Spring Estates Auction - April 16, 17 & 18, 2021 by Neal Auction

Neal Auction

Spring Estates Auction April 16, 17 & 18, 2021

FEATURING: Important Arms & Armor, Books & Manuscripts, and Old Master Paintings from the Demetrius S. Spanos, MD Collection, Jonesboro, AR. Property Descended in the Family of James Norfleet Brown (1806-1859) of Manchac Plantation, Iberville Parish, Louisiana Gentleman Collectors: Property from Whisnant Galleries, New Orleans Select Property from an Antiquarian’s Collection of American Federal Furniture and Decorations American Rococo and Aesthetic Movement Furniture from a Connoisseur And Property of Others EXHIBITION

Exhibition at both galleries beginning Monday, April 5, 10 a.m. to 5 p.m. Special Saturday Preview, April 10, 10 a.m. to 5 p.m.

Preview is available by appointment only.

To schedule an appointment, please contact us at clientservices@nealauction.com. Please note that Neal Auction Company follows all protocols regarding maximum capacity, social distancing and masking.

AUCTION WILL BE VIRTUAL Bidding by telephone, absentee bid, or one of our online platforms. Friday, April 16, beginning at 2:00 p.m., Lots 1-244 Saturday, April 17, beginning at 11:00 a.m., Lots 245-718 Sunday, April 18, beginning at 11:00 a.m., Lots 719-1094

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COLLECTION OF

DEMETRIUS S. SPANOS, MD JONESBORO, AR Neal Auction Company is pleased to present select objects from the collection of Demetrius S. Spanos, MD, Jonesboro, Arkansas. With his parents Eleftheria and Spyridon, Demetrius Spanos (1960-2019) emigrated from Greece to the United States when he was six-years old. While his parents found work in factories and grocery stores, Demetrius taught himself English and dreamed of becoming a doctor one day—an aspiration that he would eventually achieve through unyielding dedication and hard work. His was truly the America Dream. As a neurologist, Demetrius found delight and respite in reading and became deeply passionate about history. As a Greek, Demetrius knew of the devasting impacts of the Axis occupation on his family during World War II. It was their stories that drove his passion to study history, historical patterns, and war. The more he studied, the more his passion evolved. Eventually, Demetrius began collecting art, historical artifacts, books, and manuscripts so that he could touch, feel and explore their histories. And with each new acquisition, another passion grew— Demetrius found joy in teaching others and, to those who inquired, would humbly recount the history surrounding the various pieces from his collection. Demetrius would be proud to know that his objects are being sold so that another can touch, cherish and learn from them as he did.

GENTLEMAN COLLECTORS: WHISNANT GALLERIES

FRENCH QUARTER, NEW ORLEANS Functioning as both an emporium of antiques and a haven of curiosities for nearly fifty years, Whisnant Galleries had Royal Street panache with its Florentine marble sculptures, Georgian furniture, and French chandeliers. However, just as the gallery sidestepped Royal Street by one block (it was located on Chartres Street near Bienville), the Whisnant inventory veered toward a more eclectic fare. Among startling discoveries, one might find an 18th century Mughal princess’ necklace, a fully operational Dutch tenthscale carrousel, or what appeared to be an Amazonian shrunken head. All visitors left with a story of something they had never seen before. A second-generation New Orleans antiquarian, Thomas “Pete” Whisnant (1934-2015) had a foreign service career with posts in Turkey and Libya during the Eisenhower administration. He then traveled in South America and hosted “Wild Cargo,” a wildlife show on New Orleans television before opening an antique shop in Bay St. Louis, Mississippi. In 1968, Whisnant met Felix Landry, a young protege who became the business partner and friend to handle the many financial and logistical challenges of a successful New Orleans gallery for the next 49 years. While the gallery was born of Pete’s heart and mind, it was sustained by Felix’s nerve and muscle. Following the tradition of a gentleman’s “Cabinet of Curiosities” or “Gallery of Wonders,” Pete and Felix sought things to learn about (natural history finds, ethnographic objects, and arms and armor) to mix with the furniture and paintings more typical of a French Quarter antique shop. Eschewing the formality of a traditional antique store to focus on what was fascinating to them, Pete and Felix were always generous with their time to talk to and educate any interested visitors. Moreover, Pete and Felix delighted in their collection and loved living with antiques. While the showroom floor was always well-stocked, special objects were kept in their private residences among their collections of living wonders (notably pet tortoises, pythons, birds for Pete, and dogs for Felix and his wife Rosa). Neal Auction Company is delighted to offer some of these special objects from the Whisnant-Landry Collection.

Session One Friday, April 16, 2 p.m.

1. European Bronze Spearhead, Middle Bronze Age, c. 1400‑1200 BCE, leaf‑shaped blade tapering to sharp tip, with pronounced peaked mid‑rib flanked by stippling, hollow rounded shaft with raised diamond‑shaped protrusion on each side with incised details, hatching along shaft edge, h. 7 3/16 in. (Sold as art.) [$6000/8000] Provenance: Frederick Schultz, New York, Power Tools: The Stone Age and Bronze Age in North Europe, no. 1, 1996; Christie’s, New York, June 5, 1998, lot 106; Private Collector; Christie’s, New York, “Antiquities” June 8, 2012, lot 70; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

3. European Bronze Sword, Bronze Age, c. 1100‑900 BCE, cast in one piece, blade with raised mid‑rib framed by deep parallel ridges, gently flaring from tip, hilt oval in section with series of concentric ridges toward conical pommel, l. 22 3/4 in. (Sold as art.) [$7000/10000] Provenance: New York Art Market, 1993; Christie’s, New York, “Antiquities” June 8, 2005, lot 72; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

2. South Central European Bronze Sword, Bronze Age, c. 1200 BCE, of Riegsee‑type, blade inserted into separately‑cast hilt, blade flaring to its widest point approximately one‑third of length from tip, with mid‑rib framed by finely engraved parallel lines on either side, hilt nearly square in section and incised with concentric grooves, S’s, and rows of short lines, knobbed pommel similarly incised, l. 24 5/8 in. (Sold as art.) [$7000/10000] Provenance: Swiss Private Collection, 1991; Frederick Schultz Ancient Art, New York, 1997; Christie’s, New York, “Antiquities” June 8, 2005, lot 70; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

4. Medieval Sword of Viking Type, Petersen Type X, 10th/11th c., in excavated condition, broad tapering double‑edged blade with shallow fuller over most of length on each side to point, slightly arched quillions of tapering rectangular section, flat slightly tapering tang flattened to form a button over top of pommel, unusual pommel of tapered semi‑circular form, blade l. 29 1/4 in. (Sold as art.) [$4000/6000] Provenance: Bonhams, London, “Antique Arms & Armour” July 23, 2015, lot 166, Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: According to Bonhams’ catalogue: “For a sword of somewhat similar form, with the exception of the pommel, in the Soumen Kansallismuse, Helsinki (NM 2033:1), see Ian Peirce, Swords of the Viking Age, 2002, p. 122” and “Quillons of similar form are found in Viking graves of the 10th Century and were referred to by the Vikings as ‘Gaddhjalt’ (spike hilt).”

5. Medieval Sword of Oakeshott Type XII, late 13th/early 14th c., in excavated condition, broad tapering double‑edged blade of flattened diamond section with shallow central fuller over half its length extending into tang, straight quillons of tapering square section, tapering tang flattened to form small button over the top of pommel, chamfered wheel pommel, blade l. 32 1/2 in. (Sold as art.) [$3000/5000]

6. German or Italian Steel Mace, mid‑16th c., head of 7 wedge‑shaped flanges, acorn finial, tubular haft chiseled with scrolling foliage over upper portion, molded collar pierced for a thong, grip decorated with trellis pattern, fluted basal cap with small domed finial, l. 23 7/8 in. (Sold as art.) [$3000/5000]

Provenance: Bonhams, London, “Antique Arms & Armour” July 23, 2015, lot 169; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

Note: A similar mace is conserved by the Poldi Pezzoli Museum, Milan, 392, cat. no. 392.

Note: According to Bonhams, “the pommel conforms to Oakshott’s Type I with quillons of Style 1.”

Provenance: Thomas Del Mar in Association with Sotheby’s, London, “Antique Arms, Armour & Militaria” Dec. 12, 2007, lot 280; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

7. Italian Etched Partizan, late 16th c., long broad tapering blade formed with full‑length medial ridge, pair of basal flukes and tubular socket extending to pair of straps, head decorated over lower half on both sides with designs of trophies‑of‑arms bordered by silver pellets, one side with male and female portrait roundels in contemporary dress, velvet‑covered wood haft with tassels, head l. 36 1/2 in. (Sold as art.) [$1200/1800]

8. Italian Decorated Halberd, late 16th c., central spike of diamond section, forward‑leaning curved axe‑blade with reinforced tip, formed with rounded lug pierced with hole at top and bottom, engraved and chiseled with naïve beast in foliage, triangular rear fluke engraved with cityscape, pierced with three holes and with reinforced tip, tapering socket, pair of short straps, later wood haft, head l. 28 7/8 in. (Sold as art.) [$600/900]

Provenance: Sotheby’s, Munich, “Property from the Royal House of Hanover” Oct. 5, 2005, lot 263; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

Provenance: Thomas Del Mar in Association with Sotheby’s, London, “Antique Arms, Armour & Militaria” Dec. 12, 2007, lot 172; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: According to Thomas Del Mar’s catalogue entry “two further decorated halberds from this group are preserved in the Poldi Pezzoli Museum, Milan, cat. nos. 486 & 487, the catalogue of which ascribed the decoration to a later date.”

9. German Long Wheel‑Lock Holster Pistol by Valentin Klett, c. 1600‑10, Suhl, in Dresden fashion, tapering barrel formed in three stages, molded at breech and muzzle, chiseled with diverging tapering panels over median, punched with scroll and flower bands over hexagonal breech, underside stamped with Suhl control marks, plain flat lock struck with maker’s mark (Neue Stockel 598) on outside and Suhl control marks inside, fitted with sliding pan‑cover, wheel retained by annular bracket, fruitwood full stock inlaid with engraved staghorn plaques, including grotesques and cornucopia opposite lock, conventional strapwork panels, and flowerhead roundels enriched with pellets and tendrils, all set within slender horn lines, faceted ovoid pommel decorated en suite fitted with turned iron finial, iron trigger‑guard, engraved bone fore‑end cap, pair of engraved bone ramrod‑pipes, l. 31 in. (Sold as art.) [$7000/10000] Provenance: Sotheby’s, London, “Antique Arms, Armour & Militaria” Dec. 4, 2003, lot 196; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

10. Italian Broadsword, c. 1620‑30, tapering near flat blade cut with short fuller on each face, stamped with mark on one side, iron ‘crab‑claw’ hilt comprising pair of down‑turned quillons with scrolling terminals, fitted with additional smaller scrolling bar on each side, large side‑ring with cusped upper border cut with hatched ornament and inscription, fitted with scalloped plate beneath, earlier fluted pommel chiseled with foliage, grip bound with plaited wire and “Turk’s heads”, blade l. 31 in. (Sold as art.) [$1000/1500] Provenance: Estate of Lawrence Oakeshott Esq.; Sotheby’s, London, “Antique Arms, Armour & Militaria” Dec. 4, 2003, lot 88; Demetrius S. Spanos, MD Collection, Jonesboro, AR. 11. Rare Brescian 32‑Bore Flintlock Long Belt Pistol by Carlo Botarello (AKA Bottarrelli), c. 1660, bright two‑stage barrel turned at girdle and polygonal to muzzle, latter turned and molded, octagonal breech incised “Piero Inzi Franci” between trefoil marks along top flat and with slender molded ramp at rear, bottom flat indistinctly stamped “PF”, long tang incised with 2 pairs of lines, flat beveled lock signed along bottom edge and decorated with engraved foliage, stepped tail with hound’s head finial, pierced foliate engraved cock, highly figured full stock with fluted fore‑stock forward of a carved foliate band, inlaid with iron panels finely pierced and engraved with symmetrical scrolling foliage, and including the trigger‑plate, mounts pierced and chiseled en suite incl. domed ovoidal pommel engraved with border of overlapping foliage and with grotesque mask cap, ramrod‑pipe, and ramrod (possibly original) with baluster steel tip chased with foliage, barrel l. 15 1/2 in. (Sold as art.) [$6000/9000] Provenance: Sotheby’s Olympia, “Fine Antique Arms, Armour & Militaria” Dec. 7, 2001, lot 276; Bonhams, London, “The Richard Garret Collection of Antique Firearms” Nov. 28, 2018, lot 187; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: Carlo Bottarelli (act. Brescia, c. 1660‑90) was an accomplished Italian steel‑chiseler, whose signature appears in numerous forms.

12. Continental 20‑Bore Wheel Lock Gun of Military Type, c. 1660, probably Dutch, two‑stage sighted barrel struck on left of breech with Suhl mark, plain tang, plain rounded lock retained by three side‑nails with horn washers, and with domed integral wheel‑cover and baluster pan‑cover release button, full stock with fish‑tail butt and raised molding at barrel tang, plain iron mounts, set trigger, original iron‑tipped ramrod, barrel l. 44 in. (Sold as art.) [$2500/3500] Provenance: Christie’s, London, “Fine Antique Firearms from the W. Keith Neal Collection” Oct. 25, 2001, lot 128; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

13. German 22‑Bore Wheel‑Lock Sporting Rifle by Hans Heller, 1682, heavy swamped octagonal sighted barrel rifled with eight grooves, grooved along the breech for sighting, and struck in front of the back‑sight with brass‑lined maker’s mark (Neu Stockel 2899) and date”1683”, grooved tang, flat lock with further maker’s mark and date”1682”, sliding pan‑cover, top jaw and cock‑spring with gilt‑brass acorn‑shaped finials, gilt‑brass wheel‑cover cast and pierced with flowering foliage and putto‑mask, gilt‑brass pan‑cover release button and bridle to cock‑spring with cast putto‑masks, fruitwood full stock with fluted fore‑end carved with overlapping leaves, butt with foliage and imitation staghorn panels, studded with steel nails and inlaid with wire scrollwork incl. coat‑of‑arms on cheekpiece, sliding patch‑box cover en suite, iron mounts incl. indented trigger‑guard with foliate finials, rosette‑shaped side nail plates, butt‑plate with button, iron fore‑end cap, original iron‑mounted ramrod, barrel l. 33 3/4 in. (Sold as art.) [$5000/7000] Provenance: The Grand Dukes of Saxe‑Weimar, Schloss Ettersburg, Weimar, Germany; Sotheby & Co., London, “Good Antique and Modern Firearms and Edged Weapons” Mar. 22, 1971, lot 242; Bonhams, London, Apr. 14, 2005, lot 28; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: According to Bonhams, the Saxe‑Weimar armory contained many similar rifles by Heller, who probably worked in the castle as a resident gunmaker.

14. Silesian 80‑Bore Combined Axe and Flintlock Pistol, Fokos, late 17th c., fitted with blued iron axe‑head over muzzle with in‑curved blade punched with scrolls and decorated with gold bands at edge and towards collar, tapering barrel incised with foliage and scrolls en suite with head, engraved rounded lock, slender fruitwood haft inlaid with engraved staghorn pellets and ball flower tendrils inhabited on sides by hares and hounds, enriched with mother‑of‑pearl ball flowers all within horn segmental lines, fitted with engraved bone cap, and later steel‑tipped wooden ramrod, overall l. 24 3/4 in. (Sold as art.) [$3000/5000] Provenance: Sotheby’s, New York, “European Works of Art, Tapestries and Furniture” Oct. 17, 2000, lot 244; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

15. Pair German Flintlock Holster Pistols in the Parisian Manner by Fonvielhe a Zel, c. 1690, two‑stage sighted barrels formed with two broad flats and with pair of scrolls over breech, and with signed locks chiseled with horned mustachioed mask on tails and monster head tendril on cocks, Grenoble walnut full stocks carved with delicate scrolling tendrils about rear ramrod‑pipe and pair of scrolls and raised molding about barrel‑tang, steel mounts comprising chiseled side‑plates each formed as scrolling serpent, spurred pommels chiseled with grotesque mask engulfed by gaping lion mask, trigger‑guards with pierced foliate terminals, vacant escutcheons carried by a pierced arrangement of serpents and foliage, pair of molded ramrod‑pipes and steel‑tipped wooden ramrods, l. 19 1/2 in. (Sold as art.) [$7000/10000] Provenance: Königliche Waffen, Inv. No. 190 and 191, 1895 (according to Sotheby’s); Sotheby’s, Munich, “Property from the Royal House of Hanover” Oct. 5, 2005, lot 760; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Exh.: “Arms, Armour and Militaria lent by H.R.H. The Duke of Brunswick at the Tower of London” April 10‑Oct. 31, 1952, no. 176 and 177. Lit. (according to Sotheby’s): “Tower of London” exhibition catalogue, 1952, p. 47; the Gewehrkammer of Goerg Wilhelm records one pair of pistols by this maker, delivered June 30, 1693 (see Gewehrkammer, 1705, Inv. No. 47 [folio 12]); the Hanover Royal Rüstkammer Inventory of 1751 records two pairs by this maker (see Rüstkammer, 1751 Inv. No. 10 16. Pair of Dutch 16‑Bore Flintlock Holster Pistols, c. 1700, each with swamped sighted barrel chiseled with long flat engraved with scrolls of foliage and crocodile, molded breech chiseled with elaborate Green Man mask with scrolls surmounted by Classical figure and a grotesque, brass‑lined double vents, rectangular tang chiseled with shaped molding, rounded lock decorated with Green Man mask on tail and monster head foliage emerging from a profile, cock chiseled with confronting serpent and dragon, steel chiseled with mustachioed masks (one top‑jaw and screw replaced), figured walnut full stock molded over fore‑end, carved around rear ramrod‑pipe, and with fluted foliate molding around the tang, steel mounts finely cast and chiseled in low relief, comprising pierced side‑plates decorated with scrolling tendrils, monster heads and grotesque mask, spurred pommels engraved with mask on the bow, vacant escutcheon on pair of pierced herms, pair of molded ramrod‑pipes, steel‑tipped wooden ramrod, l. 20 7/8 in. (Sold as art.) [$6000/9000] Provenance: Thomas Del Mar, “London, Antique Arms, Armor & Militaria” June 27, 2008, lot 481; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

17. Fine Liègeois 28‑Bore Flintlock Pistol by Devillers a Liège, mid‑18th c., two‑stage barrel in Spanish manner with prominent turned muzzle, turned girdle and tapering octagonal breech section decorated with gold‑inlaid foliage, tang en suite, signed rounded lock engraved with rococo ornament and with water‑drains to priming‑pan, molded figured walnut full stock relief‑carved with foliage behind barrel‑tang and rear ramrod‑pipe, and with crown and scrolls inlaid in silver wire at wrist, iron mounts finely chiseled in low relief with rococo ornament on gilt stippled ground, later horn‑tipped ramrod, barrel l. 8 1/4 in. (Sold as art.) [$1500/2500] Provenance: Christie’s, London, “Antique Arms, Armour, and Collectors Firearms” Sept. 26, 2012, lot 231; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

18. English Military Dragoon Holster or Sea Service Flinlock Pistol, 18th c., 70 caliber, walnut stock, brass furniture, later ramrod, barrel l. 13 in. (Sold as art.) [$800/1200]

19. Fine French Flintlock Pistol, 18th c., lock marked “BOURGEOIS/PARIS”, two‑stage barrel, caliber 16 mm, carved walnut stock, decorated brass furniture with a lion head on the butt cap, barrel l. 10 3/8 in. (Sold as art.) [$1000/1500]

Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

20. French Small Sword, c. 1740, hollow‑triangular blade etched with scrolls, foliage and trophies on re‑gilt panel at forte, gilt‑brass hilt cast and chased in low relief, incl. double shell‑guard decorated with Turkish profile roundels on scroll and foliage ground, globular quillon, knuckle‑guard decorated with profile roundels, later grip, blade l. 31 1/8 in. (Sold as art.) [$600/900] Provenance: Thomas Del Mar, London, Antique Arms, Armor & Militaria, June 30, 2010, lot 196; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

21. Fine French Small‑Sword with Chiseled Steel Hilt, c. 1760, tapering blade of hollow triangular section etched, blued and gilt on each side of forte with rococo sprays and”Bourdin Gendre & Successeur Du sier Giverne md. fourbissuer De la Maison Du Roy Pont St. michel à Tete d’or à Paris / De la Marque Des Mouchettes à Sohlingen”, with crowned crossed keys, hilt relief‑decorated with rococo ornament framing martial and musical trophies on gilt fish‑roe ground, trip with original binding of silver ribbon and plaited silver wire, original vellum‑covered scabbard with chiseled and gilt mounts, two carrying‑rings, blade l. 33 1/2 in. (Sold as art.) [$1500/2500] Provenance: Christie’s, London, “Antique Arms, Armor and Militaria” July 16, 2003, lot 133; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

22. English Silver‑Hilted Small Sword, c. 1760‑70, London, colichemarde blade of flattened hexagonal section etched at forte with panels of strapwork, shell of near circular outline, butt with raised rim simulating normal double‑shells and fan‑shaped motifs, two short lobed quillons, vertically fluted pommel with button, original wood grip bound with silver ribbon and plaited silver wire, George Fayle silversmith’s mark, blade l. 35 in. (Sold as art.) [$600/900] Provenance: Christie’s, London, “Antique Arms, Armour and Militaria” lot 99, July 16, 2003; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: George Fayle (recorded 1734‑86) was a member of the London Cutlers’ Company and a hilt maker. Ref.: Southwick, Leslie. London Silver‑hilted Swords, p. 105‑106.

23. English 24‑Bore Queen Anne‑Style Flintlock Pistol, c. 1770, cannon‑form round turn off barrel, swan neck cock, finely figured walnut stock and silver furniture comprising dragon side plate, shield escutcheon and grotesque mask to grip cap, barrel l. 6 1/2 in. (Sold as art.) [$600/900] Provenance: Andrew Bottomley, West Yorkshire, “Antique Arms & Armour” Sept. 1998, cat. #7, item 87; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

24. English Officer’s Sword by Cullum, the King’s Cutler, c. 1780, Charing Cross, polished steel blade double‑edged towards tip, etched with panel of scrollwork, trophies and”GR” crowned on each side at forte, burnished steel stirrup hilt, incl. pair of fluted langets, quillon and faceted back‑strap rising to cap pommel, dark horn grip retaining twisted wire binding, original tooled leather scabbard with engraved steel mounts incl. signed locket, blade 32 1/2 in. (Sold as art.) [$1000/1500] Provenance: Thomas Del Mar in Association with Sotheby’s, London, “Antique Arms, Armour & Militaria” June 30, 2010, lot 175; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

25. Bohemian 20‑Bore Flintlock Holster Pistol by Frantz Peter, c. 1780, Carlsbad, tapering barrel, signed on long flat, fitted with molded fore‑sight on engraved bed, chiseled with figure of Ceres beneath canopy in scrollwork frame over breech, engraved grooved tang, beveled lock engraved with figure of reclining Diana beneath pan and female figure on tail, figured walnut full stock carved with scrolls about rear ramrod‑pipe, bird’s head butt incised with linear patterns, inset with cast and chased gilt‑brass scrollwork plaque about tang, gilt‑brass mounts comprising solid side‑plate decorated with 3 mounted warriors, trigger‑guard with cavalryman on bow, pommel with trophy‑of‑arms and 2 cavalrymen firing at each other, crowned vacant escutcheon supported by huntsman, pair of ramrod‑pipes and gilt‑brass tipped wood ramrod (probably original), l. 18 in. (Sold as art.) [$2000/3000] Provenance: Thomas Del Mar in Association with Sotheby’s, London, “Antique Arms, Armor & Militaria” June 27, 2008, lot 479; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: According to Thomas Del Mar’s catalogue entry, Frantz Peter is recorded as being in Carlsbad, Bohemia, c. 1780‑1800.

26. Pair of French 20‑Bore Brass‑Barreled Flintlock Pistols, late 18th c., three‑stage barrels each with pronounced molding at the muzzle, iron tangs, rounded brass locks, figured walnut full stocks, brass mounts incl. eagle‑mask pommels, silver wire inlaid escutcheon, later iron ramrods, l. 5 1/4 in. (Sold as art.) [$1500/2500] Provenance: Christie’s, London, “Antique Arms, Armour & Collectors Firearms” Sept. 26, 2012, lot 103; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

28. American 14‑Bore Flintlock 1795 Model Springfield Musket of Type 1, c. 1799‑1804, bright barrel with bayonet‑lug at muzzle and retained by three spring‑held barrel bands, forward one pierced, carrying brass fore‑sight and also forming ramrod‑entry, breech stamped “US” and with eagle’s head mark between “P” and “V” on left side, plain tang, flat beveled lock stamped with American eagle motif over “US” in script under V‑shaped pan of detachable type, and stamped “Springfield” in arch across tail, latter with small projection at rear, beveled ring‑neck cock, figured full stock (minor split in front of the lock), steel mounts comprising flat side‑plate, butt‑plate indistinctly numbered”800” on heel tang, trigger‑guard with long pointed finials, trigger‑plate stamped “R:P”, sling loops, original steel ramrod, barrel l. 44 3/4 in.; together with socket bayonet with tapering blade of hollow triangular section, l.16 in. (2 pcs.) (Sold as art.) [$2000/3000]

27. Italian 50‑Bore Flintlock Pistol, late 18th c., two‑stage barrel with turned girdle and struck on engraved octagonal breech‑section with gold‑lined maker’s mark surrounded by 4 gold‑lined lion masks, foliate engraved tang, flat beveled lock with inlaid brass panels engraved with scrollwork and initials”P.B.” on bottom edge, well figured molded walnut full stock carved with scrollwork around barrel‑tang, gilt brass mounts decorated with rococo ornament, crown‑shaped gilt‑brass escutcheon, original gilt‑brass‑tipped ramrod, barrel 6 1/4 in. (Sold as art.) [$600/900] Provenance: Christie’s, London, “Antique Arms, Armour, and Collectors Firearms” September 26, 2012, lot 144; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

29. Scottish Officer’s 1797 Pattern Regulation Broadsword, c. 1800, tapering blade with central fuller on each face of forte, latter faintly etched “Atkinson, 33 Manchester Street, Liverpool” on one side, brass hilt formed of flattened bars framing panels incl. ovoidal side panel pierced with holes, 3 central panels engraved with Scottish thistle, English rose, and Irish shamrock, fluted domed pommel, spirally‑fluted grip painted red, retaining buff leather liner faced with red woolen cloth, blade l. 31 1/2 in. (Sold as art.) [$600/900] Provenance: Bonhams, London, “Antique Arms and Armour” Dec. 2, 2004, lot 130; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: This type of sword was introduced for officers in Highland regiments in 1798 and replaced in 1828.

Provenance: Bonhams, London, “The Daedalus Collection of Antique and Modern Firearms” Dec. 1, 2016, lot 37; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: According to Bonham’s, this musket appears to be unfired.

30. Turkish Yataghan, c. 1810, blade dated 1225 A.H., slightly recurved single‑edged blade cut with narrow fuller along back on each side, forte on one side gold damascened with date, owner’s name “Mustafa” and maker’s name “Mohammad Agha”, on other with star, shaped silver mount over each side of forte set with piece of green and red glass against ground of diamond shapes, silver hilt with grip‑strap set with red coral beads on filigree mounts and each between silver bead, and ‘eared’ grips each set on both sides with red coral bead centered on flower‑head, wood‑lined white‑metal scabbard embossed with martial trophies and foliage, locket set with clusters of beaded ropework and diamond shapes, suspension chain, chape formed as monster head, blade l. 20 1/2 in. (Sold as art.) [$1200/1800] Provenance: Bonhams, London, “Antique Arms & Armour” Dec. 4, 2014, lot 113; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

31. Very Rare Greek 15‑Bore Flintlock Gun, Rasak, early 19th c., four‑stage barrel with bulbous muzzle, etched with panels of geometric designs and foliage on octagonal breech‑section, tang etched with further foliage, border engraved flat beveled lock with stepped tail and roller, walnut three‑quarter stock with fish‑tail butt, rear of stock applied with engraved brass panels, some pierced, and smaller shaped plaques engraved with foliage, flower‑heads and dragons interspersed with brass wire scrolls, brass mounts engraved en suite incl. side‑plate with punched Greek inscription, and long fore‑end sleeve, five brass barrel‑bands engraved en suite, rear band incorporating silver rear‑sight, original iron ramrod, barrel l. 48 1/4 in. (Sold as art.) [$8000/12000] Provenance: Christie’s, South Kensington, “Antique Arms, Armour, & Collectors Firearms” June 22, 2011, lot 59; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: According to an email dated July 25, 2011, Christie’s’ consignor maintains that the gun was “most certainly used at the Greek 1821 revolution against the Ottoman Empire” and that the lions with turned heads on the stock “may be an addition made at the birth of the Greek independent state [in] 1832 [during] the reign of King Otto.” The consignor also translates the Greek inscription as reading” Constantine Constructor” and speculates that Constantine was either the manufacturer or decorator of the gun.

32. Turkish Sword, Yataghan, early 19th c., curved single‑edged blade cut with stylized inscription along back‑edge on one side, gilt‑brass hilt extending over lower portion of blade, decorated with filigree and set with green stones and coral, and pair of ivory grip‑scales rising to strongly formed eared pommel, original brass‑mounted leather‑covered wood scabbard, blade l. 23 in. (Sold as art.) [$700/1000] Provenance: Thomas Del Mar in Association with Sotheby’s, London, “Arms, Armour & Militaria” June 30, 2006, lot 36; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

33. Turkish 19‑Bore Full Stocked Holster Pistol, c. 1820, round barrel chiseled at the breech with scrolling foliage and flowers, lock engraved with strapwork flowers and foliage, swan neck cock and detachable pan with frizzen bridle, walnut stock relief carved to for‑end and behind barrel tang, brass furniture comprising ram rod pipes, side plate, guard escutcheon and heavy grip cap with long tangs, decorated with strapwork and stylized figures, barrel l. 12 in. (Sold as art.) [$500/700] Provenance: Andrew Bottomley, Holmfirth, England; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Ill.: Andrew Bottomley, “Antique Arms & Armour” Catalogue no. 6, item no. 76

34. Ottoman Balkan 15‑Bore Miquelet‑Lock Gun, Arnautka, 1837, browned tapering sighted barrel retained by 7 engraved brass bands, signed on left of breech and decorated with silver scrolls, tang inlaid with brief inscription in silver including date, engraved steel lock retaining some silver decoration, full stock encased in engraved brass pierced with delicate scrollwork pattern revealing underlying white metal, slender butt decorated en suite, pierced engraved trigger‑guard, pair of steel sling swivels, steel ramrod, barrel l. 52 1/2 in. (Sold as art.) [$700/1000] Provenance: Thomas Del Mar in Association with Sotheby’s, London, “Arms, Armour & Militaria” June 30, 2006, lot 63; Demetrius S. Spanos, MD Collection, Jonesboro, AR. 36. Royal Artillery Blue Cloth Helmet, late 19th c., brass fittings incl. helmet plate and chin chain, h. 10 1/2 in. [$400/600] Provenance: Thomas Del Mar in Association with Sotheby’s, London, “Antique Arms, Armour & Militaria” Dec. 12, 2008, lot 221; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

35. Balkan or Greek Brass Cartridge Box, 19th c., chased with trophies and scrollwork, rear fitted with belt loop, hinged lid, h. 5 1/4 in. [$500/700] Provenance: Sotheby’s, London, “Antique Arms, Armour, & Militaria”, Dec. 15, 2004, lot 27; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

37. French Cuirassier’s Helmet, c. 1900, regulation pattern, bright skull, gilt‑brass mounts incl. chin strap with embossed laurel scales, side plume of red and white feathers, h. 9 7/8 in. [$500/700] Provenance: Bonhams, London, Dec. 4, 2017, lot 323; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

38. Other Ranks 21st (Empress of India’s) Lancers Lance Cap, c. 1901‑10, leather skull and peak, upper portion of French gray cloth with yellow trimmings, brass fittings incl. helmet‑plate with Victorian crown and battle honor for Khartoum, plume‑holder, and chin‑scales suspended from lion mask bosses, cockade applied with “ERVII” crowned, white horsehair plume, h. 9 in. [$600/900]

39. Edwardian Trumpet Banner, c. 1902‑10, inner surface blank, outer finely embroidered in gold, silver, and polychrome thread with crowned Royal Arms on red silk, all enclosed within framework of rose, shamrock and thistle flowers and foliage, gold thread fringe, 21 1/4 in. x 16 1/2 in. [$500/700] Provenance: Thomas Del Mar in Association with Sotheby’s, London, “Antique Arms, Armour & Militaria” Dec. 12, 2008, lot 225; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

Provenance: Thomas Del Mar in Association with Sotheby’s, London, “Antique Arms, Armour & Militaria” Dec. 12, 2008, lot 220; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

41. Decorative Wood and Brass Model of a Ballista (Giant Crossbow) by Demetrius S. Spanos, MD, wood, brass, and string, the slider end mounted with brass dragon head, with stand of four arrows; presented loose on base, h. 8 in., w. 10 in., d. 7 in., Note: does not function. [$150/250]

40. Antique English Military Tole Hat Box, oval conical form, tag engraved “WW...Royal Artillery”, h. 12 1/2 in., w. 8 in., d. 10 1/2 in. [$150/250] Provenance: With Frid Wykeham, England, 1911; Demitrius S. Spanso, MD Collection, Joneseboro, AR.

Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

42. Russian Cossack‑Style Cloisonne, Niello and Parcel Gilt Double‑Blade Shashka, curved blade with three fullers, single blade coming from the hilt becoming two blades, one side of the scabbard and hilt with cloisonne design, raised floral mounts inset with pearls, niello, and garnets; the pommel in the form of a lion head; the other side with intricate foliage inlaid with niello, blade l. 28 in. (Sold as art.) [$4000/6000] Provenance: Whisnant Galleries Collection, New Orleans, LA.

43. Italian Short Sword (Cinquedea), possibly 16th c., broad triangular blade, shallow single fuller on each side, downturned iron quillons and hilt with foliage and dolphin heads, wooden grip scales, decorative rivets, blade l. 22 in. (Sold as art.) [$1200/1800] Provenance: Whisnant Galleries Collection, New Orleans, LA. 44. Turkish Yataghan, early 19th c., slightly recurved blade, narrow fuller on each side, blade profusely decorated with gold damascened inlay with four cartouches containing two lines of script, surrounded by floral motifs, shaped mount over forte and eared hilt decorated with bosses and floral designs, wood‑lined scabbard heavily embossed, blade l. 23 in. (Sold as art.) [$1000/1500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

45. Rufinus, Tyrannius (c. 345‑411), Expositio in symbolum apostolorum, [Cologne, Ulrich Zel, c. 1472], first edition, chancery quarto (8 1/2 in. x 5 7/8 in.), 29 leaves (of 30, lacking the blank), 4‑line illuminated opening initial in purple and blue on gold ground with floral and foliate extensions in the margin, rubricated in red and yellow throughout, some early foliation, modern leather binding. [$3000/5000] Provenance: Christies, London, Valuable Books and Manuscripts, Dec.12, 2018, lot 103; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: Tyrannius, Rufinus was a monk and an important translator of Greek texts into Latin and is also remembered for his friendship and later his adversarial relationship with Jerome. Ulrich Zel is recognized as the first printer in Cologne, publishing his first work there in 1466. A second and final incunable edition of the Exposition was printed in 1478 by Theodoricus Rood at Oxford.

46. Magnus, Albertus. Summa de eucharistiae sacramento, Ulm: Johann Zainer, 1474, chancery folio (11 1/2 in. x 8 1/2 in.), gothic type, 33 lines, two‑sided woodcut floral border, 10‑line woodcut, initial, 183 leaves, rubricated in red (initial, capital strokes, paragraph marks), contemporary blind stamped pigskin over oak boards, backstrip replaced with leather, printed title label, missing clasp and catch, backstrip replaced with leather. [$3000/5000] Provenance: Sothebys, New York, The Stock & Reference Library of H.P Kraus, December 4, 2003, lot 7; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: First edition; one of relatively few fully‑dated and signed Zainer imprints, and one of the earliest books to print foliation. The inserted leaf in the 8th quire was printed to make good a compositorial error in the third leaf, where a page of text was omitted between the recto and the verso; the inserted leaf was printed on the verso only, and an added direction note for the reader was printed at the foot of 8/3r.

47. Augustinus, Aurelius Sanctus, De Civitate Dei, Venice: Bonetus Locatellus per Octavianus Scotus, 9 Febbraio, 1486, 4to (9 in. x 6 3/4 in.), 207 leaves, 50 lines, text in 2 columns, gothic font, illuminated leaf with drop cap and medallion, supported by winged putti, the borders with floral garlands in gold, red, pink, blue, and green, 18th c. vellum binding. [$5000/7000] Provenance: Sothebys, Milan, June 27, 2005, lot 554; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

48. Ecclesiasticae Historiae, Eusebii Pamphili_ Eiusdem de vita Constantini_Socratis_Theodoriti episcopi Cyrensis…Collectaneorum ex historia eccles. Theodori Lectoris…Hermii Sozomeni_Evagrii, Paris, Robert Estienne, 1544, folio (13 in. x 8 3/4 in.), woodcut printer’s device on title‑page and final verso, woodcut initials, text in Greek, 17th c. calf, gilt edges, board loose. [$800/1200] Provenance: Presentation inscription on verso of title‑page to Joannes Rogerius from the Rotterdam Gymnasium dated 1628 and signed by four schoolmasters; Henry James Coleridge from his affectionate father, Xmas 1846; Sothebys, London Valuable Printed Books and Manuscripts, Nov. 16, 2006, lot 66; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: This was the first printed work to contain the Greek type cut by Garamond.”The new Royal Greek types, known as ‘grecs du roi’, were based by Garamond on the script of the Cretan Angelo Vergecio, a well‑known calligrapher in the employ of Francois I. These cursive Greek types are universally acknowledged as the finest ever cut” (Schreiber 77).

49. Polybius (c. 200‑118 B.C.), Historiarum libri priores quinque, Basel: Johann Herwagen, 1549, in Greek and Latin, two parts in one volume, folio (12 5/8 in. x 8 in.), historiated woodcut initials, woodcut device on the title, contemporary limp vellum, flat spine gilt in compartments divided by double rules and centered with a fleuron, the title in manuscript in the top compartment, the sides centered with a laurel wreath in gilt and with a gilt double‑fillet border, gilt edges. [$1200/1800] Provenance: Christies, London, Valuable Books and Manuscripts, Dec. 1, 2016, lot 86; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

50. Basilius Magnus (Cornarius, Janus, ed), Hapanta [Graece] Opera Graeca quae ad nos extant omnia Basel, Hieronymus Froben and Nikolaus Episcopus, 1551, folio (13 1/4 in. x 9 in.), Greek type, woodcut printer’s device on title, repeated on verso of the final leaf, woodcut historiated and floriated initials, woodcut ornamental head and tail pieces with strapwork motifs, 17th c. polished calf with central gilt strapwork cartouches, single gilt fillet borders. [$2000/3000] Provenance: Sotheby’s, New York, The Inventory of H.P. Kraus, Rare Books, Dec. 4, 2003, lot 51; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

51. Gelenius, Sigismund (1497‑1554, editor). Notitia utraque cum orientis tum occidentis ultra Arcadii honoriique caesarum tempora illustre vetustatis monumentum, Basel: Hieronymus Froben and Nicolaus Episcopius, 1552, quarto (12 1/4 in. x 8 in.), 106 woodcut illustrations, including 85 full‑page, wood and metalcut initials, printer’s device on title and final verso, 19th century blindtooled calf, gilt spine, red speckled edges. [$800/1200] Provenance: Silvain S. Brunschwig (monogram book label); Christies, London, Fine Printed Books, Mar. 21, 2012, lot 30; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: First complete and illustrated edition of the Notitia Dignitatum, a list of high officials of the Roman Empire compiled in about 400 A.D. Also printed are a tract by Andrea Alciati on Roman military and civil organization, a topographical description of Rome by Publius Victor, and a collection of enigmas in the form of a dialogue, the Altercatio Adriani Augusti et Epicteti philosophi.

52. Lyscosthenes, Conrad, Prodigiorum ac ostentorum chronicon, Basilea: Henricus Petrus, c. 1557, first edition, folio (10 1/2 in. x 7 1/2 in.), numerous illustrations, 670 pgs., 18th c. calf, five raised bands, several ex‑libris. [$5000/7000] Provenance: Sothebys, Milan, June 27, 2005, lot 628; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

53. Strabo. Rerum geographicarum libri septemdecim. A Guilielmo Xylandro Augstano magna cura recogniti, ac mendis...restiuti..., Basel, Henricpetri, (August 1571), folio (12 3/8 in. x 8 1/4 in.), woodcut printer’s device on title‑page and final verso, woodcut initials, parallel text in Latin and Greek, 27 double‑page maps by Sebastian Munster, 7 woodcut maps in in text, old calf, binding worn, covers detached. [$3000/5000] Provenance: Sotheby’s, London, Valuable Printed Books and Manuscripts, Nov. 16, 2006, lot 76; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

54. [Justinian Institutes] Authenticae Seu Novellae Constitutiones dn. Justiniani Sacratiss. Principis, 246 pgs., Ibid. Novellarum Constitutionum Justiniani Principus, 138 pgs., Ibid‑Justiani Imperatoris Edicta, 126 pgs., Ibid‑Justiniani PP. A Institutionum, 60 pgs., Antwerp, Plantini, 1575, Greek and Latin, bound with index, folio (13 1/4 in. x 9 in.), modern binding. [$700/1000] Provenance: Schilb Antiquarian, Columbia, MO, 2019; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

Ref: Shirley, British Library, G.STR‑1a; Nordenskjold 287

55. Mair, Paul Hektor, Geschlechter Buch...der...Statt Augspurg, Frankfurt am Maim, Sigmund Feyerabend, 1580, folio (12 2/8 in. x 7 1/2 in.), title printed in red and black, with woodcut of two knights, signed CM; 1 full‑page allegorical woodcut of Mercury and Plenty and a full‑page elaborate woodcut border enclosing a sub‑title, both signed I.A. (Jost Amman), and MF with knife (Lucas Mayer); 156 full‑page woodcuts depicting members of the great Augsburg families in full armor, with their coats of arms beside them and their names above, a few signed CW (Christoph Weiditz II); printer’s large woodcut device of Fame on last leaf; 2 elaborate woodcut tail‑pieces, old vellum. [$1800/2500] Provenance: H.P. Kraus, Rare Books and Manuscripts, New York, 2003; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

56. Xenophon. Xenophontis Philosophi et Imperatoris Clarissimi, Quae Exstant Opera, In Duos Tomos Divisa…, Frankfurt: Andreas Wecheliherdes, 1596, 2 volumes, folio (14 in. x 9 in.), in Latin and Greek, vellum, with applied titles and numbers. [$1000/1500] Provenance: Vassilis Korovessis Rare Books, Athens, Greece, 2017; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

57. Basilius I, Macedo, Emperor. Parainetika pros ton eauton uion Leonta. Admonitoria ad filium suum Leonem, Paris, Nicolas Buon, 1637, Jean Paradis/translator, 8vo (5 3/4 in. x 3 3/4 in.), Greek and Roman type, contemporary vellum, gold stamped title label on spine. [$600/900] Provenance: H.P Kraus, Inc., Rare Books and Manuscripts, New York, 2002; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: Rare edition of the work attributed to the Byzantine Emperor, Basil I (d. 886), first published in 1584 by Federic Morel, and printed here in a parallel version with Greek and Latin text on facing pages. Cast in the form of a letter to his son, LEO, the work is a short treatise on ethical philosophy. One chapter, on ‘God’s Memory ‘ discusses moral conscience as the manifestation of Divine Memory in the human mind.

58. [Classical Warfare, 7 Volumes] Incl.

(1) Pseduo‑Hyginus (fl. 3rd century AD) and Polybius (c. 205‑125 BC). De castris Romanis. Amsterdam: Judocus Pluymer, 1660, 4to, extra‑engraved title, four engraved folding plates, device on title, woodcut initials and tailpiece, 18th c. tree calf, flat spine elaborately gilt in compartments, lettering‑piece, yellow edges, Lt. Gen G. L. Parker, bookplate (2) Aelianus, Claudius (c. 175‑235). Tactica, sive de instruendis aciebus. Leiden: Ludovic Elzevir, 1613. 4to, two folding engraved plates, eighteenth‑century calf binding, spine gilt in compartments, red morocco lettering‑piece, Henry Godolphin (1648‑1733), provost of Eton and dean of St Paul’s, inscription on title‑page stating this was sold as a duplicate, a few closed tears, (repaired), margins cropped affecting manuscript note on title, staining. (3) Leo VI, Emperor of Byzantium. Tactica, sive de re militari. Leiden: Ludovic Elzevir, 1612, 4to (200 x 152mm.), 18th c. tree calf binding, flat spine gilt, red morocco, lettering‑piece, yellow edges (4) Lipsius, Justus (1547‑1606). De Militia Romana libri quinque commentarius ad Polybium, Antwerp: Joannes Moretus, 1598, engraved double‑page plate, engraved illustrations, engraved device on title‑page, woodcut illustrations, woodcut initials, Ibid. Poliorcetican sive de machinis, tormentis, telis, Antwerp: Joannes Moretus, 1596, engraved illustrations, Ibid. Admiranda, sive de magnitudine Romana, three works in one volume, old vellum, octavo (10 in. x 6 7/8 in.) (5) Ibid. De militira Romana libri quinque, Commentaries ad Polybium. Antwerp: Balthasar Moretus, 1630, 4to, engraved double-page plate, engraved illustrations, engraved device on title-page, woodcut initials, tree-calf binding, flat spine gilt, yellow edges. (6) Polyaneus. Strategematum libri octo. Leiden: Johannes du Vivie and Jordan Luchtmans, 1691, Greek and Latin, engraved extra title, woodcut device on title-page, woodcut initials, contemporary paneled calf binding. (7) Lydius Jacobus (1610-1679). Syntagma Sacrum de re Militari. Dordrecht: Cornelius Willegardus, 1698, 4to, Greek and Latin, engraved extra title-page, eight engraved plates, woodcut initials and tailpieces, 18th c. tree-calf, flat spine gilt, yellow edges. [$1000/1500] Provenance: Lt. Genl. G.L. Parker, bookplate in some volumes; Sotheby’s, London, Oct. 30, 2007, lot 3417; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

59. Bellori, Giovanni Pietro. Columna Antoniniana Marci Aurelii Antonini Augusti rebus gestis insignis Germanis simul..., Rome, apud auctorem, [1672], first edition, oblong folio (13 1/2 in. x 17 1/2 in.), engraved title, 75 numbered engraved plates, of which plates 2 and 3 combined to form a large folding plate, and 2 unnumbered plates; early 19th c. Viennese binding, possibly from the workshop of M. Hermann, of mottled calf decorated in neo‑classical style, boards marbled green within a gold roll‑tooled border of alternating open and closed palmettes, smooth spine gilt with red morocco inlay and label, marbled end leaves. [$1000/1500] Provenance: Antoine Rivalz, painter, and etcher, 1667‑1735; Sotheby’s, New York, The Inventory of H.P. Kraus, Dec. 5, 2003, lot 58; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: The column of Marcus Aurelius was erected after the Emperor’s death in A.D. 180 to celebrate his victories against the German and Sarmation tribes north of the Danube. Beneath each plate are engraved Bellori’s explanatory notes. Antiquarian, collector, and one of the founders of modern archaeology, Bellori was librarian to Queen Christina of Sweden, and from 1670‑1694, papal Commissioner of Antiquities.

60. Polyaenius. Polyaeni Strategematum, Jordanum Luchtmans, & Johannem du Vivie, 1690, 8 books in 1 volume, 16mo (7 3/4 in. x 4 1/2 in), wars against the Persians, strategy, in Latin and Greek, later calf. [$250/350] Provenance: Vassilis Korovessis Rare Books, Athens, Greece, 2017; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

61. Ciampini, Giovanni Giustino (1633‑1698). De sacris aedificiis a Constantino Magno constructis: Synopsis historica, Rome, Giovanni Giacomo Komarek, 1693, 217 pgs., woodcut papal arms on title‑page, engraved frontispiece, 35 engraved plates (20 folding, 4 double‑page); BOUND WITH Vetera monimenta, in quibus praecipua…, 1690, woodcut papal arms on title‑page, engraved frontispiece, 76 engraved plates (some folding); two works in one volume, first editions, folio (11 3/4 in. x 8 in.), contemporary calf binding, gilt arms of Foucault on covers, spine gilt in compartments, red edges. [$1000/1500] Provenance: Nicolas‑Joseph Foucault, arms on covers and armorial bookplate; Sotheby’s, London, Oct. 30, 2007, lot 3409; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: Ciampini’s archaeological works are important as they describe many monuments of early Christianity which have since decayed or been demolished, including old St Peter’s and St John Lateran. The second part of Vetera monimenta was published by Komarek in 1699.

