American, early 19th c.), “A Correct View of the Battle Near the City of New Orleans...”, c. 1816, engraving, signed in plate, lower margin with portrait of General Jackson and a key showing positions of artillery and generals, sight 21 1/2 in. x 27 1/2 in., framed. [$500/700]

180. Group of Antique French Architectural Prints, “Pavillon Bourgeois”, “Masion d’Habitation pour Architecte”, “Maison Bourgeois”, “Pavillon de Chase”, “Maison de Commerçant” and “Le Bâtiment”, c. 1893, 6 hand‑colored lithographs, from Petites Construction Françaises, printed by Emile Thézard, sights 18 3/4 in. x 24 3/4 in. to 24 1/2 in. x 18 3/4 in., framed alike. (6 pcs.) [$700/1000]

Session Two Saturday, November 21, 11 a.m.

Additional information at www.nealauction.com

181. Five French Art Nouveau Pierrefonds Ceramic Pieces, early 20th c., all with impressed marks, incl. 4 vases and bowl, with crystalline and flambe glazes, largest vase h. 13 1/2 in., w. 9 1/4 in., d. 6 3/4 in., bowl w. 13 in., d. 12 1/2 in. [$800/1200]

184. Five Continental Ceramic Pieces, 20th c., incl. 3 Fornasetti for Saks Fifth Avenue coasters/dishes, dia. 4 in.; George Pelletier vase, c. 1965, h. 6 7/8 in.; and Nicolaas Brantjes vase, c. 1900, h. 10 1/2 in; together with Andre Delatte “Berluze” glass vase, c. 1930, h. 17 3/4 in. (6 pcs.) [$600/900]

187. Sevres‑Style Polychrome and Gilt Porcelain Covered Tureen and Underplate, 20th c., interlaced “L” marks and “France”, decorated with floral sprays on a pale blue ground, tureen h. 10 1/2 in., w. 15 1/4 in., d. 9 1/2 in.; platter l. 10 in., d. 13 1/2 in. [$500/700]

182. Italian Art Deco Glazed Pottery Jazz Band Grouping, early 20th c., marked “Italia / Nove” and labeled “Bantoni / Venezia”, incl. drummer, trumpeter, saxaphonist, and singer seated and standing against a wall, h. 6 in. w. 7 1/2 in., d. 4 1/4 in. [$300/500]

185. Two Antique French Glazed Pottery Covered Tureens, Normandy, swirl glaze, taller h. 9 3/4 in. [$300/500]

188. Three Good French Majolica Baskets, 18th/19th c., incl. one with intricate latticework, foliage, dogs, and figures, base with old label “Collection Ronsin, midi‑XVIII, Avignon”, h. 11 1/2 in.; other two relief‑decorated with foliage, h. 10 3/4 in. and 12 in. [$700/1000]

183. Gouda Metallic Lustre Ware Vase, c. 1950, Jan van Schaik, marked “unique” and “JvS”, h. 10 1/2 in., dia. 8 3/4 in. [$300/500]

186. Six French Ceramic Pieces, mid‑20th c., incl. bowl attributed to Jacques Blin (1920‑1995), dia. 9 in.; two plates by Roger Capron (1922‑2006), dia. 7 in.; pair of vases in the style of Roger Capron, h. 9 3/4 in.; and box with tiled lid, h. 1 1/2 in., w. 14 1/4 in., d. 4 1/2 in. (6 pcs.) [$500/700]

189. Five English Art Deco Pottery Vases, c. 1930, incl. three by Charlotte Rhead for Crown Ducal and Bursley Ware, and two by Poole Pottery, tallest h. 10 in. [$800/1200]

Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

190. Pair of Large American Mirrored Sconces, 19th c., pierced gilt brass border, late shades, h. 21 in., w. 16 in., d. 10 1/2 in. [$400/600]

191. Two Continental Brass and Copper Table Pieces, incl. a Carl Deffner (German, 1856‑1948) two‑handled jardiniere, h. 7 in., dia. 12 1/2 in.; and a Karl Hagenauer (Austria, 1898‑1956) serving tray, dia. 16 1/4 in., both marked. [$400/600]

192. Pair of Neoclassical‑Style Bronze Ewers, cast with figures, gods, and animals, in a forest landscape, h. 24 in., w. 15 1/2 in., d. 14 1/2 in. [$600/900]

193. Armand de Brignac “Ace of Spades” Gold Brut Champagne, 750ml, metallic bottle presented in a fitted black lacquered box. [$150/250] 194. Austrian Gilt Bronze and Cut Glass Tazza, 19th c., oval body on 4 dolphin supports alternating with floral swags, shaped base stamped “AUSTRIA” and “NR” h. 4 1/2 in., w. 5 3/4 in., d. 4 1/4 in. [$300/500]

196. Antique English Brass Umbrella Stand and a Copper Bucket, early 20th c., stand marked “Peerage/MADE IN ENGLAND”, with lion and ring handles, h. 21 in., dia. 10 1/4 in.; riveted bucket with squared handles, incised rim, h. 11 1/2 in., dia. 14 1/4 in., 2 pcs. [$200/300]

195. Italian Grand Tour‑Style Bronze Jardiniere, 20th c., cast with ram’s head, garlands and lion handles, paw feet, h. 5 1/4 in., w. 12 in., d. 9 3/4 in. [$300/500]

198. Napoleon III Gilt Bronze and Porcelain‑Mounted Three‑Piece Clock Garniture, c. 1870, movement marked “Vincenti”, surmounted by a lidded jewelry casket, flanked by pair of potpourri urns, whole mounted with Renaissance inspired plaques, clock h. 12 3/4 in., w. 12 in., d. 7 in. [$800/1200]

197. Art Nouveau Mahogany, Gilt and Verte Peinte Mirror, fruit and foliate decoration, h. 45 1/2 in., w. 30 1/2 in. [$700/1000]

199. Good Antique English Creme Peinte and Carved Giltwood Stool, mid‑19th c., dated and labeled “Executed June 1845”, “T.W. WALLIS Carver, Gilder...”, inset needlepoint cushion, fluted frieze, scrolled apron, acanthus knees, cabriole legs, scroll toes, compressed bun feet, h. 17 in., w. 21 in., d. 19 1/2 in. [$300/500] Note: Probably Thomas Wilkinson Wallis (1822-1903) of Louth, Lincolnshire.

200. Ralph Lauren Leather Chesterfield Sofa, button tufted back, arms and seat, nailhead trim, toupie feet, h. 32 in., w. 83 in., d. 36 in. [$1200/1800]

201. Pair of Art Deco‑Style Leather Armchairs, shaped back, rolled arms, square tapered legs, h. 36 in., w. 36 in., d. 40 in. [$700/1000]

203. Pair of Antique Neoclassical‑Style Bronze‑Mounted Mahogany Side Chairs, padded back and seat, ring turned tapered legs, foliate caps, h. 37 in., w. 17 1/2 in., d. 18 in. [$300/500]

202. Adam‑Style Satinwood Paint‑Decorated Cellarette, 19th c., floral bordered top, baize lined interior, urn with floral spray cartouche, tapered legs with bellflowers, spade feet, h. 22 in., w. 17 1/2 in., d. 14 1/4 in. [$800/1200]

204. Four Continental Neoclassical Walnut Side Chairs, incurvate scrolled backs, swagged urn splats, saber legs, h. 34 1/2 in., w. 17 in., d. 16 in. [$700/1000]

Additional information at www.nealauction.com

207. Pair of Sevres‑Style Porcelain “Napoleonic” Urns, 19th c., female bust handles, reserves with crowned “N” above laurel wreath and crowned eagle cartouches on green grounds, h. 12 in., w. 6 in., d. 4 1/2 in. [$700/900]

205. After Raphael (Italian, 1483‑1520), “Madonna della Seggiola”, oil on board, sight dia. 7 3/4 in., gilt frame; accompanied by an 1896 invoice from Florence, Italy. [$500/700]

206. Dutch School, 19th c., “The Hunt”, oil on cradled panel, indistinctly initialed lower left, 22 in. x 18 in., framed. [$800/1200]

208. Paris Porcelain Vase, early 19th c., surmounted by bisque busts, polychrome panels with figures of the Muses Erato and Euterpe, rich matte and burnished gilt over violet and heliotrope grounds, square marble bases, h. 14 7/8 in. [$800/1200]

209. Fine Paris Porcelain Tray, 19th c., marked “...Dagoty...”, with sepia scene of “Paul et Virginie”, matte and burnished gilt border, l. 12 1/4 in. [$800/1200]

210. Antique French Gilt Bronze Cave à Liqueur, glazed case with beveled panes, hinged lid and front, removable tray with four decanters and sixteen glasses, mirrored base, h. 10 1/2 in., w. 14 1/4 in., d. 11 in. [$1000/2000]

211. Antique French Bronze Figural Fire Fender, flanked by lions, over grotesque masks, h. 12 in., w. 42 in., d. 4 1/2 in. [$300/500]

214. American Gilt and Patinated Bronze Single‑Light Argand Lamp, vasiform font, paw feet, electrified, h. 19 in., w. 14 in., d. 8 1/2 in. [$800/1200]

212. Antique French Patinated Bronze “Napoleon” Door Knocker, backplate cast with Imperial eagle and a panoply of arms, centering mask of Napoleon, h. 7 1/2 in., w. 5 in., d. 4 in. [$400/600]

213. American Rococo Bronze Five‑Light Figural Gasolier, 19th c., attr. to Cornelius & Baker, Phil., rope twist standard with foliate mounts, the arms cast as winged‑dragons, later etched shades, electrified, h. 64 in., dia. 40 in. [$2500/3500]

215. American Late Classical Bronze Double‑Arm Argand Lamp, c. 1835, labeled “B. GARDINER/N.YORK”, bouquet decorated standard, scroll feet, electrified, h. 18 in., w. 18 in., d. 10 in. [$400/600]

216. Pair of Empire‑Style Gilt and Patinated Bronze “Winged Victory” Six‑Light Candelabra, 20th c., tall marble base, h. 32 1/2 in., w. 12 1/2 in., d. 11 1/2 in. [$2000/3000]

217. Fine William IV Walnut Mantel Clock, c. 1838, silvered dial and movement signed “Barraud & Lund/41 Cornhill/London/2083”, double‑fusee movement with hourly bell strike, beveled glass side panels, h. 10 in., w. 6 3/4 in., d. 5 3/8 in. [$1200/1800] Provenance: Grunsell & Associates Fine Antiques & Clocks, Ridgefield, CT.

218. Rare American Classical Gilt BronzeMounted Mahogany, Marble and Parcel Gilt Console Table, early 19th c., New York, proper right mount marked “GA”, marble top, die‑cut brass bordered frieze, mirrored back, marble columns and pilasters, incurvate stretcher shelf with gilt stenciled decoration, acanthus and cornucopia brackets, paw feet, h. 37 1/2 in., w. 57 1/2 in., d. 20 1/8 in. [$10000/15000] Note: A pier table and a secretary bookcase both attributed to Joseph Meeks & Sons in the Metropolitan Museum of Art (acc. nos. 60.29.2a,b and 60.29.1) have distinctive carved capitals, a shaped medial shelf and massive acanthus carved paw feet issuing cornucopia nearly identical to those shown here.. Moreover, the proportions of the table offered here are monumental. While New York pier tables with the elements listed above are documented, the large scale of this table is very rare. The echo of the Carrara marble supports in marble pilasters flanking the mirror back is also an embellishment indicating the best quality from the cabinet shop. Ref.: Berry Tracy, et al. Nineteenth-Century America, Furniture and Other Decorative Arts New York: New York Graphic Society, 1970, pl. 70. 219. Rare Monumental American Aesthetic Carved Mahogany Columnar Exhibition Cabinet, late 19th century, Philadelphia, knopped finial and circlet issuing “Chinese” wave brackets on two graduated tiers with reeded supports above a drum cabinet with alternating arched doors and mirrored alcoves; lower case with marble tops, baizelined slides, ogee drawers and cabinet doors on bracket feet. pencil Inscribed, “Geo H Dunne Manch…/Lancaster/Penn Feby 1st 1896” h. 110 in., dia. 64 in. [$8000/12000] Note: The large scale and complex design of this cabinet indicates a specialized use in a specific context, probably as display and storage for wares in an arts and industrial exhibition. Though utilitarian by design with the upper tiers catching the eye in a crowded exhibition hall, certain embellishments indicate the cabinetmaker’s ambitions. First the “Chinese” waves at the crest, the reticulated gallery and the shaped tier supports are a nod to sophisticated Aesthetic Orientalism from England and France. 220. Rare Rococo Revival Carved Mahogany Lady’s Desk, partial label of “P. Mallard”, superstructure with two drawers, foldover baize-lined writing surface, fitted desk interior, frieze drawer, cabriole legs, scrolled toes, h. 41 1/2 in., w. 33 1/2 in., d. 20 in. [$1000/1500] Additional information at www.nealauction.com

221. Late Georgian Carved Mahogany Cabinet, 19th c., molded dentilated cornice, fretwork frieze, central cabinet over four drawers, flanked by two glazed cabinets with fretwork chamfered corners, molded bracketed base, h. 79 1/2 in., w. 76 in., d. 21 in. [$600/900] 222. Pair of Antique Adam‑Style Carved Mahogany Pedestal Cabinets, cove molded tops, gadrooned borders, bellflower swagged medallion‑mounted opposing doors, shelf interior, blocked base, h. 47 1/2 in., w. 18 5/8 in., d. 16 1/4 in. [$1200/1800]

224. George III Mahogany Tilt‑Top Breakfast Table, c. 1780‑1810, banded top, vasiform standard, outswept reeded legs with brass caps and casters, h. 28 1/2 in., w. 49 in., d. 33 in. [$500/1000]

223. Pair of Antique Adam‑Style Mahogany and Satinwood Inlaid Cutlery Urns, telescoping lids with urn finials, retain fitted interiors, stepped molded base, h. 27 1/2 in., w. 12 in., d. 12 in. [$1200/1800]

225. English Bronze‑Mounted Burl Walnut Three Tier Etagere, 19th c., brass galleried top, spiral carved columnar supports, toupie feet, casters, h. 41 1/4 in., w. 26 1/2 in., d. 16 1/2 in. [$1000/1500] 226. French Gilt Bronze‑Mounted Kingwood Parquetry Vitrine, 19th c., shaped flat top, drop front glazed door, silk upholstered interior, scrolled acanthus bracket mounts, tapered foliate feet, h. 25 in., w. 31 in., d. 12 3/4 in. [$1200/1800]

227. Attributed to Barthelemy Lafon (French/New Orleans, 1769‑1820), “Vue de L’habitation de M. Riviere Situee sur la Cote du Mississppi”, c. 1800, ink and wash, laid paper, large fleur‑de‑lis watermark, applied paper border, with intricate depiction of main house, outbuildings, outdoor oven, slave quarters, bell, canal, and ferry, sheet 14 in. x 22 1/4 in., image 12 3/4 in. x 20 3/4 in., unframed. [$10000/15000] Note: In 1797, Lafon designed a grand house for Jean Baptiste Riviere on the corner of Bienville and Decatur Streets. This drawing appears to depict the Riviere Plantation on the west bank, just downriver from what is now known as the Harvey Canal. Early maps referred to the canal as “Riviere’s Canal.” Later maps referred to it as the “Gardere Canal.” The general layout of the plantation aligns reasonably closely with the layout shown on the Zimpel map of 1834. Genealogy of the Riviere family shows that Eliza Riviere, daughter of Jean Baptiste and the famed Madame Riviere, married Francois Gardere. Madame Riviere is listed throughout Grace King’s Creole Families and is mentioned often in the writings of Pontalba. Ref.: https://louisianadigitallibrary.org/islandora/object/hnoc-p15140coll28%3A190 https://www.crt.state.la.us/Assets/OCD/hp/grants/NPShistoricfunding-2017/FY-20172018-Deliverables/Surveys%20in%20Early%20Louisiana%201804-1806%20 Barthelemy%20Lafon.pdf

228. Attributed to Jean‑Honoré Fragonard (French, 1732‑1806), “Walking through the Abandoned Grounds”, brown ink wash on paper mounted to board, unsigned, artist name on matting, 7 13/16 in. x 5 11/16 in., framed. [$2000/3000]

229. Attributed to Jean‑Honoré Fragonard (French, 1732‑1806), “Rape of the Sabines after Pietro di Cortona (Italian, 1596‑1699)”, 1761, black chalk on paper, framing lines in brown ink, unsigned, pencil‑inscribed “Pietro di Cortona / au capital” upper left, “Douanes Françaises, Paris Service des Expositions” customs label, typed label and partial label on backing, artist name on matting, 6 1/2 in. x 9 in., framed. [$2000/3000]

230. Member of Roux Family, Francois Joseph Frederic (French, 1805‑1870) or Francois Geoffroy (French, 1811‑1882), “The United States Washington, Commodore Chaunley”, 1829, watercolor on paper mounted to board, illegibly signed, dated and inscribed lower right, 18 in. x 23 1/8 in., framed. [$1500/2500] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham.

231. Raffaele Corsini (Italian, 1830‑1880), “Brig Clarion, Captain T.H. Leland, 1838, Smyrne”, watercolor on paper, signed lower right, 13 in. x 19 3/8 in., cove‑molded frame. [$1500/2500] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham. 232. French School, mid‑19th c., “Barque Onwards of Yarmouth, N.L. Hayden Trefry Master, entering Marseille, August 14th, 1864”, watercolor on paper, unsigned, handwritten label on backing, 18 1/2 in. x 24 3/4 in., framed. [$1000/1500]

233. Jan Mooy (Dutch, 1776‑1847), “Ship Lydia Captain Wm. Parker, Beating into the Texel Road, Oct. 7th 1831”, 1832, watercolor on paper, signed and dated lower left, titled lower center, inscribed lower right, partial pencil sketch en verso, handwritten label on backing paper, 18 3/4 in. x 23 5/8 in., framed. [$1000/1500]

Provenance: Collection of Dr. and Mrs. Walter D. Cockerham.

234. George Joseph Amede Coulon (American/New Orleans, 1854‑1922), “Nature Morte: Gulf Fish”, pastel on paper mounted to canvas, signed lower right, 36 in. x 23 7/8 in., framed. [$500/700]

235. Newton Reeve Howard (American/New Orleans, 1912‑1984), “Untitled (Trapper’s Shack)”, 1980, oil on board, signed and dated lower left, exhibition label with artist, title and date en verso, 9 in. x 12 in., framed. [$2000/3000] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham. Exh.: “Newton Howard: Painter of the Sportsman’s Paradise”, Ogden Museum of Southern Art, New Orleans, LA, Sept. 6, 2018 ‑ Jan. 13, 2019.

237. Rare Louisiana Carved Mahogany Four Poster Bedstead, early 19th c., later tester of figured veneers, ring turned baluster posts, back scrolled headboard with boss terminals, chamfered blocked post base, toupie feet, h. 103 1/2 in., l. 74 in., w. 53 1/2 in. [$7000/10000]

236. Newton Reeve Howard (American/New Orleans, 1912‑1984), “Shell Midden”, 1980, oil on board, signed and dated lower right, 9 in. x 12 in., framed. [$2500/3500] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham.

Note: This elegant example of the Louisiana Creole high-post bed made with robust posts in the French Caribbean tradition, interestingly relates to three documented examples. Ref.: Holden, Jack, et al. Furnishing Louisiana, Creole and Acadian Furniture 1735-1835. New Orleans: The Historical New Orleans Collection, 2010, pp. 384-386, figs,10, 11, 13. Additional information at www.nealauction.com

238. American Federal Inlaid Mahogany Writing Desk, early 19th c.,, superstructure with three doors, fitted interior, lower case with foldover inset leather writing surface, four graduated drawers, French feet, h. 51 in., w. 42 1/2 in., d. 20 in. [$2000/3000]

240. Louisiana Cherrywood Armoire, early‑to‑mid 19th c., River Road area, rectangular molded cornice above a plain frieze, two paneled doors revealing a belt of drawers, finely modeled cabriole legs, cypress secondary wood, h. 87 in., w. 53 1/2 in., d. 22 in. [$1000/1500]

239. American Carved Mahogany Folio Stand, mid‑to‑late 19th c., adjustable slatted rack, turned spindle supports, spurred stand, shaped stretcher, casters, closed h. 45 1/2 in., open h. 24 in., w. 48 1/2 in., d. 29 1/4 in. [$700/1000]

241. Very Fine American Classical Mahogany Pier Table, early 19th c., New York, reeded marble top, figured frieze with die-cut brass border, marble columns and pilasters with gilt bronze mounts, mirrored back, incurvate stretcher shelf, acanthus cuffs with winged brackets, verde antico paw feet, h. 39 3/4 in., w. 36 1/2 in., d. 19 in. [$4000/6000]

Provenance: Private Collection; Neal Auction, Dec 2003, lot 466.

242. American Classical Carved Mahogany Work Table, 19th c., New York, molded top, brass inlaid stiles and drawer fronts, top drawer fitted with interior writing surface, Sandwich glass pulls, foliate carved standard, hairy paw feet, casters, h. 31 1/4 in., w. 21 3/4 in., d. 17 1/2 in. [$1200/1800]

243. American Classical Carved Mahogany Armchair, early 19th c., Boston, tablet crest, padded back, down-scrolled arms, lappet supports, turned and carved legs, casters, lemon yellow silk upholstery, h. 39 in., w. 22 in., d. 22 1/2 in. [$1500/2500]

244. American Classical Carved Mahogany Games Table Stenciled by William Fisk (1770-1844), early 19th c., Boston, stenciled “Wm. Fisk Cabinetmaker Washingont St. Boston”, foldover swivel top, paneled frieze, stepped reverse tapered standard, incurvate plinth, foliate scroll feet, casters, h. 28 1/2 in., w. 36 in., d. 18 in. [$1000/1500]

245. Federal Carved Mahogany Secretary Desk, early 19th c., prob. Baltimore, cove molded cornice, glazed doors enclosing shelves, over three small drawers, foldover writing surface, long drawer, reeded stiles, ring turned tapered legs, h. 77 1/2 in., w. 44 1/2 in., d. 25 in. [$1500/2500]

246. Federal Carved Mahogany Bowfront Chest, early 19th c., Salem, MA, top with turreted corners, pineapple, spiral and ring turned stiles, two small drawers, three graduated long drawers, turned legs, elongated toupie feet, h. 39 3/4 in., w. 42 1/2 in., d. 22 in. [$1500/2500]

248. American Classical Carved Mahogany Curule Stool, early 19th c., Boston, saddle seat, horsehair damask upholstery, decorative nailhead trim, turned stretchers, h. 17 in., w. 16 1/4 in., d. 21 in. [$600/900]

250. Pair of American or English Blown Glass Hurricane Shades, 19th c., baluster form, molded foot rims, h. 24 3/4 in. [$700/1000] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

247. Federal Carved Mahogany Pembroke Table, early 19th c., New York, attr. to workshop of Duncan Phyfe, clover shaped drop-leaf top, single frieze drawer, ring turned reeded legs, bulbous feet, brass caps and casters, h. 29 1/4 in., w. (open) 40 1/4 in., w. (closed) 20 3/4 in., d. 32 1/4 in. [$1200/1800]

249. Four Baltimore Rosewood Faux Bois StencilDecorated Fancy Chairs, early 19th c., wreath and anthemion petal tablet crest, slip seat, extensive gilt decoration, turned “honey dipper” torchere legs, h. 30 1/2 in., w. 19 in., d. 21 in. [$2000/3000]

251. Pair of American or English Engraved Blown Glass Hurricane Shades, 19th c., baluster form, folded foot rims, engraved with grape vines, h. 22 1/2 in., d. 9 in. [$700/1000] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

252. Rare Louisiana Creole Gros Rouge Punkah, late 18th/early 19th c., likely Southern yellow pine, pegged, mortise and tenon construction, raised central panel surrounded by applied molding, waisted triangular shape with strongly curving shoulders, and lower corners flanking a shaped skirt, hanging elements include small wrought iron pins extending from the lower portion of each shoulder and a round finial‑type projection drilled with a hole; retains the original surface, h. 40 1/2 in., w. 35 in. [$10000/15000] Provenance: Private Collection, New Orleans, Louisiana; Acquired Neal Auction Company, October 2, 2004, lot 722. Ill.: Holden, Jack, et al. Furnishing Louisiana, Creole and Acadian Furniture 1735-1835. New Orleans: The Historic New Orleans Collection, 2010, p. 89. Note: Derived from the Hindi word for the wings of a bird, punkahs are large swinging fans affixed to the ceiling. Coming into common use in India in the late 18th century, punkahs became essential in tropical climates, particularly throughout the British Empire. In the Antebellum South, elaborate punkahs became a regular dining room fixture as they not only cooled the occupants but shooed flies from the table. As Indian punkahs were operated by low-cast punkahwallas, American punkahs were fanned by enslaved adults and children, often dressed in livery, as evidence of the household’s opulence and reinforcing the master-slave dynamic. Scholar Dana Byrd has explored the unintended benefits of operating a punkah, as hearing dinner conversation with revelations of important news and observation of high society habits was possible. Among the many enslaved children with duty at the fan was Booker T. Washington, who described how he learned about “the subject of freedom and the war” as he, invisible and silent, fanned his owners’ table in the 1860s. This lot retains original iron fasteners and most of its painted surface. The form of this punkah shows the vogue of Grecian style in Southern Louisiana of the early 19th century. While most Anglo-Colonial punkahs were rectangular, this example is entirely curvilinear with a trapezoidal center panel, likely to harmonize with the broad Neoclassical scrolls of fashionable dining room furniture below. Ref.: Dana E. Byrd. “Motive Power: Fans, Punkahs, and Fly Brushes in the Antebellum South.” Buildings & Landscapes: Journal of the Vernacular Architecture Forum, vol. 23, no. 1, 2016, pp. 29–51. https://research. bowdoin.edu/punka-project/ Eve Kahn. “How Ceiling Fans Allowed Slaves to Eavesdrop on Plantation Owners.” Atlas Obscura, May 14, 2018. https://www.atlasobscura.com/articles/punkah-project-fans-antebellum-south

Additional information at www.nealauction.com

253. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Macaws”, 1925, oil on canvas, signed lower right, 30 in. x 30 in., framed. [$25000/35000] Provenance: Collection of Michael Wilkinson, New Orleans, LA. Ill.: Levingston, Bruce. Bright Fields: The Mastery of Marie Hull. Jackson: University Press of Mississippi, 2015, p. 45. Note: The paintings of birds created by Marie Hull during her 1925-1926 stay in St. Petersburg, Florida are among her most vibrant, beautiful and desirable works, juxtaposing the naturalistic poses of the birds with stylized Art Deco depictions of fruit and flora. While many studies done in pencil or watercolor of exotic birds from this time period exist, the completed paintings in gouache or oil are of exceptional rarity in the artist’s oeuvre with only a dozen or so known today - including the work offered here. Hull depicts a pair of scarlet macaws perched on a twisting grape vine branch, which dissects the canvas diagonally. The background is punctuated by dangling bunches of purple grapes and green leaves. The jewel tones of the main elements against the ombre background of gold and green hues highlight the tropical inspiration of the scene and reveal Hull’s early sensitivity as a colorist with a keen eye for composition. Ref.: “Hull, Marie (1890-1980).” The Johnson Collection. www.thejohnsoncollection.org. Accessed Oct. 11, 2020. Levingston, Bruce. Bright Fields: The Mastery of Marie Hull. Jackson: University Press of Mississippi, 2015; Norwood, Malcolm M., Virginia McGehee Elias and William S. Haynie. The Art of Marie Hull. Jackson: University Press of Mississippi, 1975

254. Will Henry Stevens (American/Louisiana, 1881‑1949), “French Quarter, New Orleans”, c. 1935, pastel on paper, unsigned, “The Charleston Renaissance Gallery, Charleston, SC” label with artist, title and date and “Greenville County Museum of Art, Greenville, SC” label with artist, title and date on backing paper, 30 1/4 in. x 26 1/2 in., framed. [$8000/12000] Provenance: Collection of Michael Wilkinson, New Orleans, LA. Note: Growing up in rural Indiana, Will Henry Stevens learned from an early age to mix chemical compounds from his pharmacist father, a skill that aided him greatly in his artistic career, where he often mixed and created his own pastel chalks. With an early interest in art, Stevens studied at the Cincinnati Art Academy with Frank Duvenek and at the Arts Student League in New York with William Merritt Chase. During his time in New York, Stevens was greatly influenced by many art forms, including Sung Dynasty paintings, Taoism, the poetry of Emerson, Thoreau and Whitman, and modernist painters such as Wassily Kandinsky and Paul Klee. In 1921, Stevens moved to New Orleans to teach at Newcomb College and was immediately intrigued by the city. Stevens saw an interrelation between the old and new architecture of the growing and transforming city and the abstraction of Kandinsky and Klee. This influence upon his work is clearly demonstrated in the pastel presented here with its angular, disjointed and stylized architecture still an obvious representation of the French Quarter. Additionally, Stevens saw a clear connection between the abstract Sung Dynasty works, and the spiritualism of Taoism and the Transcendentalist American poets he so admired. Stevens’ intent was to imbue his paintings with what he referred to as a “spiritual order” - a feeling much in keeping with the city of New Orleans. The iconic balconies, hints of brickwork, wrought iron and gas-lit lamps add to the ambience of the French Quarter at night and lend an otherworldly element to the moonlit scene. An extremely rare view and large scale for the artist, this work displays how Stevens was embracing the new artistic movements of the 1930s while still developing his own distinctive style. Ref.: Gruber, Richard J. “Will Henry Stevens.” 64 Parishes. www.64parishes.org. Accessed Oct 12, 2020

255. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Ducks and Herons”, watercolor and graphite on paper, unsigned, pencil‑title inscribed en verso, 8 3/8 in. x 10 7/8 in., matted. [$10000/15000] Provenance: Collection of Michael Wilkinson, New Orleans, LA.

256. Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Cabbage”, watercolor and graphite on paper, unsigned, pencil‑title inscribed en verso, estate stamp lower right, 11 in. x 8 1/2 in., matted. [$8000/12000] Provenance: Collection of Michael Wilkinson, New Orleans, LA.

257. Anthony Thieme (American, 1888‑1954), “Charleston Doorway”, oil on canvas, signed lower right, “Paillard Artist’s Oil Colors” ad featuring Thieme attached en verso, inscribed on stretcher, 16 in. x 12 in., framed. [$5000/7000] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC. Note: Anthony Thieme was born in Rotterdam in 1888. He immigrated to the United States in 1917 and initially worked as a set designer and book illustrator first in New York and later in Boston. By the late 1920s, Thieme had moved from Boston to Cape Ann in Rockport, Massachusetts, an emerging art colony. Influenced by Impressionism throughout his career, Thieme favored painting en plein air, as it allowed him to better capture the atmosphere’s fleeting effects. His paintings were often met with critical acclaim and were displayed at galleries in New York, London and Paris, earning him the title “Master of Light and Shadow.” He established the Thieme School of Art at Cape Ann in 1929 and taught classes from his studio until 1943. Tragedy struck in 1946 when his studio burned to the ground, destroying much of the work he had produced over thirty years. Devastated by this loss, Thieme left Massachusetts in search of new adventures and ideas. He journeyed south to Charleston, where he spent two months inspired by the revelation of light, tropical foliage and color far more intense than that to which he had become accustomed. The canvases from this brief period in his important career, such as the one offered here, reflect not only the skill of a prestigious American artist, but also the lure and beauty of the great southern city.

258. George Hand Wright (American/Connecticut, 1872‑1951), “Pigeon Point, Beaufort, SC”, watercolor on paper mounted to board, signed lower right, “The Charleston Renaissance Gallery” label with artist and title on backing, “Charlton Hall Galleries, Columbia, S.C.” label on frame, 19 7/8 in. x 26 in., framed. [$2000/3000] Provenance: Charlton Hall Galleries, Inc., Columbia, SC, Mar. 23, 2013, lot 885; Estates of Joyce and Donald Laidlaw, Bluffton, SC.

Ref.: “Thieme, Anthony (1888-1954).” The Johnson Collection. www.thejohnsoncollection.org. Accessed Oct. 12, 2020 259. George Hand Wright (American/Connecticut, 1872‑1951), “Going to Market, South Carolina”, pastel on paper mounted to board, signed lower right, “William Hartman, Sarasota, Florida” label on backing, 20 in. x 26 in., framed. [$1500/2500] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC

260. Emil Holzhauer (American/Florida, 1887‑1986), “A Summer’s Day, Georgia”, 1940, watercolor on paper, signed and dated lower right, inscribed with artist and date on backing, 15 1/2 in. x 22 3/4 in., framed. [$2000/3000] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

261. Emil Holzhauer (American/Florida, 1887‑1986), “The Homestead Visit, Savannah, GA”, oil on masonite, signed lower right, signed and inscribed “Savannah, GA” en verso, 20 in. x 26 in., framed. [$2500/3500] Provenance: Neal Auction Company, Feb. 7, 2009, lot 656; Estates of Joyce and Donald Laidlaw, Bluffton, SC.

262. Arnold E. Turtle (British/ New Orleans, 1892‑1954), “Old Absinthe House, New Orleans”, oil on canvas, signed lower right, label with title on stretcher, “Dr. James W. Nelson Collection” label en verso, 20 in. x 16 in., framed. [$1500/2500] Provenance: Collection of Michael Wilkinson, New Orleans, LA. 263. Jason Bouldin (American/ Mississippi, b. 1965), “Delta Landscape off of Hwy 6, Quitman County, Late Summer”, 2007, oil on canvas board, signed, titled, dated and artist label en verso, 18 in. x 24 in., framed. [$2000/3000] Provenance: Collection of Michael Wilkinson, New Orleans, LA. Additional information at www.nealauction.com

264. Pair of American Gothic Cast Iron Garden Benches, mid-19th c., quatrefoil backs, hexagonal pierced seats, H stretcher bracketed base, h. 33 1/2 in., w. 55 in., d. 19 in. [$1000/1500]

265. Louisiana/Acadian Cypress Cabinet, early 19th c., molded top, raised panel doors, beaded surround, raised panel sides, serpentine skirt, reduced feet, remnants of rouge paint, h. 39 in., w. 49 3/4 in., d. 16 in. [$1000/2000]

266. Louisiana Federal Carved Mahogany Armoire, early 19th c., coved canted cornice, conforming case, flush panel doors and sides, interior with one original shelf, lacking belt of drawers, ropetwist vasiform legs, brass ball feet, h. 89 in., w. 58 1/2 in., d. 22 1/2 in. [$5000/7500]

267. Southern Walnut Garde Manger, 19th c., two glazed doors over two drawers over two glazed and paneled lower doors, h. 84 3/4 in., w. 50 1/2 in., d. 20 3/4 in. [$1500/2500]

268. Federal Inlaid Mahogany Bowfront Chest, c.1800, single board top, four graduated drawers, shaped bracket feet, h. 34 1/4 in., w. 40 3/4 in., d. 22 in. [$1500/2500]

269. American Chippendale Carved Mahogany Secretary Bookcase, 18th c. and later, probably Southern, associated top on slant front desk with fitted interior above four graduated drawers, on ball and claw feet, h. 87 1/2 in., w. 42 1/4 in., d. 22 in. [$2000/3000]

270. William Henry Buck (Norwegian/New Orleans, 1840‑1888), “Bayou Teche”, 1885, oil on canvas, signed and dated lower right, 28 in. x 20 in., framed. [$150000/250000] Provenance: Private Collection, LA; thence by descent. Note: Throughout his career William Henry Buck created the most expansive known body of work in the 19th century portraying the rivers, lakes and bayous of New Orleans and its surrounding areas. Buck’s passion for capturing the Louisiana landscape is evident in the significant work offered here through the exquisite and subtle luminosity and masterful composition. This rare vertical scene of exhibition size is dominated by cypress trees curving through the foreground and lining the bayou to the distant vanishing point. Cypress knees and stumps punctuate the water while Buck’s attention to detail can be seen in the inclusion of a small figure in a pirogue mid-right and in the careful placement of the petite white egrets. Buck’s distinctive use of lighting effects adds to the drama and evocative atmosphere of this commanding work depicting the legendary Bayou Teche, a remarkable masterwork by one of Louisiana’s greatest landscape painters.

271. Marie Madeleine Seebold Molinary (American/New Orleans, 1866‑1948), “Still Life of Pitcher and Pomegranates”, 1892, oil on canvas, signed and dated upper right, “W.E. Seebold” label on stretcher, 20 1/4 in. x 16 1/4 in., framed. [$2000/3000]

272. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Rocky Coast”, oil on canvas board, signed lower right, 18 in. x 24 in., framed. [$4000/6000] Provenance: Collection of Michael Wilkinson, New Orleans, LA. Additional information at www.nealauction.com

273. Joseph Rusling Meeker (American/Louisiana, 1827‑1889), “Near the Tombigbee River”, 1886, oil on canvas, signed and dated lower right, signed, titled and dated en verso, 16 in. x 22 1/4 in., framed. [$8000/10000] Provenance: Austin, TX.

275. Map of the New Orleans Riverfront, “Le Vieux Carré de La Ville Nouvelle Orléans”, chromolithograph mounted to wood, 36 in. x 35 3/4 in., unframed. [$1000/1500]

274. Antique Continental Carved and Polychromed Fruitwood “Eagle” Lectern, spreadwing eagle with wrought iron book bracket on spherule, paneled shell and scroll standard, reverse tapered tripartite molded base, spurred shell apron, scroll toes, h. 75 in., w. 27 1/2 in., d. 28 in. [$1000/1500]

276. Collection of Rare New Orleans Jazz Photographs, 1920s, incl. “King Oliver and The Creole Jazz Band”, 1923, featuring Oliver, Louis Armstrong, Baby Dodds on drums, Honore Dutrey on trombone, Bill Johnson on bass, Johnny Dodds on clarinet, and Lillian Hardin on piano, signed by Armstrong “Best Wishes to Dave..Louis Armstrong”, published by Daguerre, Chicago, 9 1/2 in. x 13 1/2 in.; Jelly Roll Morton (b. Ferdinand Joseph LaMothe), published by Bloom, Chicago, 1926, 13 in. x 10 1/4 in.; a real‑photo postcard of trombonist Zue Robertson, 5 1/2 in. x 3 1/2 in.; and a photo of trombonist Frank Duson, aka Frankie Dusen, with his address (1425 Leontine, New Orleans) and phone number written in the margins, 2 1/2 in. x 4 in.; all 4 photographs with “Property of David Stuart” en verso. [$1000/1500] Note: David Stuart (1910‑1984) established Jazz Man Record Shop in 1939, the first jazz record shop on the West Coast. He started his own record label, Jazz Man Records in 1941 and recorded such greats as Jelly Roll Morton.

