Fall Estates Auction - September 17 & 18, 2021

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Fall Estates Auction September 17 & 18, 2021 FEATURING:

Fine Art, Furniture and Decorative Objects from the Collection of Allison Kendrick, Carefully Curated for The Carroll-Crawford House, New Orleans Exceptional Early Works by Clementine Hunter from the Estate of Iris Brittain Rayford (1934-2018), Alexandria, LA A Family Collection of Louisiana Paintings Shearwater Pottery and Walter Anderson Artwork from a Gulf Coast Collector And Property of Others

EXHIBITION

Both galleries beginning Monday, September 13, 10 a.m. to 5 p.m.

AUCTION

Friday, September 17, beginning at 2:00 p.m., Lots 1-161 Saturday, September 18, beginning at 11:00 a.m., Lots 162-760

Please note that Neal Auction Company follows all protocols regarding maximum capacity, social distancing and masking.

Neal Auction Company Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 www.nealauction.com • 504-899-5329 LA Auc. Lic., Neal Auction Co. #AB-107 Leckert #1514, Carroll #1874, Fagan #1935, Robinson #A-188

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FINE ART, FURNITURE & DECORATIVE OBJECTS

FROM THE COLLECTION OF

ALLISON KENDRICK The Carroll-Crawford House, built in 1869 by Samuel Jamison for Joseph Carroll, is one of the most famous and striking properties in the Garden District. The threestory Italianate house is immediately recognizable due to its intricate cast iron balconies by Jacob Baumiller and distinctive pink stucco exterior. Carroll was a good friend of Mark Twain, who enjoyed many a soirée at the fabulous home where Carroll was said to have hosted lavish parties.

There have been several other notable owners, including Valentine Merz, founder of Faubourg Brewing Company (formerly Dixie Brewing Company) and Charles Crawford (whose sister, Josephine, was a well-known artist). Crawford was a celebrated local figure who reigned at Twelve Night, Atlanteans, Momus, Mystic, Proteus, Comus and Rex. He held opulent gatherings and encouraged his guests to don costumes stored in the attic as their attire for the evening. After purchasing the mansion in 2003, Allison Kendrick continued the home’s storied legacy as a space for revelry and beauty, even being named one of the country’s top party hosts in Salonniere’s 2018 ranking - a title she shared with several other prominent New Orleanians, including Julia Reed whose blockbuster estate Neal Auction offered earlier this year.

Kendrick, art patron and avant-gardiste, enlisted the help of friend and celebrated interior designer Richard Keith Langham to curate the interior of her home with furnishings designed by Langham himself, wonders from her many adventures abroad, and a superb collection of regional fine art and objets. The Crescent City, known for its laid-back charm and ebullient revelry, is well reflected in Langham’s design. As Sara Ruffin Costello writes in her book About Decorating: The Remarkable Rooms of Richard Keith Langham: “weaving cultures together, the house has all the exotica—history, mystery, beads and bourbon—that rightfully belong in this important port city.” In its long and illustrious history, The Carroll-Crawford House has served as a veritable salon and backdrop for the city’s most sensational intellectuals, artists, writers and storied guests, and one can only imagine the history this extraordinary landmark and its interiors has witnessed.

“If these walls could talk—besides telling naughty stories—the curtains, the fabrics, the custom carpets, and the myriad of details, along with the graciousness [Langham] has given us all, would say, ‘Thank you!’” – Allison Kendrick

Neal Auction Company is honored to offer a selection of fine art, furniture and decorative arts from the iconic collection of Allison Kendrick and The Carroll-Crawford House.

Photos by Trel Brock and © William Waldron / OTTO (designed by Richard Keith Langham)

EXCEPTIONAL EARLY WORKS

BY CLEMENTINE HUNTER FROM THE ESTATE OF

IRIS BRITTAIN RAYFORD (1934-2018) Neal Auction Company is pleased to present property from the Estate of Iris Brittain Rayford (1934-2018), Alexandria, LA Remembered fondly as a “Steel Magnolia,” Iris Brittain Rayford was the consummate strong southern woman who set a beautiful table and captivated as a storyteller. Born in Tioga, Louisiana, Rayford moved to Greenville, Mississippi following high school graduation to fulfill her lifelong dream of becoming a nurse. Just a few months shy of her goal, she married Robert “Bob” Rayford, later a Lieutenant Colonel in the Air Force, in 1955. The couple lived a life of service to their country and traveled extensively as a family with their children while Bob was stationed all over the world fighting four tours of war. Upon retirement from the military in 1971, the Rayfords returned home to Louisiana, family, and a new career in the healthcare industry. Following her husband’s unexpected passing in 1991, Mrs. Rayford continued to work in healthcare until the mid-1990s.

She was also an active part of her community, devoted to education, engaged in social organizations, and involved with many philanthropic causes. Rayford loved to travel, exploring all seven continents, and later in life, she divided her time between Louisiana and her island home on Antigua. She had a house on Cane River near Melrose Plantation for many years and enjoyed fishing and spending time along the river. Rayford’s love of the area undoubtedly attracted her to the work of Clementine Hunter – the single focus of her art collecting.

Beginning in the 1970s, Rayford amassed a tremendous and important group of Hunter paintings, concentrating particularly on early works and those featuring daily life on the Cane River or nearby Melrose. Many of her paintings have provenance in other famous Clementine Hunter collections and have been exhibited in museum exhibitions or published in monographs on the artist. Described by Art Shiver in the introduction to Clementine Hunter: Her Life and Art by Shiver and Tom Whitehead: “In lower Manhattan in New York City we were invited into a penthouse gallery inside the private home of one of America’s foremost collectors of Hunter’s art. Likewise, only a few miles from Melrose Plantation Iris Rayford gave us access to an incredible collection of Hunter’s early art that hangs in her Cane River home.” Rayford later displayed her collection in an historic Louisiana property adjacent to her house in Alexandria, where they remained very much a beloved part of her everyday life.

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Session One

Friday, September 17, 2 p.m.

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1. Pair of Late Georgian Carved and Inlaid Mahogany Demilune Consoles in the Adam Taste, early 19th c., urn and scroll frieze, bellflower decorated tapered legs, spade feet, h. 28 in., w. 41 in., d. 20 in. [$2000/4000] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Ill.: Costello, Sara Ruffin. About Decorating: The Remarkable Rooms of Richard Keith Langham.

New York: Rizzoli, 2017, p. 222.

2. Custom Richard Keith Langham Velvet and Cut Velvet Banquette, 1840s cut velvet back, mohair velvet seat, bullion fringe skirt, h. 37 in., w. 104 in., d. 40 in. [$1500/2500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Ill.: Costello, Sara Ruffin. About Decorating: The Remarkable Rooms of Richard Keith Langham. New York: Rizzoli, 2017, p. 222.

3. French Provincial Rosewood Tall Case Clock, early 19th c., porcelain dial signed “Barre a Brusque”, brass repousse surround, h. 106 in., w. 20 in., d. 9 in. [$400/600]

4. Pair of Renaissance Walnut Armchairs, late 19th c., ram’s heads arms, acanthus scroll seat rail, stretcher, h. 39 in., w. 21 in., d. 21 in. [$400/600]

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Ill.: Costello, Sara Ruffin. About Decorating: The Remarkable Rooms of Richard Keith Langham. New York: Rizzoli, 2017, p. 222.

5. Pair of Carved Wood Pinecone Finials, 20th c., h. 15 1/2 in., dia. 7 1/4 in. [$150/250] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

6. French Provincial Fruitwood Dough Box, 19th c., bread board top, splayed leg base, h. 30 in., w. 69 1/2 in., d. 32 1/2 in. [$400/600] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

7. American Pine Trunk, 19th c., iron hardware, hinged lid, h. 18 1/2 in., w. 40 1/2 in., d. 22 in. [$200/300] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

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8. Provincial Armchair, 19th c., back with baluster turned spindles, rush seat, h. 41 in., w. 30 1/2 in., d. 22 in. [$150/250] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

9. French Provincial Carved Oak Vaisselier, 19th c., arched crest centering shelves over drawer and doors, flanked by tall cupboards, scroll feet, h. 76 in., w. 83 in., d. 19 1/4 in. [$500/700] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

10. Ten Pieces of American Art Pottery, incl, 4 green glaze vases, h. (tallest) 11 1/2 in.; 3 brown glaze vases, h. (tallest) 10 in.; 2 ruffle rim dishes, dia. 6 1/4 in.; and bowl, dia. 7 in. [$300/500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

11. Three Pieces of American Art Pottery, incl. matte blue glaze basket‑form dish, dia. 8 1/2 in.; green glaze handled vase, h. 6 1/2 in.; and blue glaze vase, h. 7 in. [$100/200]

Photo by Cameron McHarg

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

12. Group of Zanesville Art Pottery, c. 1920s, inscribed with various numbers, incl. 12 vases, h. (tallest) 8 1/2 in.; 2 pitchers, h. (taller) 4 3/4 in.; and jardiniere h. 6 3/4 in. (15 pcs.) [$300/500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Ill.: Read, Mimi. “Healing Power: Richard Keith Langham Brightens Up Allison Kendrick’s Landmark New Orleans Manse.” Elle Décor, Mar. 2009, p. 98.

13. Group of Zanesville Matte Green Art Pottery, c. 1920s, inscribed with various numbers, incl. 11 vases, h. (tallest) 10 1/2 in.; and jardiniere, dia. 10 in.

(12 pcs.) [$300/500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Ill.: Read, Mimi. “Healing Power: Richard Keith Langham Brightens Up Allison Kendrick’s Landmark New Orleans Manse.” Elle Decor, Mar. 2009, p. 98

14. Group of Zanesville Matte Green Art Pottery, c. 1920s, inscribed with various numbers, incl. 7 vases, h. (tallest) 11 1/2 in.; and 3 jardinieres, h. (tallest) 7 1/2 in.

(10 pcs.) [$300/500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Ill.: Read, Mimi. “Healing Power: Richard Keith Langham Brightens Up Allison Kendrick’s Landmark New Orleans Manse.” Elle Decor, Mar. 2009, p. 98

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16. Alberta Kinsey (American/ New Orleans, 1875‑1952), “Abstract Still Life with Teapot and Grapes”, oil on canvas, signed lower left, 16 7/8 in. x 19 in., framed. [$1000/1500]

15. Continental Pine Harvest Table, 19th c., top with old paint wash, beaded apron, side stretchers, h. 29 1/2 in., w. 142 1/2 in., d. 37 1/4 in. [$1200/1800]

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Ill.: Read, Mimi. “Healing Power: Richard Keith Langham Brightens Up Allison Kendrick’s Landmark New Orleans Manse.” Elle Decor, Mar. 2009, p. 98.

Ill. Read, Mimi. “Healing Power: Richard Keith Langham Brightens Up Allison Kendrick’s Landmark New Orleans Manse.” Elle Decor, Mar. 2009, p. 98

17. George Orry‑Kelly (Australian/New Orleans, 1897‑1964), “French Quarter Street Scene with Nuns”, oil on masonite, signed lower right, 7 3/4 in. x 9 1/2 in., framed. [$400/600] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

18. George Orry‑Kelly (Australian/ New Orleans, 1897‑1964), “French Quarter Street Scene with Lady in Pink”, oil on masonite, signed lower right, 8 3/8 in. x 10 in., framed. [$400/600] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

19. Provincial Pine Cabinet, 19th c., two glazed doors, shelf interior, block feet, h. 38 in., w. 34 in., d. 20 in. [$200/400]

20. American Painted Pine Table, 19th c., octagonal top, chamfered legs, stretcher with shelf, h. 30 in., w. 30 in., d. 29 in. [$300/500]

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

21. American Pine Trunk, 19th c., hinged lid, retains old red wash, h. 13 in., w. 42 1/2 in., d. 15 in. [$150/250] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

22. Antique Pine Washstand, galleried top, frieze drawer, turned legs, stretcher shelf, toupie feet, h.

36 1/2 in., w. 38 1/2 in., d. 17 1/2 in. [$300/500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

23. Antique Cypress Console, two drawers, stretcher shelf, h. 28 1/2 in., w. 54 1/2 in., d. 14 in. [$400/600] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

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25. Frank Stanley Herring (American/Georgia, 1894‑1966), “Picking Cotton”, watercolor, ink and graphite on paper, unsigned, printed label with artist and title on backing paper, 7 3/4 in. x 23 in., framed. [$600/800] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

24. Frank Stanley Herring (American/Georgia, 1894‑1966), “Aunt Mandy with Chickens”, oil on canvas, signed lower right, printed label with artist and title on stretcher, 26 in. x 22 in., framed. [$1000/1500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Note: An established painter in New York City, Frank Stanley Herring taught at the Grand School of Art in the winter and spent his summers in North Carolina. There he met Paul Whitener, founder of the Hickory Museum of Art, who encouraged him to take classes at the Ringling School of Art. Herring fell in love with the region and founded what would become a nationally recognized art program, the Burnsville Art Classes in North Carolina.

A talented portraitist, he faithfully documented the people he met in the South often presenting them in their context, centering them within interesting backdrops, and as a result allowing the viewer a glimpse into their daily lives such as the lot on offer here titled “Aunt Mandy with Chickens.”

Many of his works are conserved at the Smithsonian American Art Museum.

26. Frank Stanley Herring (American/Georgia, 1894‑1966), “Old Wilkes”, watercolor on paper, signed lower right, titled and partial sketch en verso, printed label with artist and title on backing paper, 23 1/8 in. x 16 7/8 in., framed. [$600/800] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Ref.: Borei, Karin. “Frank Stanley Herring (1894-1966).” Hickory Museum of Art. Aug. 7, 2021. www.hickoryart.org. Accessed July 27, 2021.

27. Four Shearwater Art Pottery Vases, incl. white enamel glaze vase, 2003, impressed mark, h. 11 in.; shoal wisteria glaze vase, 2004, impressed mark, h. 6 1/4 in.; shoal dark wisteria glaze vase, 2010, impressed mark, h. 10 1/2 in.; shoal wisteria glaze vase, 2010, h. 18 1/2 in. [$200/300] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Photo by Trel Brock

28. Pair of Richard Keith Langham Slipcovered Club Chairs, rolled backs and arms, h. 33 in., w. 32 in., d. 34 in. [$1000/1500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Ill.: Costello, Sara Ruffin. About Decorating: The Remarkable Rooms of Richard Keith Langham.

New York: Rizzoli, 2017, pp. 232‑233.

29. Bobby McAlpine Contemporary Tuxedo Sofa, double arched back, tall conforming sides, tapered legs, caps, casters, stretchers, Manuel Canovas fabric, h. 39 in., w. 84 in., d. 36 in. [$1000/1500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

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30. Knute Heldner (Swedish/ Louisiana, 1877‑1952), “Reclining Nude”, oil on canvas, signed and inscribed “Paris” lower left, 23 in. x 28 in., framed. [$3000/5000] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

31. Guy Martin Chapel (American/ Illinois, 1871‑1957, active New Orleans, 1902), “718 Orleans”, oil on board, signed lower right, pencil‑titled en verso, 13 3/4 in. x 10 1/2 in., framed. [$800/1200] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Ill.: Costello, Sara Ruffin. About Decorating: The Remarkable Rooms of Richard Keith Langham. New York: Rizzoli, 2017, p. 229.

32. Alberta Kinsey (American/New Orleans, 1875‑1952), “French Quarter Courtyard”, oil on canvas board, signed lower left, “Farish Art Store, New Orleans” label on reverse of frame, 13 3/4 in. x 12 in., framed. [$800/1200]

33. Alberta Kinsey (American/New Orleans, 1875‑1952), “Blue Door”, oil on board, signed lower left, 8 7/8 in. x 6 in., framed. [$800/1200]

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Ill.: Costello, Sara Ruffin. About Decorating: The Remarkable Rooms of Richard Keith Langham. New York: Rizzoli, 2017, p. 229.

Ill.: Costello, Sara Ruffin. About Decorating: The Remarkable Rooms of Richard Keith Langham.

New York: Rizzoli, 2017, p. 229.

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

34. Alberta Kinsey (American/ New Orleans, 1875‑1952), “Blue Door”, oil on board, signed lower left, 9 1/2 in. x 7 1/2 in., framed. [$1000/1500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

35. Attributed to Augusta Denk Oelschig (American/Georgia, 1918‑2000), “Still Life with Coffee Pot, Apples and Magnolia Blossom”, oil on canvas, unsigned, “Friedman’s Art Store, Savannah, GA” label on stretcher, 28 1/8 in. x 22 1/8 in., framed. [$1000/1500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Photo by Cameron McHarg 10

36. Scottish Victorian Tartanware Chest of Drawers, 19th c., two short drawers over two long drawers, with scenic cartouches, bale handles, bracket feet, h. 30 in., w. 33 in., d. 17 in. [$400/600] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

37. Scottish Victorian Tartanware Mirror, 19th c., old mirror plate, h. 48 1/2 in., w. 37 in. [$200/300] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

38. Red Upholstered Club Chair, scroll back, scroll arms, h. 34 in., w. 30 in., d. 29 in. [$200/400] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

39. King Edward VII and Queen Alexandra Coronation Banner, 1902, sight 26 1/4 in. x 38 1/2 in., framed. [$200/300] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

40. American Gothic Mahogany Secretary Bookcase, mid‑19th c., arched molded crest, glazed doors, shelf interior, fallfront writing drawer, lower doors with paneled lancet arches, h. 88 in., w. 49 in., d. 21 1/2 in. [$400/600] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

41. Four Queen Anne‑Style Walnut Side Chairs, yoke crest, shaped splat, cabriole legs, pad feet, h. 41 3/4 in., w. 20 in., d. 19 in. [$300/500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Photo by Trel Brock 11

42. Queen Anne‑Style Walnut Extension Table, two pull out leaves, cabriole legs, h. 29 in., w. 36 in., d. 36 in. [$200/400] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

43. Jerry Farnsworth (American, 1895‑1982), “South Touro Church”, oil on canvas, signed upper left, inscribed with artist and title on stretcher, 20 1/8 in. x 24 in., framed. [$800/1200] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

44. Edith Varian Cockcroft (American/New York, 1881‑1962), “Harvest Moon”, pastel on paper, signed lower right, 19 1/2 in. x 25 in., framed. [$400/600] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

45. Edith Varian Cockcroft (American/New York, 1881‑1962), “Canyons”, pastel on paper, signed lower left, 21 1/2 in. x 14 3/4 in., framed. [$400/600] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

46. Laurence “Larry” Christie Edwardson (American/Massachusetts, 1904‑1995), “Great Falls Tavern, Great Falls, MD”, oil on masonite, signed lower right, signed, initialed, titled and inscribed en verso, 30 in. x 23 3/4 in., framed. [$600/800] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

47. Laurence “Larry” Christie Edwardson (American/Massachusetts, 1904‑1995), “Gas Works ‑ Hartford, Conn.”, 1956, acrylic on board, signed and dated lower right, inscribed with artist, title, date, exhibition information and collection information en verso, 12 in. x 14 in., framed. [$200/300] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

48. Brigitte Coudrain (French, b.

1934), “Horse”, 1969, aquatint with etching, pencil‑signed and numbered “21/80” lower margin, dated in plate, 19 1/4 in. x 15 1/2 in., framed. [$300/500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

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49. Johnny Gotthard Friedlaender (Prussian/French, 1912‑1992), “Untitled”, etching with aquatint, pencil‑signed and numbered “99/100” lower margin, 6 3/4 in. x 5 3/8 in., framed. [$200/400] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

50. Pair of Toile de Jouy Slipcovered Headboards, stepped arches with ribbon ties, h. 63 in., w. 43 in., d. 3 in. [$400/600] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

51. Toile de Jouy Slipcovered Sofa, two seat cushions, rolled arms, h. 31 in., w. 85 in., d. 37 in. [$200/400] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

52. Toile de Jouy Slipcovered Club Chair and Ottoman, chair h. 30 in., w. 30 in., d. 36 in., ottoman h. 16 in., w. 29 in., d. 21 in. [$200/400] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

53. Toile de Jouy Chaise Longue, h. 32 in., w. 28 in., d. 52 in. [$200/400] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

54. Toile de Jouy Skirted Dressing Table, kidney shape top, h. 30 1/2 in., w. 55 in., d. 24 1/2 in. [$200/400] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

55. Antique Provincial Painted Armoire, four paneled doors, shelf interior, two central drawers, molded base, h. 78 3/4 in., w. 53 in., d. 18 1/4 in. [$500/1000] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

56. New England Vernacular Corner Table, galleried top, medial shelf, old rubbed paint surface, h. 34 in., w. 43 in., d. 31 in. [$300/500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

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57. Antique Bamboo Occasional Table, in the Brighton Pavilion taste, inset grass mat top, stretchered base, outswept legs, h. 28 3/4 in., w. 38 3/4 in., d. 23 3/4 in. [$600/900]

58. Federal‑Style Mahogany Tilt‑Top Tea Table, pie crust top, tripod base with carved knees, ball and claw feet, h. 29 1/2 in., dia. 30 in. [$150/250] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

59. American Mahogany Bookcase, mid‑19th c., molded cornice, conforming case, two arched glazed doors, shelf interior, plinth base, h. 81 in., w. 60 in., d. 22 1/2 in. [$1000/1500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

61. Antique Louis Philippe Mahogany and Marquetry Commode, 19th c., bolection frieze drawer, chamfered corners, three drawers, bolection base drawer, shaped feet, h. 36 1/2 in., w. 46 1/2 in., d. 24 1/4 in. [$600/900] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

63. Pair of Louis XVI‑Style Bronze and Marble Side Tables, shaped top with inset marble, six turned legs, shaped stretcher, toupie feet, h. 28 in., w. 29 in., d. 18 in. [$2000/3000] Provenance: Neal Auction Company, June 12, 2005; Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Ill.: Costello, Sara Ruffin. About Decorating: The Remarkable Rooms of Richard Keith Langham. New York: Rizzoli, p. 239.

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60. Southern Walnut Fall‑Front Desk, mid‑19th c., probably Mississippi, superstructure with lifting top, storage compartments, fall‑front, fitted interior, single drawer, ring‑turned chamfered block legs, h. 58 1/4 in., w. 32 1/4 in., d. 22 1/4 in. [$600/900] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

62. Renaissance Cast Iron Gueridon, faux marbre top, caryatid legs, medial shelf, h. 28 1/2 in., dia. 21 in. [$200/400] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

64. Louis XVI‑Style BronzeMounted Parquetry Armoire, 19th c., three doors, mirrored center door, shelf interior, fluted stiles, conforming base, h. 95 in., w. 67 1/2 in., d. 20 1/2 in. [$800/1200] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

66. Large Late Classical Bookcase, 19th c., finished on proper right side, fluted blocked stiles, leaded glass doors, shelf interior, plinth base, h. 60 in., w. 100 3/4 in., d. 16 in. [$500/1000]

65. Antique Georgian Oak Writing Desk, 19th c., embossed leather top, kneehole configuration of drawers, h. 31 in., w. 54 in., d. 30 in. [$300/500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

67. JoAnn Greenberg (1928‑2013, New Orleans), “Nudes in the Garden”, 20th c, ceramic vase, h. 9 in., dia. 4 3/4 in. [$100/200] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

68. Four Shearwater Art Pottery Pieces, marked, incl. spring green glaze bowl, 2004, dia. 9 in.; white enamel with blue glaze vase, 2003, dia. 8 in.; spring green glaze vase, h. 6 1/4 in.; and shoal glaze vase, h. 4 in. [$300/500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

69. Shearwater Art Pottery Figural Nude Plate, 2004, decorated by Patricia Anderson Findeisen, impressed Shearwater mark, incised “P/P”, reserved with nude female and fish, dia. 10 3/4 in. [$200/400] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

70. Shearwater Art Pottery Figural Vase, 2004, decorated by Patricia Anderson Findeisen, impressed Shearwater mark, incised “D/P”, body decorated with woman, bird, flowers and sun, h. (approx.) 9 in. [$200/400] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

71. Nine Shearwater Pottery Baseball Figures, late 20th c., ink stamped, designed by James “Mac” Anderson, incl. pitcher, catchers, umpire, and batters, marked, h. (tallest) 7 in. [$200/400]

72. Group of Four Shearwater Art Pottery Figures, incl. grazing horse, h. 4 1/2 in.; cow, h. 4 1/4 in.; woman on horseback, h. 5 3/4 in.; and man with sack, marked, h. 6 1/2 in. [$100/200]

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

15

73. Three Shearwater Art Pottery Shoal Glaze Pitchers, c. 2000, marked, h. (tallest) 8 1/4 in. [$300/500]

74. Four Shearwater Art Pottery Shoal Glaze Vases, c. 1999, marked, h. (tallest) 6 3/4 in. [$300/500]

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

76. Shearwater Art Pottery Sitting Horse Candlestick, c. 1940, incised “Shearwater”, decorated by Peter Anderson, antique green glaze, h. 8 3/4 in. [$400/600]

75. Two Shearwater Art Pottery Animal Figures, incl. shoal glaze “Flying Horse”, ink stamp, h. 8 3/4 in.; and brown glaze owl, h. 6 1/4 in. [$200/400]

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

77. Shearwater Art Pottery Duck, c. 1935, antique green glaze, h. 5 3/4 in. [$300/500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Ill.: Costello, Sara Ruffin. About Decorating: The Remarkable Rooms of Richard Keith Langham. New York: Rizzoli, 2017, p.232

78. Chinese Qingbai Porcelain Conical Bowl, carved interior, h. 2 7/8 in., dia. 4 3/4 in. [$300/500] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

Ill.: Costello, Sara Ruffin. About Decorating: The Remarkable Rooms of Richard Keith Langham. New York: Rizzoli, 2017, p. 225.

79. Antique Persian Carpet, cream ground, central medallion, foliate designs, 8 ft. 10 in. x 11 ft.

10 in. [$700/1000] Provenance: Collection of Allison Kendrick, The Carroll‑Crawford House, New Orleans.

16

80. Tahitian Pearl Necklace, comprised of 34 graduated very dark gray cultured pearls, 11 ‑ 14 mm; 14 kt. white gold bead clasp; l. 17 in.; AIGL report. [$1200/1800]

81. Pair of 18 kt. Yellow Gold, Pearl and Diamond Earrings, one set with 1 white South Sea pearl, the other with 1 black South Sea pearl, each 12 mm., 14 full cut diamonds totaling approx. 0.70 ct., H‑I Color, VS1‑VS2 clarity, clip and post back. [$1200/1800]

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. [$4000/6000]

83. Pair of Edwardian Platinum and Diamond Pendant Earrings, set with 42 round diamonds totaling approx. 2 cts. [$1000/1500]

84. Platinum and Diamond Solitaire Ring, set with a European cut diamond, approx.

1.2 ct., L‑M color, VS1‑SI1 clarity. [$1200/1800] 85. Platinum and Diamond Ring, center prong set round brilliant cut diamond, wt. approx. 0.70 ct., G‑H color, SI3 to I1 clarity, 5.50 mm; bezel, scrollwork surround and split shoulders with numerous round cut diamonds, total wt. approx. 2.15 cts., G‑H color, SI2 clarity; size 7.25; IAS report. [$2500/3500]

86. 18 kt. White Gold and Diamond Necklace, comprised of 133 graduated prong set round brilliant cut diamonds, total wt. approx. 21.29 cts., G‑I color, SI1 to I1 clarity, 2.80 to 4.80 mm, l. 17 3/4 in. [$15000/25000]

87. 14 kt. White Gold and Diamond Ring, center rectangular modified brilliant cut diamond, wt.

1.00 ct., I color, SI2 clarity; reticulated band set with 14 round brilliant cut diamonds, size 6.5; I.G.I. Certificate of Authenticity. [$1500/2500]

88. 18 kt. White Gold and Diamond Eternity Band Ring, set with 21 rectangular diamonds, total wt. approx. 4.31 cts.; size 7. [$3000/3500]

17

89. 14 kt. White Gold and Diamond Ring, center prong set oval diamond, wt. approx. 2.00 cts.; size 6. [$4500/5500]

90. 18 kt. White Gold and Diamond Ring, center emerald cut diamond, wt. approx. 5.01 cts.; halo and supports set with round brilliant cut diamonds, total wt. approx. 0.67 ct.; size 7. [$10000/15000]

91. 14 kt. Yellow, White and Rose Gold and Diamond Ring, with 3 bezel set diamonds, total wt. approx. 1.55 cts., G‑J and Fancy Black color, VS2 to I1 clarity; shoulders with numerous round brilliant cut diamonds, total wt. approx. 1.11 cts., F‑G color, VS1 to SI1 clarity; size 6.75; AIGL report. [$2500/3500]

92. Pair of 18 kt. White Gold and Diamond Stud Earrings, 2 center prong set round brilliant cut diamonds, total wt. approx.