62. Collection of Ethiopic Religious Texts, in Ge’ez, illuminated manuscripts on vellum, c. 1700‑20th c. (5 pcs.) Comprising: RELIGIOUS TEXTS [Ethiopia, c.1700]. 280 x 225mm. 161 leaves. 19-21 lines of text in two columns, rubrics in red, FORTY-SEVEN FULL-PAGE MINIATURES (prefatory cycle of illumination worn, rubbed and cockled, some dampstaining and marginal staining throughout). Contemporary paneled red leather stamped in blind (restored). The manuscript features an image of St Abba Gabra Manfas Queddus, who died around 1433. He was an Ethiopian hermit monk who lived in the desert among sixty lions and sixty leopards, traditionally – as here – represented by two of each beast. The iconography in this form only became developed in the later 16th century. The painter’s use of color is characteristic of early Gondarine painting, appearing in both icons and works on parchment, and would suggest a late 17th-early 18th-century date. [With:] Four other Ethiopic manuscripts of varying dates, with later added illumination. - PSALTER [Ethiopia, 17th century]. 150 x 140mm. 91 leaves. 19 lines of text, TEN MINIATURES (marginal staining). Modern full red morocco. Red morocco folding box. - GOSPEL OF JOHN [Ethiopia, 19th century]. 150 x 95mm. 100 leaves. 16 lines of text in two columns, thread book markers sewn in upper outer margins, FOUR MINIATURES (marginal staining). Contemporary paneled calf stamped in blind with contemporary leather case and strap. - MARIAN PRAYERS AND INVOCATIONS [Ethiopia, c.1900]. 180 x 115mm. 160 leaves. 25 lines of text, SIX MINIATURES (marginal staining and smudging, marginal scribbles in early folios). Contemporary wooden boards and tan leather case with strap (rubbed and soiled). - MARIAN PRAYERS AND INVOCATIONS [Ethiopia, c.1900]. 160 x 105mm. 224 leaves. 17 lines of text in two columns. SEVEN MINIATURES and two hand-drawn decorative headpieces (marginal staining and occasional cockling). Contemporary wooden boards and brown leather case with strap (scuffed and soiled). The illumination of these four manuscripts was likely added in the 20th century, with the original text scrubbed out. The Marian imagery with the Virgin holding a handkerchief is based on the Santa Maria Maggiore icon that the Jesuits introduced into Ethiopia in around 1600. Mary is often paired with St George from the late 18th century onward, and this is also when the blended green-yellow-red backgrounds found here begin to appear. [$5000/7000] Provenance: Christie’s, New York, Ex Libris Jean R. Perette: Important Travel, Exploration and Cartography, April 5, 2016, lot 284

63. Arrianus of Nicomedia, Expeditiones Alexandri Libri Septum et Historia Indica..., Jacobus Granovii, 1704, 7 books in 1 volume, folio (12 1/4 in. x 7 3/4 in.), 376 pgs., title page printed in red and black, in Latin and Greek, Alexander the Great’s expeditions to the Far East. [$300/500] Provenance: Vassilis Korovessis Rare Books, Athens, Greece, 2017; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

64. Felbien, Michel (1665‑1719). Histoire de la Ville de Paris, Paris: Guillaume Desprez and Jean Desessartz, 1725, first edition, 5 volumes, folio (15 1/4 in. x 9 3/4 in.), half‑titles in vols. I and III, engraved frontispiece, large folding map of Paris un‑joined on 3 sheets, 32 engraved plates (30 folding, some containing two images), contemporary calf, spines in 7 compartments with 6 raised bands, tan morocco lettering pieces, red edges. [$1000/1500] Provenance: Christie’s, New York, April 5, 2016, lot 131; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

65. Riou, Stephen (1720‑1780), The Grecian Orders of Architecture. Delineated and Explained from the Antiquities of Athens, London: Printed by J. Dixwell for the Author,1768, first edition, folio (18 3/4 in. x 11 1/2 in.), engraved vignette on title‑page, 28 engraved plates (8 double‑page), head and tail‑pieces in text, contemporary diced Russia gilt, spine gilt. [$3000/5000] Provenance: Christie’s, New York, Fine Printed Books and Manuscripts Including Americana, Dec. 5, 2008, lot 30; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: The only edition of Riou’s attempt at systematizing Greek architecture. A 1751 archaeological expedition funded by the Society of Dilettanti exposed for the first time the elements of classic Greek architecture. British architects and enthusiasts, including Riou, took up the challenge to emulate the style, giving birth to the Greek Revival movement.

66.Choiseul‑Gouffier, Marie Gabriel Comte de. Voyage Pittoresque de la Grece, Paris, J.J. Blaise, 1782‑1809‑1822, first edition, first printing, 3 volumes in 4 folios (19 3/4 in. x 13 in.), the first bound in mottled calf, the other 3 in their original publisher’s boards; 3 engraved titles, one portrait frontispiece of the author, 2 large fold‑out maps of Greece, and 263 plates (of 285) after Hilaire. [$4000/6000] Provenance: Sotheby’s, Paris, June 15, 2005, lot 22; Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: Choiseul‑Gouffier travelled with the artist Jean‑Baptiste Hilaire to the Levant in 1776. The author’s admiration for Greece and its people, combined with the skill of Hilaire’s recreation of its topography and costume was received with great enthusiasm by the French public. On its appearance in 1782 the work was so successful that in 1784 Choiseul‑Gouffier was appointed ambassador to Constantinople. A second volume appeared in 1809 and a third (i.e. volume 2, part 2) was published posthumously in 1822. The work is particularly notable for its plates, including as they do fine views architectural details, and accurate maps. Despite the title there is considerable information and many illustrations of Turkey and Constantinople.

67.[Antique Italian Book on Lace Making], l”Honesto Essempio, Venice, Fernando Ongania/Editor, 1878, octavo, facsimile book after a 1550 book on lacemaking, limited to 100 copies, this being # 94, with 28 plates, modern binding. [$150/250] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

68. 14 kt. White Gold, Black Diamond and Diamond Ring, center prong set round brilliant cut Fancy Black diamond, wt. approx. 4.49 cts., approx. 9.40‑9.40 x 7.00 mm, irradiated color, déclassé clarity; bezel and supports with 68 prong set round brilliant cut diamonds, total wt. approx. 0.46 ct., approx. 1.70‑1.00 x 0.81 mm, G‑I color, I1 to I2 clarity; size 7; AIG report. [$800/1200]

70. Pair of 14 kt. Yellow Gold and Champagne Diamond Guard Rings, I‑2 clarity, size 7. [$600/900]

71. 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]

69. 14 kt. Yellow Gold and Diamond Triple Cluster Ring, each cluster with champagne diamond (I‑2 clarity) surrounded by small white diamonds, size 7.5. [$800/1200]

72. 4 kt. White and Yellow Gold and Diamond Ring, center prong set cushion modified brilliant cut Fancy Deep Brownish Orangey Yellow diamond, wt. 0.60 ct., 4.73 x 4.51 x 3.11 mm, SI2 clarity; double halo with round cut Fancy Yellow and colorless diamonds, total wt. approx. 0.60 ct., G‑H color, SI clarity; size 7; GIA and IAS reports. [$800/1200]

74. 18 kt. Yellow Gold and Diamond Hoop Earrings, 50 round cut diamonds, total wt. approx. 4.51 cts.; dia. 1 1/2 in. [$2000/3000] 75. 18 kt. Yellow Gold and Diamond Earrings, set with 26 graduated round cut diamonds; l. 5/8 in. [$700/900]

73. 18 kt. Yellow Gold and Diamond Eternity Band, 22 bezel set round cut diamonds, total wt. approx. 1.56 cts.; size 7. [$500/700]

76. 18 kt. Yellow Gold and Diamond Cross Pendant with 18 kt. Yellow Gold Chain, 11 prong set round cut diamonds, total wt. approx. 2.39 cts.; chain, l. 19 1/2 in. [$1500/2500]

77. 18 kt. Yellow Gold and Diamond Bracelet, 30 prong and bezel set round cut diamonds, total wt. approx. 3.51 cts.; sliding adjustable bead clasp. [$2000/3000]

79. 14 kt. Yellow Gold and Diamond Bracelet, set with 60 round brilliant cut diamonds, total wt. approx. 5.64 cts., 2.8‑3.2 mm, I‑K color, SI2 to I2 clarity; l. 6.75 in.; AIGL report. [$2500/3500]

78. 18 kt. Yellow Gold and Diamond Necklace, approx. 106 prong set round cut diamonds, total wt. approx. 9.29 cts.; l. 16 1/2 in. [$4000/6000]

80. 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]

81. 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]

82. 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]

83. 18 kt. White Gold and Diamond Necklace, prong set graduated round cut diamonds, total wt. approx. 15.60 cts. [$5000/7000]

85. 14 kt. White Gold and Diamond Tennis Bracelet, approx. 45 prong set round cut diamonds, total wt. approx. 4.53 cts.; l. 7 in. [$2000/3000]

86. 18 kt. White Gold and Diamond Bracelet, round cut diamonds set in cross design, total wt. approx. 5.76 cts.; l. 7 1/2 in. [$3500/4500]

84. 14 kt. White Gold and Diamond Bangle Bracelet, approx. 42 graduated prong set round brilliant cut diamonds, total wt. approx. 3.35 cts. [$1500/2500]

88. 18 kt. White Gold and Diamond Unity Ring, center prong set pear shape diamond, total wt. approx. 1.51 cts.; bezel and shoulders with round cut diamonds, total wt. approx. 0.34 ct.; size 7.5. [$3000/5000]

90. Pair of 18 kt. White Gold and Diamond Stud Earrings, 2 center oval shape diamonds surrounded by bezels with round cut diamonds, total wt. approx. 1.70 cts. [$700/900]

91. Pair of 18 kt. White Gold and Diamond Stud Earrings, 2 center prong set round cut diamonds, total wt. approx. 1.58 cts.; bezels with round cut diamonds, total wt. approx. 0.35 ct. [$800/1200]

87. 18 kt. White Gold and Diamond Quadruple Band Ring, set with 2 round cut diamonds and 2 emerald cut diamonds, total wt. approx. 1.00 ct.; bands and bezels set with round cut diamonds, total wt. approx. 1.20 cts.; size 6.5. [$1500/2500]

89. 18 kt. White Gold and Diamond Eternity Band, 22 bezel set round cut diamonds, total wt. approx. 1.56 cts.; size 7. [$500/700]

92.Art Deco‑Style Platinum and Diamond Art Unity Ring, center bezel set round brilliant cut diamond, wt. approx. 0.51 ct., 4.85‑4.80 x 2.95 mm, G color, I‑1 clarity; surround with 50 prong and channel set round brilliant and baguette cut diamonds, total wt. approx. 0.89 ct., G‑I color, VS‑1 to SI‑1 clarity; size 6.75; AIG report. [$2500/3500]

95. 18 kt. White Gold and Diamond Triple Strand Bracelet, set with 225 graduated round brilliant cut diamonds, total wt. approx. 9.05 cts., approx. 2.0‑3.2 mm, G‑H‑I color, VS clarity; l. 7 in.; Florida Diamond Appraisal report. [$7000/9000]

93. Platinum and Diamond Ring, center prong set round brilliant cut diamond, wt. approx. 1.20 cts., approx. 6.40‑6.30 x 4.40 mm, H color, I1 clarity; surround with 58 prong and channel set round brilliant and baguette cut diamonds, total wt. approx. 2.63 cts., F‑H color, VS1 to SI1; size 6.25; AIG report. [$4000/6000]

94. 14 kt. White Gold and Diamond Pendant with 14 kt. White Gold Chain, center bezel set round brilliant cut diamond, wt. approx. 0.37 ct., G color, SI2 clarity; link chain, l. 16 in.; IAS report. [$400/600]

97. Platinum and Diamond Ring, set with round brilliant and baguette cut diamonds, total wt. approx. 0.59 ct., G‑H color, SI1 to SI2 clarity; size 6.75; IAS report. [$800/1200]

99. Platinum and Diamond Tennis Bracelet, set with 60 prong set round brilliant cut diamonds, total wt. approx. 5.55 cts., 2.9‑3.3 mm, G‑H color, I1 to I2 clarity; l. 7 3/8 in.; AIGL report. [$3500/4500]

101. Art Deco‑Style Platinum and Diamond Unity Ring, center prong set round brilliant cut diamond, wt. 0.51 ct., 4.96‑4.2 x 3.16 mm, G color, SI3 clarity; surround with 62 prong set round brilliant cut diamonds, total wt. approx. 0.18 ct., F‑H color, VS2 to SI2 clarity; and 8 channel set square step cut rubies, total wt. approx. 0.92 ct.; size 6.5; AIG and EGLUSA reports and UGS Appraisal Summary. [$1500/2500]

96. Platinum and Diamond Tennis Bracelet, set with 50 round brilliant cut diamonds, total wt. approx. 8.14 cts., 3.4‑3.6 mm, G‑H color, I1 to I2 clarity; l. 7 1/4 in.; AIGL report. [$6000/8000]

98. 18 kt. White Gold and Diamond Necklace, set with 161 round brilliant cut diamonds, total wt. approx. 9.71 cts., 2.1‑3.8 mm, G‑I color, VS2 to SI2 clarity; l. 17 in.; AIGL report. [$7000/9000]

100. 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]

102. Platinum, Ruby and Diamond Bracelet, geometric pattern set with 66 square step cut and 33 rectangular step cut rubies, total wt. approx. 11.81 cts., 2 x 2 mm and 2 x 3 mm; and 132 round brilliant cut diamonds, total wt. approx. 2.09 cts., 1.2‑1.7 mm, F‑G color, VS2 to SI1 clarity; l. 7 1/4 in.; AIGL report. [$4000/6000]

103. 18 kt. White and Yellow Gold, Ruby and Diamond Ring, center bezel set oval mixed cut ruby, wt. 1.12 cts., 6.60 x 5.31 x 3.45 mm; surround with 72 prong set and channel set round brilliant and baguette cut diamonds, total wt. approx. 1.00 ct., F‑I color, VS1 to I1 clarity; size 6.75; GIA and AIG reports. [$1500/2500]

105. 14 kt. Rose Gold, Morganite and Diamond Pendant and 14 kt. Rose Gold Chain, center prong set modified brilliant cut pear shaped morganite, wt. approx. 20.62 cts., 29.9 x 15 mm; bezel and link with 125 round brilliant cut diamonds, total wt. approx. 2.42 cts., 1.5‑2.0 mm, H‑I color, SI2 to I2 clarity; chain, l. 18 in.; AIGL report. [$3000/5000]

104. Platinum, Sapphire and Diamond Ring, center prong set oval mixed cut pink sapphire, wt. 0.85 ct., 6.24 x 4.69 x 3.25 mm; tiered bezel with 38 prong set round brilliant and baguette cut diamonds, total wt. approx. 0.75 ct., F‑H color, VS1 to I1 clarity; size 7; GIA and AIG reports. [$1500/2500]

106. 14 kt. Yellow Gold, Tourmaline and Diamond Dangle Earrings, 4 prong set emerald cut bi‑color tourmalines, total wt. approx. 9.44 cts.; supports with round brilliant cut diamonds, total wt. approx. 0.33 ct., G‑H color, SI1 to SI2 clarity; IAS report. [$1000/1500] 107. Platinum, Tourmaline and Diamond Ring, center prong set step cut oval shape red tourmaline, wt. approx. 4.97 cts.; flared double ballerina bezel with round and emerald cut diamonds; size 6.5. [$1000/1500]

108. 18 kt. White Gold, Tourmaline and Diamond Ring, center oval shape red and green tourmalines, total wt. approx. 9.67 cts.; bezel and shoulders with round and marquise cut diamonds, total wt. approx. 1.92 cts.; size 6.25. [$1500/2500]

111. Platinum, Tanzanite and Diamond Ring, center prong set rectangular step cut tanzanite, wt. 7.07 cts., 10.91 x 10.12 x 6.98 mm; bezel and shoulders with 36 prong set round brilliant cut diamonds, total wt. approx. 0.68 ct., F‑H color, VS2 to SI2 clarity; size 7; GIA and AIG reports. [$3000/5000]

112. 14 kt. White Gold, Sapphire and Diamond Ring, center prong set pear shape blue sapphire, wt. approx. 1.73 cts., approx. 8.60 x 6.89 mm; bezel and shoulders with round brilliant cut diamonds, total wt. approx. 0.42 ct., G‑H color, VS clarity; size 7; IAS report. [$1000/1500]

109. 18 kt. White Gold, Tourmaline and Diamond Ring, center prong set cushion step cut green tourmaline, wt. approx. 7.47 cts.; halo and shoulders with round cut diamonds, total wt. approx. 0.62 ct.; size 7.5. [$1000/1500]

110. 18 kt. White Gold, Tourmaline and Diamond Ring, center prong set step cut modified emerald shaped green tourmaline, wt. approx. 9.18 cts.; halo and shoulders with round cut diamonds, total wt. approx. 0.69 ct.; size 7.5. [$1000/1500]

113. Platinum, Sapphire and Diamond Ring, center prong set oval mixed cut blue sapphire, wt. 1.32 cts., 7.71 x 5.77 x 3.31 mm; double halo and shoulders with 56 prong set round brilliant cut diamonds, total wt. approx. 0.50 ct., F‑H color, VS1 to SI1 clarity; size 7; GIA and AIG reports. [$1500/2500]

114. 14 kt. White Gold, Zircon and Diamond Ring, center bezel set cushion cut blue zircon, wt. approx. 3.95 cts., approx. 8.63 x 6.12 mm; bezel with 16 round brilliant cut diamonds, total wt. approx. 0.36 ct., G‑H color, SI1 to SI2 clarity; size 6.75; IAS report. [$700/900]

115. 14 kt. Yellow Gold, Sapphire and Diamond Bracelet, set with 74 mixed cut Fancy Colored oval shaped sapphires, total wt. approx. 21.26 cts.; and 144 round diamonds, total wt. approx. 1.46 cts., H‑K color, I1‑I3 clarity; l. 7 in.; AIGL report. [$2000/3000] 116. 18 kt. Yellow Gold, Topaz, Sapphire, and Diamond Pendant or Pearl Enhancer with Chain, center bezel set oval mixed cut blue topaz, wt. approx. 20.45 cts., 20.00 x 14.00 x 9.85 mm; terminal with bezel set oval cabochon cut blue sapphire, wt. approx. 0.62 ct., 5.50 x 4.00 x 2.60 mm; surround accented with 14 round brilliant cut diamonds, total wt. approx. 0.14 ct., G‑I color, VS2 clarity; chain, l. 18 in.; AIG report. [$1800/2500]

118. Pair of 18 kt. White and Yellow Gold, Emerald and Diamond Stud Earrings, 2 center prong set oval shape emeralds, wt. approx. 2.57 cts and 2.36 cts.; bezels with approx. 42 round cut diamonds. [$2000/3000]

119. 14 kt. Yellow Gold, Emerald and Diamond Necklace, 18 emeralds, total wt. approx. 33.99 cts., incl. 16 prong set emerald cut emeralds, approx. 8.0 x 6.0 mm; center oval shape emerald, approx. 12.0 x 9.5 mm; and center heart shape emerald, approx. 11.0 x 9.0 mm; bezels and links with round brilliant cut diamonds, total wt. approx. 10.51 cts., F‑G color, SI3 to I clarity; l. 16 in; IAS report. [$15000/20000]

120. Platinum, Emerald and Diamond Ring, center rectangular cut cornered step cut emerald, wt. approx. 1.44 cts., 8.0 x 5.7 mm; halo and shoulders with 46 round brilliant cut diamonds, total wt. approx. 0.40 ct., G‑H color, VS2 to SI1 clarity; size 7; AIGL report. [$1000/1500]

122. Pair of 18 kt. White Gold, Emerald and Diamond Dangle Earrings, 4 rectangular cut cornered step cut emeralds, total wt. approx. 4.96 cts.; bezels and supports with 88 round brilliant cut diamonds, total wt. approx. 1.46 cts., 1.5‑1.8 mm, G‑H color, SI1 to SI2 clarity; l. 1 3/8 in.; AIGL report. [$2500/3500]

117. 14 kt. Yellow Gold, Jadeite and Diamond Ring, center with oval cabochon jadeite, wt. approx. 10.26 cts., 12.6 x 11.5 x 7.4 mm; bezel with 68 round brilliant cut diamonds, total wt. approx. 0.59 ct., H‑J color, I1 to I2 clarity; size 7; AIGL report. [$600/800]

121. Platinum, Emerald and Diamond Ring, center prong set rectangular step cut emerald, wt. 2.32 cts., 8.50 x 6.90 x 4.90 mm; double halo and shoulders with fifty prong set round brilliant cut diamonds, total wt. 1.06 cts., G‑I color, SI3 to I2 clarity; size 6.75; AIG report. [$2000/3000]

123. 18 kt. White Gold, Emerald and Diamond Ring, center prong set rectangular step cut emerald, wt. 8.01 cts., 18.84 x 11.35 x 7.11 mm; halo with 40 prong set round brilliant cut diamonds, total wt. approx. 0.74 ct., F‑H color, SI‑1 to SI‑2 clarity; yellow gold accents; size 7; AIG and AGL reports. [$5000/7000]

124. 18 kt. White Gold, Emerald and Diamond Ring, center prong set emerald cut emerald, wt. approx. 2.16 cts.; halo with round cut diamonds, total wt. approx. 0.56 ct.; size 7. [$800/1200]

125. Pair of Platinum, Alexandrite and Diamond Dangle Earrings, two center prong set oval mixed cut alexandrites, total wt. 2.67 cts; bezels and supports with 100 prong set round brilliant cut diamonds, total wt. approx. 1.29 cts., E‑G color, VS2 to SI2 clarity; l. 1 3/8 in. AIG and 2 GIA reports. [$2500/3500]

126. 14 kt. Yellow Gold, Citrine and Diamond Ring, center prong set emerald cut citrine, wt. approx. 10.11 cts., approx. 14.57 x 10.85 mm; halo and shoulders with round brilliant cut diamonds, total wt. approx. 0.68 cts., G‑H color, SI2 to SI3 clarity; size 6.75; IAS report. [$800/1200]

127. 14 kt. Yellow Gold, Opal and Diamond Ring, center bezel set oval shaped opal, wt. approx. 1.42 cts.; bezel with 8 round brilliant cut diamonds, total wt. approx. 0.22 ct., G‑H color, SI1 to SI2 clarity; size 6.75; IAS report. [$400/600]

128. 14 kt. Yellow Gold, Opal and Diamond Ring, center prong set oval cabochon Orangy Brown opal, wt. approx. 3.85 cts.; bezel and support with 44 round brilliant cut diamonds, total wt. approx. 0.24 cts., H‑I color, SI2 to I2 clarity; size 7; AIGL report. [$400/600]

130. Platinum, Tahitian Pearl and Diamond Ring, center with round Black‑Gray cultured pearl, 14 mm; bezel and support with 104 round brilliant cut diamonds, total wt. approx. 0.70 ct., H‑I color, SI1 to SI2 clarity; size 6.75; GLA report and Florida Diamond Appraisers report. [$1200/1800]

131. Tahitian Pearl Necklace, 35 round Dark Gray cultured pearls, 11‑13 mm; 14 kt. white gold plunger style clasp, l. (incl. clasp) 17 1/2 in.; AIGL report. [$1200/1800]

133. Ten Strand Biwa Pearl Necklace and Gemstone Clasp, 14 kt. yellow gold clasp set with single cut diamonds, rubies, sapphires and emeralds, l. 26 1/4 in. [$600/900]

132. South Sea Pearl Necklace, 37 round graduated cultured Golden pearls, 10‑14 mm; 14 kt. yellow gold plunger style tension lock scalloped bead clasp, l. (incl. clasp) 18 in.; AIGL report. [$800/1200]

134. Group of Four 14 kt. Yellow Gold and Gemset Rings, incl. pair, each set with 7 round faceted channel set emeralds; one set with 3 sapphires and 14 single cut diamonds; and one set with oval faceted bezel set ruby and 2 small round diamonds, size 6.75 to 8. [$500/750]

135. Yellow Gold and Aquamarine Ring, unmarked, with bezel set aquamarine in panther link band. [$400/600]

129. Pair of 18 kt. White Gold, Tahitian Pearl and Diamond Dangle Earrings, drops with 2 round black pearls, 12 mm; floral bezel with 390 round brilliant cut diamonds, total wt. approx. 4.12 cts., G‑I color, I1 to I2 clarity; l. 1 3/4 in.; AIGL report. [$2500/3500]

136. Pair of Victorian 9 kt. Yellow Gold Pendant Earrings. [$200/300]

137. Pair of Chinese Silver and Enamel Finger Guards, now set as earrings, l. 1 7/8 in. [$150/250]

138. Pair of Chinese Jadeite Avian Figural Groups, carved as phoenix birds carrying lingzhi sprays in their beaks perched atop rockwork amid peonies and chrysanthemums with pairs of songbirds below, h. 20 1/4 in., w. 8 1/4 in., stands, overall h. 20 1/2 in., w. 10 1/2 in. [$3000/5000]

139. Chinese Lavender and Green Jadeite “Fu Lu Shou” Group, carved as the Three Star Gods in grotto‑like setting surrounded by their attributes, children and good luck symbols, reverse with cash, h. 15 3/4 in., w. 11 3/4 in. [$2500/3500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

140. Chinese Jadeite Figure of Guanyin, modeled standing on lotus base with a Buddha’s hand citron “mandorla”, holding ruyi scepter and bead necklace, h. 10 in. [$1500/2500] Provenance: Whisnant Galleries Collection, New Orleans, LA. 141. Le Pho (Vietnamese/French, 1907‑2001), “Composition”, oil on canvas, signed “Le Pho” and signed again in Chinese lower right, titled and inscribed “N.Y.”, Wally Findlay monogram, “773”, “35951” and “Wally Findlay Galleries” tag with artist, title, “35951” and “8F” on stretcher, “Wally Findlay Galleries” label and inscribed “35951”, “773” and “8F” on backing board, 18 1/4 in. x 15 in., framed. [$20000/30000]

142. Chinese Hardwood Table, 19th c., inset rectangular top, pierced apron carved with scrollwork, high shelf, straight legs, scrolled toes, h. 31 in., w. 16 in., d. 12 in. [$400/600]

143. Chinese Hardwood Table‑Form Stand, 19th/early 20th c., inset rectangular top, pierced apron carved with stylized dragon scrolls, straight legs, scroll toes, h. 11 3/8 in., w. 16 1/2 in., d. 12 1/4 in. [$300/500]

144. Good Pair of Chinese or Ottoman Jade‑Inset and Coral and Turquoise Embellished Silver Gilt Duck‑Form Candles Holders, Qing Dynasty (1644‑1911), h. 11 in. [$3000/5000] Provenance: Loyd Paxton, Dallas, TX, 1987.

145. Good Pair of Chinese Gilt Bronze Figural Three‑Light Pricket Candle Sticks, Qing Dynasty (1644‑1911), each modeled in mirror image as monk or Luohan on tiered base holding 3 prunus branches, their blossoms forming bobeches, h. 13 1/2 in. [$800/1200] Provenance: Whisnant Galleries Collection, New Orleans, LA.

146. Chinese “Blanc de Chine” Porcelain Bodhidharma, Qing Dynasty (1644‑1911), modeled standing, wearing long robes and holding prayer beads, reverse with Pu Zi Yu Ren “fisherman’s” seal, h. 12 in. Note: Restoration. [$600/800]

148. Chinese “Blanc de Chine” Porcelain Guanyin, probably 19th c., modeled standing with arms tucked under robes, h. 12 in.; together with cream crackle glazed Guanyin, h. 17 3/4 in. (2 pcs.) [$500/700]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

147. Chinese “Blanc de Chine” Porcelain Guanyin, Qing Dynasty (1644‑1911), modeled on cloud scroll base holding a peach, hair tied with tiara in chignon and covered by cowl, long robes open at chest revealing bead necklace, h. 12 3/4 in. Note: Restoration. [$600/800]

Provenance: Henry Stern, c. 1940.

Provenance: Adriaan’s, New Orleans; Whisnant Galleries Collection, New Orleans, LA.

151. Chinese “Blanc de Chine” Porcelain Tripod Censer, Ding, 16th/17th c., upright loop handles, bulbous body with leiwen band, splayed legs with zoomorphic masks and ruyi heads, h. 6 7/8 in., dia. 5 3/4 in. [$1500/2500]

150. Chinese “Blanc de Chine” Figure of the Drunken Poet Li Bai, Qing Dynasty (1644‑1911), modeled reclining on overturned wine jar, h. 4 1/4 in., l. 7 1/2 in. [$200/300]

Provenance: Whisnant Galleries Collection, New Orleans, LA. Ref.: See Ayers, John. Divine Images in Porcelain. p. 40, fig 8.

Provenance: Whisnant Galleries Collection, New Orleans, LA. 149. Chinese “Blanc de Chine” Porcelain Incense Stick Holder, Qing Dynasty (1644‑1911), modeled as Buddhist lion seated on rectangular plinth, h. 5 1/4 in., associated stand, overall h. 6 1/4 in. [$400/600] Provenance: Whisnant Galleries Collection, New Orleans, LA. 152. Chinese Song‑Style Cream Crackle Glazed Pottery “Cadogan” Puzzle Pot, 18th/19th c., with applied butterflies and leafy vines, h. 5 7/8 in. [$400/600] Provenance: Whisnant Galleries Collection, New Orleans, LA.

153. Two Chinese “Blanc de Chine” Porcelain Cosmetic or Seal Paste Boxes, Qing Dynasty (1644‑1911), both with molded decoration, larger with “Nagel Auctions / Tek Sing Treasures” label, dia. 3 1/4 in. and 2 1/4 in. [$200/300]

154. Chinese “Blanc de Chine” Porcelain Vermillion Paste Box, Song/ Yuan Dynasty (1127‑1367), molded ribbed sides, raised chrysanthemum spray roundel, dia. 2 5/8 in. [$250/350]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

156. Chinese Gilt Bronze Covered Censer on Stand, 19th/20th c., modeled throughout with bamboo elements and birds, base marked, h. 11 1/2 in. (3 pcs.) [$800/1200] Provenance: Whisnant Galleries Collection, New Orleans, LA.

157. Antique Chinese/Tibetan Parcel Gilt Lacquer and Polychrome Bronze Figure of a Wrathful Deity or Guardian, probably six‑armed Mahakala, in 2 parts, modeled standing on separate base formed as pond surrounded by rocks, holding various instruments in his hands, wearing stern expression, back of his head with two wrathful masks, h. 17 1/2 in. [$4000/6000]

155. Chinese Qingbai Porcelain Saucer Dish, Southern Song Dynasty (1127‑1279), molded chrysanthemum petal‑tip walls, central floral spray, dia. 4 1/4 in. [$400/600] Provenance: Whisnant Galleries Collection, New Orleans, LA.

Provenance: Whisnant Galleries Collection, New Orleans, LA.

158. Chinese Black and Russet Glazed Pottery Bottle Vase, 19th c., black glaze turning to russet around base and foot, h. 6 1/2 in. [$200/300] Provenance: Whisnant Galleries Collection, New Orleans, LA.

159. Chinese Black Glazed Stoneware Bottle Vase, probably Ming Dynasty (1368‑1644) or earlier, overall black glaze thinning to russet along mouth rim and pooling above the exposed buff foot, h. 6 in. [$300/500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

160. Chinese Neolithic Painted Pottery Storage Jar, pyriform body with loop handles, painted in black and red with cross motif roundels, h. 12 5/8 in. [$400/600] Provenance: Whisnant Galleries Collection, New Orleans, LA.

162. Three Early Chinese Pottery Jars, incl. 2 with etched basket weave design, h. 6 3/4 in. and 5 in.; and 1 cylindrical with concentric bands, h. 7 1/2 in. [$200/300]

163. Chinese Tang‑Style Sancai Glazed Pottery Horse, modeled standing on rectangular plinth, saddle, blanket, bridal and trimmings in green and blue glaze, body with ochre glaze, h. 15 1/4 in., w. 14 1/2 in. [$200/200]

161. Chinese Neolithic Painted Pottery Vessel, loop handles, neck and globular body with cross‑hatch design, h. 4 1/2 in. [$250/350] Provenance: Whisnant Galleries Collection, New Orleans, LA.

164. Chinese Tang‑Style Sancai Glazed Pottery Jar, probably 19th/20th c., blue, ocre, and green basketweave and floret pattern design, h. 10 1/2 in. [$200/300] Provenance: Whisnant Galleries Collection, New Orleans, LA.

165. Chinese Tang‑Style Sancai Glazed Pottery Tripod Dish, probably 19th/20th c., incised central flower head encircled by ruyi band, loop feet, h. 1 1/2 in., dia. 7 7/8 in. [$150/250] Provenance: Whisnant Galleries Collection, New Orleans, LA.

166. Chinese Persimmon Glazed Stoneware Conical Bowl, probably Song Dynasty (960‑1279), with russet glaze falling neatly above splayed buff foot, h. 2 1/2 in., dia. 4 1/8 in. [$200/300] Provenance: Whisnant Galleries Collection, New Orleans, LA.

168. Two Chinese Russet Spotted Qingbai Pottery Vases, probably Yuan Dynasty (1279‑1368), larger pear‑form, h. 4 1/2 in.; smaller baluster, h. 2 in. [$200/300]

167. Chinese Persimmon Glazed Stoneware Conical Bowl, probably Yuan Dynasty (1271‑1368) or earlier, with russet glaze finishing in neat line above splayed buff foot, h. 2 5/8 in., dia. 4 3/8 in. [$300/500]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

169. Asian Jun‑Style Purple Splashed Green Glazed Stoneware Conical Bowl, h. 2 1/4 in., dia. 5 1/4 in. [$100/150] Provenance: Whisnant Galleries Collection, New Orleans, LA.

170. Group of Early Chinese Pottery, incl. jar, h. 4 3/4 in.; 2 models of domestic fowl, h. 4 3/4 in. and 5 in.; and a well head and bucket, well h. 7 in. (5 pcs.) Note: losses to well. [$200/300]

172. Two Chinese Liangzhu‑Style Hardstone Congs, probably 19th/20th c., h. 5 in. and 4 in. [$400/600]

171. Three Chinese Glazed Pottery Oil Lamps, Ming Dynasty (1368‑1644), h. 3 5/8 in. to 4 3/4 in. [$250/350]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

173. Two Antique Chinese Hardstone Bi Disks, dia. 2 1/2 in. and 1 3/4 in. [$400/600] Provenance: Whisnant Galleries Collection, New Orleans, LA.

174. Three Antique Chinese Hardstone Archer’s Rings, incl. 2 jade and 1 probably agate, h. 1 in. to 1 1/8 in. [$600/800]

175. Antique Chinese Bronze Belt‑Hook, probably Han Dynasty (206 BCE‑220 CE), l. 4 3/8 in.[$200/300]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

176. Chinese Bronze Hu‑Form Vessel, probably Han Dynasty (206 BCE‑220 CE), flattened baluster‑form with loose ring handles, h. 2 3/4 in. [$400/600] Provenance: Whisnant Galleries Collection, New Orleans, LA.

177. Antique Chinese Zhou‑Style Bronze Spearhead, probably Song Dynasty (960‑1280), l. 7 in. [$200/300] Provenance: Whisnant Galleries Collection, New Orleans, LA.

Provenance: Whisnant Galleries Collection, New Orleans, LA.

180. Antique Chinese Patinated Bronze Buddhist Lion, probably Ming Dynasty (1368‑1644), modeled seated with ribbon‑tied brocade ball, h. 2 7/8 in., w. 3 3/4 in., stand, overall h. 3 3/4 in. [$400/600] Provenance: Whisnant Galleries Collection, New Orleans, LA.

178. Chinese Bronze Covered Ritual Vessel, Yuan Dynasty (1270‑1368) or earlier, domed cover with repousse eight‑pointed star design, strap handles, thin walled ovoid body with petal lobed “lotus” base, h. 10 1/2 in. [$800/1200]

179. Antique Chinese Bronze Artifact, probably a sleeve gun, l. 5 1/2 in. [$150/250] Provenance: Whisnant Galleries Collection, New Orleans, LA.

181. Chinese Bronze Baluster Vase, Qing Dynasty (1644‑1911), shoulder with decorative ruyi band in relief, h. 4 in. [$150/250] Provenance: Whisnant Galleries Collection, New Orleans, LA.

183. Chinese Green and Russet Jade Camel, h. 2 1/8 in., w. 3 1/2 in. [$1200/1800] Provenance: Whisnant Galleries Collection, New Orleans, LA.

182. Two Chinese Spinach Green or Celadon Jade Fondling Pieces, each carved in horse‑form, l. 1 3/4 in. [$300/500]

184. Chinese Green and Russet Jade Ram, carved recumbent with head turned toward rump, h. 2 1/4 in., l. 3 1/4 in. [$300/500]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

Provenance: Whisnant Galleries Collection, New Orleans, LA. 185. Chinese Creamy‑White and Russet Jade Camel, carved recumbent with its head twisted toward its humps, h. 1 1/2 in., l. 2 7/8 in. [$1000/1500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

186. Chinese Grayish White and Russet Jade Horse, h. 1 3/4 in., l. 4 1/4 in. [$1200/1800] Provenance: Whisnant Galleries Collection, New Orleans, LA.

187. Chinese Grayish White Jade Camel, h. 2 1/2 in., w. 2 1/4 in. [$1000/1200] Provenance: Whisnant Galleries Collection, New Orleans, LA.

188. Chinese White Jade Playful Monkey and Horse, h. 2 in., l. 3 3/4 in. [$1000/1500]

189. Chinese White Jade Horse, h. 2 in., l. 3 1/8 in. [$1000/1500]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

190. Pair of Chinese Wucai Porcelain Jars, late 19th/early 20th c., decorated with phoenix, peony and foliate scrollwork, bases faintly marked “CHINA”, h. 7 in. and 7 1/4 in., stands, overall h. 8 in. and 8 1/4 in.; together with pair of associated covers. [$600/800]

191. Chinese Wucai Porcelain Covered Jar, Qing Dynasty (1644‑1911), decorated with six playful Buddhist lions amid peonies and scrolling vines, h. 12 1/8 in., stand, overall h.14 1/8 in. [$600/800]

192. Chinese Blue and White Porcelain Bottle Vase, 19th/20th c., decorated with upright leaf tips, lotus flowers and foliate scrolls, h. 11 1/4 in. [$300/500]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

193. Chinese Blue and White Porcelain Ovoid Vase, Qing Dynasty (1644‑1911), decorated with lotus scrolls, base with rabbit mark, h. 8 in. [$1000/1500]

194. Chinese Blue and White Porcelain Squared Baluster Vase, Qing Dynasty (1644‑1911), elephant mask‑ring handles, body decorated with pairs of phoenix amid flower scrolls, base with Kangxi mark, h. 5 1/4 in., fitted stand with hand‑written label dated 1972, overall h. 6 7/8 in. [$2000/3000]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

195. Chinese Green and Yellow Glazed Pottery Elephant‑Head Rhyton, Qing Dynasty (1644‑1911) or earlier, h. 2 3/8 in., l. 4 3/4 in. [$400/600]

196. Pair of Chinese Aubergine Glazed Porcelain Bull’s Head Rhytons, Qing Dynasty (1644‑1911), probably 17th c., interiors with green glaze, h. 3 1/4 in., l. 4 1/2 in. [$1500/2500]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

197. Chinese Peachbloom Glazed Porcelain Miniature Vase, probably Kangxi Period (1622‑1722), base with “Jan‑Erik Nielson Collection” label, h. 2 in. [$200/300] Provenance: Whisnant Galleries Collection, New Orleans, LA.

198. Chinese Oxblood Red Glazed Porcelain Bottle Vase, Qing Dynasty (1644‑1911), bright copper red glaze thinning to white at the mouth and above the foot, h. 12 3/4 in. [$300/500]

199. Pair of Chinese Sang de Boeuf Porcelain Baluster Vases, overall mottled oxblood glaze pooling toward unglazed base, h. 21 1/2 in. [$700/900]

200. Pair of Chinese Sang de Boeuf Porcelain Amphora Vases, exteriors with oxblood red glaze, interiors and bases with cream crackle glaze, h. 9 1/2 in. [$300/500]

203. Chinese Puce Enameled Porcelain Brush Washer, probably 19th/early 20th c., decorated with pink bats, foliage, and Buddhist symbols, base with Qianlong Jia Chen Zhan En Tang Zhi mark, h. 2 3/8 in., dia. 6 3/4 in. [$600/800]

204. Chinese Famille Rose Enameled Yellow‑Ground Porcelain Dish, probably late 19th/early 20th c., decorated with central shou character encircled by five colorful bats and peach sprays, base with Guangxu mark, h. 1 3/8 in., dia. 7 3/8 in. [$400/600]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

201. Chinese Monochrome Blue Glazed Porcelain Miniature Censer, 19th c., baluster body with overall blue glaze thinning to white at rim and edges of loop handles, h. 2 1/8 in. [$200/300]

202. Chinese Lime‑Green Glazed Porcelain Covered Pot, Qing Dynasty (1644‑1911), possibly lotion pot, body with raised concentric rings, h. 2 in., dia. 3 3/8 in. [$150/250]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

Provenance: Adriaans, New Orleans, June 2, 1979; Neal Auction, June 27, 2015, lot 120.

205. Chinese Famille Rose Porcelain Ovoid Jar, 19th c., decorated with flowering prunus branches, h. 10 1/2 in., mounted as a lamp, h. (incl. finial) 27 in. [$300/500]

206. Chinese Famille Rose Porcelain Figure of a “Happy Boy”, modeled seated holding a sprig of three peaches, h. 11 1/2 in. [$200/300] Provenance: Whisnant Galleries Collection, New Orleans, LA.

208. Three Chinese Framed Polychrome Porcelain Wall Panels, 20th c., painted in muted enamels with mountainous landscapes, bearing inscriptions and seals upper left, h. 31 1/2 in., w. 20 in. [$600/800]

210. Chinese Soapstone Embellished Hardwood Brush Pot, decorated with birds amid flowers, linghzhi, bamboo, and rockwork, resin inscription and seals, h. 7 5/8 in., dia. 7 1/4 in. [$500/700] Provenance: Whisnant Galleries Collection, New Orleans, LA.

212. Chinese Scholars Rock, h. 7 in., w. 9 1/2 in., mounted to hardwood stand, overall h. 9 in., w. 12 1/8 in. [$500/700] Provenance: Whisnant Galleries Collection, New Orleans, LA.

207. Pair of Chinese Famille Rose Porcelain Sleeve Vases, probably early 20th c., enameled with magpie on branch wrapped with wisteria vines above peonies, Dayazhai mark, h. 10 7/8 in. [$300/500]

209. Chinese School, Qing Dynasty (1644‑1911), “Figures with Documents at a Table”, ink and color on paper, 13 1/4 in. x 22 1/4 in., brocade matted and framed. [$400/600]

211. Chinese Horn Libation Cup, relief‑carved with qilong dragons and petal tips, incised with key fret, h. 3 1/4 in., w. 5 1/2 in., d. 3 3/4 in. [$400/600] Provenance: Whisnant Galleries Collection, New Orleans, LA.

213. Two Chinese Bronze Covered Censers, late 19th/ early 20th c., hexagonal pierced lids with qilin or Buddhist lion, dragon handles, bodies with phoenix panels, scroll legs, hexagonal bases, h. 12 1/2 in., w. 7 3/4 in. [$600/800] Provenance: Whisnant Galleries Collection, New Orleans, LA.

214. Chinese Parcel‑Gilt Bronze Figure of Amitabha, modeled seated in vajraparyankasana with hands in dhyana mudra, wearing long simple robes exposed at chest, hair in tight knots, face with urna and serene downcast expression, h. 17 1/2 in., w. 15 1/4 in. [$1200/1800]

215. Chinese Silver Metal‑Mounted Mother‑of‑Pearl Inlaid Hardwood Water Pipe, Qing Dynasty (1644‑1911), inlaid with Eight Immortals seated at table in landscape with rocks, foliage, birds, and bats beside 4‑line verse, h. 81/4 in., dia. 3 5/8 in. [$600/800]

216. Chinese Celadon and Russet Jade Figure of a Water Buffalo, carved recumbent with raised head and alert expression, h. 4 1/8 in., l. 7 1/4 in., stand, overall h. 5 1/8 in. [$800/1200] Provenance: Whisnant Galleries Collection, New Orleans, LA.

217. Chinese Celadon Jade Monkey and Peach Group, carved in a line with 2 left‑facing and 3 right‑facing monkeys, h. 2 in., l. 6 1/4 in., stand, overall h. 2 3/4 in. [$300/500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

218. Chinese Pale Celadon Jade Monkey and Horse Group, h. 1 3/4 in., w. 2 3/8 in. [$100/150]

219. Chinese Celadon Jade Mother and Pup Dog Group, h. 1 3/8 in., l. 2 1/4 in. [$250/350]

220. Chinese Celadon Jade Mythical Beast, h. 1 7/8 in., l. 4 in. [$300/500]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

221. Chinese Carved Agate Covered Vase, lid with dog finial, flattened baluster body with zoomorphic mask loose‑ring handles, h. 8 1/2 in. [$300/500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

222. Chinese Amethyst Quartz Figural Group, carved as numerous playful kittens amid rockwork and flowering plants, h. 4 1/4 in., w. 6 in., stand, overall h. 5 1/4 in. [$200/300]

Provenance: Dixon & Dixon, New Orleans.

225. Chinese Rose Quartz Figure of Beauty, carved standing with fan in one hand and lotus spray in other, wearing long robes and hair high in chignon, h. 9 3/4 in. [$300/500]

226. Chinese Rose Quartz Figure of Guanyin, carved standing wearing a long cowl and bead necklace on exposed chest, carrying a lotus spray, h. 12 1/2 in., stand, overall h. 14 1/4 in. [$200/400]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

Provenance: Dixon & Dixon, New Orleans.

223. Chinese Amethyst Quartz Figural Group, carved as an elegant Beauty seated on rockwork beside a bird on flowering branches, h. 4 1/4 in., w. 6 1/2 in., stand, overall h. 6 in. [$300/500]

227. Chinese Hardstone Covered Box, carved as peach borne on leafy branches, h. 4 3/4 in. [$200/300] Provenance: Whisnant Galleries Collection, New Orleans, LA.

224. Chinese Amethyst Quartz Covered Vase, carved in high relief with roses on leafy stems, h. 7 3/8 in. [$200/300] Provenance: Whisnant Galleries Collection, New Orleans, LA.

228. Chinese Serpentine Bird on Branch Group, carved with 4 birds perched on pine branches, h. 8 1/2 in., w. 6 1/2 in., stand, overall h. 9 1/8 in. [$150/250] Provenance: Dixon & Dixon, New Orleans.

229. Chinese Lapis Figural Group, carved as scholarly gentleman or poet seated beside child holding a wine jug, h. 4 1/2 in., stand, overall h. 5 1/2 in. [$400/600] Provenance: Whisnant Galleries Collection, New Orleans, LA.

230. Two Pairs of Chinese Hardstone Trees Set in Cloisonne Enamel Pots, realistically modeled with colorful flowers, larger h. 13 in., w. 9 in., d. 7 in. [$400/600]

231. Pair of Chinese Blue “Peking” Glass Jardinieres, zoomorphic handles, relief‑decorated with taotie masks, bases with apocryphal Qianlong marks, h. 5 in., w. 7 1/2 in., d. 6 in. [$700/900]

232. Thai or Burmese Repousse Silver Bowl, arched panels with figural decoration, stem foot, h. 5 1/2 in., dia. 7 5/8 in. [$500/700] Provenance: Whisnant Galleries Collection, New Orleans, LA.