277. Louisiana Cherrywood Armoire, early 19th c., boldly flared cove cornice, two doors, pressed brass escutcheons, interior with original belt of three drawers and shelves, raised on later bulbous turned beehive feet, h. 91 1/2 in., w. 70 1/2 in., d. 28 in. plus cornice. [$3000/5000] Note: This armoire relates closely to three other examples: one from the Bybee collection at the Dallas Museum of Art which was sold by Neal Auction Company as lot 775 on Dec. 6, 1997; the second is part of the collection of Dr. Raymond Martin, Opelousas; a third related armoire was sold by Neal Auction Company as lot 328 on May 18, 2003 in the Houmas House Plantation auction. Ref.: see Charles Venable, American Furniture in the Bybee Collection 1989, p. 138; and Jesse Poesch, Early Furniture of Louisiana, 1972, p. 79. Apr. 3rd, lot 431.

278. Federal Mahogany Server, early 19th c., two drawers with sandwich glass pulls, shaped stretcher shelf, ring turned legs, toupie legs, spherule feet, h. 36 in., w. 30 in., d. 18 in. [$700/1000]

279. Pair of Louisiana Inlaid Mahogany Campeche Chairs, demilune crest, diminutive finials, flat serpentine arms, ring and vasiform turned supports, turned stretchers, curule base, h. 40 1/4 in., w. 25 1/2 in., d. 29 1/2 in. [$7000/10000] Note: With origins in the “Butac” chair known in Campeche, a port city of the Yucatan Peninsula, scholars Cybele Gontar and Francis Puig posit that this Central American chair form disseminated in the Lower Mississippi River Valley during Spanish rule of the late eighteenth century. Notably, the design was further adapted by Thomas Jefferson for the “Campeachy” chair at Monticello and by a handful of Anglo cabinet makers in the Federal era. Matched pairs of Campeche chairs are very rare, and these chairs share design characteristics with several chairs known as the “Flowerbasket” group. The full demilune crest, diminutive finials, flat serpentine arms and distinctive ring turnings on the stretchers of this pair are all very similar to those on the chair descended in the family of New York and New Orleans merchant James Collas (1788-1883) now at the Metropolitan Museum of Art, a chair descended in the family of Alabama planter James Jackson (died 1840) and a chair purchased in Houston for Mistletoe Plantation, now in the Holden collection. Ref.: Jack Holden, et al. Furnishing Louisiana, Creole and Acadian Furniture 1735-1835. New Orleans: The Historic New Orleans Collection, 2010, pp. 345-347, fig. 2-3. Francis Puig. “The Early Furniture of the Mississippi River Valley,” The American Craftsman and the European Tradition, 1989, Minneapolis: Minneapolis Institute of Arts. P. 165; Cybelle Gontar, “The Campeche Chair in the Metropolitan Museum of Art” Metropolitan Museum Journal, 2003, p. 202, p. 38; Cybelle Gontar, The Louisiana Campeche’ Chair: Origin, History, and Transference Parson’s School for Design Master of Art Thesis, 2000

280. Dutch West Indies Vitrine Cabinet, mid‑to‑late 18th c., broken arch pediment, central flame finial, glazed cupboard doors, enclosing astragal molded shelves, canted glazed sides, scalloped base, h. 30 1/4 in., w. 30 1/4 in., d. 11 in. [$2500/3500] Note: The flame finial, the arched pediment and the canted sides on this cabinet are all typical of Dutch vitrine forms of the late 18th century. The use of Spanish cedar as the primary wood indicates that this cabinetmaker was using wood native the Dutch West Indies. Most desirable as an aromatic and moist wood for cigar humidors, Spanish cedar is rare in mid-sized case furniture, as seen here. Ref.: Michael Connors. Caribbean Elegance. New York: Harry Abrams. 2002. 281. French Provincial Walnut Petite Chest of Drawers, 19th c., molded top, two small over two long drawers, all with stop fluting, spurred shaped apron, scroll toes, h. 20 3/4 in., w. 24 in., d. 15 1/2 in. [$500/700] Additional information at www.nealauction.com

282. Antique French Provincial Miniature Fruitwood Bonnetiere, serpentine crest with finials and musical trophée, glazed door, apron with urn and scrolls, cabriole legs, pyramid feet, h. 24 in., w. 40 1/4 in., d. 11 1/2 in. [$500/700] 283. French Provincial Louis XV Carved Fruitwood Buffet Bas, 18th c, molded top, two frieze drawers over doors, fiche hinges, serpentine skirt, cabriole legs, h. 41 in., w. 66 in., d. 24 1/2 in. [$1000/1500]

284. Jean Joseph Vaudechamp (French/Louisiana, 1790‑1866), “Portrait of Charles Victor Foulon, Notary (1805‑1892)”, 1834, oil on canvas, signed and dated upper right, 28 3/4 in. x 23 1/2 in., framed. [$12000/18000]

285. William Henry Buck (Norwegian/New Orleans, 1840‑1888), “Two Cows under an Oak Tree”, oil on academy board, signed lower right, 9 in. x 12 in., period frame. [$15000/25000]

287. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Scene with Oak Tree and Lilies”, 1932, oil wash on board, signed and dated lower center, signed and inscribed en verso, 18 in. x 26 1/2 in., framed. [$2000/3000]

286. George Louis Viavant (American/Louisiana, 1872‑1925), “Nature Morte: Fish”, watercolor on paper, signed and inscribed “N.O.L.A.” lower right, “Wisdom Collection” label and typed label with artist on backing paper, 16 3/4 in. x 9 1/2 in., framed. [$2000/3000]

288. Harold Harrington Betts (American/ Illinois, 1881‑1951), “Spanish Bayou”, oil on canvas, signed lower right, titled lower left, 37 in. x 39 in., framed. [$1800/2500] Provenance: Neal Auction Company, Oct. 4, 2003, lot 559.

289. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Utah” and “Colorado”, 2 watercolors on paper, both unsigned, both pencil‑titled lower right, each 12 in. x 18 in., framed. (2 pcs.) [$2000/3000]

290. Will Henry Stevens (American/Louisiana, 1881‑1949), “French Quarter Street Scenes”, 2 pastels on paper, both signed lower left, 12 in. x 10 in. and 10 in. x 12 in., framed alike. (2 pcs.) [$4000/6000]

291. Aleen Aked (Canadian/Florida, 1907‑2003), “Corner Store”, oil on canvas board, monogrammed, illegibly inscribed, “Fulton Canvas Boards, New York, NY” label and artist estate stamp en verso, 16 in. x 24 in., framed. [$800/1200] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

292. Paul Ninas (American/New Orleans, 1903‑1964), “Moonlit Fruit and Floral Still Life”, gouache and pastel on paper mounted to board, signed lower right, handwritten label on backing, 12 in. x 17 7/8 in., framed. [$3000/5000] Provenance: Reputedly Christine Fairchild Magriel (friend of the artist); by descent to Renee Magriel Roberts; Private Collection.

293. Emilie de Hoa LeBlanc (American/New Orleans, 1870‑1941, active Newcomb College, 1897‑1921), “Taos, New Mexico”, oil on board, signed lower left, titled en verso, 22 1/8 in. x 28 in., framed. [$1500/2500]

294. Newcomb College Art Pottery High Glaze Vase, 1905, decorated by Marie de Hoa LeBlanc, with a relief of leaves and berries, base marked with Newcomb cipher, decorator’s mark, and reg. no. AL68, h. 9 in., dia. 7 in. [$8000/12000]

295. Newcomb College Art Pottery High Glaze Vase, 1928, decorated by Anna Frances Simpson with relief‑carved landscape in the pine trees design, blue and pink underglaze, base marked with Newcomb cipher, decorator’s mark, Jonathan Hunt’s potter’s mark, reg. no. RM33 and shape no. 327, h. 5 7/8 in., dia. 2 1/2 in. [$1000/1500]

Additional information at www.nealauction.com

296. Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Still Life of Fruit”, watercolor and graphite on paper, unsigned, 10 15/16 in. x 8 7/16 in., unframed; accompanied by copy of certificate of authenticity from the family of Walter Anderson. [$8000/12000]

297. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Coots”, watercolor and graphite on paper, unsigned, 8 3/8 in. x 11 in., framed. [$8000/12000] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham.

299. Richard Johnson (American/New Orleans, b. 1942), “Mao & Co”, 1987, acrylic and collage on paper mounted to board, pencil‑signed, titled and dated on mount, “Eve Mannes Gallery, Atlanta” label with artist, title and date on backing paper, 23 7/8 in. x 31 7/8 in., framed. [$1200/1800]

300A. Mary Ann “Toots” Zynsky (American, b. 1951) “Filet de Verre” Vessel, fused and thermo‑formed multicolored glass threads, signed with applied “Z” to base, h. 6 1/2 in., w. 13 in., d. 9 1/2 in. [$4000/6000] Provenance: Jeffrey Spahn Gallery, San Francisco, 2016.

301. George Bauer Dunbar (American/New Orleans, b. 1927), “Coin du Lestin”, gold leaf on black clay, signed lower center, 54 in. x 48 in., framed. [$18000/25000]

298. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Blue Crab”, watercolor and graphite on paper, unsigned, estate stamp lower right, 8 1/2 in. x 11 in., framed. [$8000/12000] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham.

300. Lin Emery (American/ New Orleans, b. 1926), “Flower Dance”, 1990, stainless steel and acrylic paint kinetic sculpture, signed on self‑base, h. 52 1/2 in., custom pedestal with motorized base, overall h. 86 1/2 in. [$30000/50000]

302. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), “Untitled: Cluster Series”, 1982, oil on canvas, signed and dated lower right, 48 1/2 in. x 71 5/8 in., simple slat frame. [$50000/80000] Provenance: Acquired from the artist, c. 1990. Note: In the early 1970s, Ida Kohlmeyer emerged from an immersion in Abstract Expressionism and began a series of expressive and colorful paintings she titled the Cluster series. This series represents the first unique style that was solely identified with the artist and consists of a grid of rectangular elements, similar in shape and size, surrounded by a white border. The Cluster series afforded Kohlmeyer the opportunity to experiment within her grid with automatic drawing, a technique which would define the series, and a vibrant color palette. The series drew critical acclaim for Kohlmeyer, and in her words: “embodied my whole voyage through years of searching for a personal visual statement.” From the late 1970s into the early 1980s, Kohlmeyer often multiplied the number of symbols in her Cluster works exponentially, greatly increasing the color saturation and heightening the comparison of her canvases to a mysterious pictorial language. Her admiration of Joan Miró, whom she had met in Paris in 1956, influenced her decision to develop this personal code of schematic symbols that she would then employ throughout the rest of her career. Kohlmeyer’s mature works, such as the canvas offered here, evoke deep feeling through carefully placed shapes and colors. Her paintings speak to the arbitrariness of symbols as well as to the universal desire to communicate. Throughout her active career, which continued into the 1990s, Kohlmeyer successfully exhibited her work in New York galleries and important museums. She considered herself a beneficiary of the feminist art movement, and in 1980 she received the National Women’s Caucus for Art’s outstanding achievement award. She described her drive to make art as a “compulsion, a withdrawal from much that is pleasurable in life, a need to work, for which no other activity can substitute, and a constant search for self.” This monumental work from 1982 is a quintessential example of Kohlmeyer’s style and the result of years of exploration and introspection coming to fruition on her canvas. Each individual symbol can be viewed as a complete painting unto itself, interacting with the others within the grid to create an overall composition designed for contemplation rather than interpretation. Ref.: Plante, Michael. Ida Kohlmeyer: Systems of Color. New York: Hudson Hills Press, 2004. Kessler, Jane. Ida Kohlmeyer: Thirty Years. Charlotte, NC: The Mint Museum, 1983

303. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Becalmed”, 1959, oil on masonite, signed lower right, signed and dated en verso, partial “Ruth White Gallery, New York, NY” label on stretcher, 30 in. x 24 in., framed. [$12000/18000]

Additional information at www.nealauction.com

304. James Michalopoulos (American/ New Orleans, b. 1951), “Pink Proterba”, 1994, oil on canvas, signed lower left, signed “Mitchell Michalopoulos” and dated en verso, titled and inscribed “2063” on stretcher, 30 in. x 24 in., framed. [$4000/6000]

305. William Hemmerling (American/Louisiana, 1943‑2009), “Sweet Olive Strawberry”, 2007, mixed media on panel, signed lower right, titled lower center, signed, dated and extensively inscribed en verso, 30 1/2 x 21 in., unframed. [$4000/6000] Provenance: Hemmerling Gallery, Ponchatoula, LA.

306. Francis Pavy (American/Louisiana, b. 1954), “Blue Headed Rock & Roll Singer”, 1988, oil on canvas, signed and dated lower right, signed, titled and dated en verso, 23 in. x 23 in., unframed. [$1500/2500]

308. Noel Rockmore (American/New Orleans, 1928‑1995), “Chicken Henry No. 4”, 1963, oil on canvas, signed, titled and dated lower left, signed, titled and dated en verso, 2 partial labels on stretcher, 52 in. x 40 in., unframed. [$4000/6000] Note: Larry Borenstein commissioned Noel Rockmore in 1962 to create a portrait series of the musicians who played at the recently opened Preservation Hall on St. Peter Street in the French Quarter. Dedicated to New Orleans jazz, Preservation Hall was managed by the young jazz enthusiasts, Allan and Sandra Jaffe, who drew from the large pool of talented local and nationally recognized musicians for nightly performances. Working in his distinctive style, Rockmore painted the portraits of notable Preservation Hall musicians, often with instruments in hand. Sitters included Jim Robinson, “Chicken” Henry, “Kid Sheik” Cola, “Fats” Houston, Willie and Percy Humphrey as well as numerous others associated with the music scene such as Jazz historian Bill Russell.

307. James Michalopoulos (American/ New Orleans, b. 1951), “Still from a Walk”, 1996, oil on canvas, signed lower left, signed and dated en verso, 30 in. x 24 in., framed. [$4000/6000]

In painting the portrait of Oscar Joseph “Chicken” Henry, Rockmore developed a friendship with the musician. Trained as a skilled plasterer, Henry considered himself to be both an artist and musician and consequently enjoyed his frequent sittings for Rockmore. An appealing character, Henry had a warm sense of humor and was an engaging storyteller; he was known to use a combination of voodoo and astrology to handicap the horse races. This colorful and magnetic portrait serves as a fitting tribute to the larger-than-life Henry. Ref.: Borenstein, Larry and Bill Russell. Preservation Hall Portraits: Paintings by Noel Rockmore. Baton Rouge: Louisiana State University Press, 1968

Provenance: Neal Auction Company, Nov. 21, 2015, lot 302.

310. Alice Scott Scanland (American/South Carolina, 1924‑2005), “Baptismal Day”, 1972, oil on canvas, signed, titled and dated en verso, 15 3/4 in. x 20 in., framed; together with 1971 photograph of the artist. [$1000/1500] 309. Elizabeth O’Neill Verner (American/South Carolina, 1883‑1979), “Seated Charleston Flower Seller with Basket”, pastel on panel, signed lower right, 19 in. x 14 1/2 in., framed. [$8000/12000]

311. Hunt Slonem (American/Louisiana, b. 1951), “Bunnies”, 2015, oil on panel, signed and dated en verso, 26 in. x 21 3/4 in., framed. [$7000/10000]

312. Hunt Slonem (American/ Louisiana, b. 1951), “Chinensis Hawaii”, 2018, oil on canvas, signed, titled, dated and inscribed en verso, 40 in. x 30 in., framed. [$10000/15000]

313. Adele Lemm (American/ Tennessee, 1904‑1977), “Untitled #66”, oil on linen, signed lower left, titled, “The Charleston Renaissance Gallery, Charleston, SC”, “Robert M. Hicklin, Jr., Inc., Spartanburg, SC” and “Greenville County Museum of Art, SC” labels en verso, 29 in. x 38 in., framed. [$3000/5000] Provenance: The Charleston Renaissance Gallery, Charleston, SC.

314. Mario Villa (Nicaraguan/New Orleans, b. 1953), “Palm Frond”, copper, unsigned, l. 66 in. [$300/500]

315. Pedro Friedeberg (Mexican, b. 1936), “Miniature Butterfly Chair”, signed under seat, gilt and painted carved wood and mixed media, h. 6 3/4 in. [$600/800] 316. Sergio Bustamante (Mexican, b. 1949), “Dolphin”, polychrome papier‑mâché sculpture, signed and numbered “56/100” on mouth, h. 39 in., w. 59 in., d. 12 in. [$500/800] Provenance: Acquired from the artist, 1983; Collection of Brooke and Maria Fox, Metairie, LA.

317. Pair of Continental Carved Walnut Figural Pilasters, 19th c., Ionic capital over female warrior standard and gargoyle base, h. 70 1/2 in., w. 9 1/2 in., d. 6 in. [$1200/1800]

319. Austrian Gilt Bronze Figure of a Heron, c. 1900, Franz Bergman, fully marked, heron among cattails catching a frog, h. 6 1/4 in., w. 7 1/2 in., d. 4 1/4 in. [$300/500]

318. Large Black Forest Carved Walnut Wall Plaque, c. 1900, oak leaf and branch bordered backplate, with brace of chamois and pheasant, h. 40 in., w. 24 in., d. 5 in. [$1000/1500]

320. Antique Silverplate and Deer Hoof Three‑Light Candelabrum, late 19th c., foliate arms, egg and dart base, h. 12 1/2 in., w. 12 1/2 in., d. 3 1/4 in. [$500/700]

Additional information at www.nealauction.com

321. Four American Sterling Silver Julep Cups, Preisner Silver Co., mid‑20th c., pattern 140, h. 3 7/8 in., total wt. 18.45 troy ozs. [$300/500]

322. Fine S. Kirk & Son Co. Sterling Silver Repousse Coffee and Tea Service, 1896‑1924, incl. coffee pot, teapot, covered sugar, creamer and waste bowl, each footed vase form with repousse and chased decoration of flowers and acanthus leaves on stippled ground, grape and grape leaf finials, coffee pot h. 11 in.; total wt. 147.25 troy ozs. [$3000/5000]

324. American Classical Coin Silver Tea Set, John Targee, New York, New York, wc. 1797‑1828; incl. a teapot, sugar and creamer, each squared urn form with wide band of oak leaves and acorns on stippled ground, lobed lower body, acorn finials, old script monogram, teapot h. 9 3/4 in., total wt. 56.35 troy ozs. [$1000/1500] 326. Kentucky Coin Silver Soup Ladle, John Kitts & Co., Louisville, act. 1859‑1865, marked “J.KITTS&Co” incuse, in the “Tuscan” pattern, l. 13 7/8 in., wt. 7.75 troy ozs. [$300/500]

Ref.: Crescent City Silver, pp. 66‑67, mark ill. p. 125 325. New Orleans Coin Silver Water Pitcher, Adolphe Himmel (1825/6‑1877) for Hyde & Goodrich, 1853‑1861, marked “H”, “HYDE & GOODRICH” in arc, over “MANUFACTURERS”, over “NEW ORLEANS” in arc, baluster shaped body, molded lip and foot rim, scroll handle, chased scroll cartouche engraved “Randolph/1854”, flanked by flowers and foliage, h. 9 3/4 in., wt. 20.65 troy ozs. [$2500/3500]

327. Empire‑Style Bronze and Tole Peinte Eight‑Light Chandelier, 20th c., h. 28 1/2 in., w. 31 in., d. 16 in. [$700/1200]

328. Continental Carved and Polychromed Wood and Iron Twelve‑Light Chandelier, h. 31 in., dia. 33 in. [$700/1000]

Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

Provenance: Whitehall Antiques, Chapel Hill.

329. Brass‑Mounted and Enameled Bohemian Glass Dresser Box, early 20th c., hinged lid, scroll handles and feet, foliate and bird design, h. 5 1/4 in., w. 5 1/4 in., d. 3 3/4 in. [$700/1000] Provenance: Sallea Antiques, New Canaan, CT.

331. French Brass‑Mounted Rainbow Glass Dresser Box, c. 1900, panel cut oval form, hinged lid, h. 5 in., w. 5 1/2 in., d. 3 1/4 in. [$500/700]

323. New Orleans Coin Silver Soup Ladle, Jean‑Noel Delarue (b. Bordeaux 1776, d. New Orleans 1842, act. New Orleans 1802‑1842), marked “Delarue” in elongated oval cartouche flanked by butterflies in octagonal cartouches, downturned fiddle handle, double drop on back of bowl, script monogram “JL”, l. 14 5/8 in., wt. 7.15 troy ozs. [$1000/2000]

330. Two French Brass‑Mounted Cranberry Cut‑to‑Clear Glass Dresser Boxes, c. 1900, hinged lids, larger h. 5 1/2 in., w. 8 in., d. 5 1/2 in. [$700/1000]

332. Diminutive Moser Brass‑Mounted Enameled Cobalt Glass Dresser Box, c. 1890, hinged lid, h. 3 1/2 in., w. 3 3/4 in., d. 2 1/2 in. [$500/700]

333. Two French Brass‑Mounted Cranberry Glass Dresser Boxes, c. 1900, hinged lids, one with canted corners, bird feet; other ribbed oval form, h. 4 1/4 in., w. 4 1/2 in., d. 3 1/4 in. [$600/900]

334. Two Brass‑Mounted Bohemian Enameled Amber Glass Dresser Boxes, 20th c., hinged lids, scroll and ball feet, larger h. 4 3/4 in., w. 5 3/4 in., d. 4 in. [$700/1000]

336. Two French Brass‑Mounted Glass Dresser Boxes, c. 1900, hinged lids, larger h. 4 1/2 in., d. 5 1/2 in., d. 4 1/8 in. [$600/900]

337. Two French Brass‑Mounted Opaline Glass Dresser Boxes, c. 1900, hinged lids, larger h. 4 3/4 in., w. 5 1/4 in., d. 3 3/4 in. [$600/900]

335. Luigi Onesto (Italian, b. 1935) for Oggetti Murano Glass Tear Drop Vase, etched “L. Onesto Murano/ Italy” and labeled “Oggetti/ Italy”, green and amber “sommerso” technique, h. 9 1/2 in., w. 4 3/4 in. [$250/350]

338. Pair of Rock Crystal Lamps, rope twist standard, gilt metal base, h. (to socket) 19 1/2 in. [$800/1200]

339. American Rococo Carved Rosewood Duchesse, mid‑19th c., shell and foliate mirror surround, acanthus scroll dolphin supports, serpentine dished white marble top, cabochon centered frieze drawer, C scroll cabriole legs, robust floral and scroll finialed stretcher, casters, h. 78 1/2 in., w. 50 in., d. 21 3/4 in. [$2500/3500]

340. American Rococo Carved Mahogany Dressing Chest, mid‑19th c., stenciled “JW Meeks”, arched mirror with reticulated scroll crest, turned and blocked supports, molded serpentine marble top, conforming case, five bookmatched graduating drawers, foliate strapwork decoration, shaped apron, bracket feet, h. 82 in., w. 43 in., d. 22 1/4 in. [$2000/3000]

341. American Rococo Carved and Laminated Rosewood Parlour Suite, mid‑19th c., attr. to Meeks, “Stanton Hall” pattern, incl. 2 settees, 2 armchairs and 4 side chairs, gadrooned broken pediment crest with central floral pendant, pierced surround, shaped cabochon decorated seat rail, cabriole legs, casters, armchair h. 44 in., w. 27 1/2 in., d. 33 1/2 in., side chair h. 40 1/2 in., w. 20 in., d. 27 in., settee h. 47 in., w. 64 1/2 in., d. 39 in. [$7000/10000] Provenance: Clars Auction. Additional information at www.nealauction.com

342. Pair of American Rococo Carved and Laminated Rosewood Meridiennes, mid‑19th c., attr. to John H. Belter, New York, in the pattern referred to as “Rosalie”, floral and grape carved crest, molded arm supports, floral carved seat rail, cabriole legs, casters, h. 37 3/4 in., w. 39 in., d. 22 in. [$3000/5000]

344. American Rococo Rosewood Dressing Chest, mid‑19th c., pierced fruit and foliate scrolled crest, arched mirror, two glove boxes, shaped molded white marble top, conforming case, one central drawer over a single door, flanked by three drawers each side, corbel and acanthus stiles, conforming base, h. 88 in., w. 52 3/4 in., d. 25 3/4 in. [$2000/3000]

343. American Gothic Mahogany Mixing Table, c. 1840, shaped white marble top, ogee frieze with blind drawer, single cabinet door, coved base with bead trim, oval feet, h. 38 in., w. 30 1/2 in., d. 19 1/4 in. [$1000/1500]

345. American Federal Mahogany Tilt-Top Candlestand, late 18th/early 19th c., oval top, ring turned reverse tapered standard, tapered spider legs, spade feet, h. 29 3/4 in., w. 25 3/4 in., d. 17 1/2 in. [$600/900]

346. American Classical Mahogany Drop-Leaf Breakfast Table, early 19th c., New York, frieze drawer with lion and ring pull, foliate carved urn standard, leaf carved saber legs, brass paw, casters, h. 29 1/2 in., w. (closed) 26 in., w. (open) 48 in., d. 42 in. [$1000/1500]

347. American Federal Tiger Maple Tall Post Bed, early 19th c., arched tester rails, eared headboard with boss terminals, ring and urn turned posts, tapered legs, toupie feet, h. 89 in., l. 71 1/2 in., w. 42 1/2 in. [$1000/2000]

348. American Classical Mahogany Mixing Table, early 19th c., later marble top, astragal molding, frieze drawer, die-cut brass decorated colonnettes, shaped strecher shelf, compressed bun feet, h. 31 3/4 in., w. 30 1/4 in., d. 19 in. [$800/1200]

349. Pair of American Federal Carved Mahogany Demilune Games Tables, early 19th c., possibly Charleston, reeded foldover top, tapered reeded legs, tapered feet, h. 29 1/2 in., w. 36 in., d. (closed) 17 1/2 in., d. (open) 35 1/8 in. [$1500/2500]

351. Diminutive Southern Federal Cherrywood Silver Chest, early 19th c., poss. Kentucky, foldover baize work surface, two divided small drawers over large drawer, tapered ring turned legs, h. 25 in., w. 24 in., d. (closed) 16 1/4 in., d. (open) 32 1/2 in. [$700/1000]

350. American Tiger Maple Four Poster Rope Bed, 19th c., turned posts with spherical finials, paneled head and foot boards with rolling pin crests, conforming rails, bulbous‑turned legs, flattened disc feet, h. 52 in., l. 76 in., w. 50 in. [$300/500]

352. American Federal Inlaid Mahogany Secretary Bookcase, early 19th c., blocked pediment with spreadwing eagle finial, dentilated frieze, glazed doors enclosing shelves, over inlaid doors with fitted interior, foldover leather writing surface, over four graduated drawers, ring turned toupie feet, h. 85 1/2 in., w. 40 in., d. 21 in. [$2000/3000]

353. Steele Burden (American/ Louisiana, 1900‑1995), “Cabin in the Swamp”, oil on canvas, signed lower right, 24 x 18 in., framed. [$2000/3000]

354. Steele Burden (American/Louisiana, 1900‑1995), “Bayou at Dusk”, oil on canvas, signed en verso, 20 in. x 24 1/8 in., framed. [$1800/2500] 355. Knute Heldner (Swedish/Louisiana, 1877‑1952), “Walking Along the Path Lakeside”, oil on canvas, signed lower right, 16 in. x 20 in., framed. [$2000/3000] Provenance: Jean Bragg Gallery, New Orleans, LA.

Additional information at www.nealauction.com

356. Knute Heldner (Swedish/Louisiana, 1877‑1952), “Swamp Scene”, oil on canvas, signed lower left, 16 in. x 20 in., framed. [$1500/2500]

357. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Louisiana Bayou Landscape”, oil wash on board, pencil‑signed lower right, 20 in. x 30 in., framed. [$2000/3000]

Provenance: Jean Bragg Gallery, New Orleans, LA

Provenance: Taylor Clark Gallery, Baton Rouge, LA. 358. Frederick Judd Waugh (American, 1861‑1940), “Full Sunlight”, oil on canvas, signed lower right, signed and titled en verso and on stretcher, “Royal Art Framing Company, Inc., New York” label on frame, 17 in. x 21 1/4 in., framed with artist and title plaque. [$3000/5000] Provenance: Estate of Houston H. and Carolyn H. Harte, San Antonio, TX.

359. Anton Otto Fischer (German/New York, 1882‑1962), “Fall Landscape with Light Filtering through Trees”, 1932, oil on canvas, signed and dated lower left, remnant of label and “O.F. Anderson CO.” stamp on stretcher, 16 in. x 20 in., framed. [$1200/1800] Provenance: Fletcher Gallery, Woodstock, NY, May 27, 2012, lot 73.

360. Hubert Wackermann (German/ American, b. 1945), “Assiniboin Winter Camp”, 2002, oil on canvas, signed lower right, signed and dated en verso, titled on stretcher, 24 in. x 36 in., framed. [$2000/3000]

361A. Scott Rogers (American, b. 1960), “Alone and Outnumbered”, 1992, bronze, signed, dated and numbered “8/50” on self‑base, h. 11 1/4 in., w. 15 1/2 in., d. 5 3/4 in., marble and wood base with title plaque, overall h. 13 3/4 in. [$800/1200]

361. Amadine Griffin Chiles (American, 1925‑2009), “Curley‑Crow Scout for General Custer”, 1992, bronze, signed and dated on back, on granite base with artist and title plaque, h. 22 1/4 in., w. 11 1/2 in., d. 8 in., with pedestal, overall h. 64 in. [$700/1000] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

362. Attributed to Thomas Sidney Cooper (British, 1803‑1902), “Cows Watering at Stream”, oil on canvas, unsigned, handwritten label en verso, 48 1/4 in. x 78 1/4 in., unframed. [$2000/3000] Provenance: Property deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

364. Antique American Ship Model of the Whaling Bark Progress, c. 1935, signed plaque reads “Progress/Walter C. Leavitt/ Salem, Mass”, painted wood, metal, fully rigged, the stern with eagle and “PROGRESS/NEW BEDFORD”, on stand, h. 23 in., w. 34 in., d. 6 1/2 in. [$700/1000] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham. Note: The bark Progress was built in 1848. Sold to the US government during the Civil War, she was eventually resold for whaling and was one of the few ships that escaped the infamous whaling ship disaster of 1871 off the Alaskan coast. She was towed from New Bedford to Chicago for use as a whaling museum at the 1892 Columbian Exposition. Sadly, after the exposition, she was left for ruin in the Calumet River. 363. Charles Meer Webb (British, 1830‑1895), “Arrest of a Poacher”, 1873, oil on canvas laid on board, signed and dated lower center, 27 1/2 in. x 37 1/2 in., framed. [$2000/3000]

365A. American Wrought Iron Double Flue Arctic Whale Harpoon, 19th c., stamped “GS” for blacksmith George Swain, Jr. (1791-1880), l. 38 1/2 in. [$700/1000] 365. Antique American Model of a New Bedford Whaleboat, carved bone, highly detailed, h. 1 3/4 in., length 9 in., d. 2 1/4 in., on stepped mahogany base, total h. 3 1/4 in.; with another model of a New Bedford whaleboat, 20th c., shown mounted on ship davits, h. 7 1/4 in., l. 16 in., d. 9 in. [$500/700]

Provenance: Samuel L. Lowe, Jr. Antiques Inc., Boston, 1981; Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans. Note: Swain was an ex-whaleman, having sailed on the New Bedford ship Winslow in 1815. His shop was on the New North Wharf on Nantucket See Nantucket Historical Association Collection #1992.0160.001 for another example.

Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

367. Regency Brass‑Bound Mahogany Lap Desk. early 19th c., lid with decorative cartouche, fitted interior with two inkwells, inset brass carrying handles, h. 8 in., w. 20 in., d. 11 1/2 in. [$400/600]

368. American Brass and Iron Fireplace Garniture, 19th c., incl. pair of andirons, wirework fire screen with paw feet, tongs and shovel, screen h. 15 in., w. 42 1/2 in., d. 17 in. [$800/1200]

366. Antique American Horn‑Mounted Desk Compendium, c. 1900, clock and barometer flanked by horns, oak base holding a pen rest and inkwell, h. 14 in., w. 13 1/2 in., d. 10 in. [$600/900]

369. Large and Impressive Old Sheffield Plate Tray, 19th c., serpentine molded border with flowers and foliage, inset silver shield, flat‑chased well, acanthine feet, dia. 22 5/8 in. [$600/900]

370. American Classical Carved Mahogany Center Table, early 19th c., Boston, bookmatched tilt top, reverse tapered standard, incurvate triangular base, lobed feet, casters, h. 29 1/4 in., dia. 35 in. [$1500/2500]

371. Rare American Carved Mahogany Convertible Desk and Chair, c. 1854, attr. to Stephen Hedges, New York, oval foldover top, locking side hardware, leather panels inside and out, scroll cabriole legs, note: lacking drawer, h. 29 1/2 in., w. 32 1/4 in., d. 25 1/2 in. [$2000/3000] Note: Several examples of this patented desk are known, including examples conserved at Gallier House, New Orleans; the Museum of the City of New York; the Morris‑Jumel Mansion, New York; and another was sold on‑site, from the collection of Dr. George Crozat, Houmas House, Burnside, Louisiana by Neal Auction Company, lot 329, May, 2003. Additional information at www.nealauction.com

373. American Classical Diminutive Mahogany Center Table, 19th c., single frieze drawer, restrained reverse tapered standard, shaped base, toupie feet, h. 28 in., dia. 23 1/2 in. [$700/900]

374. American Classical Mahogany Side Table, 19th c., New York, marble top, lyre-form supports, shaped stretchers, scroll feet, casters, h. 28 1/2 in., w. 28 in., d. 17 in. [$500/750]

372. Georgian Mahogany Diminutive Demilune Sideboard early 19th c., central drawer flanked by pair of cupboard doors, scalloped apron, square tapering legs with spade feet, h. 36 in., w. 42 in., d. 22 in. [$1000/1500]

375. American Classical Mahogany Gentleman’s Chest of Drawers, early 19th c., superstructure with backsplash and two glove drawers, blocked front with outset beveled frieze over drawer, turned colonnettes and three long drawers, ring turned toupie feet, h. 48 1/4 in., w. 44 in., d. 20 1/2 in. [$700/900]

376. American Carved Rosewood Music Cabinet, mid‑19th c., pierced gallery, shaped marble top, conforming case, mirrored doors, divided interior, bracketed base, foliate carved feet, h. 42 1/2 in., w. 24 1/2 in., d. 15 1/2 in. [$400/600]

377. Regency Carved Mahogany Library Chair, 19th c., scrolled back, buttontufted back and seat, acanthus carved scrolled arms, ring turned incised vasiform feet, casters, h. 40 in., w. 23 1/2 in., d. 26 1/2 in. [$900/1200]

378. George III Inlaid Mahogany Sideboard, Late 18th / early 19th c., serpentine top, fitted frieze drawer, flanked by cabinet and bottle drawer, shaped apron, tapered legs, spade feet, h. 35 1/2 in., w. 74 in., d. 22 in. [$2000/3000]

379. Set of Eight Georgian‑Style Mahogany Dining Chairs, incl. 2 arm and 6 side chairs, foliate carved scrolled crest rail, pierced splat, central shell embellished seat rail, acanthus carved knees, cabriole legs, ball and claw feet, armchair h. 41 3/4 in., w. 26 3/4 in., d. 22 in., side chair h. 40 in., w. 20 3/4 in., d. 20 in. [$700/1000]

380. 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. [$2500/3500]

381. George III Tortoiseshell Tea Caddy, early 19th c., dome top, interior with two lidded compartments, ball feet, h. 5 3/4 in., w. 6 in., d. 3 1/4 in. [$1000/1500]

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

384. Pair of Handsome Silverplate Two‑Light Candelabra, antique and later, the French “double” plate candlesticks now with associated candlearms, h. 20 1/4 in., w. 20 5/8 in. [$800/1200]

385. Georgian Sheffield Plate Egg Cruet, Matthew Boulton, c. 1800, acanthus and shell frame fitted with 6 egg cups, overall h. 6 1/4 in., w. 7 1/2 in., d. 6 in. [$200/300]

387. Pair of Late Victorian Silverplate Grape Stands, Atkin Brothers, Sheffield, act. 1853‑1958, c. 1890, with grape vine and leaf standard, h. 11 1/2 in., w. 10 5/8 in., d. 7 5/8 in.; WITH associated silverplate grape shears, 1 Elkington, 1929, other Cooper Brothers, Sheffield, early 20th c. [$400/600] 388. Scottish Victorian Sterling Silver Hot Milk Pitcher, Hamilton & Inches, Edinburgh, 1898, paneled baluster form with domed cover and stepped foot, h. 10 1/2 in., wt. 22.30 troy ozs. [$400/600]

391. Pair of American Bronze Solar Banquet Lamps, 19th c., marked “Cornelius & Co. “ frosted shades, electrified, h. 36 in., dia. 8 1/2 in. [$1200/1800]

383. English Tole Peinte Tray, 19th c., depicting a fox hunt through a riverscape, h. 22 1/2 in., w. 29 in. [$300/500]

386. Group of Antique and Vintage English Silverplate Wine Coasters, incl. pair with gadroon borders, turned hardwood bottoms with inset silverplate buttons, h. 1 3/4 in., dia. 5 3/4 in.; single example with gadroon border, turned wood base, h. 2 1/8 in., dia. 5 5/8 in.; pair with reticulated galleries, turned wood bases, h. 1 3/4 in., dia. 5 3/8 in.; and single example with reticulated gallery, turned wood base, h. 2 in., dia. 5 1/4 in. (6 pcs.) [$300/500]

389. George II Sterling Silver Waiter, London, 1743‑44, Robert Abercromby, with shell and scroll border, raised on three scroll supports, engraved asymmetrical vacant cartouche, h. 1 1/4 in., dia. 7 7/8 in., wt. 11 ozs. 15 dwts. [$300/400]

392. Diminutive French Tole Peinte and Porcelain‑Mounted Three‑Light Chandelier, electrified, h. 17 in., dia. 14 in. [$400/600]

390. George III Sterling Silver Sugar Basket, Robert Hennell, London, 1792, mark reg. 1772, fluted navette form with reeded swing handle and rims, engraved crest, h. (to top of handle) 7 1/8 in., w. 6 1/4 in., wt. 7.05 troy ozs. [$300/500]

393. English Bronze Single‑Arm Argand Lamp, c. 1840, standard surmounted by an urn, now with glass bead pendants, cut and frosted glass shade, electrified, h. 21 1/2 in., w. 13 in., d. 8 1/2 in. [$300/500]

Additional information at www.nealauction.com

395. French Carriage Clock for Tiffany, early 20th c., dial marked “TIFFANY & Co.”, visible escapement, striking gong movement, original leather case, clock h. 5 in., w. 3 1/2 in., d. 3 in. [$400/600]

394. Tiffany Gold Favrile Glass Scalloped Bowl and Underplate, early 20th c., marked “L.C.T.”, bowl h. 2 1/4 in., dia. 5 in.; tray dia. 6 1/4 in.; together with Tiffany favrile glass saucer dish, marked “L.C.T.” and “N9488”, dia. 5 1/4 in. (3 pcs.) [$300/500]

396. Louis Philippe Gilt Bronze Mantel Clock, c. 1845, surmounted by a lady on a recamier, dial and movement marked “Duville a Boulogne”, h. 14 3/4 in., w. 13 in., d. 6 in. [$500/700]

397. Large Napoleon III Patinated Bronze and Marble Figural Mantel Clock, 19th c., philosopher figure with quill and scroll; Roman helmet, short sword, and oak branch beside clock case, serpentine base, Note: now with electric movement, h. 18 3/4 in., w. 33 in., d. 12 in. [$800/1200] Provenance: Estate of Shirley Stewart, Jefferson Parish, LA; Sold to benefit the Acquisitions Fund of the New Orleans Museum of Art.