2.26 cts.; bezels set with numerous round brilliant cut diamonds. [$2000/3000]

93. Pair of 14 kt. White Gold and Diamond Hoop Earrings, set with 42 round brilliant cut diamonds, total wt. approx. 8.48 cts.; hinged opening. [$3500/4500]

96. 14 kt. White Gold and Diamond Necklace, set with numerous graduated round brilliant cut diamonds, l. 31 3/4 in., total wt. approx. 16.16 cts. [$7000/9000]

18

94. Pair of 18 kt. White Gold and Diamond Hoop Earrings, set with 46 round brilliant cut diamonds, total wt. approx. 5.02 cts.; hinged opening. [$2000/3000]

95. 14 kt. White Gold and Diamond Tennis Bracelet, set with 35 round brilliant cut diamonds, total wt. approx. 6.78 cts., l. 7 in. [$2000/3000]

97. 18 kt. White Gold and Diamond Necklace, set with numerous graduated round brilliant cut diamonds, l. 16 1/4 in., total wt. approx. 30.78 cts. [$20000/30000]

98. 18 kt. White, Yellow and Rose Gold and Diamond Necklace, bezel set with numerous round cut diamonds, l. 60 in., total wt. approx. 20.44 cts. [$4500/5500] 99. 14 kt. Yellow Gold and Diamond Ring, set with a marquise cut diamond, approx. .95 ct., IJ color, SI2 ‑ I1 clarity, and 20 small full cut diamonds totaling approx. .60 ct. [$2500/3500]

101. 14 kt. White Gold and Diamond Tennis Bracelet, composed of 47 prong set round brilliant cut diamonds, total wt. approx. 10.27 cts., F‑H color, I1 to I2 clarity, 4.40 ‑ 3.40 x 2.34 mm, l. 7 ¼ in.; AIG report. [$5000/7000]

102. 18 kt. White Gold and Diamond Tennis Bracelet, composed of 44 prong set round brilliant cut diamonds, total wt. approx. 8.69 cts., F‑G color, VS1 to SI1 clarity, 3.7 mm, l. 7 1/4 in.; AIGL report. [$7000/9000]

100. 14 kt. Yellow Gold and Diamond Solitaire Ring, set with pear‑shaped diamond, approx. 2 cts., approx. K‑L color, I2 clarity, accompanied by May 16, 2016 Replacement Value Appraisal. [$2500/3500]

103. 18 kt. Yellow Gold and Diamond Tennis Bracelet, composed of 42 prong set round brilliant cut diamonds, total wt. approx. 6.10 cts., G‑I color, VVS2 to VS1 clarity, 3.50 ‑ 3.30 x 2.04 mm, l. 7 in.; AIG report. [$4000/6000]

104. Antique 14 kt. 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. [$1200/1800]

105. 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. [$500/700]

106. Platinum, Ruby and Diamond Ring, center prong set round cabochon cut ruby, wt. approx. 2.44 cts.; shoulders with numerous round brilliant and marquise cut diamonds, G‑H color, VS clarity; size 6; IAS report. [$1000/1500]

107. 18 kt. White Gold, Diamond and Ruby Ring, center bezel set round brilliant cut diamond, wt. approx. 0.97 ct.; flanked by 2 round cut rubies, total wt. approx. 1.05 cts.; bezels and supports with numerous round brilliant cut diamonds; size 7. [$1000/1500]

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108. Pair of Platinum, Ruby and Diamond Dangle Earrings, comprised of 14 prong set oval mixed cut rubies, total wt. approx. 6.1 cts., 5.00 x 4.00 x 2.60 mm; and 30 prong set round brilliant cut diamonds, total wt. approx. 0.59 ct., H‑I color; SI2 to I1 clarity; drop l. 1 in.; AIG report. [$700/900]

110. 18 kt. Yellow Gold, Ruby and Diamond Ring, center prong set oval brilliant/ step cut ruby, wt. 1.27 cts.; 7.89 x 5.35 x 3.08 mm; bezel and shoulder with 36 prong and channel set round brilliant cut diamonds, total wt. approx. 0.97 ct., G‑H color, SI1 to SI2 clarity; size 6.75; GIA (ruby) and SGL reports. [$2000/3000]

113. 14 kt. White Gold, Sapphire and Diamond Fan‑Shape Cluster Ring, set with 14 marquise cut blue sapphires totaling approx.

1.12 cts., and 20 full cut diamonds totaling approx. 1.40 cts. [$800/1200]

20

111. 18 kt. White Gold, Diamond, Sapphire and Ruby Ring, center bezel set round brilliant cut diamond, wt. approx. 1.00 ct.; reticulated geometric bezel with numerous sapphires and rubies, size 7. [$2500/3500]

114. Pair of 14 kt. White Gold, Faceted Blue Sapphire and Single Cut Diamond Earrings. [$700/1000]

109. 14 kt. Yellow Gold, Ruby and Diamond Necklace, comprised of 38 prong set, brilliant mixed cut rubies (treated), total wt. approx. 66.67 cts., 8.00 x 6.00 mm; surrounded by numerous round brilliant cut diamonds, total wt. approx. 6.13 cts., H‑J color; SI2 to I2 clarity; l. 17 in.; AIGL report. [$4000/6000]

112. 18 kt. White Gold, Sapphire and Diamond Bracelet, 25 prong set oval shaped sapphires, total wt. approx. 26.21 cts.; half bezels with numerous prong set round brilliant cut diamonds, l. 7 in., total wt. approx. 4.18 cts. [$2500/3500]

115. 14 kt. White Gold, Blue Sapphire and Diamond Ring, comprised of 15 prong set round cut blue sapphires, total wt. approx.

1.43 cts.; and 8 round brilliant cut diamonds, total wt. approx. 0.83 ct., H‑I color, SI3 to I clarity; size 6; IAS report. [$700/900]

116. 18 kt. White Gold, Blue Sapphire and Diamond Ring, 2 center prong set oval and pear brilliant/step cut blue sapphires, total wt. approx. 2.23 cts., oval 6.90 x 5.20 x 3.80 mm, pear 6.70 x 5.50 x 2.80 mm; bezels with 32 round brilliant cut diamonds, total wt. approx. 0.36 ct., F‑G color, VS2 to SI1 clarity; size 6.75; AIGL report. [$1200/1800]

118. Platinum, Blue Sapphire and Diamond Ring, center prong set oval brilliant/step cut sapphire, wt. approx. 2.95 cts., 9.90 x 7.90 x 3.80 mm; double halo and split shoulders with numerous round brilliant cut diamonds, total wt. approx. 0.66 ct., G‑H color, SI1 to SI2 clarity; size 6.75; AIGL report. [$1500/2500]

117. 14 kt. White Gold, Blue Sapphire and Diamond Necklace, comprised of 51 prong set oval brilliant/step cut blue sapphires, total wt. approx. 31.26 cts., 5.00 x 4.00‑8.00 x 6.00 mm; and numerous round cut diamonds, total wt. approx. 3.08 cts., H‑J color, I1 to I2 clarity; l. 16 1/2 in.; AIGL report. [$4000/6000]

119. 18 kt. Yellow Gold, Purple‑Pink Sapphire and Diamond Ring, center prong set oval modified brilliant/step cut purple‑pink sapphire, wt. 1.10 cts., 7.21 x 6.07 x 3.28 mm; bezel and shoulders with numerous round brilliant cut diamonds, total wt. approx. 0.39 ct., F‑H color, SI1 to I1 clarity; size 6.5; GIA (sapphire) and AIG reports. [$1000/1500]

120. 14 kt. White Gold, Tanzanite and Diamond Ring, center prong set rectangular step cut blueish violet tanzanite, wt. approx.

4.33 cts., 11.50 x 8 mm; bezel and surround with numerous round brilliant cut diamonds, total wt. approx. 0.32 ct., G‑H color, SI1 to S12 clarity; size 6.75; AIGL report. [$1200/1800]

121. 18 kt. White Gold, Tanzanite and Diamond Ring, center prong set pear modified brilliant cut violetish blue tanzanite, wt. approx. 3.75 cts., 12.70 x 8.00 x 5.90 mm; bezel and shoulders with numerous round brilliant cut diamonds, total wt. approx. 0.45 ct.; G‑H color, VS2 to SI2 clarity; size 6.75; AIGL report. [$1200/1800]

122. Platinum, Tanzanite and Diamond Ring, oval modified brilliant cut violetish blue tanzanite, wt. approx. 4.02 cts., 11.90 x 8.30 x 5.80 mm; bezel and shoulders with 60 baguette and round brilliant cut diamonds, total wt. approx. 1.59 cts., F‑G color, VS2 to I1 clarity; size 7.25; AIG report. [$2500/3500]

123. Art Deco‑Style 18 kt. White Gold, Diamond and Emerald Ring, center prong set round brilliant cut diamond, wt. approx.

1.02 cts.; bezels and supports with numerous round cut emeralds and diamonds; size 6.75. [$2000/3000]

124. Art Deco-Style Platinum, Emerald and Diamond Ring, center prong set emerald step cut emerald, wt. approx. 2.14 cts., 9.00 x 7.40 x 4.50 mm; tiered bezel and shoulders with 65 prong, channel and bezel set round brilliant, baguette, and princess cut diamonds, total wt. approx. 1., F-H color, SI2 to I2 clarity; size 7.25; AIG report. [$1800/2500] 126. 18 kt. Yellow Gold, Emerald and Diamond Ring, comprised of 5 prong set square cornered step cut emeralds, total wt. approx. 2.75 cts., 5.00 x 5.00 mm; surrounds with 48 round brilliant cut diamonds, total wt. approx. 1.02 cts., G‑H color, VS2 to SI1 clarity; size 6.5; AIGL report. [$1500/2500]

125. 18 kt. White Gold, Emerald and Diamond Ring, two central pear shaped emeralds, total wt. approx. 2.30 cts.; diamond bezel with pave diamond supports, total wt. approx. 3.55 cts; size 7. [$2000/3000]

21

127. 18 kt. Yellow Gold, Emerald and Diamond Ring, center rectangular cornered step cut emerald, wt. approx. 4.74 cts., 11.70 x 8.30 mm; bezel and shoulders with 34 round brilliant cut diamonds, total wt. approx. 0.62 ct., G‑H color, VS2 to SI2 clarity; size 6.75; AIGL report. [$1500/2500]

129. 18 kt. White Gold, Emerald and Diamond Ring, center prong set oval cut emerald, wt. approx. 1.39 cts., bezel and shoulders with numerous round brilliant cut diamonds, G‑H color, VS clarity; size 6.75; IAS report. [$800/1200]

130. 18 kt. White Gold, Diamond and Tourmaline Ring, 6 variously colored and cut tourmalines, total wt. approx. 17.27 cts.; each with diamond bezel, total wt. approx. 1.60 cts.; size 6.75. [$2000/3000]

128. 18 kt. White Gold, Emerald and Diamond Pendant with Chain, center prong set pear shaped brilliant and step cut emerald, wt. exact 2.91 cts., 12.88 x 8.65 x 4.24 mm; bezel with numerous round brilliant cut diamonds; GIA certificate. [$1500/2500]

131. 14 kt. White Gold, Green Sapphire and Diamond Ring, center prong set rectangular cushion mixed cut green sapphire, wt. 1.56 cts., 8.30 x 6.12 x 3.44 mm; bezel, under gallery and shoulders with numerous round brilliant cut diamonds, total wt. approx.

0.81 ct., F‑H color, SI1 to I1 clarity; size 6.5; GIA (sapphire) and AIG reports. [$1500/2500]

133. 14 kt. Yellow Gold, Emerald and Diamond Ring, center prong set octagonal step cut emerald, wt. approx. 2.12 cts., 7.00 x 6.90 x 5.90 mm; double bezel and triple split shoulders with numerous round brilliant cut diamonds, total wt. approx. 0.79 ct., F‑H color, VS2 to SI1 clarity; size 6.75; AIG report. [$1500/2500]

132. 18 kt. White and Yellow Gold, Emerald and Diamond Ring, center prong set brilliant and step cut emerald, wt. approx.

5.75 cts, 14.16 x 9.79 x 6.62 mm; bezel with 2 rectangular step cut diamonds and 10 marquise brilliant cut diamonds; size 7; GIA certificate. [$3500/4500]

134. 14 kt. Yellow Gold, Emerald and Diamond Flexible Link Bracelet, comprised of 16 prong set oval brilliant/ step cup emeralds, total wt. approx. 21.94 cts., 7.00 x 5.00 ‑ 9.00 x 7.00 mm; surrounded by numerous round brilliant cut diamonds, total wt. approx. 4.03 cts., G‑I color, VS2 to SI2 clarity; l. 7 in.; AIGL report. [$3800/4800]

135. 14 kt. Yellow Gold, Emerald and Diamond Necklace, comprised of 54 prong set oval mixed cut emeralds, total wt. approx. 36.02 cts., 7.00 x 5.00 x 3.25 mm; and 432 round brilliant cut diamonds, total wt. approx. 9.36 cts., H‑I color, VS1 to SI1 clarity, l. 17 in.; AIG report. [$7000/9000]

136. Pair of 14 kt. White Gold, Emerald and Diamond Dangle Earrings, comprised of 4 prong set oval brilliant/step cut emeralds, total wt. approx.

1.08 cts., 5.00 x 4.00 mm; and numerous round brilliant cut diamonds, total wt. approx. 1.13 cts., I‑J color, I1 to I3 clarity; l. 1 1/8 in. [$700/900]

22

137. 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. [$1200/1800]

138. 14 kt. White Gold, Yellow Sapphire and Diamond Ring, center bezel set oval brilliant/step cut yellow sapphire, wt. approx.

2.75 cts., 8.50 x 6.90 x 4.90 mm; surround with 20 channel set round brilliant cut diamonds, total wt. approx. 0.54 ct., H‑I color, SI2 to I1 clarity; size 7.25; AIGL report. [$1200/1800]

139. 18 kt. White Gold and Multicolor Diamond Ring, center prong set pear cut diamond, wt. approx. 0.52 ct., light grayish yellowish green color, SI2 clarity; inner surround with 12 round brilliant cut diamonds, total wt. approx. 0.52 ct., very light pink ‑ white color, VS2 to I1 clarity; outer surround and twisted split shoulders with 50 round brilliant cut diamonds, total wt. approx. 0.68 ct., F‑H color, VS2 to SI2 clarity; size 7; AIG report. [$1200/1800]

141. 14 kt. Yellow Gold, Multicolor Sapphire and Diamond Ring, center 3 prong set oval and round brilliant/step cut blue and yellow sapphires, total wt. approx. 2.67 cts., 2 oval 6.00 x 5.00 mm, 1 round 5.00 mm; bezels with numerous round cut diamonds, total wt. approx. 0.17 ct., H‑J color, I1 to I2 clarity; size 6.75; AIGL report. [$600/800]

142. 14 kt. White Gold, Pink Sapphire and Diamond Ring, center prong set pear shape pink sapphire, wt. approx. 2.03 cts.; bezel and shoulders with numerous round brilliant cut diamonds, total wt. approx. 0.34 ct., G‑H color, VS to SI clarity; size 7.25; IAS report. [$1200/1800]

143. 18 kt. Rose Gold, Orange Sapphire and Diamond Ring, center cluster of 3 prong set heart, marquise and oval mixed orange sapphires, total wt. approx. 4.26 cts; bezels with 48 prong set round brilliant cut diamonds, total wt. approx. 0.72 ct., E‑G color, VVS2 to VS2 clarity; size 7; AIG report. [$1800/2500]

144. 18 kt. White and Yellow Gold, Alexandrite and Diamond Ring, center cushion modified brilliant/step cut alexandrite, wt. 10.86 ct., brownish greenish yellow changing to pinkish brown color, 12.31 x 11.55 x 8.67 mm; bezel with 20 prong set round brilliant cut diamonds, total wt. approx. 1.05 cts., G color, SI2 clarity; size 6.5; GIA (alexandrite) and SGL reports. [$25000/35000]

145. Platinum, Brazilian Paraiba Tourmaline and Diamond Pendant with Platinum Link Chain, center prong set half moon cabochon cut Paraiba green blue and purplish pink tourmaline with mica, wt. 34.57 cts., 41.73 x 18.93 x 5.27 mm; bezel and bail with numerous bead set round brilliant cut diamonds, total wt. approx. 1.00 ct., F‑H color, SI1 to I1 clarity; platinum chain, l. 18 in.; GIA (tourmaline) and AIG reports. [$4000/6000]

140. Pair of 14 kt. Yellow and White Gold and Multicolor Diamond Dangle Earrings, comprised of 4 prong set marquise cut diamonds, total wt. approx. 2.20 cts., light brown to fancy deep orangy brown color, I1 to I2 clarity; 110 prong set round brilliant cut diamonds, total wt. approx. 0.94 ct., fancy light yellow color, SI1 to I1 clarity; and 28 prong set round brilliant cut diamonds, total wt. approx.

0.46 ct., H‑L color, I1 clarity; drop 1 1/4 in., total l. 1 1/2 in.; AIGL report. [$3000/5000]

146. Pair of 14 kt. White Gold, Cabochon Turquoise and Single Cut Diamond Earrings. [$700/1000]

23

147. Chinese Gem‑Embellished White and Green Jade and Silver Hand Mirror, h. 9 1/2 in., w. 4 1/4 in. [$600/800]

148. Collection of Saint Louis Cut Crystal Stemware, etched marks, with star, fan and cane decoration, incl. 11 each water and white wine, h. 7 3/4 in. and 6 3/4 in. (22 pcs.) [$600/800]

149. Two Pairs of Saint Louis Crystal Decanters, etched marks, star, fan and cane decoration, incl. pair of cordial decanters, h. 13 1/4 in., and pair of handled wine decanters, h. 15 1/2 in. [$500/700]

151. Pair of Steuben Glass Pear‑Shaped Sauce Boats, etched marks, model #8086, designed 1957 by Lloyd Atkins, h. 3 1/2 in. and 3 5/8 in., l. 7 in. [$300/500]

152. Good Near Pair of American Blown Glass Hurricane Shades, early 19th c., folded foot rims, h. 23 1/4 in, Neal Auction, Houmas House Plantation & Gardens Auction, May 17, 2003, lot 739. [$3000/5000]

150. Four Pairs of Steuben Glass Salt Dishes and Sterling Silver‑Mounted Pepper Shakers, etched marks “Steuben” or “S”, models #7869 and #7868, designed 1940 by Arthur Douglas, salt dia. 2 1/2 in., pepper h. 4 3/8 in. (8 pcs.) [$300/500]

153. American Blown and Engraved Glass Hurricane Shade, 19th c., cut with stars, flower heads, and wheat decoration, folded foot rims, h.

23 1/4 in. [$1200/1800]

155. Pair of Blown Glass Hurricane Shades, etched foliate sprays, folded foot rims h. 15 3/4 in. [$600/900]

157. English Cameo Glass Pitcher, 19th c., attr. to Thomas Webb, satin cranberry body with carved white bird and flower decoration, loop handle, h. 7 1/2 in. [$400/600]

159. Ten Moser Cut‑to‑Clear Glass “Bristol” Hock Wine Glasses, etched marks, incl. 1 purple, 2 pink, 2 blue, 2 green, 1 amber, and 2 black, h. 7 1/2 in. [$600/900]

24

154. Pair of Blown Glass Hurricane Shades, h. 15 in. [$700/1000]

156. Collection of Venetian Enameled Glass Tableware, gilt rims, bodies painted with leaping gazelle or deer amid foliage, incl.

12 finger bowls, dia. 4 3/8 in.; 12 underplates, dia. 6 1/2 in.; and 12 wine glasses, h. 6 5/8 in. [$500/700]

158. Pair of Gilt and Enamel‑Decorated Cranberry Glass Lustres, foliate rim, painted bowl with applied florets hung with cut prisms, baluster standard, round base, h. 14 1/2 in., now electrified with bronze base, stamped “1953”, overall h. 16 1/4 in. [$400/600]

160. Bohemian Purple Cut‑to‑Clear Glass Champagne Bucket, base with etched DZYR mark, h. 10 in., w. 12 1/2 in. [$300/500]

161. Pair of Decorative Chinese White “Peking” Glass Bottle Vases, carved with characters and scrollwork, h. 14 1/2 in. [$500/700]

Session Two Saturday, September 18, 11 a.m.

25

Exceptional Early Works

by Clementine Hunter from the Estate of Iris Brittain Rayford (1934-2018), Alexandria, LA

162. Noel Rockmore (American/New Orleans, 1928‑1995), “Clementine Hunter and Her House From Life, Melrose, June 4th‑5th”, 1970, oil on masonite, signed, titled and dated lower right, artist information label en verso, “New Orleans Museum of Art” exhibition label and inscription on backing board, 18 3/16 in. x 24 1/8 in., framed. [$2000/3000] Provenance: Collection of Dr. & Mrs. Robert F. Ryan; Estate of Iris Brittain Rayford (1934‑2018).

Exh.: “A Centennial Salute to Clementine Hunter”, New Orleans Museum of Art, New Orleans, LA, Feb. 23 ‑ Apr. 28, 1985, no. 9

163. Clementine Hunter (American/Louisiana, 1886‑1988), “Six Zinnias”, oil on black paper, signed “Clemance” lower left, monogrammed lower center, 14 7/8 in. x 11 in., framed. [$2500/3500] Provenance: James Register; Estate of Iris Brittain Rayford (1934‑2018).

Ill.: Whitehead, Tom and Art Shiver. Clementine Hunter: Her Life and Art. Baton Rouge: LSU Press, 2012, pl. 29.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

164. Clementine Hunter (American/Louisiana, 1886‑1988), “Boating”, oil on canvas, unsigned, 13 in. x 25 1/8 in., framed. [$3000/5000] Provenance: Richard Gasperi; Estate of Iris Brittain Rayford (1934‑2018).

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

26

165. Clementine Hunter (American/Louisiana, 1886‑1988), “Triple Row Working in the Fields”, oil on board, monogrammed lower right, exhibition label with title on backing paper, 21 1/2 in. x 24 in., framed. [$4000/6000] Provenance: Estate of Iris Brittain Rayford (1934‑2018).

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

166. Clementine Hunter (American/ Louisiana, 1886‑1988), “Lady with Umbrella”, oil on board, monogrammed lower right, 10 in. x 6 1/2 in., framed. [$1000/1500] Provenance: Estate of Iris Brittain Rayford (1934‑2018).

Ill.: Whitehead, Tom and Art Shiver. Clementine Hunter: Her Life and Art. Baton Rouge: LSU Press, 2012, back cover plate.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

167. Clementine Hunter (American/ Louisiana, 1886‑1988), “Lady in the Garden”, oil on panel, monogrammed lower right, handwritten label en verso, exhibition label with artist and handwritten label on backing paper, 22 1/8 in. x 19 5/8 in., framed. [$4000/6000] Provenance: Acquired directly from the artist; Francois Mignon; Mildred Hart Bailey; Estate of Iris Brittain Rayford (1934‑2018).

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

168. Clementine Hunter (American/Louisiana, 1886‑1988), “Prue (PM) Gave Me This Orange Pitcher”, c. 1944, oil on black paper, pencil‑monogrammed lower left, inscribed “Clemance” lower right, pencil‑inscribed with artist, title and date on reverse of mount, handwritten letter about painting and “New Orleans Museum of Art” exhibition label on backing board, 13 7/8 in. x 11 3/8 in., framed. [$2500/3500] Provenance: James Register; Estate of Iris Brittain Rayford (1934‑2018). Exh.: “A Centennial Salute to Clementine Hunter”, New Orleans Museum of Art, New Orleans, LA, Feb. 23 ‑ Apr. 28, 1985, no. 36.

Ill.: Wilson, James L. Clementine Hunter: American Folk Artist.

Gretna, LA: Pelican Publishing Company, 1988, p. 53.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

27

169. Clementine Hunter (American/Louisiana, 1886‑1988), “Melrose”, applique quilt, unsigned, 75 1/2 in. x 56 in., mounted in Plexiglas shadow box frame. [$6000/8000] Provenance: Estate of Iris Brittain Rayford (1934‑2018).

Note: This quilt has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

170. Clementine Hunter (American/Louisiana, 1886‑1988), “Flower Garden”, oil on canvas board, monogrammed lower left, 18 in. x 24 in., framed. [$4000/6000] Provenance: Estate of Iris Brittain Rayford (1934‑2018).

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

171. Clementine Hunter (American/Louisiana, 1886‑1988), “House and Garden”, c. early 1940s, oil on cardboard, unsigned, faintly pencil‑inscribed “Dream...” en verso, 19 5/8 in. x 23 1/2 in., framed. [$4000/6000] Provenance: Carolyn Ramsey; Estate of Iris Brittain Rayford (1934‑2018).

Ill.: Whitehead, Tom and Art Shiver. Clementine Hunter: Her Life and Art. Baton Rouge: LSU Press, 2012, pl. 31.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

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172. Clementine Hunter (American/ Louisiana, 1886‑1988), “Woman Carrying Gourds”, oil on board, monogrammed lower right, 31 7/8 in. x 23 in., framed. [$6000/8000] Provenance: Hugh Schoephoerster; Estate of Iris Brittain Rayford (1934‑2018).

Ill.: Whitehead, Tom and Art Shiver. Clementine Hunter: Her Life and Art. Baton Rouge: LSU Press, 2012, pl. 43.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

173. Clementine Hunter (American/Louisiana, 1886‑1988), “Early Funeral”, oil on window shade laid on masonite, monogrammed lower right, 37 1/2 in. x 49 3/4 in., framed. [$18000/25000] Provenance: Estate of Iris Brittain Rayford (1934‑2018).

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

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174. Clementine Hunter (American/Louisiana, 1886‑1988), “#97 Produits du Jardinage #3 (Produce of the Garden)”, oil on canvas board laid on masonite, monogrammed lower right, 2 handwritten labels (one with title), 3 “J. Register” collector stamps, inscriptions by Mildred Hart Bailey and Iris Rayford and exhibition label en verso, 18 in. x 24 in., framed. [$4000/6000] Provenance: Acquired directly from the artist; James Register; Mildred Hart Bailey, 1978; Estate of Iris Brittain Rayford (1934‑2018), 1994.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

End Estate of Iris Brittain Rayford 175. Clementine Hunter (American/ Louisiana, 1886‑1988), “Wedding”, oil on board, monogrammed mid‑right, 16 in. x 20 in., framed. [$3000/5000] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

176. Clementine Hunter (American/ Louisiana, 1886‑1988), “Cotton Gin with Picking Cotton”, oil on board, monogrammed mid‑right, 16 in. x 20 in., framed. [$3000/5000] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

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177. Louisiana Federal Carved Mahogany Armoire, early 19th c., restrained molded cornice, inset panel doors, later fitted interior, beehive legs, spherule feet, pressed brass escutcheons, h. 80 1/2 in., w. 54 in., d. 22 1/2 in. [$2500/3500] Note: The beehive-leg design of the armoire offered here most likely originated in New Orleans during the late Federal period. Most beehive-leg armoires follow a similar pattern of highly grained veneers and the unique leg, which often terminates in a spherule foot.

An armoire very similar to this example is illustrated in Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835.

Ref.: Holden, Jack, et. al. Furnishing Louisiana, Creole and Acadian Furniture, 1735-1835.

New Orleans: Historic New Orleans Collection. p. 212, fig. 115.

178. American Southern Inlaid Walnut Chest on Stand, late 18th/early 19th c., North Carolina, molded top, one long drawer faced as two short drawers, two short drawers over two long drawers, shaped lobed apron, cabriole legs, h. 45 in., w. 42 1/2 in., d. 19 in. [$700/1000] Provenance: Property of the Mobile Museum of Art, Mobile, AL, sold to benefit their Collections, Care and Acquisitions Fund.

179. Southern Federal Inlaid Walnut Corner Cupboard, early 19th c., broken pediment, astragal mullioned glazed doors, shelf interior, base with two doors, shelf interior, French feet, h. 99 1/2 in., w. 44 in., d. 27 1/2 in. [$800/1200] Provenance: Property of the Mobile Museum of Art, Mobile, AL, sold to benefit their Collections, Care and Acquisitions Fund.

180. Diminutive Spanish Colonial Hardwood Tavern Table, 18th c., single board top, two raised panel drawers, disc turned legs, h. 28 in., w. 37 1/4 in., d. 24 1/2 in. [$1200/1800]

181. American Cherrywood Bookkeeper’s Desk, early 19th c., frame raised on reverse tapered colonnettes, slant top, three drawers, stretcher base, toupie feet, h. 57 3/4 in., w. 76 1/4 in., d. 32 in. [$900/1200]

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183. Louisiana Cypress Dugout Canoe, remnants of green paint, two seats, h. 15 1/2 in., l. 171 in., w. 30 in. [$2000/4000]

184. Rare Louisiana Creole Gros Rouge Punkah, late 18th/early 19th c., likely Southern yellow pine, pegged, mortise and tenon construction, raised central panel surrounded by applied molding, waisted triangular shape with strongly curving shoulders, and lower corners flanking a shaped skirt, hanging elements include small wrought iron pins extending from the lower portion of each shoulder and a round finial‑type projection drilled with a hole; retains the original surface, h. 40 1/2 in., w. 35 in. [$7000/10000] Ill.: Holden, Jack, et al. Furnishing Louisiana, Creole and Acadian Furniture 1735-1835.

New Orleans: The Historic New Orleans Collection, 2010, p. 89.