233. Thai Gilt Metal Figure of Buddha, late Rattanakosin Period (1782‑1932), modeled standing in samabhanga on lotus base atop tiered pedestal with hands raised in abhaya mudra, wearing foliate encrusted monastic robes and crown similarly decorated, h. 56 1/2 in. [$1000/1500]

234. Japanese School, 20th c., “Seated Nude”, oil on canvas, inscribed upper right, inscribed “Kunioshi” on stretcher, 28 3/4 in. x 24 in., framed. [$600/800] Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Provenance: (by repute) with Geoffrey Ratcliffe, Biblical Archeologist with the Adventist Church, San Francisco, acquired Thailand, 1957.

235. Large Japanese Blue and White Porcelain Covered Vase, late 19th/early 20th c., shishi finial, decorated with bird in landscape with flowers and branches, h. 23 in. [$600/800] Provenance: Whisnant Galleries Collection, New Orleans, LA.

236. Japanese Kutani Porcelain Figure of Bijin or Beauty, Meiji Period (1868‑1912), modeled standing with fan, wearing elaborate kimono, h. 12 1/2 in. [$500/700] Provenance: Whisnant Galleries Collection, New Orleans, LA.

237. Large Japanese Cloisonné Enamel Charger, 19th/20th c., decorated with pair of egrets amid flowers and branches, h. 3 1/2 in., dia. 24 in. [$500/700] Provenance: Whisnant Galleries Collection, New Orleans, LA.

238. Japanese Cloisonne Enamel Vase, 20th c., decorated with fan‑shaped oxblood registers with birds, green ground with birds, flower heads and scrollwork, h. 21 1/2 in., mounted to a metal stand, overall h. 23 in. [$300/500]

239. Anonymous/Japanese School, late 19th/20th c., “Kannon or Guanyin Seated on Elephant with Full Moon”, ink and color on paper, 54 1/4 in. x 29 1/4 in., silk mounted, framed and glazed. [$300/500] Provenance: Whisnant Galleries Collection, New Orleans, LA. 240. Japanese Sue Ware Pottery Vessel, probably Kofun Period (c. 300‑710), long neck with loop handles, globular body, concentric bands of incised geometric patterns, h. 11 in. [$800/1200] Provenance: Whisnant Galleries Collection, New Orleans, LA.

241. Large Indian Gilt‑Brass Tub, vasiform, overall figural, avian and animal repousse decoration, h. 19 1/4 in., w. 26 in. [$200/300]

242. Indian or Sri Lankan Gemstone Embellished Silver and Ebonized Wood Elephant, 19th/20th c., carved wood figure covered in rich repousse caparison mounted with gemstones, howdah similarly encrusted, h. 6 3/4 in., w. 5 1/4 in. [$800/1200] Provenance: Whisnant Galleries Collection, New Orleans, LA.

243. Korean Glazed Porcelain “Moon Jar”, 20th c., overall cream crackle glaze, h. 10 7/8 in. [$150/250] Provenance: Whisnant Galleries Collection, New Orleans, LA.

244. Korean School, 20th c., “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. [$250/350] Provenance: Acquired c. 1970, Asia.

Session Two Saturday, April 17, 11 a.m.

246. William IV Rosewood and Mother‑of‑Pearl Inlaid Writing Box, 19th c., interior with tooled leather writing surface, h. 4 3/4 in., w. 15 3/4 in., d. 9 1/2 in., on later stand, overall h. 21 in. [$250/350]

245. English Gilt Decorated Black Lacquered Papier Mache Tray, 19th c., scroll and foliate decoration, 25 in. x 35 1/2 in., on later ebonized stand, h. 20 1/2 in. [$400/600]

Provenance: Royal Antiques, New Orleans.

248. Large American Polychromed Carved Wood Cigar Store Indian, 20th c., carved from a single block of wood, h. 71 in., w. 16 in., d. 11 in. [$400/600]

249. Britains Painted Lead Coronation Coach Set, c. 1950, coach with figures of Queen Elizabeth and the Duke of Edinburgh, eight Windsor grey horses, four postillion riders, and eleven other figures, coach and horses length 20 in. [$150/250]

251. Pair of American Brass Andirons, urn finial, ball and claw feet, h. 26 in., w. 13 1/2 in., d. 18 in. [$400/600]

247. Decorative Pair of Chinoiserie Lacquered Bronze Vases, 20th c., dragon handles, cast with frieze of foliage, h. 26 1/2 in., w. 20 1/2 in., d. 14 in. [$1500/2500]

250. American Mahogany Doll’s Sleigh Bed, 19th c., gothic panels, cabriole legs, h. 13 3/4 in., w. 28 in., d. 14 1/2 in. [$600/900]

252. Miniature Diorama of Manor House, 19th c., foliage, figures in the foreground, embossed metal frame, 3 in. x 4 in. [$300/500] Provenance: Estate Sale, Ocean Springs, MS; private collection.

253. Antique Spectacles in a Shagreen Case, 19th c., folding ear pieces, green shagreen veneered wood case, l. 6 1/2 in. [$200/300]

254. Philip and Kelvin Laverne Bronze and Pewter Wall Plaque, 20th c., signed lower right, single figure, 10 1/8 in. x 10 1/8 in., framed. [$500/700]

256. Three American Leaded Glass Windows, clear and textured glass, h. 63 1/4 in., w. 29 5/8 in., d. 1 in. [$1200/1800]

255. Philip and Kelvin Laverne Bronze and Pewter Wall Plaque, 20th c., signed lower right, with two figures, 10 1/8 in. x 10 1/8 in., framed. [$500/700]

257. Ancient Mioplosus Fossil of a Fish, Eocene epoch (c. 50 million years old), Green River Formation, Wyoming, alternating brown and white layers, mounted on board, h. 10 in., w. 18 1/2 in., d. 1 1/4 in. [$300/500]

258. Vintage Pelican Oyster & Fish Company New Orleans Sign, painted on a shutter, retains hinge hardware, 14 1/4 in. x 46 3/4 in. [$800/1200]

259. Egyptian Polychrome Gesso on Wood Mummy Mask, h. 19 in., w. 16 1/2 in., d. 6 1/2 in., mounted on rosewood slab, 18 in. x 23 in. [$300/500]

260. Pair of Grand Tour‑Style Specimen Marble Obelisks, 20th c., typical form, h. 21 1/2 in., w. 6 in., d. 6 in. [$700/900]

261. Continental Grand Tour‑Style “Temperantia” Pewter Charger, 19th c., marked, continuous relief of Classical figures, dia. 17 in. [$300/500]

263. Two Neoclassical‑Style Carved White Marble Busts of Napoleon and the Goddess Hera, one inscribed “Napoleon”, other inscribed “HPA”, faux marble bases, larger h. 26 1/2 in., w. 17 in., d. 11 in. [$2500/3500]

262. Rococo‑Style Bronze and Brass Four‑Piece Fireplace Garniture, incl. fire screen, pair of chenets, and set of fire tools, h. 31 in., w. 30 in., d. 12 in. [$1000/1500]

264. Thirty Continental Bronze Figural Bells, incl. queens, maidens and peasants, largest h. 6 1/2 in., w. 3 in., d. 2 1/2 in. [$400/600]

265. Twelve French Painted Porcelain Busts of Women, largest h. 8 in., w. 4 1/2 in., d. 3 in. [$400/600]

266. Pair of Italian Renaissance‑Style Carved and Painted Wood Prickets, verte ground with gilt accents, h. 22 in., w. 9 in., d. 9 in. [$300/500]

268. Pair of Bronze Busts of Marie‑Louise and Alexandre Brongniart, probably after Jean‑Antoine Houdon (French, 1741‑1828), marked, larger h. 18 in., w. 10 1/2 in., d. 8 in. [$1200/1800]

267. Pair of Malachite Hexagonal Jardinieres on Giltwood Bases, with applied cameo portrait medallions, h. 7 in., dia. 13 1/2 in. [$1000/1500]

271. Four Italian Carved Marble Plaques of Roman Emperors, incl. Caligula, Claudius, Augustus, and Caesar in profile, wrought iron mounts, with hanging loops, h. 21 in., w. 16 in. [$3000/5000]

269. Thirteen‑Piece Malachite Veneered Nut Service, incl. 12 small bowls and 1 large lobed bowl, h. 2 in., w. 13 in., d. 13 in. [$500/700] 270. Four Continental Carved Wood Boxes, 19th c., largest a humidor with sliding shelves, surmounted with a rooster and hen, h. 10 in., w. 10 1/2 in., d. 7 1/2 in. [$300/400]

272. Pair of Malachite Obelisks, paneled plinths, stepped bases, h. 30 in., w. 6 1/2 in., d. 6 1/2 in. [$1500/2500]

274. Pair of Egyptian Revival‑Style Patinated Bronze Urns, double serpent handles, pharaoh masks, figural frieze, h. 34 in., w. 25 in., d. 15 in. [$1500/2500] 275. Pair of French Gothic‑Style Patinated Bronze Chenets, scroll and arch design, central paw feet, h. 30 in., w. 15 in., d. 8 in. [$400/600]

273. Sevres‑Style Bronze‑Mounted Polychrome Porcelain Dresser Box, marked, lid with courting couples in a garden, body with flowers, h. 8 1/2 in., w. 14 in., d. 9 1/2 in. [$500/700]

276. Group of Three Cold Painted Bronze Figures of Dogs, 19th c., largest h. 5 1/2 in., w. 2 in., d. 8 in. [$500/700]

277. Pair of Large Cold Painted Bronze Figures of Lions, realistically rendered in mirror image, h. 31 in., w. 14 in., d. 49 in. [$3500/4500]

279. Continental Neoclassical Mahogany Secretaire a’Abattant, 19th c., stepped cornice, frieze drawer, fall front with fitted interior, three lower drawers, block feet, h. 64 in., w. 41 in., d. 20 1/2 in. [$2500/3500]

280. Pair of Louis XIV‑Style Carved and Parcel Gilt Benches, nailhead trim, pierced apron, foliate scroll legs, finialed stretcher, h. 23 in., w. 18 in., d. 18 in. [$800/1200]

278. Pair of Patinated Bronze Andirons, c. 1900, openwork uprights, flanked by birds, ball and claw feet, h. 27 in., w. 10 3/4 in., d. 22 in. [$400/600]

281. Continental Renaissance-Style Carved Walnut Cabinet, probably late 18th/early 19th c., architectonic pediment, upper case with two doors and three drawers, conforming lower case, bun feet, h. 92 in., w. 54 in., d. 23 in. [$1000/1500]

282. Louis XVI‑Style Giltwood Overmantel Mirror, 19th c., beribboned crest, divided bevel mirror plate, foliate decoration, h. 48 in., w. 36 1/2 in. [$1500/2500] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

283. Pair of Antique Italian Neoclassical‑Style Demilune Cabinets, marble top, rosette blocked fluted frieze, doors with musical cameos, shelf interior, foliate feet, h. 32 1/2 in., w. 55 1/2 in., d. 23 in. [$2500/3500]

284. Louis XV‑Style Bronze‑Mounted Inlaid Mahogany Center Table, circular top, baluster standard, shaped base, foliate scrolled toes, h. 29 in., dia. 46 in. [$1200/1800]

286. Venetian Etched Glass Cushion Mirror, labeled “Verti”, flower and bead crest, divided mirror plate, foliate corners, h. 36 in., w. 22 1/2 in. [$500/700]

285. Pair of Louis XVI‑Style Bronze Dore and Porcelain‑Mounted Demilune Consoles, each with inset figural top, cabochon mounted frieze, swagged apron, covered urn mounted stretcher, tapered legs, foliate feet, h. 31 in., w. 53 in., d. 20 in. [$4000/6000]

287. Set of Continental Rosewood and Marquetry Quartetto Tables, 19th c., floral spray inlaid tops, stretcher, paired baluster legs, scroll bracket feet, tallest h. 28 in., w. 23 3/4 in., d. 15 3/4 in. [$800/1200]

289. Louis XV‑Style Gilt Bronze‑Mounted Tulipwood and Kingwood Bureau Plat, mid‑19th c., inset tooled leather top, three frieze drawers, cabriole legs, sabots, h. 31 in., w. 52 1/2 in., d. 29 1/2 in. [$4000/6000]

288. Four Louis XVI Walnut Fauteuils, 19th c., with Beauvais needlepoint upholstery, oval back, padded arms, fluted tapered legs, toupie feet, h. 38 1/2 in., w. 26 in., d. 26 in. [$2000/3000] Provenance: Whisnant Galleries Collection, New Orleans, LA.

290. Pair of French Carved Creme Peinte and Giltwood Oval Pier Mirrors, 19th c., molded surround, with anthemia, old mirror plate, h. 54 in., w. 38 in. [$1200/1800]

291. Pair of Louis XV‑Style Bronze‑Mounted Gueridons, inset variegated marble tops, tapered legs, stretcher shelf, sabots, h. 31 in., w. 17 in., d. 13 in. [$1200/1800]

292. Antique Louis XVI‑Style Carved and Giltwood Console, 19th c., variegated molded shaped marble top, reticulated frieze, fluted tapered legs, flanking urn‑mounted stretcher, toupie feet, h. 35 in., w. 58 1/4 in., d. 17 in. [$1000/1500]

293. Continental School, 17th/18th c., “Abduction of the Sabine Women”, watercolor, grey wash and graphite on paper mounted to board, unsigned, pencil‑inscribed “P + D Colnaghi” on reverse of mount, 17 1/4 in. x 25 1/4 in., unframed. [$800/1200]

294. Constant Troyon (French, 1810‑1865), “Study of Cattle”, ink on paper mounted to board, unsigned, inscribed “Esquisse de C. Troyon” on mounting board, “Charles Magne Restoration de Tableaux, Paris” label on reverse of mounting board, 13 in. x 24 3/4 in., framed. [$500/700] Provenance: Galerie Michel Cabotse, Saint‑Ouen, France; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

296. Domenico Pedrini (Italian, 1728‑1800), “A Design for a Mausoleum: an Elevation and a Ground Plan with Subsidiary Studies of a Capital and Altar”, brown ink and grey ink wash on paper mounted to board, unsigned, 23 in. x 17 in., framed. [$2500/3500]

295. Attributed to Justus Brouwer (Dutch, active c. 1636‑1677), “A Roman Ruin”, pen and brown ink and wash on paper, signed “Brauwere deliniauit” en verso, 8 1/2 in. x 9 3/4 in., framed. [$2500/3500]

Provenance: Christie’s, New York, Old Masters and 19th c. Drawings, Jan. 22, 2004, lot 79; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

Provenance: Sotheby’s, Amsterdam, Old Master Drawings, Nov. 4, 2003, lot 97; Demetrius S. Spanos, MD Collection, Jonesboro, AR. 297. Circle of Federico Zuccaro (Italian, c. 1540‑1609), “Design for the Decoration of a Chapel”, brown ink and wash on paper, inscribed “Giorgio Vasari” lower right, copied after the drawing for Villa d’Este at Tivoli now in the Louvre, 10 1/2 in. x 14 3/4 in., framed. [$1000/1500]

298. Circle of Willem de Heusch (Dutch, c. 1625‑1692), “Study of an Italianate Fortification”, grey wash over black chalk on paper, signed “d. Heus” lower left, unidentified collectors mark lower right, “Sotheby’s, Brussels” label on frame, “Michel Franquet, Bruxelles” label on backing paper, 13 15/16 in. x 5 3/16 in., framed. [$500/700]

Provenance: Sotheby’s, London, Old Master Drawings, Apr. 20, 2004, lot 47; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

Provenance: Sotheby’s, Amsterdam, Old Master Drawings, Nov. 4, 2003, lot 80; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

300. Continental School, 1630, “The Doubting of Thomas”, oil on canvas, indistinctly signed and dated lower right, 29 1/2 in. x 40 in., framed. [$2500/3500]

299. German School, c. 1600, “St. John the Baptist in the Wilderness”, ink and grey wash on paper, monogrammed “HG” lower right, 6 1/4 in. x 5 in., framed. [$1000/1500] Provenance: Sotheby’s, Amsterdam, Old Master Drawings, Nov. 2, 2004, lot 4; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

301. French School, 17th c., “Adoration of the Shepherds”, oil on copper, unsigned, 13 1/2 in. x 11 in., framed. [$3000/5000]

302. Circle of Philips Wouwerman (Dutch, 1619‑1668), “A Dune Landscape with Fishmongers Selling their Wares and Travellers on a Path, a Light House Beyond”, oil on panel, unsigned, “Charles Roelofsz, Amsterdam” label on reverse of frame, 10 3/8 in. x 12 in., framed. [$10000/15000] Provenance: Gräflich Harrachsche Gemälde‑Galerie, Vienna, 1825; Dr. Johann Pribly, Vienna, 1949; Anonymous Sale, Vienna, Palais Kinsky, Oct. 24, 2000, lot 411; Charles Roelofsz, Amsterdam; Private Collection, 2003; Sotheby’s, Amsterdam. Nov. 14, 2006, lot 97; Demetrius S. Spanos, MD Collection, Jonesboro, AR

303. Simon Johannes van Douw (Dutch, 1630‑1677), “A Pastoral Landscape with Horses, Sheep and Cattle in a Stream”, oil on canvas, signed lower right, “W. Holder & Sons, Picture Restorers, England” label on stretcher, “W.D. Smith, Carver and Gilder, Hull, England” and “Cheltenham Art Gallery, Sept. 1930” labels on reverse of frame, 25 1/4 in. x 32 1/2 in., framed. [$3000/5000] Provenance: Mrs. Francis Peake; Sotheby’s, London, Old Master Paintings, Apr. 25, 2006, lot 300; Demetrius S. Spanos, MD Collection, Jonesboro, AR

305. Pair of Carved White Marble Sculptures of Roman Soldiers, stepped bases h. 25 in., w. 10 in., d. 9 in. [$2500/3500]

304. Northern Italian School, 18th c., “Italianate Landscape with Figures on a Path and Ruins in the Foreground”, oil on canvas, unsigned, handwritten label on stretcher, 21 1/4 in. x 26 7/8 in., framed. [$2000/3000] Provenance: Sotheby’s, Paris, Old Master and 19th Century Paintings and Drawings, Oct. 20, 2005, lot 20; Demetrius S. Spanos, MD Collection, Jonesboro, AR

306. Carved White Marble Bust of a Woman, inscribed “Wage” lower right below proper left shoulder, h. 21 1/2 in., w. 19 1/2 in., d. 9 in., faux marble base, overall h. 23 1/2 in. [$1000/1500]

308. Jules Bahieu (Belgian, 1860‑1895), “Ship Leaving the Harbor”, 1877, oil on panel, signed and dated lower left, Benezit biography attached en verso, partial framer’s label on reverse of frame, 8 3/4 in. x 16 1/4 in., framed. [$400/600] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

309. Italian School, 18th/19th c., “Busy Harbor Scene”, oil on canvas, unsigned, 32 in. x 57 in., framed. [$1200/1800]

307. Attributed to Herman Mijnerts Doncker (Dutch, c. 1600‑c. 1666), “A Double Portrait of a Couple Promenading with their Dogs through their Country Estate”, oil on canvas, unsigned, 38 in. x 48 in., framed. [$7000/10000] Provenance: Sotheby’s, London, Old Master Paintings, Apr. 27, 2006, lot 47; Demetrius S. Spanos, MD Collection, Jonesboro, AR

310. Clement Charles Henri Quinton (French, 1851‑1920), “Hauling Hay” and “Cattle Grazing”, 2 oils on canvas, signed lower right and lower left respectively, both 19 3/4 in. x 25 1/2 in., framed alike. (2 pcs.) [$500/700] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

311. Continental School, 1838, “Farm Scene”, watercolor on paper, unsigned, inscribed “Mrs. Many.Dru....Bridge.” and dated en verso, 7 1/4 in. x 8 5/8 in., framed. [$300/500]

312. Gaston Jules Louis Durel (French, 1879‑1954), “Country Road”, oil on board, signed lower right, label with “293” upper right, gallery and conservation labels en verso, printed artist biography on backing board, 9 7/8 in. x 18 in., framed. [$1200/1800] Provenance: Guy Lyman Fine Art, New Orleans, LA; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

314. Hippolyte Camille Delpy (French, 1842‑1910), “Lavandiére”, 1875, oil on panel, signed and dated lower left, inscribed and label remnants en verso, 12 3/8 in. x 19 7/8 in., framed. [$3000/5000] Provenance: Sotheby’s, Paris, Old Master and 19th Century Paintings and Drawings, Oct. 20, 2005, lot 107; Demetrius S. Spanos, MD Collection, Jonesboro, AR

313. French Bronze Figure of a Pheasant, signed “J. Moignier”, oval base, h. 13 1/4 in., w. 14 1/4 in., d. 7 in. [$600/800]

315. Louis Soonius (Dutch, 1883‑1956), “Strandgesicht”, oil on canvas, signed lower left, signed, titled and gallery label on stretcher, 12 in. x 16 in., framed. [$4000/6000] Note: Impressionist painter Louis Soonius drew inspiration from the city and outlying areas of The Hague, where he lived his entire life apart from one brief interlude. Soonius made frequent trips to the nearby beach of Scheveningen, where he painted his most admired and desired canvases. Around 1900, Scheveningen began to develop from a fishing village into a cosmopolitan beach resort. Soonius depicted children and bathers lounging on the beach under the hazy summer sun. Occasionally these paintings also include a view of the famous Grand Hotel Kurhaus, possibly depicted in the background of the charming scene offered here, and Scheveningen Pier.

316. Victor Simonin (Belgian, 1877‑1946), “Cafetiere Bleue”, oil on paper mounted on board, signed lower left, inscribed and artist biography en verso, 10 3/8 in. x 14 1/4 in., framed with artist and title plaque. [$400/600]

317. Bronze Figural Group of “La pecheuse de moules”, after Mathurin Moreau, signature and “hors. concours” inscribed and “E. Godeau/Paris” stamp on self‑base, h. 27 in., w. 11 /4 in., d. 11 1/2 in. [$1000/1500]

318. Bronze Figural Group of “Captive”, after Emmanuel Villanis, signature inscribed on self‑base, h. 28 in., w. 8 1/4 in., d. 7 3/4 in. [$1000/1500]

Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

319. Bronze Figural Group of a Maiden and Cherub, inscribed “Moreau scpteur” on self‑base, h. 16 1/2 in., w. 15 in., d. 7 in. [$600/800] 320. Bronze Figure of an Allegorical Maiden, possibly Prudence, “Cie Anonyme / Des Bronzes / Bruxelles” foundry stamp on self‑base, 20 in., w. 9 1/2 in., d. 5 1/4 in. [$1000/1500]

321. Patinated Bronze Figure of “Pandora”, after Jean‑Jacques Pradier, signature and “Gautier & Cie” inscribed on self‑base, h. 15 1/2 in., w. 5 1/2 in., d. 4 1/2 in., marble base, overall h. 16 1/2 in. [$600/800]

322. French School, 19th c., “Floral Still Lifes”, 2 oils on canvas, both unsigned, each 24 in. x 16 in., framed alike. (2 pcs.) [$800/1200]

323. Continental School, 18th c., “Child with a Bird on a String”, oil on canvas, unsigned, 28 1/4 in. x 24 1/4 in., framed. [$1500/2500]

324. Spanish School, late 18th/early 19th c., “Child with Bird and Rattle”, oil on canvas, unsigned, 33 1/4 in. x 26 1/2 in., framed. [$2000/3000] Provenance: Henry Stern, New Orleans, c. 1940s.

325. Attributed to Jan Frans Van Dael (Belgian, 1764‑1840), “Still Life of Flowers”, oil miniature, unsigned, 2 1/8 in. x 1 3/4 in. (oval), framed with artist plaque. [$800/1200]

327. Estol Wilson (American/California, 1879‑1958), “Woman in Feathered Hat”, 1909, watercolor miniature on paper, signed, dated and inscribed “Paris” lower right, inscribed en verso, 4 1/4 in. x 3 1/2 in., framed. [$400/600]

329. Continental School, 18th/19th c., “Child in Hat”, oil on canvas, unsigned, 14 3/8 in. x 11 1/4 in., framed. [$600/800]

330. Continental School, 18th c., “Young Boy in Blue Suit with Ratchet”, oil on canvas, unsigned, 28 1/8 in. x 24 in., framed. [$1500/2500] Provenance: Henry Stern, New Orleans, c. 1940s.

326. After Franz Xaver Winterhalter (German, 1805‑1873), “Napoleon III (1808‑1873)”, oil miniature on silk laid on glass, signed “M. Lehaut” lower right, label with title on backing paper, 5 3/4 in. x 4 1/2 in., framed. [$500/700]

328. Manner of Elisabeth Louise Vigee‑Lebrun (French, 1755‑1842), “Portrait of a Lady in a Blue Dress”, oil miniature, bears signature lower right, dia. 3 1/8 in., framed. [$400/600]

331. Continental School, 18th/19th c., “Portrait of a Young Man”, pastel on paper, unsigned, 9 3/8 in. x 7 5/8 in., framed. [$400/600]

332. Continental School, 19th c., “Boy with Flowers”, pastel on paper, unsigned, 2 partial sketches on backing papers, 17 1/2 in. x 11 1/2 in., framed. [$400/600]

333. Lord Frederic Leighton (British, 1830‑1896), “The Sluggard”, 1896‑1900, patinated bronze, signed Fred Leighton, entitled “THE SLUGGARD”, and inscribed “Published by Arthur Leslie Collie/39B Old Bond Street/May 1st 1890”, and “Founded by J.W. Singer & Sons/FROME SOMERSET, h. 20 3/8 in., ebonized wood base, total h. 23 3/4 in. [$30000/50000] Provenance: Whisnant Galleries Collection, New Orleans, LA. Note: Most likely inspired by his model Angelo Colarossi, seen stretching after a sitting, “The Sluggard,” or the work’s original title “An Athlete Awakening from Sleep,” was almost certainly conceived as a pendant to “An Athlete Wrestling with a Python,” 1877. The original full-scale work was exhibited at the Royal Academy in 1886 and was awarded a medal of honor when it was shown at the Paris Exposition Universelle three years later. Acquired from Leighton’s studio sale in 1896 by Henry Tate, the full-size bronze is now in the Tate Gallery (inv. N01752) and the original plaster in the Royal Academy of Arts (inv. 03/1765). The present figure’s physicality illustrates the influence of the great sculptors of the Italian Renaissance on the artist, yet Leighton was also able to evoke the spirit of the ‘new school’ having deftly captured a fleeting moment. Scholar Benedict Read suggests the subject can be seen ‘as a symbol of the art of sculpture, liberated by Leighton, flexing itself for renewed activity after a long time in the shackles of convention.’ As was the custom, the popularity of “The Sluggard,” made it viable for a foundry to acquire the rights to produce the model under license. “The Sluggard” was produced in an edition, originally published by Arthur L. Collie in 1890, cast in the Singer Foundry in Frome, Somerset. The foundry inscription to the present bronze therefore identifies it as from this, the earliest, edition. Thereafter the copyright passed from Collie directly to J.W. Singer & Sons sometime in the early decades of the 20th Century - it appears in the Singer trade literature around 1914. Literature: Frederic Leighton: 1830-1896, London, 1996, pp. 202-203, fig. 93. B. Read, ‘Leighton as a sculptor: Releasing sculpture from convention,’ Apollo, London, February 1996, pp. 65-69.

334. Alexander Mann (Scottish, 1853‑1908), “Estuary Scene”, c. 1880, oil on canvas, signed lower left, printed label with artist, title and date and “Miller‑Wang” stamp on reverse of frame, artist biography and “Miller‑Wang” stamp on stretcher, 18 in. x 12 in., framed. [$2000/3000] Provenance: Guy Lyman Fine Art, New Orleans, 2012; Demetrius S. Spanos, MD Collection, Jonesboro, AR

335. 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]

336. John Gould (British, 1804‑1881), “Thrush on Branch”, 1866, graphite on paper, signed and dated lower right, 15 1/4 in. x 11 in., framed with artist plaque. [$300/500] Provenance: Neal Auction Company, May 6, 2016, lot 1083.

337. George Adolphus Storey (British, 1834‑1919), “Lady with Vase of Roses”, oil on canvas, signed upper left, partial canvas stamp and partial handwritten label en verso, 10 in. x 7 in., framed with artist name inscribed on liner. [$400/600]

338. British School, mid‑18th c., “Children with a Basket of Flowers”, oil on canvas, unsigned, “Marshall Field & Company Picture Galleries” label on stretcher, 40 in. x 50 in., framed. [$800/1200]

339. Walter Ernest Webster (British, 1878‑1959), “Ray Fuller (Girl in Blue)”, oil on canvas, signed and titled en verso, 24 in. x 20 in., framed. [$700/1000]

340. Two Georgian Quillwork Tea Caddies, 19th c., lens form, one gilt decorated, h. 5 in., w. 7 1/2 in., d. 3 3/4 in.; other polychrome and gilt decorated with floral motif, h. 4 3/4 in., w. 7 in., d. 4 in. [$500/700]

341. Late George III Tortoiseshell Tea Caddy, 19th c., domical lid, interior with two lidded compartments, ball feet, h. 5 1/8 in., w. 6 in., d. 3 1/2 in. [$1000/1500]

342. George V Tortoiseshell Oval Tea Caddy, interior with lidded compartment, h. 4 5/8 in., w. 5 1/2 in., d. 3 in. [$1000/1500]

344. George III Tortoiseshell Sarcophagus-Form Tea Caddy, 19th c., lid cartouche engraved “C. Swain”, interior with two lidded compartments, silvered ball feet with griffins to the front, h. 6 1/4 in., w. 7 1/8 in., d. 4 5/8 in. [$1000/1500]

343. Diminutive Regency Tortoiseshell Hexagonal Tea Caddy, 19th c., push‑button latch, lidded interior compartment, h. 4 1/2 in., w. 3 1/2 in., d. 3 in. [$1000/1500]

345. George III Tortoiseshell Sarcophagus-Form Tea Caddy, 19th c., interior with two lidded compartments, bun feet, h. 6 1/8 in., w. 9 in., d. 5 1/2 in. [$1000/1500]

347. English Silver‑Mounted Tortoiseshell Paper Knife, c. 1905, spiral and foliate handle, l. 17 in. [$600/900]

348. George III Green-Tinted Tortoiseshell Tea Caddy, interior with two lidded compartments, h. 5 in., w. 6 3/4 in., d. 3 3/4 in. [$1000/1500]

346. Regency Green-Tinted Tortoiseshell Tea Caddy, 19th c., canted corners, interior with two lidded compartments, h. 4 3/8 in., w. 7 1/4 in., d. 4 in. [$1000/1500]

350. William IV Tortoiseshell Sarcophagus-Form Tea Caddy, early 19th c., interior with two‑lidded compartments, h. 5 1/2 in., w. 7 1/2 in., d. 4 3/4 in. [$800/1200]

349. George III Tortoiseshell Tea Caddy, early 19th c., radial inlaid lid, canted corners, interior with two compartments, h. 6 in., w. 6 3/4 in., d. 4 in. [$1000/1500]

351. Chinese Export Imari Porcelain Five‑Piece Garniture, 18th c., incl. 3 jars (2 lacking covers), h. 11 1/2 in. and 9 in.; and 2 sleeve vases, h. 9 in. (5 pcs.) [$700/900]

353. Chinese Export Imari Porcelain Barber’s Basin, 18th c., central floral and willow scene, rim with auspicious emblems and flowers on iron red diaper ground, h. 3 1/8 in., w. 13 3/4 in, d. 11 in. [$150/250]

352. Chinese Export Imari Porcelain Charger, 18th c., decorated with lotus, finger citron and peonies, base with “B.F. Edwards / 2692 / Collection” and “Geoffrey Waters / London” labels, dia. 13 7/8 in.; together with a similarly decorated 18th c. Chinese Imari bowl, h. 4 1/2 in., dia. 10 1/2 in. (2 pcs.) [$400/600]

355. Assembled Chinese Export Imari Porcelain Tableware, incl. navette‑form spoon rest with gilt bronze mounts and marble base, “Wingate & Johnston” label, h. 4 1/2 in., w. 5 3/4 in., d. 3 3/8 in.; 4 navette‑form dishes, l. 5 1/4 in. to 6 in. and salt cellar, w. 3 1/8 in. (6 pcs.) [$200/400]

354. Assembled Chinese Export Imari Porcelain Tableware, 18th c., incl. 4 dishes, dia. 8 3/4 in. to 9 in.; and 1 soup bowl, dia. 8 3/8 in. (5 pcs.) [$200/400]

357. Chinese Blue and White Porcelain Covered Prunus Jar, Qing Dynasty (1644‑1911), decorated with flower heads on “cracked ice” ground, base with double ring mark, h. 10 1/4 in. [$500/700]

356. Group of Chinese Export Imari Porcelain Tea Wares, 18th c., incl. 2 teacups; 2 saucers, dia. 5 1/2 in.; teapot, h. 6 1/8 in.; chocolate pot, h. 5 1/2 in.; tea caddy, h. 4 1/2 in.; and cup, h. 3 1/4 in.; together with tankard, h. 6 1/4 in (9 pcs.) [$400/600]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

358. Five Porcelain Tea Caddies, 18th/19th c., incl. Chinese export Imari, blue and white and famille rose, h. 5 1/4 in. to 3 3/4 in.; one French with sepia scene, h. 5 in.; and one puce and white with spurious Chinese mark, h. 5 1/8 in. [$300/500]

360. Chinese Famille Rose Porcelain Oil Lamp, 19th c., decorated with colorful butterflies and floral sprays, h. 12 1/4 in., dia. 9 1/2 in. [$600/800]

359. Chinese Export Famille Rose Porcelain Bowl, Qing Dynasty (1644‑1911), decorated with figural scene, h. 3 1/2 in., dia. 8 in. [$400/600]

Provenance: Whisnant Galleries Collection, New Orleans, LA. 361. Bronze‑Mounted Chinese Famille Rose Porcelain Dish, 19th/20th c., porcelain decorated with figures in garden settings, bronze foliate handles, beaded borders, foliate feet, and swags, h. 7 1/4 in., w. 18 3/4 in., d. 10 3/4 in. [$400/600] Provenance: French Antique Shop, New Orleans.

363. Pair of Paris Bleu, Gilt and Bisque Porcelain Corbeilles, 19th c., putto‑form standards, paw feet, h. 12 in. [$1500/2500] Provenance: Whisnant Galleries Collection, New Orleans, LA. 362. Pair of Paris Porcelain Vases, c. 1820, polychrome reserves with ships at sea and genre landscapes, scroll handles, h. 9 5/8 in. [$600/900] Provenance: Exhibited in Pitot House, New Orleans., 1970’s

364. Pair of Paris Polychrome and Gilt Porcelain Fruit Coolers, c. 1820, signed Feuillet, apple green ground, floral reserves, palm frond finials, h. 10 1/4 in., dia. 10 1/4 in. [$2500/3500] Ref.: Guillebon. Paris Porcelain 17701850, pp. 244-245 and 336. 365. Pair of Vieux Paris Porcelain Corbeilles, c. 1850, reticulated bodies with green and gilt decoration, Gothic monogram “McC”, scroll feet, h. 9 1/2 in., dia. 9 3/4 in. [$300/500] 366. Paris Polychrome and Gilt Porcelain Reticulated Centerpiece, 19th c., base illegibly marked, reserved with “EM” monogram and coronet, h. 5 1/4 in., w. 17 in., d. 10 1/4 in. [$300/500]

367. Paris Porcelain Dinner Service, mid-19th c., some incised marks, red and gilt banded peach borders, floral reserves, incl. 14 plates, dia. 9 1/4 in.; 9 salad plates, dia. 8 1/8 in.; 10 bowls, dia. 9 1/8 in.; 13 soups, dia. 8 1/4 in.; 12 bread and butter plates, dia. 6 1/4 in.; 6 platters, l. 10 3/4 in. to 20 in.; pair of covered tureens with handles, h. 6 1/2 in., dia. 10 in.; pair of covered tureens, h. 6 1/2 in., w. 9 3/4 in.; large covered tureen, h. 10 1/2 in., w. 14 in., d. 8 1/2 in.; open vegetable, l. 10 3/4 in., w. 8 1/2 in.; sauce with attached underplate, h. 5 1/2 in., w. 8 in.; pair of shell‑form dishes, l. 9 in.; and underplate, l. 9 5/8 in.; together with 12 cups, h. 2 1/8 in.; 12 saucers, dia. 5 1/2 in., marked “Lenox” and “J.E. Caldwell & Co.”, decorated en suite. (98 pcs.) [$1000/1500]

368. Limoges Polychrome and Gilt Porcelain Game Service, 19th/20th c., marked “LS & S Limoges France”, reserved with various fowl, incl. 12 plates (dia. 9 1/2 in.) and platter (18 1/8 in x 12 3/4 in.) (13 pcs.) [$500/700]

369. Limoges Polychrome and Gilt Porcelain Fish Service, 19th c., marked “Elite Works Limoges France” in red, reserved signed “J. Luc”, incl. 12 plates, dia. 9 1/8 in.; platter, l. 23 1/4 in., w. 10 in.; sauceboat, with attached underplate, h. 4 1/2 in., w. 9 1/2 in., d. 6 1/2 in. (14 pcs.) [$800/1200]

370.Raynaud et Cie Ceralene Limoges “Vieux Chine / Empire White” Porcelain Dinner Service, incl. 13 dinner plates, dia. 10 3/4 in.; 14 salad plates, dia. 7 5/8 in.; 16 bowls, dia. 8 1/4 in.; 16 bread and butter plates, dia. 6 1/2 in.; 16 cups, and 16 saucers, dia. 6 1/8 in.; covered sugar; creamer; platter, l. 14 in.; and lobed bowl, dia. 9 1/2 in.; together with 4 foliate dishes, dia. 3 1/2 in.; matchbox cover; and reticulated bowl. (100 pcs.) [$500/700]

372. Pair of Continental Polychrome and Gilt Porcelain Compotes, reticulated bodies with applied flowers, standards flanked by dolphins, tripartite bases, scrolled feet, h. 18 1/2 in., dia. 14 1/2 in. [$1000/1500]

371. Continental “Blanc de Chine” Faience Potpourri, 18th c., manner of St. Cloud, vasiform rising from rockwork, relief floral swags, h. 10 3/4 in. note repair and small losses. [$200/300] Provenance: Henry Stern, c. 1940.

373. Meissen Bronze‑Mounted Porcelain Samovar, 18th c., crossed swords mark, yellow ground, reserves with Watteau scenes in puce camaieu, bronze lily pads with applied porcelain flowers, h. 14 1/2 in. [$1000/1500]

374. Two Continental Polychrome and Gilt Porcelain Allegorical Figural Groups of “Africa” and “America”, 19th c., crossed swords marks, probably Samson, h. 14 3/4 in. and 15 in. [$4000/6000] 375. Herend “Queen Victoria (Green Border)” Porcelain Dinner Service, incl. service plate, dia. 11 3/4 in.; 6 dinner plates, dia. 10 in.; 8 soups, dia. 9 3/4 in.; 2 bowls, dia. 8 1/4 in.; 6 salad plates, dia. 7 1/2 in.; 7 bread and butters, dia. 6 1/8 in.; 7 plates, dia. 6 in.; square platter, w. 10 5/8 in.; square platter with handles, w. 11 1/4 in.; oval dish, l. 8 1/2 in.; leaf dish; open salt; covered teapot, h. 9 1/2 in.; covered creamer; 6 cups and 6 saucers; and 3 covered dishes, l. 7 1/2 in., 6 in., and dia. 3 3/4 in. (59 pcs.) [$500/700]

376. English Porcelain Silver‑Mounted Lion’s Head Snuff box, 19th c., hand-painted, hinged lid with foliate chasing, h. 2 1/2 in., dia. 2 1/2 in. [$500/800]

377. Imperial Stone China “MacCartney” Pattern Ironstone Platter, 19th c., marked and numbered “SS69”, l. 21 1/2 in., w. 18 1/4 in. [$300/500]

Provenance: Charleston, SC Estate. 379. Antique Minton “Landscape” Pattern Creamware Partial Dinner Service, marked incl. 12 soups, dia. 10 1/2 in.; 17 dinner plates, dia. 10 1/2 in.; and 32 salad/luncheon plates, dia. 9 in. (61 pcs.) [$300/500]

378. Pair of Minton‑Style Polychrome and Gilt Porcelain Lidded Urns, marked “Minton”, relief decoration of Classical figures, h. 17 in., dia. 10 in. [$500/800]

380. Coalport “Countryware” Bone China Dinner Service, incl. 8 dinner plates, dia. 10 3/4 in.; 6 salad plates, dia. 8 1/8 in.; 18 bread and butter plates, dia. 6 1/8 in, 1 saucer; platter, l. 15 1/2 in.; and platter l. 9 in. (45 pcs.) [$300/500]

382. Baccarat‑Style Gilt Bronze and Crystal Cave a Liqueur, 20th c., beveled glass, leaf and berry borders, mirrored floor, removable tray with four decanters and 16 cordials, scroll feet, h. 13 1/2 in., w. 17 3/4 in., d. 16 in. [$1500/2500] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

381. 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. [$400/800]

384. Twelve Gilt‑Decorated Cobalt and Clear Crystal Wine Goblets, probably Moser, panel‑cut bowls and stems with gilt scrollwork, h.7 7/8 in. [$800/1200]

383. Capodimonte-Style Polychrome and Gilt Porcelain Dresser Box, marked, cobalt ground with courting couple reserve, hinged lid with interior floral sprays, h. 3 5/8 in., w. 9 1/2 in., d. 6 3/4 in. [$100/200]

385. Group of Cranberry Cut‑to‑Clear Crystal Stemware, bowls with scrolling grapevine design, facet cut bases, incl. 16 port, 15 coupes, and 4 old fashioneds, h. 3 7/8 in. to 4 in. [$800/1200]

387. Ernest Hemingway Autographed Postcard 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]

388. Johann Baptiste Homann “Amplissimae regionis Mississipi seu Provinciae Ludovicianae...”, Nuremberg, 1720, hand‑colored map, 19 1/2 in. x 22 5/8 in., framed, together with antique hand‑colored map of Louisiana, Missisippi, and Arkansas, 19th c., by Johnson, 24 1/2 in. x 17 1/2 in., framed. [$700/1000]

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.”

Provenance: By repute, Arader Galleries, New York, NY; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans. Note: Known as the “Buffalo” map, and based on Delisle’s seminal work, this map features a title cartouche depicting colonial explorer Father Louis de Hennepin, a vignette of a beaver colony at Niagara Falls, and another cartouche of Indians flanking a standing buffalo.

389. Jacques Nicolas Bellin, “Plan de La Nouvelle Orleans” and “Carte des Embouchures du Mississipi”, two hand‑colored engraved maps, from Le Petit Atlas Maritime, 1764, 7 1/2 in. x 11 in., framed. [$600/900]

390. Antique Map of Louisiana, “Geographical, Statistical and Historical Map of Louisiana”, Philadelphia, Carey & Lea, 1822, 16 3/4 in. x 21 1/4 in., framed. [$300/500] Provenance: By repute, Arader Galleries, New York, NY; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

Provenance: By repute, Arader Galleries, New York, NY; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

391. New Orleans Notarial Real Estate Plan, Second District, Prieur Street, 19th c., hand‑colored, showing a house with three stoops, 62 1/2 in. x 35 1/2 in., framed. [$1500/2500] Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

386. Sixteen Anglo-Irish Cut Crystal Table Objects, incl. tazza, h. 8 in., dia. 14 in.; 3 tazzas, h. 4 3/8 in. to 4 3/4 in., dia. 8 in.; pair of compotes, h. 6 3/4 in., dia. 9 3/4 in.; bowl; and 8 dishes, dia. 6 3/4 in. to 9 1/4 in. [$800/1200]

392. New Orleans Notarial Real Estate Plan, Second District, Ursulines Avenue, 19th c., hand‑colored, stamped “D.E. Seghers & Son, 421 Mackeca Bldg.”, showing a cottage with iron fence, sight 64 1/2 in. x 35 1/2 in., framed. [$1500/2500] Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

393. New Orleans Notarial Real Estate Plan, Sixth District, Chestnut Street, 19th c., hand‑colored, stamped “D.E. Seghers & Son, 421 Mackeca Bldg”, with front view of a shotgun house, sight 61 1/2 in. x 35 1/2 in., framed. [$1500/2500] Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

394. Antique French Hand‑Colored Map of America, “Amerique Septentrionale, dressee, sur les Relations les plus modernes...”, 1750, Robert de Vaugondy, the cartouche with an alligator flanked by figures, 18 3/4 in. x 23 in., framed and matted. [$800/1200]

395. 2001 Presidental Christmas Card Lithograph from George W. Bush, incl. color lithograph, with printed signatures, sight 15 in. x 10 1/2in., framed; together with the actual Christmas card. [$75/150]

397. Amy Jackson (American/Texas, 1903‑1970), “Daniel Clark ‑ McKinney”, 1947, watercolor and graphite on paper, signed and dated lower right, titled lower left, 14 1/2 in. x 10 1/2 in.; “Buildings”, watercolor and ink on paper, signed lower right, 10 3/4 in. x 13 3/8 in.; and “French Quarter”, watercolor on paper mounted to board, signed lower right, 16 in. x 12 in., each framed. (3 pcs.) [$1200/1800]

399. Will Hinds (American/Louisiana, 1936‑2015), “French Quarter Courtyard”, acrylic on canvas, signed lower right, 30 1/8 in. x 24 in., framed. [$600/800]

396. Amy Jackson (American/Texas, 1903‑1970), “Pat O’Brien’s N.O.”, watercolor and graphite on paper, signed lower right, pencil‑titled twice lower left, 9 in. x 12 in.; “After School”, watercolor on paper, signed lower left, pencil‑titled en verso, 12 in. x 16 in.; and “Rosenberg”, watercolor on paper mounted to board, signed lower right, titled lower left, “Gilley’s Gallery, Baton Rouge” label on backing paper, 19 1/2 in. x 14 7/8 in., each framed. (3 pcs.) [$1200/1800]

398. Jim Blanchard (American/Louisiana, b. 1955), “4719‑21 Magazine Street”, watercolor on paper, signed lower right, 16 1/2 in. x 41 in., framed. [$1000/1500] Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans. Ill.: Blanchard, Jim. Magnificent Obsessions: New Orleans Buildings and Residences. New Orleans: Jim Blanchard, 2017, p. 180.

400. Lawrence Edwardson (American/ Louisiana, 1904‑1995), “St. Louis Cathedral, New Orleans”, oil on masonite, signed lower right, signed, titled and inscribed en verso, inscribed on frame, 24 in. x 18 in., framed. [$1500/2500]

401. Adolph Kronengold (American/New Orleans, 1900‑1986), “House on Burgundy”, oil on masonite, signed lower right, titled and inscribed “#66” en verso, “Sandra Zahn Oreck Gallery, New Orleans, LA” labels on reverse of frame, 24 in. x 20 in., framed. [$1500/2500]

402. Adolph Kronengold (American/New Orleans, 1900‑1986), “French Quarter, New Orleans”, watercolor on paper, signed lower right, inscribed on backing board, 15 in. x 11 1/8 in., framed. [$400/600]

403. Alice Y. Hirsh (American, 1888‑1935), “Governor Nichols’[sic] Street, New Orleans”, 1933, oil on canvas board, faintly signed lower right, titled, dated and inscribed “No.96” and “Nobema Products Corporation, New York, NY” label en verso, 12 in. x 16 in., framed. [$600/800] Note: Alice Hirsch lived and worked primarily in New York City during the early twentieth century. After graduating from the Art Students League, Hirsch established a studio at 51 West 10th Street in Washington Square. She marketed her works directly from her studio as well as through exhibitions with several artist groups, resulting in much success during her lifetime. Her preferred subject was the city itself, and she captured the energy and atmosphere of its many neighborhoods in her Impressionist style. She also traveled and created views of California, Spain, Normandy and other locales. In the rare street scene of New Orleans offered here, the impasto of Hirsch’s brushwork sharply contrasts with the linearity of the architecture in this charming view of daily life in the French Quarter. Ref.: “Alice Hirsch (1888-1935).” Hawthorne Fine Art. www.hawthornefineart.com. Accessed Mar. 4, 2021

405. Inge Hardison (American, 1904‑2016), “Mary McLeod Bethune (1875‑1955)”, 1965, bronzed plaster bust, signed and dated on truncation, h. 7 3/4 in. [$1000/1500] Provenance: Dorian Bennett, New Orleans; Private Collection. Note: Inge Hardison (née Ruth Inge) was a multi-talented artist whose selfexpression took many forms, including dance, music, photography, poetry and visual arts. The granddaughter of slaves, Hardison was a native of Portsmouth, VA, and in order to escape the segregated south, her parents moved the family to Brooklyn then Plainfield, NJ. She began her career as an actress and singer earning roles on Broadway and often sculpting busts of the other actors. She took creative writing and music classes at Vassar College, studied at the Arts Student League of New York and was a founding member of the Black Academy of Arts and Letters.