399. William IV Miniature Mahogany Chest of Drawers, early 19th c., molded top with rounded corners, conforming case with two short over three long graduated drawers, toupie feet, h. 16 in., w. 15 1/4 in., d. 9 3/4 in. [$400/600]

398. Pair of Art Deco‑Style Tabourettes, specimen marble top, argenté iron whippet figural supports, h. 28 3/4 in., w. 14 in., d. 18 in. [$1000/1500]

400. 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. [$500/750] Provenance: New Orleans Estate.

402. Continental Mahogany Bronze‑Mounted Center Table, early 19th c., marble top, blocked molded standard, shaped base, toupie feet, h. 32 1/2 in., w. 35 1/2 in., d. 23 3/4 in. [$700/1000] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

401. Italian Leather and Walnut Fauteuil à Cremaillere, 18th c., shaped reclining back, carved knees, stretcher base, cabriole legs, h. 43 in., w. 25 in., d. 21 in. [$1000/1500]

403. Norberto Proietti (Italian, 1927‑2009), “Struttura con Fontana e Frati”, 1970, oil on panel, signed and dated lower right, titled and inscribed “19” on label en verso, 22 in. x 9 1/4 in., framed. [$1500/2500]

404. Hans Grohs (German, 1892‑1981), “Schneeglöcken (Snowbells)”, 1970, watercolor on paper, signed lower center, “Hans Grohs Bequest” blind stamp lower left, titled, dated and “Frauken Grohs Collinson” stamp en verso, pencil‑titled and dated en verso of matting, 20 in. x 14 3/8 in., matted; accompanied by a certificate of authenticity from Frauken Grohs Collinson‑Grohs Collection Trust. [$400/600]

405. Hans Grohs (German, 1892‑1981), “Neigende Rote Kakteenblüten (Nodding Red Christmas Cactus Blossoms)”, 1970‑71, watercolor on paper, signed lower right, “Hans Grohs Bequest” blind stamp lower left, inscribed and “Frauken Grohs Collinson” stamp en verso, inscribed en ver of matting, 20 in. x 14 1/4 in., matted; accompanied by a certificate of authenticiy from the Frauken Grohs Collinson‑Grohs Collection Trust. [$400/600]

Provenance: Estate of the Artist, 1981; Hans Grohs and Elma Grohs‑Hansen Bequest to Frauken Grohs Collinson, 1996; Frauken Grohs Collinson‑Grohs Collection Trust, Birmingham, AL, 2018; Frauken Grohs Collinson Bequest to Rose Mary McKinney.

405A. Hans Grohs (German, 1892‑1981), “Nordlicht (Northern Light)”, 1960, watercolor and sepia on paper, signed lower right, “Hans Grohs Bequest” blind stamp lower left, “Frauken Grohs Collinson” stamp en verso, printed label on backing, 9 1/4 in. x 12 1/2 in., framed; accompanied by a certificate of authenticity from the Frauken Grohs Collinson‑Grohs Collection Trust. [$300/500] Provenance: Estate of the Artist, 1981; Hans Grohs and Elma Grohs‑Hansen Bequest to Frauken Grohs Collinson, 1996; Frauken Grohs Collinson‑Grohs Collection Trust, Birmingham, AL, 2018; Frauken Grohs Collinson Bequest to Rose Mary McKinney. Exh.: “Hans Grohs: An Extatic Vision”, Montgomery Museum of Fine Art, Montgomery, AL, 1996. 406. Gustaaf Antoon Francois Heyligers (Dutch, 1828‑1897), “The Letter”, 1874, oil on panel, signed and dated lower right, “W.E. Seebold, New Orleans” label on frame, 18 1/2 in. x 14 1/2 in., framed with artist plaque. [$3000/5000] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

407. Attributed to Frederick van Valckenborch (Dutch, 1570‑1623), “A Mountainous Landscape with Peasants before a Stream”, oil on canvas, unsigned, 47 1/4 in. x 69 3/4 in., framed. [$2000/3000] Provenance: Neal Auction Company, Feb. 23, 2002, lot 1383.

Additional information at www.nealauction.com

408. Gen Paul (French, 1895‑1975), “La Lecture”, 1927, oil on canvas, signed lower right, signed, titled and dated en verso, 29 in. x 36 1/4 in., framed. [$25000/35000] Note: Born Eugène Paul, Gen Paul was born in Montmartre and began his artistic pursuits early in life. Upon the outbreak of World War I, Paul joined the French Army and subsequently was seriously wounded. While recovering from a leg amputation, Paul returned to his childhood passion of painting. Drawing inspiration from his surroundings and the vibrant art community in Montmartre, Paul developed his own signature expressionist style alongside contemporaries such as Juan Gris, Utrillo and Jean Dufy. Fascinated with jazz, Paul traveled throughout the United States, including a stay in New Orleans, to discover the subjects that would appear in his paintings. Paul’s use of gestural brushstrokes lent a strong sense of motion to his work, resulting in art historians naming him the first action painter and a precursor to the abstract expressionists. Between 1925 and 1929, Paul produced many of his best works, and the canvas offered here from 1927 exemplifies Paul’s most desired period with a strong diagonal composition, flat areas of color juxtaposed next to expressionistic brushstrokes and a strong sense of dynamism. Ref.: „Gen Paul 1895-1975).“ Findlay Galleries. www.findlaygalleries.com. Accessed July 27, 2020 409. Hans Grohs (German, 1892‑1981), “Sunflowers”, oil on canvas, signed lower right, artist stamps en verso, on stretcher and on frame, inscribed “H.G./2153” en verso, 35 3/8 in. x 29 3/8 in., framed. [$2500/3500]

410. Hans Grohs (German, 1892‑1981), “Sand Dunes along Seashore”, oil on canvas, signed lower right, inscribed “H.G./18” en verso, 23 5/8 in. x 23 5/8 in., framed. [$1500/2500] Provenance: Estate of the Artist, 1981; Hans Grohs and Elma Grohs‑Hansen Bequest to Frauken Grohs Collinson, 1996; Frauken Grohs Collinson‑Grohs Collection Trust, Birmingham, AL, 2018; Frauken Grohs Collinson Bequest to Rose Mary McKinney.

411. Henri Baptiste Lebasque (French, 1865‑1937), “Beach Scene”, watercolor and graphite on paper, pencil‑signed lower right, label with artist and title and “Koch Galleries, Mobile” label on backing paper, 9 3/4 in. x 12 1/2 in., framed with artist and title plaque. [$1500/2500]

412. Frederic Soulacroix (French, 1858‑1933), “Cavalier”, oil on canvas, signed lower left, 25 1/2 in. x 12 1/4 in., framed. [$2000/3000]

413. Louis XV Oak Armoire, late 18th/early 19th c., restrained coved cornice, flush panel doors, astragal molded center stile, spurred apron, cabriole legs, h. 81 1/2 in., w. 51 1/2 in., d. 22 in. [$800/1200]

414. French Provincial Pine Dough Box on Stand, 19th c., bread‑board top, dovetailed corners, shaped spurred apron, cabriole legs, h. 29 1/2 in., w. 86 in., d. 28 in. [$800/1200]

415. Spanish Colonial Oak Coffer, 18th / 19th c., paneled molded lift top, carved interlocking‑scroll frieze, channeled straight legs, h. 26 in., w. 49 in., d. 21 in. [$500/700]

417. Queen Anne Burl and Figured Walnut Escritoire, associated, upper case c. 1700‑1710, with flat cornice, bolection drawer over fall front, fitted interior with cubbyholes, central cupboard and small drawers with drop pulls, original green leather writing surface; lower case also 18th c., with two short drawers over two long drawers with batwing pulls, on bracket feet, h. 68 in., w. 40 in., d. 20 1/2 in. [$1500/2500]

416. Louis Philippe Carved Mahogany Single Door Armoire, mid‑19th c., stepped cornice, cabochon foliate and scroll mirror surround, fitted interior, blind drawer in base, h. 89 in., w. 52 in., d. 24 in. [$400/600]

Note: A similar example is illustrated in English Furniture from Gothic to Sheraton by Herbert Cescinsky, p. 118 center.

418. Pair of Italian Creme Peinte and Ebonized Side Chairs, 19th c., figural painted backslats, stop-fluted stiles, woven rope seats, stop-fluted legs, finialed turned stretcher, toupie feet, h. 36 1/2 in., w. 18 1/2 in., d. 17 in. [$600/900]

420. French Moderne Secretaire à Abattant in the Style of Suzanne Guiguichon (19001985), probably late 1940s/early 1950s, fallfront desk with fitted interior, over parchment faced drawers, h. 59 in., w. 39 1/2 in., d. 18 in. [$700/1000]

419. Antique Louis XV‑Style Fruitwood Bombé Commode, shaped molded top, two short drawers over two long drawers, spurred apron, cabriole feet, scroll toes, pegged construction, h. 31 1/2 in., w. 48 in., d. 25 1/2 in. [$1500/2500]

421. Antique Figural Carved and Polychromed Wood Torchere, merman figural support, faux bois tripartite base, h. 37 in. [$250/350]

422. William IV Inlaid and Burl Walnut Davenport Desk, c. 1840, superstructure with reticulated gallery, cupboard with fitted interior, sloped tooled leather writing surface enclosing fitted well, side cabinet with four drawers, h. 43 in., w. 22 in., d. 21 1/2 in. [$700/900]

Additional information at www.nealauction.com

423. Pair of Continental Giltwood Spreadwing Eagle Consoles, each with marble top, Greek key frieze, opposing eagle on rockwork stepped molded plinth, note: additional later supports, h. 36 3/4 in., w. 50 3/4 in., d. 18 7/8 in. [$4000/6000]

425. George III Sterling Silver Helmet‑Form Cream Pitcher, Thomas Law, Sheffield, 1793, mark reg. 1773, reeded handle and rim, flat‑chased garland and vacant shield‑shaped cartouche, h. 5 in., wt. 2.90 troy ozs. [$200/400]

424. George III Sterling Silver Teapot, Henry Chawner, London, 1793, mark reg. 1786, serpentine with neoclassical borders, shield shaped cartouches and carved wood finial and handle, h. 6 1/8 in., w. 10 5/8 in., wt. 12.80 troy ozs. [$300/500]

426. Georgian Silver and Carved Baleen Toddy Ladle, 18th c., apparently unmarked, chased bowl inset with George II coin, handle retaining silver tip, l. 13 3/8 in. [$100/200]

427. George II Silver‑Mounted Shagreen Tea Caddy Case, 18th c., canted lid with bail handle, velvet‑lined fitted interior, ball and claw feet, 7 in., w. 8 1/2 in., d. 5 1/2 in. [$800/1200]

428. English Carved Walnut Figural Inkwell, early 20th c., dog bust with glass eyes, hinged lid, shell‑form pen holder, h. 4 1/2 in., w. 7 1/2 in., d. 9 in. [$300/500]

429. Pair of Regency‑Style Mahogany Cutlery Urns, telescoping lids with urn finials, retain fitted interiors, h. 23 in., w. 11 in., d. 11 in. [$700/1000]

430. George III Green Tinted Tortoiseshell Tea Caddy, early 19th c., interior with two lidded compartments, ball feet, h. 4 7/8 in., w. 6 3/4 in., d. 3 3/4 in. [$1000/1500]

431. George III Tortoiseshell Tea Caddy, 19th c., canted corners, interior with one lidded compartment, h. 4 3/4 in., w. 4 3/4 in., d. 3 3/4 in. [$1000/1500]

432. George III Tortoiseshell Tea Caddy, 19th c., domed lid with void cartouche, interior with two lidded compartments, on bun feet, h. 4 3/4 in., w. 7 in., 4 in. [$700/1000]

433. George III Mother‑of‑Pearl Tea Caddy, 19th c., pagoda‑form lid, interior with two lidded compartments, on bun feet, h. 5 1/2 in., w. 8 in., d. 4 3/4 in. [$1000/1500]

434. George III Tortoiseshell Tea Caddy, early 19th c., interior with two lidded‑compartments, on ball feet, h. 5 1/2 in., w. 7 in., d. 4 1/2 in. [$1000/1500]

435. Antique English Tortoiseshell Etui, 19th c., retains some bone serving implements, h. 4 1/8 in., w. 2 3/4 in., d. 2 in. [$700/1000]

436. Antique English Tortoiseshell and Bone Inlaid Sarcophagus‑Form Tea Caddy, mid‑19th c., serpentine front, two lidded compartments, bun feet, h. 5 1/2 in., w. 6 3/4 in., d. 4 1/4 in. [$1000/1500]

437. Regency Sterling Silver Teapot, Charles Price, London, 1817, mark reg. 1812, squat oblong form with rosette finial, gadroon borders and ball feet, h. 6 in., w. 11 in., wt. 21.95 troy ozs. [$300/500]

439. Chinese Export Famille Rose and Iron Red Porcelain Candle Holder, 19th c., modeled as a recumbent Buddhist lion, h. 5 1/2 in., w. 9 in., d. 4 1/8 in. [$500/700]

441. Wedgwood Rosso Antico Covered Teapot, c. 1805, impressed uppercase mark and ‘RK’, Egyptianesque ornamentation, crocodile finial, h. 4 5/8 in., w. 93/4 in., d. 7 in. [$500/700]

442. George III Tortoiseshell Serpentine Front Tea Caddy, 19th c., interior with two lidded compartments, h. 4 3/4 in., w. 7 3/4 in., d. 4 3/4 in. [$800/1200]

438. Chinese Export Gilt‑Decorated Black Lacquer Tea Caddy, 19th c., octagonal form painted with scenes of Chinese life, interior fitted with 2 paktong canisters with etched foliate design, dragon’s mask‑wing feet, h. 5 1/4 in., w. 8 in., d. 5 3/4 in. [$700/1000]

440. Chinese Export Porcelain “American Market” Coffee Pot, c. 1800, decorated in gilt and sepia enamels with an eagle representing an early version of the Great Seal of the United States, h. 9 5/8 in., w. 8 1/2 in., d. 5 1/4 in. [$300/500] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham

443. English Rosewood Sarcophagus‑Form Tea Caddy, 19th c., fitted with two removable tea boxes, lion’s mask and ring handles, h. 7 3/4 in., w. 13 1/2 in., d. 7 1/2 in. [$800/1200]

444. George III Mahogany Tea Caddy, c. 1790, interior with two lidded compartments, lion’s mask and ring handles, ball and claw feet, h. 6 in., w. 10 3/4 in., d. 5 1/2 in. [$400/600]

Provenance: Harbor View Antiques, Stamford, CT, July 2005.

446. Monumental Gilt Bronze‑Mounted Limoges Porcelain Covered Urn, late 19th/early 20th c., marked “Limoges VF France” for Vignaud Freres, decorated with Classical figures by lake and temple, h. 29 in. [$700/1000]

445. Portuguese Palissy-Type Majolica Charger, early 20th c., marked “F. Mendes, LDA, Portugal” and impressed “489”, modeled with a lobster amid sea life, dia. 11 1/2 in. [$250/500]

447. French Polychrome Porcelain Jardiniere, scalloped rim, scroll handles, h. 7 1/4 in., w. 21 3/4 in., d. 9 in. [$500/700]

448. Pair of Vintage Continental Porcelain Figural Centerpieces for Maxim’s de Paris, marked, modeled as maidens flanked by swans, h. 17 in., w. 21 in., d. 9 3/4 in. [$200/400] Provenance: Maxim’s de Paris, New York, NY. Additional information at www.nealauction.com

449. Wedgwood Polychrome and Gilt Porcelain Luncheon Service, late 19th/early 20th c., marked, scalloped beadwork rims with floral garlands, incl. 12 luncheon plates, dia. 9 in.; 11 salad plates, dia. 9 in.; 9 bread and butter plates, dia. 7 in.; 12 fruit/dessert bowls, dia. 5 1/2 in.; 10 cups, h. 2 1/4 in.; 2 vegetable dishes, l. 9 1/4 in.; 2 platters, l. 11 1/4 in. and 14 1/4 in.; gravy boat, l. 8 1/2 in.; creamer, h. 4 in.; and covered sugar, h. 5 in. (73 pcs.) [$300/500]

450. Eight Limoges Porcelain “Balloon” Plates, 20th c., incl. pairs of “bonnin‑Mazet”, “Fr. Robert”, “Lunardi” and “von Luttendorff”, dia. 7 1/2 in., together with pair Freret Moustiers faience dishes, h. 10 1/2 in., w. 10 1/4 in. (10 pcs.) [$300/500]

451. Paris Porcelain Coffee Service, early 19th c., incl. coffee pot (h. 8 1/8 in.), covered sugar, cream pitcher, footed bowl (h. 5 1/8 in., dia. 8 1/4 in.), and 6 cups and saucers, richly gilt with diapering on buff ground. (16 pcs.) [$700/1000]

Provenance: Williamson‑LeBlanc Collection, Cornstalk Fence House, New Orleans.

452. Paris Porcelain “Anneau d’Or” Dessert Stand, 19th c., four tiers, paw feet, h. 17 in. [$400/600]

453. Pair of Danish Neoclassical Porcelain Tazzas, Royal Copenhagen, 19th c., matte and burnished gilt with palmette rim, neoclassical frieze with Pompeiian red on pumpkin ground, dolphin feet, h. 5 3/4 in., dia. 7 5/8 in. [$800/1200]

454. Meissen Porcelain Serving Dish, 18th c., cross‑swords mark, molded Dulong border with blue flowers, well painted with exotic birds, h. 2 1/4 in., w. 11 3/4 in., d. 8 3/4 in. [$500/700]

455. Royal Worcester Porcelain “Arab Stallion”, 1963, marked, modeled by Doris Lindner, wood base, h. 10 in., w. 12 in. [$400/600] 456. American Silvered Bronze Mirrored Plateau, 20th c., pierced foliate and scroll gallery, h. 2 1/2 in., w. 46 1/2 in., d. 18 1/2 in. [$600/900]

457. American Art Pottery Lamp, c. 1910, plum decoration, wicker shade, brass base, h. 25 in., dia. 18 in. [$500/700]

458. Pair of Italian Carved Alabaster Ewers, c. 1900, foliate handles, spiral carved body, socle base, block plinth, h. 19 in., w. 7 1/2 in., d. 6 in. [$200/300]

459. Bronze Figural Group of “Setter with Game Bird”, after Ferdinand Pautrot, signature inscribed on self‑base, h. 9 1/4 in., w. 12 in., w. 5 1/2 in. [$300/500]

460. Bronze Figural Group of a Sailor Courting a Maiden, after Léon Pilet, signature inscribed on self‑base, h. 27 1/4 in., w. 12 in., d. 11 in. [$500/700]

461. Federal Giltwood Bullseye Girandole Mirror, early 19th c., parcel ebonized winged dragon crest, spherule mounted coved surround, ebonized rabbet, original convex mirror plate, scrolled candle arms, h. 31 in., w. 19 in. [$1000/1500]

464. Pair of Antique Georgian Mahogany Tea Tables, each with foldover top, rear swing leg, single drawer, cabriole legs, pad feet, h. 28 1/2 in., w. 29 in., d. (open) 28 1/4 in., d. (closed) 14 in. [$1000/1500]

463. Irish窶全tyle Burled and Inlaid, Carved Mahogany Console, molded top, wave frieze, pierced foliate scroll aprons, acanthine knees, cabriole legs, furry paw feet, h. 37 3/4 in., w. 71 in., d. 27 in. [$2000/3000]

465. Regency窶全tyle Gilt Curule Bench, tasseled dragonfly silk cushion, scale and shell base, h. 25 in., w. 40 in., d. 21 in. [$700/1000]

468. American Gilt Stenciled and Ebonized Lyre-Form Banjo Clock, early 19th c., lower tablet depicting three ladies playing a parlour game, h. 39 in., w. 10 in., d. 4 in. [$1000/1500]

470. Antique Adam窶全tyle Carved Mahogany Settee, double chair back, serpentine arms, reeded legs, spade feet, h. 37 1/4 in., w. 48 1/4 in., d. 20 in. [$300/500]

462. Regency Carved Mahogany Cellarette, early 19th c., sarcophagus-form, pinwheel foliate finial, hinged lid, fitted interior, carved medallion, bracketed paw feet, stepped base, h. 29 in., w. 28 in., d. 22 in. [$2500/3500]

Provenance: Whitehall Antiques, Chapel Hill.

466. Two Antique Georgian Carved Mahogany Kettle Stands, dished tops, baluster turned standards, cabriole legs, pad feet, taller h. 21 3/4 in., w. 20 1/2 in., d. 19 in. [$300/500]

467. Simon Willard & Son Banjo Clock, c. 1825, signed dial, acorn finial, later eglomise panels, bordered by rope carving, h. 33 in., w. 10 in., d. 4 in. [$2000/3000]

469. Pair of Leather Chesterfield Chairs, button tufted back and seat, nailhead trim, bun feet, h. 30 in., w. 43 in., d. 36 in. [$1000/2000]

471. Three Antique Adam窶全tyle Carved Mahogany Side Chairs, each square back with foliate tapered splats, needlepoint upholstery, nailhead trim, taepered legs, spade feet, h. 34 1/2 in., w. 20 1/2 in., d. 21 1/2 in. [$300/500] Additional information at www.nealauction.com

473. Antique French Inlaid and Carved Chevron Paneled Armoire, 19th c., coved cornice with ouset corners, scroll carved frieze, fiche hinges, spurred paneled doors, reeded center stile, shaped apron and feet, h. 88 in., w. 58 1/4 in., d. 27 1/2 in. [$700/1000]

474. Antique English Oak and Mahogany Tall Case Clock, brass dial, painted moon phase, striking gong movement, h. 92 in., w. 25 in., d. 10 in. [$500/1000]

472. Pair of Antique Georgian-Style Painted Bookcases, 2nd quarter 19th c., blocked dentiliated cornice, fluted pilasters flanking shelves, over doors with egg and dart molding, plinth base, h. 89 in., w. 38 1/2 in., d. 14 in. [$1500/2500]

475. American Classical Mahogany Sideboard, 19th c., New York, backsplash, with urn finials, bolection frieze drawers, colonnettes flanking three doors, blocked base, turned feet, h. 58 in., w. 66 in., d. 22 1/2 in. [$400/600] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

476. American Cherrywood Pembroke Table, early 19th c., shaped top, beaded tapered legs, pegged construction, h. 29 1/4 in., w. (open) 36 3/4 in., w. (closed) 15 3/4 in., d. 32 1/4 in. [$400/600] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

477. Antique Chinese Chippendale窶全tyle Settee, 20th c., camel back, rolled arms, foliate and floral carved seat rail and legs, Scalamandre silk upholstery, h. 39 1/2 in., w. 72 1/2 in., d. 31 1/2 in. [$1000/1500]

479. Portuguese Rococo窶全tyle Mahogany Low Table, molded shaped top, scrolled apron, foliate knees, cabriole legs, ball and claw feet, h. 18 1/2 in., w. 39 in., d. 19 1/2 in. [$500/800]

480. Regency窶全tyle Mahogany Etagere, labeled Maitland Smith, four tooled leather shelves, base drawer, turned legs, h. 54 1/2 in., w. 20 in., d. 14 3/4 in. [$300/500]

478. Italian Neoclassical Gilt窶船ecorated Ecoignure, 19th c., inset marble top, single door, shelf interior, fluted tapered columns, block feet with rosettes, h. 40 1/2 in., w. 25 1/2 in., d. 13 1/2 in. [$600/900]

481. Antique Dutch Polychromed Blanket Chest, two board top, decorated with floral plaques and floral sprays, bale handles, molded base, tapered feet, h. 18 1/4 in., w. 45 1/2 in., d. 22 1/2 in. [$400/600]

483. Antique Continental Figured Mahogany Chest of Drawers, 19th c., inset top, flanged surround, cyma molded drawers, toupie feet, h. 43 in., w. 39 1/4 in., d. 20 1/2 in. [$500/700]

482. French Iron and Brass Pastry Table, thick marble top, scrolled apron, brass bosses, spherule‑mounted base, h. 30 1/2 in., w. 28 in., d. 20 in. [$700/900]

485. Antique French Tôle Peinte Tray, 19th c., red ground with Caribbean island scenes in reserve, later faux bamboo stand, h. 18 1/4 in., dia. 35 1/2 in. [$500/800]

484. Spanish Colonial Seaman’s Chest, elaborate brass nailhead decoration, bail handles, h. 13 in., w. 30 3/4 in., d. 13 1/2 in. [$500/800]

487. American Mahogany Lap Desk, 19th c., tooled leather writing surface, drawer with “secret” latch, h. 6 1/4 in., w. 19 in., d. 10 in., later stand, overall h. 24 in. [$300/500]

486. Paris Polychrome and Gilt Porcelain Wash Basin and Ewer, 19th c., paneled octagonal form, black ground, floral motif, basin l. 15 in., w. 9 5/8 in.; ewer, h. 9 3/4 in. (2 pcs.) [$250/350]

488. Pair of Napoleon III Polished Bronze Figural Candlestands, late 19th c., cherubs modeled in mirror image, h. 9 in., w. 4 1/8 in., d. 4 1/8 in. [$400/600]

Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

489. Pair of Gothic‑Style Wrought Iron Seven‑Light Floor Candelabra, cabriole legs, h. 70 in., dia. 18 in. [$400/600]

490. Pair of French Bronze Ewers, c. 1900, cast with Bacchic decoration, centered with reliefs of cherubs riding panthers, h. 16 1/2 in., dia. 5 in. [$300/500]

491. Pair of Capodimonte Porcelain Plaques, c. 1900, classical scenes, the octagonal ebonized frames with engraved brass, and hardstone inserts, h. 12 in., w. 9 in., d. 1 in. [$400/600]

492. Six Neoclassical‑Style Crème Peinte and Gilt Dining Chairs, incl. 2 armchairs and 4 side chairs, each with scenic Egyptian cartouche backslat, saber legs, arm h. 34 1/2 in., w. 22 in., d. 22 in., side h. 34 1/2 in., w. 18 in., d. 20 1/2 in. [$500/700] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

Additional information at www.nealauction.com

493. Crème Peinte and Giltwood Baldachin, h. 12 in., w. 18 1/4 in., d. 9 1/2 in. [$250/350] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

494. Diminutive English Oak Slant Front Desk, 19th c., fitted desk interior, two short drawers over two long drawers, bracket feet, h. 36 in., w. 30 in., d. 18 1/2 in. [$500/750]

496. Continental Bronze‑Mounted Onyx Pedestal, late 19th/early 20th c., square top, columnar support, plinth base, h. 42 in., w. 14 in., d. 14 in. [$300/500]

495. Antique Biedermeier Inlaid Mahogany and Parcel Ebonized Chest of Drawers, inset molded top, shaped scroll decorated frieze drawer over three long drawers over blind drawer, roundel feet, h. 42 1/4 in., w. 48 in., d. 24 1/4 in. [$1500/2500]

497. American Rococo Carved Rosewood Etagere, mid‑19th c., New York, pierced floral and foliate scroll mirror surround, shaped marble top, base with mirror back display shelves, floral scroll supports, h. 84 in., w. 54 in., d. 20 in. [$2500/3500]

498. American Rococo Carved Rosewood Duchesse, mid‑19th c., New York, shell and foliate mirror surround, scrolled acanthus supports, serpentine white marble top, foliate and floral frieze drawer, C scroll cabriole legs, shaped stretchers with flower basket finial, casters, h. 87 in., w. 52 in., d. 21 1/4 in. [$2500/3500]

499. Federal Cherrywood Butler’s Chest, early 19th c., drop front sectretary drawer with fitted interior (early ownership documented on silver plaque center door), three graduated drawers, shaped apron, turned legs, brass caps, h. 46 3/4 in., w. 40 1/2 in., d. 21 1/4 in. [$1000/1500]

500. American Classical Carved Mahogany Games Table, c. 1830, attr. to Anthony Quervelle, Philadelphia, crossbanded swivel foldover top, torus‑molded frieze with rosette corners, acanthus‑carved baluster standard with gadrooned collar, incurvate plinth, acanthus‑bracketed paw feet, casters, h. 30 1/2 in., w. 37 in., d. 18 1/4 in. [$800/1200] Provenance: Historic “Sally Mill”, Middleburg, VA.

501. American Rococo Carved and Laminated Rosewood Meridienne, mid‑19th c., attr. to John Henry Belter, New York, plain scroll pattern crest rail, serpentine seat rail, cabriole legs, casters, h. 30 3/4 in., w. 41 1/2 in., d. 27 in. [$1000/1500]

503. Louis Philippe Carved Rosewood Parlor Suite, mid‑19th c., incl. canape, pair of armchairs and 3 side chairs, floral crests, oval padded backs, serpentine arms, conforming serpentine seat rails with floral cartouches, cabriole legs, casters, canapé h. 40 in., w. 65 in., d. 30 in., d. 20 in.; armchair h. 40 1/2 in., w. 24 in., d. 21 1/2 in., side h. 38 in., w. 19 1/2 in., d. 18 1/2 in. (6 pcs.) [$1000/1500]

502. Federal Carved Mahogany Secretary Desk, 19th c., superstructure with lower case with two glazed doors with false drawers, fitted interior, foldover baizelined writing surface, outset drawer over two drawers flanked by spiral colonnettes, ring-turned feet, h. 59 in., w. 40 1/2 in., d. 20 1/2 in. [$1000/1500]

504. American Rococo Carved Rosewood Dressing Chest, mid‑19th c., New York, cartouche shape mirror with cabochon crest, foliate scroll supports, serpentine marble top, conforming case with 4 long drawers and blind drawer at base, cylindrical feet, h. 82 1/2 in., w. 46 in., d. 23 in. [$1200/1800]

505. American Late Classical Mahogany Girandole Dressing Mirror, 19th c., arched mirror, tapered supports, shaped base with lift top compartment, compressed bun feet, h. 31 3/4 in., w. 26 in., d. 13 in. [$300/500]

506. Pair of American Rococo Carved Rosewood and Laminated Chairs, mid‑19th c., attr. to John Henry Belter, New York, fruit and foliate crest with grape clusters, gadrooned wings, round seats, shaped apron, cabriole legs, scroll toes, casters, cut velvet upholstery, h. 36 in., w. 20 in., d. 22 in. [$1000/1500]

507. American Rococo Carved and Laminated Rosewood Armchair, mid‑19th c., attr. to John Henry Belter, New York, scroll molded crest, inverted pear‑shaped back, outswept arms, serpentine seat rail, cabriole legs, scroll toes, casters, h. 41 3/4 in., w. 24 1/2 in., d. 31 in. [$800/1200]

508. American Carved Rosewood Slipper Chair, mid‑19th c., New York, pierced foliate and scroll shield back, shaped legs, casters, h. 42 in., w. 19 in., d. 21 in. [$500/750]

510. German Art Deco Parcel Ebonized Oak Dining Table, c. 1930, circular top, deep frieze, bulbous hexagonal standard, conforming plinth, h. 30 in., dia. 47 in. [$800/1200] Provenance: Hans Friedrich Grohs (1892‑1981). 509. Pair of American Rococo Carved Rosewood and Laminated Side Chairs, 19th c., attr. to John Henry Belter, New York, pattern commonly referred to as “Shield Back”, h. 34 1/2 in., w. 18 3/4 in., d. 24 in. [$1000/1500] Additional information at www.nealauction.com

512. Antique Biedermeier Maple Chest of Drawers, late 19th c., inset molded top, with canted corners, conforming case with four graduated drawers, molded base, scrolled feet, h. 38 3/4 in., w. 35 in., d. 18 1/2 in. [$700/1000]

511. Eight German Art Deco Oak Dining Chairs, c. 1930, incl. one arm, and 7 sides, geometric backs, square tapered legs, stretcher base, h. 38 1/2 in., w. 26 in., d. 23 3/4 in. [$800/1200] Provenance: Hans Friedrich Grohs (1892‑1981).

513. Pair of American Gothic Cast Iron Garden Benches, mid‑19th c., quatrefoil backs, hexagonal pierced seats, H stretcher bracketed base, h. 33 1/2 in., w. 55 in., d. 19 in. [$2500/3500]

514. Napoleon III Giltwood Overmantel Mirror, probably 19th c., flaming urn finials, arched crest with blocked corners, fluted colonnettes, beveled mirror plate, h. 62 1/2 in., w. 46 in. [$800/1200]

516. Pair of American Rococo Carved and Laminated Rosewood Slipper Chairs, mid‑19th c., attr. to J. & J.W. Meeks, New York, “Hawkins” pattern, shell crest, open scrollwork back, shaped seat, tapered legs, damask fabric, h. 37 1/2 in., w. 17 in., d. 18 in. [$800/1200] 515. American Rococo Carved Rosewood Chaise, probably New York, floral and foliate crest, pierced surround, outswept padded scrolled arms, fruit and scroll front seat rail, cabriole legs, scrolled toes, casters; TOGETHER WITH an associated side chair, chaise h. 45 1/4 in., w. 29 in., d. 58 in., chair h. 41 1/4 in., w. 18 3/4 in., d. 25 in. (2 pcs.) [$1200/1800]

517. Bronze Figural Group of Napoleon on Horseback, after Louis‑Marie Morise, signature on self‑base, h. 23 1/2 in., w. 24 in., d. 8 1/4 in., marble base, overall h. 24 3/4 in. [$1000/1500]

518. Gilt Bronze Bust of Bearded Bacchus, h. 8 1/2 in., w. 4 in., d. 4 1/4 in. [$1000/1500]

519. Antique Regency‑Style Overmantel Mirror, outset corners, anthemion cavetto, old mirror plate, h. 63 in., w. 41 in. [$600/900] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC. 520. Two American Walnut Adjustable Piano Stools, velvet upholstery, curule bases, taller h. 20 in., w. 21 in., d. 25 in. [$700/900]

523. American Late Classical Carved Rosewood Sunderland Table, mid‑19th c., ripple molded drop‑leaf top, trestle supports with acanthus carved stretcher, ripple molded feet, h. 30 1/2 in., w. (open) 35 1/4 in., w. (closed) 15 1/2 in., d. 37 in. [$700/1000] 521. American Carved and Burl Walnut Curule Stool, late 19th c., velvet upholstery, reeded and incised bosses, h. 22 in., w. 23 in., d. 15 in. [$300/500]

522. American Federal Carved Mahogany Games Table, early 19th c., possibly Philadelphia, shaped foldover top, conforming frieze, ring turned tapered legs, toupie feet, h. 30 in., w. 36 in., d. (closed) 17 3/4 in., d. (open) 36 in. [$600/900] 524. American Rococo Carved and Laminated Rosewood Parlor Suite, c. 1850‑60, attr. to John Henry Belter, New York, in the pattern referred to as “Rosalie with Grapes”, incl. settee, pair of side chairs and one armchair, arched floral and grape carved crest, serpentine seat rails, shaped and carved arms, cabriole legs, casters, settee h. 38 in., w. 62 in., d. 31 in. (4 pcs.) [$3000/5000] Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

525. Eleven American Rococo Carved and Laminated Rosewood Dining Chairs, mid‑19th c., attr. to John Henry Belter, New York, incl. 2 arm and 9 side chairs, padded crest and arms, reticulated scroll backs, cabriole legs, casters, arm h. 35 1/2 in., w. 23 1/2 in., d. 23 in., side h. 34 1/2 in., w. 20 in., d. 21 in. [$5000/7000] Note: The dining chairs shown here are closely related to a rocking chair made in the Belter shop and descended in the Springmeier family. Ref. Dubrow, Eileen and Richard. American Furniture of the Nineteenth Century, 1840-1880. Pennsylvania, Schiffer Publishing, 1983, p. 106.

528. American Walnut Pembroke Table, late 18th c., Philadelphia, shaped drop-leaf top, cockbeaded drawer, molded tapered legs, pierced stretcher, h. 27 3/4 in., w. (open) 36 1/4 in., w. (closed) 20 in., d. 32 1/2 in. [$400/600] Provenance: Estate of Ima Hogg, Houston, TX; Bayou Bend Collection, Museum of Fine Art, Houston, Apr. 11, 1992.

526. American Rococo Carved Rosewood Side Chair, attrib. to John Henry Belter, New York, in the pattern referred to as “Rosalie with Grapes”, yellow silk damask upholstery, h. 37 1/2 in., w. 21 in., d. 27 1/2 in. [$700/900]

527. American Rococo Laminated and Carved Rosewood Slipper Chair, mid‑19th c., attr. to John Henry Belter, New York, reticulated tall back, serpentine seat, cabriole legs, casters, h. 42 3/4 in., w. 16 1/2 in., d. 19 1/2 in. [$800/1200]

530. Antique French Bronze‑Mounted Marble Pedestal, rotating top, columnar standard, stepped plinth, h. 40 in., w. 10 in., d. 10 in. [$400/600] 529. Continental Polychrome Painted Chest, 19th c., molded and beaded top, blind frieze drawer over three long drawers, conforming base, shaped bracket feet, h. 41 in., w. 49 in., d. 22 in. [$700/1000]

531. Louis XVI‑Style Bronze‑Mounted Side Table, inset marble top, fluted tapering supports, galleried stretcher shelf, turned tapered legs, brass caps, spherule, h. 30 in., w. 25 1/2 in., d. 17 1/2 in. [$600/900] Additional information at www.nealauction.com

532. John Joseph Enneking (American, 1841‑1916), “Seated Man with Bagpipes”, 1875, oil on canvas, signed and dated lower right, 26 in. x 16 1/4 in., framed. [$800/1200]

533. Benson Bond Moore (American, 1882‑1974), “American Bittern”, oil on board, signed lower right, 18 in. x 14 in., framed. [$1500/2500]

534. Attributed to Peter Moran (American, 1841‑1914), “Cows at the Watering Hole”, oil on panel, indistinctly signed lower right, 14 1/8 in. x 17 1/4 in., framed. [$1000/1500] Provenance: Didier Inc., New Orleans.