182. Petite Louisiana Creole Painted Cypress Armoire in the Louis XV Taste, late 18th/early 19th c., top with a reeded molding often associated with true Acadian examples above plain frieze, pair of molded paneled doors with fiche hinges, cypress shelf interior, scalloped base, molded cabriole legs, the present carefully restored teal blue color matching traces of the original, h. 77 in., w. 46 in., d. 17 3/4 in. [$7000/10000] Provenance: Neal Auction Company, Robert Smith, Breaux Bridge, LA.

185. American Southern Grain-Painted Pine Chest of Drawers, 19th c., by W.D. Evans, graduated drawers, conical tapered legs, h. 45 in., w. 41 1/2 in., d. 17 in. [$1000/1500] Provenance: Property of the Mobile Museum of Art, Mobile, AL, sold to benefit their Collections, Care and Acquisitions Fund.

Note: Derived from the Hindi word for the wings of a bird, punkahs are large swinging fans affixed to the ceiling. Coming into common use in India in the late 18th century, punkahs became essential in tropical climates, particularly throughout the British Empire. In the Antebellum South, elaborate punkahs became a regular dining room fixture as they not only cooled the occupants but shooed flies from the table. As Indian punkahs were operated by low-cast punkahwallas, American punkahs were fanned by enslaved adults and children, often dressed in livery, as evidence of the household’s opulence and reinforcing the master-slave dynamic. Scholar Dana Byrd has explored the unintended benefits of operating a punkah, as hearing dinner conversation with revelations of important news and observation of high society habits was possible. Among the many enslaved children with duty at the fan was Booker T. Washington, who described how he learned about “the subject of freedom and the war” as he, invisible and silent, fanned his owners’ table in the 1860s.

This lot retains original iron fasteners and most of its painted surface. The form of this punkah shows the vogue of Grecian style in Southern Louisiana of the early 19th century. While most Anglo-Colonial punkahs were rectangular, this example is entirely curvilinear with a trapezoidal center panel, likely to harmonize with the broad Neoclassical scrolls of fashionable dining room furniture below.

Ref.: Dana E. Byrd. “Motive Power: Fans, Punkahs, and Fly Brushes in the Antebellum South.” Buildings & Landscapes: Journal of the Vernacular Architecture Forum, vol. 23, no. 1, 2016, pp. 29–51. https://research.bowdoin.edu/punka-project/ Eve Kahn. “How Ceiling Fans Allowed Slaves to Eavesdrop on Plantation Owners.” Atlas Obscura, May 14, 2018. https://www.atlasobscura.com/articles/punkah-project-fans-antebellum-south

186. American Southern Walnut Four Post Bed, mid‑19th c., finialed octagonal posts, rolling pin headboard, domed feet, h. 88 in., l. 72 in., w. 52 in. [$500/800]

187. Southern Walnut Armoire, c. 1840‑1850, molded cornice with canted corners, paneled doors, fitted interior, ogee bracket feet, h. 87 1/2 in., w. 60 1/2 in., d. 21 1/2 in. [$1200/1800]

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188. Newcomb College Art Pottery Vase, 1932, decorated by Sadie Irvine, in the Moon and Moss design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Kenneth Smith’s potter’s mark, and reg. no. TZ 53, h. 5 1/4 in., dia. 4 in. [$1000/1500]

189. Newcomb College Art Pottery Bowl, 1923, decorated by Anna Frances Simpson, with relief carved jonquil design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, and reg. no. MX3, h. 1 5/8 in., dia. 4 in. [$400/600]

191. Newcomb College Art Pottery Vase, 1929, decorated by Anna Frances Simpson, low relief carving, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, and reg. no. RP36, h. 5 in., dia. 3 in. Note : hairline. [$300/500]

190. Newcomb College Art Pottery Vase, 1933, decorated by Henrietta Bailey, with relief carved pitcher plant design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, reg. no.

UP2, original paper label, h. 4 in., dia. 3 3/4 in. [$600/900]

192. Newcomb College Art Pottery Vase, 1919, decorated by Sadie Irvine, relief carved daffodils, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark and Joseph Meyer’s potter’s mark h. 4 3/4 in., dia. 1 1/2 in. [$400/600]

193. Joseph Woodson “Pops” Whitesell (American/Indiana, 1876‑1958, active New Orleans, 1918‑1958), “Juanita Louise Gonzales (American/New Orleans, 1903‑1935)”, gelatin silver print, pencil‑signed, titled and inscribed on mat, 16 1/2 in. x 13 1/2 in., framed. [$500/700]

194. George Ohr Art Pottery Pot, 1899, stamped “G.E. OHR/ BILOXI MISS”, inscribed “Mobile Clay/5‑9‑99”, mustard interior, green rim, raspberry and dark blue sponge and spattered glaze, h. 2 5/8 in., dia.

3 3/4 in. [$800/1200]

195. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Water (Fresh)”, hand‑colored linocut on wallpaper, unsigned, 2 estate stamps upper left and upper center, sheet 19 in. x 36 3/4 in., unframed. [$1500/2500]

196. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Border (Christmas Border)”, hand‑colored linocut on wallpaper, unsigned, inscribed with artist and title en verso, estate stamp upper left corner, sheet 19 in. x 46 in., unframed. [$2000/3000]

Exh.: Walter Anderson Museum of Art, Ocean Springs, MS.

Exh.: Walter Anderson Museum of Art, Ocean Springs, MS.

Ill.: Pickard, Mary Anderson and Patricia Penson. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, color plates

Ill.: Pickard, Mary Anderson and Patricia Pinson. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, color plates frontispiece

33

197. Shearwater Art Pottery “Bust of Allison”, c.

1935, cast by Walter Inglis Anderson, double‑blue glaze, h. 9 in., w. 5 3/4 in., d. 7 1/4 in. [$300/500] Exh.: Walter Anderson Museum of Art, Ocean Springs, MS.

198. Shearwater Art Pottery “Chesty Horse” Figure, c. 1940, marked, cast by Walter Inglis Anderson, alkaline blue glaze by Peter Anderson, h. 12 in., w. 11 1/2 in., d. 3 1/2 in. [$800/1200] Exh.: Walter Anderson Museum of Art, Ocean Springs, MS. Ill.: Pickard, Mary Anderson and Patricia Pinson.

Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, color plates

199. Shearwater Art Pottery “Sea Gull” Figure, c. 1945, marked,

by Walter Inglis Anderson, brown glaze, h. 5 3/4 in. [$500/700] Exh.: Walter Anderson Museum of Art, Ocean Springs, MS.

200. After Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Crab Medallion”, hand‑colored linocut on wallpaper, printed by Carolyn Fournier Anderson, colored

by Rosa di Stefano, handwritten label with title and printer information en verso, sheet 33 5/8 in. x 20 1/2 in., unframed. [$300/500]

201. After Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Fish Medallion”, hand‑colored linocut on wallpaper, printed by Carolyn, Rosalie and Mary Anderson, colored by Rosa di Stefano, handwritten label with title and printer information en verso, sheet 33 3/8 in. x 20 1/2 in., unframed. [$300/500]

Exh.: Walter Anderson Museum of Art, Ocean Springs, MS.

Exh.: Walter Anderson Museum of Art, Ocean Springs, MS.

Ill.: Pickard, Mary Anderson and Patricia Pinson.

Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 103

Ill.: Pickard, Mary Anderson and Patricia Pinson.

Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 71

202. After Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Flower Medallion (Butterflies and Tittonia)”, hand‑colored linocut on wallpaper, printed by Carolyn Fournier Anderson, colored by Rosa di Stefano, handwritten label with title and printer information en verso, sheet 34 in. x 21 1/2 in., unframed. [$300/500] Exh.: Walter Anderson Museum of Art, Ocean Springs, MS. Ill.: Pickard, Mary Anderson and Patricia Pinson.

Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 102

203. After Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Pitcher Plants”, hand‑colored linocut on wallpaper, printed by Carolyn Fournier Anderson, colored by Rosa di Stefano, handwritten label with title and printer information en verso, sheet 28 5/8 in. x 20 in., unframed. [$300/500] Exh.: Walter Anderson Museum of Art, Ocean Springs, MS. Ill.: Pickard, Mary Anderson and Patricia Pinson. Form and Fantasy: The Block Prints of Walter Anderson.

Jackson: University Press of Mississippi, 2007, p.72

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204. After Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Vertical Pelican”, hand‑colored linocut on wallpaper, printed by Carolyn Fournier Anderson, colored by Rosa di Stefano, handwritten label with printer information en verso, sheet 42 in. x 20 1/2 in., unframed. [$400/600] Exh.: Walter Anderson Museum of Art, Ocean Springs, MS. Ill.: Pickard, Mary Anderson and Patricia Pinson. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 71

205. After Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Alphabet Series: Cover Page, A, B, C and D”, 5 silkscreens, printed by Shirley Gill Helm, Rose Williams or Carolyn Anderson, colored by “BR”, each with printer stamp with title, printer information and inscription en verso, sheets 14 in. x 11 in., unframed. (5 pcs.) [$500/700] Ill.: Pickard, Mary Anderson and Patricia Pinson.

Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 124

206. After Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Single Fish”, later print date 1978, linocut, printed by Carolyn Fournier Anderson, handwritten label with title, date, printer information and inscription en verso, sheet 20 1/2 in. x 27 3/4 in., unframed. [$200/300] Exh.: Walter Anderson Museum of Art, Ocean Springs, MS.

207. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Alphabet Series: A and L”, 2 linocuts on paper, later hand‑coloring, unsigned, sheets 15 in. x 12 in., framed. (2 pcs.) [$300/500] Exh.: Walter Anderson Museum, Ocean Springs, MS. Ill.: Pickard, Mary Anderson and Patrician Pinson. Fantasy and Form: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 124, 125 208. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Corn (Border)”, hand‑colored linocut on paper, unsigned, 2 estate stamps lower right corner, inscribed with artist and title en verso, sheet 18 1/2 in. x 31 1/2 in., unframed. [$1500/2500] Exh.: Walter Anderson Museum of Art, Ocean Springs, MS. Ill.: Pickard, Mary Anderson and Patricia Pinson. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, pp. 124‑125

209. Shearwater Art Pottery “Geometric” Vase, c. 1940, by Walter Inglis Anderson, triple‑glaze, h. 4 1/8 in. w. 2 3/4 in., d. 1 3/8 in. [$500/700] Exh.: Walter Anderson Museum of Art, Ocean Springs, MS.

210. Four Shearwater Art Pottery Table Items, incl. fish mug, woodpecker mug, small cup, bowl with flower frog, largest (bowl) h. 3 in., dia. 9 3/4 in. [$700/1000] Exh.: Walter Anderson Museum of Art, Ocean Springs, MS.

211. Shearwater Art Pottery “Duck” and “Goose Head Down” Figures, c. 1950 by Walter Inglis Anderson, antique green glaze, cast duck h. 10 1/2 in.

(2 pcs.) [$600/900] Exh.: Walter Anderson Museum of Art, Ocean Springs, MS.

212. Five Shearwater Art Pottery Figures, incl. “Mother Goose”, “The Lady on a Tiger”, “Puss ‘n Boots”, “Mullet Man”, and “Shrimpboat Captain”, largest h. 11 1/2 in. [$300/500] Exh.: Walter Anderson Art Museum, Ocean Springs, MS.

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213. John Gould (British, 1804‑1881), The Birds of Great Britain, 5 vols., [1862]‑1873, published by the author, London, folio (22 in. x 15 in.), with 367 hand‑colored lithographed plates by Gould, Joseph Wolf, H.C. Richter, and W. Hart, with dedication leaf, preface, list of subscribers, list of plates, three‑quarter morocco, gilt titles, gilt “C” and stamp of Cruising Association Library, top edges gilt, marbled end papers, with bookplate of The Cruising Association. [$30000/50000] Provenance: Neal Auction Company, Feb. 8, 2014, lot 20.

214. McKenney, Thomas L. & Hall, James, History of the Indian Tribes of North America..., Philadelphia, J.T. Bowen, 1848, 1849, 1850, first octavo edition (10 1/4 in. x 6 1/2 in.), 3 volumes, dark brown pebbled calf of the period (possibly publisher’s), covers blocked in gilt, glazed yellow endpapers, all edges gilt, with 120 hand‑colored lithographed plates, plus the colored dedication to Washington. [$7000/10000] Note: This is one of the finest American color‑plate books of the period, in which most of the plates are after the paintings rendered (at McKenney’s behest) by the artist Charles Bird King. Most of King’s portraits were lost in the 1865 Smithsonian fire, so this work not only preserves the likeness of Native American leaders of the period, but it is also a significant American art historical document. Field 992: “The plates are accurate portraits of celebrated chiefs, or of characteristic individuals of the race; and are colored with care, to faithfully represent their features and costumes.” Sabin 43411; Howes M129

215. Audubon, John James & Bachman, The Rev. John, The Quadrupeds of North America, New York, V. G. Audubon, 1851, 1854, 1854, 3 vols., octavo (7 in. x 10 1/2 in.), with 155 lithographed plates after J.J. & J.W. Audubon, printed and hand‑colored by J.T. Bowen and Nagel & Weingaertner, three‑quarter leather, gilt lettering, marbled endpapers and edges. [$4000/6000]

216. Audubon, John James, The Birds of America, from Drawings Made in the United States and Their Territories, New York, V.G. Audubon/Roe Lockwood & Son, 1860, fourth octavo edition (6 3/4 in. x 10 1/2 in.), 7 volumes, three‑quarter leather, marbled boards, endpapers, and edges, gilt lettering, half titles to vols. II & IV, with 500 hand‑colored and tinted lithographed plates under tissue‑guards. [$7000/10000]

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217. [Leather Bindings] Cooper, James Fenimore, The Complete Works of James Fenimore Cooper, New York, G.P. Putnam’s Sons, [n.d., 1895], 32 vol., octavo, “Leather‑Stocking Edition, limited to 1000 copies, this being # 212, 3/4 leather, spine with gilt lettering and devices, five raised bands, frontispieces and vignette titles on mounted India paper, marbled boards and endpapers, 32 volumes, Note: some with detached boards. [$500/700]

218. 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. [$600/800] Provenance: Vassilis Korovessis Rare Books, Athens, Greece, 2017; Demetrius S. Spanos, MD Collection, Jonesboro, AR

219. 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. [$1200/1800] 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

220. Four Rare New Orleans Olympic Club Boxing Tickets, 1892, incl. Sept. 5th, Billy Myer vs. Jack McAuliffe Lightweight Championship; Sept. 6th, George Dixon vs. Jack Skelly Featherweight Championship; and the John Sullivan vs. James Corbett Heavyweight Championship, together with the March 2nd Grand International Glove Contest between Peter Maher and Robert Fitzsmmons, Sullivan ticket 3 1/4 in. x 4 1/4 in. [$2000/3000]

221. Keichosaurus Fossil, China, Triassic period, c. 240 million years ago, prepared in its stone matrix, 8 1/2 in. x 10 1/4 in. x 3/8 in. [$1000/1500]

222. Keichosaurus Fossil, China, Triassic period, c. 240 million years ago, prepared in its stone matrix, 7 7/8 in. x 12 5/8 in. x 1/2 in. [$1000/1500]

Note: The Olympic Club in New Orleans was the center of the boxing universe. The September, 1892 series of Championships was one of the first to be fought under the new Queensberry rules, requiring gloves instead of bare‑knuckles. In the twenty‑first round “Gentleman Jim” Corbett defeated Sullivan, who declared “if I had to get licked I’m glad I got licked by an American.” In the Featherweight Championship, George “Little Chocolate” Dixon defeated Jack Skelly, becoming the first Black fighter to win a world title in any division.

223. Ancient Knightia Fish Fossils, c. 50 million years ago, Green River formation, Wyoming, two matrix plates, three fish total, 6 3/4 in. x 8 1/2 in., and 6 in. x 7 in. [$300/500]

224. Giant Clam Shell, Tridacna gigas, South Pacific, h. 8 in., w. 26 in., d. 15 in. [$800/1200]

225. Antique English Mahogany Barometer, c. 1900, incorporating weather dial, hygrometer, thermometer, and bubble level, h. 36 in., w. 10 1/4 in., d. 1 1/2 in. [$500/600]

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226. Louis Philippe Gilt Bronze and Marble Mantel Clock, 19th c., silk thread movement, case surmounted with Classical figure flanked by attributes of war., h. 30 1/2 in., w. 21 1/2 in., d. 9 in. [$1600/1800]

227. Monumental Louis XVI‑Style Gilt Bronze and Cut Crystal Clock, 20th c., porcelain dial flanked by eagles, diamond point cut glass columns raised on sphinxes, h. 45 in., w. 32 in., d. 7 in. [$3000/5000]

228. Louis XVI‑Style Gilt Bronze‑Mounted Porphyry and Lapis Lazuli Mantel Clock, late 19th c., striking bell movement marked “Paillard a Paris” and “Pons”, surmounted by urn with fruit garland, lions, and a serpent, lapis dial flanked by cherub terms, scroll feet, h. 26 1/2 in., w. 15 3/4 in., d. 11 in. [$8000/10000]

229. Louis Philippe Patinated Bronze and Marble Figural Mantel Clock, 19th c., case surmounted by figure of a gentleman writing, h. 19 in., w. 12 1/2 in., d. 5 in. [$500/700]

230. American Federal Carved Mahogany Tall Case Clock, c. 1820, dial signed Jacob Danner, moon dial features a fisherman, h. 98 in, w. 20 in, d. 10 1/2 in. [$800/1200]

231. American Mahogany Nine‑Tube Tall Case Clock, 1920, Herschede, Pattern No. 89, serial #4977, moon dial, beveled glass, h. 82 in., w. 24 in., d. 16 1/2 in. [$800/1200]

Provenance: Property of the Mobile Museum of Art, Mobile, AL, sold to benefit their Collections, Care and Acquisitions Fund.

233. New Orleans Art Case Piano and Stool, 20th c., Wurlitzer upright, 88 keys, decorated by Heather “Heady” Pardew, colored beads, feathers, decoupage tissue, paint, and objects; voodoo terms “C’est le Congo” and “Egungun”; created for the 2012 Louisiana Public Broadcasting documentary “Sunshine by the Stars; Celebrating Louisiana Music”, starring Harry Connick, Jr., h. 37 in., w. 56 3/4 in., d. 24 1/4 in. [$500/700] Provenance: Property deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

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232. Wurlitzer Model 1015 “One More Time” CD Bubbler Jukebox, based on the 1947 design, holds 100 cds, internal speaker system, with connections for external speakers, motor‑driven title card turner, can be configured for free or coin play, with changing lights and moving bubbles, h. 60 in., w. 32 in., d. 25 in. [$2000/3000]

234. Antique French Six‑Bell Twelve‑Air Cylinder Music Box, burl walnut case, movement with two combs (lacking 3 tines), h. 11 in., w. 29 in., d. 13 1/4 in. [$1500/2500] 235. American Classical Carved Mahogany Gentleman’s Chest, early‑to‑mid 19th c., probably New York, superstructure with lamb’s tongue mirror on scroll brackets, three glove drawers, case with bolection frieze drawer, columnar stiles, three graduated drawers, foliate lobed feet, h. 75 1/4 in., w. 48 3/8 in., d. 22 in. [$800/1200]

236. American Classical Carved Mahogany Metamorphic Library Armchair, early‑to‑mid 19th c., possibly Boston, arched shaped back, padded arms, lappet carved arm supports and knees, telescoping footrest, brass caps and casters, h. 44 in., w. 25 1/2 in., d. 32 in. [$1000/1200]

237. American Brass‑Mounted Mahogany Folding Library Steps, h. 38 1/4 in., w. 16 in., d. (open) 29 1/4 in. [$600/900]

238. American Late Classical Mahogany Work Table, early‑to‑mid 19th c., pull out writing slide, two bolection drawers, columnar support, incurvate plinth, foliate paw feet, casters, h. 30 in., w. 22 in., d. 17 1/2 in. [$600/900]

239. American Classical Mahogany and Giltwood Mirror, mid‑19th c., h. 34 3/4 in., w. 28 1/4 in. [$250/350] 240. American Late Classical Mahogany Bookcase, c. 1840, probably New Orleans, stepped ogee molded cornice above two glazed and paneled doors, molded base, ogee bracket feet, h. 90 in., w. 62 in., d. 20 1/2 in. [$1500/2500]

241. American Classical Carved Mahogany Games Table, early 19th c., foldover swivel top, ogee frieze, acanthus carved lyre support, leaf carved scrolled legs, incurvate plinth, lion’s paw casters, h. 30 in., w. 35 in., d. 17 1/2 in. [$1200/1800]

242. American Classical Mahogany Pier Table, early‑to‑mid 19th c., molded later marble top, bolection frieze, fluted reverse tapered columns, conforming plinth base, h. 35 in., w. 40 1/2 in., d. 18 in. [$700/1000]

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243. American Classical Carved Mahogany Games Table, early 19th c., Boston, foldover swivel top, columnar standard, acanthus scroll saber legs, brass paw feet, casters, h. 28 in., w. 35 1/2 in., d. (closed) 17 3/4 in., d. (open) 35 1/2 in. [$800/1200]

244. American Late Classical Carved Mahogany and Parcel Gilt Sideboard, early‑to‑mid 19th c., probably Philadelphia, pedimented mirror back flanked by columns and foliate scrolls, central cyma drawer over bowfront Gothic cabinet, flanked by pedestal cabinets with colonnettes, foliate paw feet, h. 70 1/4 in., w. 81 1/2 in., d. 29 in. [$2500/3500]

246. Fine American Renaissance Sterling Silver Compote, attr. John R. Wendt & Co., New York, act. 1860‑1879, marked “256” over “ENGLISH STERLING”, bowl retaining gilt wash and surmounted by doves, Classical maiden standard, wave motif banding throughout, h. 9 3/4 in., w. 11 in., wt. 25.60 troy ozs. [$600/900]

245. American Late Classical Carved Mahogany Extension Dining Table, early‑to‑mid 19th c., possibly Caribbean, circular top, beaded apron, anthemion carved standard, scrolled feet, casters, one leaf, h. 29 in., w. (closed) 54 in., d. 43 1/4 in. [$500/700]

247. Pair of Continental .800 Silver‑Mounted Claret Jugs in the Neoclassical Taste, probably Joseph Netter, Mannheim, Germany, late 19th/early 20th c., panel cut glass, h. 11 3/4 in. [$600/800]

250. Tiffany & Co. Makers Sterling Silver Circular Tray, 2nd half 20th c., molded rim, dia. 11 in., wt. 17.05 troy ozs. [$400/600]

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248. Set of Four Neoclassical‑Style Silverplate Candlesticks, urn‑form candlecups with bowknot and acanthus, fluted shafts, stepped bases, beading throughout, h. 8 3/4 in. [$300/500]

249. Tiffany & Co. Makers Sterling Silver Bread Tray in the Neoclassical Taste, pattern introduced 1911, decorated with cornucopiae, period script monogram, l. 12 3/4 in., wt. 17.75 troy ozs. [$400/600]

251. Princeton Tiger Inn Sterling Silver Presentation Punch Bowl, footed form with tiger’s head and ring handles and 1928 presentation inscription, h. 7 3/8 in., w. 13 1/2 in., wt. 54.80 troy ozs. [$1000/1500] Note: Tiger Inn, founded in 1890, is one of the four oldest and most prestigious eating clubs at Princeton University, the others being The Ivy Club, University Cottage Club and Cap and Gown Club.

252. International Sterling Silver Water Pitcher, Paul Revere reproduction, h. 7 3/4 in., wt. 20.65 troy ozs. [$600/800]

254. American Art Nouveau Sterling Silver Dresser Set, Unger Brothers, Newark, NJ, act. 1872‑1919, incl. hand mirror, hairbrush, and clothes brush; together with an associated Unger Brothers hat brush, Watrous nail buffer, small clothes brush, child’s hairbrush, and Rogers silverplate soup ladle.

(8 pcs.) [$300/400] 253. Group of Three Tiffany & Co. Sterling Silver Pieces, late 19th/ early 20th c., incl. liqueur decanter (h. 8 3/4 in.), letter opener (l. 10 1/4 in.), and cigar case (5 3/8 in. x 3 1/8 in.); total wt. 22 troy ozs. [$800/1200]

255. Three American Leaded Glass Windows, clear and textured glass, h. 63 1/4 in., w. 29 5/8 in., d. 1 in. [$1000/1500]

256. Contemporary Inlaid Oak Trunk, hinged lid, void interior, h. 19 in., w. 41 1/2 in., d. 23 1/2 in. [$150/250]

257. American Classical Brass and Wirework Serpentine Firescreen, 19th c., h. 14 1/2 in., w. 49 in., d. 12 in., together with brass spurred andirons, h. 17 in.; tongs, and shovel. [$800/1200]

258. Pair of Georgian-Style Inlaid Mahogany Serpentine Front Cutlery Boxes, 19th c., fitted interiors, h. 15 1/4 in., w. 9 in., d. 11 1/8 in. [$1800/2400]

260. Eight Shaker Seed Boxes, late 19th c., six retaining lids, with lithographed labels, h. 3 1/2 in., w. 23 1/2 in., d. 11 3/4 in. [$600/900]

262. Antique American Carved Marble Obelisk, c.

1850, octagonal form, molded tiered base, h. 22 in., w. 6 3/4 in., d. 6 3/4 in. [$600/900]

259. Pair of Georgian-Style Carved Mahogany Cutlery Urns, early 20th c., telescoping lids with acorn finials, rosette and stiff‑leaf design, fitted interior, h. 26 in., w. 11 in., d. 11 in. [$800/1200]

261. Pair of Patinated Cast Iron Horsehead Book Ends, 20th c., rope bases, h. 9 1/2 in., w. 6 1/4 in., d. 5 1/2 in. [$250/350]

263. American Tiger Maple Doll’s Bed, c. 1830, ring turned posts, toupie feet, custom mattress and dust skirt, h. 17 1/2 in., overall l. 19 1/8 in., overall w. 13 in. [$300/500]

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264. Knute Heldner (Swedish/Louisiana, 1877‑1952), “Brulatour Courtyard” and “French Quarter Courtyard”, 2 oils on canvas board, each signed lower right, one inscribed en verso, both 7 in. x 5 in., framed alike.

(2 pcs.) [$1800/2500]

265. Alberta Kinsey (American/New Orleans, 1875‑1952), “French Quarter Courtyard”, oil on board, signed lower right, newspaper clipping on backing paper, 10 1/8 in. x 12 1/8 in., framed. [$1000/1500] Provenance: Neal Auction Company, Aug. 30, 1996, lot 386 266. Louise Brasell Lehman (American/Mississippi, 1898‑1993), “Window Shopping at Antique Shop in New Orleans”, oil on canvas, signed lower left, partial sketch en verso, 24 in. x 28 in., framed. [$800/1200] Note: Louise Lehman studied at Mississippi State College for Women (now Mississippi University for Women), George Washington University, Corcoran School of Art in Washington D.C. and Columbia University Teacher’s College in New York, where she received a Bachelor of Science. As well as being an active artist throughout her lifetime, Lehman was also a curator and organizer in the arts community of the South. She was instrumental in organizing the first gallery showing at the Memphis Brooks Museum of Art, the oldest and largest art museum in Tennessee. In 1948, she and friend Louise Clark, then director of the museum, approached Mississippi artist Walter Anderson about allowing the American Association of University Women to organize a traveling exhibition of his work. The exhibition included a wide range of his works in various media and was a smashing success, leading to an invitation for Anderson to show his prints at the Brooklyn Museum.

Lehman’s own work was exhibited during her lifetime at the Montgomery Museum of Fine Art, Mississippi State College for Women, the Tennessee Arts Commission Gallery and the Memphis Brooks Museum of Art. While she focused in large part on floral studies, Lehman displayed a deft hand at cityscapes, as seen in the charming street scene offered here that captures the magic and charm of the French Quarter in New Orleans. An antique shop storefront is depicted in a bright color palette with precise attention to detail, while the ironwork balcony and partial sign to the right entice the window shoppers to the neighboring courtyard for a teacup psychic reading. Based on period photographs from the 1930s and 1940s, the buildings depicted are believed to be 628 and 630 Royal Street.

Ref.: “Louise Brasell Lehman.” Tennessee Arts Commission. www.tnartscommission.org. Accessed July 27, 2021. Pickard, Mary Anderson and Patricia Pinson. Form and Fantasy: The Block Prints of Walter Anderson.

Jackson: University Press of Mississippi, 2007.