404. Newcomb College Art Pottery Vase, 1920, with moss‑laden live oak tree design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, Joseph Meyer’s potter’s mark, and reg. no. KV73, h. 4 in., dia. 3 3/4 in. [$800/1200]

In the early 1960s, Hardison undertook a series of busts of prominent African Americans in history, which she titled “Negro Giants in History.” This bust of civil rights activist, educator and philanthropist, Mary McLeod Bethune, was part of that series. Hardison’s aim was to make the works accessible to a wide audience as these giants of American history were often forgotten and underrepresented in historical canons. “By memorializing such great, selfless people, I have been able to put within the experience of many schoolchildren, college students and adults those much-needed models of inspiration, and many of those who read the biographies of these sculptured heroes are encouraged to try to make their own lives more meaningful.” Ref.: Roberts, Sam. “Inge Hardison, Actress and Sculptor of Heroes, Dies at 102.” The New York Times. Apr. 5, 2016. www.nytimes.com. Accessed Mar. 7, 2021; Kahn, Eve M. “A Sculptor of Black Heroes Leaves a Legacy.” The New York Times. May 26, 2016. www.nytimes.com. Accessed Mar. 7, 2021.

406. Newton Reeve Howard (American/New Orleans, 1912‑1984), “The Pond”, 1982, oil on canvas board, signed and dated lower left and en verso, 9 in. x 12 in., framed. [$3000/5000]

407. Newton Reeve Howard (American/New Orleans, 1912‑1984), “The Burn”, 1981, oil on panel, signed and dated lower right, 9 in. x 12 in., framed. [$2000/3000]

408. Newton Reeve Howard (American/New Orleans, 1912‑1984), “The Lugger”, 1983, oil on canvas, signed and dated lower left, 14 in. x 18 in., framed. [$2000/3000]

409. 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. [$1000/1500] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham.

411. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Scene with Live Oak and Cypress Trees”, oil wash on board, signed lower right, 20 3/8 in. x 30 1/2 in., framed. [$2000/3000] 410. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Scene with Oak Tree and Pirogue”, 1931, oil wash on board laid on board, signed and dated lower left, “Gilley’s Gallery, Baton Rouge” label on backing paper, 8 in. x 13 in., framed. [$1000/1500]

413. John Reed Campbell (American/Louisiana, 1925‑1997), “Louisiana Landscape with Boaters and Dock”, 1948, oil on canvas, signed and dated lower left, 20 in. x 30 in., framed. [$600/800]

412. Don Wright (American/Louisiana, 1938‑2007), “River Landscape”, 1999, oil on canvas, signed and dated lower left, 24 in. x 30 in., framed. [$2000/3000]

Note: John Reed Campbell was formally trained in drawing and painting from an early age and studied at Delgado Community College in New Orleans, the Académie Julian in Paris and Louisiana State University in Baton Rouge. In 1954, he opened the John Campbell Art School and became the founder of the Art Students League of New Orleans. Campbell was active in the New Orleans art community, where he found favor for his portraits and particularly, his landscapes. His works often featured a Louisiana live oak dripping with moss alongside a bayou or cabin, and many times his verdant compositions include figures either working outside or simply enjoying nature, as in the canvas offered here. Campbell once said: “Nature’s array of colors, with style and design, with many wonderful things, contributes to the art element. The emotional life of art is insoluble; it can no more be explained than the life of a tree, a child, or any organic thing. I always attempt to paint life as I see it enveloped in an atmosphere of light and color….often bringing back old and pleasant memories that stay with us forever.”

414. Pair of Antique Burlwood and Carved Giltwood Console Tables, demilune glazed tops with inset panels of papier peinte, spreadwing eagle monopod, burl pilasters and base, h. 34 1/2 in., w. 41 1/2 in., d. 22 in. [$1200/1800]

415. Antique American Horn Armchair, late 19th c., back and legs of steer horns, upholstered seat, h. 29 1/2 in., w. 33 in., d. 25 in. [$300/500]

416. Italian Carved Walnut Fantasy Rocking Chair, mid‑19th c., crest with shell cartouche flanked by griffins, lion finials, dolphin arms, sea creature base, rockers with lion terminals, h. 57 in., w. 27 in., d. 50 in. [$3000/5000]

417. Biedermeier Inlaid Mahogany Urn‑Form Commode, c. 1830, segmented top centered with floral inlay, frieze drawer over small door, h. 37 in., dia. 16 1/4 in. [$1200/1800]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

418. American Renaissance Carved Mahogany “Throne” Chair, mid‑19th c., foliate scrolled cabochon crest, padded arms, cabochon knees, finialed stretcher, scrolled feet on lobed discs, h. 53 in., w. 29 1/4 in., d. 28 in. [$1000/1500]

419. American Renaissance Carved Rosewood Parlor Group, associated, Alexander Roux, New York, incl. settee, armchair and side chair, various floral crests, spiral ribbon back and seat rail surround, ring‑turned feet, casters, settee h. 46 1/2 in., w. 72 in., d. 32 in., armchair h. 46 1/2 in., w. 27 1/2 in., d. 23 1/2 in., side chair h. 42 in., w. 19 1/2 in., w. 18 in. [$1500/2500] 420. American Rococo Carved Rosewood Etagere Cabinet, mid‑to‑late 19th c., New York, broken pedimented crest, pierced fret surround, columnar supports, white marble top, frieze drawer over oval mirrored door, open side shelves, shaped base, toupie feet, h. 82 in., w. 47 1/2 in., d. 18 in. [$2500/3500]

421. Pair of Neo-Grec Carved Rosewood Parlor Chairs, mid‑19th c., possibly Herter, New York, shaped crest, urn finials, reticulated splat, round seat with yellow damask upholstery, tapered legs, toupie feet, h. 35 1/2 in., w. 19 in., d. 18 in. [$800/1200]

422. American Modern Gothic Marquetry and Burled Walnut Bedstead, possibly Herter Brothers, New York, pyramid finialed reeded posts banded with sunflower metal strapwork, h. 59 1/4 in. [$2000/3000] Provenance: Margot Johnson, New York.

424. American Aesthetic Movement Ebonized and Carved Hardwood Pedestal, late 19th c., stepped molded top with canted corners, winged griffin monopod legs, two shelves, h. 41 in., w. 21 in., d. 21 in. [$1200/1800]

423. Pair of American Aesthetic Movement Marquetry and Mahogany Side Chairs, pistol grip stiles, marquetry splat and seat rail, silk damask upholstery, ruched gusset, fluted tapered legs, h. 34 1/2 in., w. 16 in., d. 18 in. [$600/900]

425. American Aesthetic Movement Cherrywood Parlor Cabinet, mid‑to‑late 19th c., manner of. Herter Brothers, New York, architectonic superstructure with mirror back, base with central inset cabinet, two beveled glazed doors, open lower shelf, incised columnar stiles, two tall side cabinets with beveled glazed doors, metal spandrel decoration, paw feet, h. 78 1/2 in., w. 60 in. [$1500/2500]

426. Pair of American Aesthetic Movement Slipper Chairs, late 19th c., manner of Herter Brothers, New York, reticulated back with sunflower finials, central crane cartouche, ruched seat, scrolled tapered legs, paw feet, h. 32 1/2 in., w. 21 in., d. 22 in. [$700/1000]

427. American Renaissance Rosewood Escritoire, mid‑19th c., attrib. Alexander Roux, New York, superstructure with pierced foliate gallery and central demilune bracket, two shelves, mirror back, over mirrored doors, slant front enclosing satinwood fitted interior, two drawers, pierced fret spandrels, tapered legs, casters, h. 77 in., w. 43 in., d. 19 1/2 in. [$3000/5000] Provenance: Joan Bogart. Note: A labeled Roux escritoire with related superstructure sold in these rooms October 6, 2007.

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

429. Nicola Marschall (Prussian/Alabama, 1829‑1917), “General John Breckinridge Castleman (1841‑1918)”, 1894, oil on canvas, signed and dated lower left, 30 in. x 25 in., framed. [$4000/6000] Note: John Breckinridge Castleman was born in 1841 in Lexington, Kentucky. At the age of nineteen, he joined the Confederate Army, eventually achieving the rank of major. During the war, he led a group of insurgents in the attempted burning of Union supply boats in St. Louis, Missouri. Castleman was arrested, convicted of spying and sentenced to death in 1864. President Abraham Lincoln ordered a stay of execution and exile from the United States. Castleman then traveled to France, however he was allowed to return to the United States in 1866 when he was pardoned by President Andrew Johnson. Castleman continued his education at the University of Louisville, graduating from the School of Law in 1868. The same year he married Alice Barbee and opened an insurance company with his father-in-law. In 1878, Castleman revived the Louisville Legion of the Kentucky Militia and was later appointed the adjutant general of Kentucky in 1883 following the assassination of Kentucky Governor William Goebel and a near state civil war. Castleman also served in the Spanish-American War and invasion of Puerto Rico. He was made brigadier general and served as the military governor of Puerto Rico. Castleman became known as the father of Louisville’s Park System due to his service as the commissioner of the Board of Parks in Louisville for over twenty-five years. In this role, he established multiple parks designed by Frederick Law Olmsted beginning in 1891 and contributed to the park system that exists to this day. According to the Olmsted Parks Conservancy, Louisville’s park system is Olmsted’s most fully realized concept of his park designs. In 1893, Nicola Marschall was commissioned to paint Castleman in the portrait offered here. Marschall immigrated from Germany to the United States in 1849, arriving first in New Orleans and then Alabama. Due to the economic depression caused by the Civil War, Marschall moved his family to Louisville, Kentucky in 1873. Throughout the late nineteenth century, Marschall gained a reputation as a premier portraitist painting influential people and often fellow Kentuckians, such as Castleman.

430. Joseph Jefferson (American/Louisiana, 1829‑1905), “Crashing Surf with Shipwreck”, oil on canvas board, signed lower left, 16 1/4 in. x 23 3/8 in., framed. [$2500/3500] Provenance: Estate of Marion Walton, granddaughter of the artist; Private Collection.

431. Latin American School, early 20th c., “Tropical Landscape”, oil on canvas, unsigned, 22 in. x 29 1/4 in., framed. [$3500/4000]

432. George David Coulon (French/New Orleans, 1822‑1904), “La. Scenery”, gouache on paper, signed lower center, signed, titled and inscribed en verso, 6 in. x 9 1/4 in., framed. [$3000/5000]

433. George David Coulon (French/New Orleans, 1822‑1904), “Portrait of a Seated Boy”, oil on panel, signed lower right, 10 in. x 8 in., period frame. [$800/1200]

434. Jean Joseph Vaudechamp (French/Louisiana, 1790‑1866), “Portrait of Charles Jules Colheux de Longpré Fitzgerald (1823‑1882) at 9 years old”, 1832, oil on canvas, signed and dated lower right, “Turquin, Paris” label and labels with title and sitter information on stretcher, 25 3/4 in. x 21 1/2 in., framed. [$5000/7000] Note: Charles Jules Colheux de Longpré-Fitzgerald was born in New Orleans in 1823. His parents, Jean Baptiste Pierre Aimé Colheux Longpré (1775-c.1841) and Victoire Adèle Françoise Fitzgerald (1797-1832), were both French colonists in Saint-Domingue (Haiti). Like many planters, they fled to New Orleans during the Haitian Revolution in 1804. In 2014, a rare manuscript copy of the Haitian Declaration of Independence, one of only a few in existence, was found among Jean-Baptiste’s papers in France and is now housed in the collection of the Rubenstein Library at Duke University. After leaving Haiti and settling in New Orleans, Jean Baptiste and Victoire married in 1813 and welcomed their first child, daughter “Victoire” Ernestine Colheux de Longpré-Fitzgerald, in 1820. Charles Jules, depicted in the portrait offered here, was born three years later. To support his family, Jean Baptiste engaged in real estate speculation, primarily in the Faubourg Marigny and later lower Garden District, and he also owned a successful import and export business. Jean Joseph Vaudechamp’s first season in New Orleans as a portraitist coincided with the commission of this work. He painted a number of New Orleans’ prominent citizens during those first months and demonstrated a refined Neoclassical style of portraiture that, as William Keyse Rudolph wrote, set him apart from American artists. Vaudechamp became much in demand with city merchants and plantation owners along the Mississippi River. The compositional device of depicting the sitter looking out from a window frame in this portrait is perhaps an early experimentation on the part of the artist, as it is a presentation found in only one of his other attributed works. The cropping of the fictional window also hints at the possibility of a now unknown companion piece, perhaps depicting Charles Jules’ sister Victoire, in a matching window frame. Ref.: Rudolph, William K. Vaudechamp in New Orleans. New Orleans: The Historic New Orleans Collection, 2007

435. Southern School, c. 1840s, “Portrait of Julia Adelaide Brown (1835‑1907)”, oil on canvas, unsigned, 30 in. x 25 in., framed. [$1000/1500] Provenance: James Norfleet Brown (1806‑1859); thence by descent. Note: Julia Adelaide Brown was born in 1835 in West Feliciana Parish, Louisiana, the first of six children to James Norfleet Brown and Esther Dubose McCrea Brown. Her father was originally from Adams County, Mississippi, yet his grave marker states that he “was a native of the Parish of West Feliciana” – a strong statement of his love for the land that became his adopted home. This portrait of Julia was likely painted not long after she and her parents moved to Manchac Plantation in Iberville Parish in 1840. Brown was a successful sugar planter and well respected by his neighbors, representing his parish for one session of the Louisiana Legislature. The Brown family home along Bayou Manchac and the Mississippi River was beautifully and skillfully rendered by Adrian Persac in the 1850s in a rare work offered in a subsequent lot in this sale. Julia is depicted at approximately six to eight years old, sitting with her hands demurely clasped in her lap within a classical landscape. She wears a coral necklace that harkens to the belief that coral held protective properties. Coral was a popular medium for jewelry during the late eighteenth to mid-nineteenth centuries and can be seen in numerous portraits of the time period, particularly those of children. Although not the exact set worn by Julia in the portrait offered here, the finely carved pieces of coral set in gold in the following lot also descended in the Brown family.

436. Antique Parure of Yellow Gold and Angelskin Coral Jewelry, 19th c., incl. necklace, brooch, pair of earrings and later bracelet, all with granulated detail in the Etruscan taste; note bracelet made from 2nd brooch in suite applied to c. 1860 American gold mesh band. [$2000/4000] Provenance: James Norfleet Brown Family by descent to present owner.

437. Marie Adrien Persac (French/New Orleans, 1823‑1873), “Manchac, Iberville Parish”, 1851 or 1857, watercolor and gouache on pulp paper, signed and dated lower right, 17 1/2 in. x 25 3/4 in., framed. [$60000/80000] Provenance: James Norfleet Brown (1806‑1859); thence by descent. Note: The artist Marie Adrien Persac is known best for his gouache and watercolor paintings of south Louisiana plantations. “Manchac” is one of the surviving twenty known works of this genre. As an American artist, Persac falls between the fine arts of the Hudson River School and folk art. Trained in France as an engineer, his works are clearly those of an architect, as are seen most clearly in his drawings of Canal Street in The Historic New Orleans Collection and his advertisements for property sales in New Orleans’ Notarial Archives. Yet his plantation paintings go beyond strict architectural delineation. On the brink of the Civil War, his is a halcyon South. The sky is always blue; the cane and grass, always green; and the white of houses, outbuildings and fences, always newly painted or whitewashed. Like the others, “Manchac” is not only a landscape but also a portrait. The owners commissioned portraits of their houses to hang in pride of place in those very homes. Like the sitters in family portraits, the houses are in their best dress, without fallen palings or unpainted walls to be seen, but like the sitter, all must be clearly recognizable. With his draftsman’s training, Persac was the very man to paint house and garden and appurtenances in exact detail.

This property of John Norfleet Brown is shown on “Norman’s Chart of the Mississippi River,” also drawn by Persac. The house stood in Iberville Parish on the east bank of the river and the south bank of Bayou Manchac and faced the river, with the sugarhouse far to the rear. The road, ditches and fences are seen to comply with the 1821 ordinances of East Baton Rouge Parish just on the north side of the bayou. Horses and sheep enliven the view of the pasture; the latter were decorative and also for the table. The garden is worth a special note. The more popular taste in mid-century was for a grass yard with trees, although Louisianians were fond of lining theirs with trees, especially live oaks. Here regimented rows of ornamentals--trees, shrubs and agave--line the drive. The trees along the fence are unnaturally tall in order not to block the view of the house. With his meticulous attention to detail and distinctive viewpoint, Persac created one painting that is simultaneously a portrait of a grand home, a historical document and a beautiful work of art which reveals the landscape and way of life in 1850s Louisiana from a unique and rare perspective.

The two paintings of Shadows-on-the-Teche are the only ones which still hang in the original house. In comparing the surviving houses to their paintings, every part of the architecture is clearly there, but with no embellishments. Since this is true, it is safe to conclude that every part of scene--outbuildings, fences, ditches and gardens--is equally correct. What is seen in the painting was indeed there.

Neal Auction Company would like to thank Barbara SoRelle Bacot for her gracious assistance in cataloguing this lot and writing the catalogue note. Ill.: Bacot, H. Parrott, Bacot, Barbara S., et al. Marie Adrien Persac: Louisiana Artist. Baton Rouge: LSU Press, 2000, pp. 56‑57.

439. Mississippi Valley Side Table in the Vernacular Louis XV Taste, early 19th c., single board top, beaded apron and single drawer, H stretchered saber legs, remnants of rouge paint, h. 29 in., w. 20 1/4 in., d. 20 in. [$800/1200]

440. Louisiana Creole Flush Panel Mahogany Armoire, early 19th c., later molded cornice, two doors, shelf interior, lobed spurred apron, cabriole legs, h. 82 in., w. 51 1/2 in., d. 20 in. [$5000/7000]

438. American Red “Wash” Painted Cypress Armoire, mid‑19th c., Louisiana, flared cornice, paneled cupboard doors, shelf interior, with arched bracket base and sides, h. 87 in., w. 68 1/2., d. 25 in. [$2500/3500] Provenance: Houmas House Auction, Neal Auction Company, May 17-18, 2003, lot 584.

441. American Classical Walnut Campeche Chair, early 19th c., incised crest, padded scrolled arms, curule stretcher base, old leather upholstery, h. 38 3/4 in., w. 24 1/2 in., d. 31 in. [$2000/3000] Note: The design of the example offered here is influenced by English Regency “Library” chairs and the butaca of Colonial Mexico. The butac chair form of Campeche, a Yucatan port, appeared in North America’s Lower Mississippi River Valley during Spanish rule of the late eighteenth century. A mahogany butac chair, now in the James Madison Museum, was given to Madison by Thomas Jefferson who used it as a model for “Campeachy” chairs made at the Monticello joinery. Examples of the “Campeachy” chair from New York and Philadelphia are in the Winterthur (acc. 1964/0143) and National Gallery of Art (acc. 74.5) collections respectively. Ref.: Holden, Jack, et. al. Furnishing Louisiana, p. 358, fig. 20; Gontar, Cybele. “The American Campeche Chair,” Magazine Antiques, (May 2009), pp. 88-95; Gontar, Cybele. “The Campeche Chair in the Metropolitan Museum of Art” Metropolitan Museum Journal (Vol. 38, 2003), p. 184, fig. 1 and p. 190; www.thejamemadisonmuseum.org

442. Antique Ginori Majolica Figural Monkey‑Form Garden Seat, h. 18 3/4 in. [$300/500]

443. Anglo‑Colonial Carved Mahogany Huntboard, early 19th c., shaped single board top, conforming case, reeded stiles, fan carved spandrel, two deep drawers flanking central drawer, ring‑turned legs, toupie feet, h. 37 1/4 in., w. 57 1/2 in., d. 25 1/2 in. [$800/1200]

444. Antique American Cherrywood Bench, 19th c., plank top, h. 15 1/2 in., w. 55 1/2 in., d. 12 in. [$400/600]

445. Anglo‑Colonial Carved Mahogany Planter’s Chair, 19th c., anthemion carved crest, long arms on lappet supports, scrolled back frame, spiral turned legs, h. 38 in., w. 28 in., d. 43 in. [$400/600]

446. Rare Antique English Silverplate Lemonade Press, William Hutton & Sons, Sheffield and London, late 19th c., the lemon‑form press on a stand fitted to hold 4 beakers and 3 lemons, the tray base in the form of a lotus leaf, with loop handles and ball feet, h. 13 1/2 in., w. 14 1/2 in. [$500/700]

447. Antique English Silverplate Claret Jug, Frederick Ellis Timms & Co., Sheffield, late 19th/early 20th c., footed vase form, hinged cover with spreadwing eagle finial, elaborately decorated overall with central relief of Medieval figures, h. 12 1/4 in. [$200/300] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

448. Antique English Silverplate Wagon‑Form Wine Trolley, 19th c., fitted with two wine coasters, each with turned hardwood bottom and silver button, with floral and acanthus decoration, movable carriage, handle with bone terminal, l. 18 in. [$800/1200]

449. Continental .800 Silver Dog’s Head Stirrup Cup, Germany, late 19th/early 20th c., marks rubbed, engraved with Freiherr’s coronet and crest, h. 3 3/4 in., wt. 6.10 troy ozs. [$400/600]

450. Pair of Silverplate Wine Coasters, marked “ROYAL CASTLE/ SHEFFIELD/ EP”, shell and scroll border, turned hardwood bottoms with silverplate button, dia. 7 1/8 in. [$250/350]

451. Silverplate Lighthouse‑Form Cocktail Shaker, h. 13 3/4 in. [$600/900]

452. Victorian Sterling Silver Flask, George Unite, Birmingham, 1881, engine‑turned decoration with engraved crest and monogram, removable cup, l. 5 in.; together with antique Continental snuffbox, flat‑chased decoration, gilt wash interior, l. 2 7/8 in.; and Continental .930 silver figural salt with putto and snail shell carriage, l. 3 in., total wt. 9.55 troy ozs. (3 pcs.) [$300/500] 455. Old Sheffield Plate Tea Tray, early 19th c., inset silver shield engraved with cartouche centering dolphin and coronet, flat‑chased well, serpentine shell and scroll border with rolled edge, loop handles, 29 in. x 19 1/2 in. [$800/1200]

456. George III Sterling Silver Cruet Stand, Samuel and George Whitford, London, 1807‑1808, mark reg. 1802, oval central loop handle, reeded detail throughout, paw feet, engraved crest and motto, fitted with 6 diamond point cut glass bottles, h. 8 1/8 in., w. 8 in., wt. 20.80 troy ozs. [$800/1200]

453. Georgian Sheffield Plate Tea Caddy, c. 1815, swing handle, two compartments with hinged lift tops, shield‑shaped escutcheons with key, bun feet, h. (to top of handle) 7 3/8 in., w. 6 3/4 in. [$600/900]

454. Old Sheffield Plate Venison Dome, removable foliate scroll loop handles, inset silver shield with engraved crest and motto “Un Dieu Un Roy (One God One King)”, retains original tinned back, h. 10 1/4 in., l. 18 1/4 in., d. 12 7/8 in. [$300/500]

457. Antique English Silverplate Hot Water Urn in the Egyptian Taste, 19th c., oval form raised on pilaster supports with a paw feet, loop handles with eagle’s head terminals, cast sphinx figures on cover and plinth, h. 12 3/4 in. [$400/600]

458. Regency Sterling Silver Coffee Pot, Charles Price, London, 1819, mark reg. 1812, tapered footed form with floral and scroll chasing, vacant cartouches, carved pearwood scroll handle, h. 7 3/8 in., wt. 15.90 troy ozs. [$400/600] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

459. Pair of George III Sterling Silver Salt Cellars, Robert and Samuel Hennell, London, 1804, oblong stand with gadrooned border and scrolling leaf handles, support with palmettes, cut glass liners with trellis pattern, w. 6 1/4 in. [$600/900] Provenance: Christie’s, London, “Works of Art from a Private Collection in Eaton Square.” Nov. 21, 2018, lot 44; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

461. Twelve Chippendale‑Style Silverplate Service Plates, marked “ROYAL CASTLE/ SHEFFIELD/ EP”, serpentine gadrooned border, dia. 12 1/4 in. [$800/1200] 460. Elkington and Company Silverplate Hot Water Urn, date mark for 1866, loop handles, rococo chased decoration, elaborate spout, reticulated square plinth, h. 21 1/2 in. [$300/500]

462. French Gilt Bronze‑Mounted Boullework Mantel Clock, 19th c., cupid finial, striking gong movement, porcelain inset dial, h. 25 in., w. 12 in., d. 5 1/2 in. [$700/1000]

463. American Brass‑Mounted Mantel Clock, 19th c., Sessions Clock Co., Forestville, CT, ebonized wood case, mounted half columns, scroll feet, h. 10 1/2 in., w. 15 1/2 in., d. 6 in. [$100/150]

464. Louis XVI‑Style Gilt Bronze Figural Mantel Clock, late 19th c., movement marked “S. Marti”, figure of Cupid, h. 12 3/4 in., w. 11 in., d. 4 in. [$600/900] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

465. Napoleon III Gilt Bronze Three‑Piece Clock Garniture, late 19th c., putto and scroll design, movement marked “A.D. Mougins”, conforming five‑light candelabra, clock h. 15 1/4 in., w. 16 in., d. 6 in., candelabra h. 22 1/4 in. [$800/1200] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

466. Antique American Mantel Clock, 19th c., Seth Thomas, faux marbre with brass mounts, scroll feet, h. 11 1/2 in., w. 12 1/4 in., d. 7 in. [$100/150] Provenance: “Gro.” Oertling, The 18th Century Shop, New Orleans.

467. English Chinoiserie Bracket Clock, 20th c., Elliot, London, red ground, lacquered figures, h. 11 in., w. 6 1/2 in., d. 3 5/8 in. [$150/250]

468. French Bronze Cartel Clock, early 20th c., lyre‑form, bordered by foliage, dial signed “Balthazar/Paris”, h. 24 in., w. 14 1/2 in., d. 3 1/2 in. [$500/700]

469. Ida Rittenberg Kohlmeyer (American/ New Orleans, 1912‑1997), “Portent 13/27”, 1961, acrylic on paper, pencil‑signed and dated lower right, titled lower left, “Gilley’s Gallery, Baton Rouge” label on backing paper, 10 in. x 8 in., framed. [$1800/2500]

472. José‑Mariá Cundín (Spanish/New Orleans, b. 1938), “The Fat Headed Boy ‑ The Joy of His Parents”, 1981, egg tempera on paper, signed and dated lower right, pencil‑titled in Spanish lower center, 19 5/8 in. x 29 7/8 in., unframed. [$1000/1500]

471. Enrique Alferez (Mexican/New Orleans, 1901‑1999), “Charro (Gallero)”, 1977/1986, bronze, signed twice and dated “86” and “1977” on self‑base, label with artist, title and inscription under base, h. 16 1/4 in., w. 7 3/4 in., d. 4 1/2 in., on wood base, overall h. 17 1/4 in. [$8000/12000]

470. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Portrait of Jane”, 1955, red chalk on paper, pencil‑signed and dated lower center, 16 1/2 in. x 13 3/4 in., framed. [$1000/1500]

Exh.: “Enrique Alferez”, Academy Gallery, New Orleans Academy of Fine Arts, New Orleans, LA, Oct. 18 ‑ Nov. 5, 1986, No. 14.

474. José‑Mariá Cundín (Spanish/New Orleans, b. 1938), “Louisiana Landscape with Exotic Additions #2”, 2003, oil on panel, signed and dated lower right, signed, titled, dated, inscribed and label with artist and title en verso, 4 in. x 5 in., framed. [$400/600] Provenance: New Orleans Academy of Fine Arts, Nov. 19, 2003. 473. José‑Mariá Cundín (Spanish/New Orleans, b. 1938), “Guiseppe Formiquettri, El Intimidante”, 1999, collage and mixed media on panel, signed, titled and dated lower center, 22 1/2 in. x 20 1/2 in., framed. [$2500/3500]

476. Shearly Grode (American/New Orleans, 1925‑2003), “Cathedrals”, c. 1954, ink, oil and gold leaf on paper, unsigned, sight 18 3/4 in. x 13 3/4 in., framed. [$300/500]

475. George Valentine Dureau (American/New Orleans, 1930‑2014), “Cherub”, watercolor and graphite on paper, pencil‑signed lower center, 23 in. x 22 in., framed. [$800/1200]

Exh.: “Orleans Gallery: The Founders”, The Historic New Orleans Collection, New Orleans, LA, Sept. 9 ‑ Nov. 26, 1982.

477. George Bauer Dunbar (American/New Orleans, b. 1927), “Coin du Lestin”, gold leaf on red and black clay, signed lower center, 48 in. x 42 in., framed. [$18000/25000]

478. George Bauer Dunbar (American/ New Orleans, b. 1927), “Heart”, gold leaf on red and black clay, signed lower right, 13 3/4 in. x 12 in., unframed. [$2000/3000]

479. George Bauer Dunbar (American/ New Orleans, b. 1927), “Heart”, gold leaf on red clay, signed lower center, 13 3/4 in. x 12 in., unframed. [$2000/3000]

480. Arthur Silverman (American/New Orleans, 1923‑2018), “Abstract Composition in Blue, Black and Red”, painted metal relief, signed on right edge, 20 1/2 in. x 9 in., framed. [$700/1000] 481. James DeWoody (American/New York, b. 1945, active New Orleans, 1964‑1967), “Red Tower”, painted mixed media sculpture, unsigned, h. 58 3/4 in., w. 11 1/4 in., d. 11 1/4 in., on wood base, overall h. 61 in. [$300/500] Provenance: The Arthur Roger Gallery, 3005 Magazine Street, New Orleans, 1981.

482. Francisco Coculilo (Brazilian, 1895‑1969), “Rio”, oil on board, signed and titled lower right, 11 7/8 in. x 15 3/4 in., framed. [$400/600]

483. Rodolfo Morales (Mexican, 1925‑2001), “Untitled (Dreamscape)”, oil on canvas, signed lower right, 31 3/4 in. x 39 in., framed. [$50000/80000] Provenance: Acquired on a trip to Mexico, c. 1980; thence by descent. Note: One of Mexico’s twentieth century masters, Rodolfo Morales was known as the painter of dreams. Many of his works were inspired by dreams of his hometown, Ocotlán, in Oaxaca. The color palette, colonial architecture and indigenous people that inhabit his paintings are reminiscent of Oaxaca and much of its folklore. Women and memories are at the heart of Morales’ work. He once explained: “Mexico would be lost without the steadfast work of women. They bear the burden of day-to-day living and find solutions to those problems to which men simply resign themselves.” As seen in the classic work offered here, the women seem to be engaged in a silent communication with one another and their surroundings. These strong placid figures are inspired by the nostalgic memories of his youth and the keen recollections of his mother and aunts—women who fully comprehended and celebrated the strength of their local beliefs and customs and who ultimately passed on this understanding to Morales. This painting combines the artist’s characteristic rich use of color, oversized faces and dreamy floating figures with the landscape and architectural elements of a small town in Mexico – the town square, arcaded shops, church and government palace which made an impression on the young artist. In a 1995 interview Morales explained: “I came here to live in my memories…nostalgia and melancholy are very important to me.” Despite this, Morales avoided discussing the meaning of his work, often producing paintings without titles, such as this one. Ruffino Tamayo wrote of Morales for one of his early exhibitions: “His painting, as it is easy to prove, is not done with just the mind, but mainly with the heart. His simple, direct message does not strike us superficially as is the case with something that is merely intellectualizing; rather it reaches deep inside us and makes us feel it and enjoy it fully, because it is imbued with truth and we already know the presence of truth is always exciting.” Ref.: “Rodolfo Morales.” Inverarte Art Gallery. www.inverarteartgallery.com. Accessed Mar. 6, 2021

484. Rodolfo Morales (Mexican, 1925‑2001), “Chapel Ceiling”, oil on canvas, signed lower right, “Scheurich Gallery, New Orleans” label on frame, 39 1/2 in. x 39 1/2 in., framed. [$25000/35000] Provenance: Acquired on a trip to Mexico, c. 1980; thence by descent.

485. Théo Tobiasse (French, 1927‑2012), “Où est le silence des premiers chants du monde”, 1981, mixed media on paper, pencil‑signed upper right, pencil‑titled lower center, pencil‑dated “VIII. 81” upper left, “Nahan Galleries, New Orleans” label on backing board, 40 in. x 27 in., framed; accompanied by a copy of a certificate of authenticity from Nahan Galleries, New Orleans. [$4000/6000]

486. Adalie Margules Brent (American/Louisiana, 1920‑1992), “Sunflowers under Streetlight”, 1948, oil on canvas board, signed and dated lower left, inscribed on frame, 24 in. x 18 in., framed. [$600/800] Note: Adalie Brent lived a life filled with art. She was an artist working in multiple media, a graphic designer, teacher and long-time museum director who had an influential role in the development of the cultural scene of Baton Rouge for over four decades. After several years of teaching at Louisiana State University in the early 1950s, Brent continued to teach at Saint Joseph’s Academy for twelve years. She then became the first director of the Louisiana Arts and Science Center in Baton Rouge. In her eighteen years in that capacity, she oversaw the museum’s move from the Old Governor’s Mansion on North Boulevard to the Yazoo and Mississippi Valley Railroad Co. Depot on the Mississippi River in 1976, when her own stained-glass windows were installed in the newly constructed auditorium. Although perhaps best-known for her stained glass commissions in places of worship, institutions and hospitals in south Louisiana, Brent also was a life-long painter. As seen in the work offered here, she displayed a talent for selecting subjects from everyday life and arranging them in such a way to compel the viewer to take note, all while skillfully translating the graphic aesthetic of her preferred media to canvas.

487. 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. [$3000/5000]

488. 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. [$1500/2500] Provenance: Reputedly Christine Fairchild Magriel (friend of the artist); by descent to Renee Magriel Roberts; Private Collection.

490. Noel Rockmore (American/New Orleans, 1928‑1995), “Candlestick Park”, 1967, oil and mixed media on paper, signed, dated and inscribed “S.F.” lower right, titled lower center, pencil‑titled en verso, 14 1/2 in. x 20 in., unframed. [$1500/2500]

493. Auseklis Ozols (Latvian/New Orleans, b. 1941), “Still Life with Vase of Flowers”, 1993, oil on panel, initialed lower left, monogrammed and dated en verso, 5 in. x 3 7/8 in., artist enhanced frame. [$400/600]

491. Noel Rockmore (American/New Orleans, 1928‑1995), “Untitled (Man and the Sea)”, acrylic on masonite, signed lower center, artist information attached en verso, 11 7/8 in. x 20 in., framed. [$1500/2500]

494. Boris Godunov (Russian/American, 20th c.), “Decanter with Plum”, 2010, oil on panel, initialed lower right, 4 in. x 5 1/2 in., framed. [$600/800] Provenance: Guy Lyman Fine Art, New Orleans, LA, May 26, 2012; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

489. Noel Rockmore (American/New Orleans, 1928‑1995), “Untitled (Two Figures)”, 1965, oil on canvas, signed and dated lower right, 30 1/8 in. x 15 1/8 in., framed. [$2000/3000]

492. Ann Hornback (American/Louisiana, b. 1945), “Coquette”, watercolor on paper, signed lower right, handwritten label with artist and title on backing paper, 16 1/4 in. x 17 1/4 in., framed. [$200/400]

494A. George Hand Wright (American, 1872‑1951), “Old Brick, Edisto Island, SC”, pastel on paper, signed lower right, 21 in. x 26 in., unframed. [$1200/1800]

496. Antique French Bronze‑Mounted Chinoiserie Encoignure, shaped breche d’Alep marble top, conforming case, 2 doors, foliate mounted stiles, sabots, h. 36 in., w. 35 in., d. 26 in. [$1200/1800]

495. Pair of Louis XVI Gris Peinte Fauteuils, late 18th/ early 19th c., square molded backs, downswept padded arms, beaded seat rail, fluted tapered legs, h. 33 1/2 in., w. 22 3/4 in., d. 24 in. [$2000/3000] Provenance: French Antique Shop, New Orleans.

498. Pair of Italian Creme Peinte and Giltwood Fauteuils, late 18th c., tulip crest, out-scrolled arms, serpentine seat, stop-fluted tapered legs, h. 39 in., w. 24 1/2 in., d. 22 in. [$1200/1800] Provenance: French Antique Shop, New Orleans.

Provenance: French Antique Shop, New Orleans.

499. Louis XVI Giltwood Mirror, mid‑to‑late 18th c., pierced foliate crest centering a floral urn, bellflower swags, guilloche surround, rosette corner blocks, h. 76 1/2 in., w. 38 in. [$2000/3000] Provenance: French Antique Shop, New Orleans.

497. Antique French Bronze‑Mounted Chinoiserie Encoignure, shaped breche d’Alep marble top, conforming case, 2 doors, foliate mounted stiles, sabots, en suite with preceding lot, h. 36 in., w. 35 in., d. 26 in. [$1200/1800] Provenance: French Antique Shop, New Orleans.

500. Ten Antique Regence‑Style Carved Crème Peinte and Gilt Dining Chairs, each with padded back with acanthus crest, shaped seat, foliate apron, cabriole legs, whorl feet, h. 37 1/2 in., w. 21 in., d. 20 in. [$4000/6000] Provenance: French Antique Shop, New Orleans.

501. Pair of Louis XVI Carved and Gilt Side Chairs, 19th c., pierced floral basket crest, beaded surround, floral garland back frame and seat rail, stop‑fluted tapered legs, h. 37 in., w. 19 in., d. 19 in. [$700/1000] Provenance: Dixon & Dixon, New Orleans.

502. Pair of Exceptional Variegated Marble Pedestals, 19th c., molded square top, tapered molded standard, molded base, h. 45 in., w. 11 1/4 in., d. 11 1/4 in. [$4000/6000] Provenance: Whisnant Galleries Collection, New Orleans, LA.

503. Italian Neoclassical Parquetry and Marquetry Commode, late 18th/early 19th c., molded top, frieze drawer with tulip and wave inlay, two long drawers centering urn inlay, acanthine tapered legs, h. 39 1/4 in., w. 50 1/4 in., d. 25 in. [$12000/18000] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR. Note: The detailed marquetry vignettes and borders seen on this commode show the influence of Lombard neo-classical intarsiatore, Giuseppe Maggiolini (1738-1814). The son of a forester for the Cistercian monastery of Sant’Ambrogio della Vittoria, Maggiolini opened his own workshop in 1758 in Milan. In addition to commissions from Archduke Ferdinand, the Hapsbug governor of Lombardy, the workshop produced cabinets for Empress Maria Theresa of Austria, and Maria Luisa Bonaparte. The naturalistically shaded urns with elaborate wave borders centering the drawers of this commode show the influence of the Maggiolini workshop and recall urns on a games table attributed to Maggiolini exhibited at the Fondazione Carla Musazzi in Parabiago, Italy. Ref.: Giuseppe Beretti. Giuseppe Maggiolini, L’Officina del Neoclassicismo. Milan: Edizioni Libreria Malavasi, 1994.

505. French Provincial‑Style Carved Fruitwood Canapé à Oreilles and Four Matching Bergeres, each with acanthus scrolled shell crest, downswept arms, shell and scroll seat rail, shaped stretcher, cabriole legs and whorl feet, handsome upholstery, canapé h. 44 in., w. 80 in., d. 33 in., armchair h. 44 in., w. 29 1/4 in., d. 33 in. [$4000/6000] Provenance: M.S. Rau, New Orleans.

506. Antique Louis XV‑Style Carved Giltwood Console with Mirror, elaborate pierced rocaille crest, foliate surround, molded shaped marble top, conforming base, old mirror plate, pierced rocaille apron, rose carved knees, rocaille stretcher, scroll feet, h. 138 1/2 in., w. 56 in., d. 24 3/4 in. [$4000/6000]

504. Louis XVI Creme Peinte and Carved Giltwood Mirror, mid‑to‑late 18th c., surmounted by urns; rosette blocked keyed surround, old mirror plate, h. 89 1/2 in., w. 39 1/4 in. [$2000/3000] Provenance: French Antique Shop, New Orleans.

Provenance: Whisnant Galleries Collection, New Orleans, LA.

507. Italian Pietra Dura and Wrought Iron Table, specimen marble top with militaria motifs including shield, armor, canon, trumpets, axes, drums, torches, swords, spears and tritons, central oval cartouche, scrolled iron base with floral finialed stretcher, h. 32 1/2 in., w. 94 1/2 in., d. 47 in. [$7000/10000] Provenance: Whisnant Galleries Collection, New Orleans, LA. Note: A revered lapidary art, Italian commesso in pietra dura work combines the arts of stone carving, mosaic and inlay using shaped and fitted colored stone to create a painting-like effect. Designed in the Roman 16th century style, this table uses jasper, sienna, carrara, lapis lazuli, and

508. Louis Phillipe Inlaid Mahogany Center Table, early‑to‑mid 19th c., reeded dished marble top, octagonal vasiform standard, tripartite scrolled dolphin brackets, h. 28 1/2 in., dia. 40 3/4 in. [$1000/1500]

other stone quarried in and around the Italian peninsula. Dominated by jasper cartouches in candelieri and strapwork frames reminiscent of wrought iron, the table uses martial motifs of weapons, trophies, and armor instead of the more traditional fruiting and floral forms.

A pietra dura table from a house on the Wiltshire Downs with martial forms and jasper cartouches very similar to those seen here, was sold by Christie’s, London March 6, 2008 as lot 225.

Provenance: Whisnant Galleries Collection, New Orleans, LA.

510. Pair of American Gilt Brass Argand Lamps, 19th c., matte and burnished surface, faceted prisms, electrified, h. 17 1/2 in., w. 11 in., d. 9 1/2 in. [$2000/3000]

509. Attributed to Tiffany Double‑Student Lamp, early 20th c., converted oil lamp, damascene shades, unmarked, h. 19, w. 22 in., d. 7 1/2 in. [$800/1200]

511. American Brass Sinumbra Lamp, 19th c., B. Gardiner, New York, columnarform, flaming torch mounts, electrified, h. 30 in., dia. 11 1/4 in. [$1000/1500]

512. American Patinated Bronze Single‑Light Argand Lamp, 19th c., John B. Jones, Boston, electrified, h. 12 in., w. 9 1/2 in., d. 5 in. [$300/500]

513. Continental Carved and Polychromed Wood and Iron Twelve‑Light Chandelier, h. 31 in., dia. 33 in. [$500/700]

514. Pair of Louis XVI‑Style Bronze and Crystal Lamps, tripartite bases, female bust and swag terminals, hoof feet, h. 22 in., dia. 7 in. [$800/1200]

Provenance: Whitehall Antiques, Chapel Hill

515. Pair of Empire‑Style Gilt Bronze Five‑Light Sconces, flaming torch backplate, floral arms, electrified, h. 19 in., w. 16 in., d. 12 in. [$1000/1500]

516. Pair of Continental Porcelain Mounted Painted Metal and Wood Wall Sconces, 20th c., foliate arms, h. 22 in., w. 12 in., d. 9 in. [$300/500]

517. Antique Dutch Brass Six‑Light Chandelier, 19th c., scroll arms, electrified, h. 17 in., dia. 24 in. [$300/500] Provenance: Henry Stern, late 1960s. 518. Pair of Paris Polychrome and Gilt Porcelain Carcel Lamps, 19th c., pink ground, floral medallion reserves, brass burners and bases, electrified, h. (to socket) 18 in. [$200/300] 519. Antique French Gilt Bronze Four‑Light Candelabra, central sheaf of wheat finial, on lion legs, h. 13 3/4 in., dia. 8 1/2 in. [$600/900]

520. French Bronze Hall Lantern, cage form, cast with garlands and swags, h. 22 in., dia. 10 in. [$500/700] Provenance: William Word, Atlanta.

521. Pair of Antique Sevres‑Style Porcelain and Bronze Table Lamps, early 20th c., converted from candlesticks, cherub standard, bases with avian reserves, h. (to socket) 17 in. [$300/500] Provenance: Schwitz Collection, Franklin, LA.

522. English Cut Crystal and Bronze Two‑Light Argand Lamp, c. 1830, spiral and foliate standard with addorsed griffins, foliate‑cut shades, h. 24 in., w. 14 1/2 in., d. 7 in. [$400/600]

525. American Classical Mahogany Ogee Mirror, c. 1830, gilt surround and liner, h. 42 3/4 in., w. 29 in. [$400/600]

523. American Carved Mahogany Server, mid‑19th c., probably New York, superstructure with pierced fret gallery and two beaded shelves, cabochon brackets, case with molded marble top, two frieze drawers over ribbon molded cabinet doors, shelf interior, molded blocked feet, h. 74 in., w. 66 in., d. 27 in. [$3000/5000]

524. American Federal Inlaid Mahogany Chest of Drawers, early 19th c., Philadelphia, ribbon molded shaped top, bookmatched graduated drawers, mushroom pulls, chevron inlaid stiles, ring‑turned reeded tapered legs, toupie feet, h. 43 1/4 in., w. 42 in., d. 22 1/4 in. [$2000/3000]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

527. American Classical Mahogany Work Table, early‑to‑mid 19th c., probably H. Connelly, Philadelphia, molded top, baize-lined candle slide, bolection frieze with single drawer, divided tray interior, slide out striped silk work basket, paired Ionic colonnettes, stretcher shelf, carved scrolled legs, brass paw feet, casters, h. 30 1/2 in., w. 22 in., d. 19 in. [$700/1000]

529. American Classical Carved Mahogany Secretary Bookcase, c. 1820, attr. to Henry Fligler, flared cornice, egg and dart molding, columnar stiles, glazed doors, shelf interior, fall front fitted secretary drawer, over colonnettes flanking beveled cabinet doors, paw feet, h. 102 in., w. 47 1/4 in., d. 23 1/2 in. [$3000/4000] Note: The form, proportion and ornament of the lot offered here relate to a Philadelphia secretary bookcase probably made by Henry Fligler/Flagler (active 1816-1825) Philadelphia, circa 1825.

526. Small American Federal Carved Mahogany Footstool, early 19th c., black horsehair upholstery, ring‑turned vasiform legs, h. 10 in., dia. 13 in. [$200/300]

528. American Federal Carved Mahogany Games Table, early 19th c., attr. to Haines and Connelly, Philadelphia, shaped reeded foldover top, ring‑turned, tapered legs, elongated toupie feet, h. 30 in., w. (open) 36 in., w. (closed) 18 in., d. 36 in. [$1200/1800]

530. American Late Classical Carved Mahogany Work Table, early‑to‑mid 19th c., New York, lift top with inset mirror and divided interior, glass pulls, one lower drawer, work basket in yellow silk, acanthus spiral tapered legs, brass spherule feet, h. 29 1/4 in., w. 20 1/2 in., d. 18 in. [$1000/1500]

Ref.: Carswell Rush Berlin, Antiques and Fine Art Magazine, 2007, “Classical Furniture in Federal Philadelphia”, p. 199.

531. American Federal Birdseye Maple Inlaid Mahogany Games Table, early 19th c., Portsmouth, NH, shaped foldover top, conforming frieze, ring‑turned tapered legs, elongated feet, h. 30 in., w. 36 in., d. 18 in. [$1500/2500]

532. American Federal Mahogany Chest of Drawers, early 19th c., probably Salem, vertical reeded bowfront top with outset corners, four bookmatched graduated drawers, reeded stiles, tall ring‑turned legs, toupie feet, h. 42 1/2 in., w. 43 in., d.23 in. [$2500/3500]

533. American Classical Carved Mahogany Sofa, c. 1820, possibly Duncan Phyfe, New York, scrolled crest rail with inset figured panel, Grecian-scrolled and reeded arms and seat rail, crisply carved feather and scroll brackets, paw feet, casters, poplar secondary wood, period appropriate upholstery in damask haircloth from John Boyd Textiles, London, yellow silk loose cushions, h. 34 in., w. 91 in., d. 26 in. [$1500/2500] Note: The sofa offered here is a closely related form to Grecian sofas made by New York cabinetmaker Duncan Phyfe. Featuring the same proportions, scrolled crest rail and arms, reeded seat rail, and feathered lion’s paw feet, the sofa here is nearly identical to a sofa illustrated in The World of Duncan Phyfe by Elizabeth Feld and Stuart P. Feld, differing only by the carved decoration along the crest rail on the Feld example. Ref.: Feld, Elizabeth and Stuart P. Feld. The World of Duncan Phyfe: The Arts of New York, 1800-1847. New York: Hirschl & Adler Galleries, 2011, p. 20.