Provenance: Neal Auction Company, Oct. 12, 2008, lot 1058; Private Collection, TX.

536. Alice S. Richards (British, fl. 1892‑1893), “Mischiefmakers”, 1892, oil on canvas, signed and dated upper right, inscribed with artist, title and London canvas stamp en verso, 14 1/4 in. x 12 1/8 in., framed with artist plaque. [$800/1200]

535. Joshua Biehn (Canadian, fl. 1891‑1899), “Portrait of Alfred Butler of Toronto”, 1899, oil on panel, signed and dated upper right, sitter identified in newspaper article attached en verso, 4 1/2 in. x 4 1/2 in., framed. [$800/1200] Provenance: Neal Auction Company, Jul. 13, 2008, lot 1027; Didier Inc., New Orleans.

538. Continental Bronze‑Mounted Onyx Urn, 19th c., scrolled arms with rosette terminals, bracketed paw feet, lined interior, h. 21 1/4 in., w. 21 in., d. 14 in. [$300/400]

537. Antique Ebonized and Mother‑of‑Pearl Inlaid Sarcophagus-Form Coffer, 19th c., fitted interior, lower drawer fitted with writing surface, h. 13 1/2 in., w. 13 1/2 in., d. 9 3/4 in. [$500/700]

539. Pair of Ellis‑Barker Silverplate Three‑Light Candelabra in the Regency Taste, shell mark, h. 15 in.; together with an Ellis‑Barker silverplate footed bowl with lion’s mask and ring drop handles, menorah mark, h. 6 3/4 in., w. 10 1/2 in.; and an Elkington & Co. Ltd. sterling silver single candlestick, London, 1896, weighted base, h. 8 5/8 in. [$400/600]

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

540. Bronze Figure of Napoleon, h. 9 1/4 in., w. 3 1/4 in., d. 2 1/2 in., composite base, overall h. 9 3/4 in. [$300/500]

541. Jean Baptiste Clesinger (French, 1814‑1883), “Bust of a Maiden”, carved marble, signed on proper right shoulder, “Bronze Artistique de Paris”, foundry plug on truncation, h. 11 in., w. 7 1/4 in., d. 6 in., later marble base, overall h. 13 1/2 in. [$500/700]

542. Neoclassical Marquetry and Walnut Dressing Mirror, early 19th c., pedimented cornice, molded pilasters, single drawer, compressed bun feet, h. 27 1/2 in., w. 21 in., d. 12 in. [$300/500]

545. Regence‑Style Carved Walnut Fauteuil, foliate carved arms, needlepoint upholstery with nailhead trim, foliate seat rail, cabriole legs, shaped stretchers, scrolled toes, h. 44 1/2 in., w. 28 in., d. 28 in. [$700/900]

549. Chinese Hardwood Cabinet on Stand, early 20th c., case with two doors carved with dragons, sides with birds‑on‑branches, brass hinges, handles and lock, shelf interior, stand with shaped apron carved with branches and scrollwork, hoof feet, h. 48 1/8 in., w. 48 1/2 in., d. 20 3/8 in. [$1000/1500]

553. Persian Sultanbad Carpet, cream ground, floral designs in blue, cranberry, and white, 9 ft. 8 in. x 13 ft. [$3000/4000]

544. Antique Biedermeier‑Style Maple and Parcel Ebonized Blanket Chest, inset cushioned top, molded base, toupie feet, h. 19 3/8 in., w. 35 1/2 in., d. 15 3/8 in. [$300/500]

543. Antique Biedermeier Satinwood Bedside Commode, inset molded top, single drawer over doors, block legs, h. 29 1/4 in., w. 18 in., d. 15 1/4 in. [$250/350]

546. Regence‑Style Carved Walnut Bergère à Oreilles, 19th c., needlepoint upholstery with nailhead trim, foliate and shell apron, shaped stretcher, cabriole legs, scroll toes, h. 44 in., w. 30 1/2 in., d. 32 in. [$500/700]

550. [Asian Art Reference Books] Thirty‑Three Books Pertaining to Chinese Paintings, Calligraphy, Pottery, Furniture and Other Decoartive Arts and Asian Art in General, incl. Max Loehr, The Great Painters of China, 1980; Shane McCausland, ed., Gu Kaizhi and the Admonitions Scroll, 2003; Willow Wei Lan Hai Chang, Passion for the Mountains: Seventeenth Century Landscape Painting from the Nanjing Museum, 2003; Liao Pin, ed., Yongle Palace Murals, 1997; and others. [$400/600] Provenance: Most from the Estate of William Lipton, New York.

547. Antique Dutch Brass Eight‑Light Chandelier, 19th c., vasiform standard, scroll arms, electrified, h. 23 in., dia. 27 in. [$800/1200] Provenance: Arthur Ackerman, 1973; Estate of McLain Forman, Esq., New Orleans; thence by descent.

548. Large Chinese Brass‑Mounted, Incised and Polychrome Painted Red Lacquer Chest on Stand, hinged cover and body decorated with dragons contesting the flaming pearl, stand with floral scrolls, h. 40 3/4 in., w. 27 in., d. 27 in. [$1000/1500]

551. Oushak Rug, khaki ground, floral design in rose, blue, green and gold, 8 ft. x 10 ft.. [$800/1200]

552. Oushak Carpet, pale yellow ground, vining designs in red, yellow and blue, 8 ft. 1 in. x 10 ft. 1 in. [$800/1200]

554. Fine Antique Persian Carpet, repeating medallion design, 11 ft. 2 in. x 16 ft. 2 in. [$2000/3000] Provenance: Jacqueline Vance, New Orleans, LA; Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

555. Persian Malayer Carpet, cream and rose ground, overall stylized floral design, 6 ft. x 16 ft. 10 in. [$1400/2400]

556. Oushak Carpet, khaki ground, repeating designs in blue, 10 ft. x 14 ft. 3 in. [$4000/6000]

Additional information at www.nealauction.com

558. Carved Spanish Colonial Infant on Giltwood Stand, figure presented on modern wood stand, h. 16 in., w. 14 in., d. 5 in., in turn, presented on triangular giltwood base, overall h. 29 in. [$500/700]

559. Italian Gilt and Polychromed Wood Reliquary, 18th/19th c., surmounted by the figure of a saint, h. 13 3/4 in., w. 6 3/4 in., d. 5 in. [$400/600] 560. Antique Giltwood Figure of St. Peter holding the Keys of Heaven, tall plinth base, h. 18 1/4 in., w. 6 1/4 in., d. 4 3/4 in. [$400/600]

557. Perisan Qashqai Carpet, red ground, repeating chevron design, 5 ft. 4 in. x 8 ft. 4 in. [$800/1200] 563. Chinese Mother‑of‑Pearl Inlaid Huanghuali and Metal Table, Qing Dynasty (1644‑1911), rectangular top inlaid with hunting scenes in an exotic landscape, elaborate metal frame with dragons and scrollwork, rectangular footrest inlaid with birds on branches, h. 30 1/2 in., w. 32 in., d. 15 1/4 in. [$1500/2500]

561. Italian Carved and Polychromed Wood Reliquary, 18th/19th c., figure of a saint, scrolled base, fronted by cartouche, h. 15 1/4 in., w. 9 1/4 in., d. 6 in. [$400/600]

562. Pair of Continental Silvered Metal Figural Candelabra, winged cherub standard, h. 31 in., w. 9 1/2 in., d. 13 in. [$250/350]

564. Pair of Louis XV‑Style Gilt Metal, Rock and Cut Crystal Twelve‑Light Chandeliers, beaded, scrolled arms, hung with pendants, electrified, h. 46 in., dia. 32 in. [$7000/10000]

566. Kees Van Urk (Dutch, 1895‑1976), “Mending the Fishing Nets”, oil on canvas, signed lower right, remnants of handwritten label en verso, 21 1/4 in. x 37 1/4 in., framed. [$800/1200]

567. Continental School, 19th c., “Fetching his Hat from the Mill Stream”, oil on canvas, monogrammed “WFJ” lower left, 30 1/2 in. x 25 1/4 in., framed. [$800/1200]

565. Continental School, 19th c., “Fishing in the Bay of Naples”, gouache on paper mounted to board, signed “Carelli” lower right, sight 19 3/8 in. x 15 1/4 in. (oval), framed. [$400/600]

568. Aubusson Carpet, cartouche medallion, overall floral design, 11 ft. 8 in. x 18 ft. [$3000/4000]

569. Sultanbad Carpet, khaki ground, repeating stylized floral design, red ground, 7 ft. 5 in. x 10 ft. 5 in. [$2400/3400]

570. Pictorial Tabriz Carpet, central ivory ground, overall foliate design with deer and birds, 6 ft. 10 in. x 9 ft. 5 in. [$700/1000]

571. Antique Kerman Carpet, dark blue central ground, central medallion and spandrels, vining floral design, 7 ft. 5 in. x 11 ft. 4 in. [$700/1000]

574. Yang Nianbo (Chinese, c. 1830‑1890), “Grateful for the Impending Spring Rain”, ink and color on paper, signed, sealed and inscribed upper right, 53 1/2 in. x 15 1/8 in., silk mounted, framed and glazed. [$1200/1800] Provenance: Arkansas Estate, 1999; thence by descent.

572. Oushak Carpet, pale blue and khaki ground, 9 ft. 9 in. x 11 ft. 9 in. [$3000/4000]

573. Persian Poem Rug, red ground, fan and foliate design, manuscript border cartouches, 5 ft. x 7 ft. 9 in. [$500/700]

576. Chinese Gilt Bronze Mounted Hardwood Chest, probably zitan, hinged cover exuberantly carved with a dragon holding a flaming pearl amid cloud scrolls, sides carved with phoenix birds, bronze mounts incised with floral scrolls, h. 8 1/8 in., w. (excl. handles) 17 in., d. 11 in. [$1500/2500]

575. Yang Nianbo (Chinese, c. 1830‑1900), “Celebrating the Spring Festival”, ink and color on paper, signed, sealed and inscribed upper left, 53 3/4 in. x 15 1/4 in., silk mounted, framed and glazed. [$800/1200] Provenance: Arkansas Estate, 1999; thence by descent.

577. Pair of Chinese Cloisonné Enamel Rouleau Vases, Qing Dynasty (1644‑1911), decorated in mirror and near mirror image with bird and flower panels on pale blue, deep red or green grounds, the white ground panels with complementing decoration of cockerels and phoenix or songbirds and butterflies, interior mouth of latter with barely perceptible numbers “??92520”, h. 18 1/8 in. [$2000/3000] Provenance: On loan, Walters Art Museum, Baltimore, prior to 2005; Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund. Exh.: Mobile Museum of Art, 2005‑2016

578. Pair of Chinese Cloisonné Enamel Bottle Vases, mid‑20th c., petal lobed lower bodies decorated with scenes representative of the Great Cultural Revolution, h. 10 in. [$1500/2500]

579. Chinese Cloisonne Enamel Jardiniere Set with Enameled Lotus Flowers and Leaves, early 20th c., leaves, buds and blossoms brightly enameled in shades of greens and pinks, h. 24 1/2 in.. [$700/900]

580. Pair of Chinese Ming‑Style Cloisonné Enamel “Eight Horses” Alms Bowls, Qing Dynasty (1644‑1911), exteriors decorated with 4 horses galloping over waves on a fish scale ground, h. 3 in., dia. 5 1/2 in. [$600/800] Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund. Additional information at www.nealauction.com

581. Chinese Pale Celadon Jade Inset Cloisonné Enamel Ruyi Scepter, Qing Dynasty (1644‑1911), curved body decorated with archaistic hooks and volutes and stylized flower heads, gilt edges with blue enameled key‑frets, head, shaft and foot inset with reticulated jade plaques carved respectively with peony and leaf sprays beneath spread‑wing bat, shou character flanked by bats, and pair of confronting bats, l. 17 1/8 in. [$1000/1500]

582. Chinese Bronze Gui‑Form “Chilong” Censer, probably Ming Dynasty (1368‑1644), qilong handles, bombe body and waisted tall foot incised with the eight Buddhist symbols amid foliage, h. 5 5/8 in., w. 9 1/2 in., d. 6 in. [$1000/2000] Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund. Exh.: Chinese Bronzes: Gifts from the David and Inger Duberman Collection, Mobile Museum of Art, Feb. 12, 2016 ‑ Jan. 1, 2017.

583. Pair of Chinese Bronze Figural Incense Stick Holders, Qing Dynasty (1644‑1911), each modeled in mirror image as a young boy in running stance holding a lingzhi spray, splayed square plinths, h. 8 1/2 in., w. 3 1/2 in., d. 3 1/4 in. [$1000/1500] Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund.

584. Pair of Chinese Bronze Figural Groups, cast in mirror image as cranes standing on the backs of dragon tortoises, necks with apocryphal Qianlong marks, h. 49 1/4 in. and 50 in. [$1200/1800]

Exh.: Chinese Bronzes: Gifts from the David and Inger Duberman Collection, Mobile Museum of Art, Feb. 12, 2016 ‑ Jan. 1, 2017.

Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund. Exh.: Mobile Museum of Art, 2005‑2013.

585. Chinese Bronze Figure of the Drunken Daoist Immortal Han Zhongli, probably Ming Dynasty (1368‑1644), possibly an incense stick holder, modeled reclining beside a wine vessel holding a gourd cup, having two topknots, a long beard and open robes exposing a bare chest and belly, h. 3 1/4 in., w. 4 5/8 in., wood stand, overall h. 4 1/2 in. [$1000/1500] Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund. Exh.: Chinese Bronzes: Gifts from the David and Inger Duberman Collection, Mobile Museum of Art, Feb. 12, 2016 ‑ Jan.1, 2017.

586. Chinese Bronze Mandarin Duck‑Form Censer, probably early Qing Dynasty (1644‑1911), standing on one leg atop an overturned lotus leaf holding a lotus branch in its beak, removable cover formed as a lotus flower on lotus pad with seed holes cut for vents, h. 7 in., w. 6 1/2 in., d. 3 3/4 in. [$1000/1500] Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund. Exh.: Chinese Bronzes: Gifts from the David and Inger Duberman Collection, Mobile Museum of Art, Feb. 12, 2016 ‑ Jan. 1, 2017.

587. Chinese Bronze “Chilong” Censer, Qing Dynasty (1644‑1911), oval basin‑form body with qilong handles, four ruyi‑shaped cabriole feet, base with Xuande mark, h. 2 3/4 in., w. 6 3/4 in., d. 3 3/4 in., later pierced wood cover, overall h. 3 3/4 in. [$1000/1500]

588. Chinese Bronze Gu or Beaker Vase, probably Qing Dynasty (1644‑1911), central bulb with two qilong dragons in relief, upper and lower sections cast with foliate registers spreading outwards in lobed petal form, h. 11 1/8 in. [$600/800]

Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund.

Exh.: Chinese Bronzes: Gifts from the David and Inger Duberman Collection, Mobile Museum of Art, Feb. 12, 2016 ‑ Jan. 1, 2017.

590. Chinese Bronze Goose‑Form Censer, Qing Dynasty (1644‑1911), modeled standing on its webbed feet with its neck raised and bill open, removable feather back cut with two vent holes, h. 11 3/4 in., w. 9 1/2 in., d. 4 3/4 in., mounted to a later painted wood stand, overall h. 12 1/4 in. [$1000/1500] Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund. Exh.: Chinese Bronzes: Gifts from the David and Inger Duberman Collection, Mobile Museum of Art, Feb. 12, 2016 ‑ Jan. 1, 2017. 589. Three Chinese Cloisonné Enamel Covered Boxes, Qing Dynasty (1644‑1911), largest cover with roundel enclosing 3 birds amid chrysanthemums, h. 3 1/4 in., dia. 5 7/8 in.; medium with 2 birds amid flowering peony, h. 2 7/8 in., dia. 5 1/8 in.; smallest with 3 moths and flower spray on black ground, h. 2 1/4 in., dia. 5 in. [$800/1200] Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund. Exh.: Mobile Museum of Art, 2005‑2013.

592. Chinese Bronze Figure of a Standing Luohan, Qing Dynasty (1644‑1911), fasting immortal cast with body angled to the left with one hand raised in a teaching gesture, the other hidden beneath long robes, h. 9 1/8 in., possibly later plinth, overall h. 10 3/8 in., w. 3 1/8 in., d. 3 1/8 in. [$1000/1500] Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund.

591. Chinese Bronze Covered Box, Qing Dynasty (1644‑1911) or earlier, possibly a censer or incense holder, rectangular cover surmounted by two recumbent Buddhist lions playing with brocade balls, body with upright flange handles, cabriole legs, and incised cloud motifs, base with Xuande mark, h. 5 1/2 in., w. 13 1/2 in., d. 2 3/4 in. [$1000/1500]

Exh.: Chinese Bronzes: Gifts from the David and Inger Duberman Collection, Mobile Museum of Art, Feb. 12, 2016 ‑ Jan. 1. , 2017

Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund. Exh.: Chinese Bronzes: Gifts from the David and Inger. Duberman Collection, Mobile Museum of Art, Feb. 12, 2016 ‑ Jan. 1, 2017

593. Chinese Bronze Ding‑Form Tripod Censer, probably Ming Dynasty (1368‑1644), tall cylindrical neck, globular body, zoomorphic mask cabriole legs, h. 5 1/2 in., w. 5 in., d. 5 in. [$500/700] Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund. Exh.: Chinese Bronzes: Gifts from the David and Inger Duberman Collection, Mobile Museum of Art, Feb. 12, 2016 ‑ Jan. 1, 2017.

595. Pair of Chinese Bronze Figural Groups of Foreigners, probably early Qing Dynasty (1644‑1911), each modeled in mirror image, one riding a Buddhist lion and the other astride an elephant, possibly in imitation of Manjusri and Samantabhadra, rectangular plinths, h. 8 1/2 in., w. 4 1/2 in., d. 2 5/8 in. [$800/1200] Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund. Exh.: Chinese Bronzes: Gifts from the David and Inger Duberman Collection, Mobile Museum of Art, Feb. 12, 2016 ‑ Jan. 1, 2017

594. Chinese Bronze Figure of the Moon Goddess Chang’e, probably Ming Dynasty (1368‑1644), modeled wearing long robes and celestial scarf seated on a stool raised on a cylindrical ledge with pierced cash symbols on an open sided platform beside a recumbent hare, h. 10 1/2 in., w. 5 1/2 in. [$800/1200] Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund. Exh.: Chinese Bronzes: Gifts from the David and Inger Duberman Collection, Mobile Museum of Art, Feb. 12, 2016 ‑ Jan. 1, 2017.

596. Chinese Bronze Covered Censer, Qing Dynasty (1644‑1911), two‑part cover with reticulated foliate panels, quadrilobed body with wide galleried rim, four boar’s head feet, h. 11 3/4 in., w. 11 1/4 in., d. 9 3/8 in. [$800/1200]

597. Pair of Chinese Goose‑Form Censers, Qing Dynasty (1644‑1911), each modeled seated on an hexagonal plinth with its neck turned over its back, removal feather backs cut with two vent holes, h. 6 5/8 in., w. 3 7/8 in., d. 3 1/8 in. [$800/1200]

Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund.

Exh.: Chinese Bronzes: Gifts from the David and Inger Duberman Collection, Mobile Museum of Art, Feb. 12, 2016 ‑ Jan. 1, 2017.

Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund.

Exh.: Chinese Bronzes: Gifts from the David and Inger Duberman Collection, Mobile Museum of Art, Feb. 12, 2016 ‑ Jan. 1, 2017. Additional information at www.nealauction.com

598. Chinese Bronze Figure of Guanyin, modeled seated in dhyanasana on a lotus pedestal base with hands raised in prayer wearing a tall crown centered by Amitabha, a bead necklace and long robes, h. 17 3/4 in. [$400/600]

599. Chinese Bronze Censer, phoenix handles, bombe body with raised floral decoration, base with apocryphal Xuande mark, h. 4 3/4 in., w. 10 3/4 in., d. 8 1/2 in. [$700/900] 600. Chinese Bronze Seal, probably early 20th c., square body incised on front facet, surmounted by a Buddhist lion, carved chop, h. 1 1/2 in., w. 1 1/8 in., d. 1 1/8 in. [$400/600]

601. Chinese Carved Stone Buddhist Fragment, probably a stele, carved with two Bodhisattvas seated in dhyanasana with hands held in dhyanamudra, the faces with calm meditive expressions, h. 20 in., w. 22 in., d. 7 in. [$700/900]

602. Chinese Cloisonné Enamel Double Moon or “Pilgrim” Flask, Qing Dynasty (1644‑1911), conjoined bodies with pairs of scroll handles, decorated with insect‑and‑flower roundels on black or white grounds, bases with four‑character Qianlong marks, h. 11 1/2 in., w. 15 in. [$400/600] Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund. Exh.: Mobile Museum of Art, 2005‑2016.

605. Chinese Bronze Censer, cast as a large Buddhist lion, cover formed as the “Mad Monk” Ji Gong cradling a lion cub, base of belly with apocryphal Qianlong mark, h. 19 1/2 in., w. 20 in. [$1200/1800]

604. Chinese Huanghuali Brush Pot, solid thick walled body of slightly waisted cylindrical form, h. 7 1/8 in., dia. 6 3/8 in. [$400/600]

603. Chinese Soapstone Seal, carved with a Buddhist lion cradling its cub, carved chop, h. 3 1/2 in., w. 1 7/8 in., d. 1 7/8 in. [$400/600]

606. Pair of Chinese Cloisonné Enamel Bowls, Qing Dynasty (1644‑1911), exteriors decorated with pomegranate sprays on blue grounds between ruyi and lappet borders, interiors with insect‑and‑flower bands on white grounds encircling diaper flower head roundel, h. 2 in., dia. 7 1/4 in. [$500/700] Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund. Exh.: Mobile Museum of At, 2005‑2013.

Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund.

608. Chinese Cloisonné Enamel Covered Censer, probably late Qing Dynasty (1644‑1911), cover with white jade lingzhi cluster finial and panels pierced with bats and scrollwork, body with upright loop handles, vertical flanges, scrolled blade feet, and taotie mask decoration, h. 7 1/4 in., w. 4 1/2 in., d. 3 1/4 in. [$500/700]

Exh.: Chinese Bronzes: Gifts from the David and Inger Duberman Collection, Mobile Museum of Art, Feb. 12, 2016 ‑ Jan. 1, 2017.

Exh.: Mobile Museum of Art, 2005‑2016.

607. Chinese Bronze Baluster Vase, Qing Dynasty (1644‑1911), loop handles, overall basket weave design, h. 9 1/2 in. [$300/500]

Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund.

609. Pair of Chinese Cloisonné Enamel Covered Bowls, Qing Dynasty (1644‑1911), bowls with mask ring handles, exteriors decorated with flowering and fruiting branches, interiors with blue enamel, h. 5 in., w. 5 3/4 in., d. 5 1/5 in.; together with a third, decorated with butterflies amid prunus, peony and chrysanthemum, h. 6 in., dia. 5 1/8 in. (3 pcs.) [$600/800]

610. Two Chinese Cloisonné Enamel Vases, probably late Qing Dynasty (1644‑1911), incl. wide rim beaker‑form, h. 10 1/8 in., dia. 8 7/8 in.; and bottle‑form, h. 7 1/2 in. [$300/500] Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund.

Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund. Exh.: Mobile Museum of Art, pair 2005‑2016; single 2005‑2013.

Exh.: Mobile Museum of Art, 2005‑2013.

611. Chinese Cloisonné Enamel Bowl and Cup, Qing Dynasty (1644‑1911), bowl exterior decorated with stylized flower heads and scrollwork, h. 3 3/8 in., dia. 6 3/4 in.; cup exterior with lotus, interior with band of waves above central lotus medallion, base with lotus roundel, h. 1 3/4 in., dia. 3 in. (2 pcs.) [$300/500] Provenance: Property of the Mobile Museum of Art, sold to benefit their collections, care and acquisitions fund.

613. Chinese School, Qing Dynasty (1644‑1911), “The Daoist Immortal Lan Caihe with Basket of Flowers”, ink and color on silk mounted to board, 39 3/4 in. x 30 in., silk mounted and framed. [$500/700]

612. Chinese Scholar’s Rock, slightly s‑curved form with numerous crags and crevices, h. 19 1/2 in., hardwood stand, overall h. 23 1/4 in. [$700/900]

Exh.: Mobile Museum of Art, 2005‑2013.

615. Chinese School, 20th c., “Flowering Branches”, ink and color on paper fan painting, h. 8 in., w. 22 in., matted and framed. [$200/300] 614. Wan Ding (Chinese, b. 1955), “Landscape with Water Buffalo”, ink on silk, signed, inscribed and sealed lower right, 31 in. x 31 in., mounted as a hanging scroll. [$400/600]

617. [Asian Reference Books] Koyama Fujio and John Pope, Oriental Ceramics: The World’s Great Collections Volumes I‑XI, Kodansha, 1980‑1982, original cloth, dust jackets, numerous photographic illustrations (11 pcs.) [$1000/1500]

616. After Huang Shen (1687‑1772)/Chinese School, 20th c., “Scholar with Flower and Staff” and “Old Man with Fish and Scroll”, two album leaves, ink and light color on paper mounted to paper board, inscribed and sealed upper right and inscribed and sealed mid‑to‑lower right respectively, 10 1/2 in. x 9 in. and 10 5/8 in. x 9 in., matted and framed alike. [$500/700]

618. Korean School, 20th c., 2 paintings depicting “Bamboo” and “Grasses and Rocks”, each ink on paper, both inscribed upper left, former with 3 seals, 50 3/4 in. x 13 1/4 in., and 52 3/4 in. x 13 1/4 in., unmounted. [$500/700] Provenance: Acquired c. 1970, Asia.

619. Tibetan Silvered Bronze Yabyum Group of Manjusri and Consort in Amorous Embrace, h. 4 3/8 in. [$150/250]

Additional information at www.nealauction.com

621. Chinese Bronze Mirror, probably Tang Dynasty (618‑906), central zoomorphic knop encircled by six recumbent mythical beasts and grapevines, enclosed by a bird and grape band, dia. 3 3/4 in. [$400/600]

620. Two Chinese Pale Celadon Green Jade Bi Disks, carved with c‑scrolls, dia. 1 3/4 in. and 1 7/8 in. [$200/300] Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

622. Pair of Chinese Kesi Silk Civil Rank Badges, Qing Dyansty (1644‑1911), incl. front, with blue backing, 11 in. x 11 3/4 in. and back, 11 1/8 in. x 12 1/8 in. [$700/900]

624. Chinese Henan Black Glazed Pottery Vessel, probably Song Dynasty (960‑1279), h. 1 5/8 in., dia. 3 in. [$150/250] Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

626. Twelve Chinese Color Overlay Glass Snuff Bottles, 19th/20th c., h. 2 in. to 3 in. [$300/500] Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

628. Four Chinese Glass Snuff Bottles, 19th/20th c., incl. blue with aventurine splashes, h. 2 3/8 in.; amber, h. 2 5/8 in.; pale blue carved with flying horses, h. 2 3/4 in.; and blue streaked green, h. 3 3/8 in. [$300/500] Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

623. Chinese Scholar’s Rock or Fossil, h. 5 5/8 in., fitted wood stand, overall h. 6 1/2 in. [$300/500] Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

625. Antique Chinese Tortoiseshell Snuff Bottle, late 19th/early 20th c., round faceted body incised with gilt calligraphy, base with Tongzhi mark, h. 1 3/4 in. [$150/250]

627. Five Chinese Hardstone Snuff Bottles, incl. agate, jasper and aventurine, h. 1 7/8 in. to 2 3/4 in. [$300/500] Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

629. Two Chinese Snuff Bottles, incl. red overly bubble‑suffused clear glass carved with deer and lingzhi, ducks and willow, and crane and pine, h. 2 7/8 in., and mosaic abalone with applied censers, h. 2 5/8 in. [$150/250]

630. Double Strand Necklace of Grey and White Baroque Pearls, 9‑9.5 mm., with 14 kt. yellow gold and mabé pearl clasp. [$2500/3000]

632. 14 kt. White Gold, Tahitian Pearl and Diamond Brooch/ Pendant with 14 kt. White Gold Chain, center round cultured Dark Gray pearl, 11 mm; openwork floral surround with 212 round brilliant cut diamonds, total wt. approx. 1.92 cts., H‑I color, VS‑2 to SI‑1 clarity; dia. 1 7/8 in.; link chain, l. 18 in.; AIGL report. [$2500/3500]

635. South Sea Pearl Necklace, 37 graduated off‑to‑round Gold cultured pearls, 10‑13 mm; 14 kt. yellow gold plunger style bead clasp; l. (incl. clasp) 19 1/2 in.; AIGL report. [$1200/1800]

631. Pair of 18 kt. Yellow Gold, Pearl and Diamond Earrings, set with 1 white South Sea pearl, 1 black South Sea pearl, each 12 mm., 14 full cut diamonds totaling approx. 0.70 ct., H‑I Color, VS1‑VS2 clarity, clip and post back. [$1800/2500]

633. Pair of 14 kt. White Gold, Tahitian Pearl and Diamond Dangle Earrings, drops with 2 round Very Dark Gray cultured pearls, 11 mm; suspended on 10 bezel set round brilliant cut diamonds, total wt. approx. 0.30 ct., H color, SI‑1 to SI‑2 clarity; l. 1 3/16 in.; AIGL report. [$500/700]

636. 14 kt. White Gold and Black Diamond Ring, center prong set round brilliant cut diamond, wt. approx. 3.07 cts.; double bezel and shoulder with 64 round cut diamonds, total wt. approx. 0.74 ct., F‑G color, SI‑1 to I‑1 clarity; size 6.75; AIGL report. [$800/1200]

634. Tahitian Pearl Necklace, 35 graduated round Very Dark Gray cultured pearls, 12‑14 mm; 14 kt. white gold plunger style bead clasp; l. (incl clasp) 18 3/4 in.; AIGL report. [$1200/1800]

637. Platinum and Diamond Solitaire Ring, set with a European cut diamond, approx.. 1.2 ct., L‑M color, VS1‑SI1 clarity. [$2000/2500]

639. 14 kt. White Gold and Diamond Tennis Bracelet, set with 37 round diamonds totally 12.35 cts., J color, SI1 ‑ SI2 clarity. [$8000/12000]

638. Pair of Edwardian Platinum and Diamond Pendant Earrings, set with 42 round diamonds totaling approx. 2 cts. [$1500/2500]

640. Pair of 14 kt. Yellow and White Gold and Diamond Stud Earrings, openwork bezels set with center round cut diamonds, total wt. approx. 1.4 cts., approx. 5.50 mm. [$500/750]

Additional information at www.nealauction.com

641. 14 kt. Yellow Gold and Diamond Pendant with 14 kt. Yellow and White Gold Chain, center bezel set round brilliant cut diamond, wt. approx. 0.38 ct., G color, I‑2 clarity; link chain, l. 16 in.; IAS report. [$500/700]

645. 18 kt. White Gold and Diamond Ring, center prong set marquise shape brilliant cut diamond, wt. 0.50 ct., E color, SI‑1 clarity; bezel and shoulders with 34 round brilliant cut diamonds, total wt. approx. 0.25 ct., G‑H color, VS‑2 to SI‑2 clarity; size 6.75; GIA (center stone) and AIGL reports. [$1500/2500]

649. Antique 14 kt. Yellow Gold, Black Enamel and Diamond Cross Pendant, set with 11 belcher set Old Mine cut diamonds totaling approx. 0.97 ct., K‑L color, VS1‑VS2 clarity, approx. 1 3/4 in. x 1 in.; on a later 14 kt. yellow gold chain, l. 18 in. [$1200/1800]

642. 14 kt. White Gold and Diamond Cross Pendant with 14 kt. White Gold Chain, center bezel set princess cut diamond, wt. approx. 0.23 ct., I color, I‑2 clarity; with 24 channel set princess cut diamonds, total wt. approx. 1.42 cts., H‑J color, SI‑2 to I‑2 clarity; grooved bail; l. (incl. bail) 2 1/8 in.; chain l. 18 in.; AIG report. [$1500/2500]

646. Platinum and Diamond Ring, center prong set cushion cut diamond, wt. approx. 1.08 cts., I color, I‑1 clarity; bezel and twist shoulders with 58 prong set baguette cut and round brilliant and baguette cut diamonds, total wt. approx. 0.81 ct., G‑H color, SI‑1 to I‑1 clarity, size 7; AIG report. [$2800/3500]

650. Antique 14 t. Yellow Gold and Diamond Pin/Pendant, set with 7 Old Mine cut diamonds totaling approx. 1.18 ct., I‑J color, VS1‑VS2 clarity, approx. 1 1/8 in. dia., on a later 14 kt. yellow gold chain, l. 17 in. [$2000/3000]

643. 14 kt. White Gold and Diamond Pendant with 14 kt. White Gold Chain, center bezel set round brilliant cut diamond, wt. approx. 0.66 ct., F/G color, I‑3 clarity; link chain, l. 16 in.; IAS report. [$600/800]

647. Platinum and Diamond Ring, center raised prong set round brilliant cut diamond, wt. approx. 1.15 cts., H color, I‑2 clarity; shoulders with 34 baguette and round brilliant cut diamonds, total wt. approx. 0.65 ct., F‑G color, VS‑2 to SI‑2 clarity; size 7.5; AIGL report. [$2000/3000]

644. Platinum and Diamond Ring, center prong set round brilliant cut diamond, wt. 0.58 ct., D color, VS‑1 clarity; round and floret bezels and split shoulders with 60 round brilliant cut diamonds, total wt. approx. 1.19 cts., F‑H color, SI‑1 to S1‑2 clarity; size 7.25; AIG report. [$2500/3500]

648. Pair of 18 kt. White Gold and Diamond Stud Earrings, centered with 2 prong set round brilliant cut diamonds, total wt. approx. 1.99 cts., F color, SI‑3 clarity, approx. 6.27 mm; IAS report. [$2500/3500]

652. Art Deco 14 kt. White Gold Filigree and Diamond Bar Pin, set with 7 Old European cut diamonds totaling approx. 0.69 ct., J‑K color, VS2‑SI1 clarity, l. 2 1/2 in. [$800/1200] 651. Art Deco Platinum and Diamond Ring, set with approx. 1.63 ct. Old European cut diamond, K color, VS2 clarity, surrounded by 20 bead set single cut diamonds totaling approx. 0.40 ct., J‑K color, VS2‑SI2 clarity. [$7000/9000]

653. 14 kt. White Gold and Diamond Engagement Ring and Wedding Band, c. 1950, with an illusion set round brilliant cut diamond approx. 0.20 ct., flanked by bead set single cut diamonds, J color, VS1‑VS2 clarity; wedding band set with 5 single cut diamonds. [$700/1000]

654. 14 kt. Yellow and White Gold and Diamond Pendant with 14 kt. Yellow and White Gold Chain, center prong set oval cushion cut diamond, wt. 0.30 ct., Fancy Yellow/Honey color, SI‑2 clarity; bezels and bails with numerous prong set Fancy Yellow and colorless round cut diamonds, total wt. 0.52 ct., SI to G/H clarity, l. (incl. bails) 1 in.; link chain, l. 18 in.; IAS report. [$1000/1500]

655. 14 kt. White Gold and Multi‑Colored and Colorless Diamond Ring, center prong set pear shaped cut diamond, wt. approx. 0.12 ct., Light Brownish Yellow color, I‑1 clarity; bezel with 13 round brilliant cut diamonds, total wt. approx. 0.27 ct., Fancy Yellow ‑ Light Yellow color, SI‑1 to I‑1 clarity; outer bezel and shoulders with 45 prong set round brilliant cut diamonds, total wt. approx. 0.60 ct., F‑H color, VS‑2 to SI‑2 clarity; size 7; AIG report. [$1000/1500]

656. 14 kt. White Gold and Yellow and Colorless Diamond Ring, center bezel set cushion cut diamond, wt. approx. 0.30 ct., Fancy Light Yellow color, I‑1 clarity; double halo with 16 prong set round brilliant cut diamonds, total wt. approx. 0.10 ct., Fancy Light Yellow color,, I‑1 clarity, and 62 prong set round brilliant cut diamonds, total wt. approx. 0.43 ct., G‑H color, SI‑2 to I‑2 clarity; shoulders with 2 bezel set round brilliant cut diamonds, total wt. approx. 0.04 ct., G‑H color, SI‑2 to I‑1 clarity; size 7; AIG report. [$1500/2500]

658. 18 kt. White and Yellow Gold and Colorless and Yellow Diamond Ring, pavé‑set with oval‑cut and pear‑cut yellow diamonds, total wt. approx. 3.25 cts. and round brilliant‑cut diamonds, total wt. approx. 1.00 ct.; size 7.25; 11.8 grams total wt. [$2000/3000]

659. 14 kt. White Gold, Citrine and Diamond Ring, center raised prong set heart‑shape mixed cut citrine quartz, wt. 3.63 cts.; bezel and shoulders with 58 bead set round brilliant cut diamonds, total wt. 0.21 ct., G‑I color, SI‑1 to I‑1 clarity; size 6.5; AIG report. [$1200/1800]

661. 18 kt. White and Rose Gold and Diamond Ring, center prong set cut cornered square modified brilliant cut diamond, 1.05 cts., F color, SI‑1 clarity; inner bezel with 12 bezel set round brilliant cut diamonds, total wt. 0.24 ct., Fancy Pink color, SI‑1 to SI‑2 clarity; outer bezel with 44 round brilliant cut diamonds, total wt. 0.28 ct., F‑G color, SI‑1 to SI‑2 clarity; size 6.5; GIA (center stone) and AIGL reports. [$5000/7000]

662. 14 kt. White, Yellow and Pink Gold and Multi‑Colored Diamond Ring, center cushion cut diamond, wt. approx. 0.50 ct., Fancy Yellow color, SI‑2 clarity; bezels and shoulders with numerous Fancy Yellow, Pink, and colorless round cut diamonds, total wt. approx. 0.69 ct.; size 7.25; IAS report. [$1200/1800]

657. 14 kt. White and Yellow Gold and Fancy Diamond Ring, set with 3 clusters of 4 each Fancy Light Yellow, Fancy Yellowish Brown and Fancy Orangy Brown round brilliant cut diamonds, total fancy diamond wt. approx. 1.0 ct., SI‑2 to I‑1 clarity; with 2 alternating clusters of 4 each round brilliant cut diamonds and surrounded by 58 round brilliant cut diamonds, total wt. approx. 0.48 ct., G‑I color, SI‑2 clarity; size 7 in. [$700/900]