267. Earl Horter (American/Pennsylvania, 1881‑1940), “Antique Shop, New York”, etching and drypoint engraving, pencil‑signed lower margin, 7 1/16 in. x 7 1/4 in., framed. [$300/500]

269. Colette Pope Heldner (American/Louisiana, 1902‑1990), “Swamp Idyl (Louisiana Bayou Country)”, oil on canvas, signed lower left, signed and titled en verso, 48 in. x 35 3/4 in., unframed. [$2500/3500]

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268. Eugene Loving (American/New Orleans, 1908‑1971), “Pirate’s Alley, New Orleans”, hand‑colored etching, signed lower left, 16 1/4 in. x 12 1/4 in., framed. [$300/500]

270. Colette Pope Heldner (American/ Louisiana, 1902‑1990), “Swamp Idyl (Louisiana Bayou Country)”, oil on canvas, signed lower left, signed and titled en verso, 24 in. x 30 in., framed. [$1200/1800]

271. George Frederick Castleden (British/New Orleans, 1861‑1945), “Live Oak and Spanish Moss/Monarchs of the South”, oil on canvas board, signed lower left, signed and titled en verso and on remnant of backing paper, 5 1/8 in. x 6 3/8 in., framed. [$1000/1500]

272. Amos Lee Armstrong (American/Louisiana, 1899‑1969), “Summer Day on Cane River”, oil on board, signed lower right, signed and titled en verso, framing label on reverse of frame, 24 1/4 in. x 30 in., House of Heydenryk frame. [$500/700] Provenance: Neal Auction Company, May 18, 1996, lot 316

273. Charles Longabaugh (American/New Orleans, 1885‑1944), “Bayou Bridge, Old Louisiana”, 1913, watercolor on paper, initialed, dated and inscribed “Lafitte, LA” lower right, pencil‑signed and titled on mat, 6 1/8 in. x 7 1/4 in., framed. [$500/700]

274. Charles Reinike, Jr. (American/Louisiana, 1906‑1983), “Cabin and Shrimp Boats on the Bayou”, 1954, 2 watercolors on board, each signed and dated lower left, both 21 1/4 in. x 29 in., framed alike. (2 pcs.) [$800/1200]

275. Charles Reinike, Jr. (American/Louisiana, 1906‑1983), “Bayou Settlements”, 2 watercolors on paper, each signed lower left, both 11 in. x 15 in., framed alike. (2 pcs.) [$700/1000]

277. Gideon Townsend Stanton (American/Louisiana, 1885‑1964), “Cabin below Oak with Spanish Moss”, oil on canvas, signed lower left, 20 in. x 24 in., framed. [$700/1000]

276. George Frederick Castleden (British/New Orleans, 1861‑1945), “Landscape with Pond”, oil on canvas, signed lower right, inscribed on stretcher and reverse of frame, 16 1/4 in. x 20 1/4 in., framed. [$1200/1800]

278. Robert William Wood (American/Texas, 1889‑1979), “Texas Hill Country with Bluebonnets”, oil on canvas, signed lower right, 26 1/4 in. x 36 1/4 in., framed. [$12000/18000] Note: Neal Auction Company would like to thank Jeffrey Morseburg for his assistance with the cataloguing of this lot

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279. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Sentinels of the Night, Bayou Plaquemine, Louisiana”, 1932, oil wash on board, pencil‑signed and dated lower left, pencil‑signed, titled, dated and inscribed en verso, typed label on backing paper, 15 in. x 20 in., framed. [$2500/3500]

280. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Louisiana Bayou with Live Oaks and Water Lilies”, oil wash and chalk on board, pencil‑signed lower left, typed label on backing paper, 20 in. x 30 in., framed. [$3000/5000]

281. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Live Oak on the Bayou”, oil wash on board, pencil‑signed lower right, “Jean Bragg Gallery, New Orleans” label and certificate of authenticity attached to backing board, 8 in. x 18 in., framed. [$1200/1800] Provenance: Jean Bragg Gallery, New Orleans, LA

282. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Landscape with Live Oak”, oil wash on board, signed lower right, partial label on reverse of frame, 20 in. x 18 1/4 in., framed. [$2000/3000]

283. Robert Malcolm Rucker (American/Louisiana, 1932‑2001), “Spring Landscape with Gazebo”, 1986, oil on canvas, signed and dated lower right, artist card attached to stretcher, 34 in. x 50 in., framed; accompanied by “Louisiana, This One’s For You” by Jimmie Davis, published by Ed Cheshire Publications, Baton Rouge, 1985.

(2 pcs.) [$2500/3500]

284. Paul Stotts (American/ Tennessee, 1872‑1944), “Tropical Flora”, 1929, oil on canvas, signed and dated lower right, 38 in. x 30 in., framed. [$600/800]

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285. Ella Hergesheimer (American/Tennessee, 1873‑1943), “Tennessee Landscape with Creek”, oil on board, signed lower left, artist name inscribed en verso, 10 5/8 in. x 13 1/2 in., framed. [$1500/2500] Note: Ella Sophonisba Hergesheimer was born in Allentown, Pennsylvania, the great-great granddaughter of Charles Willson Peale who selected her middle name in honor of the Italian Renaissance painter Sofonisa Anguissola. Hergesheimer attended the Philadelphia Academy of Fine Arts and studied under Cecilia Beaux, Hugh Breckenridge and William Merritt Chase. She was awarded the Cresson Traveling Scholarship and studied abroad in Europe for three years, attending the Academie Colarossi and exhibiting at the Paris Salon.

In 1907, Hergesheimer was commissioned to paint a portrait of Bishop Holland M. McTyeire, one of Vanderbilt University’s founders. The portrait led to subsequent commissions in Nashville, Tennessee, where she eventually made her home. Although Hergesheimer’s primary source of income was portraiture of the wealthiest members of Nashville society, she also turned to the environs of Nashville for inspiration. “The country around Nashville is, some of it, the most beautiful I have ever seen—a large and bounteous field for the landscape painter.” In the work offered here, the viewer’s eye follows the crystalline blue creek beyond a rustic wood fence to the mountains in the distance, creating an engaging view of the Tennessee landscape Hergesheimer so admired.

Ref.: “Hergesheimer, Ella (1873-1943).” The Johnson Collection. www.thejohnsoncollection.org.

Accessed July 27, 2021.

287. Antique American Federal‑Style Inlaid Mahogany Secretary Bookcase, upper case with finialed cornice, glazed doors, painted shelf interior, over inlaid doors enclosing fitted interior, lower case with fold‑over writing surface, three graduated drawers, tapered legs, h. 82 in., w. 40 in., d. 19 1/4 in. [$1200/1800]

286. William Woodward (American/Louisiana, 1859‑1939), “Moon Rise at Back Bay”, 1929, oil on masonite, monogrammed lower left, signed, titled and dated on reverse of frame, 7 in. x 10 in., original frame. [$3000/5000]

288. American Federal‑Style Inlaid Mahogany Sideboard, shaped top, central long drawer over faux tambour drawer, side cabinets, tapered spade feet, h. 37 3/4 in., w. 68 in., d. 22 3/4 in. [$700/1000] Provenance: Estate of Eunice Bate Coleman, New Orleans, LA

290. American Federal Carved Mahogany Games Table, early 19th c., possibly Massachusetts, shaped foldover top, ring‑turned spiral twist tapered legs, h. 29 1/2 in., w. 36 1/4 in., d. 17 3/4 in. [$800/1200]

289. American Federal Carved Mahogany Drop‑Leaf Work Table, early 19th c., reeded top, two drawers, work basket frame, turned stretcher, brass paw feet, casters, h. 28 3/4 in., w. (closed) 18 1/2 in., w. (open) 33 3/4 in., d. 16 3/4 in. [$700/1000]

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291. Southern Federal Satinwood Inlaid Mahogany Breakfast Table, early 19th c., drop leaves, single drawer, tapered legs, h. 30 in., w. (closed) 26 3/4 in., w. (open) 47 1/4 in., d. 35 in. [$800/1200]

292. American Federal Carved Mahogany Tilt‑Top Table, 19th c., possibly Baltimore, single board top, reeded saber legs, brass caps, casters, h. 28 3/4 in., dia. 34 1/2 in. [$800/1200]

294. American Federal Carved Mahogany Games Table, early 19th c., probably New York, reeded shaped foldover top, lyre standard, saber legs, brass paw feet, casters, h. 30 1/4 in., w. 36 1/2 in., d. 18 1/2 in. [$700/1000] Provenance: Property of the Mobile Museum of Art, Mobile, AL, sold to benefit their Collections, Care and Acquisitions Fund.

293. 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. [$900/1200]

295. American Federal RosewoodGrained Pine Games Table, 19th c., foldover top, sponge painted interior, single drawer, ring‑turned baluster legs., h. 30 in., w. 36 in., d. 18 in. [$400/600] Provenance: Property of the Mobile Museum of Art, Mobile, AL, sold to benefit their Collections, Care and Acquisitions Fund.

296. American Federal Pine Dowry Chest, late 18th c., 1778‑1796 By James Gheen, dovetailed construction, bracket feet, h. 24 in., w. 49 in in., d. 19 1/2 in. [$300/500] Provenance: Property of the Mobile Museum of Art, Mobile, AL, sold to benefit their Collections, Care and Acquisitions Fund.

297. Antique Persian Carpet, red ground, central medallion, spandrels, green ground border, 11 ft. 4 in. x 13 ft. 10 in. [$1500/2500]

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298. Antique Persian Carpet, red and cream ground, central medallion, repeating stylized floral border, 9 ft. 9 in. x 13 ft. [$1000/1500]

299. Chinese Art Deco Carpet, brown ground, lilac border, floral design, with birdcage and vase, 8 ft. 10 in. x 11 ft. 8 in. [$600/900]

300. Persian Carpet, red ground, central medallion, floral vining design, 6 ft. 8 in. x 9 ft. 10 in. [$700/1000]

301. Persian Rug, blue and tan ground, repeating bird and animal design, 3 ft. 9 in. x 6 ft. 6 in. [$250/350]

302. Persian Rug, blue ground, red border, vining floral design, 3 ft. 5 in. x 5 ft. [$200/300]

303. PersianRug,blueground,repeatingfloral design,4ft.8in.x6ft.8in. [$300/500]

304. Fine Antique Ferahan Carpet, central medallion, spandrels, overall vining foliate design, 12 ft. 10 in. x 16 ft. [$5000/7000]

305. Antique Persian Carpet, red ground, circular medallion, 10 ft. 10 in. x 13 ft. 10 in. [$1000/1500] 306. Fine Large Antique Oushak Carpet, salmon ground, repeating medallions in gold and cream, light green ground border, 15 ft. 2 in. x 20 ft. 8 in. [$7000/10000]

307. Aubusson‑Style Carpet, floral medallions, 7 ft. 8 in. x 10 ft. 3 in 3. [$500/700]

309. American Modern Gothic Carved Walnut Bookcase, mid‑19th c., attr. to Daniel Pabst, Philadelphia, molded pediment, glazed doors with lappet molding, lower doors and returns decorated with stipple carving, molded plinth, h. 104 1/2 in., w. 72 1/4 in., d. 21 3/8 in. [$2000/3000] Provenance: Civil War Society of Philadelphia.

Note: Several design elements on this bookcase are closely related to known case pieces from the workshop of Daniel Pabst. The finely rendered “coin” stiles are similar to examples from Pabst’s Renaissance Revival work including those on a sideboard and parlor cabinet, both conserved by the Philadelphia Museum of Art. 308. Oushak Carpet, cream ground, floral designs in salmon, blue and yellow, 12 ft. x 14 ft. 10 in. [$1000/1500]

The incised and stippled panels on this bookcase resemble panels on pieces within Pabst’s Modern Gothic oeuvre related to the work of English designer Christopher Dresser. Pabst examples with similar carving include a bedroom suite in the Philadelphia Museum of Art and an armchair from a private collection illustrated in The Art that is Life by Wendy Kaplan.

Ref.: Kaplan, Wendy. The Art that is Life, The Arts and Crafts Movement in America 1875-1920. New York: Bulfinch Press, 1998, p. 73, fig. 13; Talbott, David and Page. “Daniel Pabst: Philadelphia Cabinet Maker,” Philadelphia Museum of Art Bulletin, (April 1977), p. 10, fig. 4; p. 12, fig. 6; p. 16, fig 11.

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310. American Gothic Carved Mahogany Armchair, early‑to‑mid 19th c., possibly New York, finialed architectonic incised pierced back, baluster ring‑turned supports, padded arms, spherule, h. 58 3/4 in., w. 27 in., d. 27 in. [$700/1000]

311. American Modern Gothic Marquetry and Burled Walnut Bedstead, 19th c., possibly Herter Brothers, New York, pyramid finialed reeded posts banded with sunflower metal strapwork, h. 59 1/4 in. [$1500/2500] Provenance: Margot Johnson, New York.

312. Maitland Smith Four‑Panel Folding Screen, arched panels decorated with foliage, fruit, parrots, birds, and butterflies, black ground, h. 80 1/4 in., w. 80 1/4 in. [$1000/1500]

313. American Bamboo Thebes Stool, 19th c., of traditional spindled form, h. 17 1/2 in., w. 15 in., d. 15 in. [$400/600]

314. Monumental American Aesthetic Carved Cherrywood Mirror, late 19th c., labeled “Allen & Bro./Philadelphia”, shingled crest, cove‑molded frieze, rosette and reeded stiles, beveled mirror panels above large mirror plate, h. 103 in., w. 58 in. [$1000/1500] Note: The Allen and Brother firm, founded in 1835 in Philadelphia, exhibited and won prizes at the 1876 Centennial Exposition in Philadelphia. The design of this monumental mirror is related to pieces shown by other firms at the Centennial, including Mitchell and Rammelsberg of Cincinnati and Kimbel and Cabus of New York City. The Centennial allowed these firms the opportunity to examine the work of their peers which influenced the design of later pieces.

315. American Aesthetic Carved Rosewood “Kirihame” Firescreen, c. 1880, New York, carved posts on distinctive paw feet with glass ball casters, revolving foliate carved panel, inset with silk and patchwork, h. 61 1/2 in., w. 30 1/2 in. [$500/700] Note: This colorful “Kirihame” kaleidoscope quilt work has its origins as an element of 16th Century Japanese Kimonos.

Finding its way into the American style in the 1830s, this artform was at its height as aesthetic decoration in the last quarter of the 19th Century. The esteemed textile artist, Candace Wheeler, joined with Louis Comfort Tiffany and others to found Associated Artists.

Ref.: In Pursuit of Beauty, America and The Aesthetic Movement, The Metropolitan Museum of Art; p. 166, fig.

5.25 illustrated a related chair by Louis Comfort Tiffany with Samuel Colman, for the Henry Osborne Havemeyer house in New York.

Ref.: Talbot. “Allen and Brother, Philadelphia Furniture Makers”, Magazine Antiques, (May, 1996) pp. 716, pl. I, pp. 720-722, pl. VI-IX; Dubrow. American Furniture of the 19th c., p. 13.

316. Two American Renaissance Gilt Incised, Parcel Ebonized and Burl Walnut Chests, one 19th c., labeled McCracken, other benchmade copy, beveled marble tops, three drawers, h. 26 in., w. 37 1/4 in., d. 19 3/4 in. [$1000/1500]

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317. Pair of American Rococo Carved and Laminated Rosewood Side Chairs, 19th c., attr. to John Henry Belter, scroll back, cabriole legs, scroll toes, h. 34 3/4 in., w. 18 1/2 in., d. 24 in. [$1000/1500]

319. Two Craftsman Oak Armchairs, one a rocker, pyramid tops, shaped splats, flared arms, arm h. 34 1/4 in., w. 32 1/4 in., d. 24 1/2 in., rocker h. 32 1/4 in., w. 32 1/4 in., d. 35 1/2 in. [$500/700] 320. Antique American Mahogany Three‑Piece Dental Cabinet, 19th c., tambour top section, medial section with ten fitted drawers, scrolled base section with three graduated drawers, three faux drawer fronts, side cabinet with safe, h. 61 1/4 in., w. 38 in., d. 22 1/2 in. [$1000/1500]

318. American Rococo Carved Rosewood Sideboard, mid‑19th c., New York, superstructure with reticulated gallery, two ribbon molded shelves, scroll supports, base with marble top with turret corners, ripple molded surround, two drawers, two cabinet doors, strapwork decoration, acanthine ring‑turned stiles, egg and dart molded feet, h. 73 1/2 in., w. 61 in., d. 23 3/4 in. [$1200/1800] Provenance: Property of the Mobile Museum of Art, Mobile, AL, sold to benefit their Collections, Care and Acquisitions Fund.

321. Handel Reverse‑Painted Boudoir Lamp, 1917, “chipped” and “sand‑finished” glass bell‑form shade signed “HANDEL” with design number “6452”, bronze‑patinated base stamped “HANDEL”, h. 14 1/4 in., dia. 7 in. [$800/1200]

322. Tiffany Brass Double Student Lamp, burners marked “Patd. May 23 ‘78”, knuckle marked with Tiffany catalogue #29707, with period, cased emerald overlay shades, electrified, h. 19 1/2 in., w. 22 1/2 in., d. 8 in. [$600/900]

323. Tiffany Gilt Bronze Three‑Light “Lily” Table Lamp, early 20th c., reeded base marked “TIFFANY STUDIOS/NEW YORK/319”, favrile shades unmarked, h. 12 in., dia. 9 1/2 in. [$2000/4000]

325. American or English Gilt‑Brass Eight‑Light Gasolier, 19th c, cast with foliage, shields, and cabochons; foliate arms cast with swans holding grape leaves, electrified, cut‑glass shades, h. 70 in., dia. 40 in. [$2500/3500]

324. Tiffany Gilt Bronze Three‑Light “Lily” Piano Lamp, early 20th c., artichoke base marked “TIFFANY STUDIOS/NEW YORK/320”, fitted shades unmarked, h. 8 in., w. 11 1/4 in., d. 9 in. [$2000/4000]

326. American Rococo Gilt‑Brass Six‑Light Gasolier, 19th c., marked on gas cocks “Cornelius & Baker/Philadelphia”, foliate corona, spiral rod encircled by vining leaves, lower dish cast with melons, the foliate arms with fox mounts, electrified, cut‑glass shades, h. 74 in., dia. 42 in. [$2500/3500]

327. American Rococo Gilt‑Brass Four‑Light Gasolier, 19th c., marked on gas cocks “Cornelius & Baker/Philadelphia”, foliate corona, spiral rod encircled by vining leaves, lower dish cast with melons, the foliate arms with fox mounts, electrified, cut‑glass shades, h. 74 in., dia. 40 in. [$2500/3500]

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328. Pair of American Cut Crystal and Brass Two‑Light Sconces, spire finial, faceted scroll arms, electrified, h. 16 in., w. 16 in., d. 10 in. [$600/900]

329. Pair of American Cut‑Crystal and Brass Three‑Light Sconces, spiral arms, foliate‑etched shades, electrified, h. 22 in., w. 31 in., d. 16 in. [$800/1200]

331. Queen Anne Inlaid and Banded Burl Walnut Chest-onStand, 18th c., molded oak top, two drawers over three long drawers, molded base with drawer, bun feet, period hardware, h. 40 1/2 in., w. 38 1/2 in., d. 23 1/2 in. [$1000/1500]

330. Jacobean Carved Walnut Credenza, late 17th/early 18th c., molded top, three frieze drawers, two cabinet doors, two central drawers, block feet, h. 35 in., w. 70 1/2 in., d. 17 1/2 in. [$800/1200] Provenance: Property of the Mobile Museum of Art, Mobile, AL, sold to benefit their Collections, Care and Acquisitions Fund.

332. Early Queen Anne Inlaid Walnut Lowboy, early‑to‑mid 18th c., molded canted corners, three drawers, cabriole legs, slipper feet, h.

28 1/4 in., w. 32 in., d. 19 in. [$800/1200]

334. George III Mahogany Secretary/Bookcase, 18th c., upper case with two raised panel doors, fitted interior, candle slides, lower case with slant‑front lid, fitted interior, two drawers over three graduated drawers, ogee bracket feet, h. 82 1/2 in., w. 39 1/2 in., d. 23 1/2 in. [$3000/5000] Provenance: Waldhorn & Adler, New Orleans.

335. Group of Ten Georgian Chippendale‑Style Carved Mahogany Armchairs, incl. 2 armchairs and eight side chairs, now adapted with arms by Rupert Kohlmeyer, foliate crest, outswept scrolled arms, gadrooned seat rail, ball and claw feet, h. 42 in., w. 25 in., d. 20 in. [$1200/1800]

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333. Fine English William and Mary Inlaid, Banded Burl Walnut Chest on Chest, 18th c., upper case with molded cornice, bolection frieze drawer, two doors, fitted interior; lower case with two short drawers, two long drawers, bracket feet, h. 67 in., w. 43 1/4 in., d. 18 1/2 in. [$2500/3500]

337. Antique Georgian‑Style Chinoiserie Secretary Bookcase, flat molded top, mirrored doors, shelf interior, fall front, fitted interior, two small drawers, three graduated drawers, bracket feet, h. 79 in., w. 38 in., d. 21 in. [$2000/3000]

338. Antique Georgian Chippendale‑Style Carved Mahogany Chest of Drawers, 19th c., banded molded top, chamfered corners with fretwork, four graduated drawers, chamfered bracket feet, h. 34 in., w. 38 in., d. 19 in. [$1000/1500]

336. Chippendale‑Style Chinoiserie Table, piecrust top, pierced stretcher, club feet, h. 29 in., dia. 30 in. [$500/800]

339. Georgian‑Style Burled Walnut Breakfront, molded cornice, four glazed doors, shelf interior, conforming base with drawers flanked by cupboard doors, h. 82 in., w. 75 1/4 in., d. 18 1/2 in. [$2000/3000]

340. Eight Provincial Fruitwood Ladder‑Back Chairs, incl. 2 arms and 6 sides, spurred graduated slats, rush seats, turned stretchers, pad feet, armchair h. 42 in., w. 21 1/2 in., d. 21 in., side h. 37 1/2 in., w. 19 in., d. 19 in. [$1500/2500]

341. Pair of Elizabethan‑Style Carved Walnut Armchairs, masque crest, grape and grape leaf clusters, barley twist uprights and stretchers, h. 51 in., w. 26 1/2 in., d. 25 1/2 in. [$500/700]

342. Antique George III Carved Mahogany Breakfront Bookcase, 19th c., broken pediment, molded cornice, four glazed doors, shelf interior, conforming base with pair of doors flanked by drawers, h. 88 1/2 in., w. 90 in., d. 14 1/2 in. [$2500/3500]

51

343. Pair of Burled Walnut Horseshoe Armchair Cabinets, molded paneled back, lower cabinet, molded base, h. 32 in., w. 20 1/2 in., d. 15 in. [$600/800]

344. Antique Queen Anne‑Style Carved Walnut Double Chairback Settee, shell knees, turned blocked stretcher, pad feet, h. 40 in., w. 50 1/2 in., d. 23 in. [$1000/1200]

345. Pair of Antique English Sterling Silver Candlesticks, Sheffield, marks rubbed, fitted with removable Sheffield plate two‑light candlearms, h. 15 1/2 in., w. 14 1/2 in. [$600/900]

346. Pair of Crested George III Sterling Silver Chambersticks, John Robins, London, 1796, each with crested removable bobeche and conical snuffer with acorn finial, h. 3 1/4 in., dia. 6 in., wt. 16.70 troy ozs. [$400/600]

347. Crested George III Sterling Silver Salver, Joseph Heriot, London, 1785, beaded border, scroll feet, dia. 7 in., wt. 9.40 troy ozs. [$300/500]

349. George II Sterling Silver Meat Skewer, London, 1752, shell and loop handle, l. 12 1/2 in.; together with George III silver strainer spoon, London, 1780, makers mark rubbed, down‑turned fiddle typt handle, l. 12 1/8 in; together with London silver serving spoon, Thomas Chawner, l. 10 7/8 in.; total wt. 12.55 troy ozs. [$400/600]

351. Pair of George III Sterling Silver Fish Slices, Peter, Ann and William Bateman, London, 1804, mark reg. 1800, down‑turned fiddle typt handle, l. 12 in., wt. 8.85 troy ozs. [$300/500]

353. Three Antique English Stuffing Spoons, all by London makers, incl. Jonathan Hayne, 1823, with crest and motto “Face Aut Tece”; Solomon Hougham, 1811, with crest; and 1838, possibly David Phillips; l. 12 in. to 12 1/2 in.; total wt. 14.30 troy ozs. [$400/600]

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354. George III Sterling Silver “Onslow” Pattern Soup Ladle, London, 1769, probably Thomas Ellis, l. 13 5/8 in., wt. 5.45 troy ozs. [$250/350]

348. Pair of George IV Sterling Silver Repousse Master Salts, John Bridge, London, 1824, floral scroll chasing, mask feet, retain gilt wash interiors, h. 2 3/8 in., dia. 3 ¼ in., wt.

10.95 troy ozs. [$300/500]

350. Three Antique British Sterling Silver Sugar Tongs, incl. Scottish George III, Edinburgh, 1806, maker Mc, possibly Matthew Craw, l. 6 1/4 in.; George III London, 1806, by Samuel Godbehere, Edward Wigan and James Boult, l. 5 3/4 in.; and Victorian Newcastle, 1845 by John Walton, l. 5 3/4 in.; total wt.

4.45 troy ozs.; together with Scottish George III silver toddy ladle, David McDonald, Glasgow, 1819, act. 1819‑1844, ropetwist carved baleen handle with silver tip, l. 15 1/2 in. [$200/400]

352. Good Group of Serving Pieces, incl. Georgian silver and baleen toddy ladle (l. 14 1/4 in.), French 1st Standard silver sugar sifter spoon, and silver and carved bone olive fork. [$200/300]

355. George III Sterling Silver Reticulated Cake Basket, London, 1777, probably Richard Meach, swing handle, well engraved with crest and motto (rubbed), h. (to top of handle) 9 1/2 in., w. 12 1/2 in., d.

10 1/4 in., wt. 20.45 troy ozs. [$500/700]

356. Set of Four Old Sheffield Plate Wine Coasters, 19th c., scroll border, turned wood base with Sheffield button, rolled edges, h. 2 1/4 in., dia. 7 in. [$400/600]

357. Set of Four Old Sheffield Plate Telescoping Candlesticks, 19th c., gadroon borders and bobeches, h. 6 3/4 in. to 9 in. [$300/500]

358. Pair of Silverplate Reticulated Wine Coasters, turned hardwood bottoms with crested silverplate buttons, h. 2 3/4 in., dia. 5 1/2 in. [$250/350]

359. Old Sheffield Plate Venison Dome, A.B. Savory & Sons, London, act. 1833‑1866, lobed body with melon, vine and flower finial, inset silver shields, retains original tinned back, marked “A.B. SAVORY & SONS/ LONDON/ BEST/ SHEFFIELD/ HEAVY SILVER PLATING/ 80 DWTS/ 8 TBS”, h. 10 1/2 in., w. 17 in., d. 13 in. [$400/600]

361. Pair of Regency Sterling Silver Candlesticks, Sheffield, 1819, maker’s mark rubbed, possibly Thomas Watson; baluster form with shells and acanthus; each fitted with en suite removable Old Sheffield Plate 3 light candlearms with central flame finial, overall h.

17 3/74 in., w. 15 1/2 in. [$1000/1500]

363. Pair of Monumental Rococo‑Style Five‑Light Silverplate Candelabra, marked “ROYAL CASTLE/ SHEFFIELD/ EP”, h. 27 1/2 in. [$2000/3000]

365. Late Victorian Silverplate Six Piece Tea and Coffee Service, marked with Cooper trademark and “McPHERSON BROTHERS/ GLASGOW”, incl. kettle‑on‑stand (h. 14 1/2 in.), teapot, coffee pot, open sugar, creamer and tea caddy, on associated gallery tray marked Maple & Co., London. [$600/800]

367. Pair of Silverplate Stag’s Head‑Mounted Wine Coolers, marked “ROYAL CASTLE/ SHEFFIELD/ EP”, each tapered form with Greek key borders and removable liner, bracketed feet, h. 10 1/2 in., w. 10 in. [$1000/1500] 366. Set of Twelve Silverplate Service Plates, marked “Royal Castle/ Sheffield/ EP”, rope border, dia. 12 1/4 in. [$600/900]

360. Pair of Late Georgian Sheffield Plate Candlesticks, Matthew Boulton, early 19th c., gadrooned borders, removable bobeches, h. 11 1/4 in. [$300/500] 362. Georgian‑Style Silverplate Epergne, marked “ROYAL CASTLE/ SHEFFIELD/ EP”, with cut glass center bowl and 4 removable foliate scroll arms, each fitted with conforming cut glass bowl. [$800/1200]

364. Decorative Silverplate Figural Decanter Trolley, moveable carriage fitted with two coasters mounted with putti, turned wood bottoms, l. 17 in. [$500/800]

368. Silverplate and Turned Hardwood Champagne Bucket on Stand, marked “ROYAL CASTLE/ SHEFFIELD/ EP”, pedestal stand with silverplate gallery, bucket h. 9 1/2 in., w. 9 1/2 in., stand h. 22 3/4 in., dia. 9 3/4 in. [$600/900]

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369. Decorative Silverplate and Marble Citrus Press, h. 11 3/4 in., w. 9 1/2 in. [$300/500]

371. Silverplate One‑Light Bouillotte Lamp, adjustable green shade, h. 24 3/4. [$600/900]

370. Decorative Silverplate Wine Cooler, marked “ROYAL CASTLE/ SHEFFIELD/ EP”, fitted with four bottle holders and covered ice well, h. 9 3/4 in., w. 13 1/4 in. [$500/800]

372. Pair of English Rococo Sterling Silver Monteiths, with spurious hallmarks for 1776, London, dia.10 1/2 in; total wt. 80.70 troy ozs. [$2000/3000]

373. Victorian Sterling Silver Repousse Coffee and Tea Service, Susannah Brasted, London, 1888‑1889, mark reg. 1888, incl. coffee pot (h. 8 5/8 in.), teapot, covered hot milk jug, open sugar and large and small cream pitchers, total wt.