534. Pair of French Bronze and Crystal Four‑Light Girandoles, c. 1900, vasiform standard with spear finial, hung with crystal beads and pendeloque prisms, h. 26 in., dia. 12 in. [$700/1000] Provenance: French Antique Shop, New Orleans.

535. French Porcelain and Gilt Bronze Centerpiece, c. 1900, puce ground plate with fruit and floral reserves, bronze base mounted with birds and porcelain coats of arms, h. 8 in., dia. 9 1/4 in. [$400/600] Provenance: French Antique Shop, New Orleans. 536. French Rosewood and Marquetry Slant‑Top Jewelry Box, 19th c., interior with three drawers, another exterior drawer, h. 5 in., w. 13 1/4 in., d. 10 1/4 in. [$500/700]

537. Antique Neoclassical‑Style Bronze Centerpiece Base, late 19th c., palmette vessel supports, Classical maiden supports, paw feet, h. 16 1/4 in., dia. 8 in. [$400/600]

Provenance: By family repute, a gift from Crown Prince Hassan bin Talal and Princess Sarvath El Hassan (calling card).

539. Pair of Empire‑Style Gilt and Patinated Bronze Covered Urns, 20th c., cast with Bacchic cherubs, molded marble base, h. 13 3/4 in., w. 5 1/4 in., d. 5 1/4 in. [$1000/1500]

540. Empire‑Style Gilt Bronze Jardiniere, 20th c., pierced gallery, flanked by sphinxes, classical bust and lion bosses, cherub feet, removable liner, h. 6 1/2 in., w. 25 1/2 in., d. 9 1/2 in. [$1000/1500]

Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR

541. French Gilt Bronze and Marble Encrier, surmounted by figure of Cupid, flanked by lidded ink pots, carved pen well, paw feet, h. 10 3/4 in., w. 16 in., d. 7 1/2 in. [$700/1000] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR

538. Continental Inlaid Backgammon Set, elaborately inlaid with mixed woods and mother‑of‑pearl, h. 1 3/4 in., w. 20 1/4 in., d. (open) 20 1/4 in. [$600/900]

542. Continental Pewter Pricket, 20th c., cast with putto busts, lobed base, h. 7 1/4 in., dia. 5 in. [$150/250] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

545. Continental Ebonized Wood Ionic Columnar Pedestal, 19th c., inset onyx top, h. 39 1/2 in., w. 11 1/2 in., d. 11 1/2 in., top 6 in. x 6 in. [$400/600] Provenance: Whisnant Galleries Collection, New Orleans, LA.

546. Pair of Italian Carved, Faux Marbre and Gilt Torcheres, 20th c., scroll feet, h. 62 1/2 in., w. 14 1/2 in., d. 14 1/2 in. [$600/900] 543. Pair of Antique French Carved and Stained Wood Articulated Artist Lay Figures, c. 1900, adjustable metal stands, figure h. 16 1/4 in. [$1000/1500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

544. Pair of Continental White Marble Columnar Pedestals, 19th c., molded top and base, h. 46 in., dia. 14 3/4 in. [$1000/1200]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

547. Pair of Bohemian White Cut‑to‑ Green Glass Lustres, 19th c., enameled floral sprays, back-cut spear prisms, h. 15 in., dia. 6 in. [$600/900]

549. Italian Carved and Polychromed Putto, 19th c., glass eyes, standing on a cloud‑form base, h. 28 in., w. 15 in., d. 13 in. [$250/350]

548. Continental Model of a Ship, 20th c., wood and composite, labeled “Fragata Espanola/ Ano 1780”, on base, h. 31 in., w. 40 in., d. 6 in. [$300/500]

550. Pair of Antique French Gilt Metal Floriform Seven‑Light Candelabra, 19th c., vasiform standard cast with cherub busts, h. 30 in., w. 19 1/2 in., d. 7 1/2 in. [$200/300]

553. Continental Cold Painted Bronze Figure of a Monkey, c. 1900, probably Austrian, h. 3 1/2 in. [$100/150]

551. Continental Polychrome Balance Toy, 19th c., possibly French, rider with bobbing head and arm, horse with moving front legs, lead weight, h. 12 1/2 in., w. 9 3/4 in., d. 3 1/2 in. [$150/250]

554. Two Antique French Bronze‑Mounted String Holders, leather band, lids with string holes, one with scissors, largest h. 3 1/4 in. [$200/300]

552. Antique Italian Carved Wood Figure, 18th c., with curly hat, outstretched arms, glass eyes, h. 19 in. [$150/250]

555. German Enameled and Gilt Metal Automaton Singing Music Box 20th c., attributed to Karl Greisbaum, case by Emil Brenk, marked “EB” in an oval, “METALL”, and “MADE IN GERMANY”, decorated with courting couple and landscapes, h. 2 in., w. 4 in., d. 2 1/2 in. [$800/1200]

557. Large Antique French Mechanical Bird Automaton, c. 1900, brass cage, giltwood base with canted corners, when activated the three birds move their heads and tails and perform bird song, h. 22 in., w. 14 1/2 in., d. 9 3/4 in. [$1000/1500] 558. Louis XVI‑Style Cold Painted Bronze Dore Mirror, bowknot crest, with trumpeting putti, floral blocked corners, pierced surround, h. 34 in., w. 21 in. [$700/1000]

556. German Singing Bird Automaton Music Box in the Form of a French Commode, inlaid wood, opening the drawer activates the mechanism (not working), h. 3 7/8 in., w. 4 5/8 in., d. 3 1/2 in. [$500/700]

559. Antique Continental Neoclassical Walnut and Parquetry Commode, three long drawers, spandrel brackets, restrained cabriole legs, h. 35 1/2 in., w. 40 1/2 in., d. 18 3/4 in. [$4000/6000]

560. Pair of Gilt Bronze‑Mounted Black Marble Pedestals, molded circular top, molded waist with rosettes, bead molded octagonal base, h. 41 1/2 in., dia. 16 1/4 in. [$2000/3000] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR

562. English Renaissance Revival Carved Oak Sideboard, mid‑to‑late 19th c., superstructure with flora and foliate wallpapered coved crest, central mirror plate, four fluted colonnettes, boar head cartouches, shaped top, central long drawer flanked by doors framed by figures of four poets, conforming molded base, h. 95 in., w. 90 in., d. 30 in. [$4000/6000]

561. George III Inlaid Rosewood Two‑Part Canterbury, early 19th c., removable spindled upper section, on stand with drawer, square molded legs, spade feet, h. 30 in., w. 18 1/2 in., d. 14 1/2 in. [$500/800]

563. English Cast Iron Bench, 19th c., possibly Coalbrookdale, fan back, scrolled arms, outswept feet, h. 38 in., w. 48 in., d. 27 in. [$2000/3000] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR

564. Antique Brass‑Mounted Inlaid Mahogany Campaign Chest, late 19th c., marked “SMS Hamburg”, upper case with frieze drawer, fitted secretary drawer, one long drawer, lower case with two drawers, side handles, h. 45 1/2 in., w. 41 1/2 in., d. 19 in. [$600/900]

565. William IV Mahogany Tric-Trac Table, mid‑19th c., reversable wood top, baize lining on one side, interior fitted with playing surface, two drawers, both short sides, ring‑turned legs, casters, h. 30 in., w. 45 1/4 in., d. 22 1/2 in. [$2500/3500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

566. Georgian‑Style Mahogany Sideboard, serpentine top, conforming case with beaded drawer over tambour doors, two side cabinets, tapered legs, spade feet, h. 36 in., w. 54 1/4 in., d. 23 in. [$500/700] 567. Fine Antique Georgian Inlaid Burl Walnut Double Domed Secretary Bookcase, 19th c., bonnet with urn finials, arched doors, extensively fitted interior, two candle slides, fall front leather writing surface and fitted desk interior, four graduated drawers, bun feet, h. 90 in., w. 41 in., d. 22 1/2 in. [$5000/8000] 568. English Aesthetic Movement Sponge Paint‑Decorated Thebes Stool, 19th c, shaped seat, spindled stretchers, ring incised legs, h. 14 in., w. 17 1/2 in., d. 17 1/2 in. [$400/600]

569. Georg Jensen Sterling Silver Centerpiece Bowl, pattern 296A, designed by Georg Jensen 1919, oval bowl, rim suspending four grape cluster pendants over openwork grape vine and molded oval base, marked with Georg Jensen trademark, “STERLING”, “925.S”, “DENMARK” and “296/A”; engraved under foot rim “To my wife Julie Alexander Larew Jett from Shelby MacGoffin Jett July 4, 1935”, h. 5 1/8 in., w. 14 3/8 in., wt. 62.50 troy ozs. [$8000/12000] Ref.: Taylor and Laskey. Georg Jensen Holloware: The Silver Fund Collection, pp. 34 and 133, ill. p. 133; Drucker, Janet. Georg Jensen: A Tradition of Splendid Silver, ill. p. 206.

570. Fine Tane “Burbujas” Sterling Silver Ice Bucket, Mexico City, c. 2018, wc. 1950 to present, tapered form with collar of cast bubbles, marked “TANE/ME‑32/MEXICO/925”, h. 7 3/4 in., dia. 9 1/2 in., wt. 67.05 troy ozs.; together with original Tane dust cover, polishing cloth, box and invoice. [$3000/5000] Note: The prestigious Tane firm was founded by French emigres and is known for the quality of their work. Morrill & Berk. Mexican Silver. pp. 252‑255.

571. Four Spanish Colonial Silver Candlesticks, marked, marks partially legible, “...1800/ MARTIN...”, “...INEZ”, cylindrical candlecups with large drip pans, chased shafts and bases with iron and wood supports, h. 13 5/8 in. [$2500/3500]

572. Cased Set of Four Cartier Sterling Silver Table Garniture Baskets, each h. 3 3/8 in., w. 2 1/2 in., d. 2 1/4 in., total wt. 6 troy ozs. [$700/900] Provenance: Estate of Caroline P. Ireland.

574. Continental Silver, Cobalt Enamel and Bejeweled Ewer and Underplate, elaborately decorated overall, retains some gilt wash to interior, weighted base marked 925, underplate unmarked, h. 6 5/8 in., dia. 5 1/8 in. [$800/1200]

576. New Orleans Sterling Silver Soup Ladle marked “Pat’d.Sept 7.1888./STERLING/ E.A.TYLER”, probably E.A. Tyler’s Son, act. 1886‑1891; in Whiting’s “Keystone” pattern, designed by Charles Osborne, l. 13 1/4 in., wt. 6.75 troy ozs. [$200/300]

573. Continental .800 Silver and Frosted and Cut Glass Centerpiece in the Rococo Taste, late 19th c., Germany, marks rubbed, the boat‑shaped frame chased with shells and foliate scrolls, articulated claw feet, conforming glass liner, h. 6 3/4 in., w. 14 1/2 in., | d. 8 1/4 in., wt. 15.20 troy ozs. [$800/1200]

575. Antique Sterling Silver Water Pitcher, late 19th c., by Durgin, ret. M. Scooler, act. New Orleans 1842‑1900; vase form with scroll handle, beaded border and molded foot, h. 9 1/4 in., wt. 29.15 troy ozs. [$600/800]

577. Four New Orleans Coin Silver “Fiddle Typt” Teaspoons, Nelson A. Young, act. 1841‑1850, period script monogram “MAD”, l. 6 1/8 in. [$100/150] Ref.: Crescent City Silver, p. 124.

578. 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]

579. Cased Set of American Sterling Silver Flatware, c. 1880‑1890, engraved floral pattern not identified, marked for retailer Pilling, incl. 6 each: forks (l. 7 1/8 in.), tablespoons and teaspoons, in fitted case marked “Geo. P. Pilling, Philadelphia”; together with soup ladle and gravy ladle in Wallace “Concord” pattern, pat. 1926; AND 5 teaspoons in Gorham “Cottage” pattern, introduced 1861; and sardine fork in Baker‑Manchester “Landers No. 2” pattern, combined wt. 33.10 troy ozs. [$800/1200]

580. Reed & Barton Silverplate Three‑Light Candelabrum/Epergne, mid‑20th c., pattern 165, with one glass bowl, h. (overall) 14 1/4 in., w. 19 in. [$300/400]

582. Marshall Field & Co. Silverplate Lamp, cast with urns, scrolls and foliage, h. (to socket) 16 in., note: silver worn. [$100/150]

581. Vintage Motif Silverplate and Cut Crystal Centerpiece, mid‑20th c., h. 14 1/2 in., dia. 10 in. [$400/600]

583. Three American Rococo Coin Silver Repousse Presentation Cups, incl. makers Wood & Hughes, NY, act. 1845‑1899, paneled footed form, beaded borders, scroll handle, cartouche engraved “Edmund Drake Scudder”, h. 3 1/2 in.; Henry Salisbury, NY, act. 1831‑1855, tapered form with molded and beaded borders, scroll handle, cartouche engraved “Henry Spaulding Vail/from/ H.F.S.”, h. 3 3/4 in.; and unmarked footed baluster form with vintage motif, beaded borders, scroll handle, cartouche engraved “Walter Newberry Vail/from/his Father/6th Mo. 20th 1851”, h. 4 7/8 in.; total wt. 14.25 troy ozs. [$400/600]

584. Gorham Sterling Silver Presentation Cup, date mark for 1885, footed form with Aesthetic Movement chasing and scroll handle, engraved “William Harding Medlicott/from his great Grandmother Lane/January 30, 1886”, h. 3 7/8 in.; together with coin silver barrel form cup with cable banding and scroll handle, engraved presentations from 1859, 1903 and 1934, h. 3 5/8 in., combined wt. 9.10 troy ozs. [$300/500]

586. Gilt Ciborium, unmarked, mixed metals, h. 11 5/8 in. [$300/500]

587. Pair of Italian Silverplate Warming Stands, Sambonet, Orfengo, 20th c., each with roll top and stainless-steel liner, h. 19 in., w. 30 in., d. 17 in. [$700/900]

589. Group of Seven Glass Fly Catchers, 4 larger embossed “B PEREPEREZ ALCIRA” within roundel, h. 5 in. to 6 in. [$500/700]

590. Pair of American Honeycomb Pattern Mold-Blown Glass Compotes, 19th c., h. 5 1/2 in., dia. 8 1/4 in. [$200/300]

585. Large Silverplate Footed Tea Tray, robustly cast grape and grape leaf decoration, loop handles, scroll feet, flat chased well, 32 3/8 in. x 22 3/8 in. [$700/1000]

588. Two Large Blown Glass Hurricane Shades, 19th c., folded foot rims, h. 23 5/8 in. [$600/900]

591. Two Flint Glass Compotes, 19th c., incl. one with diamond point design, h. 9 in., dia. 9 1/2 in.; other with honeycomb, h. 8 1/2 in., dia. 10 1/8 in. [$300/500]

592. George Rodrigue (American/Louisiana, 1944‑2013), “Space Chair: Split‑font Blue and Pink”, 1992, silkscreen, signed and numbered “27/90” lower right, 34 in. x 24 in., unframed. [$1500/2500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 60.

594. George Rodrigue (American/Louisiana, 1944‑2013), “Later Gator”, 1992, silkscreen, signed and numbered “36/90” lower right, 24 in. x 34 in., unframed. [$2000/3000]

593. George Rodrigue (American/ Louisiana, 1944‑2013), “I See You, You See Me”, 1993, silkscreen, signed and numbered “55/90” lower left, 16 in. x 23 in., unframed. [$1000/1500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 85.

595. George Rodrigue (American/Louisiana, 1944‑2013), “The Youngsville Heritage Oak”, 2011, silkscreen, pencil‑signed lower left, open edition, 28 in. x 36 in., unframed. [$1000/1500]

Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 70.

596. Caroline Wogan Durieux (American/ Louisiana, 1896‑1989), “Fall Garden”, 1970, cliché‑verre, pencil‑signed, titled, dated and inscribed “artist proof” lower margin, printed label with artist and title and artist information label on backing paper, 15 in. x 10 1/2 in., framed. [$500/700]

598. Southern School, 20th c., “Sailboats”, etched metal plate, incised initials “N.B.” lower right, 6 1/8 in. x 8 in., framed. [$300/500]

600. Francisco Zùñiga (Costa Rican/Mexican, 1912‑1998), “Zùñiga: 20 Dibujos”, 1974, 19 of 20 offset lithographs with cover introductory essay, each signed and dated in plate, edition of 2000, published by Galería de Arte Misrachi, printed by Litógrafos Unidos, Ciudad de México, 18 3/4 in. x 24 1/2 in. to 25 in. x 18 3/4 in., with original hard folio cover. [$200/300] Ill.: Zúñiga, Ariel and Andrew Vlady. Francisco Zúñiga: Catálogo Razonado Vol. II, Pintura al Oleo, Estampas y Reproducciones 1927‑1986. Ciudad de México: Albedrío/Fundación Zúñiga Laborde, 2003, pp. 319‑24

597. Ellsworth Woodward (American/Louisiana, 1861‑1939), “Dumaine Market (Boyer 39)”, 1931, etching, signed in plate, 8 1/4 in. x 9 1/2 in., framed. [$600/800]

599. John McCrady (American/ Mississippi, 1911‑1968), “Carnival in New Orleans”, lithograph on paper, pencil‑signed and titled lower margin, initialed “JMC” in plate lower right, 8 3/4 in. x 12 1/4 in., unframed. [$400/600]

601. After Daniel Hernández Morillo (Peruvian, 1856‑1932), “Interior Parlor Scene”, c. 1902, chromolithograph on paper mounted to board, signed and illegibly dated in plate, published by Fisher, Adler & Schwartz, New York, printed by Bleuchinger & Leykauf, Austria, 28 3/8 in. x 27 1/4 in., framed. [$300/500]

602. Pablo Picasso (Spanish, 1881‑1973), “Famille de saltimbanques (Bloch, 163)”, 1933/1939, etching, pencil‑signed lower margin, signed and dated in plate, “Vollard” watermark, printed by Lacourière, Paris, sheet 13 1/4 in. x 17 3/4 in., unframed. [$2000/3000]

603. Pablo Picasso (Spanish, 1881‑1973), “Taureau et chevaux dans l’arène (Bloch, 203)”, 1933/1939, etching, pencil‑signed lower margin, signed and dated in plate, “Picasso” watermark, printed by Lacourière, Paris, sheet 13 1/4 in. x 17 3/8 in., unframed. [$2000/3000]

604. Pablo Picasso (Spanish, 1881‑1973), “Le repos du sculpteur devant le jeune cavalier (Bloch 164)”, 1933/1939, etching, pencil‑signed lower margin, signed and dated in plate, “Picasso” watermark, printed by Lacourière, Paris, sheet 13 3/8 in. x 17 3/8 in., unframed. [$2000/3000]

605. Frank Relle (American/New Orleans, b. 1976), “Dupre”, negative creation date 2011, print date 2018, c‑print, from Nightscapes series, signed, titled and dated lower margin, pencil‑signed, titled, dated and numbered “1/16” en verso, artist label with title, date and edition number on backing paper, sheet 24 in. x 30 in.; “Leonides”, negative creation date 2011, print date 2017, c‑print, from Nightscapes series, signed, titled and dated lower margin, pencil‑signed, titled, dated and numbered “1/4” en verso, artist label with title, date and edition number on backing paper, sheet 30 in. x 24 in.; AND “Tirrit”, negative creation date 2016, print date 2018, c‑print, from Until the Water series, signed, titled and dated lower margin, pencil‑signed, titled, dated and numbered “1/12” en verso, artist label with title, date and edition number on backing paper, sheet 24 in. x 32 1/2 in., framed alike. (3 pcs.) [$1200/1800]

606. Lisa Conrad (American/New Orleans, 20th c.), “Heron IV”, 2017, color print, signed, dated and numbered “1/160” on backing paper, sight 33 1/2 in. x 33 1/2 in., framed. [$2000/3000]

607. Lisa Conrad (American/New Orleans, 20th c.), “Notre Dame II”, 2004, sepia print, pencil‑signed on mat, signed, dated and numbered “2/50” on backing paper, 16 in. x 24 1/2 in., framed. [$1200/1800]

609. Steven Forster (American/ New Orleans, b. 1957), “Angels in America, Louisiana I”, gelatin silver print, signed lower margin, “WYES‑TV12 Showboat Auction” label with artist and printed label with artist and title on backing paper, 16 in. x 20 in., framed. [$300/500]

608. Josephine Sacabo (American/Texas, b. 1944), “El Cementerio”, 1997, silver gelatin print on document art paper, pencil‑signed, titled and numbered “1/25” en verso, from El Mundo Inalcanzable de Susana San Juan series, sheet 24 in. x 19 3/4 in., framed. [$1000/1500]

610. 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. [$800/1200]

611. 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. [$600/800]

612. 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. [$600/800]

Ill.: Vetter, Cyril E. Fonville Winan’s Louisiana: Politics, People and Places. Baton Rouge: Louisiana State University Press, 1995, p. 83

Ill.: Vetter, Cyril E. Fonville Winans’ Louisiana: Politics, People and Places. Baton Rouge: Louisiana State University Press, 1995, p. 104

615. Pair of American Copper Lanterns, with three‑light fixture, h. 33 in., w. 19 in., d. 13 in. [$700/1000]

613. Contemporary Metal Six‑Light Chandelier, Luis Colmenares, New Orleans, h. 32 in., dia. 33 in. [$500/700]

614. Contemporary Metal and Glass Two‑Light Fixture, Andy Brott, New Orleans, copper plated steel, hexagonal shades, with yellow, orange, and brown glass discs, h. 26 in., w. 34 in., d. 17 in. [$500/700]

617. Monumental Continental Patinated Bronze Lantern Cage, hexagonal body with pinecone finials, floral cartouches, and acanthus scrolls, h. 52 1/2 in., w. 30 in., d. 30 in.; together with brass 4‑light chandelier (for insert), h. 13 1/4 in., w. 14 in. Note: Glass panels lacking from lantern. [$1000/1500]

618. Pair of Contemporary Crystal Lamps, with rectangular shades, h. 29 in., w. 18 in., d. 9 3/4 in. [$300/500]

616. Empire‑Style Bronze and Tole Peinte Eight‑Light Chandelier, 20th c., h. 28 1/2 in., w. 31 in., d. 16 in. [$350/450] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC

619. American Brass Sinumbra Lamp, 19th c., columnar form, stepped marble base, floral cut shade, faceted prisms, electrified, h. 28 in., dia. 13 in. [$600/900]

620. American Brass Sinumbra Lamp, 19th c., fluted column, marble base, floral cut shade, faceted prisms, electrified, h. 29 in., dia. 12 in. [$600/900]

622. American Bronze Solar Lamp, c. 1850, Cornelius & Co., Phil., tripartite base cast with urns and foliage, foliate cut shade, prisms, not electrified, h. 21 in., dia. 9 1/4 in. [$300/500]

621. American Gilt Bronze Solar Lamp, 19th c., faceted baluster support, stepped marble base, arched window and floral cut shade, snowflake prisms, electrified, h. 23 in., dia. 7 in. [$300/500]

623. American Brass Solar Lamp, c. 1850, Cornelius & Co., fluted standard, vintage cut shade, prisms, h. 14 1/2 in., dia. 8 1/2 in. [$300/500]

624. Set of Eight Ruppert Kohlmaier Sr. Mahogany Dining Chairs, benchmade, c. 1945, New Orleans, incl. 6 Klismos‑form side chairs and 2 gondola chairs, parrot green upholstery, with nailhead trim, saber legs, end chairs h. 35 1/4 in., w. 21 in., d. 24 1/2 in., sides h. 34 in., w. 19 1/2 in., d. 20 in. [$1500/2500]

625. Ruppert Kohlmaier Sr. Mahogany Two Pedestal Dining Table in the Regency Taste, benchmade, c. 1945, New Orleans, one leaf, reeded top, reverse tapered ring‑turned baluster standards, reeded saber legs, brass caps, casters, h. 29 1/2 in., w. (open) 91 3/4 in., w. (closed) 69 1/4 in., d. 46 1/4 in. [$1500/2500]

626. American Chippendale Carved Mahogany and Cherrywood Oxbow Slant Front Desk, mid‑to‑late 18th c., coastal Essex County, MA, fall‑front lid with well‑fitted interior, graduated drawers, cabriole legs, ball and claw feet, pine secondary wood, h. 45 in., w. 45 in., d. 24 in. [$1500/2500] Provenance: Didier Inc., New Orleans, 1977.

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

628. American Classical Mahogany Library Armchair, mid‑19th c., attr. to Joseph Meeks, New York, scrolled back, padded arms, bead molded seat rail, S-scrolled legs, casters, yellow upholstery with Greek key trim, h. 38 1/4 in., w. 25 in., d. 32 in. [$600/900]

629. American Rosewood Drop-Leaf Library Table. mid‑19th c., probably Meeks, New York, two drawers, trestle base, reverse tapered rope twist legs, ring‑turned rope twist stretcher, h. 29 in., w. (closed) 34 in., d. 24 1/4 in. [$700/900] Provenance: M.S. Rau, New Orleans.

630. American Federal Mahogany Two‑Part Dining Table, early 19th c., Baltimore, D form ends with conforming skirt and drop leaves, ring‑turned reeded legs, brass casters, h. 29 1/8 in., w. (open) 90 1/2 in., d. 48 in. [$1000/1500]

632. American Classical Mahogany Mirror, mid‑19th c., gilt surround and liner, h. 34 3/4 in., w. 28 1/4 in. [$250/350]

633. American Classical Carved Mahogany Breakfast Table, early‑to‑mid 19th c., likely New York, shaped drop‑leaf top, frieze drawer, four pineapple carved supports, stretcher shelf, acanthus carved hairy paw feet, casters, h. 30 in., w. (closed) 23 in., w. (open) 52 in., d. 39 in. [$500/700] 635. Late Classical Carved Mahogany Extension Dining Table, 19th c., circular top, columnar support with verd antique and gilt, incurvate base, h. 30 in., w. (closed) 48 in., w. (open) 84 in., d. 44 in. [$1000/1500] Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

637. Bronze Figure of an Alligator, descending a rock formation, marble base, h. 4 in., w. 12 in., d. 8 in. [$800/1200]

631. American Federal Inlaid Mahogany Chest, early 19th c., possibly Michael Allison, New York, one deep drawer over three graduated drawers, shaped spurred apron, French feet, h. 44 in., w. 45 in., d. 22 1/4 in. [$1200/1800]

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

636. Pair of Italian Carved Giltwood Prickets, 19th c., now mounted as lamps, triangular form, gilt on one side, h. (to socket) 30 in. [$200/300]

638. Pair of French Tole Peinte Wall Pockets, 19th c., green and gilt decoration, h. 12 in., w. 9 3/4 in., d. 6 in. [$600/900]

639. Pair of Fine Italian Grand Tour Specimen Marble Columns, 19th c., shaft with entasis, tall molded base, h. 19 in., w. 4 3/4 in., d. 4 3/4 in. [$1800/2500]

640. Attic Black‑Figured Olpe, c. late 6th c. BCE, decorated with bearded warrior on horseback wearing Thracian mantle, carrying pelta shield over his shoulder, his dog underfoot, grape vines and clusters in the field, white and red details, ivy band above, h. 8 7/8 in. [$6000/8000] Provenance: Hesperia Art, Philadelphia, 1960s; Christie’s, New York, “Antiquities “ Dec. 10, 2004, lot 459; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

641. Grand Tour Carved Serpentine Inkwell, 19th c., with two inkpots, lid mounted with seven portrait medallions, h. 3 3/4 in., dia. 6 in. [$1500/2500]

642. Continental Grand Tour‑Style Gilt Bronze Warwick Vase, 20th c., drilled for electricity, with socket in basin, h. 9 3/4 in., w. 14 1/2 in., d. 10 1/2 in. [$800/1200]

644. Pair of German Gilt and Cobalt Porcelain Covered Urns, 20th c., marked “Rudolstadt”, peacock feather decoration, h. 13 3/4 in., dia. 5 3/4 in. [$200/400] Provenance: Schwitz Collection, Franklin, LA.

643. Decorative Porcelain and Bronze Surtout de Table, pierced oval gallery, gilt and handpainted reserves, h. 4 in., w. 35 1/2 in., d. 21 in. [$1000/1500]

645. Pair of English Bronze Dore Candlesticks, tripartite lion form base, h. 13 in., dia. 5 1/2 in. [$500/800]

646. Pair of Antique English Decoupage Panels, 19th c., bird chromolithographs applied to gold leaf paper, sight 15 1/2 in. x 8 1/2 in., Aesthetic Movement carved frames, 24 1/2 in. x 11 1/2 in. [$300/500]

648. Neoclassical-Style Patinated Bronze Athenienne, 20th c., ram’s head terms, hoof feet, base with scroll feet, basin with associated marble top, h. 49 1/2 in., w. 33 in., d. 23 in. [$1000/1500] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

(interior detail)

647. English Brass‑Mounted Ink Stand, 19th c., shaped base with pen tray, faceted crystal ink pot with hinged lid, h. 5 1/2 in., w. 13 1/2 in., d. 9 in. [$200/300] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

649. Antique English Carved Bulldog Inkwell and Match Strike, c. 1900, hinged head, enclosing inkpot, with bulldog match holder (lacking lid), both with glass eyes, largest h. 4 5/8 in., w. 3 1/2 in., d. 4 1/2 in. [$400/500]

651. Late Georgian Bilston‑Battersea Enamel Box Commemorating the Battle of Trafalgar, early 19th c., lid interior with portrait of Admiral Horatio Nelson, h.1 3/4 in., w. 3 3/8 in., d. 2 1/2 in. [$400/600]

650. Pair of English Tole Peinte Tea Canisters, decorated with Chinoiserie genre scenes, now mounted as lamps, h. (to socket) 23 in., w. 10 in., d. 8 in. [$1200/1800]

652. Four Antique English Brass Baluster-Form Candlesticks, h. 8 3/8 in. [$150/250]

653. Antique Tole Peinte Vase, 19th c., decorated with bird on flowering branch, h. 12 1/2 in., mounted as a lamp, h. (incl. finial) 29 in. [$200/300]

656. Andrew Bucci (American/Mississippi, 1922‑2014), “Untitled (Dancing Figure)”, 1967, oil on paper, pencil‑signed lower right, dated en verso, 22 1/2 in. x 17 1/2 in., framed. [$1000/1500] 654. Karl Wolfe (American/Mississippi, 1904‑1984), “Mountain Valley”, gouache on board, pencil‑signed lower left, 9 1/4 in. x 13 in., framed. [$500/800]

655. Patricia Cannella Pilié (American/Louisiana, 1948‑2007), “Spools and Fabric”, watercolor on paper, pencil‑signed lower right, 22 1/2 in. x 30 in., framed. [$800/1200] 657. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “New Orleans”, c. 1943, watercolor and graphite on paper, estate stamp upper left, blind stamp upper right, unsigned, 25 in. x 19 in., framed. [$20000/30000] Note: For Walter Anderson, art was a way to understand and interact with the world around him. Space, form, color and shape were the tools used by the artist to realize a connection to nature, or in some cases, the man-made world. In 1941, Agnes Anderson arranged for her husband and children to relocate to her father’s home, Oldfields, in Gautier, Mississippi. While at Oldfields, Anderson was particularly productive, creating thousands of prints and original works. Moving away from strict realism, he developed his key concept of “realization,” the idea that nature possesses an underlying order which the artist must reveal. Anderson produced linoleum block prints larger than any ever made in the United States. He also completed thousands of pen-and-ink drawings and watercolors. Forbidden by his father-in-law from painting directly on the interior plaster, Anderson created large mural sheets, including some New Orleans street scenes, and tacked them onto the walls at Oldfields. Around 1943, Anderson traveled to New Orleans by bicycle, reaching the city around dawn. He purchased a packing crate (having been unable to locate a camp stool) and sat and sketched on Canal Street and several other locations throughout the city. He drew the crowds, architecture and cars, later pronouncing it all very “stimulating.” Anderson sought to create a sense of a fully articulated three-dimensional world in his two-dimensional works, and he succeeded beautifully in his rare series of New Orleans watercolors. In the work offered here, three women and a man stride along a sidewalk, while several cars motor alongside them. In addition to using color for great effect, juxtaposing and mixing primary and secondary colors, the watercolor displays Anderson’s unique use of perspective and negative space to convey the movement of the city scene – a rarity in an oeuvre devoted almost entirely to the natural world. Ref.: Maurer, Christopher. Fortune’s Favorite Child: The Uneasy Life of Walter Anderson. Jackson: University Press of Mississippi, 2003; Pinson, Patricia, ed. The Art of Walter Anderson. Jackson: University Press of Mississippi and The Walter Anderson Museum of Art, 2003

658. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “2 Parrots”, graphite and watercolor on paper, estate stamp lower right, inscribed with title en verso, 10 15/16 in. x 8 7/16 in., framed. [$10000/15000]

659. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Biloxi Beach Scene”, linocut, unsigned, 19 1/4 in. x 37 7/16 in., framed. [$3000/5000] Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 83.

660. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Study for ‘The Diners: Blackbirds Eating Watermelon’” and “Winter Landscape”, double‑sided watercolor on paper, signed twice lower right on “Winter Landscape”, 22 1/4 in. x 19 1/2 in., framed. [$3000/5000]

662. Edward Emerson Simmons (American, 1852‑1931), “Hattiesburg, Miss”, 1920, oil on canvas board, signed and dated lower left, signed, titled and dated en verso, inscribed on backing board, 12 in. x 16 in., framed. [$3000/5000] Note: Edward Emerson Simmons was born in Concord, Massachusetts, and was distantly related to prominent writer Ralph Waldo Emerson. After winning an award at the Académie Julian in Paris in 1881, he lived in Concarneau, working in the style of the Impressionists and winning an honorable mention at the Paris Salon of 1882. Simmons returned to America in 1891 to complete a commission for a pair of stained-glass windows for Harvard’s Memorial Hall. He then decided to devote himself to mural painting, preferring the public aspect of it over easel painting for its greater exposure, impact and permanence. Over the next two decades, he received commissions for projects in important new buildings across the United States. In 1898, Simmons joined The Ten American Painters on invitation from his friend and fellow member, Childe Hassam. Like other members of the group, Simmons painted in an Impressionist style often plein-air landscapes, urban views and interior genre scenes. However, he exhibited only rarely with The Ten, preferring to paint murals. As a result, his paintings, many depicting his frequent travels throughout Europe and the United States, are rare discoveries today. The late riverscape offered here of Hattiesburg, Mississippi bears the hallmarks of a mature and skilled Impressionist with its visible brushstrokes, reflection of sunlight on the water and perfectly captured feeling of humid southern air.

665. Clementine Hunter (American/ Louisiana, 1886‑1988), “Wedding”, oil on board, monogrammed mid‑right, 12 in. x 16 in., framed. [$2500/3500]

661. William Dunlap (American/Mississippi, b. 1944), “Dog Trot ‑ Down Wind ‑ Working Drawing B”, mixed media on paper, signed lower right, titled lower left, 30 in. x 43 7/8 in., framed. [$3000/5000]

663. William Steene (American/Mississippi, 1887‑1965), “Old Fort Bayou, MS”, oil on masonite, signed lower right, 18 in. x 24 in., framed. [$1200/1800] Note: Nationally known portraitist of over four hundred prominent Americans and muralist, William Steene likely first visited the Mississippi Gulf Coast in April of 1931, when he was a guest at the Buena Vista Hotel in Biloxi. He completed portraits of several Mississippi notables and was drawn to the southern landscape. From 1950 until his death in 1965, Steene maintained a home and studio in Gulf Hills, Mississippi, just north of Ocean Springs. From this studio, Steene created one of his most well-known works – a mural depicting the 1953 Louisiana Sesquicentennial Celebration of the 1803 Louisiana Purchase. The fifty-foot-long and ten-foot-high triptych mural took a year to complete and was unveiled by President Eisenhower at the Presbytère of the Louisiana State Museum in New Orleans. Steene reputedly painted the 1948 serene landscape offered here on site at Old Fort Bayou, a picturesque waterway near his future Mississippi home and studio. With the radiant sunlight breaking through the clouds, Steene creates an idyllic picture highlighting the natural beauty of the Gulf Coast.

664. William Steene (American/Mississippi, 1887‑1965), “Still Life of Camellias”, oil on masonite, signed lower left, 20 in. x 16 in., framed. [$600/800]

Ref.: “William Steene (1887-1965).” Biloxi Historical Society. www. biloxihistoricalsociety.org. Accessed Mar. 5, 2021

666. Clementine Hunter (American/Louisiana, 1886‑1988), “Farm Houses”, oil on wood cutting board, monogrammed lower right, inscribed en verso, 29 in. x 10 3/4 in., unframed. [$1800/2500]

667. Clementine Hunter (American/Louisiana, 1886‑1988), “African House”, oil on canvas board, monogrammed mid‑right, inscribed and partial sketch en verso, 13 7/8 in. x 18 in., unframed. [$3000/5000]

670. William Hemmerling (American/Louisiana, 1943‑2009), “Figs Tree by the Back Porch Steps Sweet Olive”, 2004, mixed media on panel, signed lower left, signed, dated and inscribed en verso, 66 1/4 in. x 18 in., unframed. [$8000/12000]

668. Rhoda Brady Stokes (American/ Mississippi, 1902‑1988), “Landscape with Farmhouse and Field of Corn”, 1962, oil on canvas, signed and dated lower right, 26 in. x 14 in., framed. [$1200/1800]

669. Rhoda Brady Stokes (American/ Mississippi, 1902‑1988), “The Mill”, oil on canvas board, signed lower right, 12 in. x 9 in., framed. [$400/600]

671. James Michalopoulos (American/ New Orleans, b. 1951), “Right Thumper”, 1993, oil on canvas, signed “Mitchell” lower left, signed and dated en verso, titled on stretcher, 28 in. x 22 in., framed. [$4000/6000]

673. George Rodrigue (American/Louisiana, 1944‑2013), “Study for Portrait of Beverly Friedman”, acrylic on canvas, signed lower left, 14 in. x 11 in., framed. [$3000/5000] Provenance: Acquired directly from the artist; thence by descent. 672. George Rodrigue (American/ Louisiana, 1944‑2013), “Untitled (Accordion and Fiddle Players)”, oil on canvas, signed lower left, inscribed on stretcher, 24 in. x 18 in., framed. [$15000/25000] Provenance: Acquired directly from the artist; thence by descent.

Note: The work offered here is an outstanding exemplar of George Rodrigue’s ability to capture his subject at its most fundamental through a classical use of line and simple detail. Completed as a study for a later full color portrait of Beverly Friedman of New York, Rodrigue creates a graphic and timeless statement in stark black and white that harkens to his characters of historical Acadiana and Evangeline imagery. Friedman, wife of longtime television producer and executive Steve Friedman, visited Louisiana with her husband on several occasions, including while filming a segment in 1988 on Cajun Mardi Gras to air on NBC Nightly News, and the couple became good friends with the artist.

674. George Rodrigue (American/Louisiana, 1944‑2013), “Blue Dog with Tie”, c. 2009, acrylic and mixed media on chrome paper mounted on board, signed lower right, sight 74 in. x 50 in., framed with plexiglass. [$50000/70000] Provenance: West Jefferson Medical Center, Marrero, LA. Note: The monumental Blue Dog by George Rodrigue offered here was part of his Art for Healing program, which involved the installation of reflective large scale mixed media works at public institutions, particularly children’s hospitals. The program was inspired in part by Rodrigue’s own battle with polio as a child: “My most vivid childhood memory is of rows of kids in iron lungs in hospital wards. I was lucky to fully recover from polio, but I still have that image in my mind. I want children in today’s hospitals to remember something happy.” Created on chrome paper mounted on four boards, Rodrigue designed the works so that patients and visitors alike could see their reflections alongside the Blue Dog and amidst the colorful swirls, stars and flourishes. As Wendy Rodrigue said in regard to the program at the time: “George hopes the young patients take away something positive from an otherwise traumatic experience, even if it’s just a memory of bright colors and a piece of art that reflects not only their own image, but also the joy with which it was created.” From 2008 to 2013, Rodrigue installed works in nine hospitals located in Tennessee, Texas and Louisiana. Ref.: Rodrigue, Wendy. “Shiny Happy Blue Dog.” Life & Legacy Foundation & Tour. June 20, 2013. www.legacyarttour.org. Accessed Mar. 2, 2021. Rodrigue, Wendy. “Blue Dog: Mixed Media.” Life & Legacy Foundation & Tour. July 27, 2010. www. legacyarttour.org. Accessed Mar. 2, 2021

675. Ashley Longshore (American/New Orleans, b. 1975), “Like a Virgin (Kate Moss)”, mixed media on gallery‑wrapped canvas, signed on right edge, 60 in. x 48 in., unframed. [$10000/15000]

676. Ashley Longshore (American/New Orleans, b. 1975), “Mama’s Little Baby (Renaissance Series)”, c. 2013, oil on gallery‑wrapped canvas, signed lower right, 48 in. x 48 in., unframed. [$6000/8000]

679. Nene Humphrey (American, b. 1947), “Loculus #2”, 2000, silk, needles, thread and felt, signed, titled and dated on reverse, h. 57 3/4 in., w. 32 1/2 in., d. 1 3/4 in.; together with wall mount. [$1000/1500]

677. Adrian Fulton (American/New Orleans, 20th c.), “Obama”, mixed media on canvas, signed lower right, signed and inscribed en verso, 35 3/4 in. x 24 in., unframed. [$1000/1500]

678. Blake Boyd (American/New Orleans, b. 1970), “Laser Pussy (Diptych)”, watercolor and ink on paper, pencil‑signed lower right on right sheet, each sheet 13 1/2 in. x 10 in., overall 13 1/2 in. x 20 in., unframed. [$1500/2500] Provenance: Gift of the artist.

680. Benny Andrews (American, 1930‑2006), “Phyliss and the Church” and “Dreamers”, 1976, 2 etchings, each pencil‑signed, titled, dated and numbered “33/47” and “36/50” respectively lower margin, each 20 3/4 in. x 13 3/4 in., unframed. (2 pcs.) [$1000/1500] 681. Benny Andrews (American, 1930‑2006), “Moving On” and “Turtle Dove”, 1980, 2 lithographs, each pencil‑signed and dated lower right, titled lower center and numbered “273/275” and “214/275” respectively lower left, “BFK Rives” watermark visible on both, “Moving On” inscribed en verso, each 30 in. x 22 1/4 in., unframed. (2 pcs.) [$500/800]

683. Rex Elson Brandt (American/California, 1914‑2000), “Sunday in May”, 1961, watercolor on Whatman drawing board, signed, titled and dated lower right, 22 in. x 28 in., unframed. [$2500/3500] Note: Rex Brandt’s work captures the color and carefree nature of the beach and all of its activities – “more as reactions to the happenings around him in his life than representations of real things.” A native Californian, Brandt was among the artists who stood at the forefront of bringing national attention to the California art scene in the 1930s and 1940s. In 1937, Brandt and Lawson Cooper organized “The California Group,” a traveling watercolor exhibition that developed interest in the California style of watercolor. In 1939, he was selected as one of the premier California watercolorists to exhibit in the New York World’s Fair art exhibition, American Art Today, just one among many honors that would continue throughout his long career. During the next three decades, Brandt refined his skill and developed the complex and semi-abstract style of painting that would bring him international recognition and is on display in the vibrant lot offered here. In 1947, he and Phil Dike opened a summer school of painting in Corona del Mar, California, and as an educator, Brandt influenced countless numbers of students.

682. Alice Neel (American, 1900‑1984), “Portrait of Judith Solodkin”, 1978, lithograph, pencil‑signed, dated and inscribed “S.P.l” lower left, 30 3/8 in. x 22 1/2 in., framed. [$700/1000]

684. George Zafero (American, 20th c.), “St. George R‑BLK‑W‑4”, 1986, oil on canvas, signed, titled and dated lower right, 48 in. x 48 in., framed. [$400/600]

685. 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. [$1500/2500] 687. 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. [$8000/12000] Provenance: Estate of Houston H. and Carolyn H. Harte, San Antonio, TX.

689. American School, 19th c., “Mountainous Landscape with Sailboat”, oil on canvas, unsigned, 22 in. x 36 in., framed. [$700/1000]

691. American School, 19th c., “Mountainous Landscape at Dusk”, oil on canvas, unsigned, 22 in. x 36 in., framed. [$400/600] 692. Jules Eugene Pages (American, 1867‑1946), “Cottage in the Woods”, oil on canvas laid on board, signed lower right, inscribed with artist name en verso, partial label on reverse of frame, 9 1/8 in. x 12 in., framed. [$1000/1500]

686. Max Kuehne (German/American, 1880‑1968), “Portrait of a Young Girl, Possibly the Artist’s Daughter”, oil on board, signed lower right, 18 1/4 in. x 15 in., framed. [$800/1200] 688. 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. [$1000/1500]

690. American School, 19th c., “Mountainous Landscape”, oil on canvas, unsigned, 22 in. x 36 in., framed. [$400/600]

694. N. Henry Bingham (American, b. 1939), “Chemists”, oil on panel, signed lower left, 12 in. x 16 in.; together with P. Lemairé (French, 20th c.), “Antiquarians”, oil on panel, signed lower right, 12 in. x 16 in., both framed. (2 pcs.) [$800/1200]

695. Colin Campbell Cooper (American, 1856‑1937), “Napoleon’s Tomb”, oil on board, unsigned, inscribed “Napoleon’s Tomb / Colin Campbell Cooper / owned by Walter E. Baum’s Wife” and “Frank S. Schwarz & Son, Philadelphia” label with artist and title en verso, sight 25 1/4 in. x 17 1/2 in., framed. [$2500/3500]

693. 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. [$1000/1500]

696. Pamela Cornell (British, 1928‑1987), “The Nelson Tap Gravesend”, 1983, oil on canvas, signed lower right, signed, titled and dated en verso, 22 in. x 30 in., framed; ACCOMPANIED BY a copy of the original receipt. [$500/700] Provenance: Madden Galleries, London,

697. Lorenzo E. Ghiglieri (American, 1931‑2020), “First Jump”, 1999, patinated bronze, signed, dated and numbered “25/135” on self‑base, h. 20 in., w. 28 in., d. 9 in., conforming wood base, overall h. 22 in. [$4000/6000]

Aug. 2, 1984; Private Collection.

Provenance: Neal Auction Company, Aug. 2, 2003, lot 401.