660. Pair of 14 kt. White, Yellow and Rose Gold and Multi Colored and Colorless Diamond Dangle Earrings, incl. 6 prong set cushion and oval cut diamonds, total wt. approx. 1.93 cts., Fancy Brownish Yellow color, SI‑1 to I‑1 clarity; 58 round brilliant cut diamonds, 0.38 ct., Light Yellow ‑ Fancy Light Yellow color, SI‑1 to I‑1 clarity 80 round brilliant cut diamonds, total wt. approx. 0.68 ct., Light Pink ‑ Very Light Pink color, VS‑2 to I‑1; and 164 round brilliant cut diamonds, 0.90 ct.; total overall diamond wt. approx. 3.89 cts.; l. 2 in.; AIGL report. [$3200/3800]

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

8181

663. Platinum, Emerald and Diamond Ring, center prong set emerald cut emerald, approx. 1.02 cts., 7.00 x 5.00 mm; halo and shoulders with numerous round brilliant cut diamonds, total wt. approx. 0.42 ct., G color, SI‑2 clarity; size 6.5; IAS report. [$1000/1500]

664. Platinum, Emerald and Diamond Ring, center prong set octagonal step cut emerald, approx. 2.33 cts., 8.70 x 6.44 mm; double halo bezel and shoulder with 72 round brilliant cut diamonds, total wt. approx. 0.47 ct., F‑G color, VS‑1 to SI‑1 color; size 6.25; AIGL report. [$1800/2500]

665. Pair of Platinum, Emerald and Diamond Earrings, center prong set octagonal step cut emeralds, total wt. approx. 4.06 cts., 9.00 x 7.00 mm; bezels with 52 round brilliant cut diamonds, total wt. approx. 0.37 ct., G‑H color, VS‑2 to SI‑2 clarity; AIGL report. [$2200/2800]

666. Pair of Platinum, Emerald and Diamond Dangle Earrings, center prong set rectangular step cut emeralds, total wt. approx. 2.08 cts., 8.00 x 6.00 x 3.70 mm; geometric bezels, supports and posts with 70 prong and bezel set round brilliant cut diamonds, total wt. approx. 0.85 ct., F‑H color, SI‑2 to I‑2 clarity; l. 1 5/16 in.; AIG report. [$2000/3000]

667. 14 kt. Yellow Gold, Emerald and Diamond Bangle Bracelet, set with 16 small round emeralds and 7 small round diamonds. [$500/750] 668. 18 kt. White Gold, Diamond and Ruby Ring, center prong set round brilliant cut diamond, wt. 0.36 ct., I color SI‑2 clarity; inner bezel with 14 channel set baguette step cut rubies, total wt. approx. 0.39 ct.; outer bezel and floret with 40 prong and tension set round brilliant cut diamonds, total wt. approx. 0.26 ct., G‑I color, SI‑1 to I‑1 clarity; size 6.25; EGL (center stone) and AIG reports. [$1200/1800]

671. Victorian‑Style 14 kt. Yellow Gold, Black Enamel, Ruby and Diamond Ring, set with a prong set ruby, approx. 0.70 ct., flanked by 2 prong set brilliant cut diamonds surrounded by 16 half bezel set round brilliant cut diamonds, total diamond weight 1.06 ct., I‑J color, VS2‑SI2 clarity. [$1200/1800]

82 82

672. 14 kt. White Gold, Sapphire and Diamond Fan‑Shape Cluster Ring, set with 14 marquise cut blue sapphires totaling approx. 1.12 cts., and 20 full cut diamonds totaling approx. 1.40 cts. [$1500/2500]

669. Pair of Platinum, Ruby and Diamond Dangle Earrings, drop with prong set oval cut rubies, total wt. approx. 1.26 cts.; bezels, supports and bails with 134 prong and bead set round brilliant cut diamonds, total wt. approx. 1.26 cts., F‑H color, VVS‑2 to VS‑2 clarity; l. 1 3/4 in.; AIG report. [$2500/3500]

673. Pair of 14 kt. White Gold, Faceted Blue Sapphire and Single Cut Diamond Earrings. [$1000/1500]

670. 18 kt. White Gold, Ruby and Diamond Ring, center yellow gold prong set marquise brilliant cut crown step cut pavilion diamond, wt. approx. 1.01 cts.; bezel and shoulders with 52 round brilliant cut diamonds, total wt. approx. 0.18 ct., G‑1 color, SI‑2 to I‑1 clarity; size 6.25; AIGL report. [$600/800]

674. Platinum, Tanzanite and Diamond Ring, center prong set oval cut tanzanite, wt. approx. 3.24 cts.; shaped bezel with 16 round brilliant cut diamonds, total wt. approx. 0.85 ct., G color, VS‑2 to SI‑1 clarity; size 6.5; IAS report. [$1500/2500]

675. Platinum, Tanzanite and Diamond Ring, center oval brilliant cut crown modified brilliant cut pavilion tanzanite, wt. 6.38 cts.; bezel and shoulders with 74 baguette and round brilliant cut diamonds, total wt. approx. 1.05 cts., F‑G color, VS‑2 to SI‑2 clarity; size 7; AIGL report. [$3200/3800]

679. 14 kt. Yellow Gold, Lapis and Diamond Ring, center oval cabochon lapis, approx. 16.00 x 12.00 x 5.00 mm; flanked by 12 tiny bead set diamonds; size 7. [$300/500]

676. Platinum, Aquamarine and Diamond Ring, center prong set oval brilliant cut crown and modified brilliant cut pavilion aquamarine, wt. approx. 2.0 cts.; bezel and split shoulders with 50 round brilliant cut diamonds, total wt. approx. 0.49 ct., G‑H color, VS‑2 to SI‑2 clarity; size 6.25; AIGL report. [$1500/2500]

680. 14 kt. Yellow Gold and Lapis Ring lapis approx. 16.50 x 14.00 mm, size 6.5; together with 10 kt. yellow gold “square” ring, size 7.5 (2 pcs.) [$200/300]

683. Barry Kieselstein‑Cord Sterling Silver Frog‑Form Belt Buckle and American Alligator Belt, each marked, frog l. 3 in., w. 1 3/8 in., 2.00 ozt., belt l. 34 1/4 in., size 29, together l. 36 1/2 in. [$400/600]

685. Ancient Roman Gold Aureus Coin of Emperor Nero, c. 65 CE, obverse with portrait of Nero crowned in laurel wreath and legend: “NERO CAESAR AVGVSTVS [Nero Caesar Augustus]”, reverse with Jupiter seated on a throne and “IVPPITER CVSTOS [Jupiter Custos], dia. 18 mm, 0.25 ozt. [$1000/1500]

677. 14 kt. Yellow Gold, Opal and Diamond Ring, center bezel set oval cabochon opal, wt. approx. 1.60 cts.; shoulders with 10 round brilliant cut diamonds, total wt. approx. 0.22 ct., H‑J color, I‑1 to I‑2 clarity; size 7; GLA report. [$400/600]

678. Pair of 14 kt. White Gold Cabochon Turquoise and Single Cut Diamond Earrings . [$1000/1500]

682. Pair of Art Deco Platinum over 14 kt. Yellow Gold Cufflinks, octagonal tops with relief floral decoration, 0.25 ozt., 9/16 in. x 7/16 in. [$150/250] 681. 14 kt. Yellow Gold and Onyx Intaglio Ring, round onyx carved with the profile of a Classical Roman soldier, dia. approx. 17.00 mm, size 6.5. [$300/500]

684. 18 kt. Yellow and White Gold Flexible Bracelet, Florentine finish, wt. 41 dwt. [$2000/2500]

686. Garnet Bead Lariat‑Type Necklace, strung with 165 round garnets, approx. 5.3 mm; yellow gold bead terminals; l. 42 1/2 in. [$200/300]

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8383

687A. [MARDI GRAS] Twelfth Night Revelers, enameled krewe favor pin, 1923. [$200/300]

687. [MARDI GRAS] Twelfth Night Revelers, enameled krewe favor pin, 1913, now lacking pin. [$200/300] 687B. [MARDI GRAS] Twelfth Night Revelers, sterling and enamel krewe favor pin, 1927. [$200/300]

687C. [MARDI GRAS] Twelfth Night Revelers, three krewe favor pins, probably mid‑20th c. [$300/400]

687D. [MARDI GRAS] Knights of Momus, two krewe favor pins, 1922, “The Dream of Rosie”, and 1924 “Jatakamala, Tales of Buddah’s Lives”. [$200/300]

687E. [MARDI GRAS] Knights of Momus, pair of krewe favor earrings, 1929, “Sandman Stories”, and krewe favor pin, 1930, “Father Time’s Holidays”. [$200/300]

687F. [MARDI GRAS] Knights of Momus, three krewe favor pins (1 missing pin) and krewe favor bracelet, probably early to mid‑20th c. [$300/400]

687G. Krewe of Proteus, enamel krewe favor pin, 1923, “Myths and Legends of North American Indians”, and enamel krewe favor locket, 1925, “Tales and Romances of Old Japan”. [$200/300]

687H. [MARDI GRAS], Krewe of Proteus, five krewe favor pins, incl. 3 sterling silver gilt, 1933, sterling 1939, “Secret Fables of La Fontaine”, and undated, probably early-to-mid‑20th c. [$300/500]

84 84

687i. [MARDI GRAS] three krewe favor pins, incl. sterling, The Atlanteans, 1958; Elves of Oberon, 1970; enamel, High Priests of Mithras, 1985; and enamel compact, c. 1920‑1930. [$200/300]

Session Three Sunday, November 22, 11 a.m.

Additional information at www.nealauction.com

689. Chinese Soapstone Embellished Black Lacquer Five Panel Screen, late 19th/early 20th c., decorated with birds amid flowers and branches, reverse gilt‑decorated with stylized roundels and scrollwork, h. 62 3/4 in., w. 62 in. [$400/600]

688. Japanese Painted Silk Furisode Kimono, decorated with cranes amid waves, embellished with couched metallic thread highlights, l. 66 in. [$100/200]

691. Faux Tortoiseshell Mirror, molded surround, old beveled plate, labeled, h. 37 in., w. 29 in. [$200/400]

690. Chinese Green Glazed Pottery Garden Seat, square cushion top with canted corners, pierced handles, tapering body with foliate decoration, h. 18 1/2 in., w. 13 in., d. 13 in. [$200/400]

692. Wood Mirror Painted by José Mariá Cundín (Spanish/New Orleans, b. 1938), h. 32 in., w. 26 in. [$300/500]

693. Mario Villa Patinated Metal Mirror, swagged crest h. 46 1/2 in., w. 56 in. [$300/500]

Provenance: Acquired directly from the artist.

694. Pair of Cast Iron Garden Figures of Flamingos, naturalistic base, taller h. 23 3/4 in., w. 6 in., d. 14 in. [$400/600] 695. Waterford Crystal Oval “Kennedy” Bowl, marked, h. 4 in., w. 13 5/8 in., d. 9 3/4 in. [$400/600]

697. Rare Steuben Glass “Iris” Bowl, etched mark, #8247, designed 1970 by Katherine De Sousa, h. 5 1/4 in., w. 9 3/8 in., d. 8 1/2 in. [$250/350]

698. Rare Pair of Steuben Glass “Tulip” Bowls, etched marks, #SP987, designed 1963 by Paul Schulze, h. 3 1/4 in., dia. 9 5/8 in. [$300/500]

699. Steuben Glass “Basket Shaped” Bowl, etched mark, #8079, designed 1957 by Donald Pollard, h. 4 7/8 in., w. 11 5/8 in., d. 10 1/4 in. [$200/300]

696. Pair of Steuben Glass “Snail‑Scroll” Olive Dishes, etched marks, #7857, designed 1939 by John Dreves, h. 3 3/4 in. and 3 7/8 in., w. 5 3/4 in. and 5 7/8 in., d. 5 in. and 5 1/8 in. [$300/500]

700. Pair of Steuben Glass Pear-Shaped Sauce Boats , etched marks, #8086, designed 1957 by Lloyd Atkins, h. 3 1/2 in., w. 6 3/4 in. and 7 1/8 in., d. 4 3/4 in. [$200/300]

701. Three Steuben Glass “Spiral” Bowls, etched marks, #8060, designed 1954 by Donald Pollard, h. (two) 3 3/4 in. and (one) 3 3/8 in., dia. (two) 7 in. and (one) 6 7/8 in. [$250/350] 702. Steuben Glass Split Handle Martini or Water Pitcher and Bowl, both with etched marks, pitcher, model #8077, designed 1955 by Lloyd Atkins, h. 10 in., w. 4 3/4 in.; bowl, h. 2 1/8 in., dia. 4 1/8 in. (2 pcs.) [$200/300]

703. Steuben Glass “Pedestal” Bowl, etched mark, #7884, designed 1940 by George Thompson, h. 4 1/2 in., dia. 10 in. [$150/250]

706. Two French Brass‑Mounted Green Glass Dresser Boxes, c. 1900, both with chamfered corners and hinged lids, larger h. 3 3/4 in., w. 5 in., d. 3 1/2 in. [$600/900]

705. Three Steuben Glass “Trefoil” Bowls, etched marks, #8003, designed 1953 by Lloyd Atkins, h. (two) 3 1/2 in. and (one) 3 1/4 in., w. (two) 6 1/4 in. and (one) 6 1/8 in. (3 pcs.) [$200/300]

704. Pair of Steuben Glass “Sheared Rim” Vases, etched marks, #8083, designed 1957 by George Thompson, h. 10 in. [$150/250]

707. Large Baccarat‑Style Glass Banquet Lamp, early 20th c., wick riser marked “Gaudard, Made in France”, swirl form, electrified, h. (to socket) 30 in. [$200/300]

709. Antique French Terracotta Statue of a Horse, naturalistic oval socle self‑base, imprinted signature (HENNAC_..), h. 23 in., w. 21 in., d. 8 in. [$300/500]

708. Pair of French Painted Metal and Wood Six‑Light Chandeliers, 20th c., scroll arms, h. 26 in., dia. 30 in. [$700/1000]

710. Collection of Three Ancient Roman Glass Jarlets and a Bronze Phallus Amulet, glass h. 2 1/2 in. to 3 in., amulet l. 1 1/2 in.; accompanied by 3 copies of “Certificates of Antiquity” from J. Zadok & Sons, Jerusalem. (4 pcs.) [$200/300]

711. Chinese Export Famille Rose Porcelain English Market Tea Bowl and Saucer, Qianlong, 18th c., decorated with three‑masted ships flying the Union Jack in sepia enamels, bowl h. 1 7/8 in., dia. 3 1/2 in.; saucer dia. 5 1/2 in. [$150/250] Provenance: H. Moog Fine Porcelains, Atlanta; Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans.

712. Three Chinese Export Famille Rose Porcelain Dishes, 19th c., oblong tops painted figural scenes, two with calligraphy, tall feet, h. 2 in., w. 9 in. to 9 5/8 in., d. 6 3/4 in. to 7 5/8 in. [$200/300]

713. Two Chinese Export Famille Rose Porcelain Bowls, 19th and 20th c., first with figural and bird‑and‑flower panels; other with figural reserve, dia. 9 in. and 7 3/4 in. [$100/200] Provenance: Garden District New Orleans Estate. Additional information at www.nealauction.com

714. Ellsworth Woodward (American/ Louisiana, 1861‑1939), “In Venice (Doorway in Venice, Boyer 21, fig. 20)”, “The Foster Mother: Romulus and Remus (Boyer 73)”, “The Squire (Boyer 84)”, “Judith Shakespeare’s Cottage (Street Scene with Large Wheel Barrow, Boyer 87)” and “The Quadriga of St. Mark’s, Venice”, 5 etchings on paper, 4 pencil‑signed and titled lower margin, each initialed “E.W.” in plate, 11 1/2 in. x 9 in. to 11 1/4 in. x 15 in., unframed. (5 pcs.) [$200/300]

715. Caroline Wogan Durieux (American/ Louisiana, 1896‑1989), “Young Sarai”, color lithograph, pencil‑signed, titled, dated, numbered “10/20” and inscribed lower margin, “Collier’s JAC Gallery, Baton Rouge” label on backing, sheet 27 7/8 in. x 22 3/16 in., framed. [$300/500]

716. William Woodward (American/ Louisiana, 1859‑1939), “Old Home, Seekonk, Mass.”, “Woodward Place from West‑1884”, 1932, “Woodward Place from South‑1884”, 1932, “Woodward Place from North‑1884”, 1932, “New England Fireside, Home of William and Ellsworth Woodward, Seekonk, Mass.‑1884”, 1932, “Living Room‑Kitchen of Woodward Home, Seekonk, Mass.‑1884”, “Seated Woman” and “Kitchen Scene”, 6 drypoint etchings and 2 pen and ink drawings on paper, all etchings pencil‑signed and titled lower margin or on matting, signed and 4 dated in plate, 2 drawings unsigned, 7 1/2 in. x 11 in. to 15 in. x 11 in., unframed. (8 pcs.) [$500/700]

717. Jonathan Borofsky (American/ Massachusetts, b. 1942), “Pied Piper”, 1990, lithograph on handmade paper, pencil‑signed and numbered “48/100” lower margin, sheet 25 1/2 in. x 17 7/8 in., framed. [$700/1000]

Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans.

Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans. 718. Aaron Bohrod (American/Wisconsin, 1907‑1992), “Tracks, La Crosse”, 1956, hand‑enhanced lithograph on board, signed and dated lower right, titled, dated, inscribed and remnants of “Associated American Artists, New York, NY” label en verso, 10 1/2 in. x 14 1/2 in., framed. [$300/500]

719. Knute Heldner (Swedish/ Louisiana, 1877‑1952), “By the Sea”, pencil‑enhanced etching, pencil‑signed and titled lower margin, signed in plate, “Dr. James W. Nelson Collection, Gonzales, LA” label with artist and inscription on backing paper, sheet 11 3/4 in. x 8 7/8 in.; together with “Big Bad Wolf and Three Little Pigs”, etching, pencil‑signed lower margin, signed in plate, 8 3/4 in. x 6 1/2 in., both framed. (2 pcs.) [$200/300]

720. Clarence Millet (American/New Orleans, 1897‑1959), “Corner of Jackson Square, Old New Orleans” and “Old French Market, Old New Orleans”, 2 woodblock prints on paper, one with hand‑coloring, each pencil‑titled lower margin and initialed in plate, sheets 9 7/8 in. x 8 in., one matted. (2 pcs.) [$300/500]

722. Pati Bannister (American/Mississippi, 1929‑2013) “Gift of Happiness”, 1984, pair of polychromed bronzes, both signed and dated on self‑base, each h. 9 1/2 in., w. 5 1/4 in., d. 3 3/4 in., marble bases, both overall h. 11 1/2 in. (2 pcs.) [$700/1000] 721. Bronze Figural Group of “Coming through the Rye”, after Frederic Remington, signature inscribed on self‑base, h. 11 1/2 in., w. 13 in., d. 11 1/2 in., marble base, overall h. 13 3/4 in. [$1000/1500]

723. Cecil Casebier (American/ Texas, 1922‑1996), “Series”, 1983, oil on canvas, signed, dated and inscribed “#10” lower right, titled, dated and inscribed “#10” on stretcher, 44 in. x 44 in., framed. [$1200/1800]

724. Arnold E. Turtle (British/New Orleans, 1892‑1954), “Napoleon House Patio”, 1944, “Courtyard on St. Louis St.” and “French Market”, 1944, 3 graphites on paper, 2 signed and titled lower right, one signed and titled lower left, 2 dated lower left, 7 1/2 in. x 11 in. to 11 5/8 in. x 8 3/8 in., unframed. (3 pcs.) [$250/350]

Provenance: Estate of Houston H. and Carolyn H. Harte, San Antonio, TX.

725. Newton Reeve Howard (American/New Orleans, 1912‑1984), “Untitled (Pointers)”, 1960, graphite and pastel on paper, signed and dated lower left, exhibition label with artist, title and date and “Casell Gallery, New Orleans, LA” label on backing board, framed. [$600/800] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham. Exh.: “Newton Howard: Painter of the Sportsman’s Paradise”, Ogden Museum of Southern Art, New Orleans, LA, Sept. 6, 2018 ‑ Jan. 13, 2019.

726. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Mountainous Landscape with River”, watercolor on paper, signed lower left, 8 7/8 in. x 11 7/8 in., framed. [$1000/1500] 727. After John James Audubon (American, 1785‑1851), “Blue Crane or Heron”, Plate 307, 1985, offset lithograph, pencil‑numbered “101/1500” lower margin, Princeton Edition, sight 21 in. x 30 in., framed. [$600/900] 728. After John James Audubon (American, 1785‑1851), “Brown Pelican”, Plate 251, 1985, offset lithograph, pencil‑numbered “114/1500” lower margin, Princeton Audubon blind stamp lower right, “Princeton Audubon Limited” information label on backing, sight 37 1/2 in. x 25 1/2 in., framed. [$600/900] 729. John James Audubon (American, 1785‑1851), “Swamp Hare”, Plate 37, hand‑colored lithograph, from The Viviparous Quadrupeds of North America, Philadelphia, J.T. Bowen, 1843‑48, sheet 21 1/4 in. x 27 1/2 in., unframed. [$500/700]

730. John James Audubon (American, 1785‑1851), “Douglass Squirrel”, Plate 48, hand‑colored lithograph, from Viviparous Quadrupeds of North America, Bowen edition, “Arader Galleries” label on backing, sight 26 3/4 in. x 20 1/2 in., framed. [$200/300] Provenance: W. Graham Arader III.

731. John James Audubon (American, 1785‑1851), “Orange‑Bellied Squirrel”, Plate 58, hand‑colored lithograph, 1845, from Viviparus Quadrupeds of North America, Bowen edition, “Arader Galleries” label on backing, sheet 27 1/2 in. x 21 1/2 in., framed. [$200/300]

732. Karl Wolfe (American/Mississippi, 1904‑1984), “Floral Still Lifes”, 2 watercolors on paper, each pencil‑signed upper center, both 15 1/2 in. x 11 1/4 in., framed alike. (2 pcs.) [$600/800]

Provenance: W. Graham Arader III. Additional information at www.nealauction.com

734. Mose Tolliver (American/Alabama, 1920‑2006), “Jesus on the Cross”, oil on panel, signed lower center, 25 in. x 19 in., unframed. [$300/500] 733. Noel Rockmore (American/New Orleans, 1928‑1995), “Pharaoh Ikhnaton”, 1990, acrylic and oil on canvas board, signed and dated upper right, signed, titled and dated en verso, 10 in. x 8 in., framed. [$400/600]

736. John Korver (American/Louisiana, 1910‑1988), “Tristan da Cunha”, 1970, oil on canvas, signed and dated lower right, signed, titled and dated en verso, 30 in. x 40 in., framed. [$500/700]

735. John Gould (British, 1804‑1881), “Colymbus Septenrionalis”, hand‑colored lithograph on paper, from Birds of Europe, pencil‑inscribed “Red‑Throated Diver” lower margin, sight 14 in. x 20 in., framed. [$200/300] Provenance: Collection of Dr. Isidore Cohn, Jr.(1921‑2015), New Orleans.

737. American School, 20th c., “Mardi Gras on Rampart Street”, oil on masonite, signed “J. Leland Waterman” lower right, “Connecticut Academy of Fine Arts” label on frame, 12 in. x 9 in., framed. [$400/600]

738. Mary Frances Robinson (American/Texas, b. 1943), “Wash Day”, oil on canvas, signed lower right, 8 in. x 10 in., framed. [$1000/2000]

Exh.: “39th Annual Exhibition”, Connecticut Academy of Fine Arts, Feb. 5‑27, 1949. 739. Colette Pope Heldner (American/Louisiana, 1902‑1990), “Patio ‑ Antoine’s Famous Restaurant (Old Spanish Commandancia)”, oil on canvas board, signed lower right, signed, titled and inscribed “French Quarter/ Series Old New Orleans/ Paris of America” on label en verso, 16 in. x 20 in., unframed. [$1200/1800]

740. Colette Pope Heldner (American/Louisiana, 1902‑1990), “Patio ‑ Patio Royale, Former Home of Paul Morphy, Chess Champion of America”, oil on canvas board, signed lower right, signed, titled and inscribed “Series ‑ French Quarter of Old New Orleans/ Paris of America” on label en verso, 20 in. x 16 in., unframed. [$1200/1800]

741. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Mountainous Landscape”, oil on board, signed lower left, signed and inscribed “Jackson, MS” en verso, 16 in. x 20 in., framed. [$2500/3500]

742. Four Natural History Prints of Insects and Botanicals, 4 hand‑colored etchings, sights 11 in. x 9 1/4 in., framed alike. (4 pcs.) [$200/300] Provenance: Schwitz Collection, Franklin, LA.

744. Colette Pope Heldner (American/Louisiana, 1902‑1990), “Bohios, Havana, Cuba”, oil on masonite, signed and inscribed “Cuba” lower right, titled and inscribed “Home Life ‑ Poor Families” on artist business card attached en verso, dia. 17 5/8 in., unframed. [$1000/1500]

743. Nestor Frugé (American/Louisiana, 1914‑2011), “French Quarter Courtyard” and “Courtyard”, 2 watercolors on paper mounted to board, each signed lower right, 15 3/4 in. x 11 1/8 in. and 12 3/4 in. x 9 1/2 in., unframed. (2 pcs.) [$150/250] 745. Charles Whitfield Richards (American/Louisiana, 1906‑1992), “Live Oak”, oil on canvas, signed lower left, 9 in. x 17 in., framed. [$800/1200]

746. John McClusky (American/Texas, 1914‑1994), “The Mower”, 1966, acrylic polymer on masonite, signed and dated lower left, titled en verso, 32 in. x 29 1/2 in., framed. [$500/700] Provenance: Banfer Gallery, New York, 1967; Collection of Dr. Isidore Cohn, Jr. (1921‑2015), New Orleans. 748. R.C. Davis (American/ Louisiana, b. 1950), “Fisherman on the Bayou”, 1993, oil on canvas, signed and dated lower right, 24 in. x 30 in., framed. [$700/1000]

747. John McClusky (American/Texas, 1914‑1994), “Crabgrass”, 1970, acrylic polymer on masonite, signed lower right, titled and “Banfer Gallery” label with artist and title en verso, “The R. W. Norton Art Gallery” exhibition label on backing paper, 11 in. x 12 7/8 in., framed. [$400/600] Provenance: Banfer Gallery, New York, 1970; Collection of Dr. Isidore Cohn, Jr. (1921‑2015), New Orleans. Exh.: “John McClusky Retrospective”, The R. W. Norton Art Gallery, Shreveport, LA, Aug. 18 ‑ Sep. 29, 1974.

749. Marshall D. Smith (American/ New Orleans, 1874‑1973), “New Orleans Courtyard”, oil on canvas, signed lower left, signed and titled en verso, “Chicago Galleries Association” label with artist and title on stretcher, 30 in. x 36 in., framed. [$300/500]

751. John Preble (American/Louisiana, b. 1948), “Tangipahoa Princess”, 1992, oil on canvas board, signed and dated lower left, artist label with title and date on backing paper, 12 in. x 9 in., framed. [$400/600]

750. Aubrey Simpson (American, 20th c.), “Old New Orleans (Fanciful New Orleans View)”, oil on masonite, signed lower right, label with artist and title en verso, 20 3/4 in. x 26 3/4 in., framed. [$300/500]

752. Keith Eccles (American/New Orleans, 20th c.), “Jester Royale”, acrylic on gallery‑wrapped canvas, signed lower right, 35 7/8 in. x 36 in., unframed. [$2000/3000]

753. Keith Eccles (American/New Orleans, 20th c.), “The Masquerade”, acrylic on gallery‑wrapped canvas, signed lower right, 40 in. x 30 in., unframed. [$1800/2500]

Additional information at www.nealauction.com

755. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Scene with Live Oak”, 1931, oil wash on board, signed and dated lower right, inscribed en verso, “Farish Art Store, Inc., New Orleans” label on backing paper, 10 in. x 20 in., framed. [$1000/1500]

754. Noel Rockmore (American/New Orleans, 1928‑1995), “Caesarean”, 1988‑89, oil and mixed media on canvas, signed and dated lower right, titled on certificate of authenticity, 67 in. x 91 in., unframed; accompanied by a copy of certificate of authenticity from Richard Marvin, curator of the Shirley Marvin Collection. [$5000/7000]

756. Gideon Townsend Stanton (American/Louisiana, 1885‑1964), “Lugger Loaded with Watermelons”, oil on canvas, signed lower left, “Taylor Clark, Baton Rouge” label on frame, 25 in. x 30 in., framed. [$800/1200]

757. George Valentine Dureau (American/New Orleans, 1930‑2014), “Landscape”, watercolor on paper, pencil‑signed lower center, 30 in. x 40 in., framed. [$800/1200]

759. Ernest Hemingway Autographed Post Card Signed, 1953, signed “For Douglas Harmont with all good wishes, Best always Ernest Hemingway, Havana 1953”, on a postcard of the Floridita bar, Havana, Cuba, 3 1/2 in. x 5 1/2 in. [$500/700] Note: Douglas Harmont, the managing editor of the Daily Gate City newspaper in Keokuk, Iowa, was in Havana during an editors conference. The Floridita was Hemingway’s favorite bar and known as the “Cradle of the Daiquiri Cocktail.”

758. C. Bennette Moore (American/New Orleans, 1879‑1939), “Brulatour Courtyard”, artist‑enhanced photograph mounted to board, signed lower right, “C. Bennette Moore Photographers, New Orleans” label and printed information label with title on backing paper, 20 in. x 16 in., framed. [$800/1200]

760. Newcomb College Pierced Brass Mailbox, early 20th c., hand‑wrought brass sheeting with cut out decoration of monogram “W” in roundel flanked by scrolls, h. 11 5/8 in., w. 9 1/8 in., d. 2 1/8 in. [$500/750]

761. Kelly Fearing (American/ Texas, 1918‑2011), “Recapitulations from an Earlier Theme: Songs Without Words, No. 3”, 1976, mixed media on illustration board, signed and dated lower right, label with artist, title and date on backing, 20 in. x 15 in., framed. [$800/1200]

762. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Ancient Magnolia, Biloxi”, mixed media on paper, signed lower right, pencil‑signed, titled and inscribed en verso, 18 in. x 12 in., framed. [$1200/1800]

763. Will Hinds (American/Louisiana, 1936‑2015), “Out of Pasture”, oil on masonite, signed lower left, inscribed “#810” en verso, 16 in. x 24 in., framed. [$1000/1500] Provenance: Susanin’s Auctioneers & Appraisers, Chicago, IL, Dec. 6, 2008, lot 6042.

764. William Norman Arnold (American/Louisiana, 1902‑2006), “Swamp Scene on the Bayou”, 1980, oil on board, signed and dated twice lower right, signed and dated en verso, “Courtney Gallery of Art, Bunkie, LA” label on frame, sight 15 1/2 in. x 18 in., framed. [$500/800]

765. Ellsworth Woodward (American/ Louisiana, 1861‑1939), “Byzantine Bronze Horses, St. Mark’s Cathedral, Venice”, 1896, watercolor and graphite on paper, partial signature lower left, 11 1/4 in. x 14 7/8 in., framed. [$1500/2500] Provenance: Jean Bragg Gallery, New Orleans, LA. Ill.: Bragg, Jean and Susan Saward. Painting the Town: The Woodward Brothers Come to New Orleans. New Orleans: Jean Bragg Gallery, 2004, p. 137.

Provenance: Taylor Clark Gallery, Baton Rouge, LA.

766. Ellsworth Woodward (American/Louisiana, 1861‑1939), “Still Life of Pitcher”, watercolor and graphite on board, pencil‑signed en verso, 9 3/4 in. x 13 3/8 in., framed. [$1000/1500]

767. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Three Oaks”, oil wash and pastel on board, pencil‑signed lower right, inscribed en verso, 10 in. x 30 in., framed. [$1800/2500]

768. William Hemmerling (American/Louisiana, 1943‑2009), “Sweet Olive”, mixed media on panel, signed lower right, titled lower center, 29 in. x 13 1/2 in., unframed. [$2500/3500] Provenance: Hemmerling Gallery, Ponchatoula, LA.

769. William Hemmerling (American/ Louisiana, 1943‑2009), “Louisiana Heart of Gold Sweet Potatoes”, 2007, mixed media on gallery‑wrapped found canvas, signed, dated and extensively inscribed en verso, titled along edges, 35 5/8 in. x 23 1/2 in., unframed. [$4000/6000]

770. Richard Johnson (American/New Orleans, b. 1942), “Abstract Composition with Blue Striations”, acrylic and mixed media on masonite, unsigned, 21 3/4 in. x 24 in., framed. [$1000/1500]

Provenance: Hemmerling Gallery, Ponchatoula, LA.

771. Richard Johnson (American/New Orleans, b. 1942), “Rising Blue”, 1996, acrylic and mixed media on canvas, signed and dated lower right, titled en verso, 30 in. x 36 in., unframed. [$1200/1800]

772. Noel Rockmore (American/New Orleans, 1928‑1995), “Anita and Four Faces”, 1977, pastel on paper, signed and dated upper right, 19 7/8 in. x 24 in., framed. [$1200/1800]

773. Robert Gordy (American/New Orleans, 1933‑1986), “Tree”, ink on paper, signed lower right, 24 in. x 19 in., framed. [$300/500]

Additional information at www.nealauction.com

775. Emil Holzhauer (American/Florida, 1887‑1986), “Grand Tetons III”, 1965, gouache on paper, signed and dated lower left, titled and dated en verso, 22 1/2 in. x 31 3/16 in., framed. [$600/800]

776. Xavier de Callatay (Belgian/New Orleans, 1932‑1999), “Mariea”, 1957, ink on paper, signed and dated lower right, “Dr. James Nelson Collection, Gonzales, LA” label with artist and title on backing paper, sight 15 in. x 14 in., framed; AND “Portrait of a Woman”, 1957, pastel on paper, signed and dated lower left, 18 1/4 in. x 12 1/2 in., framed. (2 pcs.) [$300/500]

774. Michael Meads (American/Alabama, b. 1966), “Plague Doctor Study III”, 2005, ink on paper, pencil‑signed, dated and inscribed “III” lower left, pencil‑signed, titled and dated en verso, printed label with title and date on reverse of matting, 18 in. x 12 in., framed. [$300/500]

777. Noel Rockmore (American/New Orleans, 1928‑1995), “Civil War Dead”, 1971, oil and mixed media on paper, signed, titled, dated and inscribed “NYC” lower left, 14 in. x 11 in., framed. [$700/1000]

778. Helen Maria Turner (American/Louisiana, 1858‑1958), “Portrait of a Young Woman Seated in an Interior, New Orleans”, oil on canvas, unsigned, 40 1/2 in. x 30 1/2 in., framed. [$3000/5000] Provenance: Descended in the family of the artist, to her cousin Margaret Texada Todd; Estate of Dr. James M. Todd, Jr., 17 Richmond Place, New Orleans, LA.

779. American School, 19th c., “Still Life of Peaches in a Bowl”, oil on canvas, unsigned, 10 1/4 in. x 14 1/4 in., framed. [$300/500]

780. Reuben Le Grande Johnston (American/New York, 1851‑1918), “Ships in Harbor”, oil on canvas, signed lower right, label with artist biography en verso, “Koch Galleries, Mobile” label on frame, 10 1/8 in. x 14 1/8 in., framed. [$500/700]

781. Paul Ninas (American/New Orleans, 1903‑1964), “New Orleans Garden with Banana Plants”, graphite on paper, signed lower center, inscribed “NOLA” lower left, “Le Mieux Galleries, New Orleans” label on backing paper, 13 7/8 in. x 10 in., framed. [$700/1000] Provenance: Collection of Michael Wilkinson, New Orleans, LA.

782. Charles Longabaugh (American/ New Orleans, 1885‑1944), “French Quarter, New Orleans”, 1942, watercolor on paper mounted to board, signed and dated lower right, 10 7/8 in. x 14 7/8 in., framed. [$700/1000] Provenance: Collection of Michael Wilkinson, New Orleans, LA.

783. Willie Earl Robinson (American/Mississippi, b. 1950), “Feeding the Chickens”, oil on canvas, signed lower right, 16 in. x 22 in., framed. [$500/800]

784. Emmitt Thames (American/Mississippi, b. 1933), “Private Property No Trespassing”, 1970, watercolor on paper, signed and dated lower right, 22 1/4 in. x 30 1/8 in., framed. [$300/500]

785. Emmitt Thames (American/Mississippi, b. 1933), “Fallen Palm”, 1973, watercolor on paper, signed and dated lower left, signed, titled and dated en verso, 21 7/8 in. x 30 in., framed. [$300/500]

Provenance: Collection of Michael Wilkinson, New Orleans, LA. 786. C. Bennette Moore (American/New Orleans, 1879‑1939), “Shadows of Old New Orleans” and “Lace Balcony, New Orleans”, 2 hand‑colored photographs, each signed lower left and titled on matting, one with “Portraits by C. Bennette Moore, New Orleans” label and information label on backing, 13 3/4 in. x 10 3/4 in., framed alike. (2 pcs.) [$150/250] Provenance: Collection of Michael Wilkinson, New Orleans, LA.

789. Louisiana Hand‑Painted Scenic Porcelain Bowl, signed “Maude Nichols”, depicting the famous Currier & Ives lithograph of Woodland Plantation, West Pointe a la Hache, LA, h. 3 1/8 in., dia. 10 5/8 in. [$400/600]

788. George Ohr Pottery “Poop” Demitasse Cup and Saucer, brown glaze, the cup signed “BILOXI”, the saucer stamped “”GEO E OHR/BILOXI MISS”, cup h. 1 3/4 in., saucer dia. 4 5/8 in. [$200/300]

791. Pair of Louisiana Carved Wood Decoys, c. 1988, mallard drake and hen, by Barry Chauvin, Larose, LA, stamped, cypress, larger l. 14 3/4 in. [$600/800]

787. Eugene Delcroix (American/New Orleans, 1891‑1967), “The Spanish Court” and “Old Brulatour Courtyard”, 2 hand‑colored photographs, each pencil‑signed and titled on matting, each 6 7/16 in. x 4 3/8 in., framed alike. (2 pcs.) [$100/200]

790. Antique Louisiana Picnic Basket, 19th c., remnants of green paint, two lids, found in Natchitoches, LA., h. (with handle) 20 in., w. 18 3/4 in., d. 13 1/4 in. [$300/500]

792. Two Carved Wood Duck Decoys, incl. a pintail drake by Ducks Unlimited, c. 1999; and a drake shoveler by Herters, c. 1970, larger l. 18 1/2 in. [$200/300] 793. Two Louisiana Carved Wood Decoys, incl. a coot, c. 1950, attributed to Francis Uzee, Chalmette, l. 12 in.; and seagull confidence decoy, h. 7 1/4 in., l. 10 1/2 in., presented on a modern stand, total h. 15 3/4 in. [$200/300]

795. Antique French Wicker and Oak Wine Bottle Carrier, c. 1900, interior fitted for 12 bottles, h. 15 1/2 in., w. 23 3/4 in., d. 15 in. [$150/250]

796. English Leather Shot Bucket, swing handle, canvas‑lined interior, remnants of British crest, h. 23 3/4 in., dia. 8 in. [$200/300]

794. French Green Glass, Demijohn and Two Tall Bottles 19th c., tallest h. 27 in., dia. 18 in. [$400/600]

797. Two Antique English Letter Boxes, 19th c., one satinwood, other mahogany, satinwood and kingwood, both with fitted interiors, larger h. 5 1/2 in., w. 14 1/2 in., d. 8 3/4 in. [$250/350]

Additional information at www.nealauction.com

800. Louisiana Cast Iron Indigo Pot, 19th c., flared rim, domed bottom, h. 21 in., dia. 43 1/2 in. [$1000/1500]

798. Large Apache Pictorial Storage Basket, Olla, late 19th/early 20th c., coil woven with willow and devil’s claw, featuring numerus figures of humans, dogs and horses and geometric patterns, h. 23 in. [$4000/6000] Provenance: Newcomb College Graduate Mary Seago Brooke (1898‑1987), Prescott, AZ around 1917, as documented by her husband, Charles; to her nephew, Phil Fischer, c. 1985; thence by descent.