88.35 troy ozs.; in fitted oak presentation case with interior plaque inscribed “FROM LEOPOLD DE ROTHSCHILD 1889”. [$2000/3000]

374. American Belle Epoque Sterling Silver Gilt and Cut Glass Centerpiece, late 19th/early 20th c., Dominick & Haff, New York, act. 1872‑1928, ret. Spaulding & Co., Chicago, act. 1888‑1973, cut glass bowl on silver ram’s head and swag stand, presented on a ram’s head mounted cut glass plateau, h. 9 5/8 in., dia. 16 1/2 in., wt. (weighable) 51.20 troy ozs. [$4000/5000]

375. Continental Rococo Carved Walnut Vitrine, breakfront form, three glazed doors, shelf interior, foliate scroll accents, h. 101 1/2 in., w. 103 in., d. 26 in. [$1000/1500]

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376. Pair of Antique Italian Carved Giltwood Two-Light Girandole Mirrors, flowering urn finial, floral scroll surround, flower basket base, h. 33 in., w. 11 in., d. 6 in. [$600/800]

377. Pair of Aesthetic Movement-Inspired BronzeMounted Black Marble Pedestals, molded square top, plinth base, h. 43 in., w. 16 in., d. 16 in. [$1200/1400]

378. Antique Continental Renaissance-Revival Carved Walnut Library Table, late 19th c., top with canted lion masque corners, single drawer, baluster legs, stretchers, scrolled feet, h. 32 in., w. 51 1/2 in., d. 36 1/2 in. [$800/1200]

380. Louis XVI-Style Dore Bronze and Porcelain Mounted Parquetry Cabinet, stepped shaped marble top, three frieze drawers, central door with porcelain plaque, putto mounted canted corners, fluted capped toupie feet, h. 40 1/4 in., w. 56 in., d. 20 in. [$1800/2400]

379. Pair of Flemish-Style Carved Walnut Armchairs, pierced tall back, acanthus scroll arms, turned legs with stretchers, h. 56 in., w. 28 1/2 in., d. 24 in. [$400/600]

381. Pair of Louis XV-Style Oval Mirrors, exuberantly carved surround with figures, garlands and mask, beveled mirror plate, h. 84 in., w. 50 in., d. 8 in. [$5000/7000]

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382. Continental Bronze-Mounted Onyx Pedestal, square top, tapered body, musical trophée square base, h. 43 1/2 in., w. 12 3/4 in., d. 10 1/2. [$400/600]

383. Renaissance-Style Five-Panel Iron Screen with Lanterns, arched scroll lattice panels, h. 87 in., w. 85 in., d. 11 in. [$1200/1800]

Provenance: Estate of Arley D. Cathey II, El Dorado, AR, sold to benefit the University of Chicago.

384. Dutch Marquetry Occasional Table, 19th c., dropleaf top, two drawers, stretcher shelf, tapered legs, metal feet, h. 30 in., w. 19 in., d. 17 in. [$300/500]

385. Pair of Continental Carved Walnut Figural Pedestals, opposing classically draped male and female forms, h. 41 1/2 in., w. 13 1/2 in., d. 12 in. [$400/600]

386. Pair of Antique French Bronze-Mounted Paint Decorated Fruitwood Cabinets, shaped marble top, two doors with portrait busts, French feet, sabots, h. 36 in., w. 40 in., d. 20 in. [$1600/1800]

387. American Inlaid and Painted Mahogany Work Table, labeled “Imperial, Grand Rapids, MA”, lift top side compartments flanking three graduated drawers, reeded tapered legs, h. 29 in., w. 28 in., d. 14 in. [$600/800]

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388. Pair of Louis XVI-Style Bronze-Mounted Mahogany and Marble Pedestals, beveled top and panels, tapered standard, plinth base, h. 30 in., w. 17 in., d. 17 in. [$200/400]

389. Sarah Sole Ferguson (American/New Orleans, 20th c.), “Bride”, 2013, oil on canvas, signed, titled and dated en verso, 42 1/4 in. x 34 in., unframed. [$1000/1500]

390. José-María Cundín (Spanish/New Orleans, b.

1938), “Monseñor Cirarda es Totalmente Radiactivo”, 1973, oil on canvas, signed, titled and dated at center, 53 3/4 in. x 54 in., framed. [$8000/12000] Provenance: Bienville Gallery, New Orleans, LA, c. 1970

391. José-Mariá Cundín (Spanish/New Orleans, b. 1938), “Fantastical Creatures”, 1985, pencil on paper, signed and dated lower center, 14 3/4 in. x 12 in., framed. [$800/1200]

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

393. George Rodrigue (American/Louisiana, 1944-2013), “Cosmos Dog”, direct image transfer giclee on canvas mounted to panel, signed lower left, signed in plate lower right, 36 in. x 24 in., framed. [$5000/7000]

394. George Rodrigue (American/ Louisiana, 1944-2013), “MooCow Blues”, 1993, silkscreen, signed lower right, inscribed “Artist Proof” lower left, edition of 90 plus artist proofs, 23 1/4 in. x 34 in., framed. [$2000/3000] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue.

George Rodrigue Prints: A Catalogue Raisonné 19702007. New York: Abrams, 2008, p. 74

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395. Hunt Slonem (American/Louisiana, b.

1951), “Abraham”, 2008, oil on canvas, signed, titled and dated en verso, 40 in. x 30 in., framed. [$7000/10000]

396. Hunt Slonem (American/Louisiana, b.

1951), “Spectacled Amazon”, 2014, oil on canvas, signed, titled, dated and inscribed en verso, 40 in. x 30 in., House of Heydenryk frame. [$7000/10000]

397. Hunt Slonem (American/Louisiana, b. 1951), “Lincoln”, 2008, oil on panel, signed, titled and dated en verso, 31 7/8 in. x 22 1/4 in., framed. [$5000/7000]

398. Hunt Slonem (American/Louisiana, b. 1951), “Red Butterflies”, 2008, oil on six-part canvas, signed and dated en verso, signed, titled and dated on stretcher, 36 in. x 60 1/2 in., unframed. [$8000/12000]

399. Hunt Slonem (American/ Louisiana, b. 1951), “Bayou Landscape”, 2013, oil on panel, signed, dated twice and inscribed “Hunt Slonem Studio AT0637” en verso, 38 in. x 32 in., framed. [$5000/7000]

400. Hunt Slonem (American/Louisiana, b.

1951), “Self Portrait”, 1994, oil on canvas, signed, titled and dated en verso, 30 in. x 25 in., unframed; accompanied by a copy of a certificate of authenticity from Hunt Slonem Studio. [$2000/3000] Exh.: “Hunt Slonem: Antebellum Pop!”, LSU Museum of Art, Baton Rouge, LA, Apr. 22 Aug. 5, 2016.

Ill.: Nahas, Dominique. The Worlds of Hunt Slonem.

New York: The Vendome Press, 2011, p. 10.

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399. Hunt Slonem (American/ Louisiana, b. 1951), “Bayou Landscape”, 2013, oil on panel, signed, dated twice and inscribed “Hunt Slonem Studio AT0637” en verso, 38 in. x 32 in., framed. [$5000/7000]

401. Hunt Slonem (American/Louisiana, b.

1951), “Greenwing”, 2005, oil on canvas, signed, titled and dated en verso, 48 in. x 48 in., unframed. [$6000/8000]

402. Hunt Slonem (American/Louisiana, b. 1951), “Abraham Lincoln”, 2008, oil on panel, signed, titled and dated en verso, 23 3/8 in. x 18 1/4 in., framed. [$4000/6000]

403. Hunt Slonem (American/ Louisiana, b. 1951), “Dendrobium & Delphiniums”, oil on canvas, signed and titled en verso, 48 1/8 in. x 48 1/8 in., unframed. [$6000/8000]

404. Richard Rosenblum (American/ Louisiana, 1940-2000), “Nude Figure”, bronze, signed on self-base, h. 52 in. [$800/1200]

405. David Halliday (American/Louisiana, b. 1958), “Standing Nude”, 1996, “Reclining Woman”, 1997 and “Portrait of a Woman”, 1998, 3 gelatin silver prints, 2 pencil-signed and dated en verso, one pencil-signed, dated and artist blind stamp lower right, sheets 14 in. x 11 in. to 19 3/4 in. x 16 in., unframed. (3 pcs.) [$700/1000]

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406. David Halliday (American/ Louisiana, b. 1958), “Seated Nude”, 1996, “Portrait of a Woman with Raised Hand” and “Portrait of a Woman”, 3 gelatin silver prints, one pencil-signed, dated and artist blind stamp lower right, one artist monogram blind stamp lower right, 2 pencil-signed en verso, sheets 7 in. x 5 in. to 14 in. x 11 in., 2 matted. (3 pcs.) [$700/1000]

407. David Halliday (American/Louisiana, b. 1958), “Portrait of a Woman”, 1996, gelatin silver print, signed and dated lower right, sheet 13 3/4 in. x 11 in., framed. [$400/600]

408. Frank Relle (American/New Orleans, b. 1976), “Valette (Brooklyn Ave., Algiers, LA)”, negative creation date 2009, print date 2018, cprint, pencil signed, titled and dated lower margin, pencil-signed, titled, dated, numbered “3/14” and inscribed en verso, artist label with signature, title, date and number “3/14” on backing paper, from Nightscapes series, 16 in. x 24 in., framed. [$800/1200]

409. 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. [$1000/1500]

410. 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. [$1000/1500]

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411. Zao WouKi (Chinese, 1921-2013), “Untitled (Agerup 120)”, 1959, lithograph in colors on Rives, pencilsigned, dated and numbered 40/75 lower margin, image 13 5/8 in. x 23 3/8 in., sheet 19 3/4 in. x 25 3/4 in. [$3000/5000]

412. Sherry Salari Sander (American/Montana, b. 1941), “American Bison”, 1987, bronze, signed and dated on self-base, h. 18 1/4 in., w. 38 in., d. 16 1/2 in., marble and wood base, overall h. 22 in. [$4000/6000]

413. Tom Darro (American/Arizona, b. 1946), “At Sunset”, 1979, oil on masonite, signed and dated lower left, 18 in. x 24 in., framed. [$2000/3000] Provenance: Neal Auction Company, June 9, 2007, lot 558

414. Enrique Alferez (Mexican/New Orleans, 1901-1999), “Study for Miami Indian”, c. 1950, cast concrete, unsigned, h. 19 1/2 in., original wood base, overall h. 31 1/2 in. [$15000/25000] Note: The striking bust on offer here is a full-size cast concrete study for the larger-than-life-size sculpture entitled “Miami Indian,” which was unveiled by Enrique Alferez in 1951 and is currently exhibited in The Helis Foundation Enrique Alferez Sculpture Garden in City Park.

Formerly on display alongside its counterpart, the bust is a detailed study for the face and head of the subject, whose features and expression are rendered with the power and sensitivity Alferez so masterfully conveyed throughout the arc of his oeuvre. Alferez, who had a reputation for being outspoken, never shied away from controversial issues, and steadfastly believed in justice. As Katie Bowler Young states in her monograph on the artist: “he rebelled against racist social constructs and created artwork that reflected the public more broadly.”

Ref.: Young, Katie Bowler. Enrique Alferez: Sculptor. New Orleans: Historic New Orleans Collection, 2020 Exh.: The Helis Foundation Enrique Alferez Sculpture Garden, City Park, New Orleans, LA

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416. Gustave Blache III (American/Louisiana, b.

1977), “Interior”, 2001, oil on panel, signed and dated lower left, 10 1/2 in. x 4 7/8 in., framed. [$1000/1500] Note: Born in California and raised in New Orleans, Gustave Blache III is a graduate of the New Orleans Center for Creative Arts and School of Visual Arts in Savannah and New York, who currently lives and works in Brooklyn. Blache combines traditional painting techniques of portraiture with journalism in a method he has coined “Visual Journalism.” The method utilizes a series of paintings of one subject to reveal the story of an overlooked person, process or aspect of life. The work offered here focuses on an interior with objects in disarray – a moment in time implying the presence of an individual perhaps caught just outside the frame and whose return is imminent. The subject ties with Blache’s interest in the seemingly banal aspects of people’s work and living spaces and his attention to the varied and subtle ranges of color present in shadows. The result is more intuitive than journalistic, a delicate and almost reverent look into an oftenunseen moment of daily life.

Ref.: Blache, Gustave III. “About.” Gustave Blache III. www. gustaveblache.com. Accessed July 26, 2021; Weinstein, Elizabeth Chubbuck. “A Work in Progress Paintings by Gustave Blache III.” Louisiana Art and Science Museum. www.lasm.org.

Mar. 11, 2017. Accessed July 26, 2021.

415. Milda Spindler (American/New Orleans, 1927-2021), “Cypress Trees”, 1975, oil on masonite, signed and dated lower right, 24 1/8 in. x 19 7/8 in., framed. [$1000/1500]

417. Richard Earl Thompson (American/Illinois, 1914-1991), “Carvers Rock”, 1979, oil on canvas, signed and dated lower right, inscribed en verso, 22 1/8 in. x 28 1/8 in., framed with title plaque. [$800/1200]

418. Noel Rockmore (American/New Orleans, 1928-1995), “Untitled”, 1964, oil on canvas, signed and dated lower right, 57 1/4 in. x 80 1/4 in., framed. [$4000/6000] Exh.: “Noel Rockmore: Fantasies and Realities”, New Orleans Museum of Art, New Orleans, LA, Oct. 31, 1998 Jan. 3, 1999

419. 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. [$1000/1500]

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420. Andrew LaMar Hopkins (American/New Orleans, b. 1977), “Rosette Rochon and Family”, 2019, acrylic on canvas board, signed and dated lower right, signed, titled and dated en verso, 9 in. x 12 in., framed. [$8000/12000] Note: “This painting is dedicated to one of my best friends, Don Richmond who bought Rosette Rochon’s Creole Cottage to turn into a museum to celebrate the life of the original owner, by converting Rochon’s home into a museum dedicated to free people of color. Rosette Rochon was a wealthy Creole free woman of color from Mobile, AL in 1767. She was the daughter of Pierre Rochon, a French-Canadian ship builder and planter who lived in Mobile. Her mother was a mulatto slave named Marianne who remained in bondage to Pierre until her death.

Rosette’s father granted her freedom in 1770. When she came of age, Rochon entered a relationship with Monsieur Hardy and moved to St Domingue. In 1797, she escaped to New Orleans where she became the placée of two wealthy, white Creoles, Joseph Forstall and Charles Populus. Rosette died in 1863 at the age of 103. She left behind an estate valued at $100,000 which in today’s dollars would be approximately one million dollars.”

– Andrew LaMar Hopkins

421. Andrew LaMar Hopkins (American/New Orleans, b. 1977), “Mr. Cluis, Mobile, AL (The Cluis-Rubira House, 1857)”, 2011/2015, acrylic on canvas board, signed and dated lower right, signed, titled, dated, inscribed and artist card en verso, 12 in. x 9 in., framed. [$8000/12000] Provenance: Acquired directly from the artist.

Note: “156 Saint Anthony Street this two-story brick home is one of my favorite[s] in the neighborhood. It was built in 1857 by F.V. Cluis. The Cluis House utilizes a side hall plan with ornate double parlors. The house displays fine detailing with an overhanging wood cornice supported by double curved brackets. The front door, with its [sic] acanthus carved scroll framing is also noteworthy. The fine cast iron on the building is done in a wide range of patterns. One of the most decorative is a frieze of drops with central heart pendent [sic] which spans each of the porch bays. Cluis was aristocratic descendant of the founders of the Vine and Olive colony…

Napoleonic exiles who made an unsuccessful attempt at cultivating grape vineyards in Demopolis, Alabama.” – Andrew LaMar Hopkins Ref.: Hopkins, Andrew L. “The De Tonti Square Historic District in Mobile Alabama Part 1.” Andrew Hopkins Art. Feb. 16, 2011. www.andrewhopkinsart.blogspot.com. Accessed July 26, 202.

422. Adele Lemm (American/Tennessee, 1904-1977), “Shell and Rockweed”, 1969, oil on linen, signed and dated lower right, signed, titled and “The Charleston Renaissance Gallery, Charleston, SC”, “Robert M. Hicklin, Jr., Inc., Spartanburg, SC” and “Greenville County Museum of Art, SC” labels en verso, 24 1/4 in. x 30 1/8 in., framed. [$1000/1500] Provenance: The Charleston Renaissance Gallery, Charleston, SC.

423. James Lamantia (American/New Orleans, 19232011), “Open Marsh”, 1975/76, oil on canvas, signed mid-right, signed and dated en verso, signed, titled, dated and illegibly inscribed on stretcher, artist label with title and “Arts Council” label with artist and title on stretcher, 16 in. x 27 in., framed. [$1500/2500]

424. Larry Walker (American, b.

1935), “Milk Man”, gouache on paper, signed lower right, 23 in. x 18 in., framed. [$700/1000]

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425. Philome Obin (Haitian, 1892-1986), “Nativité”, 1961, oil on masonite, signed, dated and inscribed “CapHaïtien” lower right, titled lower center, 24 in. x 19 3/4 in., framed. [$1000/1500]

426. Rene Portocarrero (Cuban, 1912-1985), “La Habana”, 1961, oil on canvas, signed and dated lower left, pencil-signed, titled and dated en verso, inscribed “RNBC folio #64875” and “3407151” on stretcher, 24 in. x 36 in., framed. [$7000/10000]

427. Antique Georgian-Style Carved Mahogany Pedestal Sideboard in the Adam Taste, inset marble tops, central drawer, each pedestal with small upper drawer, drawer and cabinet, lamb’s tongue surround, urns and swags, plinth base, h. 39 1/2 in., w. 83 in., d. 24 1/2 in. [$1200/1800]

428. Fine Regency Paint-Decorated Mahogany Center Table, 19th c., slate top, painted scene of Minerva the Goddess of War, reverse tapered standard, circular base, paw feet, h. 29 1/4 in., dia. 53 in. [$3000/5000]

429. Antique Regency-Style Inlaid Mahogany Dining Table, reeded top, reeded ring-turned supports and stretchers, sabre legs, brass caps, casters, h. 30 in., l. 77 in., d. 46 in. [$1200/1400]

430. Eight FederalStyle Inlaid Mahogany Dining Chairs, early 20th c., incl. two arms, six sides, shield backs, tapered stretcher legs, arm h. 37 1/2 in., w. 24 1/2 in., d. 21 in., side h. 37 1/2 in., w. 19 1/2 in., d. 19 in. [$800/1200]

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431. Scottish Georgian Satinwood Inlaid Mahogany Chest of Drawers, early 19th c., central deep drawer, four small drawers, three graduated long drawers, French feet, h. 46 3/4 in., w. 49 1/2 in., d. 22 3/4 in. [$1200/1800]

433. Scottish Late Georgian Giltwood Mirror, retains partial Edinburgh label, cornice with applied spherules, frieze with relief of shepherd and sheep, split columns with lotus leaves, ebonized rabbet, beveled mirror plate, h. 45 1/4 in., w. 29 3/4 in. [$600/900]

432. Regency Mahogany Tilt-Top Breakfast Table, early 19th c., molded rectilinear top, ringturned standard, lappet carved outswept legs, caps, casters, h. 28 1/4 in., w. 63 in., d. 49 1/4 in. [$700/1000]

434. Monumental Regency Carved Mahogany Serving Table, early 19th c., lappet carved frieze with blind drawer, ringturned tapered legs with foliate collars, h. 36 1/2 in., w. 83 1/2 in., d. 25 in. [$2500/3500]

436. Regency Carved Satinwood Work Table, early 19th c., dropleaf top, two drawers, trestle base, padded stretcher, incised bun feet, h. 29 1/2 in., w. 23 in., d. 19 1/2 in. [$600/900]

435. Antique Regency Rosewood Side Cabinet, 19th c., molded top, frieze drawer over cabinet doors, shelf interior, toupie feet, h. 36 1/2 in., w. 31 in., d. 14 1/2 in. [$500/700]

437. Regency Carved Mahogany Tilt-Top Center Table, 19th c., circular gadrooned top, convex paneled standard, with ovolo moldings, hipped saber legs, brass caps, casters, h. 30 in., dia. 49 1/2 in. [$1200/1800]

438. Anglo-Colonial Regency Carved and String Inlaid Teak Linen Press, early 19th c., upper case with blocked molded cornice, reeded stiles, two raised panel doors, interior fitted with linen drawers; lower case with two short drawers, two long drawers, lobed toupie feet, h. 78 1/2 in., w. 49 in., d. 20 1/2 in. [$1000/1500]

439. Antique Regency-Style Mahogany Two Pedestal Dining Table, molded inlaid top, spiral carved baluster standards, cabriole legs with shell knees, pad feet, two leaves, h. 29 in., w. (closed) 80 in., w. (open) 120 in., d. 48 in. [$1000/1500]

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441. 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. [$1200/1800]

440. Regency Carved Mahogany Etagere, early 19th c., galleried top, three shelves, baluster spindles, lower drawer, bun feet, h. 39 in., w. 21 in., w. 15 3/4 in. [$700/1000]

442. English Brass-Bound Rosewood Lap Desk, 19th c., 1875 presentation cartouche, fitted interior with tooled leather writing surface, Bramah lock, h. 7 1/2 in., w. 17 1/2 in., d. 10 in. [$150/250]

445. William IV Mother-of-Pearl Inlaid Tortoiseshell Tea Caddy, 19th c., interior with two compartments (lacking lids), h. 5 1/4 in., w. 7 1/2 in., d. 4 3/4 in., Note: one foot loose. [$800/1200]

443. English Brass-Bound Oak Bucket, late 19th c., lion’s head and ring handles, h. 12 in., dia. 14 in. [$200/300]

446. Late Georgian Pagoda-Form Tortoiseshell Tea Caddy, 19th c., interior with two lidded compartments, h. 5 1/2 in. w. 7 in., d. 4 1/4 in. [$800/1200]

447. William IV Bombé Tortoiseshell Tea Caddy, 19th c., interior with two lidded compartments, h. 5 1/2 in., w. 6 in., d. 4 in. [$800/1200]

444. Late Georgian Pagoda-Form Tortoiseshell Tea Caddy, 19th c., interior with two lidded compartments, h. 5 1/2 in., w. 7 3/4 in., d. 4 1/2 in. [$800/1200]

448. William IV Serpentine-Front Tortoiseshell Tea Caddy, 19th c., interior with two lidded compartments, h. 4 3/4 in., w. 8 in., d. 4 3/4 in. [$800/1200]

449. William IV MotherofPearl Inlaid Tortoiseshell Bowfront Tea Caddy, 19th c., interior with two lidded compartments, h. 6 in., w. 7 in., d. 4 1/4 in. [$800/1200]

450. William IV Mother-of-Pearl Inlaid Tortoiseshell Sewing Box, 19th c., pagoda lid, fitted interior with mirror and spools, h. 6 1/4 in., w. 10 1/2 in., d. 8 1/4 in. [$1200/1800]

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451. Large Continental Walnut and Tortoiseshell Collector’s Case, 19th c., stepped form, green velvet lined drawers bordered by incised bone, bun feet, h. 30 1/2 in., w. 47 1/2 in., d. 14 1/2 in. [$2000/3000]

452. Bloor Derby Porcelain Table Service, 19th c., some marked, blue and gilt fruiting grapevine motif, incl. 6 plates (dia. 10 in., 6 soup plates (dia. 9 7/8 in.), 2 soup plates (dia. 8 ½ in.), covered sauce tureen, h. 5 1/2 in., lacking spoon and handle), and well-and-tree meat platter with mazarine (l. 19 in., w. 14 1/2 in.); together with 4 Royal Doulton cobalt and gilt plates (8 3/4 in.); 22 pcs. total. $400-600

453. Pair of English Polychrome and Gilt Porcelain Potpourri Urns, 19th c., applied flowers, reserved with landscape, castle and cottages, reticulated floral lid, h. 17 1/4 in., w. 8 1/2 in. [$800/1200]

Exh.: Cabildo, Louisiana State Museum, New Orleans, LA, Oct. 1953 (Louisiana Purchase sesquicentennial)

454. Antique English Earthenware Partial Dinner Service, marked “W & H”, “CLARENCE”, incl. 12 dinner plates, dia. 11 in.; 12 lunch plates, dia. 9 3/4 in.; 8 salad plates, dia. 7 1/2 in.; and 4 covered dishes and 3 graduated platters, l. (largest) 16 1/4 in. (39 pcs.) [$300/500]

455. Pair of Worcester Polychrome and Gilt Porcelain Leaf-Form Dishes, marked, cobalt blue rims, reserved with exotic birds, l. 12 in., w. 8 1/2 in. [$600/900]

456. Large FraMae Art Pottery Vase, marked, signed with monogram “T.M” and numbered “A082”, decorated with ravens on a cornstalk, h. 19 in., dia. 7 in. [$300/500]

457. Bronze-Mounted French Porcelain Serving Bowl, probably 19th c., probably Samson, decorated in Chinese Export Mandarin palettestyle with famille rose figural scenes, pierced bronze foliate mounts, h. 15 in., w. 22 1/4 in., d. 12 1/2 in. [$1000/1500]

458. Pair of Gilt Bronze-Mounted Chinese Imari Porcelain Small Bowls, 19th c., porcelain with floral decoration, beaded bronze rims, foliate handles and garlandhung splayed feet, h. 5 1/2 in., w. 10 1/8 in., d. 7 1/2 in. [$600/800]

459. Pair of Chinese Export Famille Rose Porcelain Covered Tureens, 20th c., decorated with figures in fenced garden landscapes, bases with Tongzhi marks, h. 9 1/4 in., w. 14 in., d. 10 in. [$600/800]

460. Modern Chinese Export-Style Polychrome Porcelain Foot Bath, lobed body, exterior decorated with landscape panels on a blue crackle glazed ground, h. 7 1/8 in., w. 18 1/2 in., d. 13 1/4 in. [$400/600]

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461. Antique George II‑Style Inlaid Burled Walnut Secretary Bookcase, upper case with double dome pediment, mirrored doors, fitted interior, candle slides, lower case with fall front, fitted interior, two short and long drawers, bracket feet, h. 80 in., w. 39 in., d. 21 in. [$1400/1800]

462. Pair of George II‑Style Parcel Gilt Walnut Armchairs, square back, acanthus carved arms, foliate cabriole legs, h. 41 in., w. 29 in., d. 24 in. [$1000/1500]

463. George III Plum Pudding Mahogany Chest of Drawers, early 19th c., molded top, two short drawers over three graduated drawers, bracket feet, h. 36 3/4 in., w. 37 in., d. 19 1/4 in. [$1000/1500]

464. George III Inlaid Mahogany Pembroke Table, late 18th/early 19th c., central foliate inlay, canted corners, single drawer, tapered legs, h. 27 in., w. 32 in., d. 19 in. [$500/700]

465. Pair of George III Mahogany Serpentine Sideboards, c. 1780, patera inlaid fan stiles, long center drawer, one cellarette drawer proper right side, two drawers opposite side, tapered legs, spade feet, h. 37 1/2 in., w. 66 1/4 in., d. 27 1/2 in. [$3500/4500]

466. Eight English Chippendale‑Style Carved Mahogany Dining Chairs, 19th c., stamped Maple & Co., ind. 2 arms and 6 sides, pierced anthemion slats, padded arms, foliate cabriole legs, scroll toes, arm h. 37 in., w. 26 in., d. 24 in., side h. 36 1/2 in., w. 21 1/2 in., d. 22 in. [$1000/1500]

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467. Antique Georgian‑Style Mahogany Breakfront, molded cornice, four glazed doors, shelf interior, conforming base of paneled doors enclosing drawers and shelves, h. 91 in., w. 96 1/2 in., d. 18 in. [$2000/3000]

468. Diminutive Antique George III Commode, galleried top, inset porcelain dish, tambour cabinet, single drawer, tapered legs, caps, casters, h. 38 1/2 in., w. 25 in., d. 18 in. [$300/500]

469. Antique Queen Anne Inlaid Burl Walnut Slant-Front Secretary Bookcase, upper case with glazed door, lower case with fall‑front lid, fitted interior, two short drawers, over two long drawers, bun feet, h. 83 in., w. 38., d. 20 in. [$1000/1500] 470. Antique Georgian Oak Kneehole Desk, early‑to‑mid 19th c., molded top with inset leather writing surface, four molded drawers each side, raised side panels, h. 33 1/2 in., w. 70 1/4 in., d. 27 in. [$500/1000]

471. Pair of William IV‑Style Mahogany Three‑Tier Etageres, labeled “Beacon Hill”, galleried top and shelves with reeded edges, baluster turned standards, tapered legs, cylinder feet, h. 39 1/2 in., w. 37 1/2 in., d. 19 1/2 in. [$2000/3000]

472. George III Inlaid Mahogany Bowfront Chest, 19th c., four drawers, French feet, h. 43 in., w. 44 1/2 in., d. 24 in. [$1000/1400]

473. English Oak Thebes Stool, 19th c, attr. to Liberty and Co., spindled, incised tapering legs, h. 15 in., w. 17 in., d. 17 in. [$300/500]