698. Spanish Colonial School, 1799, “Santa Olalla Virgen y Martir”, oil on canvas laid on masonite, unsigned, titled and dated upper left, sight 31 3/4 in. x 26 3/4 in., framed. [$1500/2500]

700. Spanish Colonial School, mid‑17th/ early 19th c., “Santa Lucia”, oil on copper, unsigned, titled and inscribed “Obogada de Los ojos y de la castidad” lower left, 11 1/4 in. x 8 1/4 in., framed. [$600/800]

701. Spanish Colonial School, mid‑17th/ early 19th c., “Saint with Red Banner and the Christ Child”, oil on canvas, unsigned, 11 in. x 7 1/2 in., unframed. [$600/800]

699. Spanish Colonial School, mid‑17th/ early 19th c., “Santa Maria”, oil on canvas, unsigned, 18 1/8 in. x 12 1/2 in., framed. [$700/900]

702. Spanish Colonial School, mid‑17th/ early 19th c., “Saint Joseph and Christ Child”, oil on tin, handwritten label en verso, unsigned, 16 in. x 12 in., unframed. [$600/800]

703. Russian Icon of a Saint Holding a Staff, 19th c., gilt and tempera on panel, 11 in. x 8 3/4 in., unframed. [$400/600]

704. Antique Heriz Carpet, red ground, central medallion, overall floral design, 8 ft. 5 in. x 11 ft. [$1000/1500]

705. Tibetan Wool Carpet, retailed by Odegard, salmon ground, gold border, 10 ft. x 14 ft. 4 in. [$800/1200]

706. Fine Persian Carpet, central medallion, cream and red ground, floral design, 10 ft. 4 in. x 15 ft. 2 in. [$4000/6000]

707. Zebra Skin Rug, two‑layer backing, 9 ft. 10 in. x 6 ft. 10 in. [$1000/1500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

711. Kerman Carpet, repeating medallions, overall floral design, 9 ft. x 12 ft. [$2000/2500]

715. Persian Serapi Carpet, blue ground, cream and salmon border, overall stylized floral design, 11 ft. x 14 ft. 10 in. [$4000/6000]

708. Tabriz Silk and Wool Circular Carpet, central medallion, overall floral design, dia. 11 ft. 4 in. [$2000/3000]

712. Persian Kerman Carpet, red ground, blue border, overall floral design, 9 ft. 7 in. x 13 ft. [$2800/3200]

716. Aubusson Carpet, central cartouche and spandrels with floral sprays, 11 ft. 9 in. x 17 ft. 10 in. [$3500/4500]

709. Heriz Carpet, red ground, central medallion, stylized floral designs, 7 ft. 6 in. x 11 ft. [$1400/1800]

713. Persian Royal Kerman Carpet, red ground, central medallion, blue floral border, 10 ft. x 16 ft. [$2600/3200]

717. Persian Serapi Carpet, blue ground, stylized floral design, 7 ft. x 7 ft. 10 in. [$1600/1800]

710. Persian Kashan Carpet, dark and light brown ground, central medallion, overall floral design in blue, red and cream, 9 ft. 7 in. x 12 ft. 10 in. [$2600/3200]

714. Antique Tabriz Carpet, central medallion, foliate design, border with cartouches, muted browns, red, greens and blues, 9 ft. 4 in. x 12 ft. 5 in. [$1000/1500]

718. Persian Hamadan Carpet, red ground, central medallion, serrated spandrels, floral border, 4 ft. 4 in. x 7 ft. 7 in. [$800/1200]

Session Three Sunday, April 18, 11 a.m.

720. Eames‑Style Lounge Chair and Ottoman, two piece back, padded arms, plywood frame, X base, saddle leather upholstery, chair h. 40 in., w. 31 1/2 in., d. 31 in., ottoman h. 15 in., w. 21 in., d. 17 in. [$300/500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

719. Pair of Leather and Stainless Steel Barcelona‑Style Chairs, after the design by Mies van der Rohe, button tufted panel back and seats, flat bar frames, h. 31 in., w. 31 in., d. 31 in. [$500/700]

721. American Stainless Steel and Gray Leather Sling Chair and Ottoman, ottoman labeled “DIA, Design Institute of American, 1984”, channeled tubular upholstery, flat bar frame, chair h. 36 in., w. 28 in., d. 36 in., ottoman h. 16 in., w. 28 in., d. 19 in. [$1000/1500]

723. Six Guillerme et Chambron Oak Dining Chairs, curved shaped slats, shaped seat, tapered legs, h. 35 in., w. 17 in., d. 16 in. [$700/1000]

722. Three‑Piece Paul Frankl Furniture Suite, 20th c., incl. four piece “Pretzel” six strand bamboo sofa, ottoman and table, sofa h. 21 in., w. 104 in., d. 36 in.; ottoman h. 11 in., w. 22 in., d. 22 in.; table h. 15 in., w. 33 in., d. 33 in. [$800/1200]

724. Antique Austrian Bentwood Settee, possibly Thonet or J. & J. Kohn, scrolled back and arms, caned seat, turned tapered legs, h. 39 1/2 in., w. 56 in., d. 22 in. [$300/500]

725. Pair of Mahogany and Burlwood Occasional Tables, one drawer, h. 28 1/2 in., w. 17 1/2 in., d. 17 1/2 in. [$500/700]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

726. 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]

728. French Provincial Verte Peinte Window Bench, outswept arms, baluster turned stretchers, shaped apron, cabriole legs, button tufted upholstery, h. 26 1/2 in., w. 49 in., d. 15 3/4 in. [$100/200]

727. Wood Mirror Painted by José Mariá Cundín (Spanish/ New Orleans, b. 1938), h. 32 in., w. 26 in. [$100/200] Provenance: Acquired directly from the artist.

729. 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]

730. Monumental Continental Baroque‑Style Oak Table, slab top, molded apron, robust lobed and foliate decorated baluster standards, stretcher base, h. 28 3/4 in., w. 157 in., d. 41 in. [$2000/3000] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

731. Chinoiserie Lacquered Cabinet on Later Stand, late 18th c., London, floral urn and figured door panels, elaborate brass hardware, fitted interior, spandrel brackets, block legs, h. 62 in., w. 46 in., d. 20 1/2 in. [$800/1200]

732. Pair of Wrought Iron Scrollwork Window Grilles, set in wood window frames, h. 30 1/2 in., w. 39 in., d. 2 in. [$800/1200]

Provenance: Paul Knight, Dallas.

733. Pair of New Orleans Wrought Iron Scrollwork Window Grilles, 19th c., set in wood window frames, h. 30 1/4 in., w. 43 in., d. 2 1/2 in. [$600/900]

734. Pair of Cast Iron Architectural Horse Heads, mounted on lobed backplate, h. 29 in., w. 14 1/2 in., d. 22 in. [$1000/1500]

735. Pair of Large Verdigris Patinated Bronze Garden Cranes, varied poses, taller h. 46 in., w. 10 in., d. 12 in. [$800/1200]

737. Contemporary Mid‑Century Modern‑Style Tiger’s Eye Veneered Marble Occasional Table, cantilever form, in the manner of Angelo Mangiarott’s “Eros” table, 2 parts, cone base, oblong top, h. 24 in., w. 29 in., d. 18 in. [$1500/2500]

739. Mid‑Century Modern Jens Quistgaard (1919‑2008) for Dansk Designs Teak Ice Bucket and Wine Cradle, bucket with faint “4 Ducks” mark, red plastic liner, h. 15 1/4 in.; cradle marked “Dansk / Designs / Denmark / IHQ [or JHQ], h. 9 1/2 in., w. 11 1/4 in., d. 4 5/8 in. (2 pcs.) [$250/350]

740. Pair of Mid‑Century Modern Jens Quistgaard (1919‑2008) for Dansk Designs Teak 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]

736. Patinated Cast Iron Fountain Wall Plaque of Neptune, h. 14 3/4 in., w. 10 1/4 in., d. 4 1/2 in. [$250/350]

738. Pair of Mid‑Century Danish Modern‑Style Teak Ice Buckets and Set of Stainless Steel Bar Utensils, importer Kalmar Designs (1959‑1981), New York, buckets labeled “Kalmar / Designs / Teak Wood / made in Thailand”, brown plastic liners, h. 8 in., w. 8 in., d. 8 in.; utensils stamped, “Kalmar / Stainless / Italy”, incl. bottle opener, martini stirrer, and lime slice, l. 6 7/8 in. to 10 5/8 in., original box (5 pcs.) [$200/300]

741. Pair of Art Deco‑Style Nightstands, two drawers, h. 24 in., w. 15 1/2 in., d. 20 in. [$400/600]

745. Steuben Glass “Snail‑Scroll” Sugar Bowl and Cream Pitcher, etched marks, models #7941 and #7942, designed 1947 by Irene Benton, h. 3 1/8 in. and 3 1/2 in., w. 5 3/8 in. and 5 1/8 in., d. 3 1/4 in. [$150/250]

744. Pair of Steuben Glass “Low‑Footed” Bowls, etched marks, model #7909, designed 1942 by John Dreves, h. 2 3/4 in., dia. 7 3/4 in. and 7 5/8 in. [$200/300]

742. Pair of Steuben Glass “Snail‑Scroll” Olive Dishes, etched marks, model #7857, designed 1939 by John Dreves, h. 3 1/8 in., w. 5 1/8 in., d. 6 in. [$300/500] 743. Set of Three Steuben Glass “Tear‑Drop” Decanters, incl. 2 models #7736, designed 1939 by Samuel Ayers, one etched Steuben and “3” to body and stopper, other etched “7” to body and stopper, h. 10 1/4 in.; and model #7956, designed 1947 by George Thompson, etched “Steuben” and “13” to body and stopper, h. 10 1/2 in. (3 pcs.) [$500/700]

746. Pair of Steuben Glass “Trefoil” Bowls, etched marks, model #8003, designed 1950 by Lloyd Atkins, h. 3 1/2 in. and 3 3/8 in., dia. 6 5/8 in. [$150/250]

747. Three Steuben Glass “Floret” Bowls, etched marks, model #8059, designed 1954 by Donald Pollard, h. 3 1/2 in. to 3 1/4 in., dia. 8 in. [$250/350]

748. Pair of Steuben Glass “Shallow Compotes”, etched marks, model #8082, designed 1957 by Lloyd Atkins, h. 2 1/4 in., dia. 8 in. [$200/300]

750. 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. [$1000/2000]

751. 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. [$2000/3000]

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.

752. 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. [$200/400]

749. Pair of Steuben Glass “Trillium” Bowls, etched marks, model #8089, designed by Donald Pollard, h. 5 in. and 4 3/4 in., w. 10 1/8 in. and 10 in. [$300/500]

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.

753. 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. [$200/400] Provenance: Davis Gallery Ethnographic Art, New Orleans, May 1986

754. Pre‑Columbian or Pre‑Columbian‑Style Colima Pottery Dog Vessel, squat figure, tail formed as spout, h. 8 in., w. 13 1/2 in., d. 7 in. [$200/300] Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans 755. 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. to12 1/2 in. x 9 7/16 in., one matted. (5 pcs.) [$250/350]

756. 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.) [$200/400]

757. 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.) [$200/400]

758. After C. Bennette Moore (American/ New Orleans, 1879‑1939), “View of the Cathedral from Lower Pontalba Balcony”, modern reproduction on glass, signed in plate, 4 3/16 in. x 3 3/16 in., framed. [$50/100] Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

761. After Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Vertical Pelican”, hand‑colored linocut on wallpaper, unsigned, “Run No.2 Imperial Washable Wallcoverings 1352” printed along right edge, printed by Mischa Philippoff and Willem Sypesten, colored by Rosa di Stefano, handwritten label with printers, colorist and title on backing paper, 38 1/4 in. x 19 7/8 in., framed. [$400/600] Ill.: Pickard, Mary Anderson and Patricia Pinson. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 71. 759. Clyde Connell (American/Louisiana, 1901‑1998), “Fly the Night Sky”, 1962, woodcut on paper mounted to board, pencil‑signed, titled, dated and numbered “1/9 2nd Ed.” lower margin, “Burke’s, Shreveport” label on backing paper, 20 1/2 in. x 11 5/8 in., framed. [$300/500]

760. Clyde Connell (American/Louisiana, 1901‑1998), “Listen, the Wind!”, 1962, woodcut on paper mounted to board, pencil‑signed, titled and numbered “6/15” lower margin, “Burke’s, Shreveport” label on backing paper, 29 1/2 in. x 11 1/2 in., framed. [$300/500]

762. After Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Cow in Meadow”, hand‑colored linocut on wallpaper, unsigned, printed by Deena Lemon, colored by Rosa di Stefano, handwritten label with printer and colorist on backing paper, 18 in. x 30 in., framed. [$400/600] Ill.: Pickard, Mary Anderson and Patricia Pinson. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, color plates.

764. John Mackie Falconer (Scottish/American, 1820‑1903), “Washing Morning, Down South, Georgia”, 1882, etching, signed and dated in plate, information sheet with artist and title on reverse of mat, 7 1/4 in. x 12 3/4 in., matted. [$200/300] Provenance: Neal Auction Company, Oct. 2, 2004, lot 218; The Charleston Renaissance Gallery, Charleston, SC.

763. John Mackie Falconer (Scottish/American, 1820‑1903), “Negro Huts, Wilmington, North Carolina”, 1880, etching, signed in plate, pencil‑inscribed with artist and title lower margin, “Charleston Renaissance Gallery, Charleston” label with artist, title and date on mat, 3 3/4 in. x 5 3/4 in., matted. [$200/300] Provenance: Neal Auction Company, Oct. 2, 2004, lot 217; The Charleston Renaissance Gallery, Charleston, SC. 765. 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. [$100/200]

767. Waldemar Swierzy (Polish, 1931‑2013), “Ella”, 2003, lithograph, signed lower right, titled lower center, numbered “37/500” lower left, from the Jazz Greats series, 33 in. x 24 in.; and “He Knew Too Much (The Hit)”, c. 2006, lithograph, signed lower right, numbered “37/350” lower left, from the Bada Bing, Bada Boom series, 37 in. x 34 in., both unframed. (2 pcs.) [$400/600]

766. 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. [$400/600]

768. Ludovico De Luigi (Italian, b. 1933), “Equus’91 Venezia Sloarizzazione”, lithograph, pencil‑signed and numbered “29/135” lower margin, “G & W Gallery, New Orleans” stamp on backing paper, 17 1/2 in. x 18 3/8 in., framed. [$200/300]

770. George Valentine Dureau (American/New Orleans, 1930‑2014), “Four Standing Figures”, watercolor and charcoal on paper, pencil‑signed lower center, 29 in. x 23 in., framed. [$1000/1500]

769. George Valentine Dureau (American/New Orleans, 1930‑2014), “Three Mythical Figures”, watercolor and charcoal on paper, pencil‑signed lower center, 22 7/8 in. x 18 3/8 in., framed. [$1200/1800]

771. George Valentine Dureau (American/New Orleans, 1930‑2014), “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. [$800/1200]

772. George Valentine Dureau (American/New Orleans, 1930‑2014), “Portrait of a Man”, charcoal on paper, signed lower center, 39 3/4 in. x 26 3/8 in., framed. [$800/1200] 773. After Roy Lichtenstein (American/New York, 1923‑1997), “As I Opened Fire (Triptych)”, 1966‑1991, offset lithograph on wove paper, unsigned, Stedelijk Museum copyright lower right of each, Stedelijk Museum printing information with artist, title and panel number en verso of each, printed by Drukkerij Luii & Co, Amsterdam, each 24 3/16 in. x 19 3/4 in., overall 24 3/16 in. x 59 1/4 in., unframed. (3 pcs.) [$400/600]

775. 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. [$200/400] 776. 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. [$600/800]

774. 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. [$400/600]

Provenance: Collection of the Artist; Private Collection.

778. 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. [$100/200] 779. Eve Gonsoulin Segura (American/ Louisiana, 1913‑2009), “St. John Refinery at St. Martinville, LA”, watercolor on paper, signed lower left, label with title and inscribed “By Eve Segura, Loreauville, property of Buddy Bordelon” on backing, 15 in. x 22 in., framed. [$50/100]

777. 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. [$300/500]

782. Eddie Mormon (American/Louisiana, b. 1953), “Frenchman”, 2003, oil on canvas, signed, dated and inscribed lower left, 36 in. x 18 in., unframed. [$500/800]

780. Noel Rockmore (American/New Orleans, 1928‑1995), “Andrea Lannin, Gypsy Lou Webb, Chris Davis, Robert ‘O.M.’ Page, and Emilie Ryhs”, 1977, pastel on paper, signed and dated upper right, 19 7/8 in. x 24 in., framed. [$600/800]

783. Lamar Baker (American/Georgia, 1908‑1994), “Untitled (Doll in Chair)”, oil on canvas, signed lower right, artist biography attached to stretcher, 32 1/4 in. x 22 in., unframed. [$1500/2500]

781. 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. [$300/500]

784. Elizabeth Sandia (American, b. 1946), “Koch Barn II”, pastel on paper, signed lower right, signed, titled and handwritten label with artist and title on backing board, 12 in. x 15 in., framed. [$300/400]

785. Errol Barron (American/New Orleans, b. 1941), “Atlas”, 2004, watercolor on paper, signed, titled and dated on backing board, inscribed upper center, 11 1/4 in. x 9 3/8 in., framed. [$400/600]

786. Knox Everson (American/Tennessee, 20th c.), “Sunrise Riverbluff”, oil on canvas, signed lower left, signed, titled and inscribed on stretcher, 20 in. x 30 in., framed. [$300/500]

789. Wilfred J. “Chick” Huettel (American/Tennessee, b. 1942), “Great Egrets”, 2015, oil on foam core, signed lower right, signed, titled, dated and artist biography on backing paper, 8 in. x 20 in., framed. [$300/500]

787. Knox Everson (American/Tennessee, 20th c.), “Moving the Showboat”, oil on canvas board, signed lower left, titled on reverse of frame, 14 in. x 18 in., framed. [$300/500]

Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR 788. Errol Barron (American/New Orleans, b. 1941), “Marsh Landscape”, watercolor on paper, monogrammed lower right, 4 3/4 in. x 5 7/8 in., framed. [$200/300]

790. Stig Marcussen (American/Louisiana, b. 1960), “Swamp Scene”, 1996, acrylic on canvas, signature and date incised upper right, signed and dated en verso, 36 in. x 18 in., framed. [$300/500]

791. Attributed to Nell Pomeroy O’Brien (American/New Orleans, 1898‑1966), “Landscapes”, 2 watercolors on paper, both unsigned, each 8 3/4 in. x 11 3/4 in., framed alike. (2 pcs.) [$700/900]

793. Laurence Desaix Anderson (American/ Mississippi, 1936‑2021), “Untitled (Mexico Series)”, mixed media on canvas, signed and illegibly dated lower right, 39 1/4 in. x 47 1/4 in., framed. [$500/700] 792. Attributed to Mary Sims (American/ Tennessee, 1940‑2004), “Untitled (Waterlilies)”, acrylic on canvas, unsigned, 13 in. x 16 in., framed. [$500/700]

Note: Desaix Anderson was born in Sumner, Mississippi and had a renowned career as a diplomat, educator and artist. Following his first assignment for the U.S. Foreign Service in Kathmandu, Nepal, Anderson served a total of six assignments in Vietnam between 1965 and 1997, culminating in his opening the U.S. Embassy in Hanoi as chargé d’affaires in 1995. Late in his career, Desaix began painting, and his works have been exhibited at galleries in New York and Mississippi. In 2011, he and his brother, Buford, established the Cassidy Bayou Art Gallery in their hometown of Sumner. Desaix had a profound interest in nature and the harmony and balance of life, both on the individual and societal level. He utilized texture and vibrant color to create powerful works, such as the present lot, that incorporate a rare spiritual depth through minimalist compositions. Mountain, rivers, the sun, the moon, ancient structures and the sea are recurrent themes in his paintings, reflecting his fascination with the cultural landscape of the peoples of Asia and his later travels in France, Italy and Mexico. Ref.: “About the Artist.” and “In Memoriam.” Desaix. www.art-desaix.com. Accessed Mar. 3, 2021

794. Laurence Desaix Anderson (American/Mississippi, 1936‑2021), “Untitled (Vietnam Series)”, 2009, mixed media on canvas, signed and dated lower left, 24 in. x 36 in., unframed. [$400/600]

795. Laurence Desaix Anderson (American/Mississippi, 1936‑2021), “Ha Long Bay IX (Vietnam Series)”, 2010, mixed media on canvas, signed and dated lower right, signed, titled and dated en verso, printed label with artist and title on stretcher, 24 in. x 36 in., unframed. [$400/600]

796. Laurence Desaix Anderson (American/Mississippi, 1936‑2021), “Ha Long Bay (Vietnam Series)”, 2009, mixed media on canvas, signed and dated lower right, signed, titled and dated en verso, 24 in. x 36 in., unframed. [$400/600]

797. Katrina Flowers (American, 20th c.), “Four Cotton Pickers with Dog”, oil on canvas, signed lower right, 12 in. x 16 in., framed. [$200/300]

798. Katrina Flowers (American, 20th c.), “Three Cotton Pickers with Truck”, oil on canvas, unsigned, 11 in. x 14 in., framed. [$200/300]

800. John Encinias (American, b. 1949), “The Red Bridge, Memphis, Tenn.”, 1986, oil on canvas board, signed lower left, signed, titled and dated en verso and on backing board, 8 5/8 in. x 10 3/4 in., framed. [$400/600]

799. Paul M. Stotts (Canadian/American, 1872‑1944), “Cotton Time in Dixie”, oil on board, signed lower right, pencil‑signed and inscribed en verso, pencil‑titled, inscribed with artist and “Korner & Wood, Cleveland” label on backing paper, 4 3/4 in. x 6 1/2 in., framed. [$1200/1800]

802. Don Sawyer (American/Florida, b. 1948), “Roselyn Cove”, 2006, acrylic on wood, signed lower left, signed, titled, dated and inscribed en verso, 23 3/4 in. x 27 5/8 in., unframed. [$700/1000]

804. Keith Eccles (American/New Orleans, 20th c.), “The Red Truck”, acrylic on gallery‑wrapped canvas, signed lower right, 36 in. x 36 1/8 in., unframed. [$1200/1800]

801. Don Sawyer (American/Florida, b. 1948), “Spirit of St. Lucia”, 2006, acrylic on panel, signed lower left, signed, titled, dated and inscribed en verso, 24 in. x 36 1/4 in., artist enhanced frame. [$800/1200]

803. Don Sawyer (American/Florida, b. 1948), “Boat and Palm Trees by the Bay”, 2006, acrylic on wood, signed lower left, signed, dated and inscribed en verso, 27 1/2 in. x 24 1/8 in., unframed. [$700/1000]

805. Keith Eccles (American/New Orleans, 20th c.), “Mystic Blues”, acrylic on gallery‑wrapped canvas, signed lower right, 36 in. x 36 in., unframed. [$1000/1500]

806. Art Nouveau Gilt Metal Ballroom Chair, triple arched back, shaped seat, turned stretcher, outswept legs, h. 37 1/4 in., w. 17 in., d. 21 in. [$250/350]

807. Pair of Antique French Children’s Fruitwood Back Stools, late 18th/early 19th c., pegged construction, plank seat, turned legs, decorated stretcher, shaped feet, h. 34 in., w. 16 in., d. 14 in. [$300/500] 808. Antique Louis XVI‑Style Fruitwood Commode, molded gray marble top, two long drawers, conforming skirt, fluted tapered legs, h. 33 in., w. 41 1/4 in., d. 21 1/2 in. [$1000/1500]

810. Pair of Antique French Bronze‑Mounted Paint Decorated Fruitwood Cabinets, shaped marble top, two doors with bust portraits, French feet, sabots, h. 36 in., w. 40 in., d. 20 in. [$2000/3000]

809. Antique Louis XV‑Style Fruitwood Bergère, leather upholstery with brass nailhead trim, cabriole legs, h. 33 in., w. 24 in., d. 25 in. [$400/600] Provenance: Royal Antiques.

811. French Empire Bronze‑Mounted Mahogany Armchair, 19th c., barrel back with wing carved tablet, bust terminals, tapered legs, hoof feet, h. 33 1/2 in., w. 23 in., d. 19 in. [$600/800]

812. Pair of Charles X‑Style Ebonized and Stenciled Burled Maple Tables, frieze drawer, lyre standard, shaped plinth base, scrolled feet, h. 27 in., w. 23 1/2 in., d. 19 1/2 in. [$600/800]

814. Louis XV Carved and Burl Fruitwood Buffet, late 18th/early 19th c., shaped molded top, two drawers, two molded paneled doors, fiche hinges, shaped apron, cabriole legs, pyramid feet, h. 40 in., w. 52 in., d. 17 in. [$500/700]

813. Antique Louis XVI‑Style Faux Bois Console, molded marble top, fluted apron, tapered fluted legs, h. 34 in., w. 43 in., d. 16 3/4 in. [$1200/1800] Provenance: French Antique Shop, New Orleans.

815. Antique Louis XVI‑Style Giltwood Console, inset marble top, acanthine border, blocked fluted tapered legs, shaped stretcher, toupie feet, h. 30 1/2 in., w. 35 1/2 in., d. 23 1/2 in. [$800/1200] Provenance: French Antique Shop, New Orleans.

816. Pair of Louis XVI‑Style Carved and Gilt Wood Settees, rosette crest, downswept arms with beaded surround, scrolled supports, foliate fluted tapered legs, h. 37 in., w. 49 1/2 in., d. 29 in. [$1000/1500]

818. Louis Philippe Mahogany Bookcase, 19th c., upper case with two glazed doors, shelf interior, lower case with two drawers over doors, block base, h. 92 in., w. 50 1/2 in., d. 22 in. [$800/1200] 819. Louis XVI‑Style Burlwood and Gilt Metal Vitrine Table, lift off vitrine with tufted interior, shaped legs, two stretcher shelves, sabots, h. 33 in., w. 22 1/2 in., d. 17 1/2 in. [$400/600]

817. 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]

820. Five Decorative Boxes, incl. fruitwood marquetry, bee‑form clasp, h. 5 in., w. 10 in., d. 8 1/4 in.; Continental brass with double‑headed eagle, h. 2 in., w. 5 1/4 in., d. 3 1/4 in.; English hardwood book‑form, c. 1900, h. 1 1/2 in., w. 7 3/4 in., d. 4 1/2 in.; Continental metal repousse book‑form, 19th c., h. 3 3/4 in., w. 2 1/2 in., d. 3/4 in.; and brass inlaid mahogany, hinged lid, h. 3 in., w. 9 1/4 in., d. 6 1/2 in. [$300/500]

822. Two Antique Agate Boxes, one mounted on a dragon base, the other rectangular, larger h. 1 3/4 in., w. 3 1/4 in., d. 2 in. [$200/300]

824. Antique English Binnacle, c. 1920, Sestral Henry Browne & Son, brass case fitted with compass, flanked by oil lamps, h. 21 in., w. 13 1/2 in., d. 8 in. [$500/700]

827. Pair of American Carved and Polychromed Cigar Store Figures, early 20th c., allegorical figures of America, holding baskets, rock‑form base carved with the word “CIGARS”, taller h. 38 in., w. 17 in., d. 21 in. [$1200/2000]

829. Iron Cannon Ball Andirons, octagon and columnar supports, outswept penny foot, h. 21 in., w. 13 in., d. 25 in. [$200/300]

821. Antique Polychromed Plaster Ecclesiastical Bracket, two angels holding a banner with Polish text, h. 10 1/2 in., w. 22 1/2 in., d. 10 in. [$100/150]

823. Eight American Classical Gilt Brass Furniture Pulls, backplate dia. 2 1/2 in., four with small rings, four with medium rings. [$200/300] Provenance: Didier, Inc., New Orleans.

825. Antique American Cast Iron and Brass Hand‑Operated Pump, large crank wheel activates piston pump, spoked wheels, oak handles, h. 55 1/2 in., w. 58 in., d. 21 in. [$800/1200]

826. American Gilt Brass Three‑Piece Girandole Set, 19th c., flower basket standards, central three-light candelabrum, back-cut snowflake prisms, h. 16 1/2 in., w. 17 in., d. 3 1/2 in. [$200/400] 828. Louisiana Carved Folk Art Coconut Shell, carved with the date and words “1925”, “Lafayette, Louisiana”, “The Fox”, “ Reynard”, “Love They Neighbor”, “A M”; and also carved with a deer, a female bather, a flying duck, a fox, and assorted stars, h. 3 3/4 in., dia. 4 1/4 in. [$300/500]

830. Antique American Inlaid Burlwood Jewelry Box, brass sunrise inlay, fitted interior, h. 5 3/4 in., w. 13 in., d. 11 1/8 in. [$200/300]

Provenance: Neal Auction Company, May 21, 2004, lot 260.

831. American Parquetry Humidor, cedar lined, h. 5 1/4 in., w. 13 in., d. 7 1/2 in.; together with copper‑mounted coffer, 20th c., domed lid, h. 7 in., w. 9 in., d. 6 in. [$100/150]

832. Spanish Carved Maple Artist’s Lay Figure, h. 31 1/2 in., w. 8 in., d. 4 in. [$300/500]

833. Six French Bronze Dresser Boxes, c. 1900, each cast with reliefs of landscapes or genre scenes, largest h. 2 1/2 in., w. 7 1/2 in., d. 4 in. [$400/600]

834. Pair of Decorative Carved and Painted Wood Elephants, possibly Thai, modeled in mirror image in striding stance upon a rippled platform base, painted with pavilions amid foliage, h. 22 in., w. 10 in., d. 22 in. [$500/1000]

837. Three Italian Carrara Marble Campagna Urns, h. 27 in., dia. 17 in. [$800/1200] Provenance: Part of lot 589 Houmas House Auction, Neal Auction Company, May 17 & 18, 2003. 835. Two Sevres‑Style Gilt and Polychrome Porcelain Dresser Boxes, marked, decorated with angels, cherubs and flowers, rose Pompadour ground, larger h. 6 in., w. 11 in., d. 7 1/2 in. [$200/300]

836. Pair of Paris Polychrome and Gilt Porcelain Cachepots, 19th c., finialed square bodies painted with pairs of birds on branches, bracket feet, h. 8 1/2 in., w. 5 1/2 in., d. 5 1/2 in. [$300/500]

838. 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. [$100/200] Provenance: Schwitz Collection, Franklin, LA.

840. Contemporary Floor Lamp, late 20th c., polychrome composite, form of branches, base signed B. Burst, h. 68 in. [$200/300]

839. Pair of Silk Pillows, double‑sided acanthus, foliate and floral design, double French tassel trim, l. 21 1/2 in., w. 21 1/2 in. [$300/500]

842. 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]

843. Pair of American Brass Three‑Light Girandoles, 19th c., floral arms, standard cast as Chingachgook from the Leatherstocking Tales, h. 20 in., w. 16 in., d. 4 in. [$300/500] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans

844. American Brass Two‑Light Argand Lamp, 19th c., vasiform standard, prism hung, electrified, h. 18 in., w. 18 in., d. 8 in. Note: one shade. [$400/600]

100

841. Pair of American Tole Carriage Lanterns, late 19th c., h. 17 in., w. 7 in., d. 7 1/4 in. [$200/400]

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

846. American Mahogany Eight‑Day Shelf Clock, 19th c., Seth Thomas, striking bell and gong movement, floral painted glass tablet, h. 25 1/2 in., w. 15 1/4 in., d. 4 1/4 in. [$200/300]

847. American Mahogany Eight‑Day Shelf Clock, 19th c., Seth Thomas, striking bell and gong movement, h. 24 1/4 in., w. 10 1/4 in., d. 4 1/4 in. [$175/250] 848. French Faience Three‑Piece Clock Garniture, c. 1900, Japy Freres movement, with conforming vases, clock h. 13 1/2 in., w. 11 in., d. 6 in. [$400/600]

850. Four Small Antique Carriage Clocks, c. 1900, incl. 2 French, one wood, both with alarms; and 2 American, tallest h. 5 in. [$250/350]

851. French Bronze‑Mounted Marble Mantel Clock, c. 1900, striking gong movement, dial flanked by female busts, h. 20 1/2 in., w. 19 1/4 in., d. 6 1/2 in. [$300/500]

849. Belgian Gilt Bronze Three‑Piece Clock Garniture, late 19th c., dial marked “A. de Lambert/ Liege”, reticulated case with griffins and classical mask, conforming five‑light candelabra, clock h. 21 in., w. 12 1/2 in., d. 4 3/4 in., candelabra h. 19 in. [$300/500]

Provenance: Schwitz Collection, Franklin, LA.

852. American Federal Mahogany Work Table, early 19th c., two drawers, glass knobs, elaborate ring‑turned legs, h. 29 in., w. 21 1/2 in., d. 19 in. [$400/600] 853. Louisiana Oak Lectern, mid‑19th c., canted molded top, lift top slanted book rest, paneled surround, blocked base, h. 36 in., w. 40 in., d. 23 in. [$500/700]

854. Small Acadian Cypress Rocking Cradle, early 19th c., tapered body, sloped sides, stretchered rockers, h. 15 in., w. 33 in., d. 21 1/2 in. [$400/600]

856. American Late Federal Pine Server, early 19th c., superstructure with pedimented back splash and two small drawers, two long drawers, ring‑turned legs, toupie feet, h. 39 1/2 in., w. 36 1/4 in., d. 19 1/4 in. [$400/600]

855. Two Louisiana Ladder-Back Children’s Chairs, one arm, one rocker, taller h. 21 in., w. 14 in., d. 16 in. [$200/300]

857. Southern Walnut Garde Manger, 19th c., two glazed doors, two drawers, two glazed and paneled lower doors, h. 84 3/4 in., w. 50 1/2 in., d. 20 3/4 in. [$1000/1500] 858. Two Acadian Cypress Ladder-Back Chairs, one with hide seat, taller h. 35 1/4 in., w. 18 in., d. 15 in. [$200/300]

859. Louisiana Cypress Armoire, mid‑19th c., molded flared cornice, molded paneled doors, fitted interior, lobed apron, bracket feet, h. 98 in., w. 68 1/2 in., d. 27 1/2 in. [$1200/1800]

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861. American Southern Carved Cherrywood and Pine Apothecary Cabinet, c. 1830, molded cornice, two glazed doors, shelf interior, bank of sixteen small drawers, foldover writing surface, two drawers over doors, turned legs, h. 88 in., w. 27 1/2 in., d. 20 in. [$1000/1500] 860. Pair of Acadian Ladder-Back Chairs, 19th c., hide seats, stretchers, h. 35 1/4 in., w. 19 in., d. 18 in. [$200/300]

862. American Painted Schoolhouse Writing Armchair, early 19th c., back with graduated slats over spindles, arms with shaped writing surface, plank seat, turned legs, h. 41 in., w. 38 1/2 in., d. 34 1/2 in. [$300/500]

Provenance: Found in St. Landry Parish.

864. Antique English Carved Oak Desk on Stand, 19th c., hinged writing slope, fitted interior with drawers, base with square legs, stretchers, h. 34 1/2 in., w.30 in., d. 21 1/2 in [$400/600]

863. Continental Hardwood Ladderback Rocking Chair, 19th c., shaped arms, rush seat, turned stretcher, h. 43 in., w. 21 in., d. 25 in. [$300/500]

Provenance: Neal Auction Company, March 38, 2010, lot 160.

865. Emmitt Thames (American/Mississippi, b. 1933), “Moonrise”, oil on canvas, signed lower left, titled on backing paper, 16 in. x 20 in., framed. [$800/1200]

866. 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]

868. 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.; together with 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., all unframed. (3 pcs.) [$50/75]

867. Colette Pope Heldner (American/Louisiana, 1902‑1990), “Early Morning on Marais Street, Negroe Shacks, New Orleans”, 1934, oil on board, signed and inscribed “New Orleans” lower left, signed, titled and dated en verso, signed, titled and dated on label on backing paper, 3 1/2 in. x 4 3/4 in., framed. [$800/1200]

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869. American School, 1924, “Cleaning Day”, graphite on paper, pencil‑signed “Victoria...” and dated lower right, 11 15/16 in. x 8 7/8 in., framed. [$200/300]

871. Robert Malcolm Rucker (American/ Louisiana, 1932‑2001), “Mississippi River Sternwheeler Eclipse, 1890s”, watercolor on paper, signed lower right, titled lower left, pencil‑titled en verso, “Gilley’s Gallery, Baton Rouge” label on backing paper, 14 1/2 in. x 17 1/4 in., framed. [$500/800]

870. Southern School, 19th c., “Swamp Scene”, watercolor on paper, illegibly signed lower right, 7 in. x 14 in., framed. [$150/250]

872. Robert Malcolm Rucker (American/Louisiana, 1932‑2001), “French Quarter Scene”, watercolor on paper mounted to board, signed lower right, handwritten label with artist and title on backing board, 14 3/8 in. x 5 3/8 in., framed. [$300/500]

874. Emerson Bell (American/Louisiana, 1932‑2006), “Untitled (Prayer)”, 1974, acrylic on paper, signed and dated lower center, 9 1/2 in. x 6 1/2 in., framed. [$300/500]

Provenance: Guy Lyman Fine Art, New Orleans, 2016; Demetrius S. Spanos, MD Collection, Jonesboro, AR

873. Emerson Bell (American/ Louisiana, 1932‑2006), “Prayer”, acrylic on paper, signed lower center, “Gilley’s Gallery, Baton Rouge” label on backing paper, 7 1/4 in. x 4 1/4 in., framed. [$500/800]

875. Frank Hayden (American/Louisiana, 1934‑1988), “No. 2 ‑ Water from the Mountain”, painted plaster casting, unsigned, printed label with artist and title lower left side, h. 44 in., w. 14 1/2 in., d. 3 1/2 in. [$800/1200]

878. Edith M. Sansum (American/Louisiana, 1867‑1934, active New Orleans, 1884‑1901), “Acadian Cabin”, oil on canvas board, signed lower right, “W.E. Seebold, Bookseller, Stationer and Fine Art Dealer, N.O.” label en verso, 8 1/2 in. x 11 1/2 in., framed. [$500/750] Provenance: Jay P. Altmayer Collection, Mobile, AL

876. William Norman Arnold (American/ Louisiana, 1902‑2006), “Cabin on the Bayou”, 1989, oil on canvas, signed and dated lower right and en verso, inscribed on stretcher, 16 in. x 20 in., framed. [$500/700]

877. William Ousley (American/Louisiana, 1866‑1953), “West Fork of the Calcasieu River, LA”, 1928, oil on canvas, signed and inscribed “Westlake” lower right, titled lower center, dated and inscribed “Westlake, La” en verso, 15 in. x 25 3/4 in., framed. [$800/1200]

879. Sara Dodge Kimbrough (American/Mississippi, 1901‑1990), “Two Alone”, oil on canvas, signed upper left, signed and titled en verso, 24 in. x 30 in., framed; together with framed photograph of painting being presented to the Phoenix Public Library. (2 pcs.) [$150/250] Provenance: Phoenix Public Library, Phoenix, AZ; Hancock County Historical Society

880. John Genin (French/New Orleans, 1830‑1895), “Portrait of Laurent Uter, Jr. (1854‑1901)”, oil on canvas, signed lower right, 30 in. x 25 in., framed. [$500/750]

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881. Ellsworth Woodward (American/Louisiana, 1861‑1939), “Seated Woman, Munchen”, 1892, “Seated Woman with an Umbrella, Lyne”, 1895, “Seated Woman Wearing a Hair Comb”, “German Woman”, “Man and Glasses”, “Profile of Woman” and “Gentleman in Tails”, 1893, 7 pen and inks on paper or board, 4 signed or initialed “E.W.”, 3 unsigned, 3 dated; together with “The Chess Match”, “Profile of a Man”, “Miss Amy Bowman”, “Portrait Studies”, “The Violinist”, “Portrait Studies of a Man and Hands”, “Portrait of Woman”, “Two Men in Costumes” and “Man with a Cigar”, 9 pencil drawings on paper, 2 initialed “E.W.”, 7 unsigned, one titled; and “Portrait of Woman”, watercolor on paper, initialed “E.W.”, 17 1/2 in. x 11 1/2 in. to 6 in. x 5 3/4 in., all unframed. (17 pcs.) [$300/500]

882. Myrtle Jones (American/Georgia, 1913‑2005), “Day at the Park”, acrylic on canvas, signed lower right, 32 in. x 40 in., framed. [$1000/1500] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC

883. 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. [$1000/1500] Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC

884. Emil Holzhauer (American/Florida, 1887‑1986), “Mexican Village Scene”, 1959, tempera on paper, signed and dated lower right, 22 in. x 30 in., framed. [$400/600]

885. Mose Tolliver (American/Alabama, 1920‑2006), “Bird”, oil on panel, signed lower center, dia. 23 in., unframed. [$300/500]

886. Bernice Sims (American/Alabama, 1926‑2014), “Herding the Animals”, oil on canvas, signed lower right, 15 in. x 30 in., framed. [$300/500] Provenance: Clark Gallery, Lincoln, MA

888. Lamar Sorrento (American/Tennessee, 20th c.), “Charlie Patton”, oil on canvas, signed lower right, signed and titled en verso, 34 in. x 28 in., framed. [$200/300]

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887. Mary Tillman Smith (American/Mississippi, 1904‑1994), “Untitled (Three Figures)”, paint on found tin, unsigned, 8 in. x 56 1/4 in., unframed. [$1000/1500]

889. M. C. “5 Cent” Jones (American/Louisiana, 1917‑2003), “Adam and Eve”, watercolor and mixed media on paper, signed and inscribed upper left, 22 in. x 28 in., framed. [$200/300]

891. Lonnie Holley (American/ Alabama, b. 1950), “Abstract Composition”, acrylic on paper, signed en verso, handwritten label with artist and “Evangeline Galleries, Lafayette” label on backing paper, 15 in. x 18 in., framed. [$200/300]

890. M. C. “5 Cent” Jones (American/ Louisiana, 1917‑2003), “Cowboy”, mixed media on paper, signed upper left, “Evangeline Galleries, Lafayette” invoice with artist and title and gallery label on backing paper, 22 in. x 17 in., framed. [$100/150]

892. Lonnie B. Holley (American/Alabama, b. 1950), “Untitled: Face”, carved sandstone sculpture, monogrammed on underside, h. 6 in., w. 18 in., d. 4 3/4 in. [$200/300]

893. Robyn “The Beaver” Beverland (American/Florida, 1957‑1998), “The Bird of the South”, 1995, oil on panel, signed and dated lower right, titled lower center, “Enoch’s Gallery, New Orleans” label on backing paper, 11 3/4 in. x 12 7/8 in., framed. [$150/250]

894. Lamar Sorrento (American/Tennessee, 20th c.), “Robert Johnson #40”, watercolor on paper, signed lower right, titled lower left, 10 in. x 8 in., framed. [$150/250]

896. Loy Bowlin (American/Mississippi, 1909‑1995), “Abstract Composition”, glitter, foil and mixed media on paper, signed upper center, 27 3/4 in. x 9 1/4 in., unframed. [$200/300]

895. Lamar Sorrento (American/Tennessee, 20th c.), “Hank #30”, oil on masonite, signed lower right, signed and titled en verso, 48 in. x 24 in., unframed. [$100/150]

897. Joan Bridges (American/Louisiana, 1934‑2012), “Birth of Jesus”, 1994, acrylic on paper, signed and dated lower right, partial artist label with title on backing paper, 23 3/4 in. x 17 1/4 in., framed. [$200/300] 898. Cyril Billiot (American/ United Houma Nation, 1911‑2000), “Tiger”, painted wood sculpture, unsigned, h. 16 in., w. 28 in., d. 9 in. [$150/250]

899. American School Folk Art, 1993, “Woman in a Green Hat and Boa”, tempera and glitter on cardboard, illegibly signed and dated lower right, “Evangeline Galleries, Lafayette” label on backing paper, 21 3/4 in. x 10 1/4 in., framed. [$200/300]

900. American School Folk Art, 1993, “Woman in Boa”, tempera and glitter on cardboard, illegibly signed and dated lower right, “Evangeline Galleries, Lafayette” label on backing paper, 21 3/4 in. x 10 1/4 in., framed. [$200/300]

901. Ralph Griffin (American/ Georgia, 1925‑1992), “Man” and “Figure”, 2 painted tree root sculptures, both unsigned, h. 8 in., w. 10 in., d. 11 in. and h. 7 3/4 in., w. 9 in., d. 15 in. (2 pcs.) [$200/300]

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902. Felix Virgous (American/Tennessee, b. 1948), “Palm Trees and Unicorn”, acrylic on panel, signed lower right, 20 1/8 in. x 26 3/4 in., unframed. [$150/250]

903. Lida Holley (American/Alabama, 1910‑1987), “Farmers Market” and “Washin’ Clothes Scene”, 1981, 2 oils on masonite, each signed and dated lower right, “Ken Ross Photography, Memphis, TN” stamps en verso, one titled on label on reverse of frame, each 8 in. x 10 in., both framed. (2 pcs.) [$400/600]

904. Lida Holley (American/Alabama, 1910‑1987), “Still Life with Vase of Flowers”, acrylic on canvas, signed lower right, “Tin Pan Alley, Art and Antiques, Taylor, MS” label en verso, 18 in. x 14 in., framed. [$300/500]

905. Alice Latimer Moseley (American/Mississippi, 1909‑2004), “Helping Grandma Making Her Spicy Apple Butter”, oil on canvas board, signed lower right, 8 in. x 10 in., framed with title plaque. [$400/600] 907. Mamie Deschillie (American/New Mexico, 1920‑2010), “Cows, Horse, Dog and Figure”, tempera on paper mounted to board, pencil‑signed lower center, “Enoch’s Gallery, New Orleans” label on backing paper, 14 in. x 19 in., framed. [$200/300]

906. Reginald Mitchell (American/ Louisiana, b. 1959), “Untitled (Double Portrait)”, oil on board, signed and inscribed en verso, 14 in. x 11 in., unframed. [$300/500]

908. American Aesthetic Movement Figured Maple Bedroom Suite, 19th c., incl. bed, dresser and washstand, Japonesque carved and stippled panels, scalloped and reeded decoration, bed h. 68 3/4 in., l. 79 in., w. 57 in., dresser h. 80 3/4 in., w. 52 in., d. 19 in., washstand h. 44 1/2 in., w. 35 1/2 in., d. 18 in. [$1500/2500]

909. American Aesthetic Movement Cherrywood Marquetry Commode, mid‑to‑late 19th c., inset later granite top, strap metal, single drawer, open shelf, incised stiles, lower cabinet, h. 30 1/2 in., w. 17 1/4 in., d. 17 1/4 in. [$400/600]

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910. American Renaissance Rosewood Parlor Chair, mid‑19th c., probably Meeks, New York, foliate scrolled pierced back, strapwork splat, ring‑turned tapered legs, h. 34 in., w. 18 in., d. 20 in. [$200/300] 911. American Aesthetic Movement Ebonized Side Cabinet in the Japanese Taste, late 19th c., pierced gallery, lower cabinet with two doors, brass hinges, pierced apron, paw feet, h. 41 1/2 in., w. 26 in., d. 13 in. [$300/500]

912. American Rosewood Bedside Commode, probably New York, shaped marble top, fluted half‑columns, single drawers, cabinet door, h. 30 1/4 in., w. 20 in., d. 18 3/4 in. [$400/600]

913. Pair of American Aesthetic Movement Carved Mahogany Single Beds, late 19th c., manner of Herter Brothers, New York, fan finials, scalloped crest, floral and fern center urn panel, floral spray side panels with intertwined lizards, turned balustrade, incised stiles, conforming foot board, h. 67 in. [$1500/2500] 914. American Renaissance Carved Oak Cabinet, mid‑19th c., attr. to Alexander Roux, New York, upper case with elaborately carved scrolled crest, turned finials, egg and dart molded glazed doors, caryatid stiles, scalloped and beaded shelves, lower case with foliate frieze drawers, trophée doors, stepped base, h. 104 1/2 in., w. 57 1/2 in., d. 22 1/2 in. [$2000/3000] Note: The elegant and exuberantly carved two-part cabinet offered here shares many similar aspects with the cabinetry of Alexander Roux, most notably the carved trophée panels on the lower case. Among mid-19th century New York cabinetmakers, Roux was most known for incorporating animal figures in his elaborate pieces and often used themes of hunt and harvest, adhering to the French Renaissance Revival tradition. Roux displayed a sideboard with hunt and harvest carvings at the Crystal Palace Exhibition of 1853 in New York and was commissioned to make a pair of related sideboards for the Astor family. This cabinet is closely related to a sideboard in the collection of the Metropolitan Museum of Art in New York and a similar oak two-part cabinet sold in these rooms as lot 266 on June 28, 2014. Ref.: The Metropolitan Museum of Art. metmuseum.org/toah/works-of-art/1993.168. Accessed October 21, 2019.

915. Pair of American Carved and Laminated Oak Side Chairs, mid‑19th c., attr. to Belter, shield shaped padded back, serpentine seat rail, cabriole legs, h. 35 1/2 in., w. 19 in., d. 19 in. [$800/1200]

917. American Aesthetic Movement Side Chairs, late 19th c., manner of Herter Brothers, New York, garland sunflower finials, crane cartouche, keyed spherule waist, ruched seat, scrolled tapered legs, paw foot on tapered block, h. 32 1/2 in., w. 21 in., d. 22 in. [$600/900]

916. American Carved Mahogany Tiered Side Table, mid‑19th c., serpentine molded marble top, conforming frieze with rope‑molded edge, reticulated supports, scrolled feet, h. 28 in., w. 29 in., d. 17 in. [$100/200]

918. American Rococo Rosewood Etagere Cabinet, mid‑to‑late 19th c., New York City, arched foliate shell pierced crest, urn finials, scrolled brackets, one long drawer, turreted corners, two oval glazed doors, shelf interior, scroll toes, h. 78 in., w. 42 1/2 in., d. 19 in. [$1500/2500]

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919. 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. [$500/700] 920. Julius Lars Hoftrup (Swedish/American, 1874‑1954), “Morning Light”, oil on canvas panel, signed lower left, “The N Gallery, Philadelphia” label with artist and title and partial label with artist and title en verso, 15 3/4 in. x 19 3/4 in., framed. [$300/500]

921. 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. [$150/250]

Provenance: M. Ford Creech Antiques & Fine Art, Memphis.