802. Large Stoneware Olive Jar, glazed interior, h. 38 1/2 in. [$800/1200]

801. Louisiana Cast Iron Indigo Pot, flared rim, integrated handles, h. 20 in., dia. 34 in. [$500/700]

799. Large Apache Storage Basket, Olla, late 19th/early 20th c., coil‑woven with willow and devil’s claw, decorated overall with geometric pattern, h. 16 1/2 in. [$2500/3500] Provenance: Newcomb College Graduate Mary Seago Brooke (1898‑1987), Prescott, AZ, around 1917, as documented by her husband, Charles; to her nephew, Phil Fischer, c. 1985; thence by descent.

803. Large Stoneware Olive Jar, 19th c., yellow glazed rim, h. 38 1/2 in., dia. 26 in. [$1000/1500]

804. Stoneware Olive Jar, partially glazed rim, h. 25 in. [$400/600]

805. Giant Clam Shell, Tridacna Giga, probably South Pacific, h. 12 in., w. 33 in., d. 23 in. [$700/1000]

807. African Carved Iroko Wood “Ogbodo Enyi” or Spirit Elephant Mask, early 20th c., Igbo/Izzi Peoples, Nigeria, remnant ochres and pigments, h. 12 1/2 in., w. 24 in., d. 11 in., presented on custom stand and rotating pedestal, overall h. 67 1/2 in., w. 12 1/8 in., d. 12 1/8 in. [$1000/2000] Provenance: Davis Gallery, Ethinographic Art, New Orleans, LA.

806. Large China Trade Painted Leather Trunk, 19th c., nailhead trim, bail handles, decorated with figural scenes, void interior, h. 15 3/4 in., w. 35 in., d. 18 1/4 in., later stand, overall h. 20 1/2 in. [$600/800]

Ref.: Similar example see Art Institute of Chicago, acc.#2012.502, gift of James J. and Marshall Field; Metropolitan Museum of Art, acc.#199.377.1, gift of Drs. Herbert F. and Teruko S. Neuwalder.

809. African Carved Wood Slit Gong or Slit Drum with Two Wood Beaters, early 20th c., Cameroon, gong drum, h. 11 in., w. 28 in., d. 8 1/4 in.; beaters, l. 13 3/4 in. and 15 in. [$500/700] Provenance: Davis Gallery Ethnographic Art, New Orleans, May 1986

808. African Carved Wood, Hide and Straw Figural Mask, 20th c., probably Baule “Mblo (portrait mask)”, Ivory Coast, remnant blue and white pigment, h. (excl. straw hair) 30 1/2 in., presented on custom stand and rotating pedestal, overall h. 77 1/2 in., w. 12 1/8 in., d. 12 1/8 in. [$500/700]

810. African Carved Wood “Maternity” Figural Group, standing female with child on back, h. 38 1/2 in., mounted above plinth base, overall h. 41 1/2 in.; together with Asian wood side table, h. 21 1/2 in., w. 17 1/2 in., d. 17 1/2 in.; and tall covered basket with carrying strap, h. 35 3/4 in., dia. 18 in. (3 pcs.) [$300/500]

811.Thomas Griswold & Sons Confederate Light Horse Cavalry Officer’s Saber, c. 1861, New Orleans, stamped “Thomas Griswold & Sons” on the ricasso, the other side etched “ABG”, blade etched “O.L.H” (Orleans Light Horse), the other side “RIGHT MAKES MIGHT”, also decorated with cotton plants, acorns and geometric motifs, iron scabbard with brass throat, blade l. 33 in. [$8000/12000] Provenance: The Confederate and Civil War estate collection of Fred Donaldson. Note: The Orleans Light Horse Cavalry was an independent small organization, acting primarily as an elite escort company. The sword was found by Fred Donaldson in the hands of the Pollack family, whose relative was probable owner Quartermaster Sgt. John F. Pollack, a member of the Orleans Light Horse. Interestingly, the initials A.B.G. match another possible owner, Arthur Breese Griswold, also a member of the Orleans Light Horse.

812. Boyle and Gamble Confederate Staff and Field Officer’s Sword and Scabbard, Richmond, Virginia, cast brass guard with “CS” and star, notch at top of knucklebow, brass and leather scabbard with foliate mounts, blade 30 in. [$2000/3000] Ref.: Albaugh, William A. A Photographic Supplement of Confederate Swords, Wilmington, Broadfoot Publishing, 1999, pg. 11.

813. Pair of Cast Iron Garden Figures of Stags, full racks, opposing stance, self-base, h. 60 in., w. 40 1/4 in., d. 24 in. [$1500/2500]

814. Pair of Antique American Cast Iron Lamp Posts, octagonal standard with finial and foliate collar, h. 88 in., dia. 4 in. to 6 in.; together with painted copper lantern. (3 pcs.) [$500/700] Provenance: 399 Audubon Street, New Orleans.

816. Four Oval Wrought Iron Jardinieres, each with liner, scrollwork stand, oxidized surface, note: major losses to liners, h. 38 1/2 in., w. 36 in., d. 24 in. [$800/1200]

819. French Iron and Brass Baker’s Rack, marked “...Paris, France”, crest with sheaf of wheat scroll supports, glazed shelves, h. 84 in., w. 49 1/2 in., d. 16 1/4 in. [$800/1200]

815. Antique Oak and Cast Iron Wharf Cart, plank top, large paired wheels centered, smaller pivot wheel each end, four metal pockets for steering poles, h. 47 1/2 in., w. 54 in., d. 24 in. [$400/600] Provenance: Merlin Candies, New Orleans, LA.

818. Louisiana Cypress Store Counter, 19th c., “barge board” top of 3 planks, molded surround, four doors to each side, plinth base, casters, h. 37 1/2 in., w. 111 in., d. 45 in. [$800/1200] 817. American Oak Walking Cane Display Case, labeled “Oscar Oken & Co., Cincinatti”, domed top, glazed case fitted for 60 canes, blocked base, h. 47 in., w. 35 1/2 in., d. 19 1/2 in. [$800/1200]

820. Antique French Wrought Iron Café Table, circular top, scrolled base, h. 39 1/2 in., dia. 28 in. [$600/900]

821. Antique French Pine Farmhouse Table, 19th c., four board top, frieze drawer to one end, chamfered tapered legs, h. 30 1/2 in., w. 31 1/2 in., d. 67 1/4 in. [$300/500]

822. Achille Perelli (Italian/New Orleans, 1822‑1891), “Nature Morte: Prairie Chicken”, 1881, pastel on paper, pencil‑signed and dated en verso, inscribed with artist and title on backing, 20 in. x 12 in., framed. [$800/1200]

Additional information at www.nealauction.com

823. Achille Perelli (Italian/ New Orleans, 1822‑1891), “Portrait of a Golden Dog”, pastel on board, signed and inscribed lower left, “Gilley’s Gallery, Baton Rouge” label on backing, 13 3/4 in. x 10 1/2 in. (oval), framed. [$400/600]

824. Colette Pope Heldner (American/ Louisiana, 1902‑1990), “Swamp Idyl (Louisiana Bayou Country)”, oil on canvas, signed lower left, 36 in. x 48 in., unframed. [$2500/3500]

826. John Korver (American/ Louisiana, 1910‑1988), “Picking Paw‑Paws”, watercolor on paper, signed lower right, inscribed with artist and title on backing, 11 1/8 in. x 7 1/2 in., framed. [$700/1000] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

825. Chestee Harrington (American/Louisiana, b. 1941), “Robert E. Lee”, 1973, oil on carved wood, signed and dated lower left, 23 7/8 in. x 48 in., framed. [$1000/1500]

828. William Clusmann (American/Illinois, 1859‑1927), “Springtime on the Farm”, oil on canvas, signed lower left, 26 1/4 in. x 40 in., framed. [$700/1000]

827. Elfriee Frieda Borkmann (American, 1881‑1957), “Charleston, SC”, 1915, watercolor on paper, signed lower right, handwritten label with title and date, “Bertha Lykes, Picture Stylist, New York” and “The St. Augustine Gallery, St. Augustine, FL” labels on backing paper, 13 3/4 in. x 16 1/2 in., framed. [$200/300] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

829. American School, 1895, “Basket of Strawberries”, oil on canvas, signed “D.W. Kendall”, dated and “Charles G. Calder, Providence, RI” label on stretcher, 9 in. x 13 in., framed. [$300/500]

830. Attributed to Levi Wells Prentice (American, 18511935), “Landscape with Creek”, oil on canvas, “L. W. Prentice” pencil-inscribed en verso and on stretcher, 6 7/8 in. x 12 in., framed. [$1000/1500]

831. Catherine Snell Tuttle (American/ California, 1893‑1971), “Fall Landscape with Distant House”, gouache on board, signed lower left, partial “Provincetown Art Gallery” label on frame, 20 1/8 in. x 20 in., framed. [$500/800]

834. Elizabeth Shippen Green (American/ Pennsylvania, 1871‑1954), “That Excellent Art of Simpling which hath been a Studie for the Wisest an Exercise for the Noblest a Pastime for the Best”, charcoal and watercolor on paper mounted to board, initialed lower left, 12 3/4 in. x 15 1/2 in., unframed. [$400/600]

832. Frank Henry Shapleigh (American, 1842‑1906), “Old Homestead on Silver Lake, Madison, N.H.”, 1901, oil on canvas, signed and dated lower right, signed and titled en verso, 18 in. x 30 1/4 in., framed. [$600/800]

833. Franklin Briscoe (American, 1844‑1903), “Sailboats on a Choppy Sea”, oil on board, signed lower right, artist information inscribed en verso, 10 5/8 in. x 13 7/8 in., framed. [$400/600]

835. Paul Strisik (American/ Massachusetts, 1918‑1998), “Rockport Harbor (motif #1)”, oil on canvas panel, signed lower right, artist label with title en verso, 8 in. x 12 in., framed. [$700/1000] 836. T. M. Nicholas (American, b. 1963), “Outside Kennebunk”, oil on board, signed lower right, label with artist and title en verso, 8 in. x 10 in., framed. [$800/1200] 837. Paul Strisik (American/ Massachusetts, 1918‑1998), “Sparkling Surf”, oil on canvas, signed lower left, artist label with title on stretcher, 20 in. x 30 in., framed with artist plaque. [$800/1200]

838. American School, 1834, “Two Sisters under a Willow Tree”, watercolor on paper, signed “D. Orme”, dated and inscribed “Dela.” lower right, 13 5/8 in. x 12 1/8 in., framed with églomisé mat. [$200/300]

839. Harry Fenn (British/American, 1845‑1911), “From White Sand”, watercolor on paper mounted to board, pencil‑signed mid‑left, illegibly inscribed lower left, titled on reverse of backing board, 9 7/8 in. x 13 7/8 in., framed without glass. [$300/500]

840. Hardwood Refectory Table, breadboard end top, ring turned and blocked legs, stretcher base, h. 30 1/2 in., w. 84 1/2 in., d. 36 1/2 in. [$600/900]

Additional information at www.nealauction.com

841. American Pine Kas, likely19th c., cyma cornice, extended frieze, two raised panel doors, shelf interior with cup hooks, molded base with three deep storage bins, bracket feet, h. 88 1/2 in., w. 70 in., d. 26 in. [$2000/3000]

842. Art Moderne Low Table, circular marble top, bronze base, h. 20 in., dia. 55 in. [$500/800]

843. Pair of Ebonized Wood, Brass and Aluminum Lamps Attributed to James Mont (Turkish/American, 1904‑1978 ), c. 1940s, unmarked, barley twist standards, h. 22 in., milk glass shade, overall h. 27 1/2 in. [$200/300] Ref.: For a nearly identical pair of lamps by James Mont, see Rago, Lambertville, NJ, Jan. 13, 2013, lot 964.

844. Bill Stephens (American, 1932‑2007) for Knoll Oak and Upholstery Club Chair, 1973, Knoll International upholstery labels, one with manufacture date, red wool hopsack upholstery, h. 29 in., w. 27 1/2 in., d. 24 in. [$200/300]

845. Antique Indian Window Grate Mounted in Contemporary Side Table, glazed reeded tapered legs, h. 20 in., w. 38 in., d. 37 1/2 in. [$500/700]

847. Antique French Provincial Fruitwood Harvest Table, herringbone parquetry top, spurred shaped apron, cabriole legs, h. 30 1/2 in., w. 36 1/2 in., d. 89 in. [$500/1000] 846. Pair of Antique Indian Window Grates Mounted in Contemporary Side Tables, glazed blocked legs, h. 19 in., w. 32 3/4 in., d. 35 in. [$800/1200]

848. Restauration Bronze‑Mounted Mahogany Lit en Bateau, tubular crest rails, spherule finialed colonnettes, conforming feet, h. 34 1/2 in., w. 70 in., d. 30 3/4 in. [$400/800] 849. Charles X‑Style Child’s Mahogany Fauteuil, scrolled crest rail, dolphin arm supports, silk upholstery, sabre legs, h. 26 3/4 in., w. 18 in., d. 15 in. [$200/400]

850. French Provincial Gilt Decorated Fruitwood Occasional Table, dished top, shell and floral carved frieze drawer, shaped apron, galleried stretcher shelf, cabriole legs, h. 27 in., w. 36 in., d. 20 in. [$200/400] 851. Suite of Five French Provincial Fruitwood Chairs, incl. one armchair and four side chairs, arched molded backs, serpentine leather seats, cabriole legs, armchair h. 39 1/2 in., w. 24 1/2 in., d. 20 in., side h. 38 in., w. 22 in., d. 19 in. [$500/1000]

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852. Antique Dutch Miniature Walnut Bombé Commode, three shaped drawers, molded canted corners, shaped apron, ball and claw feet, h. 13 in., w. 21 1/2 in., d. 8 1/2 in. [$400/600] Provenance: Wooten Auction. 853. Continental Renaissance Revival Carved Mahogany Server, 19th c., foliate and floral crest with stag’s head, mirror back superstructure with two shelves with lower case with two drawers over paneled doors, on molded feet, h. 85 in., w. 52 1/2 in., d. 20 1/2 in. [$500/1000]

854. Joan Miró (Spanish, 1893‑1983), “Colophon of First Signature”, 1963, artist‑enhanced lithograph on folded Rives paper, pencil‑signed lower right, “GVA RRO” watermark lower left corner, printed for Sala Gaspar, Barcelona, from Obra Inédita: Recent Miró y Album 19, 11 7/8 in. x 17 9/16 in., framed. [$800/1200] Provenance: Sala Gaspar Gallery, Barcelona.

855. Art Deco-Style Aubusson Tapestry, mid‑20th c., signed lower left “P. AUBUSSON”, depicting a man climbing a tree, 48 in. x 28 in. [$600/800] 857. Empire‑Style Bronze and Cut Glass Eight‑Light Chandelier, swan‑form arms, h. 33 in., dia. 29 in. [$600/900]

856. Antique Dutch Brass Twelve‑Light Chandelier, 19thc., vasiform standard, scroll arms, electrified, h. 23 in., dia. 22 in. [$800/1200] Provenance: Blackamoor Antiques, New Orleans, 1974; Estate of McLain Forman, Esq., New Orleans; thence by descent.

859. Regence‑Style Carved and Gilded Pier Mirror, arched foliate crest with central shell, segmented mirror plate, foliate border, h. 60 1/2 in., w. 30 in. [$300/500]

858. Louis XVI‑Style Creme Peinte and Gilt Trumeau Mirror, crest with quiver and wreath trophée, lamb’s tongue mirror surround, h. 55 1/4 in., w. 39 in. [$500/700]

860. American Mahogany Banjo Clock, early 19th c., upper tablet with a banner indicating “Patented”, h. 33 1/2 in., w. 10 in., d. 4 in. [$700/1000]

Additional information at www.nealauction.com

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862. American Modern Gothic Carved Walnut Bookcase, mid‑19th c., attr. to Daniel Pabst, Philadelphia, molded pediment, glazed doors with lappet molding, lower doors and returns decorated with stipple carving, molded plinth, h. 104 1/2 in., w. 72 1/4 in., d. 21 3/8 in. [$2000/3000] Provenance: Civil War Society of Philadelphia. Note: Several design elements on this bookcase are closely related to known case pieces from the workshop of Daniel Pabst. The finely rendered “coin” stiles are similar to examples from Pabst’s Renaissance Revival work including those on a sideboard and parlor cabinet, both conserved by the Philadelphia Museum of Art. The incised and stippled panels on this bookcase resemble panels on pieces within Pabst’s Modern Gothic oeuvre related to the work of English designer Christopher Dresser. Pabst examples with similar carving include a bedroom suite in the Philadelphia Museum of Art and an armchair from a private collection illustrated in The Art that is Life by Wendy Kaplan. Ref.: Kaplan, Wendy. The Art that is Life, The Arts and Crafts Movement in America 1875-1920. New York: Bulfinch Press, 1998, p. 73, fig. 13; Talbott, David and Page. “Daniel Pabst: Philadelphia Cabinet Maker,” Philadelphia Museum of Art Bulletin, (April 1977), p. 10, fig. 4; p. 12, fig. 6; p. 16, fig 11.

861. Louis Philippe Gilt Bronze Portico Clock, 19th c., rosette and palmette‑decorated columns and bezel, h. 19 3/4 in., w. 10 1/4 ion., w. 6 1/4 in. [$500/700]

863. George III Inlaid Burled Walnut Bookcase, 19th c., three glazed astragal molded doors, blocked base, h. 43 1/2 in., w. 73 in., d. 15 in. [$1200/1800]

865. Georgian Mahogany Sidelock Chest, 19th c., corbel decorated stiles, six graduated drawers, block base, h. 40 in., w. 21 in., d. 15 in. [$300/500]

866. Louis XV‑Style Ebonized Gilt‑Bronze Mounted Writing Table, inset tooled leather top, single frieze drawer, cabriole legs, sabots, h. 28 1/2 in., w. 30 in., d. 22 1/2 in. [$500/700]

869. Small Continental Painted Cabinet, 19th c., flared cornice, single door, shaped apron, old paint surface, h. 29 in., w. 29 1/2 in., d. 16 in. [$300/500]

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864. Antique Georgian Inlaid Walnut Bachelor’s Chest, foldover top, graduated drawers, molded bracket base, h. 32 in., w. 37 1/2 in., d. 20 in. [$1000/1500]

867. Regency Parcel Ebonized and Inlaid Mahogany Games Table, early 19th c., demilune foldover top, baize interior, blocked frieze, tapered legs, spade feet, h. 29 in., w. 36 in., d. 18 in. [$400/600]

870. Continental School, 19th/20th c., “The Fishermen”, watercolor on paper mounted to board, illegibly signed lower right, “Park Avenue Gallery” label on backing paper, 15 7/8 in. x 9 1/2 in., framed. [$300/500] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

868. Regency Inlaid Mahogany Games Table, early 19th c., demilune foldover top, baize interior, blocked frieze, tapered legs, h. 29 in., w. 36 in., d. 17 5/8 in. [$400/600]

871. Continental School, 19th c., “Landscape beside the Manor”, gouache on paper, unsigned, 14 1/2 in. x 18 5/8 in., framed. [$700/900]

872. Continental School, 19th c., “Landscape with Cows and Sheep”, oil on canvas, unsigned, 26 in. x 36 1/4 in., framed. [$800/1200]

873. Carl Friedrich Ockert (German, 1825‑1899), “After the Hunt”, 1866, oil on board, signed and dated lower left, 12 1/8 in. x 15 1/4 in., framed. [$400/600]

874. Attributed to William Joseph Shayer (British, 1811‑1892), “Winter Sports” and “Fisher Folk”, 2 oils on panel, both unsigned, “Vose Galleries, Boston” labels with artist and title en verso, each 6 1/2 in. x 8 1/2 in., framed alike with artist plaques. [$500/800] Provenance: Estate of Houston H. and Carolyn H. Harte, San Antonio, TX.

876. Continental School, late 19th/early 20th c., “Harvesting Hay”, oil on canvas, unsigned, 36 in. x 28 1/4 in., framed. [$700/1000]

875. Manner of Joshua Reynolds (British, 1723‑1792), “Countess of Carnarvon”, oil on canvas, inscribed “7. Reynolds” en verso, 2 labels inscribed with “Reynolds” and title on stretcher and one on frame, 22 in. x 19 in., framed. [$800/1200]

877. William Hart (Scottish/American, 1823‑1894), “Tree in Pasture”, oil on canvas, signed and dated lower left, 14 1/2 in. x 22 3/4 in., framed. [$1000/1500]

878. Alfred Pollentine (British, 1836‑1890), “On the Shore”, oil on canvas, signed lower right, 16 in. x 24 in., framed. [$500/700]

879. Paul César Helleu (French, 1859‑1927), “Madeleine Carlier”, drypoint etching on paper, pencil‑signed lower left, sheet 21 1/8 in. x 15 3/4 in., framed. [$600/800]

880. Pair of Chinese Chippendale‑Style Giltwood Mirrored Niches, h. 19 1/2 in., w. 9 in., d. 4 in. [$250/350]

881. Spanish Carved Maple Artist’s Lay Figure, h. 31 1/2 in., w. 8 in., d. 4 in. [$300/500]

Additional information at www.nealauction.com

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882. Kashan Carpet, ivory ground, central medallion, cartouche border, 10 ft. x 14 ft. [$700/1000]

883. Turkish Carpet, light teal ground, central medallion, overall vining design, 9 ft. x 12 ft. [$700/1000]

884. Persian Isfahan Carpet, central ivory ground, central medallion, overall vining floral design, 9 ft. x 12 ft. 5 in. [$500/700]

885. Persian Carpet, red ground, blue border, vining foliate design, 5 ft. 11 in. x 8 ft. 10 in. [$800/1200]

886. Turk Sivas Rug, pale yellow ground, allover vining floral design, 8 ft. x 11 ft. 10 in. [$700/1000]

887. Persian Rug, cream ground, overall vining design in red, pink and blue, 6 ft. 3 in. x 9 ft. 6 in. [$500/700]

888. Persian Prayer Rug, floral medallion motif in green, blue, red and brown, 4 ft. x 7 ft. 2 in. [$300/500]

889. Persian Carpet, cream ground, pink border, overall foliate design, 4 ft. 10 in. x 7 ft. 2 in. [$300/500]

890. Persian Carpet, green ground, overall vining foliate design, 8 ft. 2 in. x 9 ft. 11 in. [$600/900]

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891. Chinese Needlepoint Carpet, overall foliate design, 12 ft. x 18 ft. [$600/900]

892. French Aubussonâ&#x20AC;&#x2018;Style Carpet, pale yellow ground, cartouche design in red and green, 8 ft. 5 in. x 11 ft. 5 in. [$700/1000]

894. Monumental American Aesthetic Carved Cherrywood Mirror, late 19th c., labeled “Allen & Bro./Philadelphia”, shingled crest, cove‑molded frieze, rosette and reeded stiles, beveled mirrored panels above large mirror plate, h. 103 in., w. 58 in. [$1000/1500]

893. Monumental Empire Tole Peinte Six‑Light Billiards Chandelier, 19th c., green ground, with palmette and star decoration, electrified, h. 34 in., w. 100 in., d. 14 in. [$500/800]

895. New Orleans Mahogany Regulator Wall Clock, c. 1860, dial marked “TELL TALE CLOCK PATENDED BY Slas. FOURNIER/NEW ORLEANS” pinwheel escapement, lyre pendulum, h. 65 in., w. 24 in., d. 22 in. [$4000/6000] Provenance: Williamson‑LeBlanc Collection, Cornstalk Fence House, New Orleans. Note: Clockmaker Stanislaus Fournier came to New Orleans from France in 1841 or 1842. His pre-eminent shop at 60 Royal Street was a French Quarter landmark. Fournier’s accomplishments include the three-faced church clock installed at St. Louis Cathedral in 1851, the development of a four-hand stopwatch for horse racing in 1855, and the invention of a “tell-tale” register clock in 1857.

Note: The Allen and Brother firm, founded in 1835 in Philadelphia, exhibited and won prizes at the 1876 Centennial Exposition in Philadelphia. The design of this monumental mirror is related to pieces shown by other firms at the Centennial, including Mitchell and Rammelsberg of Cincinnati and Kimble and Cabus of New York City. The Centennial allowed these firms the opportunity to examine the work of their peers which influenced the design of later pieces. Ref.: Talbot. “Allen and Brother, Philadelphia Furniture Makers”, Magazine Antiques, (May, 1996) pp. 716, pl. I, pp. 720-722, pl. VI-IX; Dubrow. American Furniture of the 19th c., p. 13.

896. Four American Carved and Laminated Rosewood Side Chairs, mid‑19th c., attr. to John Henry Belter, New York, scroll pattern, molded crest, inverted pear‑shaped cushion back, serpentine seat rail, cabriole legs, scrolled toes, casters, cream upholstery, h. 36 1/4 in., w. 19 in., d. 24 in. [$1500/2500]

Fournier died in 1853 and is buried in New Orleans’ St. Louis Cemetery No. 1, Vault 24. Ref.: Kinabrew, J.M. “Stanislaus Fournier, New Orleans Clock and Watch Maker”, National Association of Watch and Clock Collectors Bulletin, April 1997, pp. 189-192.

898. American Rococo Carved Mahogany Center Table, mid‑19th c., molded turtle top, rocaille and acanthus frieze, one opposing drawer to each long side, C scroll legs, stretcher shelf, h. 29 in., w. 51 in., d. 31 1/4 in. [$700/1000]

897. American Rococo Carved and Laminated Rosewood Triple-Back Settee, mid‑19th c., attr. to John Henry Belter, New York, scroll pattern, serpentine seat rail, cabriole legs, scroll toes, h. 38 1/2 in., w. 66 1/2 in., d. 32 in. [$1000/1500] 899. English Aesthetic Movement Carved Ash Wardrobe, late 19th c. and later, attr. to Lamb of Manchester, dentil‑molded cornice surmounted by finials, mirrored door flanked by paneled doors, shaped base, later interior, h. 87 1/2 in., w. 90 1/2 in., d. 12 in. [$600/800] Provenance: By repute, originally made for the Duke of Marlborough.

900. Manner of Eugene Verboeckhoven (Belgian, 1798‑1881), “Le Coup de Tonnerre”, oil on metal, unsigned, handwritten label with artist and title en verso, 13 3/4 in. x 17 in., framed. [$400/600] Additional information at www.nealauction.com

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901. Josef Hermannstorfer (German, 1817‑1901), “Meeting on the Road”, oil on panel, signed and inscribed “München” lower right, 6 5/8 in. x 7 1/2 in., framed. [$300/500]

902. Continental School, 19th c., “Jesus in the Garden of Gethsemane”, oil on copper, unsigned, 12 1/8 in. x 8 1/2 in., framed. [$600/800]

905. Charles Lucien Pincon (French, 1902‑1973), “Rural Winter Scene”, oil on canvas, signed lower right, “Koch Galleries, Mobile” label on frame, 20 in. x 24 in., framed. [$400/600] 904. Continental School, 19th c., “Mountainous Landscape with Stream and Chalet”, oil on canvas, unsigned, 24 1/8 in. x 31 5/8 in., framed. [$500/700]

903. Continental School, 19th c., “Mary in Prayer”, oil on canvas, unsigned, 25 in. x 20 in., framed. [$700/1000]

906. Engravings of Bonaparte Siblings, including Jerome, Lucien, Marie Caroline, Pauline, Elisa, Joseph and Louis, 7 engravings on paper, 3 signed William Read (British, 19th c.) in plate, 2 signed William Greatbatch (British, 1802‑1885) in plate, one inscribed lower margin, sights 5 1/4 in. x 4 1/4 in., framed together in period lemon gilt frame. [$150/200]

907. Hayley Lever (Australian/ American, 1876‑1958), “Nude”, charcoal on paper mounted to board, pencil‑initialed lower right, 23 1/4 in. x 20 in., framed. [$300/500] 908. Moses Soyer (Russian/ American, 1899‑1974), “Seated Nude”, graphite on paper, pencil‑signed mid‑left, partial sketch en verso, handwritten label with artist and title on back glass, sight 14 1/2 in. x 14 3/4 in., framed with double‑sided glass. [$300/500] 909. E.E. Cummings (American, 1894‑1962), “Woman with Downcast Eyes”, 1940, oil on canvas, unsigned, “Beaux Arts, Dallas, TX” gallery label with artist, title and date on backing board, 12 in. x 9 in., framed. [$1500/2500] Provenance: Ex‑Collection of the artist’s estate; Swann Auction Galleries, New York, NY, June 13, 2013, lot 109. 910. Paul Strisik (American/Massachusetts, 1918‑1998), “Last of Winter”, oil on canvas, signed lower right, artist label with title on stretcher, 12 in. x 16 in., framed. [$700/1000]

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913. Ralph Hillbom (American, 1894-1977), “Coastal Landscape”, 1966, oil on canvas, signed lower right, signed and dated en verso, 24 in. x 30 in., framed. [$500/700] 911. T. M. Nicholas (American, b. 1963), “Homeward Bound”, oil on canvas, signed lower right, label with artist and title on frame, 16 in. x 12 in., framed. [$1000/1500]

912. Amy Talbot Shirley (American, 19th c.), “Margaret Talbot Bronson (1901-1911)”, 1912, oil on canvas, signed and dated lower left, inscribed with artist and title and partial artist biography en verso, 18 in. x 14 in., framed. [$500/700]

915. Peter Falk (American/ California, 1927‑2011), “Girl in a Blue Blouse”, lithograph on paper, pencil‑signed lower right, numbered “83/300” lower left, handwritten label with artist, title and edition number on backing, 28 in. x 20 in., framed. [$400/600]

916. Polychrome Concrete Bust of Abraham Lincoln (1809‑1865), h. 21 1/2 in., w. 14 1/2 in., d. 14 1/2 in. [$800/1200]

914. Josephine Sacabo (American/ Texas, b. 1944), “El Angel Salvaje”, 1995, silkscreen on paper, pencil‑signed and numbered “164/350” lower margin, from CAC Collectors Club, CAC information label with artist and title on backing paper, sheet 26 1/4 in. x 22 3/16 in., framed. [$200/300]

917. Aaron Bohrod (American/Wisconsin, 1907‑1992), “Rural Landscape”, watercolor on paper, signed lower right, 10 3/8 in. x 14 7/8 in., framed without glass. [$500/700]

918. George Washington Sully (American/Louisiana, 1816‑1890), “Parakete’s [sic] Portrait”, 1937, watercolor on paper, titled lower center, signed, dated and heavily inscribed en verso, 6 3/8 in. x 7 1/2 in., framed. [$300/500] Provenance: Didier Inc., New Orleans.

919. American School, 19th c., “Portrait of a Lady” and “Portrait of a Gentleman”, 2 watercolors on paper, both unsigned, each 7 in. x 6 in., framed alike. (2 pcs.) [$200/300]

920. American Statesmen and Scholars, “Major General Thomas Sumter”, “Philip Syng Physick, M.D.”, “Thomas Say”, “John W. Francis”, John McLane” and “Abraham Baldwin”, 6 engravings, sights 7 1/2 in. x 5 3/4 in., framed alike. (6 pcs.) [$200/300]

921. John William Hill and Benjamin F. Smith, “New Orleans from the Lower Cotton Press 1852”, small format chromolithograph, after David Moody (American, 1774‑1874), published by Smith Bros. & Co., New York, sight 5 1/2 in. x 8 3/4 in., framed. [$150/250]

922. After John James Audubon (American, 1785‑1851), “Long‑billed Curlew”, Plate 231, photolithograph, later edition, from Birds of America, sight 24 in. x 36 in., framed. [$150/200]

Additional information at www.nealauction.com

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923. Alfred Rudolph Waud (American/New York, 1828‑1891), “The Moss‑Gatherers”, 1872‑74, hand‑colored engraving, initialed in plate lower left, from Picturesque America, sheet 9 1/2 in. x 12 1/2 in., framed. [$75/100]

924. Earl K. Long Campaign Poster, “The Long Ticket, Carry on for Huey and O.K.”, 1940, political poster, printed by Franklin Printing Company, New Orleans, sight 27 1/2 in. x 20 1/4 in., framed. [$300/500]

926. Charles Henry White (American/ New York, 1878‑1918), “Old Spanish Prison, New Orleans”, 1909, etching, pencil‑signed, dated and numbered “16/25” lower margin, “Nelson De Clark, New York” label and handwritten label with artist and date on backing, sight 10 3/4 in. x 8 3/4 in., framed. [$400/600]

927. Pair of French Bronze‑Mounted Cobalt Glass Perfume Bottles, faceted stoppers, h. 7 in., dia. 2 1/2 in. [$150/250]

925. John James Audubon (American, 1785‑1851), “Carolina Parrot”, Plate 26, color reproduction, from The Birds of America, published by New York Graphic Society, 1951, sight 32 1/2 in. x 23 in., framed. [$100/150]

928. Tortoiseshell, Bone‑Inlaid and Paint‑Decorated Dresser Box, h. 2 3/4 in., w. 4 7/8 in., d. 4 in. [$300/400]

Provenance: Schwitz Collection, Franklin, LA.