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474. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Louisiana Bayou with Cypress and Live Oak”, 1916, oil wash on board, signed and dated lower left, inscribed en verso, “Jean Bragg Gallery, New Orleans” label on backing paper, 19 in. x 23 1/4 in., framed. [$2000/3000]

475. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Louisiana Bayou with Live Oak at Sunset”, oil wash on board, signed lower left, 20 in. x 29 7/8 in., framed with artist plaque. [$2500/3500]

Provenance: Jean Bragg Gallery, New Orleans, LA

476. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Louisiana Bayou at Sunset”, 1922, oil wash on board, signed and dated lower right, inscribed en verso, auction label and receipt attached to backing paper, 29 7/8 in. x 10 1/4 in., framed. [$1500/2500]

477. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Louisiana Bayou with Oak Trees”, oil wash on board, pencil‑signed lower right, 20 in. x 30 in., framed. [$1500/2500]

478. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Louisiana Bayou with Live Oaks”, oil wash on board, signed lower left, sight 18 1/4 in. x 26 3/4 in., framed. [$1200/1800]

70

479. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Louisiana Bayou Scene”, 1902, oil wash on board, signed and dated lower right, 20 in. x 30 in., framed. [$1000/1500]

480. Bror Anders Wikstrom (Swedish/ Louisiana, 1854‑1909), “Beach Scene”, 1893, oil on canvas, signed and dated lower left, 14 in. x 28 1/8 in., framed. [$3000/5000]

481. Harold Rudolph (American/Louisiana, 1850‑1884), “Three Figures on an Overlook”, 1874, oil on canvas, signed and dated lower left, 14 in. x 20 in., framed. [$1200/1800]

482. Charles Wellington Boyle (American/Louisiana, 1861‑1925), “Pastoral Landscape”, oil on canvas, signed lower left, “Williams Frame Shop, New Orleans” label on reverse of frame, 14 1/4 in. x 23 1/8 in., framed. [$2000/3000]

483. Achille Perelli (Italian/ New Orleans, 1822‑1891), “Nature Morte: Snipe”, pastel and gouache on paper, signed and inscribed “N.O.” lower right, 27 3/8 in. x 21 1/2 in., framed. [$2500/3500] Provenance: Neal Auction Company, July 15, 1995, lot 403 484. Louis C. Girault (American/New Orleans, d. 1892), “Nature Morte: Woodpeckers” and “Nature Morte: Gamebirds”, 1862, 2 pastels on board, each monogrammed and dated lower right, sights 18 1/2 in. x 13 1/2 in., framed alike. (2 pcs.) [$1000/1500] Provenance: Neal Auction Company, Dec. 9, 1995, lots 614 and 615

485. Don Wright (American/ Louisiana, 1938‑2007), “Fall Landscape”, 1980, oil on canvas, signed and dated lower right, 24 in. x 30 in., framed. [$1500/2500]

486. Don Wright (American/ Louisiana, 1938‑2007), “Plantation Home”, 1976, oil on canvas, signed and dated lower left, 18 in. x 24 in., framed. [$1000/1500]

71

487. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Biloxi Sailboats”, oil on board, signed lower left, 16 in. x 12 in., framed; accompanied by The Art of Marie Hull by Malcolm M. Norwood and Virginia McGehee Elias, published by University Press of Mississippi, 1975. (2 pcs.) [$5000/7000]

488. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Hummingbirds”, watercolor on paper, unsigned, estate stamp lower right, 8 1/2 in. x 11 in., framed. [$10000/15000]

489. Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Three Cats”, pen and ink on paper, estate monogram lower right, titled en verso, 11 in. x 8 1/2 in., framed. [$2500/3500]

490. Theora Hamblett (American/Mississippi, 1895‑1977), “Pack Saddle”, 1972, oil on canvas, signed and dated lower right, titled lower center, 16 1/4 in. x 20 in., original frame. [$15000/25000] 491. James McConnell “Mac” Anderson (American/Mississippi, 1907‑1998), “Egret Hunting for Food”, 1984, oil on board, signed and dated lower right, 24 in. x 16 in., framed. [$1000/1500] Provenance: Acquired from Shearwater Pottery, Ocean Springs, MS

492. Jimmie Lee Sudduth (American/Alabama, 1910‑2007), “Toto”, mud and mixed media on panel, pencil‑signed upper center, 47 3/4 in. x 23 7/8 in., unframed. [$1500/2500]

72

493. Jimmie Lee Sudduth (American/Alabama, 1910‑2007), “Wedding Procession”, mud and mixed media on panel, signed upper center, 24 in. x 24 in., unframed. [$800/1200]

494. Charles Whitfield Richards (American/ Louisiana, 1906‑1992), “Seated Odalisque with Goldfish”, oil on masonite, signed lower right, dia. 36 in., unframed. [$800/1200]

495. Charles Whitfield Richards (American/Louisiana, 1906‑1992), “Pass Christian Cabin”, oil on canvas, signed lower left, 12 in. x 16 in., framed. [$1000/1500]

496. Charles Woodward Hutson (American/ South Carolina, 1840‑1936, active New Orleans, 1908‑1936), “The Neighbor’s Barn”, “The Neighbor’s House” and “Splashing Water”, 3 watercolors on paper, one pencil‑monogrammed lower right, each with artist label with title en verso, each 7 in. x 10 in., unframed.

(3 pcs.) [$1000/1500]

497. George Robert Rushton (British, 1869‑1947), “Evangeline, Pilgrim Father Departing”, c. 1900, watercolor on paper mounted to board, signed lower right, 20 in. x 30 in., framed; together with reproduction print of “Evangeline” after John David Kelly, 15 3/8 in. x 10 1/2 in., framed. (2 pcs.) [$1000/1500] Provenance: Private Collection, Covington, LA. Note: Evangeline, A Tale of Acadie by American poet Henry Wadsworth Longfellow was written in 1847 after a meeting with friends, author Nathaniel Hawthorne and Reverend H.L. Conolly. The latter told him the story as it had been recounted to him from a French-Canadian parishioner. Thus, the tale of “Evangeline” was born of a young Acadian woman who is separated from her fiancé, Gabriel, during the deportation of the Acadians from Nova Scotia. She spends her life searching for Gabriel only to finally reunite with him on his deathbed.

The watercolor offered here was exhibited in “Evangeline’s Odyssey,” a traveling exhibition commemorating the 150th anniversary of the publication of Longfellow’s poem. Curator Deborah Robichaud writes: “Evangeline is often the predominant figure in illustrations of the Deportation. Fact and fiction thus become intertwined.”

Capturing the despair felt by Evangeline and the Acadian people in their moment of parting, Rushton presents a poignant scene of this epic saga.

Ref.: Robichaud, Deborah. “Evangeline Illustrated.” L’Odyssée d’Évangéline/Evangeline’s Odyssey. New Brunswick: Musée acadien de l’Université de Moncton, 1997 Ill.: LeBlanc, Ronnie‑Gilles. Du Grand Dérangement à la Déportation Nouvelles Perspectives Historiques. Moncton: Université de Moncton, 2005, p. 455; Doucet, Clive. “Ethnic Cleansing the Canadian Way.” Globe and Mail. Feb. 26, 2005: D1. Exh.: “L’Odysée d’Évangéline”, Musée Acadien de l’Université de Moncton, 1997.

498. Pair of William IV Mahogany Pedestal Writing Tables, molded tops with inset leather, vasiform standard, beveled scrolled legs, casters, h. 29 3/4 in., w. 36 in., d. 24 in. [$1500/2500]

499. William IV Mahogany Trolley, three galleried shelves, ring‑turned supports, casters, h. 39 in., w. 30 in., d. 16 1/2 in. [$700/1000]

500. Antique Irish Carved Mahogany Secretary-Bookcase, 19th c., upper case with fretwork gallery, two glazed doors enclosing shelves, lower case with fall-front writing drawer over three graduated drawers, h. 93 in., w. 41 1/4 in., d. 20 1/2 in. [$1800/2500]

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501. William IV Mahogany Metamorphic Serving Table, early‑to‑mid 19th c., lifting top reveals medial shelf, trestle base, compressed bun feet, h. (closed) 30 in., h. (open) 40 3/4 in., w. 36 1/4 in., d. 16 1/4 in. [$1000/1500]

502. Antique Georgian Carved Mahogany Three Pedestal Extension Dining Table, reeded top, ring‑turned reverse tapered pedestals, saber legs, casters, one leaf, h. 29 in., w. (extended) 120 1/2 in., d. 54 in. [$1500/2500]

503. William IV Inlaid Rosewood Three‑Tier Etagere, 19th c., pierced gallery, three shelves, toupie feet, h. 33 3/4 in., w. 21 1/4 in., d. 14 in. [$400/600]

504. William IV Mahogany Writing Table, 19th c., inset tooled leather top, two frieze drawers, ring‑turned tapered octagonal legs, casters, h. 30 in., w. 36 in., d. 23 1/2 in. [$1000/1500]

505. Edwardian Paint‑Decorated Mahogany and Giltwood Four‑Panel Screen, pierced anthemion crest, neoclassical decoration, portrait cartouches, upholstered panels, spandrel base, h. 74 1/2 in., w. 80 in. [$800/1200]

506. Pair of Charles X‑Style Parcel Ebonized Burlwood Pedestal Cabinets, oval form, single doors, shelf interior, molded base, h. 58 1/2 in., w. 25 in., d. 15 1/2 in. [$800/1000]

507. English Aesthetic Movement Sponge-Painted 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]

74

508. William IV Mahogany Trolley, c. 1840, galleried top with reeded melon finials, tapered reeded and blocked uprights, galleried medial shelf over pair of paneled cupboard doors, tapered feet, casters, h. 45 in., w. 41 in., d. 16 3/4 in. [$1500/2500]

509. English Renaissance Revival Carved Oak Sideboard, mid‑to‑late 19th c., superstructure with floral and foliate stippled crest, central mirror plate flanked by colonnettes and boar’s head cartouches, shaped top, central long drawer flanked by doors framed by figures of poets, molded base, h. 95 in., w. 90 in., d. 30 in. [$3500/4500]

510. Round Sultanbad Carpet, rust ground, foliate design, dia. 7 ft. 11 in. [$1000/1500]

511. Persian Bactairie Carpet, red and pink ground, central medallion, overall stylized foliate design, 7 ft. 1 in. x 10 ft. 2 in. [$1000/1500]

512. Sultanbad Center Hall Runner, khaki ground, repeating designs in light red, 6 ft. 3 in. x 14 ft. 9 in. [$1800/2400]

516. Oushak Carpet, stylized designs in light blue, grey, and brown, 9 ft. 2 in. x 12 ft. 6 in. [$3000/4000]

513. Persian Serapi Carpet, rust ground, blue border, overall stylized foliate design, 11 ft. x 14 ft. [$4000/6000]

517. Persian Kashan Carpet, cream ground, overall vining floral design in red, blue and yellow, 8 ft. x 11 ft. 9 in. [$2000/3000]

514. Persian Serapi Carpet, blue central ground, khaki border, overall stylized foliate design, 9 ft. 11 in. x 13 ft. 3 in. [$4000/6000]

515. Aubusson Carpet, central foliate medallion, light brown border, 10 ft. x 14 ft. 7 in. [$2500/3500]

518. Persian Kerman Carpet, blue central ground, central medallion, repeating floral border, 9 ft. 7 in. x 14 ft. 1 in. [$3000/4000]

519. Persian Kerman Carpet, red central ground, central medallion, foliate designs, 10 ft. x 14 ft. [$3000/4000]

75

520. Pair of Large Granite Garden Spheres, on stepped bases, h. 21 in., dia. 17 in. [$800/1000]

522. 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. [$2000/3000]

521. Italian Carved Marble Jardiniere on Pedestal, 19th c., relief carved figural frieze, lion masque ends, reverse tapered standard, relief carved panel, molded plinth base., h. 49 in., w. 29 in., d. 12 1/2 in. [$2000/3000]

523. Antique American “Laurel” Pattern Cast Iron Garden Suite, early 20th c., Hart Foundry, after the Coalbrookdale design, incl. bench and 2 armchairs, bench h. 30 in., w. 39 1/2 in., d. 20 1/2 in., armchair h. 27 in., w. 26 1/2 in., d. 17 in. (3 pcs.) [$1500/2500]

524. Pair of Antique Italian Carved Alabaster Planters, c. 1900, relief carved maidens, floral surround, h. 8 1/4 in., dia. 14 in. [$1200/1800]

Provenance: George McCray, The Antiquarian, 4121 Magazine St., New Orleans

525. 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]

526. Four Antique Demilune Leaded Glass Overdoors, banded scroll decoration, wood frames, h. 44 in., w. 74 1/2 in. [$800/1200]

528. Patinated Bronze Camel Planter, vasiform jardiniere atop an extensively saddled camel, naturalistic socle base, h. 27 in., w. 10 in., d. 24 in. [$800/1200] 527. 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]

76

529. Pair of Carved Mahogany and Brass Two‑Light Wall Sconces, h. 22 in., w. 16 in., d. 11 in. [$400/600]

530. Pair of French Bronze “Aladdin” Lamps, flame‑form shades, electrified, h. 13 3/4 in., w. 13 in., d. 6 in. [$800/1200]

531. Pair of Italian Cut Crystal and Iron Seven‑Light Sconces. scroll arms, hung with crystal swags and pendalogue prisms, h. 32 in., w. 18 in., d. 11 in. [$700/900]

532. Pair of French Iron and Rock Crystal Two‑Light Sconces, 20th c., electrified, h. 20 in., w. 14 1/2 in., d. 9 in. [$400/600]

533. Pair of Continental Bronze Five‑Light Sconces, 20th c., ribbon crest, foliate arms, electrified, h. 39 in., w. 14 in., d. 9 in. [$1000/1500]

534. Neoclassical‑Style Bronze and Cut‑Crystal Ten‑Light Chandelier, cast with urn and swag design, foliate arms, electrified, h. 49 in., dia. 33 in. [$1500/2500]

536. Antique English Brass Six‑Light Chandelier, 19th c., vasiform standard, mounted with lion busts, scroll and foliate arms, electrified, cut‑glass shades, h. 31 in., dia. 37 in. [$1000/1500]

537. Pair of Bronze and Brass Two‑Light Wall Sconces, acanthus and fruit garland backplate, h. 21 in., w. 11 in., d. 5 in. [$800/1200]

535. English Cast Iron Figural Lamp, 19th c., cherub holding torch, marble base, h. 32 in., w. 10 in., d. 18 in. [$700/900]

538. Pair of Waterford Cut Crystal Lamps, 20th c., two part, h. 18 3/4 in., dia. 9 1/2 in. [$500/700]

77

539. Pair of Chinese Famille Rose Porcelain “Flower and Quail” Vases, probably Republic Period (1912‑1949), enameled in mirror image with pairs of birds amid flowers, bamboo and rocks, bases with Qianlong marks and “Made in China” stamps, h. 9 7/8 in. [$1000/1200]

541. Monumental Pair of Chinese Famille Rose Porcelain Covered Jars, probably early 20th c., finely enameled with long vertical panels enclosing birds and butterflies amid hydrangea, chrysanthemum, prunus, iris and lotus flowers on green and pink diaper grounds, h. 27 in. [$2500/3500]

543. Chinese Embellished Red Lacquer “Sanxing” Wall Plaque, decorated with the Three Star Gods: Fu, Lu, and Shou beside extensive verse, framed, 28 in. x 39 in. [$500/700]

545. Antique Asian Hardwood Pedestal, carved as the trunk of a tree encircled by a snake pursuing small birds, with leafy tendrils, bamboo and rockwork in further relief, h. 40 1/2 in., dia. 20 in. [$1000/1500]

78

546. Pair of Chinese Carved and Painted Lacquer Four Panel Screens, decorated with figures in landscapes with bird‑and‑flower panels below, reverse with void panels above mythical creatures, each h. 74 3/4 in., w. 128 in. [$800/1200]

540. Chinese Famille Rose Porcelain Vase, probably Republic Period (1912‑1949), decorated with 3 gilt panels enclosing figural and Immortal scenes on an overglazed enamel ground of blue scrollwork strewn with colorful flowers and plants, base drilled, partial seal mark, h. 11 1/2 in. [$400/600]

542. Chinese Cloisonne Enamel Vase, gilt bronze elephant mask handles and shoulder bosses, lobed body with pendant leaf tips, decorated with peaches, bats and foliage, base with apocryphal Qianlong mark, h. 13 1/4 in. [$1000/1500]

544. Pair of Chinese Hardstone Embellished Orange Lacquer Wall Panels, decorated with birds amid lotus and rock, h.

57 in., w. 27 in., brass hangers. [$2000/3000]

547. Antique Chinese Carved and Painted Lacquer Eight Panel Screen, decorated with warriors in a continuous landscape with bird‑and‑flower panels above and beneath, reverse with bird‑and‑flower panels between landscape and floral scenes, h. 78 in., w. 104 in. [$800/1200]

548. Louis XV Marquetry Bowfront Commode, probably 18th c., shaped marble top, two drawers, cabriole legs, h. 33 in., w. 34 3/4 in., d. 19 in. [$1400/1800]

550. Pair of Louis XVI‑Style Creme Peinte Bibliothèques, molded cornice, relief carved laurel wreath crest, arched opening, molded surround, shelf interior, plinth base, h. 118 in., w. 54 1/4 in., d. 16 1/2 in. [$1500/2500]

549. Antique Louis XVI‑Style Carved Mahogany Canape, 19th c., pierced bowknot, leaf and berry crest, padded scroll arms, fluted tapered legs, h. 46 1/2 in., w. 58 1/2 in., d. 25 in. [$400/600]

551. Pair of Louis XV‑Style Carved Giltwood Oval Mirrors, pierced foliate floral crest, draped surround, h. 49 in., w. 36 in. [$1200/1800]

552. Pair of Louis XVI‑Style Bronze‑Mounted Mahogany Gueridons, variegated marble top, pierced gallery, stretcher shelf, cabriole legs, sabots, h. 30 in., dia. 22 in. [$1500/2500]

553. Eight Louis XVI‑Style Dining Chairs, cream leather padded back and seat, relief carved seat rail, fluted tapered legs, h. 37 in., w. 18 in., d. 17 1/2 in. [$1500/2500]

554. Louis XVI‑Style Carved and Giltwood Console with Mirror, mirror with relief carved rose wreath, broken scroll pediment, lamb’s tongue surround, scrolled base, console with marble top, mirror back, fluted stretchered legs, mirror h. 81 1/2 in., w. 50 in., console h. 37 3/4 in., w. 51 in., d. 19 1/2 n. [$3000/5000]

555. Louis XVI‑Style Bronze‑Mounted Mahogany Center Table, 19th c., circular black marble top, beaded frieze, incurvate stretcher shelf, fluted cabriole legs, sabots, h. 30 in., dia. 40 in. [$800/1200]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

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556. Louis XV‑Style Bronze‑Mounted Parquetry and Marquetry Lady’s Desk, shaped banded top, long drawer flanked by pairs of short drawers, cabriole legs, sabots, h. 31 in., w. 36 1/2 in., d. 22 in. [$800/1000]

557. Pair of Louis XVI‑Style Mahogany and Parquetry Semainiers, faux marbre tops with canted corners, seven drawers, sabots, h. 50 1/2 in., w. 14 in., d. 10 1/2 in. [$600/800]

559. Louis XVI‑Style Carved and Gilded Mirror, early 19th c., floral basket over cartouche crest, rod and dot surround, goddess medallion pendant, h. 57 1/4 in., w. 23 1/4 in. [$800/1200]

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

Provenance: Property of the Mobile Museum of Art, Mobile, AL, sold to benefit their Collections, Care and Acquisitions Fund.

560. Louis XVI‑Style Bronze‑Mounted Low Table, variegated marble top with outset corners, conforming blocked frieze, tapered fluted legs, h. 20 1/2 in., w. 52 in., d. 25 in. [$1000/1200]

561. Pair of Louis XIV‑Style Carved and Parcel Gilt Stools, padded seat with nailhead trim, pierced apron, foliate scroll legs, finialed stretcher, h. 23 in., w. 18 in., d. 18 in. [$700/900] 562. Pair of Louis XV-Style Bronze-Mounted Marquetry and Parquetry Side Tables, pierced brass gallery, single drawer, stretcher shelf, sabots, h. 27 in., w. 18 in., d. 14 1/4 in. [$600/800]

563. Louis XVI-Style Bronze-Mounted Parquetry Commode, shaped marble top, three drawers, fluted stiles, turned legs, foliate sabots, h. 36 1/2 in., w. 53 in., d. 24 in. [$1200/1400]

80

564. Four Italian Black and White Marble Campagna Urns, 20th c., h. 21 1/2 in., dia. 16 in. [$800/1200]

565. Pair of Large Continental Patinated Bronze Sphinxes, h. 25 in., w. 22 in., d. 48 in. [$2000/3000]

566. Iberian Brass and Mother-of-Pearl Inlaid Dome Top Chest, 20th c., h. 17 in., w. 21 1/2 in., d. 13 1/2 in. [$800/1200]

568. Pair of Louis XVIStyle Bronze-Mounted Marble Cassolettes, floral finials, ram’s head handles, h. 21 in., w. 10 1/2 in., d. 8 in. [$800/1200]

570. Pair of Antique French Patinated Copper and Terracotta Figures of Cherubs, 19th c., later wood bases, h. 22 in., w. 18 in., d. 16 in. [$2000/3000]

572. Austrian Silver Gilt and Jeweled Enamel Ewer, scrolled handle, chased with foliate design, h. 9 in., w. 6 in., d. 4 1/2 in. [$1000/1500]

567. Two Continental GiltTooled Leather Cutlery Boxes, 19th c., bale handles, slantfront lids, fitted interiors, taller h. 11 in., w. 7 1/2 in., d. 4 1/2 in. [$600/800]

569. Large Louis XV-Style Bronze Lantern, foliate support, tapered form, fitted with six light sockets, h. 54 in., dia. 29 in. [$2000/3000]

571. Patinated Bronze Figure of a Seated Monkey, holding a piece of fruit, h. 11 in., w. 8 in., d. 9 in. [$300/500]

573. Pair of Italian Grand TourStyle Carrara Marble and Parcel Gilt Ruins, 20th c., conforming wood bases, taller h. 18 in., w. 15 1/2 in., d. 12 in. [$800/1200]

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574. Pair of Large Grand TourStyle Specimen Marble Obelisks, of typical form, h. 40 1/2 in., w. 9 in., d. 9 in. [$2000/3000]

575. Fifteen Carved Meerschaum Pipes, variety of figures, eleven with cases, largest l. 10 in. [$800/1200]

577. Pair of Grand Tour-Style Rock Crystal Orbs on Bronze Figural Bases, bases late 19th c., verdigris patination, later rock crystal, h. 7 3/4 in., w. 6 1/4 in., d. 6 1/4 in. [$600/800]

579. Pair of French Bronze and Marble Portrait Busts, signed Clodion, h. 10 1/2 in., w. 7 3/4 in., d. 5 1/4 in. [$600/800]

580. Four Dutch Brass Candlesticks, 18th c., vasiform, tripartite base., h. 26 in., w. 6 1/2 in., d. 6 1/2 in. [$600/800]

576. Pair of Monumental French RenaissanceStyle Patinated Bronze Chenets, late 19th c., cast with winged cherub busts, paw feet, h. 43 1/2 in., w. 15 in., d. 15 in. [$1500/2500]

578. Pair of Napoleon III Bronze Figural Chenets, 19th c., surmounted by cherubs, cast with flaming urns and lion masks, on paw feet, h. 14 in., w. 17 in., d. 4 in. [$800/1200]

581. Italian Neoclassical Parquetry and Marquetry Commode, late 18th/early 19th c., molded top with central acanthus roundel inlay, conforming sides, three drawers, stiles with urn flower inlay, spandrel tapered legs, h. 34 1/4 in., w. 45 1/2 in., d. 22 3/4 in. [$4000/6000]

583. Antique Italian Neoclassical-Style Painted and Parcel Gilt Console Table, marble top, frieze drawer, garland panel, guilloche frieze, fluted tapered legs, spherule feet, h. 29 in., w. 35 in., d. 21 in. [$1500/2500] 582. Italian Neoclassical Parcel Gilt and Ebonized Overmantel Mirror, Classical eglomise panels, old mirror plate, foliate columns and bun feet, h. 35 in., w. 55 1/2 in. [$500/700]

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584. Biedermeier Mahogany Cylinder Secretary Bureau, early 19th c., architectonic superstructure with three doors and drawer, cylinder lid with pull out writing surface, fitted inlaid interior, three drawers, old Copenhagen labels, h. 82 in., w. 44 in., d. 20 in. [$1000/1500]

585. Dutch Neoclassical Satinwood Inlaid Center Table, late 18th c., chinoiserie paneling, oval inset top, tapered legs, h. 30 1/4 in., w. 40 1/2 in., d. 28 1/2 in. [$2500/3500]

586. Pair of Louis Philippe-Style Walnut Armchairs, cartouche shaped back, padded scroll arms, cabriole legs, casters, h. 40 in., w. 26 in., d. 22 in. [$600/800]

587. Italian Bronze-Mounted Ebonized, Parcel Gilt and Faux Tortoise Center Table, specimen marble top, pierced rocaille apron, vasiform standard, relief carved supports, incurvate triangular plinth, disc feet, h. 34 in., dia. 45 in. [$2000/3000]

588. Pair of Italian Neoclassical-Style Painted and Parcel Gilt Pedestals, round top, pierced apron, ram’s heads, lower shelf, keyed legs, hoof feet, h. 46 1/2 in., dia. 15 in. [$800/1200]

589. Continental Biedermeier Parcel Gilt Mahogany Cylinder Desk, 19th c., retracting cylinder lid, fitted interior, pull out writing surface, three lower drawers, bracket feet, h. 44 in., w. 38 in., d. 22 1/2 in. [$600/800]

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590. Louis Philippe Bronze-Mounted Mahogany Center Table, 19th c., dished gray marble top, hexagonal standard, tripartite scroll base, paw feet, h. 29 in., dia. 40 in. [$1000/1200] 591. 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. [$2500/3500]

592. Pair of Directoire Mahogany Rafraichissoirs, early 19th c., inset gray marble top, two bottle wells over two lower shelves, turned and blocked supports, toupie feet, caps, casters, h. 29 in., w. 18 in., d. 18 in. [$1500/2500] 593. Continental Neoclassical Mahogany Secretaire à 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. [$2000/3000]

594. Pair of Neoclassical-Style BronzeMounted Gueridons, inset marble tops, bamboo-turned legs, shaped stretcher, hoof feet, h. 29 1/2 in., dia. 22 in. [$3000/4000]

595. French Restauration Mahogany and Parcel Gilt Center Table, specimen marble top with gameboard, hexagonal standard, dolphin brackets, incurvate triangular plinth, h. 28 1/2 in., dia. 36 in. [$1000/1500]

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596. Regency Carved Mahogany Etagere, early 19th c., shelves with gallery, turned supports, lower cabinet with paneled doors, h. 55 1/2 in., w. 21 3/4 in., d. 18 in. [$1200/1800]

598. Neoclassical-Style Mahogany, Marquetry and Parcel Gilt Center Table, circular top, reeded apron, foliate scroll supports, incurvate base, compressed lobed bun feet, h. 31 1/2 in., dia. 62 in. [$1500/2500]

597. Four Louis Philippe Rosewood Parlour Chairs, mid-19th c., incl. two armchairs and two side chairs, foliate carved crest rail, oval back, scrolled supports, cabriole legs, casters, side chair h. 37 in., w. 19 1/4 in., d. 17 1/2 in., armchair h. 40 in., w. 24 in., d. 23 1/2 in. [$1000/1500] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

599. Charles Emile Jacque (French, 1813-1894), “Retour du Troupeau au Clair de Lune”, oil on panel, signed lower right, pencilinscribed and “Cambridge Art Gallery, Santa Monica, CA” label with inventory number en verso, 8 1/2 in. x 11 3/4 in., framed; accompanied by Cambridge Art Gallery certificate of authenticity with title. [$2500/3500] Provenance: Private Collection, Barbizon, France, 2005; Cambridge Art Gallery, Santa Monica, CA; Private Collection.