922. Cora V. Helmbold (American, late 19th/early 20th c.), “Self‑portrait”, oil on canvas, signed lower right, inscribed with artist on stretcher, 26 1/8 in. x 22 in., framed. [$200/400]

926. Kelley Millet (American/New York, 20th c.), “Explore”, acrylic on board, initialed lower left, initialed and handwritten artist label with title en verso, initialed and titled on stretcher, sight 30 in. x 30 in., framed. [$300/500]

923. American School, 1984, “Still Life with Fruit, Jug and Copper Pot”, oil on canvas laid on board, indistinctly signed and dated lower left, 23 in. x 28 in., framed. [$800/1200]

924. 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. [$100/200]

925. 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. [$400/800] Provenance: Fletcher Gallery, Woodstock, NY, Oct. 23, 2011, lot 23.

928. Michael Sarisky (American/Ohio, 1906‑1974), “Still Life of Decanter and Fruit”, oil on board, signed upper right, 13 in. x 18 in., framed. [$300/500]

929. American School, 1980, “Still Life of Flowers”, oil on canvas, signed “Austin” and dated lower right, 20 in. x 16 in., framed. [$300/500]

927. Kelley Millet (American/New York, 20th c.), “Sun Spots”, acrylic on board, initialed lower right, initialed and titled en verso, 30 in. x 24 in., unframed. [$200/400]

931. Dennis Westerling (American, b. 1944), “Yolo County California”, oil on board, signed lower left, signed and titled en verso, 10 in. x 14 in., framed. [$400/600]

930. Rosalie Fulton (American/Texas, 20th c.), “Outrider Finding Stray, Big Horn Mountains, Wyoming”, 1984, oil on canvas, signed and dated lower right, signed and titled en verso, 16 in. x 20 in., framed with brass title plaque. [$200/300]

108

Provenance: Guy Lyman Fine Art, New Orleans; Demetrius S. Spanos, MD Collection, Jonesboro, AR 932. Ramon Kelly (American/Colorado, b. 1939), “The Fishermen at Manzanillo”, oil on masonite, signed lower right, titled on backing board, 9 in. x 12 in., framed. [$300/500]

933. David Harlan (American/New Mexico, b. 1933), “July Afternoon (Velarde)”, oil on masonite, signed lower left, titled and inscribed en verso, 11 in. x 14 in., framed. [$400/600]

934. Hendrik Adriaan van Rheede tot Drakenstein/Publisher (Dutch, active c. 1678‑1693), “Ampana. Lat” and “Tserjou‑Kanneli”, 2 hand‑colored engravings, from Hortus Indicus Malabaricus, subjects identified in Latin, Malayalam, Arabic and Sanskrit, sights 14 in. x 17 1/2 in., framed alike. (2 pcs.) [$300/500]

935. After John James Audubon (American, 1785‑1851), “California Vulture”, Plate 426, 1985, lithograph, from Birds of America, Abbeville Edition, “Audubon Society Abbeville Press” watermark visible, “Carol Robinson Gallery, New Orleans” label on backing paper, sheet 39 3/8 in. x 26 1/2 in., framed. [$300/500]

937. After John James Audubon (American, 1785‑1851), “Black Vulture or Carrion Crow”, Plate 106, 1985, lithograph, from Birds of America, Abbeville Edition, “Audubon Society Abbeville Press” watermark visible, sheet 26 1/2 in. x 39 1/2 in., framed. [$300/500]

936. After John James Audubon (American, 1785‑1851), “Turkey Buzzard”, Plate 151, 1985, lithograph, from Birds of America, Abbeville Edition, “Audubon Society Abbeville Press” watermark visible, “Carol Robinson Gallery, New Orleans” label on backing paper, sheet 39 3/8 in. x 26 1/2 in., framed. [$300/500]

938. After John James Audubon (American, 1785‑1851), “Roseate Spoonbill”, Plate 321, later reproduction on foam core, from Birds of America, sheet 32 1/2 in. x 48 in., framed. [$600/900]

939. After John James Audubon (American, 1785‑1851), “Carolina Parrots”, Plate 26, 1985, direct transfer lithograph, from Birds of America, Princeton Edition, pencil‑numbered “153/1500” lower left, “Princeton Audubon Limited” embossed seal lower right, sheet 39 1/4 in. x 26 1/4 in., framed. [$600/900]

940. Pair of Antique Bird Prints, 1852 and 1854, 2 hand‑colored lithographs, both dated, one illegibly signed in plate, each 10 in. x 7 3/4 in., framed alike. (2 pcs.) [$75/150]

941. John Gould (British, 1804‑1881), “Cynanthus Smaragdicaudus” and “Docimastes Ensiferus”, 2 hand‑colored lithographs with gum arabic, from Hummingbirds, sights 20 in. x 13 1/2 in., framed alike. (2 pcs.) [$700/1000]

942. Harper’s Weekly Print of New Orleans, “The City Of New Orleans, Louisiana, Taken by the Union Forces, April 24, 1862”, lithograph, from Harper’s Weekly, May 10, 1862 issue, sheet 10 3/4 in. x 15 1/2 in., unframed. [$75/100]

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943. American Classical Mahogany Extension Dining Table, 19th c., circular top, four leaves, cluster column standard, scrolled base, lobed finials, casters, h. 29 1/4 in., dia. 49 3/4 in. [$2000/4000]

945. Federal‑Style Mahogany Pencil‑Post Tester Bed, king size, made in North Carolina in the 1970s, reverse tapered chamfered posts, chamfered legs; together with bedsteps, bed h. 98 in., l. 82 in., w. 78 in. [$500/1000]

947. American Federal Inlaid Mahogany Games Table, early 19th c., Baltimore, demilune foldover top, banded tapered legs, h. 30 in., w. 37 in., d. 18 in. [$400/600]

949. Pair of Stenciled and Gilt Fancy Chairs, early 19th c., ring‑turned tablet crest, rush seat, stretcher, tapered legs, h. 34 in., w. 16 in., d. 13 in. [$200/400]

951. American Queen Anne‑Style Mahogany Tilt‑Top Tea Table, pie crust top, baluster turned standard, foliate knees, outswept legs, ball and claw feet, h. 30 in., dia. 32 in. [$300/500] 952. American Chippendale Wing Chair Frame, 19th c. or earlier, pine frame, arched back, rolled arms, walnut legs, ball and claw feet, h. 42 in., w. 30 in., d. 30 in. [$200/400] Provenance: Whisnant Galleries Collection, New Orleans, LA.

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944. American Mahogany Linen Press, early 19th c., molded cornice, two paneled doors, brass astragal fitted interior, two short drawers over one long drawer, bracket feet, h. 69 1/2 in., w. 48 1/2 in., d. 24 in. [$1000/1500]

946. Pair of American Classical Carved Mahogany Armchairs, Boston, scrolled panel crest, lappet carved arms and saber legs, h. 38 in., w. 23 1/4 in., d. 20 in. [$300/500]

948. Federal‑Style Mahogany Sideboard, Baker Furniture, labeled “Historic Charleston Collection”, serpentine top, conforming case with drawers, spandrel center, tapered legs, h. 38 3/4 in., w. 66 1/4 in., d. 25 in. [$1000/1500]

950. Classical Faux Marbre Pedestal, rotating square top, reverse tapered fluted column, socle base, raised plinth, h. 42 1/4 in., w. 12 1/4 in., d. 12 1/4 in. [$200/300]

953. American Classical Mahogany Wig Dresser, mid‑19th c., cyma cornice, mirror plate between two tall bead decorated cabinets, two glove drawers, marble drop center, two short drawers over three graduated long drawers, bracket feet, h. 75 1/2 in., w. 42 3/4 in., d. 19 in. [$300/500]

954. American Classical Mahogany Window Bench, mid‑19th c., inset rectangular tapered cushion, molded base, bracket feet, h. 17 1/2 in., w. 44 1/4 in., d. 19 in. [$600/900]

955. Regency‑Style Mahogany Extension Dining Table, molded top, pull out supports, circular perimeter leaves, columnar supports, saber legs, caps and casters, h. 29 1/2 in., dia. (with leaves) 70 in., dia. 49 in. [$600/900]

957. American Carved Walnut Lincoln Rocker, 19th c., pierced foliate crest, shaped back, padded arms, scrolled foliate supports, h. 39 1/2 in., w. 24 in., d. 34 3/4 in. [$300/500]

956. Pair of American Late Classical Mahogany Low Benches, mid‑19th c., scrolled apron, conforming feet, h. 12 in., w. 40 in., d. 22 in. [$1000/1500]

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

959. Pair of Large Napoleon III‑Style Cast Iron Gates, arched form with central latticework panels centered by gilt lions rampant, flanked by acanthus scroll and floral pinwheel borders, h. 108 in., w. 156 in. [$2500/3500]

960. Pair of Napoleon III‑Style Cast Iron Gates, arched form with acanthus, foliate, floral pinwheel, and latticework panels, h. 98 1/2 in., w. 177 in. [$2500/3500]

963. Giant Clam Shell, tridacna gigas, h. 11 in., w. 26 in., d. 16 in. [$400/600] Provenance: Whisnant Galleries Collection, New Orleans, LA.

964. Giant Clam Shell, tridacna gigas, h. 10 in., w. 27 1/2 in., d. 18 in. [$400/600]

966. Pair of Sevres‑Style Polychrome and Gilt Porcelain Cachepots, spurious marks, reserved with courting couples on a blue green ground, h. 13 in., dia. 16 in. [$700/900]

961. Pair of Cast Iron Campagna Form Garden Urns, floral scroll frieze, h. 17 in., dia. 11 in. [$300/500]

962. Large Cast Iron Campagna Urn, now with white paint, base, h. 35 in., dia. 28 in. [$500/700]

965. Pair of United Wilson Blue and White Porcelain Bronze‑Mounted Cachepots, marked, floral swag and chain decorated bodies, lion’s head handles, h. 10 in., dia. 12 in. [$700/900]

967. Sevres‑Style Gilt Decorated Porcelain Coffee Service, marked, cobalt blue ground, incl. coffee pot, creamer, covered sugar, tray, 6 cups and 6 saucers. [$400/600]

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968. Assembled Paris “Anneau D’or” Porcelain Tea and Dessert Service, 19th c., various impressed and incised marks, incl. 2 teapots, h. 9 1/4 in.; 2 sugars, h. 7 in. and 7 3/4 in.; 2 creamers, h. 6 1/2 in. and 6 3/4 in.; 2 waste bowls, dia. 6 1/2 in.; 16 cups; 14 saucers, dia. 5 ½ in. and 6 in.; 3 cake plates, dia. 9 in. and 9 1/4 in.; 18 dessert plates, dia. 7 1/2 in. and 7 1/4 in.; and berry bowl, dia. 4 1/2 in. (60 pcs.) [$300/500]

969. Associated Collection of Paris Gilt Decorated Porcelain, 19th c., incl. tray, l. 11 1/2 in. x 9 1/4 in.; lidded tea and coffee pot, h. 8 in. and 10 1/2 in.; 4 cups with saucers; 4 plates, dia. 7 in.; 2 plates, dia. 8 in.; and 4 berry dishes, dia. 4 3/4 in.; together with 7 similarly decorated English cups and saucers; 4 Paris peach rim soups, dia. 9 1/4 in.; 2 Paris “cornflower” plates, dia. 9 1/4 in.; and 4 Paris magenta rim plates, dia. 9 1/2 in. (45 pcs.) [$300/500]

970. Partial Paris Polychrome and Gilt Porcelain Tea Service, 19th c., incl. lidded teapot, h. 8 1/4 in.; waste bowl, dia. 6 1/8 in.; 5 cups with 10 saucers; and 12 dessert plates, dia. 7 in. (29 pcs.) [$200/400]

972. Assembled Paris “Anneau d’Or” Porcelain Tea and Dessert Service, 19th c., incl. teapot, h. 6 1/2 in.; sugar, h. 6 in.; creamer, h. 6 1/4 in.; 2 cake plates, dia. 9 3/4 in.; 7 dessert plates, dia. 7 1/4 in.; waste bowl, h. 3 in.; 7 berry bowls, dia. 4 1/2 in.; and 6 teacups with 6 saucers. (32 pcs.) [$300/500]

973. Pair of Sevres‑Style Polychrome and Gilt Porcelain Bottle Vases, 19thc., decorated with flower cartouches on a bleu de roi ground painted with foliage, h. 7 1/2 in. [$100/200] Provenance: Schwitz Collection, Franklin, LA.

975. 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.) [$300/500]

974. Limoges Polychrome and Gilt Porcelain Table Service, early 20th c., marked “Limoges France” and variously “Baruo & Dotter” and “Elite Works”, incl. 11 dinner, dia. 9 3/4 in.; 10 luncheon plates, dia. 8 3/4 in.; 5 salads, dia. 7 5/8 in.; 6 bread and butters, dia. 6 1/8 in.; 12 soups, dia. 7 1/2 in.; 6 fruit/dessert bowls, dia. 5 1/4 in.; 9 saucers, dia. 5 1/2 in.; 2 platters, l. 11 5/8 in.; tureen, l. 12 in., w. 6 in.; and gravy boat with attached underplate, l. 9 in.; together with 5 fruit/dessert bowls, marked “Bavaria Tirschenreuth”, dia. 5 1/8 in. (58 pcs.) [$200/300]

976. Staffordshire “Sprigware” Pottery Partial Tea and Dessert Service, 19th c., incl. creamer, h. 5 1/2 in.; sugar, h. 6 3/4 in.; 5 butter pats, dia. 3 3/4 in.; 6 dessert plates, dia. 6 1/2 in.; 2 cake plates, dia. 8 5/8 in.; and 14 teacups with 15 saucers. (34 pcs.) [$300/500]

977. Davenport Chalcedony Creamware Dessert Service, 19th c., impressed mark, incl. 12 plates, dia. 7 1/2 in.; 2 rectangular dishes, 7 in. x 9 in.; 2 oval dishes, l. 10 in.; 2 serving plates, l. 10 in.; raised basket, l. 11 in.; and 4 bone plates. (23 pcs.) [$600/900]

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971. Assembled Set of Paris “Anneau d’Or” Porcelain, mid‑19th c., incl. lidded teapot, h. 8 3/4 in.; lidded sugar bowl, h. 6 1/2 in.; cream pitcher, h. 5 1/2 in.; waste bowl; 2 handled cake plates, w. 10 in.; 11 dessert plates, dia. 7 1/4 in.; and 18 teacups with 15 saucers (50 pcs.) [$300/500]

978. Coalport “Revelry Adam Green” Bone China Dinner Service, late 20th c., marked, incl. 12 dinner plates, dia. 10 5/8 in.; 11 salad plates, dia. 8 in.; 12 soups, dia. 8 in.; 12 bread and butters, dia. 6 1/4 in.; 18 cups; 18 saucers, dia. 5 1/2 in.; 2 vegetable bowls, l. 9 3/4 in.; and platter, l. 15 1/4 in., w. 11 3/4 in. (86 pcs.) [$200/300]

979. Queen’s “Royal Oak” Bone China Dinner Service, wide rim molded with oak leaves and acorns, incl. dinner plate, dia. 10 3/4 in.; 23 salad plates, dia. 8 1/4 in.; 12 soups, w. 7 in., d. 5 1/8 in. and 12 underplates, dia. 6 1/2 in.; 12 cups, h. 2 3/8 in. and 11 saucers, dia. 5 in.; together with platter molded with a central turkey, marked “Made in Portugal”, l. 19 in. (86 pcs.) [$200/300]

980. Spode “Blue Italian” Table Service, marked, incl. 6 dinner plates, dia. 10 1/2 in.; 6 soups, dia. 9 in.; 6 salad plates, dia. 7 1/2 in.; teapot, h. 6 in.; 6 cups, h. 2 1/2 in.; 6 saucers, dia. 5 3/4 in.; 6 demitasse cups, h. 2 1/4 in.; 6 saucers, dia. 5 in.; covered sugar; creamer; lidded cheese dish, l. 7 1/2 in.; covered vegetable, l. 12 in.; tureen, l. 12 in.; platter, l. 10 1/2 in.; dish, l. 9 1/4 in.; oval baking dish, l. 12 1/2 in.; scalloped rim dish, dia. 6 3/4 in.; tray, l. 8 1/4 in.; cake plate, l. 11 1/4 in.; and 4 placemats, l. 15 3/4 in. (58 pcs.) [$400/600]

981. Crown Ducal “Florentine” Dinner and Luncheon Service, mid‑20th c., marked, incl. 14 dinner plates, dia. 10 1/2 in.; 12 square luncheon plates, l. 8 3/8 in.; 12 bread and butters, dia. 6 1/8 in.; 11 cream soup bowls, h. 2 in.; 12 matching saucers, dia. 7 in.; 10 cups; and 13 matching saucers, dia. 6 in. (84 pcs.) [$150/250]

983. Lenox “Eternal” Porcelain Dinner Service, incl. 11 dinner plates, dia. 10 3/4 in.; 12 salads, dia. 8 in.; 12 bread and butters, dia. 6 3/8 in.; 9 footed cups; with 12 saucers, dia. 6 in.; and 6 demitasse cups; with 6 saucers, dia. 4 3/4 in. (68 pcs.) [$300/500]

982. Four American Polychrome and Gilt Porcelain Compotes, decorated with Great Seal of the United States and “E. Pluribus Unum”, h. 3 3/4 in., dia. 8 in. [$100/200]

984. Lenox “Malmaison Ivory” Porcelain Dinner Service, mid‑20th c., marked, incl. 12 dinner plates, dia. 10 1/2 in.; 11 salads, dia. 8 1/4 in.; 12 bread and butters, dia. 6 1/4 in.; 11 soups, dia. 8 3/8 in.; 8 cups; 8 matching saucers, dia. 5 1/2 in.; 2 vegetable bowls, l. 9 1/2 in.; 2 tureens, h. 5 in.; 2 oval platters, l. 17 in. and 13 1/2 in.; platter, dia. 11 1/2 in.; and gravy boat with attached underplate, h. 4 1/4 in. (70 pcs.) [$600/800]

Provenance: Schwitz Collection, Franklin, LA.

985. Capo di Monte‑Style “Blanc de Chine” Porcelain Vase, mid‑19th c., h. 8 1/2 in., bronze mounts, now fitted as lamp, h. (incl. finial) 21 in. [$200/300] Provenance: Whitehall Antiques, Chapel Hill, NC.

989. Pair of Antique French or English Panel Cut Glass Decanters, spired stoppers, h. 13 1/2 in. [$200/300] 986. American Brilliant Cut Glass Vase, h. 9 3/4 in. [$100/200]

987. American Mold Blown Glass Celery Vase, h. 10 1/2 in. [$100/200]

988. Cut Glass Vase, h. 9 1/2 in. [$100/200]

990. Collection of Cut Glass, incl. 3 pitchers, h. 9 in. to 14 in., and 3 vases, h. 7 3/4 in. to 11 1/2 in. (6 pcs.) [$300/500]

992. Pair of Continental Cut Crystal Compotes, h. 7 3/4 in., dia. 7 3/4 in.; together with large Art Moderne crystal vase, h. 9 in., dia. 8 1/4 in. [$200/400] Provenance: Schwitz Collection, Franklin, LA.

Provenance: Neal Auction, Mar. 28, 2010, lot 1059.

991. Collection of Six Cut Glass Bowls, incl. 5 round, smallest h. 2 1/4 in., dia. 8 in.; largest h. 5 1/4 in., dia. 9 3/4 in.; and 1 oblong, l. 11 1/2 in. [$200/400]

994. American Cut Glass Rose Bowl and Molded Glass Vase, bowl, h. 6 1/2 in., dia. 6 in.; vase, h. 11 3/4 in., dia. 6 1/2 in. (2 pcs.) [$100/150] 993. American Pressed Glass Punch Bowl on Stand, 19th/20th c., h. 14 in., dia. 16 in., with 10 matching cups, dia. 3 1/2 in., and 24 others, dia. 3 3/4 in. to 3 1/8 in. (36 pcs.) [$400/600]

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996. American Rococo Carved Mahogany Center Table, molded turtle top, acanthus scrolled cabriole legs, scrolled stretcher, casters, h. 29 in., w. 51 in., d. 28 in. [$700/1000]

995. American Carved Mahogany Two Piece Parlor Group, attr. to Herter Brothers, New York, tufted backs, padded arms, lion terminals, paw feet, settee h. 33 1/2 in., w. 64 in., d. 29 1/2 in., armchair h. 33 1/2 in., w. 29 1/2 in., d. 34 in. [$900/1200]

Provenance: Greenwood Plantation, Pinckneyville, MS. Ill.: Pitts, Stella and Ernesto Caldiera The Plantation World of Wilkinson County, Mississippi 1792 to 2012, pg. 89.

997. Pair of Antique Regence‑Style Oak Fauteuils, shell crest, padded arms, shell knees and seat rail, cabriole legs, scroll toes, Salamandré upholstery, h. 34 in., w. 25 in., d. 25 in. [$600/900] Provenance: Henry Stern.

998. Six American Rococo Carved Walnut and Mahogany Parlor Chairs, mid‑19th c., floral scrolled pierced crest, shell C scroll shoulders, shell and scroll medial rail, shaped floral carved seat rail, cabriole legs, foliate scrolled feet, period upholstery and trim, h. 36 in., w. 18 in., d. 15 in. [$1200/1800] Provenance: Saulet Family, New Orleans.

999. American Rosewood Washstand, Alexander Roux, New York, shaped marble top with outset corners, case with chamfered corners, paneled long drawer over paneled doors, shelf interior, block base, h. 37 in., w. 38 in., d. 18 1/4 in. [$600/900]

1000. Pair of Rococo Revival Carved Mahogany Armchairs, late 19th c., floral and foliate crest, oval back, serpentine seat, cabriole legs, casters, h. 41 in., w. 24 1/2 in., d. 22 1/2 in. [$200/300] 1001. American Centennial Carved Mahogany Extension Banquet Table, late 19th c., gadrooned top, fluted octagonal vasiform base, acanthus carved legs, h. 30 in., w. (closed) 60 1/2 in., w. (open) 135 1/2 in., d. 60 in. [$800/1200]

1002. American Rococo Carved Walnut Sideboard, mid‑19th c., figural and fruit basket crest, scroll pediment, molded top, three paneled drawers, lappet carved cabriole legs, acanthus scrolled feet, h. 66 3/4 in., w. 70 1/4 in., d. 23 1/2 in. [$1000/1500] 1003. American Carved Oak Dressing Chest, late 19th/early 20th c., foliate crest, conforming yoke supports, oval mirror, serpentine top, five conforming drawers, molded base, cabriole legs, ball and claw feet, h. 82 in., w. 54 in., d. 24 in. [$400/600] 1006. American Late Classical Mahogany Chest of Drawers, superstructure with two bolection glove drawers, cyma drawer over three graduated drawers, scroll bracket feet, h. 44 in., w. 42 1/4 in., d. 20 in. [$300/500] 1007. American Eastlake Carved Oak Five‑Piece Parlor Suite, late 19th c., incl. sofa, loveseat, armchair, platform rocher,, side chair; oak leaf with punchwork decoration, rolled head rail and arms, ring turned legs, contemporary upholstery and trim, sofa h. 36 in., w. 59 in., d. 29 in., side chair h. 32 1/2 in., w. 21 1/2 in., d. 26 in. [$300/500]

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1004. American Oak Walking Cane Display Case, labeled “Oscar Oken & Co., Cincinnati”, 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]

1005. American Rococo Carved Walnut Center Table, c. 1860, marble turtle top, conforming apron, turned support centered by a carved tazza, scrolled legs, casters, h. 29 in., w. 30 1/2 in., d. 22 in. [$100/200]

1009. Hans Grohs (German, 1892‑1981), “Löwenzahn”, 1970, watercolor on paper, signed lower center, “Hans Grohs Bequest” blindstamp lower right, titled, dated, inscribed and “Frauken‑Grohs Collinson” stamp en verso, 20 in. x 14 3/8 in., matted; accompanied by a copy of a certificate of authenticity from Frauken Grohs Collinson‑Grohs Collective Trust. [$400/600]

1008. Carol Owen (British, b. 1948), “Seed Pods”, watercolor and graphite on paper, monogrammed and partial pencil inscription lower right, 14 in. x 10 in., unframed. [$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.

1010. Hans Grohs (German, 1892‑1981), “Tazende Wolke Jütland”, 1967, watercolor on paper, signed lower right, “Hans Grohs Bequest” blindstamp lower left, titled, inscribed and “Frauken Grohs Collinson” stamp en verso, printed label with title and date on backing board, 14 3/8 in. x 19 15/16 in., framed; accompanied by a copy of a certificate of authenticity from Frauken Grohs Collinson‑Grohs Collective Trust. [$400/600]

1011. Hans Grohs (German, 1892‑1981), “Frühlingsstimmung am Roten Kliff, Dithmarschen Coast, Sylt”, 1959, watercolor on paper, signed lower right, “Hans Grohs Bequest” blindstmp lower left, titled, dated, inscribed and “Frauken Grohs Collinson” stamp en verso, 18 3/4 in. x 24 3/4 in., framed; accompanied by a copy of a certificate of authenticity from Frauken Grohs Collinson‑Grohs Collective Trust. [$400/600]

1014. Continental School, 19th c., “Windmill”, oil on canvas, illegibly signed lower right, 20 in. x 16 in., framed. [$400/600]

1015. François Masson (Swiss, b. 1918), “Mountainous Landscape with Fence”, 1943, oil on canvas, signed and dated lower left, 18 1/4 in. x 21 1/4 in., framed; accompanied by newspaper articles about the artist. [$400/600]

1012. Hans Grohs (German, 1892‑1981), “Tagesdämmerung am Meer Dithmarschen Coast”, 1959, watercolor on paper, signed lower right, “Hans Grohs Bequest” blindstamp lower left, titled, dated, inscribed and “Frauken Grohs Collinson” stamp en verso, printed label with title and date on backing board, 20 in. x 28 3/4 in., framed; accompanied by a copy of a certificate of authenticity from Frauken Grohs Collinson‑Grohs Collective 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.

1016. Continental School, late 19th/ early 20th c., “Countryside with White Cottages”, oil on panel, unsigned, 5 in. x 7 in., framed. [$200/300]

1013. Hans Grohs (German, 1892‑1981), “Rom, Himmel und Dünen, Jütland”, 1967, watercolor on paper, signed lower right, “Hans Grohs Bequest” blindstamp lower left, titled and “Frauken Grohs Collinson” stamp en verso, printed label with title and artist on backing board, 9 3/4 in. x 13 in., framed; accompanied by a copy of a certificate of authenticity from Frauken Grohs Collinson‑Grohs Collective 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.

1017. Continental School, late 19th c., “Forest with Stream”, oil on canvas, unsigned, 26 in. x 36 in., framed. [$100/150] Provenance: Estate of Faith K. Tiberio, St. Augustine, FL

Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

1018. Continental School, 20th c., “Field with Red Flowers”, oil on canvas, unsigned, illegibly inscribed en verso, 7 3/4 in. x 10 3/4 in., framed. [$200/300] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

1019. Continental School, 19th c., “Boat beside Ruins”, oil on canvas laid on board, unsigned, 14 7/8 in. x 39 1/2 in., framed. [$200/300]

1020. Theodor Recknagel (German, 1865‑1945), “The Cardinal in His Study”, oil on canvas, signed lower right, 24 in. x 20 in., framed with artist plaque. [$300/500]

1021. Alfred Pollentine (British, 1836‑1890), “On the Shore”, oil on canvas, signed lower right, 16 in. x 24 in., framed. [$200/400]

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1023. Pair of Louis XV‑Style Bronze‑Mounted Tables, inset white marble top, repousse apron, tapered legs, bronze sabots, h. 28 in., dia. 19 1/2 in. [$800/1200]

1022. Alfred J. Warne Browne (British, 1855‑1915), “Seascape”, 1891, oil on canvas, signed and dated lower left, 10 in. x 18 in., framed. [$500/700] Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR. 1024. Pair of Louis Philippe‑Style Upholstered Armchairs, molded shaped back, padded scroll arms, cabriole legs, casters, h. 40 in., w. 26 in., d. 22 in. [$700/900]

1025. Three Louis Philippe Rosewood and Needlepoint Side Chairs, mid‑19th c., scrolled floral crest, shaped molded cabriole legs, scroll toes, h. 36 in., w. 18 1/2 in., d. 21 in. [$600/900]

1026. Antique Louis XV‑Style Bronze‑Mounted Satinwood Parquetry Bombe Commodes, molded shaped marble top, two small drawers, long drawer, mounted stiles, cabriole legs, sabots, h. 33 1/2 in., w. 47 in., d. 22 in. [$1000/1500]

1027. Louis XVI‑Style Carved and Painted Fauteuil, 20th c., molded crest rail, padded back and arms, acanthus arm terminals, molded uprights, fluted tapered legs, h. 38 1/2 in., w. 24 1/4 in., d. 23 in. [$200/300]

Provenance: French Antique Shop, New Orleans.

1028. Continental Rococo Carved Walnut Tea Table, 19th c., shaped molded top, rocaille carved shaped skirt, foliate knees, ball and claw feet., h. 32 in., w. 42 in., d. 30 in. [$700/1000]

1030. Antique Louis XVI‑Style Carved Giltwood Console, demilune marble top, fluted apron, fluted tapered legs, flaming lobed urn finialed stretcher, h. 32 1/2 in., w. 31 1/4 in., d. 16 in. [$1000/1500] Provenance: French Antique Shop, New Orleans.

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1031. Decorative Rococo‑Style Gilt Mirror, shell crest, rocaille and rose surround, h. 46 in., w. 35 in. [$100/150]

1029. Pair of Louis XVI‑Style Carved and Parcel Gilt Fruitwood Bergères à Oreilles, 19th c., garland and berry bordered back, padded scrolled arms, tapered fluted feet, h. 43 in., w. 27 in., d. 29 in. [$400/600] Provenance: Whisnant Galleries Collection, New Orleans, LA.

1032. Eight Directoire‑Style Fruitwood Dining Chairs, incl. 2 arm and 6 sides, scroll crest, padded back and seats, lobed ring‑turned standards, tapered legs, armchair h. 40 1/4 in., w. 25 1/4 in., d. 24 in., side h. 40 in., w. 21 in., d. 19 in. [$600/900]

1033. Louis XVI‑Style Bronze‑Mounted Fruitwood and Parquetry Occasional Table, banded top, cabriole legs, stretcher shelf, hoof feet, h. 30 in., dia. 18 in. [$400/600]

1034. Provincial Fruitwood Writing Table, 19th c., three‑board top, two frieze drawers, tapered legs, h. 29 1/4 in., w. 54 3/4 in., d. 27 in. [$400/600]

1035. George III‑Style Mahogany Games Table, inset tooled leather top, single drawer, shell carved knees, cabriole legs, ball and claw feet, h. 27 in., w. 28 in., d. 28 in. [$1000/1500]

1037. Antique English Oak Book Press on Chest, 19th c., mechanical spiral superstructure insets into three drawer base, fluted stiles, bracket feet, h. 76 in., w. 31 1/2 in., d.20 1/4 in. [$600/900]

1036. English Walnut Three‑Part Dining Table, early 19th c., D ends, drop-leaf center section, tapered legs, casters, h. 30 in., w. 92 in., d. 40 in. [$700/1000]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

1038. Antique Georgian Mahogany Kneehole Desk, 19th c., shaped molded top with inset leather, writing slides over bank of four drawers each side, blocked base, h. 30 1/2 in., w. 66 in., d. 30 in. [$500/800] 1039. Queen Anne Mahogany Drop‑Leaf Table, 19th c., oval top, tapered legs, pad feet, h. 28 in., w. (closed) 17 1/2 in., w. (open) 53 in., d. 42 in. [$300/500]

1041. Spanish Renaissance‑Style Refectory Table, molded top, two drawers, turned blocked legs, finialed stretcher, h. 29 in., w. 52 in., d. 31 in. [$600/800]

1040. Six William IV Cherrywood Dining Chairs, shaped tablet crest, slat back, turned legs, h. 32 3/4 in., w. 17 1/2 in., d. 17 1/2 in. [$600/900]

1043. Antique Georgian Mahogany TiltTop Tea Table, dished top, spiral twist baluster standard, cabriole legs, ball and claw feet, h. 30 1/2 in., dia. 33 in. [$500/700]

1044. Papier-Mache, Mother‑of‑Pearl Inlaid and Parcel Gilt Table, shield top, hexagonal reverse tapered standard, upswept scrolled feet, h. 28 in., w. 17 in., d. 17 in. [$300/500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

1042. George III Mahogany Two Pedestal Extension Dining Table, early 19th c., one leaf, reeded top, turned reverse tapered standards, reeded saber legs, brass caps, casters, h. 27 1/2 in., w. (open) 75 in., d. 40 in. [$800/1200]

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1045. Antique English Inlaid Mahogany Lap Desk, mid‑19th c., lozenge inlay and escutcheon, now fitted on custom stand, h. 30 in., w. 38 in., d. 23 1/2 in. [$200/300]

1047. Regency Brass‑Banded Mahogany Lap Desk, early 19th c., leather writing surface, fitted interior, later spandreled stand, h. 24 1/2 in., w. 20 3/4 in., w. 12 in. [$600/900]

1046. Spanish Renaissance‑Style Library/Hall Table, plank top, two drawers, tapered legs, block feet, h. 32 in., w. 76 in., d. 28 1/2 in. [$800/1200]

1048. Antique English Inlaid Burled Walnut Armoire. mid‑19th c., cyma cornice, shaped paneled doors, fitted interior, block base, h. 82 in., w. 58 in., d. 24 in. [$1000/1500] 1049. Eight Antique Queen Anne‑Style Carved Walnut Dining Chairs, incl. 2 arms and 6 sides, foliate scrolled crest, vasiform splat, shepherd’s crook arms, shell scrolled knees, spade feet, armchair h. 41 in., w. 26 in., d. 24 in., side h. 41 in., w. 21 1/2 in., d. 18 in. [$3000/5000]

1050. William IV Carved Oak Writing Table, c. 1840, inset tooled leather top, two frieze drawers, Gothicized trestle supports, acanthus carved ball feet, casters, h. 30 1/2 in., w. 42 in., d. 25 in. [$1000/1500] 1051. Georgian‑Style Carved Oak Wine Table, demilune drop‑leaf top, square bracketed trestle legs, conforming stretcher, h. 28 1/2 in., w. 62 in., d. 15 in. [$800/1200] Provenance: Henry Stern, New Orleans, LA. Lot 1098, Neal Auction Company, February, 2012.

1052. Antique Regency‑Style Mahogany Two Pedestal Dining Table, molded inlaid top, spiral carved baluster standards, shell knees, pad feet, two leaves, h. 29 in., w. (closed) 80 in., w. (open) 120 in., d. 48 in. [$1200/1800] 1053. Georgian‑Style Inlaid Walnut Sideboard, molded top, central drawer over cabinet, two drawers each side, tapered legs, h. 38 in., w. 60 in., d. 19 in. [$600/900]

1054. Antique Regency Bullseye Mirror, 19th c., surmounted by spreadwing eagle, coved spherule mounted surround, convex mirror plate, scroll and shell pendant, h. 35 1/2 in., w. 22 in. [$300/500]

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1055. English Mahogany Desk, inset leather top, kneehole configuration of drawers, blocked base, h. 30 in., w. 54 1/2 in., d. 29 in. [$150/250] Provenance: By repute, Royal Antiques, New Orleans, LA; Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans

1056. 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]

1057. Pair of Charles X‑Style Inlaid Mahogany Armchairs, barrel back with scrolled arms, bracketed cabriole legs., h. 36 1/2 in., w. 24 in., d. 20 in. [$1800/2500] 1058. Louis Philippe Mahogany Commode, mid‑19th c., gris marble top, frieze drawer over three drawers, bracket feet, h. 41 in., w. 51 1/2 in., d. 21 1/2 in. [$1000/1500] Provenance: Whisnant Galleries Collection, New Orleans, LA. 1059. American Rococo Rosewood Etagere Cabinet, New York, superstructure with pierced carved fruit crest, 2 shelves, mirror back, C scroll eagle supports, shaped white marble top, conforming case with canted corners, fruit pendants, 2 drawers over mirrored doors, shelf interior, scroll blocked base, h. 70 in., w. 48 1/2 in., w. 21 in. [$1500/2500]

1060. Three Italian‑Style Carved Oak Swivel Bar Stools, scrolled back and arms, acanthine S scroll standard, brass foot pegs, molded square base, h. 47 in., w. 20 in., d. 25 in. [$1000/1500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

1062. 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.) [$500/700]

1061. 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. [$300/500]

1063. Antique Pine Harvest Table, 19th c., four board top, tapered legs, h. 30 in., w. 72 in., d. 33 1/2 in. [$400/600] Provenance: By repute, Charbonnet & Charbonnet Antiques, New Orleans, LA; Collection of Note Preservationist and Aesthete Dorian M. Bennett, New Orleans

1064. Antique Louis XV‑Style Fruitwood Parquetry Poudreuse, lift top with inset mirror, two drawers, cabriole legs, h. 29 in., w. 16 1/4 in., d. 13 1/2 in. [$600/900]

1065. Pair of Dutch Marquetry Demilune Tables, blind frieze drawer, tapered legs, incurvate stretcher shelf, h. 30 in., w. 23 in., d. 12 in. [$300/500]

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1067. Monumental Continental Rouge Marble Pedestal, 19th c., molded top, tapered standard, molded plinth base, h. 48 1/2 in., w. 20 1/2 in., d. 20 1/2 in. [$800/1200]

1066. Louis XV‑Style Bronze‑Mounted Parquetry Demilune Commode, shaped rouge marble top, three drawers, cabriole legs, sabots, h. 34 in., w. 34 1/2 in., d. 14 in. [$400/600]

1071. Group of Twelve Antique French Fruitwood LyreBack Dining Chairs, scrolled tablet back, rush seats, stretchered tapered legs, h. 35 3/4 in., w. 17 in., d. 20 in. [$1000/1500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

1073. Antique Regence‑Style Carved Walnut Bench, reeded os de mouton legs and stretcher, damask upholstery and tassel trim, h. 18 in., w. 24 in., d. 12 1/2 in. [$300/500] Provenance: Empire Antiques.

1076. Seven Weller Polychrome Pottery Planters, 20th c., marked, bodies with floral designs, largest h. 8 1/2 in., dia. 10 1/2 in. [$300/500]

1078. Four Weller Polychrome Pottery Table Objects, marked, incl. 3 bud vases, and reticulated jardiniere, jardiniere h. 5 1/2 in., w. 7 1/2 in., d. 7 1/2 in. [$200/400]

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Provenance: Neal Auction Company, June 2014, lot 748.

1070. Antique Dutch Neoclassical Marquetry Walnut Sofa, shaped back, floral garland, outscrolled arms, shaped apron, scrolled feet, h. 35 1/2 in., w. 79 in., d. 26 in. [$1000/1500]

1069. French Provincial‑Style Walnut and Parquetry Dining Table, diapered apron, foliate knees, cabriole legs, raised scrolled feet, 2 built‑in leaves, h. 31 in., w. (closed) 39 in., w. (open) 108 in., d. 62 1/2 in. [$400/600]

1075. Roseville “Carnelian” Pottery Vase, early 20th c., h. 5 in., w. 6 1/2 in. [$200/300]

1068. Antique French Verte Peinte Encoignure, early 19th c., in two parts, upper case with cavetto cornice, two paneled doors; conforming lower case fitted with paneled doors, plinth base, h. 98 in., w. 33 1/2 in., d. 24 in. [$1500/2500]

1072. French Rosewood Prie‑Dieu, c. 1850, padded top, pierced splat centering crucifix, upholstered kneeler, cabriole legs, h. 33 in., w. 20 in., d. 19 in. [$150/250]

1074. 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. [$200/400]

1077. Weller “Blue Ware” Pottery Vase, early 20th c., impressed mark, body with Classical maidens dancing in a garden, h. 12 in., dia. 6 1/2 in. [$400/600]

1079. Six Weller Polychrome Pottery Vases, marked, incl. three “Dupont” vases; others with blue rims and flowers, largest h. 10 1/2 in., dia. 5 1/2 in. [$300/500]

1080. Five Weller Polychrome Art Pottery Vases marked, variously decorated with flowers, fruit and dogs, largest h. 8 in., w. 5 1/2 in. [$300/500]

1081. Five Weller Polychrome Pottery Vases, marked, variously decorated with birds, flowers and forests, largest h. 11 in., dia. 5 1/2 in. [$300/500]

1083. Two Weller High Glaze Pottery Vases, marked, brown glaze, red floral decoration, largest h. 8 in., w. 8 in., d. 3 1/2 in. [$150/250]

1082. Seven Weller Polychrome Pottery Table Objects, marked, incl. 4 candle holders, decorated with flowers and birds; 2 floral frogs; and a frog figurine, largest h. 2 1/2 in., dia. 5 1/2 in. [$300/500] 1084. Three Weller Polychrome Pottery Bowls, marked, decorated with flowers and birds, dia. 16 in. to 12 in. [$400/600]

1086. Italian Ebonized and Parcel Gilt Console, with pietra dura top, concave standard, four dolphin mounts, conforming shaped base, h. 35 in., w. 55 in., d. 24 1/2 in. [$2500/3500]

1085. Chinese School, 20th c., “Warrior with Spear, Possibly Guandi”, ink and color on paper, sight 28 7/8 in. x 17 1/2 in., matted, framed and glazed. [$250/350]

1087. Chinese School, “Mountainous Landscape”, ink on paper, bearing inscriptions and seals throughout, 37 1/8 in. x 17 1/4 in., mounted as a hanging scroll. [$200/300] Provenance: Estate of New Orleans Antiquarian Richerson Rhodes.

1088. Utagawa Kunisada (Japanese, 1786‑1865), woodblock print triptych, overall sight 14 x 29 1/2 in., double matted and framed. [$100/200]

1089. Utagawa Kunisada II (Japanese, 1823‑1880), “Kocho (Butterfly)”, woodblock print from series “Lady Murasaki’s Genji Cards”, sight 12 3/4 in. x 9 in., double matted and framed. [$100/150]

1090. Japanese Woodblock Prints, 19th c., incl. triptych depicting sumo wrestlers, overall sight 13 1/2 in. x 26 1/2 in., and single depicting Beauties by a brazier, sight 15 in. x 9 5/8 in., both matted and framed (2 pcs.) [$100/150]

1091. Chinese Carved and Painted Lacquer Eight Panel “Coromandel” Screen, carved with ladies at leisurely pursuits in a garden setting with pavilions, reverse with birds on branches, h. 96 in., w. 145 in. [$500/800]

1092. Asian Turquoise and Coral Embellished Gilt Filigree Shrine with Rock Crystal Guardian Figure, figure carved seated on a lotus base before a flaming mandorla on a stepped plinth inset with gems before a further mandorla, h. 6 in., w. 4 in., d. 2 1/2 in. [$400/600]

1093. Pair of Chinese Hardstone Embellished Soapstone and Hardwood Small Table Screens, jadeite, quartz and agate decoration, with birds amid flowering branches and rocks, h. 11 5/8 in., w. 7 3/4 in. [$200/300]

1094. Highly Decorative Pair of Chinese Famille Rose Porcelain Hu Vases on Gilt Bronze Stands, porcelain with bird‑and‑flower roundels and floral sprays, stands with reticulated aprons set with portrait busts, scroll legs embellished with floral sprays, finialed stretchers, h. 48 in. [$2500/3500]

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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 21/04M

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 “Conditions Sale” 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 “Conditions Sale” in the catalogue. I understand that or for any error in the of bids. IIIhave read and agree toto the ofof Sale” asas stated instated the I understand to execute or for any error inexecution the execution of of bids. I have read and agree to“Conditions the “Conditions of Sale” as stated incatalogue. the catalogue. I understand toure execute bids, orbids, forbids, error inerror the ofexecution bids. I bids. have agree to the “Conditions of Sale” 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 “Conditions ofof Sale” as stated in the catalogue. understand that to execute bids, any error in the execution of bids. have read and agree the “Conditions Sale” stated in the catalogue. III understand that a aabuyer’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 buyer’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 buyer’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 abuyer’s buyer’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. aabuyer’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 buyer’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, buyer’s premium shall be discounted of 22%. No exceptions. purchase by cash, or wire transfer within 15 days of the auction, the buyer’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 buyer’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 buyer’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 buyer’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 buyer’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 buyer’s premium shall be discounted of this 25%. No exceptions.