931. Continental Copper Repousse Panel of a Vineyard Scene, early 20th c., h. 22 1/4 in., w. 59 in. [$200/300]

929. Continental Ebonized and Boullework Coffer, c. 1900, doors enclosing small drawers, turned feet, h. 11 1/4 in., w. 13 in., d. 9 in. [$300/500]

930. Continental Gilt Bronze Potpourri Vase, late 19th c., cast with Renaissance busts and garlands, h. 10 in., w. 8 in., d. 5 1/2 in. [$200/300]

932. Pair of French Gilt Metal‑Mounted Marble Table Lamps, h. (to socket) 20 in. [$500/700]

933. Pair of French Renaissance‑Style Bronze Seven‑Light Candelabra Lamps, h. (to socket) 26 in., dia. 12 in. [$400/600]

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934. English Walnut and Brass Stereoscope, c. 1860, marked on eyepieces “Achromatic Stereocsope Smith Beck & Beck 6 Coleman St. London”, viewer flips and stores in the base, h. 11 in., w. 8 in., d. 7 1/2 in. [$300/500]

935. English Glass Baluster Form Hurricane Shade, engraved with emblem of lion and crown, folded foot rim, h. 22 in., dia. 8 in. [$500/700]

937. American Federal Giltwood Looking Glass, early 19th c., molded blocked cornice mounted with spherules, eglomise panel with Classical scene, over old mirror plate, spherule-mounted stiles, h. 32 in., w. 18 in. [$300/500]

936. American or English Blown and Cut Glass Hurricane Shade, 19th c., with star and swag design, molded foot rim, h. 21 in., dia. 8 in. [$400/600]

Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

938. American Classical Carved Mahogany Tabernacle Mirror, c. 1830, New York, inlaid frieze, foliate and ring turned pilasters, blocked corners with brass rosettes, divided mirror plate, h. 38 1/2 in., w. 22 in. [$200/300] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC. 940. American Classical Faux Bois and Gilt Mirror, ogee surround with foliate corners, divided mirror plate, h. 47 1/2 in., w. 23 1/2 in. [$200/400]

941. American Late Classical Carved Mahogany Four Poster Tester Bed, c. 1840, cyma molded tester, cabochon crest with foliate scrolls, reverse tapered fluted octagonal posts, bracketed rails with beading, note: reduced in height, h. 101 1/2 in., l. 78 in., w. 59 in. [$3000/5000]

939. Antique Continental Carved and Gilt Mirror, foliate surround, beveled mirror plate, h. 18 in., w. 22 in. [$300/500]

942. American Rococo Carved Mahogany Armchair, pierced rocaille crest, padded arms, egg and dart seat rail, acanthine toupie feet, casters, h. 42 1/4 in., w. 27 in., d. 39 1/4 in. [$700/1000]

943. Pair of American Carved and Laminated Rosewood Side Chairs, mid‑19th c., attr. to John Henry Belter, New York, scroll pattern, molded crest, inverted pear‑shaped cushion back, serpentine seat rail, cabriole legs, scroll toes, h. 35 in., w. 19 in., d. 19 in. [$700/1000]

944. Two American Rococo Carved and Laminated Rosewood Side Chairs, mid‑19th c., attrib. to. John Henry Belter, New York, fruit and foliate crests, scroll surround, serpentine seat rails, cabriole legs, casters, h. 37 in., w. 18 in., d. 24 in. [$700/1000] Additional information at www.nealauction.com

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946. American Walnut Chest of Drawers, late 18th c., molded top, three short drawers over three graduated drawers, shaped bracket feet, h. 38 1/2 in., w. 42 3/4 in., d. 21 1/4 in. [$700/1000]

945. Antique Cherrywood Corner Cupboard, poss. New England, broken arch pediment with finials, arched glazed doors, shelf interior, base with two doors, shaped apron, French feet, h. 105 1/2 in., w. 54 in., d. 13 1/4 in. [$1000/1500]

947. Pair of American Classical Ebonized and Gilt Decorated Fancy Chairs, early 19th c., tablet crest rail, cane seat, ring turned, tapered legs, spherule feet, h. 33 in., w. 19 in., d. 22 in. [$300/500]

950. Antique Southern Pine Clerk’s Desk, 19th c., pedimented gallery, lift top with galleried edge, fitted interior, square legs, h. 40 1/4 in., w. 35 1/4 in., d. 22 1/2 in. [$300/500] 948. American Federal Carved Walnut Tilt-Top Candlestand, early 19th c., dished top, vasiform standard, spider legs, spade feet, h. 28 in., w. 19 1/8 in. [$300/500]

949. American Federal Mahogany Tilt-Top Candlestand, late 18th c., baluster standard, outswept legs, pad feet, h. 27 1/2 in., dia. 19 1/2 in. [$250/350]

951. Paint-Decorated Ship Captain’s Chest of Drawers, 19th c., “Captain E. Forde, U.S.S. Ohio”, dated on front 1870, two short drawers over three long drawers, decorated with central compass flanked by American flags, canon with canon ball stacks, compressed bun feet, h. 37 1/4 in., w. 36 in., d. 16 1/2 in. [$500/700]

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952. Louisiana Hickory Child’s Rocking Chair, 19th c., ring-incised stiles with finials, slat back, paddle arms, split oak seat, turned stretchers, h. 32 in., w. 22 in., d. 27 in. [$400/600]

953. Antique Miniature Mahogany Slant-Front Desk, fitted interior, four drawers, shaped bracket feet, h. 11 in., w. 11 1/4 in., d. 6 3/4 in. [$250/350]

954. American Painted Pine Corner Shelf, late 18th/early 19th c., molded surround, five shelves with molded edge, scalloped apron, old gros rouge paint surface, h. 75 in., w. 47 1/4 in., d. 17 in. [$400/600]

955. Neoclassical‑Style Creme Peinte and Gilt Curule Stool, velvet upholstery, h. 19 in., w. 21 1/2 in., d. 16 1/2 in. [$250/350]

956. Empire-Style Carved, Ebonized and Parcel Gilt Partner’s Desk, shaped reeded top with inset tooled leather writing surface, conforming frieze with four drawers, lion monopod legs, h. 30 1/4 in., w. 72 in., d. 42 in. [$500/700]

957. Antique George III‑Style Mahogany Bowfront Chest, molded top, four graduated drawers, bracket feet, h. 33 1/2 in., w. 38 1/2 in., d. 23 in. [$500/1000]

958. Georgian‑Style Carved Mahogany Breakfront, molded cornice, arcaded frieze, astragal molded beveled glass doors, shelf interior, conforming base with gadrooned edge, raised panel doors, blocked base, h. 86 1/4 in., w. 84 1/2 in., d. 21 in. [$700/1000]

960. Chippendale‑Style Carved Mahogany Triple-Back Settee, Gothicized splats, shepherd’s crook arms, acanthus carved cabriole legs, scrolled toes, h. 37 1/2 in., w. 75 in., d. 25 in. [$300/500]

959. American Federal‑Style Inlaid Mahogany Sideboard, labeled “Henkel Harris, Original Virginia Galleries”, bowfront top, conforming case, two central drawers, two side cabinets, tapered spade feet, h. 35 3/4 in., w. 52 1/4 in., d. 23 in. [$1000/1500]

961. American Carved Oak Breakfront/Bookcase, attr. to Daniel Pabst, center case with leaded slag glass doors enclosing shelves, side cases with open shelves over, h. 93 in., w. 105 in., d. 20 1/2 in. [$1000/2000]

962. Edwardian‑Style Claret Silk Damask Love Seat, bullion fringe, h. 31 in., w. 64 1/2 in., d. 36 in. [$200/400]

963. Regence‑Style Carved Walnut Fauteuil à la Reine, needlepoint padded back and seat, scrolled arms, foliate cabriole legs, scroll toes, h. 45 in., w. 26 in., d. 26 in. [$400/600]

964. Louis XVI‑Style Carved Mahogany Bergere à Oreilles, bowknot crest, padded acanthus carved arms, lamb’s tongue seat rail, stopfluted tapered legs, h. 45 1/2 in., w. 27 1/2 in., d. 27 1/2 in. [$200/400]

Additional information at www.nealauction.com

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965. Louis XV‑Style Fruitwood Side Table, 19th c., inset leather top with gallery, frieze drawer, shaped skirt, attenuated cabriole legs, sabot, h. 27 1/2 in., w. 14 1/4 in., d. 23 in. [$150/250]

966. Renaissance‑Style Carved Oak Cabinet, 19th c., molded top, two doors with applied decoration, shelf interior, conforming base, turned feet, h. 21 in., w. 19 5/8 in., d. 7 3/4 in. [$200/300]

967. Two Louis XV‑Style Carved Walnut Stools, foliate and shell carved aprons, needlepoint cushion with nailhead trim, X stretchers, cabriole legs, scroll toes, taller h. 18 in., w. 19 in., d. 16 1/2 in., shorter h. 16 in., w. 20 in., d. 16 in. [$200/400]

968. Pair of Louis XVI‑Style Carved Rosewood Fauteuils, molded back, scrolled and padded arms, shaped seat, turned and tapered legs, h. 37 in., w. 29 in., d. 23 in. [$800/1200]

969. Louis XVI‑Style Marquetry and Gilt Bronze‑Mounted Side Table, bronze molded top with musical trophée, swagged frieze, incurvate stretcher shelf, molded tapered legs, cuffs, h. 29 in., w. 19 in., d. 12 in. [$100/200] Provenance: Williamson‑LeBlanc Collection, Cornstalk Fence House, New Orleans.

972. Two Italian Carved Fruitwood Armchairs, 19th c., shell centered scroll crest, pierced splat, shaped stretcher, cabriole legs, h. 41 1/4 in., w. 22 3/8 in., d. 19 in. [$200/400] 970. Antique Louis XVI‑Style Carved Mahogany Ballroom Chair, laurel wreath crest, fluted stiles, beaded chair rail, tapered fluted legs, h. 34 1/4 in., w. 16 3/4 in., d. 17 1/2 in. [$150/250] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

971. Continental Rococo‑Style Ebonized and Parcel Gilt Games Table, tooled leather top, slide out chip pockets, frieze drawer, shell carved apron, cabriole legs, hoof feet, h. 29 1/2 in., w. 32 in., d. 32 in. [$400/600]

973. Wrought Iron and Glass Dining Table, rectangular glass top, octagonal base, beaded oval frieze, gilt bellflowers, h. 32 in., w. 65 in., d. 35 in. [$500/800]

975. William IV Carved Rosewood Polescreen,, mid‑19th c. , now converted to floor lamp. [$200/400]

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974. Two Decorative Pedestals, cylindrical faux marbre, the other with a marble top over a fluted cabinet, molded base, taller h. 28 in., dia. 16 in. [$300/500]

976. Two Louis XV‑Style Carved Walnut Stools, needlepoint cushions, nailhead trim, cabriole legs, taller h. 18 1/2 in., w. 17 in., d. 17 in. [$150/250]

978. Three Jean Gerbino Mosaic Ceramic Pieces, c. 1950, Vallauris, France, impressed marks, incl. bowl, vase, and a pewter‑rimmed plate (unmarked), bowl h. 4 5/8 in., dia. 9 in., Note: chip to vase rim. [$250/350]

977. Charles X Walnut Vitrine, 19th c., glazed top with wood gallery, medial tier, incurvate triangular plinth, turned legs, flattened bun feet, h. 33 1/2 in., dia. 25 in. [$100/200] Provenance: Williamson‑LeBlanc Collection, Cornstalk Fence House, New Orleans.

980. Six Antique French Glazed Pottery Jars and Pitchers, incl. 2 from Uzes, 3 jaspe pieces from the Savoie, and a floral decorated pitcher, largest h. 7 1/2 in., w. 7 1/2 in., d. 6 in. [$300/500]

979. Large Madoura Pottery Ceramic Platter, c. 1960, marked “MADOURA PLEIN FEU”, h. 15 in., w. 24 3/4 in., d. 2 1/4 in. [$300/500]

981. Six Antique French Yellow Glazed Pottery Pieces, incl. 4 confit pots, largest h. 7 3/4 in., and 2 lidded pots, larger h. 11 1/2 in.; together with 4 bone plates, w. 8 1/2 in., and 3 small plates, dia. 7 1/4 in. (13 pcs.) [$500/700]

983. Bronze Mounted Polychrome Porcelain Centerpiece, marked “Mark Roberts”, decorated in Chinese famille jaune style with finger citron and flowers, h. 14 in., w. 21 in., d. 14 1/4 in. [$150/250]

982. Continental Glazed Ceramic Sphinx, plinth base, h. 14 1/4 in., w. 23 1/2 in., d. 8 1/2 in. [$400/600]

984. Paris Polychrome and Gilt Porcelain Fruit Bowl, 19th c., blue rim, interior and exterior painted with fruit sprays, h. 5 in., dia. 11 in. [$150/250]

986. Twelve Limoges Porcelain Dinner Plates, marked WM Guerin and Co., floral and gilt decoration, dia. 10 7/8 in. [$200/400]

985. Paris Porcelain Luncheon Service, 19th c., decorated with green and gilt bands and monograms, incl. soup tureen, h. 12 in., w. 12 1/2 in.; 2 covered vegetables, h. 6 1/2 in., w. 10 1/4 in.; 2 oval platters, l. 13 in.; 4 round platters, dia. 11 1/8 in. to 12 in.; gravy boat and underplate, l. 10 in.; shell‑form dish, l. 8 1/2 in.; 30 plates, dia. 8 3/4 in.; and 8 soups, dia. 8 3/4 in. (49 pcs.) [$500/750]

987. Twenty‑Nine Antique Continental Porcelain Fish Plates, incl. 12 by Guerin, Limoges, with blue and gilt rim; 6 by A.D. Hache, Paris, with monogram “A.R.G.”; and 12 with fishscale rim by B & G, Copenhagen, dia. 8 1/4 in., 9 1/4 in. and 9 1/2 in., respectively. [$300/500]

989. Pair of Aesthetic Movement Brass Fire Tool Rests, c. 1895, stylized flower finials, h. 12 1/2 in., w. 6 1/2 in., d. 10 in. [$175/250]

988. Antique Mahogany Pot Commode, 19th c., cylindrical with dished top, interior with one shelf, h. 29 in., dia. 14 in. [$300/500]

990. American Carved Mahogany Furniture Elements, 19th c., from Classical Settee arms, on velvet covered board, h. 26 in., w. 25 in. [$200/400] Additional information at www.nealauction.com

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991. American Mahogany and Gilt Brass Jewelry Coffer, glazed doors enclosing fitted drawers, h. 14 in., w. 17 1/2 in., d. 10 3/4 in. [$400/600]

992. Pair of American Brass Urn‑Form Andirons, 19th c., h. 17 in., w. 10 in., d. 23 in. [$200/300] Provenance: Didier Inc., New Orleans.

994. Miscellaneous Group of Small American Sterling Silver Table Objects, incl. Whiting bud vase, h. 11 7/8 in.; pr. of Mauser bud vases, ret. M. Scooler, weighted bases (1 detached but retained), h. 8 in.; Gorham reticulated sandwich tray, date mark for 1910, dia. 9 1/2 in.; 2 dishes with reticulated borders, dia. 8 1/4 in., and 9 1/2 in.; footed bowl, h. 3 in., w. 61/8 in.; bowl, dia. 6 in.; jigger and cigarette urn; 10 pcs., total wt. (weighable) 30.55 troy ozs. [$500/700] 993. Pair of Modernist Sterling Silver Candleholders, J. Wagner & Son, New York, act. 1950‑1965, h. 4 in., w. 9 3/4 in. [$400/600]

995. Two American Sterling Silver Reticulated Footed Bowls, early‑to‑mid 20th c., incl. Gorham, pattern 8089, h. 3 3/8 in., w. 10 1/4 in., d. 7 1/4 in.; and example with rubbed marks, h. 2 7/8 in., w. 8 3/4 in., d. 7 1/4 in.; total wt. 27.65 troy ozs. [$400/600]

999. Group of American Coin Silver and Sterling Silver Serving Pieces, incl. a tomato server, Gorham, “Poppy” pattern, pat. 1902, ret. Coleman E. Adler; a relish spoon and strawberry fork, Whiting, “Bead” pattern, introduced 1880; an Alvin Art Nouveau bonbon spoon; a Whiting bonbon spoon; a Gorham lemon fork, 1875; a tablespoon, Reed & Barton, “Burgundy” pattern, introduced 1949; a tablespoon, “Fiddle Typt” pattern, marked “Clayton”; and a salt spoon with cupid terminal; combined wt. 9.80 troy ozs. [$200/300]

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996. Gorham Sterling Silver Coffee and Tea Service in the Regency Taste, pattern 3180, incl. coffee pot (h. 8 1/2 in.), teapot, covered sugar and creamer, total wt. 45.45 troy ozs. (note teapot missing finial). [$600/900]

1000. Group of American Sterling Silver Holloware, 20th c., various makers, incl. Whiting reticulated bread tray, l. 10 3/8 in.; 2 International bowls, dia. 9 1/8 in. and 10 in.; and Shreve & Co., San Francisco, 2 handled cup, h. 3 7/8 in., w. 4 3/4 in.; total wt. 30.55 troy ozs. [$300/400]

997. Good Group of Antique Gorham Sterling Silver Flatware, incl. “Raphael” pattern, pat. 1875, designed by George Wilkinson: 6 tablespoons and 6 demitasse spoons; and “Old French”, pat. 1904, designed by William C. Codman: 9 seafood forks, 11 butter knives (fh) and fruit knives (hh); together with 2 demitasse spoons; total wt. (weighable) 29.65 troy ozs. (34 pcs.) [$500/700]

1001. Good Group of Antique and Vintage American Coin and Sterling Silver Flatware, incl. 2 New Orleans coin silver “Fiddle Thread” tablespoons, Henry Peat Buckley (1822‑1903), act. New Orleans 1842‑1903, marked “H.P. BUCKLEY N. ORLEANS” incuse, script monogram “AR” on reverse, l. 8 1/8 in.; coin silver “Fiddle Thread “ tablespoon, William Ingalls Tenney, NY, NY, marked “TENNEY 251 B. WAY” incuse, engraved in script “Mary Bigelow”, l. 8 1/8 in.; sterling flat asparagus server, Davis & Galt, Philadelphia, pattern GA1, pat. 1891, l. 9 1/4 in.; 3 sterling forks (l. 7 5/8 in.) and teaspoon, Gorham “Versailles” pattern, pat. 1888; and 3 Colonial Revival sterling demitasse spoons (one engraved with Elves of Oberon logo); total wt. 17.8 troy ozs. (11 pcs.) [$250/350]

998. Good Group of American Sterling Silver Small Bowls, early‑to‑mid 20th c., incl. pair of Gorham clover blossom repousse, pattern A2569, dia. 5 3/8 in.; Whiting rocaille, pattern 5592, dia. 7 5/8 in.; Whiting floral repousse with swing handle, dia. 4 1/2 in.; and Towle, dia. 5 5/8 in.; total wt. 17.35 troy ozs. [$300/500]

1002. Group of American Coin Silver Flatware, incl. 3 fiddle typt soup spoons and 1 dessert spoon, E. Jaccard & Co., St. Louis, act. 1852‑1901; 4 fiddle typt teaspoons, ret. J.B. Fidler, Philadelphia, act. 1847‑1861; 5 fiddle typt dessert spoons, 3 engraved forks, 19th c., l. 7 5/8 in., and a fiddleback cream ladle, maker “ER” in serrated rectangle; together with a sterling clip, total wt. 17.45 troy ozs. [$200/300]

1003. American Sterling Silver Dresser Set, mid‑20th c., incl. hand mirror, hairbrush and comb. (3 pcs.) [$100/150] Provenance: Schwitz Collection, Franklin, LA.

1004. English Silverplate Tea and Coffee Service, Samuel Evans & Sons, Birmingham, act. c. 1875, incl. hot water urn (assoc., mark not identified) (h. 15 in.), teapot, coffee pot (h. 8 3/4 in.), open sugar and creamer, with associated tray, Cooper Bros., Sheffield, act. 1867‑1964, 30 1/2 in. x 19 1/2 in. Note: loss to silvering. [$400/600]

1005. American Rococo Bronze Four‑Light Gasolier, c. 1850, Archer & Warner, Philadelphia, marked on the grapevine chain links, mounted with portrait busts, electrified, h. 50 in., dia. 33 in. [$1000/1500] Provenance: Briggs Martin House, Garden District, New Orleans.

1006. American Slag Glass and Bronzed Metal Scenic Overlay Table Lamp, early 20th c., probably H.E. Rainaud, Meriden, CT, the base and shade with a Japanese garden motif, with bamboo, lilies, cranes, and arched bridges, h. 26 in., 20 in. [$600/900]

1007. 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] 1008. American Bronze Double‑Light Argand Lamp, 19th c., foliate decorated font, faceted spear prisms, h. 18 1/2 in., w. 16 in., d. 6 1/2 in. [$400/600]

1009. American Brass Sinumbra Lamp, 19th c., tapering columnar standard, round foliate base, square plinth, cut glass shade, h. 25 3/4 in., w. 11 in., d. 11 in. [$400/600]

1010. Antique Continental Neoclassical Burlwood and Parcel Ebonized Dressing Mirror, 19th c., pedimented crest, ring turned colonnettes, single drawer, h. 24 1/2 in., w. 17 1/4 in., d. 10 3/4 in. [$400/600]

1011. Louis XV‑Style Bronze‑Mounted Kingwood Bracket Clock, movement Franz Hermle, Germany, striking on two bells, h. 22 1/2 in., w. 12 1/2 in., d. 5 3/4 in. [$300/500]

1013. Meissen “Blue Onion” Porcelain Two Tier Dessert Stand, blue underglazed and incised marks, reticulated rims, decorated with floral strapwork motifs, h. 15 in., dia. 9 1/2 in. [$300/500]

1012. Twelve Brownfield & Son Polychrome and Gilt Porcelain Plates, late 19th c., marked, floral reserves, gilt and cobalt borders, dia. 9 3/8 in. [$200/400]

1014. Pair of Paris Rose Pompadour Porcelain Vases, 19th c., reserved with portraits and medallions, gilt accents, h. 11 in., with bronze oil lamp mounts, now electrified and mounted as table lamps, h. (to finial) 28 3/4 in. [$300/500]

Additional information at www.nealauction.com

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1015. English Imari Palette Porcelain Partial Dessert Service, 19th c., possibly Royal Crown Derby, incl. 15 plates, dia. 8 1/2 in.; 3 shell‑form dishes, l. 9 1/4 in.; 4 oval dishes, l. 11 1/2 in.; 4 square dishes, l. 8 1/4 in.; 2 covered tureens, h. 6 in.; and footed centerpiece, h. 4 in., w. 10 1/4 in., d. 8 3/4 in. (29 pcs.) [$500/700]

1017. Pair of Faux Marbre Urn-Form Lamps, h. (to socket) 20 in., dia. 8 1/2 in. [$300/500]

1016. Antique Delft Tin‑Glazed Earthenware Octagonal Vase, decorated with blue floral sprays and geometric designs on a white ground, h. 8 1/2 in. [$150/250]

1018. French Provincial Carved Fruitwood Cane Box, slant lid, wheat, goblet and grape cartouche, cabriole legs, h. 40 in., w. 9 1/2 in., d. 12 1/2 in. [$200/400]

1020. Diminutive Empire‑Style Bronze Mounted Marble Table Lamp, h. (to finial) 21 1/2 in., dia. 10 in. [$150/250]

1019. Pair of Antique American Gilt Bronze Three‑Light Wall Sconces, 19th c., scroll and foliate design, h. 11 in., w. 14 in., d. 12 in. [$500/700]

1021. Pair of Tiffany Gold Favrile Glass Goblets, early 20th c., marked “L.C.T.”, h. 6 1/2 in. [$500/800] 1022. Large American Figured Mahogany Mirror, c. 1830, beveled surround, h. 26 1/4 in., w. 38 in. [$250/350]

1024. Regency‑Style Walnut and Mahogany Center Table, labeled “Beacon Hill Collection”, molded top, blocked frieze, faceted standard, incurvate triangular base, turned urn feet, h. 28 in., dia. 47 3/4 in. [$300/500]

1023. Napoleon III Gilt Bronze and Patinated Metal Figural Mantel Clock, 19th c., reclining figure emblematic of knowledge, Japy Freres movement, h. 10 in., w. 17 in., d. 4 1/2 in. [$200/300]

1025. K. Chin (American, 1920‑1995), “Arc de Triomphe de l’Etoile”, oil on canvas, signed lower left, titled en verso, 25 in. x 50 1/4 in., framed. [$300/500] Provenance: Burrell Galleries, New York, 1963; Collection of Dr. Isidore Cohn, Jr. (1921‑2015), New Orleans. 1026. K. Chin (American, 1920‑1995), “Place de la Concorde”, oil on canvas, signed upper right, 20 in. x 16 in., framed. [$300/500] Provenance: Burrell Galleries, New York, 1963; Collection of Dr. Isidore Cohn, Jr. (1921‑2015), New Orleans.

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1027. German School, 19th c., “Fisherman’s Cottage in Norway”, oil on canvas, illegibly signed lower right, labels with title in German on stretcher, 16 3/4 in. x 27 in., framed. [$400/600]

1030. Harry T. Fisk (American, 1887‑1974), “Street Scene, New Orleans”, oil on board, signed lower left, inscribed “N.O.” en verso, 10 5/8 in. x 12 1/8 in., framed. [$500/800]

1028. Attributed to Hattie Saussy (American/Georgia, 1890‑1978), “Grinding Sugar Cane, Colquitt, Georgia”, oil on academy board, unsigned, titled lower right, partial label on frame, 12 in. x 16 in., framed. [$400/600]

1031. Cheryl Hayes (American/New Orleans, 20th c.), “Creation”, 1993, watercolor and colored pencil on paper, unsigned, “Galerie Simonne Stern, New Orleans, LA” label with artist, title and date on previous backing board, 20 5/8 in. x 29 1/2 in., unframed with previous backing board. [$400/600]

1029. Nellie B. Wright (American/New York, 19th/20th c.), “Nassau, N.P.”, watercolor on paper, signed and titled lower right, 11 7/8 in. x 14 1/4 in., framed. [$400/600]

1032. Lallah Miles Perry (American/Mississippi, 1926‑2008), “February”, ink on paper, signed lower right, “Mississippi Art Colony Fall 2000 Travel Show Entry #2” label with artist and title on backing, 14 in. x 22 1/4 in.; together with “Still Life”, ink on paper, pencil‑signed lower right, sight 7 1/4 in. x 3 in., both framed. ( 2 pcs.) [$600/800]

1035. Ellsworth Woodward (American/Louisiana, 1861‑1939), “Door in Munich”, “Woman Dining”, “Walled European Village” and “Jan Briedel and Pieter de Coninck Commemorating the Battle of Spurs, Bruges”, 1891‑92, 4 pen and inks on paper, all signed lower right or left, 2 dated, 8 1/2 in. x 12 in. to 12 3/4 in. x 18 in., unframed. (4 pcs.) [$300/500] Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans.

1033. Don Finley (American/Alabama, b. 1951), “Mountain Cafe”, 1990, watercolor on board, signed and inscribed “AWS” lower left, pencil‑signed, titled, dated and inscribed en verso, handwritten label with artist and title and “Bryant Galleries, Inc.” label on backing paper, 28 in. x 35 1/2 in., framed. [$600/800]

1034. Ellsworth Woodward (American/ Louisiana, 1861‑1939), “Seated Boy, Munich”, 1881, ink on paper, signed lower left, “Dr. James W. Nelson Collection, Gonzales, LA” label and handwritten label with artist and date on backing paper, 11 3/4 in. x 8 3/4 in., framed. [$300/500]

1038. Edmond Gaultney (American, 1946‑1986), “David Teller, New Orleans”, 1976, graphite on paper, pencil‑signed and dated lower left, 22 1/2 in. x 31 in., unframed. [$800/1200]

1036. James Ralph Wilcox (American/Florida, 1866‑1915), “River Landscape”, watercolor on paper, signed lower right, 10 in. x 20 7/8 in., framed. [$200/300]

1037. Richard Kelso (American/Mississippi, 20th c.), “Landscape”, charcoal on paper, pencil‑signed lower right, 15 5/8 in. x 16 7/8 in., framed. [$500/700]

Note: Edmond (Edmund) Gaultney was a Georgia native who had an active career as an art dealer and publisher during the 1970s and 1980s. He served as director of the Freeman-Anacker Gallery in New Orleans, Dennis Hopper Works of Art Gallery in Taos and an eponymous gallery in New York. He was friends with and worked for Andy Warhol along with many important artists and art patrons of the day. Additional information at www.nealauction.com

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1039. Pat Trivigno (American/Louisiana, 1922‑2013), “Portrait of Stephen”, 1950, oil on masonite, signed and dated lower right, inscribed “Stephen, 1 yr. old” and “New Orleans Museum of Art” label with title and date en verso, 25 in. x 15 in., framed. [$1200/1800] Provenance: Collection of the Artist; Private Collection.

1040. Don Sawyer (American/Florida, b. 1948), “Family of Six”, 2006, acrylic on panel, signed lower left, signed, titled, dated and inscribed en verso, 24 in. x 36 in., artist enhanced frame. [$800/1200]

1043. Toby Hollinghead (American/Alabama, b. 1953), “The Beach”, 2007, acrylic on canvas, signed and dated lower right, titled lower left and on stretcher, 30 in. x 40 in., unframed. [$500/800] 1042. P. Sanders McNeal (American/ Mississippi, b. 1949), “Reclining Nude”, graphite on paper, signed mid‑left, “Nunnery’s Gallery, Jackson, MS” label on backing paper, 15 3/4 in. x 11 5/8 in., framed. [$400/600]

1044. George Rodrigue (American/Louisiana, 1944‑2013), “Tee George Car”, 1995, crayon on paper laid down on mat, signed lower left, 11 in. x 13 in., unframed. [$400/600]

Provenance: The Doug and Cathy Gitter Collection. Note: “It’s like music to me, the colors have a rhythm and flow and can evoke tears and laughter. When I approach the canvas the paint and brush take over and move as of its own accord to create an emotion and an event I sometimes didn’t know was there. God blessed me by giving me this special gift of joy, and I hope to share it with others.” – Toby Hollinghead Toby Hollinghead began painting at the age of forty-five after receiving a paint set from her daughter for Christmas, and she discovered a creativity and passion that was previously unknown to her. Her natural talent has led her to exhibit in many shows throughout the South and garner a significant following with collectors. Rather than paint from nature, Hollinghead draws inspiration from memories and her religious upbringing. In spite of a difficult childhood defined by poverty and hunger, she chooses to focus on the joyful moments of her youth as well as the raising of her own children, which is evident in the lot on offer here depicting a mother enjoying the day with her two daughters on the beach.

1045. Rolph Scarlett (Canadian/New York, 1889‑1984), “Geometric Abstraction”, graphite on paper, pencil‑signed lower right, 8 1/2 in. x 7 15/16 in., framed. [$400/600] Provenance: Jim Coxe, Coxe Gallery; Fletcher Gallery, Woodstock, NY, May 27, 2012, lot 3.

1047. Ellsworth Woodward (American/Louisiana, 1861‑1939), “Kneeling Nude (Boyer 41)”, “Seated Nude, The Bather (Boyer 80)” and “Old Man and Young Lady”, 3 etchings, one pencil‑signed lower margin, one pencil‑inscribed “artist proof” lower margin, all initialed in plate, 2 with “Dr. James W. Nelson Collection, Gonzales, LA” labels with artist and inscription and one with printed label on backing paper, sights 9 in. x 8 3/4 in. to 10 1/4 in. x 8 1/4 in., framed. (3 pcs.) [$300/500]

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1041. Don Sawyer (American/Florida, b. 1948), “A Perfect Ten”, 2006, acrylic on panel, signed lower left, signed, titled, dated and inscribed en verso, 23 3/4 in. x 36 in., artist enhanced frame. [$800/1200]

1046. Ellsworth Woodward (American/ Louisiana, 1861‑1939), “Elemental Warfare, Grand Isle, LA (Boyer 23)” and “Elms (Boyer 24)”, 1931, 2 etchings, both initialed and one dated in plate, both with “Dr. James W. Nelson Collection, Gonzales, LA” labels with artist and inscription on backing paper, sheets 7 in. x 11 1/4 in. and 10 3/4 in. x 9 3/4 in., framed. (2 pcs.) [$200/300]

1048. Ellsworth Woodward (American/Louisiana, 1861‑1939), “Mexican Irrigation II (Boyer 48)” and “Pouring Tar, The Kiln (Boyer 66)”, 2 etchings, both signed in plate, both with “Dr. James W. Nelson Collection, Gonzales, LA” labels with artist and inscription on backing, sights 7 1/2 in. x 9 3/4 in., framed. (2 pcs.) [$200/300]

1049. Ellsworth Woodward (American/Louisiana, 1861‑1939), “Loading Hay (Boyer 44)”, 1932, etching, initialed and dated in plate, “Dr. James W. Nelson Collection, Gonzales, LA” label with artist and title on backing paper, sight 7 5/8 in. x 11 1/2 in., framed. [$150/200]

1051. Collection of Five New Orleans Prints, including Paul Ashbrook (American, 1867‑1949), Hubert Morley (American, 1888‑1951), Paul Berdanier (American, 1879‑1961), James Carl Hancock (American, 1898‑1966) and Charles Longabaugh (American, 1885‑1944), 5 etchings on paper, one mounted to board, each pencil‑signed and titled lower margin, 2 signed in plate, one titled in plate, one inscribed on mat with artist, title and date, sheets 8 5/8 in. x 8 1/8 in. to 12 1/2 in. x 9 7/16 in., one matted. (5 pcs.) [$500/700]

1050. Guy Livingston Woolley (American, 1893‑1970), “Church of the Batture”, 1957, etching with aquatint on paper, pencil‑signed, titled and dated lower margin, “Academic Artists Association, Inc. Springfield, Mass.” label with artist and title on matting, sheet 11 5/16 in. x 15 5/8 in., matted. [$150/250]

1052. Collection of Five New Orleans Prints, including Edith Walker Oliver (American, 1889‑1979), Leon Pescheret (British, 1892‑1971), Frederick Polley (American, 1875‑1957), George New (American, 1894‑1963) and Charles C. Svenson (American, 1871‑1959), 5 etchings on paper, one hand‑colored, each pencil‑signed lower margin, 4 titled lower margin, one signed and dated in plate, one titled in plate, one inscribed en verso, one with “Cole Corporation, Chicago” label with artist biography en verso, sheets 6 in. x 8 in. to 15 in. x 10 3/8 in., one matted. (5 pcs.) [$400/600] 1053. Collection of Six New Orleans Prints, including James A. Fisher (American, 20th c.), Jack R. Miller (American, 1942‑2014), Willie Lucille Reed (American, 1914‑1986), Ann Brumby (American, 20th c.), C. Hearn (American, 20th c.) and Elisabeth Searcy (American, b. 1877), 5 etchings and one woodblock print on paper, 4 pencil‑titled, 2 dated and 2 numbered lower margin, 2 signed in plate, one dated in plate, one titled en verso, one inscribed en verso, one typed label with artist, title and date on mat, one inscribed on mat with artist and title, one with artist biography on mat; together with 2 postcards of the Court of Two Sisters, sheets 5 1/2 in. x 3 1/2 in. to 8 5/8 in. x 11 1/2 in., 4 matted. (8 pcs.) [$400/600]

1054. Gerry Pierce (American/New York, 1900‑1969), “Old New Orleans”, “Exchange Alley, New Orleans” and “Beauregard House, New Orleans”, 3 etchings on paper, each pencil‑signed and titled lower margin, one signed in plate, sheets 6 1/8 in. x 4 3/4 in. to 8 3/8 in. x 6 7/8 in., unframed. (3 pcs.) [$200/300]

1055. Morris Henry Hobbs (American/ New Orleans, 1892‑1967), “Spinning Tops, Burgundy St., Old New Orleans”, 1940, etching on paper, pencil‑signed, titled and inscribed lower margin, titled and dated in plate, sheet 4 5/8 in. x 3 1/2 in., matted. [$200/300] Ill.: Isbell, Reed W. Morris Henry Hobbs ‑ A Catalogue Raisonné of Etchings, Engravings & Lithographs. McLean, VA: Coffee Street Publishing, 2017, p. 112.

1056. Louis Oscar Griffith (American, 1875‑1956, act. New Orleans, 1916‑1917), “Spare Tire”, c. 1940, etching with aquatint on paper, pencil‑signed lower margin, pencil‑inscribed with artist, title and date on mat, sheet 7 1/2 in. x 7 1/4 in.; AND “Yesterday, New Orleans Street”, etching with aquatint on paper, pencil‑signed lower margin, signed in plate, pencil‑titled on mat, titled and inscribed on reverse of mat, 14 1/8 in. x 10 1/8 in., both matted. (2 pcs.) [$100/150]

1057. Rolland Harve Golden (American/New Orleans, 1931‑2019), “Pirates Alley, New Orleans” and “French Quarter Street”, 2 hand‑colored lithographs on paper, each signed in plate lower right, sheets 19 1/8 in. x 12 1/8 in., framed alike. (2 pcs.) [$200/300]

1058. Alice Standish Buell (American/Illinois, 1892‑1964), “Arts and Crafts Courtyard, New Orleans” and “Green Shutter Bookshop, New Orleans”, 2 etchings on paper, each pencil‑signed lower margin, each titled in plate, sheets 9 3/4 in. x 8 3/4 in. and 10 1/2 in. x 6 1/8 in., unframed. (2 pcs.) [$150/250]

1059. Aaron Bohrod (American/ Wisconsin, 1907‑1992), “Untitled (Street Scene)”, lithograph on paper, pencil‑signed lower right, sheet 11 1/8 in. x 16 1/8 in., unframed. [$150/250] Additional information at www.nealauction.com

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1061. Eugene Loving (American/New Orleans, 1908‑1971), “Iron Lace Balconies, Old New Orleans”, etching on paper, pencil‑signed, titled and inscribed “ed/200” lower margin, sheet 12 3/4 in. x 9 11/16 in., unframed. [$100/150]

1062. Charles Surendorf (American/Indiana, 1906‑1979), “Roof Tops ‑ French Quarter ‑ N.O.”, woodblock print on rice paper, pencil‑signed, titled and inscribed “ed/100” lower margin, sheet 11 3/16 in. x 14 3/4 in., unframed. [$100/150]

1060. John McGrath (American/Maryland, 1885‑1942), “Old New Orleans #2” and “Creole Quarter, New Orleans”, 2 etchings on paper, each pencil‑signed, one titled and one numbered “25/2” lower margin, sheets 15 11/16 in. x 8 5/8 in. and 12 3/4 in. x 9 7/8 in., unframed. (2 pcs.) [$100/150]

1063. Paul H. Smith (American/Illinois, b. 1894), “Where Felicia Lives”, etching on paper, pencil‑signed, titled and inscribed “ed/90” lower margin, sheet 8 5/8 in. x 10 5/8 in.; AND “The Old French Market”, etching on paper, pencil‑signed, titled and numbered “32/75” lower margin, sheet 8 1/4 in. x 14 3/4 in., unframed. (2 pcs.) [$150/250]

1067. Frederick J. Brown (American/ Georgia, 1945‑2012), “Oscar Peterson”, 2005, serigraph on paper, signed, dated and numbered “5/5 P/P” mid‑right, 30 in. x 43 in., unframed. [$100/200]

1066. Leonor Fini (French, 1907‑1996), “Interlude”, lithograph, pencil‑signed and numbered “70/100” lower margin, “Doyle, New York” label and typed label with artist and title on backing, sheet 14 in. x 11 in., framed. [$100/150]

1070. Antique American Oak Counter Top Display Case, mirrored back doors, glazed surround and top, molded base, h. 17 in., w. 45 3/4 in., d. 28 1/2 in. [$300/500]

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1064. Edward Howard Suydam (American/ New Orleans, 1885‑1940), “Old French Market, New Orleans”, etching on paper, pencil‑signed, titled and inscribed lower margin, sheet 11 7/8 in. x 15 1/2 in., unframed. [$150/250]

1065. Southern School, 20th c., “Natchez Queen”, etching and aquatint, pencil‑signed “Mark B...”, titled and numbered “150/175” lower margin, sheet 34 in. x 28 1/2 in., unframed. [$200/300]

1068. Betsy Burleson Harnden (American/New Orleans, 20th c.), “Portraits”, c. 1970s, 10 silver gelatin prints mounted to board, one pencil‑signed and dated on board, one pencil‑signed on board, 8 7/8 in. x 13 3/8 in. to 12 3/4 in. x 8 1/2 in., all unframed. (10 pcs.) [$200/300] 1069. American Wicker Rocking Chair, late 19th c., in original state, h. 38 in., w. 22 in., d. 29 1/2 in. [$200/400]

1071. Louis XVI‑Style Inlaid Fruitwood Poudreuse, 19th c., galleried top, lifting face screen, case with small drawers, attenuated cabriole legs, h. 27 1/4 in., w. 16 in., d. 11 3/4 in. [$150/250]

1072. Louis XV‑Style Giltwood Fauteuil, early 20th c., foliate crest rail, scrolled seat rail, X stretcher, whorl feet, h. 37 1/4 in., w. 27 1/2 in., d. 27 1/2 in. [$300/500]

1073. Regence‑Style Fauteuil a la Reine, padded arms, acanthus carved cabriole legs, h. 38 in., w. 28 in., d. 30 in. [$200/400]

1074. Aaron Bohrod (American/ Wisconsin, 1907‑1992), “Portrait of a Girl”, pastel on paper, signed lower left and en verso, 19 7/8 in. x 15 7/8 in., framed. [$300/500] 1075. Ella Plaisance (American/Louisiana, 20th c.), “Lafitte’s Blacksmith Shop”, “The Cotton Pickers” and “Vieux Carré”, 3 oils on board, each signed, all titled on artist cards attached to backing boards, each 5 in. x 7 in., framed. (3 pcs.) [$400/600]

1078. American School, mid‑19th c., “Portrait of a Girl in a Red Rocking Chair with a Dog and a Cat”, oil on canvas, unsigned, “W.E. Rogers / 16 / Arcade / Philad.” canvas stamp en verso, 40 1/8 in. x 29 7/8 in., framed. [$300/500]

1077. Roberto Benjamine Rascovich (Croatian/American, 1857‑1905), “Gentleman Smoking a Pipe”, watercolor on board, signed lower left, 13 7/8 in. x 8 7/8 in., framed. [$300/500]

1076. Saul Haymond (American, b. 1953), “In the Fields”, 1999, oil on canvas, signed and dated lower right, 30 in. x 40 in., framed. [$400/600]

1079. J.B. Owens Bronze Glazed Art Pottery “Utopian” Vase, late 19th/early 20th c., impressed mark, “934” and “AE”, with floral decoration, h. 8 1/4 in. [$150/250]

1082. Pair of French Bronze Three‑Light Candelabra Lamps, c. 1900, foliate arms, tripartite base, electrified, h. (to socket) 13 in., dia. 6 in. [$300/500]

1080. Large Meissen Bisque Porcelain Figural Group of Venus and Cupid, early‑to‑mid 20th c., crossed swords mark, h. 23 1/2 in. [$200/400]

1081. French Silverplate Campagna Urn Lamp, 19th c., plinth base, applied laurel wreath panels, foliate bracket feet, electrified, h. (to socket) 25 in., w. 8 1/2 in., d. 8 1/2 in. [$400/600]

Provenance: Neal Auction, Jan. 31, 2015, lot 470; Schwitz Collection, Franklin.