600. After Elisabeth Louise Vigée Le Brun (French, 1755-1842), “Self Portrait”, 19th c., oil on canvas, signed “M. Carre” lower right, 19 in. x 15 1/4 in., framed. [$600/800]

601. Albert Tibule Furcy De Lavault (French, 1847-1915), “Still Life of Roses”, oil on canvas, signed upper left, French canvas stamp en verso, 32 in. x 23 3/4 in., unframed. [$3000/5000]

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602. Attributed to Charles Chaplin (French, 1825-1891), “Girl Reading”, 1858, oil on panel, signed and dated lower left, handwritten label en verso, 10 3/4 in. x 8 7/8 in., framed with artist plaque. [$1000/1500]

603. English School, 18th c., “Portrait of a Girl Holding Grapes”, oil on canvas, unsigned, 29 in. x 24 in., framed. [$1000/1500] Provenance: Sotheby Parke Bernet, Inc., New York, Old Master Painting, July 14, 1981, lot 51; Dixon & Dixon Art Gallery, New Orleans, LA

604. Adrianus Eversen (Dutch, 1818-1897), “Village Street Scene”, oil on canvas, signed lower left, 23 3/4 in. x 20 in., period frame with artist plaque. [$4000/6000]

605. Attributed to Herman Mijnerts Doncker (Dutch, c. 1600-1666), “A Double Portrait of a Couple Promenading with their Dogs through their Country Estate”, oil on canvas, unsigned, 38 in. x 48 in., framed. [$3000/5000] Provenance: Sotheby’s, London, Old Master Paintings, Apr. 27, 2006, lot 47; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

606. Simon Johannes 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. [$2000/3000] Provenance: Mrs. Francis Peake; Sotheby’s, London, Old Master Paintings, Apr. 25, 2006, lot 300; Demetrius S. Spanos, MD Collection, Jonesboro, AR. London, Old Master Paintings, Apr. 25, 2006, lot 300; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

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607. Louis Franciscus Hendrik Apol (Dutch, 1850-1936), “Winter Landscape”, oil on panel, signed lower right, inscribed en verso, 12 1/8 in. x 9 in., unframed. [$1500/2500] 608. Arthur Lismer (British/Canadian, 1885-1969), “On the Sackville River”, 1919, oil on board, signed lower left, pencil-titled and inscribed “To M. Rosenberg / from / AL / Halifax 1919” en verso, 9 in. x 12 in., framed. [$7000/10000] Provenance: Property of the Mobile Museum of Art, Mobile, AL, sold to benefit their Collections, Care and Acquisitions Fund. “[A]rt is the normal and rightful heritage of every individual” – Arthur Lismer Note: The painting offered here, entitled “On the Sackville River,” by Arthur Lismer (one of the founding members of the Canadian artist collective The Group of Seven) depicts an expressionist landscape rendered with thick, dramatic brushstrokes. In the center of the work a burst of red and orange foliage saturates the foreground, obscuring the view of the shore and buildings in the background where one can almost discern the steeple and shape of a church. The composition, highly focused on the central blaze-like flare of oranges and reds, is visually reminiscent of the Halifax Explosion which took place two years prior - its wild, uncontrolled blast consuming the surrounding shores. The explosion, a momentous event that resulted from the collision of the SS Mont-Blanc, carrying explosives, and the SS Imo, a Norwegian relief vessel, decimated nearly all buildings within a half mile radius of the blast in Halifax Harbour. Over 2,000 people were killed with about 9,000 injured. Lismer, who fortuitously stayed home in Bedford on that day, avoided the disastrous melee and wrecked train on which he would have ridden.

He later completed a series of sketches of the destroyed harbour and surrounding areas from the event, which were published in the Canadian Courier and in the Stanley K. Smith book Drama of the City. Such a significant occurrence undoubtedly left an indelible mark on Lismer’s psyche, and one wonders if the haunting memories of that devastating time are impressed upon this scene.

Inscribed en verso, this painting is dedicated by Lismer to his friend and colleague - “To H. M. Rosenberg from AL.” Artist Henry Mortikar Rosenberg was the principal of the Victoria School of Art and Design (now the Nova Scotia College of Art & Design) until 1910. The explosion and the creation of this painting happened during Lismer’s own tenure as the school’s principal from 1916-1919. The painting was later donated, along with Rosenberg’s own extensive collection of works, to the Mobile Museum of Art. Ref.: Cronin, Ray. “When the War Came Home.” Halifax Magazine. Nov. 28, 2017, www.halifaxmag.com. Accessed July 27, 2021.

609. Joseph Tomanek (American, 1889-1974), “The Bathers”, oil on board, signed lower left, 19 in. x 22 in., framed. [$1200/1800]

610. Will Howe Foote (American, 1874-1965), “Autumnal Landscape”, oil on panel, signed lower right, “Findlay Gallery, Chicago, IL” label on backing board, 12 in. x 16 in., framed. [$1000/1500]

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611. Thomas Worthington Whittredge (American, 1820-1910), “Sketch of a Sunset”, 1861, oil on academy board, signed, dated and “Alexander Gallery, New York” label with artist and title en verso, “Questroyal Fine Art, New York” label on reverse of frame, 6 1/8 in. x 12 1/4 in., framed. [$4000/6000]

612. Robert Bruce Crane (American/New York, 1857-1937), “Winter Landscape”, watercolor on paper, signed lower left, “Questroyal Fine Art, New York” label and handwritten label on backing board, 15 3/4 in. x 23 3/4 in., framed. [$1200/1800]

614. Patinated Bronze Figure of an Old Man in Hat and Coat, illegibly marked on self-base, h. 14 1/4 in., w. 8 in., d. 5 1/2 in. [$500/700]

615. Patinated Bronze Figure of a Seated Rabbit, h. 13 3/4 in., w. 4 1/2 in., d. 8 1/2 in. [$400/600]

613. Lewis Edward Smith (Canadian, 1871-1926), “Landscape with Cow”, 1898, oil on board, signed and dated lower left, 8 5/8 in. x 12 3/8 in., unframed. [$1000/1500]

616. French Patinated Bronze Figural Group of “Trois Chiens au Terrier, Chasse au Lapin”, after Pierre Jules Mene, signature inscribed on self-base, h. 8 in., w. 14 in., d. 6 in., marble base, overall h. 9 in. [$600/800]

618. Bronze Figure of a Standing Native American with Large Headdress and Shield, h. 17 5/8 in., w. 9 in., d. 8 in., on marble base, overall h. 21 1/4 in., Note: Headdress and weapon are removable. [$600/900]

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619.Bronze Figure of a Seated Native American in a Canoe with Game and Bow, h. 10 1/2 in., w. 14 3/4 in., d. 5 1/2 in., marble base, overall h. 11 3/4 in. [$600/900]

617. Bronze Figure of “Pig Tied to a Stake”, after Frederick George Richard Roth, h. 5 3/4 in., w. 10 1/2 in., d. 4 1/2 in., marble base, overall h. 7 in. [$600/900]

620. Italian Renaissance Carved Walnut Buffet Bas, late 18th/early 19th c., shaped top, four drawers, caryatid stiles, four doors, spandreled base., h. 48 in., w. 89 in., d. 24 in. [$1800/2400] 621. Venetian Paint-Decorated Desk and Chair, desk with kneehole configuration of drawers, cabriole legs, desk h. 31 in., w. 46 1/2 in., d. 23 1/2 in., chair h. 40 1/2 in., w. 21 in., d. 17 in. [$1800/2400]

623. Pair of Large Louis XVI-Style Carved and Gilt Mirrors, found en suite, beveled divided mirror plates, architectonic surround, h. 77 in., w. 51 in. [$3500/4000]

622. Louis XVI-Style Bronze-Mounted Malachite Clad Vitrine, pierced gallery, single glazed door, shelf interior, mirrored back, cabriole legs, sabots, h.

53 in., w. 26 1/2 in., d. 13 in. [$4000/6000]

624. Pair of Antique Louis XV-Style Creme Peinte Bergères, 19th c., shaped back, padded arms, cabriole legs, h. 36 1/2 in., w. 25 1/2 in., d. 19 in. [$800/1200]

626. Louis XV-Style Bronze-Mounted Parquetry and Marquetry Table, idyllic landscape, cabriole legs, sabot, h. 29 in., w. 22 in., d. 13 1/2. [$800/1200]

625. Antique Louis XVIStyle Boullework, Inlaid and Bronze-Mounted Gueridon, banded top, tapered legs, brass caps, h.

27 1/2 in., dia. 26 in. [$800/1000]

627. French Provincial Carved and Caned Commode Armchair, late 18th c., arched back, padded arms, leather seat, leather trim, cabriole legs, rear door, h. 36 in., w. 23 in., d. 20 in. [$400/600]

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628.Pair of Louis XV-Style Bronze-Mounted Kingwood Vitrine Cabinets, marble tops, glazed shelves, with keys, h. 67 in., w. 44 1/2 in., d. 17 in. [$3000/5000]

629.Antique Louis XV/XVI Walnut Leather Armchair, scrolled shaped back and arms, shaped apron, cabriole legs, pad feet, h. 42 in., w. 28 in., d. 23 in. [$1000/1500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

632. Louis XIV-Style Carved and Gilt Chinoiserie Center Table, shell apron, masque decorated tapered legs, finialed stretcher, h. 30 1/2 in., w. 41 in., d. 23 in. [$2500/3500] 630. Pair of Louis XVI-Style Mahogany Bookcases, labeled “Beacon Hill”, dome tops, four open shelves over two cabinet doors, h. 85 in., w. 31 in., d. 11 in. [$500/1000]

631. Louis XVI-Style Cold Painted Bronze Dore Mirror, bowknot crest, with trumpeting putti, floral blocked corners, pierced surround, h. 34 in., w. 21 in. [$600/800]

633. Moorish Bone Inlaid Low Table, likely 19th c., complex inlaid top, shaped apron, cabriole legs, h. 19 in., w. 48 in., d. 24 in. [$1600/1800]

634. Four Italian Carved and Parcel Gilt Solmonic Columns, foliate carving, molded plinth base, h. 106 in., w. 9 1/2 in., d. 9 1/2 in. [$1200/1400]

635. Continental Carved Walnut Cassone, 17th/18th c., hinged molded top, Gothicized front panel, turned feet, h. 21 1/2 in., w. 37 1/2 in., d. 19 in. [$800/1200]

636. Louis XV-Style Porcelain and BronzeMounted Marquetry and Parquetry Low Table, banded shield top, oval floral plaques, cabriole legs, sabots, h. 18 1/2 in., w. 45 in., d. 28 in. [$800/1200]

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639. Antique Louis XV-Style Carved Walnut and Caned Bergère à Oreilles, pierced crest, acanthus-carved arms, foot rest stretcher, acanthus scroll feet, h. 49 in., w. 28 1/2 in., d. 28 1/2 in. [$600/800]

637. Provincial-Style Walnut Dough Box on Cabinet, molded shaped top, fold down upper section, two cabinet doors, scroll feet, h. 37 1/2 in., w. 47 in., d. 21 in. [$500/700]

638. Small Continental Painted Cabinet, 19th c., flared cornice, single door, shaped apron, old paint surface, h. 29 in., w. 29 1/2 in., d. 16 in. [$300/500]

640. Pair of Empire Patinated Bronze and Marble Figural Three-Light Candelabra, early 19th c., maiden holding torchform standard, green marble base, h. 20 3/4 in., dia. 8 in. [$1400/1800]

641. Pair of Empire Bronze Figural Sconces, 19th c., female busts, over scroll and foliate backplate, drilled for electricity, h. 12 3/4 in., w. 3 1/2 in., d. 9 in. [$800/1000]

643. Continental Grand Tour-Style “Temperantia” Pewter Charger, 19th c., marked, continuous relief of Classical figures, dia. 17 in. [$250/350]

645. Three Decorative Carved Semi-Precious Stone Skulls, incl. lapis, agate and red jasper, largest h. 6 1/2 in., w. 6 in., d. 8 in. [$1200/1400]

642. Pair of Neoclassical-Style Carved Giltwood Columnar Prickets, Corinthian capitals, fluted shafts, tall pedestal bases with fairy reserves, h. 34 in., w. 6 in., d. 6 in. [$300/500]

644. Pair of French Egyptianesque BronzeMounted Marble Urns, mounted with gods, scarabs and vultures, granite base, h. 21 in., w. 9 1/2 in., d. 8 1/2 in. [$1800/2000]

646. Louis XVI-Style Parquetry and Mahogany TableTop Collector’s Cabinet, late 19th c., oval Sevres-style plaques, 2 doors, interior fitted with bank of eight drawers, canted corners, tapered legs, h. 15 in., w. 21 1/2 in., d. 12 3/4 in. [$1500/2500]

647.Four Russian Lacquered Portrait Boxes, 20th c., largest h. 2 1/14 in., dia. 5 1/4 in. [$500/700]

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649. Pair of Continental Onyx and Marble Obelisks, 20thc., incised and gilt hieroglyphic designs, h. 22 1/2 in., w. 6 1/2 in., d. 5 in. [$700/1000]

650. Pair of Decorative Faux Marbre and Gilt Composition Figural Pedestals, h. 46 in., w. 13 in., d. 13 in. [$400/600]

648. Four Giuseppe Armani Sculptures, 20th c., coldcast “porcelain”, incl. “Peacock”, “Summertime”, “Golden Nectar”, and “The Triumph of Venus”, all limited edition, with their certificates, largest h. 21 1/2 in., w. 26 in., d. 11 in. [$700/1000]

651. Continental Tortoiseshell, Mother‑of‑Pearl and Bone Parquetry Coffer, 19th c., single drawer, tall bracket feet, h. 14 1/2 in., w. 24 1/2 in., d. 14 1/4 in. [$1200/1800]

652. Pair of Egyptian Revival‑Style Patinated Bronze Urns, double serpent handles, pharaoh masks, figural frieze, h. 34 in., w. 25 in., d. 15 in. [$1200/1800]

653. Pair of Carved and Polychromed Wood Figures on Pedestals, 19th c., h. 69 in., w. 31 in., d. 18 1/2 in. [$2500/3500]

654. Charles X Parcel Ebonized and Stenciled Fruitwood Bookcase, early‑to‑mid 19th c., glazed doors, shelf interior, lower sliding doors, plinth base, h. 97 in., w. 69 in., d. 19 in. [$2000/3000] 655. Charles X Inlaid Mahogany Fauteuil, early 19th c., scrolled back and arms, silk upholstery, h. 36 in., w. 23 1/2 in., d. 22 in. [$300/500] 656. Charles X‑Style Parcel Ebonized Mahogany Center Table, specimen marble top, hexagonal urn standard, scrolled brackets, disc feet, h. 28 in., dia. 38 in. [$1000/1500]

657. Pair of Italian Faux Marbre and Parcel Gilt Carved Wood Columns, 19th c., Corinthian capital, reverse tapered form, relief carved fluted lower section, socle base, h. 64 in., w. 10 in., d. 10 in. [$600/800]

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658. Italian Wrought Iron Console, specimen marble top, scrolled supports, turned stretcher bar, plinth base, h. 39 in., w. 70 1/2 in., d. 26 in. [$1500/2500]

659. Monumental Carved and Gilt Vitrine Cabinet, anthemion cornice and frieze, acanthus carved pilasters, beaded glazed doors, glass shelf interior, Greek key base, paw feet, h. 98 in., w. 68 in., d. 25 in. [$1500/2500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

660. Empire Bronze‑Mounted Mahogany Mirror, 19th c., stepped crest, sphinx mounts, arched mirror plate, beaded surround, h. 75 1/2 in., w. 55 in. [$800/1200]

662. Pair of Louis XV‑Style Bronze Dore Figural Gueridons, inset malachite tops, with pierced gallery, foliate tripartite base, with female busts, gadrooned block feet, h. 29 in., dia. 23 in. [$6000/8000]

661. Empire‑Style Mahogany and Parcel Gilt Center Table, specimen marble gameboard top, reverse tapered ring‑turned standard, star plinth base, disc feet, h. 28 1/4 in., dia. 36 in. [$800/1200]

663.Pair of French Empire Bronze‑Mounted Mahogany Torcheres, 19th c., molded circular top, caryatid legs, incurvate triangular base, h. 43 1/2 in., dia. 16 in. [$500/700]

665. Louis XV‑Style Bronze‑Mounted Chinoiserie Lacquer Bureau Plat, tooled leather top, three drawers, jasperware plaques, cabriole legs, bronze sabots, h. 33 in., w. 87 1/2 in., d. 44 in. [$3000/4000] 664. Two Regency Ebonized and Gilt Vitrines, early‑to‑mid 19th c., glazed top and case, single drawer, h. 25 in., w. 14 in., d. 14 in. [$200/400]

666. Antique French Carved Giltwood Looking Glass, foliate scroll and shell decoration, anthemion corners, h. 48 in., w. 40 in. [$600/900]

667. Italian Neoclassical Paint and Gilt‑Decorated Encoignure, 19th c., inset marble top, single door, shelf interior, fluted tapered pilasters, block feet with rosettes, h. 40 1/2 in., w. 25 1/2 in., d. 13 1/2 in. [$600/900] 668. Napoleon III Boullework and Inlaid Kingwood Table, mid‑19th c., drop‑leaf top, frieze drawer, columnar legs, toupie feet., h. 30 in., w. 31 in., d. 23 in. [$1000/1500]

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669. Pair of Napoleon III-Style Giltwood Pedestals, stepped marble top, relief carved floral swags, tapered standard, beaded panels, gadrooned base, h. 38 3/4 in., w. 15 in., d. 12. [$1500/2500] Provenance: Estate of Arley D. Cathey II, El Dorado, AR, sold to benefit the University of Chicago.

671. Pair of Paris Porcelain Vases, early 19th c., in the manner of Jacob Petit, green ground with floral sprays, mask handles, waists restored with brass mounts, electrified, h. 18 in., w. 8 1/4 in. [$800/1200] Provenance: Houmas House Plantation Auction, Burnside, LA, May 17, 2003, lot 10.

673. Pair of Paris Gilt and Bleu Porcelain Vases. 19th c., trophée and floral motif, female bust handles, h. 11 1/2 in; now mounted as lamps, wood bases, h. (to finial) 24 1/2 in. [$1200/1800]

672. Fine Pair of Richly Gilt Paris Porcelain DragonHeaded Rhyton Garniture Vases, 19th c., modeled and decorated in the manner of Jacob Petit, bleu celeste ground with well-painted floral reserves, h. 13 1/4 in. [$1000/1500]

674.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]

675. Extensive Paris Porcelain Table Service, 19th c., some marked “M”, some monogrammed “CSL”, gilt rims, black medallions with pink flowers, incl. 33 plates, dia. 8 3/4 in.; 23 plates, dia. 9 1/4 in.; 22 bowls, dia. 9 1/4 in.; 16 bread and butter plates, dia. 7 1/2 in.; 9 plates, dia. 6 1/8 in.; 21 handled dishes, dia. 4 3/4 in.; 17 knife rests, l. 3 1/2 in.; 17 garniture vases, h. 2 in.; coffee pot (detached finial), h. 11 in.; teapot, h. 10 3/4 in.; 2 open creamers, h. (taller) 8 1/2 in.; covered sugar (lacking finial), h. 6 1/2 in.; 18 after dinner coffee cups with 24 saucers, dia. 5 in.; 7 teacups and 7 saucers, dia. 5 3/4 in.; 9 breakfast cups with 16 saucers, dia. 6 1/4 in.; 9 egg cups, h.

2 1/4 in.; covered butter dish with drain plate, dia. 6 1/4 in.; lobed platter, l. 15 in.; handled double serving dish, l. 11 3/4 in.; 3 cake plates, dia. (largest) 15 in.; 2 dishes with reticulated handles, l. 12 in.; 3 lozenge shaped dishes, l. 9 in.; 3 dishes, dia. 6 in.; handled serving bowl, dia. 11 in.; serving plate, dia. 11 5/8 in.; mustard pot with spoon, h. 5 1/2 in.; pair of fish platters with sectional mazarines, l. 25 1/2 in.; pair of gravy boats with attached underplates, h. 4 1/4 in.; 3 open vegetable bowls. l. 12 1/4 in.; 4 oval platters, l. (largest) 19 1/2 in.; 5 footed tureens, h. (tallest) 5 in.; 2 round platters, dia. 12 3/4 in.; 2 serving bowls, dia. 8 1/4 in.; 2 lids, dia. (largest) 9 1/2 in.; single tier dessert stand, dia. 13 5/8 in.; and components of a dessert stand, incl. 3 dividers, 3 plates and finial. (approx. 306 pcs.) [$2000/3000]

94

670. Fine and Rare Dart Freres and Jacob Petit Paris Polychrome and Gilt Porcelain Covered Tripodal Encrier, 2nd quarter 19th c., marked “DARTE Palais Royal No 21” and “JP”, black ground, with applied flower heads, retains period gilt inkwell with dolphin covers, lion’s head and paw feet, h. 8 1/4 in. [$1000/1500]

677. Two Sevres‑Style Polychrome Porcelain Cabinet Plates and Bronze‑Mounted Polychrome Porcelain Covered Urn, 19th/20th c., plates with double L, Chateau de St. Cloud and S.46 marks, decorated with courting couples, bleu de roi ground, dia. 8 1/2 in.; urn with interlaced Ls and Chateau de Tuileries marks, painted with maiden and landscape panels, bleu de roi ground, h. 30 1/2 in.

(3 pcs.) [$700/1000]

676.Fine Sevres‑Style Porcelain and Silver Overlay Toilette Set, 19th c., bleu celeste ground, reserved with courting couples, incl. pitcher, h. 11 1/2 in.; basin, dia. 15 3/8 in.; perfume bottle, h. 9 1/2 in.; footed cup, h. 3 5/8 in.; and lidded box, l. 8 1/4 in. (5 pcs.) [$2000/3000]

678. Bronze‑Mounted Sevres‑Style Polychrome Porcelain Centerpiece, late 19th/early 20th c., oval body painted with beautiful maiden reclining in Classical landscape with ruins on rose Pompadour ground, foliate mounts with pierced rims, h. 5 1/8 in., w. 18 3/4 in., d. 10 3/8 in. [$400/600]

679. Louis XV‑Style Bronze Mounted Sevres‑Style Bleu du Roi and Gilt Porcelain Covered Urn, marked, reserved with waterfall landscape, scrolled figural handles, bud finial, h.

31 in., w. 12 in., d. 10 in. [$600/800]

682. Bronze‑Mounted Capodimonte Polychrome and Gilt Porcelain Coffer, 19th c., marked, with Classical figures, ornate lock with key, velvet lined interior, h. 13 in., w. 14 in., d. 8 in. [$600/800]

681. Pair of Louis XV‑Style Bronze‑Mounted Porcelain Vases, marked “United Porcelain”, figural and floral handles, h. 21 1/2 in., w. 10 in. [$600/800]

683. Three German Porcelain Plaques of Ladies, c. 1905, two titled “Sommer” and “Ayista” on reverse, with impressed C.M. Hutschenreuther Porcelain Factory marks, 5 in. x 3 3/4 in., frames 15 3/4 in. x 13 3/4 in., other titled “Astana”, 6 in. x 4 1/8 in., frame 13 in. x 11 in. [$700/1000]

680. Pair of French Bronze‑Mounted Porcelain Covered Vases, 19th c., cobalt blue bodies, bronze paw feet, scroll handles, h. 25 1/2 in., dia. 11 in. [$500/700]

684. Meissen‑Style Polychrome Decorated, Floral Encrusted Porcelain Covered Vase, cover with cherubs flanking coat‑of‑arms, urn‑form body with maidens carrying flower baskets, painted with amorous couple and flower sprays, stem foot, splayed base, h. 19 3/4 in. [$400/600] 685. Dresden Polychrome Decorated, Flower Encrusted Porcelain Potpourri Urn, 1887‑1911, Schierholz/Plaue and Ambrosius Lamm marks, floral finial, reticulated cover, scroll handles with cherubs, body painted with scenes of cupid, pierced stem foot, h. 13 1/4 in. [$300/500]

95

686. Russian Icon of Our Lady of Kazan, tempera on panel, gilt repousse riza with cloisonne enamel, 8 7/8 in. x 7 1/8 in. [$1200/1800]

687. 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. [$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.

688. Italian Carrara Carved Marble Figure of a Maiden, h. 60 in., w. 19 in., d. 16 1/4 in Note: Old repair to her nose and inner calf. [$3000/5000]

689. Four Italian Carved Marble Busts, incl. a fisherman, a Roman man and 2 maidens, h. 12 in. to 12 3/4 in. (4 pcs.) [$700/900]

690. Two Neoclassical‑Style Carved White Marble Busts of Napoleon and the Goddess Hera, one inscribed “Napoleon”, other inscribed “HPA”, faux marbre bases, larger h. 26 1/2 in., w. 17 in., d. 11 in. [$2000/3000]

96

691. Group of Monumental Neoclassical White Marble Figures of the “Four Seasons”, after Franco‑Italian prototypes of the 18th c., largest h. 71 in. [$20000/30000]

692. Patinated Bronze Figural Group of a Satyr with Bacchante and Putti, manner of Clodion, signature inscribed on self‑base, h. 19 in., w. 13 1/2 in., d. 13 in., marble base, overall h. 21 1/2 in. [$800/1200]

693. Carved Marble Classical Figure of a Standing Woman, h. 47 1/2 in., w. 17 in., d. 12 in. [$3500/4000]

694. Cold Painted Bronze Figure of a Bald Eagle, marble base, h. 41 in., w. 30 in., d. 24 in. [$800/1000]

695. American School, 20th c., “Still Life with Wine Bottle and Fruit”, oil on canvas board, signed “V. Thompson” lower right, 20 in. x 24 in., framed. [$1000/1500]

696. James Jacques Joseph Tissot (French, 1836‑1902), “Le Banc de Jardin”, 1883, mezzotint, pencil‑signed and inscribed “bon à tiré” lower margin, signed in plate, pencil‑inscribed printing instructions, later title and “B.66” Beraldi catalogue raisonné number lower margin under matting, label with artist, title and date on backing paper, 16 1/2 in. x 22 1/2 in., sheet 22 1/8 in. x 30 1/8 in., framed. [$1500/2500]

97

697. Attributed to François Joseph Kinson (Flemish, 1771‑1839), “Rosalie‑Faustine Pagès, Marquise de Mesgrigny (1803‑1876)”, oil on canvas, signed “Kinson” lower right, handwritten note with information on sitter and “Valle & Bourniche” canvas stamp en verso, label on stretcher, inscribed on reverse of frame, 28 3/4 in. x 23 1/2 in., framed. [$6000/8000]

698. Edward Chalmers Leavitt (American/Rhode Island, 1842‑1904), “Still Life with Roses and German Stein”, 1885, oil on canvas, signed and dated upper center, “Charles G. Calder, Providence, R.I.” label on stretcher, “Jones Warehouse, Providence” label on reverse of frame, 18 in. x 14 in., framed. [$1000/1500]

700. Patinated Bronze Figure of “Le Bretteur”, after Edouard Drouot, signature inscribed on self‑base, h. 31 in., w. 12 in., d. 10 in.