Signature Required Signature Required Signature Required Signature Required

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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 4/15/21 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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0411 - 1830 0412 - 4160 0413 - 2000 0414 - 7680 0416 - 1920 0419 - 2560 0421 - 7360 0422 - 2196 0424 - 3375 0425 - 2196 0427 - 2500 0428 - 610 0429 - 1920 0430 - 1280 0431 - 14640 0432 - 812 0433 - 812 0434 - 7360 0435 - 8640 0436 - 5000 0437 - 5120 0438 - 2000 0439 - 1664 0441 - 896 0442 - 1152 0443 - 704 0443A - 7360 0444 - 549 0445 - 3456 0446 - 7680 0447 - 1536 0448 - 312 0449 - 854 0450 - 625 0451 - 610 0452 - 768 0453 - 2562 0455 - 4687 0456 - 671 0457 - 1024 0458 - 1830 0462 - 8640 0463 - 11840 0464 - 1342 0465 - 10240 0466 - 896 0467 - 1920 0469 - 4160 0470 - 4800 0471 - 18300 0472 - 12200 0473 - 4375 0474 - 13420 0475 - 3965 0476 - 4880 0477 - 576 0478 - 832 0479 - 1037 0481 - 610 0482 - 832 0483 - 671 0484 - 1792 0485 - 1152 0486 - 7680 0487 - 2440 0488 - 1464 0489 - 793 0490 - 1920 0491 - 18300 0492 - 1830 0493 - 1024 0494 - 43920 0495 - 2816 0496 - 20740 0497 - 25600 0498 - 26880 0499 - 20740 0500 - 1250 0502 - 11250 0503 - 10980 0506 - 3250 0507 - 2816 0508 - 6720 0509 - 8235 0510 - 18910 0511 - 5185 0512 - 18300 0513 - 2176 0514 - 39040 0515 - 10980 0516 - 2688 0518A - 512 0520 - 832 0521 - 2562

0522 - 2318 0523 - 11590 0524 - 4880 0525 - 35380 0527 - 5490 0529 - 8125 0530 - 5185 0531 - 4880 0533 - 6400 0534 - 18910 0535 - 3660 0536 - 3072 0537 - 1464 0538 - 10240 0539 - 3294 0540 - 3538 0541 - 3660 0543 - 448 0544 - 732 0546 - 2816 0547 - 4480 0548 - 1037 0549 - 1152 0550 - 1586 0552 - 21960 0553 - 1220 0554 - 9760 0556 - 1220 0559 - 2048 0561 - 2318 0562 - 4270 0562A - 2625 0563 - 6100 0564 - 3200 0565 - 768 0566 - 1952 0568 - 1586 0569 - 1280 0570 - 3538 0571 - 854 0572 - 2806 0573 - 2432 0574 - 2432 0575 - 1342 0579 - 1830 0581 - 1750 0582 - 1792 0583 - 2074 0586 - 1464 0587 - 2500 0590 - 576 0593 - 1280 0596 - 1024 0597 - 1342 0598 - 3965 0599 - 3840 0600 - 2944 0601 - 2806 0602 - 4480 0603 - 1830 0604 - 1280 0605 - 1464 0606 - 2684 0607 - 24320 0608 - 640 0609 - 1586 0610 - 384 0611 - 1098 0612 - 854 0613 - 1220 0615 - 640 0616 - 2048 0617 - 1098 0618 - 512 0620 - 1750 0621 - 4062 0622 - 1536 0623 - 250 0624 - 1125 0625 - 320 0626 - 832 0627 - 250 0628 - 256 0629 - 640 0630 - 671 0631 - 2816 0632 - 1792 0633 - 625 0634 - 3172 0635 - 30500 0636 - 3072 0637 - 1830 0638 - 1342 0639 - 2074

0640 - 1792 0642 - 750 0644 - 2684 0645 - 7320 0646 - 1000 0647 - 1280 0648 - 3328 0649 - 3538 0650 - 1586 0651 - 1375 0652 - 2304 0653 - 2816 0655 - 1792 0656 - 1464 0657 - 2440 0659 - 640 0660 - 468 0661 - 896 0662 - 1342 0663 - 1024 0665 - 896 0666 - 3328 0667 - 1664 0668 - 704 0670 - 549 0671 - 312 0672 - 875 0673 - 3660 0674 - 3660 0675A - 1024 0676 - 366 0677 - 183 0678 - 704 0679 - 3456 0680 - 256 0681 - 610 0685 - 1220 0686 - 1586 0687 - 2074 0689 - 1952 0690 - 1152 0692 - 976 0693 - 2750 0694 - 960 0695 - 960 0696 - 1920 0697 - 192 0698 - 750 0699 - 305 0700 - 1408 0701 - 1098 0702 - 1342 0704 - 1220 0705 - 6720 0706 - 896 0707 - 1159 0708 - 192 0709 - 1152 0710 - 976 0711 - 976 0712 - 1024 0713 - 875 0714 - 960 0715 - 2048 0716 - 448 0717 - 671 0718 - 732 0719 - 488 0720 - 1664 0721 - 896 0722 - 4160 0723 - 1152 0724 - 1342 0725 - 915 0727 - 1664 0728 - 915 0729 - 512 0731 - 2196 0732 - 384 0733 - 5625 0734 - 5440 0735 - 2432 0736 - 704 0738 - 1664 0739 - 896 0741 - 704 0742 - 256 0743 - 320 0745 - 366 0746 - 488 0747 - 305 0748 - 1408 0749 - 256 0750 - 640

0751 - 1952 0752 - 1536 0753 - 732 0754 - 671 0755 - 576 0758 - 896 0759 - 128 0760 - 187 0761 - 1586 0762 - 1664 0763 - 2944 0764 - 1408 0765 - 4160 0766 - 1664 0768 - 2432 0769 - 512 0770 - 512 0771 - 1220 0772 - 384 0774 - 128 0775 - 250 0776 - 976 0777 - 3660 0778 - 4800 0779 - 576 0780 - 6250 0782 - 576 0783 - 1408 0784 - 320 0786 - 960 0787 - 366 0788 - 671 0790 - 1875 0791 - 218 0792 - 448 0793 - 366 0794 - 1220 0795 - 366 0796 - 562 0798 - 2560 0799 - 610 0800 - 1024 0801 - 1088 0802 - 732 0803 - 192 0804 - 976 0805 - 448 0806 - 192 0807 - 128 0808 - 480 0809 - 244 0810 - 687 0811 - 128 0812 - 671 0813 - 610 0815 - 1024 0816 - 320 0818 - 896 0819 - 1408 0821 - 1408 0822 - 384 0823 - 512 0824 - 1375 0825 - 183 0827 - 915 0828 - 1875 0829 - 512 0830 - 192 0831 - 549 0832 - 1464 0833 - 875 0835 - 960 0836 - 320 0837 - 1920 0838 - 2875 0839 - 1408 0840 - 192 0841 - 384 0842 - 192 0843 - 192 0844 - 512 0846 - 1088 0850 - 448 0851 - 1152 0853 - 768 0855 - 1024 0856 - 1250 0857 - 1250 0858 - 1536 0859 - 2196 0861 - 915 0862 - 960 0863 - 312 0864A - 384

0865 - 512 0866 - 1830 0867 - 96 0868 - 1024 0869 - 793 0870 - 832 0871 - 448 0872 - 732 0873 - 915 0874 - 2432 0875 - 3375 0876 - 915 0878 - 640 0879 - 366 0880 - 192 0881 - 832 0883 - 671 0884 - 1280 0889 - 1464 0890 - 512 0891 - 1792 0892 - 1098 0893 - 1664 0894 - 1280 0895 - 1920 0896 - 2688 0897 - 1536 0898 - 1216 0899 - 512 0900 - 375 0901 - 1342 0902 - 2440 0903 - 732 0904 - 448 0906 - 671 0907 - 640 0908 - 671 0909 - 192 0910 - 448 0913 - 2304 0914 - 1830 0915 - 1750 0916 - 562 0917 - 562 0918 - 976 0919 - 384 0920 - 256 0921 - 732 0922 - 256 0923 - 768 0924 - 437 0925 - 320 0926 - 576 0929 - 384 0930 - 427 0931 - 427 0932 - 1250 0933 - 2500 0934 - 2500 0935 - 3200 0936 - 7015 0937 - 7015 0940 - 960 0941 - 448 0943 - 2048 0944 - 1664 0945 - 832 0945A - 2625 0946 - 2806 0947 - 1664 0948 - 2806 0949 - 1830 0950 - 1792 0951 - 4480 0952 - 2196 0953 - 640 0955 - 1152 0956 - 1088 0957 - 625 0958 - 704 0959 - 488 0960 - 576 0961 - 768 0962 - 512 0963 - 576 0964 - 576 0965 - 1125 0966 - 1664 0967A - 1625 0968 - 384 0969 - 256 0970 - 448 0970A - 1187 0971 - 375

0972 - 1408 0973 - 250 0974 - 1280 0975 - 192 0976 - 1536 0977 - 1586 0978 - 1037 0979 - 854 0981 - 384 0982 - 244 0983 - 387 0984 - 732 0985 - 305 0986 - 250 0987 - 250 0988 - 325 0989 - 562 0990 - 187 0991 - 832 0992 - 854 0993 - 384 0994 - 896 0995 - 384 0996 - 732 0997 - 640 0998 - 384 0999 - 1750 1001 - 704 1003 - 1375 1005 - 2684 1007 - 448 1009 - 2562 1010 - 832 1011 - 192 1012 - 1220 1013 - 937 1014 - 960 1015 - 640 1016 - 793 1017 - 1216 1018 - 312 1020 - 1125 1021 - 549 1022 - 1152 1023 - 1159 1024 - 1536 1025 - 2688 1026 - 4880 1027 - 2688 1028 - 1342 1030 - 2625 1031 - 1536 1032 - 4880 1033 - 896 1034 - 640 1035 - 671 1036 - 1830 1037 - 3000 1038 - 768 1039 - 3965 1040 - 5795 1041 - 854 1042 - 671 1043 - 1216 1044 - 1152 1045 - 1464 1046 - 768 1048 - 1098 1049 - 384 1051 - 704 1052 - 832 1053 - 375 1055 - 896 1057 - 256 1058 - 1037 1059 - 512 1060 - 305 1061 - 320 1062 - 768 1063 - 256 1064 - 488 1065 - 3200 1066 - 3172 1067 - 640 1068 - 1088 1069 - 1536 1070 - 1375 1071 - 512 1072 - 875 1073 - 875 1074 - 320 1075 - 448 1076 - 549 1077 - 1098

1077A - 732 1078 - 854 1079 - 896 1080 - 1830 1081 - 640 1082 - 976 1083 - 384 1084 - 793 1085 - 448 1086 - 1088 1087 - 750 1088 - 448 1089 - 1342 1090 - 610 1091 - 1024 1092 - 793 1093 - 2816 1094 - 11840 1095 - 1024 1096 - 1216 1097 - 1280 1098 - 1037 1099 - 1342 1100 - 384 1101 - 448 1102 - 500 1103 - 960 1104 - 2176 1105 - 320 1106 - 192 1107 - 704 1108 - 4480 1110 - 3050 1111 - 832 1112 - 732 1113 - 671 1114 - 1830 1115 - 1216 1116 - 12200 1117 - 1952 1118 - 192 1119 - 244 1120 - 1952 1121 - 187 1122 - 768 1124 - 625 1125 - 93.75 1126 - 2560 1127 - 732 1128 - 1088 1130 - 704 1132 - 3328 1133 - 1408 1134 - 7320 1135 - 320 1137 - 320 1138 - 1159 1139 - 1152 1140 - 1408 1141 - 125 1142 - 125 1143 - 512 1144 - 976 1145 - 576 1146 - 512 1147 - 3712 1148 - 1408 1149 - 448 1150 - 512 1151 - 256 1152 - 704 1153 - 488 1154 - 671 1155 - 854 1156 - 1098 1157 - 793 1158 - 488 1162 - 384 1163 - 192 1164 - 1920 1165 - 640 1166 - 576 1167 - 610 1168 - 448 1170 - 384 1171 - 549 1172 - 256 1173 - 812 1174 - 915 1175 - 2928 1176 - 192 1177 - 732 1178 - 312 1179 - 896

1180 - 854 1181 - 704 1182 - 320 1184 - 256 1186 - 960 1187 - 312 1188 - 256 1189 - 256 1190 - 448 1191 - 128 1192 - 187 1193 - 448 1195 - 250 1196 - 625 1197 - 687 1198 - 640 1199 - 1152 1200 - 312 1201 - 366 1202 - 187 1203 - 96 1204 - 128 1205 - 1024 1206 - 305 1207 - 366 1208 - 640 1209 - 2806 1210 - 512 1211 - 183 1212 - 128 1213 - 244 1214 - 512 1215 - 256 1216 - 468 1217 - 576 1218 - 793 1219 - 937 1220 - 1000 1221 - 976 1222 - 960 1224 - 384 1226 - 448 1227 - 320 1228 - 192 1229 - 7320 1230 - 256 1231 - 256 1232 - 183 1234 - 960 1235 - 384 1237 - 192 1238 - 256 1240 - 96 1241 - 256 1242 - 448 1243 - 384 1244 - 183 1245 - 192 1246 - 896 1248 - 384 1249 - 384 1250 - 768 1251 - 1830 1252 - 832 1253 - 192 1255 - 768 1256 - 305 1257 - 1708 1258 - 96 1259 - 437 1260 - 384 1261 - 1088 1262 - 960 1263 - 1220 1264 - 976 1265 - 671 1266 - 320 1268 - 875 1270 - 384 1271 - 312 1272 - 375 1273 - 128 1274 - 488 1275 - 366 1276 - 64 1277 - 192 1279 - 1220 1280 - 1342

February 5, 6 & 7, 2021

0188 - 2806 0189 - 6400 0190 - 768 0191 - 1152 0192 - 1152 0193 - 4270 0194 - 2304 0195 - 1220 0196 - 1625 0197 - 1664 0198 - 3660 0199 - 768 0200 - 2688 0201 - 2196 0202 - 2432 0203 - 1024 0204 - 854 0205 - 610 0206 - 4270 0207 - 2176 0208 - 1088 0209 - 320 0210 - 2944 0211 - 14640 0212 - 8540 0213 - 6875 0213A - 2196 0214 - 576 0215 - 3708 0216 - 4880 0217 - 1664 0218 - 1586 0219 - 1830 0220 - 4575 0221 - 3520 0222 - 4514 0223 - 1952 0225 - 6080 0226 - 6100 0227 - 960 0228 - 7360 0229 - 832 0231 - 3200 0232 - 4480 0233 - 2500 0234 - 4575 0235 - 2137 0236 - 2688 0237 - 1220 0239 - 2135 0243 - 640 0244 - 1280 0245 - 375 0246 - 1408 0247 - 1342 0248 - 1830 0249 - 4160 0250 - 1280 0251 - 2562 0252 - 2196 0253 - 2086 0256 - 869 0257 - 3072 0258 - 4575 0259 - 768 0260 - 1220 0261 - 7625 0262 - 640 0263 - 512 0265 - 1088 0266 - 366 0267 - 610 0268 - 256 0269 - 671 0270 - 1342 0271 - 2688 0272 - 976 0273 - 1920 0274 - 732 0275 - 448 0276 - 1062 0277 - 1088 0279 - 256 0281 - 1408 0282 - 2074 0283 - 704 0284 - 2440 0286 - 2684 0287 - 488 0289 - 1098 0290 - 896 0291 - 640 0293 - 1220 0294 - 915

•

0095 - 1952 0096 - 1664 0097 - 384 0098 - 1792 0099 - 10370 0100 - 6875 0101 - 1408 0102 - 4270 0103 - 1408 0104 - 2875 0105 - 2816 0106 - 1664 0107 - 4160 0107A - 1098 0108 - 3050 0109 - 2560 0110 - 1152 0111 - 1586 0112 - 1024 0113 - 1216 0114 - 1708 0115 - 1664 0116 - 896 0117 - 896 0118 - 1664 0119 - 2304 0120 - 1920 0121 - 1088 0122 - 7040 0123 - 2560 0124 - 6400 0125 - 1920 0126 - 768 0127 - 1088 0128 - 1280 0129 - 1088 0130 - 1500 0131 - 1792 0132 - 2944 0133 - 1664 0134 - 6875 0135 - 3328 0136 - 1408 0137 - 1152 0138 - 3500 0139 - 3200 0140 - 4270 0141 - 3625 0142 - 1216 0143 - 2806 0144 - 1464 0145 - 7625 0146 - 4480 0147 - 7040 0148 - 2048 0149 - 3712 0150 - 4160 0151 - 2176 0152 - 2250 0153 - 2176 0154 - 2944 0155 - 3712 0156 - 2688 0157 - 3328 0158 - 8640 0159 - 5185 0160 - 4575 0161 - 704 0162 - 3750 0163 - 2432 0164 - 793 0165 - 1952 0166 - 1098 0167 - 488 0168 - 2176 0169 - 2318 0170 - 3750 0171 - 3660 0172 - 3200 0173 - 768 0174 - 3294 0175 - 854 0176 - 1062 0177 - 1216 0178 - 2880 0179 - 512 0180 - 1220 0181 - 3200 0182 - 1920 0183 - 3840 0184 - 8000 0185 - 7040 0186 - 3538 0187 - 13440

Auction Results

0001 - 312 0002 - 6080 0003 - 1920 0004 - 687 0005 - 17080 0006 - 4375 0007 - 6100 0008 - 3456 0009 - 2048 0010 - 1952 0011 - 4270 0012 - 4800 0013 - 11285 0014 - 7930 0015 - 7015 0016 - 768 0017 - 6720 0018 - 768 0019 - 4160 0020 - 2176 0021 - 3072 0022 - 2432 0023 - 976 0024 - 2688 0025 - 3294 0026 - 2432 0027 - 1830 0028 - 38400 0029 - 5120 0030 - 1500 0031 - 1125 0032 - 1088 0033 - 896 0034 - 2928 0035 - 1088 0036 - 1792 0037 - 4687 0038 - 915 0039 - 1586 0040 - 5440 0041 - 256 0042 - 8000 0043 - 1280 0044 - 2318 0045 - 1220 0046 - 4800 0047 - 8125 0048 - 7680 0049 - 3660 0050 - 5185 0051 - 2304 0052 - 42700 0053 - 19200 0054 - 8640 0055 - 3250 0056 - 4800 0057 - 2048 0058 - 1920 0059 - 2176 0060 - 1408 0061 - 2684 0062 - 5440 0063 - 854 0064 - 2196 0065 - 19520 0066 - 1920 0067 - 2196 0068 - 2048 0069 - 1920 0070 - 4270 0071 - 6400 0072 - 3200 0073 - 4062 0074 - 3200 0075 - 15860 0076 - 8125 0077 - 4880 0078 - 20625 0079 - 4480 0080 - 26840 0081 - 3712 0082 - 3200 0083 - 2196 0083A - 2000 0084 - 9600 0085 - 1280 0086 - 1280 0087 - 2560 0088 - 875 0089 - 6710 0091 - 1500 0092 - 1708 0093 - 732 0094 - 1375

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PLEASE VISIT NEALAUCTION.COM TO REQUEST AND VIEW CONDITION REPORTS, REGISTER TO BID LIVE ONLINE, AND SUBMIT ABSENTEE/TELEPHONE BIDS CONDITIONS OF SALE; WAIVERS OF WARRANTY; LIMITATIONS OF LIABILITY Registering for and/or placing a bid at auction constitutes the acceptance of and agreement to these Conditions of Sale; WAIVERS OF WARRANTY; and LIMITATIONS OF LIABILITY (collectively, the “Conditions of Sale”). These Conditions of Sale are binding and enforceable on all bidders and buyers. 1. WARRANTY WAIVERS; LIABILITY LIMITATIONS. All lots are sold “AS IS, WHERE IS” – WITH ALL FAULTS and WITH NO EXPRESS OR IMPLIED WARRANTIES. No statement or description regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, value, size, or quality of a lot, whether made orally at the auction or at any other time, in electronic messages, online, in writing, or in a catalogue, website, correspondence, advertising, literature, or elsewhere, is or shall be construed to be a guarantee, an express or implied warranty, or assumption of liability, obligation, or responsibility. The bidder or buyer WAIVES any such warranty, WAIVES any warranty of fitness for ordinary use or for any intended use, and further WAIVES any warranty against redhibitory vices and defects, whether latent, hidden, or apparent, and whether imposed by the Louisiana Civil Code or any other applicable statute, law, jurisprudence, or legal authority. The buyer further WAIVES any rights or remedies in redhibition to a return or reduction of the purchase price for any lot, including for any lot with any defect rendering the lot useless, inconvenient, or of diminished usefulness. All sales are final, without exception.

Each bidder and buyer agrees and acknowledges that: (a) the bidder or buyer is not relying on Neal Auction Company’s actual, perceived, or expressed skill, expertise, experience, knowledge, or judgment in deciding to purchase any lot; (b) no oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value is the cause of or reason behind the buyer’s purchase of any lot; (c) the buyer would have purchased any lot regardless of any oral, written, or electronic statement or description about attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value, made in a catalogue, website, correspondence, advertising, literature, or elsewhere; (d) Neal Auction Company did not know, nor should it have known that attribution, authenticity, authorship, character, condition, kind, period, provenance, size, quality, or expressed value is the cause or reason why the buyer decides to purchase any lot; (e) the buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; (f) Neal Auction Company did not know, nor should it have known, that any oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere would cause a pecuniary or nonpecuniary loss to any bidder or buyer; (g) the bidder or buyer has had the opportunity prior to bidding to make independent inspections of, and conduct due diligence on, all lots being offered; (h) there is no inspection or examination period after the auction bidding; (i) the bidder’s or buyer’s failure to be fully informed as to the attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value of a lot will not be grounds for any reduction of the purchase price or rescission of the sale; (j) Neal Auction Company shall not be liable, obligated, or responsible for the presence of lead-based paint or any other environmental or other hazard of any lot; (k) Neal Auction Company shall not be liable, obligated, or responsible to the buyer as to third parties who may claims rights to or interests in any lot; (l) the buyer is buying at the buyer’s sole risk and peril; (m) Neal Auction Company shall not be liable, obligated, or responsible for any errors or omissions in any oral, written or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere. Each bidder and buyer WAIVES and RELEASES any and all claims arising out of the matters expressed above. All such waivers, releases, and limitations of liability shall apply to Neal Auction Company and its owners, officers, directors, representatives, insurers, agents, and employees. 2. Fine Art. Subject to the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, with respect to authorship of works of fine art, the following phrases have the following meanings: ARTIST - In our qualified opinion, we believe the work is by the artist named.

Attributed to ARTIST - In our qualified opinion, we believe the work may be ascribed to the artist named on the basis of style and period, but our opinion is less certain than in the previous category. Signed “ARTIST” - In our qualified opinion, the signature, monogram, or other indication of authorship is a signature of the artist. School of ARTIST - In our qualified opinion, the work is of the period of the artist named, by a student or a follower of the artist, but not by the artist. Manner of ARTIST - In our qualified opinion, although the work is in the style of the artist named, it is actually of a later period. After ARTIST - In our qualified opinion, the work is a copy of a known work of the artist named.

Bears signature “ARTIST” - In our qualified opinion, although the work bears the signature or monogram of the artist, the work most likely is not that of the artist. 3. Discretionary Rescission. Notwithstanding the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale of a work of fine art on the basis of authenticity of authorship only under the following terms, conditions, and LIMITATIONS OF LIABILITY, all of which apply, and the buyer WAIVES and RELEASES any other rights, relief or remedies: A. Neal Auction Company shall not grant rescission of any lot identified by the terms “attributed to,” “signed,” “school of,” “manner of,” “after,” or “bears signature.” B. Neal Auction Company shall not grant rescission of any lot unless the buyer notifies Neal Auction Company in writing within 25 calendar days from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale. C. Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written document signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery. D. Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the original buyer, and any rights or interests of the original buyer are not transferrable, inheritable, or assignable. E. Neal Auction Company shall not grant rescission when: (a) there is a conflict of expert opinion as to the authorship; (b) expert opinion supported authorship at the time of auction, although expert opinion may have changed afterward; and (c) scientific or other tests, examinations, investigations, research, or processes that were unavailable, expensive, or impractical at the time of the auction have revealed since that time that the author, character, condition, kind, provenance, period, quality, or value Neal Auction Company believed to be accurate at the time of sale was inaccurate. In any dispute between Neal Auction Company and the bidder or buyer regarding authorship of a work of fine art, rescission of the sale and refund of the purchase price paid shall be the buyer’s sole recourse or remedy, if

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any is available. Neal Auction Company (and its owners, officers, directors, representatives, agents, insurers, and employees) shall not be liable, obligated, or responsible for any damages (including compensatory, general, incidental, consequential, exemplary, or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorneys’ fees, or any other monetary, declaratory, equitable, or injunctive relief or remedy. The buyer WAIVES and RELEASES any and all such damages, relief, and remedies. AUCTION BIDDING AND SALE 1. The auctioneer shall have absolute discretion in determining the highest and best bid on each lot. The auctioneer may decide that any original bid is not commensurate with the value of the lot offered, or that any advance thereafter is not of sufficient amount, and the auctioneer may reject or refuse to recognize that bid or advance.

2. At the fall of the auctioneer’s hammer, the bidder acknowledged by the auctioneer, whether in person or absentee, thereupon assumes the obligation to pay for the offered lot, and shall pay the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs. 3. Title to the offered lot shall pass to the bidder acknowledged by the auctioneer upon payment of the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs. The buyer thereupon assumes full risk, obligation, and responsibility for the lot. 4. At any time before the sale of a lot, Neal Auction Company reserves the right to withdraw the lot or any part of the lot, to combine lots, or to separate items within a lot. 5.

No lots will be released before the end of the auction.

6. If the buyer fails to comply with any of these Conditions of Sale, Neal Auction Company reserves the right to (a) hold such defaulting buyer liable, obligated, and responsible for the total amount due and to commence legal proceedings to recover the entire amount along with interest, reasonable attorneys’ fees, expenses, and costs; (b) charge outstanding amounts to the buyer’s credit card; (c) apply any payments to outstanding amounts chosen by Neal Auction Company notwithstanding the instructions of the buyer; (d) cancel the sale, retaining as liquidated damages any payment made by the buyer; (e) resell the lot without reserve at public auction, online-only auction, or privately on seven calendar days’ notice to the buyer; (f) enforce specific performance of the sale; (g) require a deposit in future auctions; (h) exclude the buyer from future auctions or bidding on particular lots; (i) exercise the rights and remedies of a person holding security and/or privilege over property in Neal Auction Company’s possession, whether by pledge, security interest or any other mechanism, to the full extent allowed under Louisiana law, and Neal Auction Company may hold the property of the buyer as collateral security for the buyer’s obligations; (j) and/or take such other actions allowed by law in Neal Auction Company’s sole discretion. If Neal Auction Company resells the lot, the defaulting buyer shall be liable, obligated, and responsible for the payment of any deficiency in the purchase price and any damages, including but not limited to all costs and expenses of both sales, such as, by way of example only, storage, handling, insurance, repairs, illustrations, consultations, examinations, moving, shipping, promotions, advertising, reasonable attorneys’ fees, commissions, and incidental damages.

7. Virtually all lots offered have been subject to use over a considerable period of time. No mention of cracks, scratches, chips, tears, breaks, weaknesses, or any damages or wear will be included in oral, written, or electronic statements or descriptions in the catalogue, website, correspondence, advertising, or literature. Condition reports may be provided upon request, but condition reports may not mention all cracks, scratches, chips, defects, hazards, tears, breaks, weaknesses, or other damages or wear. Neal Auction Company makes no representations or warranties as to the accuracy or completeness of any information or description in a condition report or elsewhere, whether oral, written, electronic, or online. Neal Auction Company reserves the right to decline to provide a condition report for any specific lot, at its sole discretion. 8. Neither high nor low estimates in a catalogue, website, advertising, correspondence, literature, or elsewhere should be relied on as a representation, prediction, appraisal, guarantee, or warranty that a particular lot will sell for a particular price or that a particular lot has a particular value.

9. Neal Auction Company has absolute discretion to admit a bidder to the auction premises, to expel a bidder from the auction premises, or to refuse a bidder from participating in the auction. 10. Neal Auction Company and its auctioneers shall not be liable, obligated, or responsible for failure to recognize or execute any bids for any reason whatsoever, or for no reason. Bidders and buyers WAIVE and RELEASE any rights to damages, and equitable, declaratory, and injunctive relief arising out of the failure or rejection of any bid, or any errors or omissions relating to the bidding process. 11.

Interfering with the auction in any way is prohibited.

13.

Canvassing or solicitating on the auction premises is prohibited.

12. Bid rigging is strictly prohibited. Any agreement, understanding, or arrangement not to bid against another or otherwise to dampen the bidding is unlawful. The auctioneer reserves the right to bid on behalf of the consignor for the protection of the consignor if this illegal activity by two or more bidders is detected, disclosed, alleged, or suspected. 14. The auctioneer has the sole discretion as to the increments of bidding, the recognition of any bid, the acceptance of the final bid, and resolving any disputes among bidders.

15. Neal Auction Company represents the consignors only and is not acting as agent or representative of bidders or buyers. The payment of the buyer’s premium by the buyer does not indicate a dual agency relationship. Neal Auction Company is to be paid a fee or commission by the consignor pursuant to a separate written agreement between the consignor and Neal Auction Company. The consignor is the seller of the lot sold. Neal Auction Company is the consignment agent or representative, not the seller. 16. The successful bidder is obligated to pay the purchase price in full unless Neal Auction Company has consented in writing at the time of the bidder’s registration that the bidder is acting as an agent on behalf of an identified person and that said principal is obligated to pay the purchase price in full. Neal Auction Company reserves the right to require an advance deposit for such bids.

17. Prior to placing any bid, all bidders must complete a standard Neal Auction Company Registration Form in use at the time of the auction. 18.

Dealers must provide Neal Auction Company with proper documentation prior to bidding.

20.

Bids are required to be made in U.S. dollars.

19.

First time bidders are required to produce a valid state-issued identification card or passport.

21. Neal Auction Company may require a bidder or buyer at any time to produce financial, banking, or trade references and information.

22. All bidders are required to provide credit card information (such as but not limited to the type of card, card number, name as it appears on the card, billing zip code, expiration date, and security code).

23. All bidders are required to select, and notify Neal Auction Company of, a method of payment (cash, check, wire, or credit card) in writing at the time of registration. 24. Neal Auction Company reserves the right to describe or to make photographic, video, or audio recordings of the auction, or any part thereof, and to publish such descriptions, photographs and/or recordings.

25. Lots may be offered subject to a reserve, which is the confidential minimum hammer price below which the lot will not be sold, for the protection of the consignor. Such reserve will not exceed the low estimate for the lot. The auctioneer may open the bidding on any lot by placing a bid on behalf of the consignor, auctioneer, or an absentee bidder that is below the reserve. The auctioneer may continue to bid on behalf of the consignor, auctioneer, or absentee bidder up to the amount of the reserve, by placing consecutive bids or by bidding in response to other bidders. Neal Auction Company may sell a lot at a hammer price below the reserve at its discretion, subject to its agreement with the consignor. ABSENTEE/TELEPHONE/ONLINE BIDS 1. All absentee bids and/or telephone bids must be received by Neal Auction Company by 5 p.m. Central Time the Thursday prior to the auction. 2. All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at the discretion of Neal Auction Company. Each lot must have a minimum low estimate of $500 for telephone bidding. Absentee bids are accepted for any lots regardless of estimate, at the discretion of Neal Auction Company.

3. Neal Auction Company intends to endeavor to protect the confidentiality of absentee/telephone bids. In the event that the identity of absentee/telephone bidders or buyers or of the amounts of absentee/ telephone bids is disclosed, Neal Auction Company shall not be liable, obligated, or responsible for such disclosure, and each bidder and buyer WAIVES and RELEASES Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any claims arising out of such disclosure. 4. Neal Auction Company reserves the right, in its sole discretion, to require that any advance bids be accompanied by a security deposit.

5. Neal Auction Company shall not be liable, obligated, or responsible for any failure, design flaw, error, act, omission, or negligence of third party sites or their agents. Bidders WAIVE and RELEASE any rights to damages and equitable, declaratory, and injunctive relief and remedies arising therefrom.

HANDLING AND STORAGE

Unless other arrangements are made and confirmed in writing by Neal Auction Company, all lots must be removed within 15 calendar days of the auction. On the first business day following that time period, any lots remaining in the Neal Auction Company gallery may be turned over to a storage facility, at Neal Auction Company’s discretion. The buyer will be responsible for all handling and storage charges. Handling charges shall be a minimum of $50 per lot. Storage costs shall be a minimum charge of $50 per month per lot. Storage charges accrue monthly and must be paid in full before any lots purchased by the buyer are released. At its discretion, Neal Auction Company may charge the full amount of any storage and handling charges, on a periodic basis, on the buyer’s credit card, including interest at the rate of one and one-half percent per month.

All purchased lots will be handled and stored at the buyer’s sole risk and peril. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for handling or storage, or for any damage to or loss of, any lot after the sale. The buyer WAIVES and RELEASES all such claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees). INTELLECTUAL PROPERTY RIGHTS

Neal Auction Company retains the copyright and other intellectual property rights to all photographs, video, illustrations, text, and other works in its catalogue, website, advertising, correspondence, literature, and elsewhere. Such photographs, video, illustrations, text, and other works may not be used, copied, published, exhibited, revised, or displayed without the prior written permission of Neal Auction Company. Neal Auction Company and the consignor make no representation or warranty that the buyer of a lot will acquire any copyright or other intellectual property right or interest in the lot. IMPORT/EXPORT

9. Neal Auction Company reserves the right to record any telephone bidding or conversation relating to said bidding, or any part thereof, and to publish said recordings. By participating in telephone bidding, the bidder consents to such recording and publication, notwithstanding the laws or regulations of the state or jurisdiction of the bidder.

Lots made of or incorporating endangered or protected wildlife materials, irrespective of age or amount of material, may require a license or certificate authorizing export from the United States as well as relevant authorizations from the country of import. It is the responsibility of the bidder or buyer to determine and be satisfied that the requirements of any applicable laws and regulations applying to the transportation, whether international or interstate, can be met before bidding. The inability of a buyer to transport lots containing endangered or protected wildlife material is not a basis for cancellation or rescission of the sale or discount of the purchase price. Although licenses may be obtainable to export certain types of endangered species, some types may not be exported at all, and other types may not be resold in certain states in the United States. Neal Auction Company cannot assist the bidder or buyer in attempting to obtain the appropriate licenses and/or certificates, and bidders and buyers can be given no assurance that an export license or certificate can be obtained. Each bidder should verify with an attorney or qualified shipping company if uncertain as to whether a lot is subject to export/import license and certificate requirements and any other restrictions or prohibitions on the interstate transportation or exportation from the United States. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for any oral, written, or electronic advice given or representations made by it or by any shipping company, legal counsel, or other person. Buyers WAIVE and RELEASE any and all claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) relating to such advice and representations.

PAYMENT

MANDATORY AND EXCLUSIVE FORUM SELECTION; CHOICE OF LAW

6. Prior to placing any absentee, telephone, or online bid, all bidders are required to complete the applicable Registration Form prior to such bidding.

7. In the event of ambiguity, uncertainty, or discrepancy, the lot number and not the lot description on any bid will be deemed to be the lot on which the bid is made. 8. If more than one absentee bid on a particular lot is received with the same maximum bid amount, and that bid amount is the highest and best bid for the lot, the lot will be sold to the bidder whose absentee bid was accepted first by Neal Auction Company after receiving it. If a bid placed on a lot by a bidder who is physically present at the auction is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is physically present at the auction. If a bid placed on a lot by a bidder who is present at the auction (in person or by telephone) is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is present at the auction (in person or by telephone).

1. The successful bidder (except a successful online bidder) shall pay a buyer’s premium in the amount of 25% of the hammer price on each lot up to and including $200,000, plus 15% of the hammer price greater than $200,000. For payments made by cash, check, or wire transfer (except by online bidders) within 15 calendar days of the auction, the buyer’s premium will be discounted to 22%. 2. The successful online bidder shall pay a buyer’s premium in the amount of 28% of the hammer price on each lot. A discount for payments made by cash, check, or wire transfer is not available for purchases made by online bidders. 3.

In the event of any dispute, the Neal Auction Company sale record is conclusive.

4. Unless exempt by law, the buyer will be required to pay Louisiana and local taxes, and, if applicable, any federal luxury or other tax, on the total purchase price. 5. Documentation of tax exemption must be provided upon registration. Billing name and address of a bidder must agree with that on the sales tax exemption certificate. 6. Payment in full of the purchase price must be made by the successful bidder in U.S. Dollars within 15 calendar days of the auction. Interest charges of one and one-half percent per month shall apply to invoices paid after this period expires. Neal Auction Company reserves the right to require payment in full of the purchase price immediately following declaration of the successful bidder. 7. Payment for all jewelry purchases must be made by cash, check or wire transfer.

8. VISA, MasterCard, Discover, and American Express are accepted for payment of invoices (except jewelry) up to $25,000 per buyer. 9. Checks must be drawn on a U.S. bank. All lots shall be held by Neal Auction Company until the check clears.

10. The buyer’s signature on a registration form (or other writing with the buyer’s credit card number) gives Neal Auction Company permission to charge the buyer’s credit card the full amount of the buyer’s invoice if full payment is not received within 15 calendar days of the auction or, in Neal Auction Company’s discretion, to charge the buyer’s credit card later, with interest at the rate of one and one-half percent per month. PACKING, MOVING, SHIPPING, AND DELIVERY

Neal Auction Company may furnish information on packers, movers, or shippers for bidders or buyers making packing, moving, shipping, and delivery arrangements, but Neal Auction Company shall not be liable, obligated, or responsible therefore, and buyers retain packers, movers, and shippers at their own risk and peril. Shipping, moving, packing, and delivery arrangements and agreements are strictly between the buyer and the shipper, mover, or packer. Neal Auction Company shall not be liable, obligated, or responsible for any damage to property, including vehicles, or for any personal injuries of buyer or any third parties involved in packing, moving, shipping, or delivery. Buyers WAIVE and RELEASE Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any and all claims relating to packing, moving, shipping, and delivery of purchased lots, and any damage or injuries to persons or property arising therefrom.

Any action of any nature brought by a bidder or buyer against Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot in any court, whether federal or state, shall be brought exclusively in Orleans Parish, Louisiana. Every bidder and buyer agrees to submit to jurisdiction and venue in federal or state court in Orleans Parish, Louisiana, waives all objections or challenges to such jurisdiction or venue, and waives any rights to jurisdiction or venue in any other forum. Any dispute between the bidder or buyer and Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot shall be governed by the law of the State of Louisiana, notwithstanding any conflicts of laws principles. MISCELLANEOUS LEGAL PROVISIONS

If any part of these Conditions of Sale is held to be invalid, null, or unenforceable, that part shall be reformed so as to implement the intent of the parties as expressed herein, and any such holding shall not affect the remaining provisions of these Conditions of Sale, which shall remain in full force and effect, subject to reformation to implement the intent of the parties as expressed herein. The paragraph headings contained herein are for convenience of reference only and shall not affect the meaning or interpretation of these Conditions of Sale. All prior and contemporaneous representations, communications, and agreements, if any, between the bidder or buyer and Neal Auction Company (and any of its owners, officers, directors, representatives, insurers, agents, and employees) relating to any of the lots offered for sale or to the auction or sale are hereby superseded and merged into these Conditions of Sale, which are the entire and only contract between the bidder or buyer and Neal Auction Company relating to the subject matter herein. Any modifications, amendments, or waivers of these Conditions of Sale must be made in a writing signed by both Neal Auction Company and the bidder or buyer. In the event of any disputes arising out of the auction or sale of lots or these Conditions of Sale, Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated or responsible for any general, special, exemplary, incidental, or consequential damages (including but not limited to lost profits and attorneys’ fees). Every bidder and buyer WAIVES and RELEASES any rights to such damages. This LIMITATION OF LIABILITY does not, and is not intended to, enlarge or expand any rights or interests of a bidder or buyer that are restricted or limited elsewhere in these Conditions of Sale (including but not limited to the WARRANTY WAIVERS and LIABILITY LIMITATIONS set forth herein). These Conditions of Sale constitute a binding legal contract between Neal Auction Company and each bidder or buyer. Each bidder and buyer acknowledges having read and understood these Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY. All bidders and buyers further acknowledge that they enter into these Conditions of Sale of their own free will, with full authority, and under no duress or coercion.

125

2021 AUCTION SCHEDULE Online-only Auction June 3, 2021 Summer Estates Auction June 26 & 27, 2021 Fall Estates Auction September 11 & 12, 2021 Louisiana Purchase Auction November 20 & 21, 2021

HUNT SLONEM Auction Results March 11, 2021

126

0001 - $23,680

0019 - $21,960

0036 - $13,750

0054 - $13,440

0002 - $13,440

0020 - $10,370

0038 - $10,000

0056 - $488

0003 - $12,160

0021 - $7,040

0039 - $18,910

0057 - $9,600

0004 - $8,540

0022 - $10,370

0040 - $39,040

0058 - $8,540

0005 - $10,370

0023 - $14,720

0041 - $9,600

0059 - $9,760

0006 - $9,760

0024 - $21,960

0042 - $17,920

0061 - $12,160

0007 - $7,680

0025 - $10,980

0043 - $15,625

0062 - $12,160

0008 - $11,520

0026 - $9,600

0044 - $9,600

0063 - $8,320

0009 - $9,600

0027 - $15,360

0045 - $30,720

0064 - $6,400

0010 - $15,360

0028 - $6,562

0046 - $22,400

0065 - $17,280

0011 - $11,590

0029 - $10,880

0047 - $11,590

0066 - $10,240

0012 - $18,560

0030 - $7,930

0048 - $8,960

0067 - $17,690

0013 - $11,840

0031 - $3,840

0049 - $6,400

0068 - $15,360

0014 - $8,960

0032 - $5,120

0050 - $960

0069 - $23,040

0015 - $8,960

0033 - $30,500

0051 - $12,160

0070 - $5,760

0017 - $22,400

0034 - $19,840

0052 - $14,720

0071 - $9,760

0018 - $20,130

0035 - $28,800

0053 - $13,420

0072 - $12,200

This sale is dedicated to the memory of

Lin Emery (1926-2021)

a great American sculptor.

A Enrique Alferez, 471 American School, 689-691, 869, 923, 929 American School Folk Art, 899, 900 Laurence DeSaix Anderson, 793-796 Walter Inglis Anderson, 657-659, 761 (aft), 762 Benny Andrews, 680, 681 William Norman Arnold, 876 Paul Ashbrook, 755 John James Audubon (aft), 935-939

E Keith Eccles, 804, 805 Lawrence Edwardson, 400 John Encinias, 800 Knox Everson, 786, 787

I Italian School, 309 J Amy Jackson, 396, 397 Japanese School, 234, 239 Joseph Jefferson, 430 Myrtle Jones, 882 M. C. “5 Cent” Jones, 889, 890 K Ramon Kelly, 932 Martha Kennedy, 868 Sara Dodge Kimbrough, 879 Karl Knaths, 685 Ida Rittenberg Kohlmeyer, 469, 470 Korean School, 244 Adolph Kornengold, 401, 402 Max Kuehne, 686 Utagawa Kunisada, 1088, 1089

N Alice Neel, 682 George New, 756 T. M. Nicholas, 919 Paul Ninas, 488 Northern Italian School, 304 O Nell Pomeroy O’Brien (attr), 791 Edith Walker Oliver, 756 William Ousley, 877 Carol Owen, 1008 Auseklis Ozols, 493 P Jules Eugene Pages, 692 Domenico Pedrini, 296 Marie Adrien Persac, 437 Leon Pescheret, 756 Pablo Picasso, 602-604 Patricia Cannella Pilié, 655 Alred Pollentine, 1021 Frederick Polley, 756 Jean-Jacques Pradier (aft), 321 Q Clement Charles Henri Quinton, 310

T Emmitt Thames, 865 Mary Tillman Smith, 887 Théo Tobiasse, 485 Mose Tolliver, 885 Pat Trivigno, 776 Constant Troyon, 294 V Jean Joseph Vaudechamp, 434 Elisabeth Louise Vigee-Lebrun (mnr), 328 Emmanuel Villanis (aft), 318 Felix Virgous, 902 W Hubert Wackermann, 688 Harry Willson Watrous, 693 Walter Ernest Webster, 339 Dennis Westerling, 931 Estol Wilson, 327 Theodore “Fonville” Winans, 610-612 Franz Xaver Winterhalter (aft), 326 Karl Wolfe, 654 Ellsworth Woodward, 597, 881 Philips Wouwerman (circle), 302 Don Wright, 412 George Hand Wright, 494A Z George Zafero, 684 Federico Zuccaro (circle), 297 Francisco Zùñiga, 600

Artist Index

D Jan Frans Van Dael (attr), 325 Hippolyte Camille Delpy, 314 Mamie Deschillie, 907 James DeWoody, 481 Herman Mijnerts Doncker (attr), 307 Simon Johannes van Douw, 303 Alexander John Drysdale, 410, 411 George Bauer Dunbar, 477-479 William Dunlap, 661 George Valentine Dureau, 475, 769-772 Gaston Jules Louis Durel, 312 Caroline Wogan Durieux, 596

H James Carl Hancock, 755 Inge Hardison, 405 David Harlan, 933 William Hart, 335 Frank Hayden, 875 C. Hearn, 757 Colette Pope Heldner, 866, 867 Cora V. Helmbold, 922 William Hemmerling, 670 Willem de Heusch (circle), 298 Will Hinds, 399 Alice Y. Hirsh, 403 Julius Lars Hoftrup, 920 Lida Holley, 903, 904 Lonnie Holley, 891, 892 Emil Holzhauer, 883, 884 Ann Hornback, 492 Newton Reeve Howard, 406-409 Wilfred J. “Chick” Huettel, 789 Marie Atkinson Hull, 660 Nene Humphrey, 679 Clement Hunter, 665-667

M Alexander Mann, 334 Stig Marcussen, 790 Nicola Marschall, 429 François Masson, 1015 John McCrady, 599 P. Sander McNeal, 775 James Michalopoulos, 671 Jack R. Miller, 757 Kelley Millet, 926, 927 Reginald Mitchell, 906 C. Bennette Moore (aft), 758 Rodolfo Morales, 483, 484 Mathurin Moreau (aft), 317 Daniel Hernández Morillo (aft), 601 Hubert Morley, 755 Eddie Mormon, 782 Alice Latimer Moseley, 905

S Josephine Sacabo, 608 Elizabeth Sandia, 784 Edith M. Sansum, 878 Michael Sarisky, 928 Don Sawyer, 801-803 Rolph Scarlett, 925 Elisabeth Searcy, 757 Eve Gongsoulin Segura, 779 Arthur Silverman, 480 Edward Emerson Simmons, 662 Victor Simonin, 316 Bernice Sims, 886 Mary Sims (attr), 792 Louis Soonius, 315 Lamar Sorrento, 888, 894, 895 Southern School, 435, 598, 870 Spanish Colonial School, 698-702 Spanish School, 324 William Steene, 663, 664 Rhoda Brady Stokes, 668, 669 George Aldophus Storey, 337 Paul M. Stotts, 799 Charles C. Svenson, 756 Waldemar Swierzy, 767

•

C Joseph Lambert Cain, 487 John Reed Campbell, 413 Chinese School, 209, 1086, 1087 Francisco Coculilo, 482 Lisa Conrad, 606, 607 Continental School, 293, 300, 311, 323, 329, 330, 331, 332, 1014, 1016, 1017-1019 Colin Campbell Cooper, 695 Clyde Connell, 759, 760 Pamela Cornell, 696 George David Coulon, 432, 433 José-Mariá Cundín, 472-474, 727

G Edmond Gaultney, 774 John Genin, 880 German School, 299 Lorenzo E. Ghiglieri, 697 Boris Godunov, 494 John Gould, 336, 941 Ralph Griffin, 901 Shearly Grode, 476 Hans Grohs, 1009-1013

L Fred Larson, 868 Latin American School, 431 Le Pho, 141 Lord Frederic Leighton, 333 Hayley Lever, 924 Roy Lichtenstein, 773 Charles Longabaugh, 755 Ashley Longshore, 675, 676 Ludovico De Luigi, 768

April 16, 17 & 18, 2021

B Jules Bahieu, 308 Lamar Baker, 783 Errol Barron, 785, 788 Emerson Bell, 873, 874 Paul Berdanier, 755 Robin “The Beaver” Beverland, 893 Cyril Billiot, 898 N. Henry Bingham, 694 Jim Blanchard, 398 Aaron Bohrod, 765, 777, 778 Jonathan Borofsky, 766 Loy Bowlin, 896 Blake Boyd, 678 Rex Elson Brandt, 683 Adalie Margules Brent, 486 Alfred Thomas Bricher, 687 Joan Bridges, 897 British School, 338 Justus Brouwer (attr), 295 Alfred J. Warne Browne, 1022 Ann Brumby, 757 Andrew Bucci, 656 Willam Henry Buck, 428

F John Mackie Falconer, 763, 764 Harry Fenn, 921 James A. Fisher, 757 Katrina Flowers, 797, 798 Steven Forster, 609 French School, 301, 322 Adrian Fulton, 677 Rosalie Fulton, 930

R Theodor Recknagel, 1020 Willie Lucille Reed, 757 Frank Relle, 605 Noel Rockmore, 489-491, 780, 781 George Rodrigue, 592-595, 672-674 Robert Malcolm Rucker, 871, 872

127

Notes:

128

Neal Auction Company John R. Neal (1940-2018), Founder Michelle LeBlanc Leckert, CAI President

Katherine Hovas Senior Vice President

Marc Fagan Vice President Consignments

Bettine Field Carroll Vice President Business Development

ADMINISTRATION

Director of Administration & Finance Michelle LeBlanc Leckert, CAI Client Services / Accounts Receivables Rebekah Abernathy Database Management / Internet Auction Administrator Lisa Weisdorffer Bookkeeper Rita LaGrange-Perez Social Media Coordinator / Junior Cataloguer Cameron McHarg General Manager Jason Leckert

Graphics Director / Catalogue Design David Roberts Graphics Staff Sonya Contino Stephanie Do Ouro

Director of Operations Jerry Major

Books, Maps & Natural History Prints Marc Fagan Silver & Decorative Arts Katherine Hovas Asian Arts Bettine Field Carroll Consignments Administrator / Condition Report Manager Matthew Cohn

Director of Museum Services & Research Douglas Lewis, Ph.D., F.A.A.R. Trust & Estates Advisor Henry G. McCall Senior Appraiser Fine Arts Amanda Mantle Winstead

CATALOGUE CONSULTANTS Paintings & Fine Arts Amie Strickland

Operations Staff Charlie Clay Weston Guidry Bryan Desmasiliere Tremaine Major Kelvin Gibson Benjamin Rhodes EXHIBITION STAFF

AUCTIONEERS

Paintings, Prints & Photography Marney Robinson; Sophie Hirabayashi; Beth Sherwood; Casey Foote

Appraisals Marc Fagan

OPERATIONS

Cecile Ballard Cammie Mayer Margo Phelps

Furniture & Decorative Arts Josh Broussard

AUCTION SERVICES

GRAPHICS

Photography Jason Leckert Gerard Lewis Owen Murphy

CONSIGNMENTS

Yvette Semmes Carolyn Wogan Claire Whitmore

Michelle LeBlanc Leckert #1514 Bettine Field Carroll #1874 Marc Fagan #1935

Newcomb Pottery & Decorative Arts Sally Main Silver Carey Mackie Decorative Arts & Victoriana Ann M. Masson Jewelry Stephen A. Moses, GIA Graduate Gemologist