1083. Pair of Blown Glass Hurricane Shades, h. 18 in., dia. 7 1/2 in. [$300/500] 1084. Antique Chinese Polychrome Painted Red Lacquered Box, hinged cover decorated with figures in a landscape playing go, h. 7 in., w. 35 1/4 in., d. 12 1/2 in. [$150/250] Additional information at www.nealauction.com

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1085. Middle‑Eastern “Jezail” Percussion Rifle, 19th c., full stock, engraved brass hardware, with ramrod, flared muzzle, barrel l. 31 in. [$500/700]

1086. Middle‑Eastern “Jezail” Flintlock Musket, 19th c., metal‑inlaid full stock, engraved bone butt, barrel l. 44 1/2 in., total l. 59 in. [$500/700]

1087. U.S. Springfield Model 1861 Percussion Rifle with Bayonet and Antique Sword, barrel l. 35 in.; together with a saber with imported blade, decorated with engraved “HONOUR AND MY COUNTRY” motto, panoply with liberty cap, sun, and a wreath, remnant of leather scabbard, l. 37 in. [$300/500]

1091. Three Coushatta Lidded Baskets, two decorated with pinecones, largest h. 13 1/2 in., dia. 14 in. [$200/300]

1088. Vintage Navajo Saddle Blanket, c. 1950s, 3 ft. 4 in. x 5 ft. 2 in. [$150/250]

1089. Vintage Navajo Saddle Blanket, c. 1950s, 3 ft. 7 in. x 4 ft. 7 in. [$150/250]

1092. Antique American Antler Clock, c. 1900, h. 18 1/2 in., w. 10 in., d. 10 1/2 in. [$400/600]

1090. Vintage Navajo Saddle Blanket, c. 1950s, 4 ft. 4 in. x 5 ft. 6 in. [$150/250]

1093. WITHDRAWN

1095. Antique Carved Mahogany Tester Bed, mid 19th c., with later posts and crest elements, h. 111 in., l. 79 1/2 in., w. 50 in. [$700/1000] Provenance: A Buenes Aires Gentleman Collector.

1096. Jacobean‑Style Carved Mahogany and Oak Draw‑Leaf Table, late 19th/early 20th c., two frieze drawers, turned legs joined by rectangular stretchers, h. 29 in., w. 91 1/2 in., d. 34 in. [$300/500]

1097. Antique Provincial Walnut Armchair, foliate scroll crest, carved splats, rush seat, blocked and vasiform turned legs, turned stretchers, toupie feet, h. 41 1/4 in., w. 22 1/4 in., d. 22 in. [$150/250]

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1094. Swiss Brass Carriage Clock for Tiffany, 20th c., dial marked “TIFFANY & Co.”, visible escapement, h. 4 1/4 in., w. 3 in., d. 2 1/2 in. [$200/300]

1098. Colonial Carved Mahogany Tea Table in the Rococo Taste, 19th c., molded turtle top, floral scroll apron, scrolled knees, cabriole legs, foliate toes, h. 29 1/2 in., w. 36 1/4 in., d. 22 3/4 in. [$300/500]

1099. Federal‑Style Mahogany Corner Cupboard, blocked stepped cornice, reeded stiles, three shaped adjustable shelves, lower cabinet, shaped bracket feet, h. 86 1/4 in., w. 42 in., d. 20 in. [$600/900]

1100. American Rococo Carved Rosewood Work Table, mid‑19th c., New York, cove‑molded lift‑top with inset mirror and fitted interior, 2 drawers, cabochon and foliate‑carved cabriole legs, scrolled feet, h. 31 in., w. 24 1/2 in., d. 19 3/4 in. [$200/400]

1101. Pati Bannister (American/Mississippi, 1929‑2013), “Flowers in May”, oil on masonite, signed lower right, titled and inscribed “100‑057” en verso, 16 1/8 in. x 22 1/8 in., framed. [$600/800]

1102. Fred Larson (American/Illinois, 1868‑1944), “Arts & Crafts Courtyard”, 1929, ink on paper, signed and inscribed “To my Studio Pal, Mr. John Humski, Oh Hum. Fred Larson New Orleans March 15th 1929”, folded in quarters and sent with stamps from the Hotel Monteleone in New Orleans to Chicago, 7 3/8 in. x 5 3/8 in.; AND “St. Louis Cathedral New Orleans”, woodblock print on rice paper mounted to board, pencil‑signed and titled lower margin, sheet 9 3/4 in. x 7 1/2 in., both unframed. (2 pcs.) [$100/150]

1104. Southern School, 19th c., “Swamp Scene”, watercolor on paper, illegibly signed lower right, 7 in. x 14 in., framed. [$300/500]

1103. William Norman Arnold (American/ Louisiana, 1902‑2006), “Swamp Scene with Golden Light”, 1992, oil on canvas mounted to panel, signed and dated lower right, “Taylor Clark, Baton Rouge” label and artist information on backing paper, 15 3/4 in. x 11 7/8 in., framed. [$400/600] Provenance: Taylor Clark Gallery, Baton Rouge, LA.

1105. Martha Kennedy (American/New Orleans, 20th c.), “Untitled (Boats)”, 1967, watercolor on paper, signed lower right, dated and artist stamp en verso, 11 1/4 in. x 15 in., unframed. [$150/250]

1107. Louise Angelique Sarrazin (American/Louisiana, 1888‑1967), “Two Gentlemen Talking”, watercolor and graphite on board, unsigned, handwritten label with artist and inscribed on backing, 4 3/8 in. x 6 11/16 in., framed. [$300/500]

1106. Eugene Daymude (American/Louisiana, 1925‑1995), “Bayou Cabin”, oil on canvas, signed lower right, 24 in. x 30 in., framed. [$400/600]

1108. John Swientochowski (American/ Delaware, 1911‑2002), “Mammy’s Home”, graphite on paper, pencil‑signed and titled lower right, handwritten label with artist and “The St. Augustine Gallery, St. Augustine, FL” label on backing paper, 10 in. x 12 3/4 in., framed. [$150/250] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC. Additional information at www.nealauction.com

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1110. Southern School, 1906, “Cotton Pickers in the Field”, watercolor on paper, signed “J. Drysdale” and dated lower left, 11 1/2 in. x 9 in., framed. [$300/500]

1109. Hildegarde Hume Hamilton (American/Florida, 1898‑1970), “Savanna [sic], Georgia”, oil on canvas, signed lower left, titled en verso, 18 in. x 15 in., framed. [$200/300]

Provenance: Barbara Wingo, Time Zones Antiques, St. Augustine, FL; Estates of Joyce and Donald Laidlaw, Bluffton, SC.

Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

1112. Southern School, 1861, “Charlotte Barnwell Guerard (1843‑1860) of Beaufort County, South Carolina”, oil on canvas, indistinctly signed and dated lower left, remnants of handwritten label on stretcher, handwritten and typed labels identifying sitter on frame, 27 in. x 22 in., original frame. [$500/800]

1111. Southern School, 19th c., “Outdoor Gathering”, watercolor on paper, unsigned, pencil‑inscribed en verso, 9 3/4 in. x 13 5/16 in., framed. [$300/400]

1113. Louisiana School, 19th c., “Portrait of a Boy”, oil on canvas, unsigned, 17 1/8 in. x 14 1/8 in., framed. [$400/600]

1114. American Rococo Carved Mahogany Bedstead, mid‑19th c., New Orleans, attr. to retailer Prudent Mallard, scrolled crest with central cabochon, posts with lobed urn finials, pierced scroll rails, h. 71 1/4 in., l. 80 1/2 in., w. 60 in. [$1000/1500]

1116. American Classical Mahogany Side Chair, 19th c., possibly New York, tablet crest, pierced slat, sabre legs, h. 32 in., w. 18 in., d. 20 3/4 in. [$150/250]

1117. Carved Mahogany Corner Cabinet, molded cornice, carved shell over three open shelves, lower raised panel door, scalloped apron, blocked base, h. 78 1/2 in., w. 37 in., d. 22 in. [$600/900]

1118. American Walnut Dropleaf Dining Table, early 19th c., ring‑turned tapered legs, h. 29 in., w. 42 in., d. 27 in. [$400/600] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

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1115. American Renaissance Carved Walnut Half‑Tester Bed, mid‑19th c., arched tester frame, spandrel brackets, ring turned tall posts, headboard with pierced crest, shaped foot rail, bracketed side rails, chamfered low posts, toupie feet, h. 101 in., l. 79 in., w. 47 in. [$700/1000]

1119. Pair of American Colonial‑Style Mahogany Armchairs, padded backs and seats, scrolled arms, carved stretcher, turned legs, later gilt decoration, h. 46 1/2 in., w. 24 1/2 in., d. 20 in. [$200/400] Provenance: Estate of Faith K. Tiberio, St. Augustine, FL.

1121. American Classical Mahogany Dressing Chest, early‑to‑mid 19th c., arched mirror on columnar supports, ogee glove drawers, marble top, ogee frieze drawer over three graduated drawers, scrolled supports and feet, h. 83 in., w. 47 3/4 in., d. 27 1/4 in. [$300/500]

1120. Pair of Antique Wicker Rocking Chairs, early 20th c., probably Heywood Wakefield, Massachusetts, scalloped crest and waisted splat, h. 37 in., w. 20 1/2 in., d. 31 in. [$300/500]

1123. American Late Classical Carved Mahogany Gentleman’s Dresser, c. 1830, paneled superstructure with two glove drawers, outset frieze drawer over three graduated drawers, exuberant foliate‑carved scrolled supports, paw feet, h. 56 in., w. 43 1/4 in., d. 24 in. [$300/500]

1127. Neoclassical‑Style Inlaid Walnut Petite Commode, tray top, three drawers on square tapered legs, h. 27 1/2 in., w. 19 in., d. 15 in. [$100/200]

1124. American Late Classical Mahogany Work Table, early 19th c., drop‑leaf top, two bolection drawers, reverse tapered octagonal standard, shaped base, bun feet, casters, h. 29 in., w. 17 3/4 in., d. (closed) 16 7/8 in., d. (open) 34 in. [$300/500] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

1128. Two Large American Pottery Vases, c. 1930s, incl. Monmouth Pottery, black glaze, h. 18 in., and attributed to Stangl, green glaze, possibly an exhibition piece, h. 19 1/2 in.; together with a North Carolina yellow glazed example, h. 18 1/4 in. (3 pcs.) [$700/1000]

Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

1125. Pair of Antique American Carved Mahogany Single Beds in the Classical Taste, acorn finials, reeded ring turned posts, broken pediment headboard, baluster legs, h. 75 in., l. 74 in., w. 40 in. [$300/500]

1122. American Classical‑Style Carved Mahogany Drop‑Leaf Work Table, gadrooned top, two drawers over bolection drawer, baluster standard, shaped base, paw feet, h. 30 1/2 in., w. (closed) 16 in., w. (open) 38 in., d. 16 in. [$300/500]

1126. Antique Chippendale‑Style Walnut Side Chair, pierced splat, square legs, stretchers, h. 36 in., w. 21 in., d. 16 1/2 in. [$100/200]

Provenance: Ursuline Convent, New Orleans.

1129. Twelve Pieces of North Carolina Pottery, incl. 7 Jugtown Pottery orange glazed covered vessels and 1 cream pitcher, largest h. 7 1/8 in.; 3 “chrome red” glazed vessels, largest h. 5 1/2 in.; and 1 Cole Pottery burnt orange glazed pitcher, h. 7 1/2 in. [$600/900]

Provenance: Williamson‑LeBlanc Collection, Cornstalk Fence House, New Orleans.

1130. Ivory Weller Polychrome Pottery Jardiniere and Centerpiece, 20th c., former, marked, pierced rim, decorated with pink floral swags, h. 3 3/4 in.; latter, unmarked, modeled as young girl with watering can, h. 6 1/2 in. [$100/150]

1131. Art Pottery Teapot, 20th c., illegibly signed, gray and white glaze, h. 5 1/4 in., dia. 8 in. [$150/250]

1132. Two Japanese‑Style Pottery Chawan, 20th c., incl. Nick Rees tenmoku‑style for Muchelny, impressed marks, h. 3 1/4 in.; and orange shino ware, h. 3 7/8 in., dia. 3 5/8 in. [$100/150]

Additional information at www.nealauction.com

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1133. Collection of Nineteen Antique Mercury Glass Tiebacks, incl. 10 etched, 5 molded, 3 plain, and 1 painted, dia. 2 1/2 in. to 3 5/8 in. [$200/300]

1134. Pair of American Carved Walnut Corner Brackets, 19th c., oak leaf decoration, h. 7 in., w. 8 in., d. 7 in. [$150/250]

Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC. 1135. Pair of Cast Iron “Jolly Fellows” Andirons, h. 16 1/2 in., w. 9 1/4 in., d. 23 in. [$500/700] 1136. Victorian Waxwork Basket of Fruit Under Parlor Dome, 19th c., walnut base, h. 20 in., dia. 14 in. [$250/350]

1137. American Painted Cast Iron and Brass Scale, c. 1918, “The Dodge Scale”, Boston, marble platform, h. 11 in., w. 15 in., d. 6 in. Note: Lacking pan. [$150/250]

1138. Antique American Brass and Marble Cash Register, c. 1905, National Cash Register Model 39 1/2‑2‑2 with Double Drawer, serial #536975, h. 18 1/4 in., w. 27 in., d. 16 in. [$300/500] 1139. Mixed Woods Inlaid Box, Star of David with rosette on lid, banded border, carpet lined interior, h. 4 1/2 in., w. 21 3/8 in., d. 13 in.; Condition: surface marks, nicks, and abrasions; small scattered chips; wear to interior carpet lining. [$75/150]

1141. Group of American Coin Silver Flatware, 19th c., various makers, incl. 2 “Olive Variant” pattern tablespoons; an “Olive Variant” pattern sauce ladle, ret. W. Harding & Co.; a Wood & Hughes master butter knife, 2 mustard ladles and 7 “Olive Variant” pattern dessert forks; together with 8 Continental .750 tea knives, (21 pcs.), total wt. (weighable) 14 troy ozs. [$150/250]

1142. Group of American Coin Silver Flatware, Albert Coles, New York, wc. 1835‑1875, incl. a “Mars” pattern serving spoon, 4 tea knives, 4 “Leaf” pattern teaspoons and 6 “Kenilworth” pattern teaspoons, (15 pcs.), total wt. (weighable) 9 troy ozs. [$150/250]

1145. American Art Nouveau Leaded Glass and Bronze Table Lamp, possibly Handel, splayed tulip‑form base, circular foot, red blossom banded shade, overall h.24 in., shade dia.14 1/2 in. Note: shade with old repairs. [$300/500]

126

1143. Group of American Coin Silver and Sterling Silver Spoons, 19th c., various makers, incl. 2 tablespoons, R. & W. Wilson, Philadelphia, wc. 1825‑1846; a Whiting “Arabesque” pattern tablespoon, ret. C.D. Peacock; 2 coin silver tablespoons; a Wallace “Bright‑Cut” tablespoon; an Aesthetic sauce ladle, ret. A. Stowell & Co.; 6 coin silver teaspoons, ret. Geo. W. Haslett; and a Wendt “Bird” pattern luncheon knife, (15 pcs.), total wt. 17 troy ozs. [$150/250]

1140. Pair of Neo‑Grec Gilt and Patinated Bronze Five‑Light Candelabra, scrolled arms, vasiform standard, h. 23 in., w. 8 1/2 in., d. 10 in. [$200/400] Provenance: Schwitz Collection, Franklin, LA.

1144. Two Chippendale‑Style Gilt Chargers, serpentine gadrooned borders, marked “ROYAL CASTLE/ SHEFFIELD”, dia. 14 1/4 in. [$250/350]

1146. Pair of American Brass Two‑Light Oil Lamps, c. 1875, J.G. Knapp, New York, green shades, electrified, h. 15 in., w. 16 in., d. 10 in. [$500/700] Provenance: The Friedle‑Garrison Collection, New Orleans.

1147. American Gilt Lacquered Brass and Bronze Solar Lamp, c. 1830, attr. to H.N. Hooper & Co., Boston, period blown, cut, and etched glass shade, “Angel” wings cut crystal prisms, the inverted pear‑shaped font retaining all burner elements including wick, period blown glass chimney, bulbous standard, spreading circular foot, square marble base, h. 21 1/4 in., dia. 6 1/2 in. [$400/600]

1148. Sevres‑Style Bronze‑Mounted, Polychrome and Gilt Porcelain Carcel Lamp, 19th/20th c., signed “V. Peccatte”, reserved with Classical maiden and putti, apple green ground, paw feet, electrified, h. 30 in., h. (to heat cap) 40 in. [$300/500]

1149. Good Antique English Gilt Bronze and Cased Glass Lamp, mid‑19th c., white cut to cranberry baluster standard over tripartite base modeled with figures amidst an architectural scene, lotus‑form shade, electrified, h. 39 1/2 in., dia. 8 in. [$400/800]

1151. Assembled Bohemian Cut Crystal Stemware Service, 20th c., cut‑to‑clear decoration, incl. 18 water, 18 champagne flutes, and 16 wine, tallest h. 9 3/4 in. [$200/300]

1150. Pair of Antique American Blown and Cut Glass Pitchers, probably Bakewell, Pittsburgh, strawberry, diamond and fan pattern, h. 8 1/8 in., w. 6 in., d. 8 1/8 in. [$300/500]

1152. Antique American Carved Oak Desk, single drawer, vasiform reeded legs, shaped stretcher, bun feet, h. 29 in., w. 37 3/4 in., d. 25 3/4 in. [$300/500]

1153. American Carved Mahogany Four Post Bedstead, mid‑19th c., finialed posts with inset Gothic panels, h. 68 in., l. 78 1/2 in., w. 60 1/2 in. [$500/700]

1154. Southern School, 19th c., “Portrait of a Man in Red Waistcoat”, “Profile Portrait of Woman in Red” and “Profile Portrait of Man in Black”, oil on panel and 2 oils on board, all signed “Spencer”, 6 in. x 4 in. to 14 in. x 10 in., framed. (3 pcs.) [$600/800] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

1155. Betty Conway Lawrence (American/Louisiana, 1903‑1963), “Marsh Cabin with Figure”, oil on canvas board, signed lower right, 8 in. x 10 in., framed. [$200/300] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC.

1156. Dutch School, 19th c., “Portrait of a Gentleman”, oil on canvas, unsigned, Sotheby’s labels on frame, 43 in. x 30 1/2 in., framed. [$500/700]

1157. Continental School, 19th c., “Portrait of Gentleman with Musket and Dog”, oil on canvas, unsigned, 37 in. x 29 1/4 in., framed. [$500/700]

Provenance: Harry Noyes Collinson, 1987; Fraken Grohs Collinson, 2018; Rose Mary McKinney.

Additional information at www.nealauction.com

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1158. Paris Porcelain Dinner Service 19th c., peach and gilt border, incl. 2 platters, l. 17 3/8 in. and 15 1/2 in., w. 12 in. and 10 1/2 in.; 2 covered tureens, l. 12 3/4 in. and 12 in., w. 7 1/2 in. and 7 in.; footed tureen, h. 6 in., w. 11 3/8 in., d. 8 1/2 in.; 21 shallow bowls, dia. 7 1/8 in.; 17 butter pats, dia. 2 5/8 in.; 13 plates, dia. 7 1/8 in.; 10 cups, h. 2 1/2 in.; and 12 saucers, dia. 5 1/8 in. (79 pcs.) [$400/600]

1160. French Tole Peinte Two‑Light Bouillotte Lamp, 20th c., navette form, adjustable shade, h. 16 1/2 in., w. 12 in., d. 7 in. [$250/350] 1159. American Brass and Opaline Glass Gas Sconce, 19th c., foliate arm, swivel bracket, h. 5 in., w. 4 in., d. 15 in. [$100/200]

1161. [Leather Bindings], incl. Cromwell’s Letters and Speeches, c. 1850, 5 volumes, The Fall of Monarchy, Charles I, 1882, 2 volumes, gilt tooled, The Merv Oasis, 1882, 2 volumes, Life of Beau Brummell, 1886, 2 volumes, Waverly Novels, 1860, 12 volumes, The Works of Goldsmith, 1854, 4 volumes, The Plays of William Shakespeare, 1847, 8 volumes, Oeuvres d’Hippocrate, 1932, 4 volumes in French, Works of Eugene Field, 1896, 6 volumes, Bulwer: What Will He Do With It?, 1857. [$500/700]

1162. Kinseki Mori (Japanese, 1843‑1921), “Mountainous Landscape with Figure Crossing Bridge”, ink on paper, inscribed and sealed upper left, sealed lower right, 51 1/2 in. x 26 1/2 in., mounted as a hanging scroll. [$400/600]

1163. Tsukioka Kogyo (Japanese, 1869‑1927), four woodblock prints featuring Noh actors, sight 14 1/4 in. x 9 3/4 in., double matted and framed alike. (4 pcs.) [$200/300]

1164. Tsukioka Kogyo (Japanese, 1869‑1927), two woodblock print diptychs, overall sight 14 1/2 in. x 20 in. and 14 1/2 in. x 19 3/4 in., each matted and similarly framed (2 pcs.) [$150/250]

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1165. Two Japanese Woodblock Prints, incl. Okahara Seiko (1837‑1913), “Shore Birds”, sight 9 7/8 in. x 10 1/4 in., and Namagachi Chikuseki (act. c. 1880‑1910), “Kingfisher”, sight 9 7/8 in. x 10 1/4 in., both similarly double matted, framed alike; together with another work depicting a Beauty, possibly signed Shodo Yukawa and sealed, sight 10 3/8 in. x 9 1/4 in., double matted and framed (3 pcs.) [$150/250]

1166. Utagawa Yoshitora (Japanese, fl. 1836‑1880), woodblock print featuring a samurai and a courtesan, sight 14 in. x 9 3/4 in., double matted, framed and glazed. [$100/150]

1168. Raissa Getman (Russian, 1913‑1983) and Shaya Noevich Melamud (Russian, 1911‑1993), “Joseph Stalin”, 1954, oil on canvas, signed and dated lower right, inscribed in Russian en verso, 94 in. x 69 in., unframed. [$600/800]

1167. Utagawa Kunisada as Toyokuni III (Japanese, 1786‑1865), woodblock print triptych, depicting figures on a snow‑laden bridge holding parasols, signed Ichiyusai Toyokuni ga with Toshidama seal, each sight 13 5/8 in. x 9 3/8 in., double matted and framed together. [$200/300] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA.

1171. Pair of George III‑Style Mahogany Side Chairs, shaped crest rail, pierced splats over upholstered seats, stretchered legs, h. 39 1/4 in., w. 23 in., d. 21 1/2 in. [$200/300]

1169. Vital Jean de Gronckel (Belgian, 1820‑1890), “Portrait of a Gentleman”, 1866, oil on canvas, signed and dated lower left, 50 1/2 in. x 34 in., framed. [$600/800]

1170. Continental School, 19th c., “Portrait of a Lady”, oil on canvas, unsigned, 30 in. x 24 in., framed. [$400/600]

1173. Pair of Louis XVI‑Style Gilt Bronze and Cut Crystal Four‑Light Sconces, foliate arms, h. 15 in., w. 13 in., d. 11 in. [$200/400]

1172. Pair of Diminutive Chippendale‑Style Mahogany Armchairs, scrolled crest, pierced splat, cabriole legs, pad feet, h. 32 1/2 in., w. 21 in., d. 18 in. [$150/250]

1174. Continental Wire and Giltwood Twelve‑Light Fixture, scroll arms, turned candlecups, h. 26 in., dia. 32 in. [$200/300]

1175. Cast Iron Turtle Fountain, green painted shell, h. 9 1/2 in., w. 10 in., d. 19 in. [$500/800]

1176. Decorative Cast Iron Garden Figure of a Reclining Mermaid, h. 40 1/2 in., w. 13 1/2 in., d. 27 in. [$300/600]

1177. Cast Iron Garden Figure of a Red Rooster, naturalistic base, h. 22 1/2 in. [$300/500]

Additional information at www.nealauction.com

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1178. Antique Carved and Polychromed Wood Figure of a Seated Gentleman, h. 30 in., w. 10 in., d. 15 in. [$250/350]

1179. Antique American Painted Wood and Metal Doll Carriage, folding canopy, h. 23 in., w. 32 in., d. 10 in. [$150/250]

1180. Pair of Antique English Brass Andirons, faceted standards, h. 23 in., w. 15 1/2 in., d. 22 in.; together with set of fire tools and stand. [$100/150] Provenance: Schwitz Collection, Franklin, LA.

1182. Continental Patinated Bronze Sconce, in the form of an arm holding a torch, hurricane shade, h. 12 in., w. 8 in., d. 18 3/4 in. [$250/350]

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1183. Pair of Louis XVIâ&#x20AC;&#x2018;Style Gilt Bronze and Cut Glass Fiveâ&#x20AC;&#x2018;Light Girandoles, 20th c., vasiform standard, scroll arms, swag and prism hung, glass spire, h. 27 in., dia. 8 in. [$300/500]

1181. American Oak Postmaster Cabinet, compartments headed by engraved celluloid numbers and letters, h. 29 1/4 in., w. 16 1/2 in., d. 8 1/2 in. [$200/400]

1184. Pair of Monumental Cast Iron Estate Gates, surmounted by floral and vine accents, quatrefoil surround, floral, foliate and diamond motifs, h. 114 in., w. 78 1/2 in., d. 2 3/4 in. [$2500/3500]

A Ansel Adams, 168, 170 Aleen Aked, 163, 291 Louis Akin, 131 American School, 119, 737, 779, 829, 838, 919, 921, 1078 James McConnell “Mac” Anderson, 134, 135 Walter Inglis Anderson, 65, 66, 85-87, 255, 256, 296-298 William Norman Arnold, 764, 1103 Paul Ashbrook, 1051 John James Audubon, 2, 727 (aft), 728 (aft), 729-731, 922 (aft), 925 Pati Bannister, 722, 1101 Paul Berdanier, 1051 Franz Bergman, 319 Harold Harrington Betts, 288 Joshua Biehn, 535 Aaron Bohrod, 718, 917, 1059, 1074 Elfriee Frieda Borkmann, 827 Jonathan Borofsky, 717 Jason Bouldin, 263 Maurice Braun, 113 Alfred Thompson Bricher, 129, 130 Franklin Briscoe, 833 Frederick J. Brown, 1067 Ann Brumby, 1053 William Henry Buck, 270, 285 Alice Standish Buell, 1058 Steele Burden, 353, 354 Sergio Bustamante, 316 James Edward Buttersworth (attr), 128 C

R.C. Davis, 748 Eugene Daymude, 1106 Eugene Delcroix, 787 Wan Ding, 614 Alexander John Drysdale, 161, 287, 357, 755, 767 George Bauer Dunbar, 301 George Valentine Dureau, 74, 75, 757 Caroline Wogan Durieux, 715 Dutch School, 206, 1156 E Keith Eccles, 752, 753 Lin Emery, 300 Dorothy S. Emmons, 162 John Joseph Enneking, 532 F Peter Falk, 915 Kelly Fearing, 761 Andreas Feininger, 167 Franz Felix, 92 Harry Fenn, 839 Leonor Fini, 1066 Don Finley, 1033 Anton Otto Fischer, 359 James A. Fisher, 1053

H Theora Hamblett, 57 Hildegarde Hume Hamilton, 1109 James Carl Hancock, 1051 Betsy Burleson Harnden, 1068 David Harouni, 53, 54 Chestee Harrington, 825 William Hart, 877 Cheryl Hayes, 1031 Saul Haymond, 1076 C. Hearn, 1053 Colette Pope Heldner, 91, 739, 740, 744, 824 Knute Heldner, 93, 94, 355, 356, 719 Paul César Helleu, 879 William Hemmerling, 51, 52, 305, 768, 769 Josef Hermannstorfer, 901 Gustaaf Antoon Francois Heyligers, 406 John William Hill, 921 Ralph Hillbom, 913 Will Hinds, 763 Morris Henry Hobbs, 90, 1055 Toby Hollinghead, 1043 William R. Hollingsworth, Jr., 58 Emil Holzhauer, 260, 261, 775 Jean-Antoine Houdon (aft), 112 Newton Reeve Howard, 132, 133, 136, 137, 235, 236, 725 Marie Atkinson Hull, 63, 64, 253, 272, 289, 726, 741, 762 Clementine Hunter, 160 J Japanese School, 1165 Richard Johnson, 44, 299, 770, 771 Reuben Le Grande Johnston, 780 Myrtle Jones, 165 James Josey, 143, 144 K Richard Kelso, 1037 Martha Kennedy, 1105 Alberta Kinsey, 89 Karl Knaths, 68 Tsukioka Kogyo, 1163, 1164 Ida Rittenberg Kohlmeyer, 302, 303 Korean School, 618 John Korver, 736, 826 Utagawa Kunisada, 1167 L Jean-Hyacinthe Laclotte (aft), 177 Barthelemy Lafon (attr), 227 Fred Larson, 1102 Clarence John Laughlin, 166 Betty Conway Lawrence, 1155 Henri Baptiste Lebasque, 411 Emilie de Hoa LeBlanc, 293 Adele Lemm, 313 Hayley Lever, 907 Charles Longabaugh, 782, 1051 Louisiana School, 1113 Eugene Loving, 1061 Corinna Morgiana Luria, 141

N George New, 1052 New Orleans School, 139 Yang Nianbo, 574, 575 T.M. Nicholas, 836, 911 Paul Ninas, 292, 781 James Northcote, 117 O Cark Friedrich Ockert, 873 Edith Walker Oliver, 1052 Luigi Onesto, 335 William Ousley, 142 P Frances “Fanny” Flora Bond Palmer (aft), 176 Gen Paul, 408 Ferdinand Pautrot (aft), 459 Francis Pavy, 306 Achille Perelli, 822, 823 Lallah Miles Perry, 1032 Leon Pescheret, 1052 Pablo Picasso, 38 Gerry Pierce, 1054 Léon Pilet (aft), 460 Charles Lucien Pincon, 905 Ella Plaisance, 1075 Alfred Pollentine, 878 Frederick Polley, 1052 John Preble, 751 Levi Wells Prentice (attr), 830 Norberto Proietti, 403 R Charles Whedon Rain, 71 Raphael (aft), 205 Roberto Benjamine Rascovich, 1077 Willie Lucille Reed, 1053 Frederic Remington (aft), 721 Joshua Reynolds (mnr), 875 Alice S. Richards, 536 Charles Whitfield Richards, 745 Mary Frances Robinson, 738 Willie Earl Robinson, 783 Noel Rockmore, 308, 733, 754, 772, 777 George Rodrigue, 48, 50, 77-84, 1044 Scott Rogers, 361A Francois Geoffroy Roux, 230 Francois Joseph Frederic Roux, 230 S Josephine Sacabo, 914 Louise Angelique Sarrazin, 1107 Hattie Saussy, 164, 1028 (attr) Don Sawyer, 1040, 1041 Francisco Scacki, 178 Alice Scott Scanland, 310

T Lino Tagliapietra, 25 Prentiss Taylor, 175 Emmitt Thames, 145, 146, 784, 785 Anthony Thieme, 257 Mose Tolliver, 734 Toyokuni III, 1167 Etienne Léon Trebutien, 116 Pat Trivigno, 1039 Helen Maria Turner, 778 Arnold E. Turtle, 262, 724 Catherine Snell Tuttle, 831 U Kees Van Urk, 566 V Frederick van Valckenborch (attr), 407 Jean Joseph Vaudechamp, 284 Eugene Verboeckhoven (mnr), 900 Elizabeth O’Neill Verner, 309 George Louis Viavant, 286 Mario Villa, 314, 693 W Hubert Wackermann, 360 Harry Willson Watrous, 115 Alfred Rudolph Waud, 923 Frederick Judd Waugh, 358 Charles Meer Webb, 363 Johann Wilhelm Weinmann, 1 Brett Weston, 169 Charles Henry White, 926 Raymond A. Whyte, 69, 70 James Ralph Wilcox, 1036 Bill Wiman, 76 Theodore “Fonville” Winans, 171-174 Karl Wolfe, 61, 62, 732 Mildred Nungester Wolfe, 59, 60 Ellsworth Woodward, 714, 765, 766, 1034, 1035, 1046-1049 William Woodward, 716 Guy Livingston Woolley, 1050 George Hand Wright, 258, 259 Nellie B. Wright, 1029

Artist Index

Edmond Gaultney, 1038 German School, 1027 Raissa Getman, 1168 Rolland Harve Golden, 1057 Robert Gordy, 43, 773 John Gould, 735 Elizabeth Shippen Green, 834 A.D. Greer, 114 Louis Oscar Griffith, 1056 Hans Grohs, 404, 405, 405A, 409, 410 Vital Jean de Gronckel, 1169

Douglas Magnus, 80 Angiolo Malavolti, 16 Henri Matisse, 37 John McClusky, 746, 747 John McGrath, 1060 P. Sanders McNeal, 1042 Michael Meads, 774 Joseph Rusling Meeker, 273 Shaya Noevich Melamud, 1168 James Michalopoulos, 47, 304, 307 Jack R. Miller, 1053 Clarence Millet, 720 Joan Miró, 854 Marie Madeleine Seebold Molinary, 271 Benson Bond Moore, 533 C. Bennette Moore, 758, 786 Jan Mooy, 233 Peter Moran (attr), 534 Sister Gertrude Morgan, 55, 56 Kinseki Mori, 1162 Louis-Marie Morise (aft), 517 Hubert Morley, 1051 Anne Wells Munger, 88

Rolph Scarlett, 67, 1045 Elisabeth Searcy, 1053 Frank Henry Shapleigh, 832 William Joseph Shayer (attr), 874 Huang Shen (aft), 616 Amy Talbot Shirley, 912 Pino Signoretto, 24 Paul Silvestre (aft), 17 Aubrey Simpson, 750 Hunt Slonem, 41, 42, 46, 49, 311, 312 Benjamin F. Smith, 921 Marshall D. Smith, 749 Paul H. Smith, 1063 Frederic Soulacroix, 412 Southern School, 1065, 1104, 11101112, 1154 Moses Soyer, 908 Gideon Townsend Stanton, 756 Will Henry Stevens, 254, 290 Paul Stotts, 140 Paul Strisik, 835, 837, 910 George Washington Sully, 918 Charles Surendorf, 1062 Edward Howard Suydam, 1064 Charles C. Svenson, 1052 John Swientochowski, 1108

•

Joseph Lambert Cain, 45 Xavier de Callatay, 776 Cecil Casebier, 723 Tom Richard Cavanaugh, 72 Amadine Griffin Chiles, 361 K. Chin, 1025, 1026 Chinese School, 613, 615, 616 Jean Baptiste Clesinger, 541 William Clusmann, 828 Renzo Colombo (aft), 18 Continental School, 565, 567, 870872, 876, 902-904, 1157, 1170 Thomas Sidney Cooper (attr), 118, 362 Raffaele Corsini, 231 George Joseph Amede Coulon, 234 E.E. Cummings, 909 José-Mariá Cundín, 39, 40, 692

November 20, 21 & 22, 2020

Harry T. Fisk, 1030 Jean-Honoré Fragonard (attr), 228, 229 French School, 232 Pedro Friedeberg, 35, 315 Nestor Frugé, 743

Y Utagawa Yoshitora, 1166 Jack Youngerman, 73 Z Mary Ann “Toots” Zynsky, 300A

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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.

Virtually all lots offered have been subject to use over a considerable period of time. No mention of 7. 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. Neither high nor low estimates in a catalogue, website, advertising, correspondence, literature, or 8. 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 All absentee bids and/or telephone bids must be received by Neal Auction Company by 5 p.m. Central 1. Time the Thursday prior to the auction. All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at 2. 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.

Neal Auction Company intends to endeavor to protect the confidentiality of absentee/telephone bids. 3. 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.

Neal Auction Company shall not be liable, obligated, or responsible for any failure, design flaw, error, 5. 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

Neal Auction Company reserves the right to record any telephone bidding or conversation relating to 9. 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.

In the event of ambiguity, uncertainty, or discrepancy, the lot number and not the lot description on any 7. 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).

The successful bidder (except a successful online bidder) shall pay a buyer’s premium in the amount of 1. 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%. The successful online bidder shall pay a buyer’s premium in the amount of 28% of the hammer price 2. 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.

Unless exempt by law, the buyer will be required to pay Louisiana and local taxes, and, if applicable, any 4. federal luxury or other tax, on the total purchase price. Documentation of tax exemption must be provided upon registration. Billing name and address of a 5. bidder must agree with that on the sales tax exemption certificate. Payment in full of the purchase price must be made by the successful bidder in U.S. Dollars within 15 6. 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.

VISA, MasterCard, Discover, and American Express are accepted for payment of invoices (except jewelry) 8. up to $25,000 per buyer. Checks must be drawn on a U.S. bank. All lots shall be held by Neal Auction Company until the check 9. 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 20/10M

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 11/19/20 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

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September 11, 12 & 13, 2020

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â&#x20AC;¢

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Auction Results

0001 - 549 0002 - 1280 0003 - 1250 0004 - 2440 0005 - 488 0007 - 218 0008 - 448 0009 - 732 0011 - 2196 0014 - 1342 0015 - 1830 0016 - 2318 0018 - 9760 0019 - 3965 0020 - 4160 0021 - 2816 0022 - 6720 0023 - 732 0024 - 427 0026 - 7040 0031 - 1500 0032 - 1408 0033 - 8845 0034 - 7040 0036 - 6100 0038 - 11520 0039 - 4270 0040 - 37500 0044 - 640 0045 - 5795 0046 - 2745 0047 - 4160 0048 - 3840 0049 - 732 0051 - 1024 0052 - 3840 0053 - 5120 0054 - 3750 0055 - 2684 0057 - 2560 0060 - 937 0061 - 5760 0062 - 10240 0063 - 1536 0064 - 18560 0066 - 3782 0068 - 1220 0069 - 2684 0070 - 1220 0071 - 1280 0073 - 2560 0074 - 1220 0077 - 3965 0078 - 610 0079 - 512 0080 - 4270 0081 - 1098 0082 - 640 0083 - 4800 0085 - 244 0087 - 244 0089 - 1408 0090 - 3200 0092 - 1830 0093 - 2745 0096 - 10370 0097 - 14030 0098 - 8960 0099 - 1952 0101 - 512 0102 - 488 0103 - 704 0104 - 1708 0105 - 1024 0106 - 488 0108 - 427 0109 - 274 0110 - 448 0111 - 305 0112 - 244 0113 - 2196 0115 - 500 0116 - 976 0117 - 488 0118 - 183 0119 - 488 0120 - 976

135

Notes:

136