Note: missing blade. [$800/1200]

699. Adolphe Alexandre Lesrel (French, 1839‑1929), “Cavalier”, 1877, oil on panel, signed and dated lower left, 11 in. x 6 1/2 in., framed. [$1000/1500] Provenance: Gustave Bruce Berckmans, Sr., Director of Tiffany & Co.;

Gustave Bruce Berckmans, Jr.; Mary Elizabeth Berckmans; Allen John

701. Pair of Carved White Marble Sculptures of Roman Soldiers, stepped bases, h. 25 in., w. 10 in., d. 8 in. [$2000/3000]

“Jack” Ragels; Private Collection

702. Carved Marble Torso of Hercules, after the antique now conserved at the Museo Archeologico Nazionale di Napoli, mounted on granite base, overall h. 45 1/2 in. [$3000/5000]

98

703. Pair of Patinated Bronze Figures of “Benvenuto Cellini” and “Bernard Palissy”, after Jean‑Jacques Feuchere, each with “Vittoz Bronzier” inscribed on self‑base, h. 20 1/2 in., black marble and gilt metal bases, overall h. 25 in. (2 pcs.) [$1000/1500]

705. Jean Boyer (French, b.

1915), “View of Arc de Triomphe from the Champs‑Élysées”, oil on canvas, signed lower right, signed and artist biography en verso, “Levasseur, Paris” label on reverse of frame, 15 in. x 18 1/4 in., framed. [$600/900]

704. Manner of Sir Peter Lely (British, 1618‑1680), “Portrait of a Lady in Green Silk Robes”, oil on canvas, unsigned, 49 1/2 in. x 40 in., framed with artist plaque. [$3500/4500]

706. Pair of Large Cold Painted Bronze Figures of Lions, realistically rendered in mirror image, each h. 30 in., w. 14 in., d. 44 in. (2 pcs.) [$1500/2500]

707. Bronze Figural Group of “The Rape of Proserpina”, after Gian Lorenzo Bernini, h. 13 1/4 in., w. 5 1/4 in., d. 5 in., on marble base, overall h. 14 1/4 in. [$500/800]

708. Patinated and Gilt Figural Group of “Gloria Victis”, after Marius‑Jean‑Antonin Mercie, marble base, overall h. 32 in. [$2000/3000]

709. 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. [$500/700]

710. Patinated Bronze Figure of “Thetis”, after Pierre Eugene Emile Hebert, signature and title inscribed on self‑base, h. 15 in., w. 6 1/2 in., d. 5 1/2 in. [$500/700]

711. Pair of French Consulat Crème Peinte and Parcel‑Gilt Fauteuils, late 18th/early 19th c., molded padded back, padded arms, tubular ring turned stiles, arched seat rail, spherule feet, h. 36 1/2 in., w. 19 in., d. 19 in. [$800/1200]

712. Directoire‑Style Brass‑Mounted Mahogany Occasional Table, inset marble top, latticework frieze, tapered legs, cuffs, h. 30 3/4 in., dia. 36 in. [$800/1200]

99

713. Louis Philippe Pewter Marquetry, Rosewood and Mahogany Commode, early‑to‑mid 19th c., marble top, bolection drawer, scroll sides, two drawers over blind drawer, scroll feet, h. 38 in., w. 54 in., d. 24 1/4 in. [$2000/3000] Provenance: Whisnant Galleries Collection, New Orleans, LA. 714. Large French Empire‑Style Bronze‑Mounted Two‑Tier Center Table, late 19th c., inset tooled leather top, scroll legs, medial stretcher shelf, paw feet, h. 30 in., dia. 59 in. [$3000/5000]

715. Empire Carved Mahogany Bergère, early‑to‑mid 19th c., reeded crest rail, padded arms, caryatid supports, silk upholstery, trim, h. 43 in., w. 30 in., d. 26 in. [$3000/5000] 716. Pair of Regence‑Style Bronze‑Mounted Marquetry and Parquetry Commodes, molded shaped marble tops, two doors, shaped apron, sabots, h. 36 1/2 in., w. 53 1/2 in., d. 22 in. [$3000/5000]

717. Continental Carved and Burl Walnut Secretary/Bookcase, late 18th/early 19th c., upper case with arched glazed cabinet, shelf interior, fall front scroll panel surround reveals bank of seven drawers, oxbow base with foldover writing surface, three drawers, bun feet, h. 83 in., w. 52 1/2 in., d. 29 in. [$2000/3000] 718. Pair of French Empire Bronze‑Mounted Mahogany Fauteuils, likely 19th c., anthemion crest rail, padded arms, caned seats, tapered legs., h. 37 in., w. 27 in., d. 23 in. [$1000/1500]

719. Pair of Empire‑Style Bronze‑Mounted Mahogany Library Tables, two frieze drawers, four columnar legs, stretcher shelf, compressed bun feet, h. 30 1/2 in., w. 48 in., d. 30 in. [$1800/2400]

720. Late Regency Mahogany Metamorphic Library Armchair, 19th c., stamped “R. DAWS AIX GR PATENT”, leather upholstery, scrolled back, padded arms, lappet supports, pull out leg rest, ring‑turned legs, caps, casters, h. 40 in., w. 22 in., d. 33 in. [$1000/1500]

100

721. Continental Inlaid, Gilt and Parcel Ebonized Mahogany Pedestal Desk, early‑to‑mid 19th c., surmounted with a clock, architectonic case, fall‑front secretaire, fitted interior, acanthus-carved, molded stepped base, paw feet, h. 71 in., w. 34 in., d. 26 in. [$1000/1500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

722. Continental Inlaid Mahogany Metamorphic Server, c. 1800, lift top, two small gallery shelves, baize-lined slidess, single drawer, tambour doors, fluted stiles, tapered legs, h. 34 1/2 in., w. 38 1/2 in., d. 20 in. [$1000/1500]

723. French Restauration Center Table, early 19th c., later marble top, molded frieze with drawer, scroll legs, shaped stretcher shelf, casters, h. 29 in., w. 46 in. [$1000/1500]

724. French Egyptianesque Bronze Dore Table, variegated marble top, caryatid legs, spherical feet, h. 31 in., w. 34 in., d. 23 in. [$4500/6500]

725. Egyptianesque Carved and Polychromed Wood Bed, after a model of the Pharaoh’s bed, h. 61 in., l. 99 in., w. 49 in. [$4000/6000]

726. French Art Deco Copper‑Clad Plaster Figural Mirror, c. 1925, draped maiden, posing in front of beveled mirror plate, h. 32 1/2 in., w. 22 in., d. 13 in. [$500/700]

727. Pair of Empire Bronze Sphinx Chenets, 19th c., h. 9 in., w. 11 in., d. 4 in. [$800/1000]

728. Pair of Monumental French Carved and Polychromed Single‑Light Sconces, 18th c., painted with cherubs and scrolls, opening now fitted with fabric decoration, single pricket, h. 87 in., w. 28 in., d. 18 in. [$1500/2500]

729. Antique French Rococo‑Style Bronze Fireplace Fender, mid‑19th c., serpentine form, gadrooned border, reticulated foliate design, reeded bun feet, h. 9 1/2 in., w. 66 in., d. 20 in. [$1200/1800]

101

730. Pair of Moorish‑Style Inlaid Mirrored Brackets, 20th c., shelf over single drawer, h. 35 in., w. 19 1/2 in., d. 6 in., shelf w.

11 1/2 in., d. 5 in. [$800/1000] 731. Pair of Napoleon III Bronze Two‑Light Figural Sconces, 19th c., foliate arms, the backplates cast with a rabbit and a stork, h. 20 in., w. 13 in., d. 7 1/2 in. [$1000/1200]

732. Monumental Louis XV‑Style Bronze‑Mounted Plateau and Jardiniere, 20th c., black ground Chinoiserie surface, scroll feet, h. 18 in., w. 73 in., d. 36 in. [$8000/10000]

734. Continental Silvered, Gilt, Enameled and Bejeweled Carriage Group, 20th c., polished mahogany stand, note: small losses to enamel and “jewels”, h. 8 1/2 in., w. 26 in., d. 12 in. [$7000/9000] 733. Pair of Monumental Rococo‑Style Carved Walnut Torcheres, 20th c., winged angels, tripartite bases, h. 71 in., w. 35 in., d. 25 in. [$6000/8000]

735. Four Framed Pietra Dura Plaques, inlaid with birds on flowering branches, 17 in. x 25 in. [$800/1000]

736. Pair of French Bronze and Marble Four‑Light Candelabra, c. 1900, cherub standard, fluted base, h. 20 in., dia. 8 in. [$2000/4000]

102

737. Russian Jeweled Malachite Coffer, centered by a porcelain portrait plaque, h. 9 in., w. 16 in., d. 12 in., conforming stand, total h. 35 3/4 in. [$4000/6000]

738.Pair of French Gilt Bronze‑Mounted Marble Cassolettes, c. 1890, bud finial, grotesque masque handles, h. 17 1/4 in., w. 5 1/2 in., d. 4 1/2 in. [$1800/2400]

739. Pair of Empire Gilt and Patinated Bronze Six‑Light Candelabra, early 19th c., foliate arms, tall plinth base, lyre mounts, drilled for electricity, h. 35 in., dia. 13 in. [$2500/3500]

740. Pair of Empire Gilt and Patinated Bronze Four‑Light Sconces, c. 1830, acanthine backplate, foliate arms, electrified, h. 11 in., w. 9 1/2 in., d. 9 1/2 in. [$800/1200]

741. Pair of Regency Bronze and Marble Figural Candlesticks, cherub holding cornucopia, tall pedestal, h. 12 in., w. 3 1/2 in., d. 3 1/2 in. [$800/1200] 742. Decorative Chinese Famille Verte Porcelain Jar, h. 14 in., dia. 13 in. [$400/600]

743. Pair of Decorative Chinese Famille Verte Porcelain Vases, decorated in mirror image with nobles and their guardsmen in a landscape, bases with apocryphal Kangxi marks, h. 16 1/2 in. [$600/800]

103

744. Pair of Decorative Chinese Famille Noire Porcelain Vases, 20th c., squared bodies decorated with floral panels, h. 18 1/2 in., w. 5 1/2 in., d. 5 1/2 in. [$500/700]

745. Decorative Pair of Chinese Famille Rose Porcelain Vases, 20th c., decorated with flower heads, castanets, and scrolling foliage on pale green and pink grounds, bases with Qianlong marks, h. 17 5/8 in. [$600/800]

746. Pair of Chinese Famille Rose Porcelain Moonflask or Pilgrim Jars, late 20th/early 21st c., finely enameled with cartouches enclosing pairs of ducks and songbirds in waterscapes with flowers, h. 11 1/2 in. [$500/700]

747. Monumental Pair of Chinese Famille Rose Decorated Celadon Porcelain Vases, stylized dragon handles, painted with Shoulao and other figures in a fenced garden, h. 22 1/4 in. [$800/1200]

749. Four Chinese Famille Rose Porcelain Erotic Wall Plaques, probably early 20th c., painted with amorous couples in landscapes, sight 12 1/2 in. x 7 1/2 in., framed, overall 15 in. x 10 in. [$1500/2500]

748. Highly Decorative Pair of Chinese Famille Rose Porcelain Vases, 20th c., painted with mountainous landscapes on pink sgraffito grounds with flowerheads and scrollwork, bases with Qianlong marks, h. 16 in. [$200/400]

750. Modern Decorative Pair of Chinese Red Lacquer Elephant Seats, h. 18 in., w. 14 1/2 in., d. 34 in. [$1600/1800]

751. Large and Decorative Chinese Molded Red Lacquer Box, lobed floral‑form with relief landscapes encircling central wave and prunus blossom roundel, base with apocryphal Qianlong mark, h 5 1/4 in., dia. 21 3/4 in. [$800/1200]

752. Large Pair of Chinese Cloisonne Enamel Goats, h. 23 in., l. 26 in. [$800/1200]

104

754. Modern Chinese‑Inspired Gilt and Black Lacquer Low Table, waisted rectangular top, incurvate feet with ruyi heads, h. 20 in., w. 51 1/2 in., d. 41 1/2 in. [$500/1000]

753. Chinese Cloisonné Enamel‑Inset Black Lacquer Six Panel Floor Screen, 20th c., h. 72 in., w. 105 in. [$400/600] Provenance: Estate of Arley D. Cathey II, El Dorado, AR, sold to benefit the University of Chicago.

755. Nepalese Gemstone Embellished, Filigree‑Mounted Rock Crystal Covered Temple Jar, 20th c., vajra finial, h. 12 1/4 in., dia. 9 1/2 in. [$800/1200]

757. Large Modern Pair of Chinese Gilt Decorated, Lapis Lazuli Veneered Covered Vases, h. 41 in., w. 18 in., d. 8 1/4 in. [$2000/3000]

759. Massive Chinese Agate‑Inset Tessellated Bone Covered Censer on Stand, modern, cylindrical finial, lion’s mask loose ring handles, globular body with raised dragon decoration, splayed shaped tripod feet, carved wood stand, h. 51 in., w. 37 in., d. 23 in. [$1200/1400]

756. Tibetan Gem‑Embellished Gilt Bronze‑Mounted Lapis Lazuli Figure of Tara, 20th c., standing in tribhanga on double lotus base holding a lotus spray, h. 18 1/2 in. [$600/800]

758.Modern Decorative Pair of Chinese Carved and Painted Tessellated Bone Vases, relief decorated with “100 Boys” motif, h. 23 1/2 in. [$1200/1800]

760. Pair of Monumental Chinese Cloisonne Enamel Tripod Censers, 20th c., h. 21 in., dia. 28 in., carved wood stands, overall h. 40 3/4 in., dia. 33 in. [$4000/6000]

105

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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 ?????????????????????????????????????????????

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(OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ?????????????????????

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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

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???? ?????????????????????????? .UMBER 4O #ALL &OR 0HONE "ID

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???? ?????????????????????????? .UMBER 4O 4O #ALL &OR 0HONE "ID

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???? ?????????????????????????? .UMBER 4O #ALL &OR 0HONE "ID

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,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

Date Date Date Date

Internal Use Only: Approved _____________Registered ___________ Entered ____________ Fax Form on or before Friday, 1/31/15 For Internal Use Only: Approved _____________Registered ___________ Entered ____________ Fax Fax Form on or before Friday, 1/31/15 ForFor Internal Use Only: Approved _____________Registered ___________ Entered ____________ Form on or before Friday, 1/31/15 For Internal Use Only: Approved _____________Registered ___________ Entered ____________ Fax Form on or before Friday, 1/31/15 Fax Form on or Friday,6/26/15 Fax Form on or Friday,6/26/15 Fax Form on or before Friday, 9/23/16 Fax Form on or Friday,6/26/15 Fax Form on or before Friday, 9/23/16 Fax Fax or E-mail Form form on or on or before Friday,6/26/15 Thursday, 2/6/20 9/9/21 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

229 229 229 229

107

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

108

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.

109

0001 - 625

0081 - 1037

0166 - 3172

0258 - 1464

0346 - 549

0445 - 1708

0536 - 2560

0624 - 960

0727 - 5490

0832 - 305

0927 - 4800

0003 - 320

0083 - 187

0168 - 427

0261 - 896

0349 - 305

0448 - 2074

0538 - 960

0626 - 1952

0729 - 640

0835 - 768

0930 - 704

0002 - 1708 0004 - 2048 0005 - 6710 0006 - 1216 0007 - 1088 0008 - 448

0009 - 1037 0010 - 8640 0011 - 1408 0012 - 1792 0013 - 1220 0014 - 704

June 25 & 26, 2021

0016 - 1152 0017 - 384 0018 - 488

0019 - 3500 0020 - 2560 0021 - 793

0022 - 2440 0024 - 915

0025 - 1464 0026 - 1792 0027 - 1952 0029 - 1408 0030 - 1536 0031 - 1220 0032 - 1159 0033 - 793

0034 - 3172 0035 - 488 0036 - 305

0038 - 4160

•

0039 - 427 0040 - 854

0041 - 1408

Auction Results

0042 - 384 0043 - 192 0044 - 640

0045 - 4480 0046 - 2048 0048 - 488 0049 - 896 0050 - 305 0052 - 122 0053 - 854 0054 - 915

0055 - 1220 0056 - 976 0059 - 256 0061 - 488 0062 - 488 0063 - 122 0064 - 183 0065 - 549 0066 - 183 0067 - 671 0068 - 549 0069 - 793 0070 - 671 0071 - 960 0072 - 896

0073 - 1037 0075 - 671 0076 - 832 0077 - 896

0078 - 1586 0079 - 768

110

0082 - 576 0084 - 305 0085 - 183 0086 - 384 0087 - 93

0088 - 812 0089 - 192 0090 - 610 0091 - 192 0092 - 128

0093 - 5120 0097 - 305 0098 - 305 0099 - 305 0101 - 366

0102 - 1280 0103 - 512

0104 - 1024 0105 - 1280 0106 - 549

0107 - 8000 0108 - 2318

0109 - 14375 0110 - 2560 0111 - 5120 0112 - 6100 0113 - 3125 0115 - 1830 0117 - 3050 0120 - 576

0124 - 10240 0125 - 9600 0126 - 1220

0127 - 25620 0128 - 1708 0129 - 7015 0130 - 3416 0131 - 3328 0132 - 2196 0133 - 976

0134 - 4375 0135 - 3660 0136 - 4575 0137 - 3660 0138 - 976 0139 - 366 0140 - 640

0141 - 1037 0142 - 1037 0143 - 1098 0144 - 8640 0145 - 1375 0146 - 976

0147 - 14080 0148 - 2560 0149 - 1024 0151 - 1024 0152 - 1830 0155 - 671

0156 - 2562 0157 - 3965 0158 - 1586 0159 - 2048 0160 - 6400 0161 - 896 0162 - 384

0165 - 1037

0167 - 1664 0169 - 625

0170 - 24400 0172 - 704

0173 - 2440 0174 - 2432 0176 - 976

0177 - 1024 0178 - 1037 0179 - 896 0180 - 896 0181 - 960

0182 - 1187 0183 - 96

0184 - 576

0185 - 2560 0186 - 4160 0187 - 687 0188 - 562 0189 - 305

0190 - 1220 0191 - 1159 0192 - 1220 0193 - 256

0195 - 2688 0196 - 732 0197 - 448 0198 - 832 0199 - 305 0200 - 427 0201 - 192

0202 - 1342 0203 - 875

0204 - 1586 0205 - 3712 0206 - 384 0207 - 610

0208 - 1280 0209 - 3294 0210 - 3172 0211 - 640 0212 - 896 0213 - 320

0215 - 1280 0217 - 2318 0219 - 875

0223 - 2684 0224 - 488

0225 - 1708 0230 - 2560 0231 - 610 0233 - 896 0235 - 183 0236 - 320 0237 - 384 0238 - 732 0239 - 256 0240 - 305 0243 - 512 0244 - 671 0246 - 671

0248 - 1024 0249 - 1625 0250 - 2432 0254 - 1830 0255 - 732

0256 - 1408

0260 - 896

0262 - 1464 0263 - 2048 0264 - 1216 0265 - 1088 0266 - 1664 0267 - 896 0268 - 576 0269 - 640 0270 - 854

0271 - 1280 0272 - 1159 0273 - 704 0274 - 384 0275 - 384 0276 - 320 0277 - 187 0278 - 183 0279 - 488 0281 - 384 0282 - 448 0284 - 671

0285 - 1024 0286 - 1586 0287 - 960

0288 - 1952 0290 - 384

0291 - 1664 0292 - 384 0294 - 976

0296 - 1220 0297 - 512

0298 - 1000 0299 - 1586 0300 - 1830 0301 - 256

0302 - 3294 0306 - 976 0308 - 768 0309 - 640 0310 - 448

0311 - 1708 0312 - 2304 0314 - 187

0315 - 1125 0316 - 1792 0317 - 2944 0318 - 2560 0319 - 1280 0320 - 3712 0321 - 3172 0322 - 437 0324 - 576

0325 - 7320 0328 - 832

0329 - 12480 0330 - 640

0331 - 3328 0332 - 793 0333 - 732 0334 - 732

0339 - 1280 0340 - 488 0341 - 512 0342 - 512 0343 - 448

0344 - 1037

0347 - 1408 0350 - 488 0351 - 640

0353 - 1024 0354 - 3840 0355 - 1464

0356A - 1220 0357A - 1664 0359 - 1159 0360 - 4800 0361 - 3712 0363 - 3965 0364 - 2074 0365 - 1342 0366 - 244

0367 - 2560 0368 - 448 0369 - 915

0370 - 4270 0371 - 6720 0372 - 704

0376 - 4062 0377 - 2750 0380 - 610 0381 - 305 0382 - 183 0383 - 366 0384 - 512 0385 - 448

0386 - 1159 0387 - 427 0389 - 896

0390 - 2806 0391 - 2432 0393 - 3660 0395 - 1062 0396 - 576

0398 - 6100 0399 - 305 0402 - 671 0405 - 305 0407 - 976

0410 - 2806 0411 - 732 0412 - 960 0413 - 640 0414 - 640

0415 - 1216 0416 - 1024 0417 - 1098 0419 - 4160 0420 - 2928 0421 - 1216 0422 - 1342 0423 - 1536 0424 - 1708

0425 - 76800 0426 - 2560 0427 - 244

0428 - 1152 0429 - 1920

0430 - 103700 0431 - 31720 0433 - 1586 0437 - 1024 0438 - 1403 0439 - 3422

0446 - 2806 0449 - 976 0455 - 976

0456 - 1098 0457 - 1664 0458 - 793 0459 - 488 0460 - 384 0467 - 512 0469 - 512 0470 - 854 0471 - 488

0472 - 3538 0473 - 937

0474 - 2048 0475 - 3584 0477 - 3840 0478 - 704 0479 - 976 0481 - 793

0482 - 1586 0483 - 576 0484 - 375 0485 - 732

0486 - 1220 0487 - 976

0488 - 9760

0489 - 10370 0490 - 12200 0491 - 8845

0492 - 15250 0493 - 15250 0494 - 10980 0495 - 26840 0496 - 6080

0497 - 15860 0498 - 20130 0499 - 14640 0500 - 12200 0501 - 12200 0502 - 11520 0503 - 18300 0504 - 12810 0505 - 11590 0506 - 9760

0507 - 17690 0508 - 10065 0509 - 8540 0510 - 8845

0511 - 18910 0512 - 14640 0514 - 1098 0515 - 2944 0518 - 1408 0519 - 1088 0522 - 1088 0523 - 576 0524 - 576

0525 - 2048 0526 - 1216 0528 - 960

0529 - 1586 0531 - 1280 0532 - 384 0533 - 915

0534 - 3072 0535 - 3456

0537 - 2176 0539 - 875

0540 - 1024 0541 - 768

0542 - 1664 0543 - 1216 0544 - 2318 0545 - 1152 0547 - 896 0548 - 960 0549 - 768 0550 - 384

0551 - 5120 0552 - 1024 0554 - 610

0555 - 1342 0559 - 640 0561 - 896 0562 - 640 0565 - 750

0566 - 1024 0567 - 1625 0568 - 1250 0569 - 1920 0570 - 3584 0571 - 1464 0572 - 4880 0573 - 5440 0574 - 8960

0575 - 10065 0576 - 3965 0577 - 3456 0578 - 5760

0579 - 10625 0580 - 19200 0581 - 39040 0582 - 4270

0583 - 40260 0584 - 61000 0586 - 896

0587 - 1250 0589 - 854

0590 - 2375 0591 - 384 0592 - 875 0593 - 512 0594 - 704 0595 - 896

0596 - 1792 0597 - 640

0598 - 2074 0599 - 125 0600 - 625 0601 - 625 0602 - 512 0603 - 366 0604 - 122 0605 - 427 0606 - 704 0608 - 960 0610 - 625 0611 - 384 0612 - 448

0618 - 1408 0620 - 1125 0621 - 960

0622 - 1408

0625 - 1220 0627 - 6710 0628 - 768 0630 - 305

0631 - 1464 0632 - 1464 0633 - 305 0634 - 305

0635 - 1098 0636 - 320

0638 - 2048 0641 - 1088 0642 - 1152 0643 - 2196 0645 - 549

0646 - 1952 0648 - 1220 0649 - 704

0651 - 1342 0652 - 488

0653 - 1708 0654 - 1088 0655 - 1920 0656 - 427 0658 - 384 0660 - 305

0661 - 5490 0664 - 4160 0665 - 305

0666 - 1220 0667 - 384 0669 - 244

0670 - 3660 0672 - 5760 0675 - 2806 0677 - 896 0678 - 244 0679 - 320 0680 - 384

0683 - 1037 0687 - 576 0688 - 384 0691 - 976 0693 - 976

0696 - 2048 0698 - 512

0699 - 1586 0700 - 1159 0701 - 1920 0703 - 384

0705 - 8960 0706 - 5120 0707 - 768 0708 - 854

0709 - 4270 0710 - 427

0711 - 2440 0714 - 960 0715 - 832 0717 - 854 0718 - 875

0719 - 1152 0720 - 704

0722 - 2816 0724 - 768 0725 - 183

0726 - 2074

0728 - 1159 0730 - 1159 0732 - 704 0733 - 427

0735 - 4160 0736 - 3584 0738 - 576

0739 - 1216 0742 - 625 0743 - 122

0744 - 1024 0746 - 1408 0747 - 1952 0749 - 576

0750 - 2816 0751 - 1875 0752 - 4160 0756 - 384 0757 - 687

0758 - 3200 0760 - 1536 0761 - 854 0763 - 793 0764 - 192 0765 - 192 0766 - 448

0767 - 2176 0768 - 192 0769 - 640 0770 - 448 0773 - 610

0774 - 5760 0778 - 320 0779 - 448 0780 - 250 0781 - 704 0782 - 704 0783 - 305 0784 - 488

0785 - 1220 0788 - 1280 0789 - 1220 0792 - 375 0795 - 384 0796 - 448

0798 - 1000 0799 - 448 0801 - 960

0803 - 2944 0804 - 610 0805 - 448

0806 - 1375 0807 - 122

0809 - 1280 0813 - 1586 0816 - 4880 0817 - 3000 0819 - 2440 0821 - 1216 0822 - 960 0823 - 610

0824 - 1830 0825 - 375

0826 - 29440 0828 - 2944 0829 - 1062 0831 - 320

0834 - 768 0836 - 1024 0837 - 366 0838 - 640 0839 - 366 0842 - 448 0845 - 384

0846 - 1024 0848 - 500 0849 - 500

0850 - 2304 0852 - 608 0853 - 960

0855 - 3660 0856 - 3538 0857 - 1920 0858 - 3328 0859 - 3416 0860 - 3712 0861 - 1920 0862 - 1280 0863 - 549 0864 - 640 0865 - 256 0866 - 244 0868 - 192 0869 - 320 0870 - 366 0871 - 512 0872 - 250

0876 - 2432

0877 - 15860 0878 - 3200 0879 - 1342 0881 - 256

0882 - 1220 0884 - 793 0885 - 793 0886 - 732

0888 - 1536 0889 - 640 0890 - 512 0891 - 500 0892 - 640 0893 - 384

0896 - 5795 0899 - 1098 0900 - 896

0901 - 2176 0902 - 1408 0903 - 1920 0904 - 976 0905 - 960

0906 - 2176 0907 - 1664 0908 - 384

0909 - 1280 0910 - 1920 0911 - 1280 0912 - 875 0913 - 640 0915 - 832

0917 - 2562 0918 - 1024 0923 - 610 0925 - 896

0926 - 2560

0929 - 1464 0932 - 384 0933 - 610

0934 - 1098 0935 - 4160 0936 - 512

0937 - 1024 0938 - 793

0939 - 1830 0940 - 896

0941 - 1220 0942 - 610

0943 - 1586 0944 - 976 0945 - 610

0946 - 1098 0949 - 854

0950 - 2176 0953 - 3456 0956 - 793 0957 - 183 0958 - 384 0959 - 244 0961 - 427

0962 - 1408 0963 - 244

0965 - 1664 0966 - 610 0967 - 512 0968 - 704 0970 - 384 0972 - 896 0973 - 256 0976 - 960 0977 - 244 0978 - 384 0981 - 244 0982 - 384 0984 - 976 0985 - 244 0987 - 244 0988 - 183 0989 - 549

0991 - 1375 0995 - 427 0996 - 488

1002 - 6100 1004 - 512 1011 - 122

A Enrique Alferez, 414 American School, 695 James McConnell “Mac” Anderson, 491 Walter Inglis Anderson, 195, 196, (aft) 200-206, 207, 208, 488, 489 Louis Franciscus Hendrik Apol, 607 Amos Lee Armstrong, 272 John James Audubon, 215, 216

C George Frederick Castleden, 271, 276 Guy Martin Chapel, 31 Charles Chaplin (attr), 602 Edith Varian Cockcroft, 44, 45 Brigitte Coudrain, 48 Robert Bruce Crane, 612 José-María Cundin, 390-392

D Tom Darro, 413 Herman Mijnerts Doncker (attr), 605 Simon Johannes Douw, 606 Edouard Drouot (aft), 700 Alexander John Drysdale, 279-282, 474-479

K Alberta Kinsey, 16, 32-34, 265 François Joseph Kinson (attr), 697

L James Lamantia, 423 Albert-Tibule Furcy De Lavault, 601 Edward Chalmers Leavitt, 698 Louise Brasell Lehman, 266 Lord Frederic Leighton, 687 Sir Peter Lely (mnr), 704 Adele Lemm, 422 Adolphe Alexandre Lesrel, 699 Arthur Lismer, 608 Charles Longabaugh, 273 Eugene Loving, 268

F Jerry Farnsworth, 43 Sarah Sole Ferguson, 389 Jean-Jacques Feuchere (aft), 703 Will Howe Foote, 610 Johnny Gotthard Friedlaender, 49

G Louis C. Girault, 484 John Gould, 213

O Philome Obin, 425 Augusta Denk Oelschig (attr), 35 George Orry-Kelly, 17, 18

T Richard Earl Thompson, 417 James Jacques Joseph Tissot, 696 Joseph Tomanek, 609

V Elisabeth Louise Vigée Le Brun, (aft) 600

W Larry Walker, 424 Joseph Woodson “Pops” Whitesell, 193 Thomas Worthington Whittredge, 611 Bror Anders Wikstrom, 480 Robert William Wood, 278 William Woodward, 286 Zao Wou-Ki, 411 Don Wright, 485, 486

Artist Index

M Pierre Jules Mene (aft), 616 Marius-Jean-Antonin Mercie (aft), 708

S Sherry Salari Sander, 412 Hunt Slonem, 395-403 Lewis Edward Smith, 613 Milda Spindler, 415 Gideon Townsend Stanton, 277 Paul Stotts, 284 Jimmie Lee Sudduth, 492, 493

•

E Laurence “Larry” Christie Edwardson, 46, 47 English School, 603 Adrianus Eversen, 604

J Charles Emile Jacque, 599

R Charles Reinike, Jr., 274, 275 Frank Relle, 408 Charles Whitfield Richards, 494, 495 Noel Rockmore, 162, 418, 419 George Rodrigue, 393, 394 Richard Rosenblum, 404 Frederick George Richard Roth (aft), 617 Robert Malcolm Rucker, 283 Harold Rudolph, 481 George Robert Rushton, 497

September 17 & 18, 2021

B Gian Lorenzo Bernini (aft) 707 Gustave Blache III, 416 Jean Boyer, 705 Charles Wellington Boyle, 482

H TDavid Halliday, 405-407 Theora Hamblett, 490 Pierre Eugene Emile Hebert (aft), 710 Colette Pope Heldner, 269, 270 Knute Heldner, 30, 264 Ella Hergesheimer, 285 Frank Stanley Herring, 24-26 Andrew LaMar Hopkins, 420, 421 Earl Horter, 267 Marie Atkinson Hull, 487 Clementine Hunter, 163-176 Charles Woodward Hutson, 496

P Achille Perelli, 483 Pablo Picasso, 409, 410 Rene Portocarrero, 426 Jean-Jacques Pradier (aft), 709

111

Notes:

112

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

CONSIGNMENTS

Director of Administration & Finance Michelle LeBlanc Leckert, CAI

Furniture & Decorative Arts Josh Broussard

Client Services / Accounts Receivables Rebekah Abernathy

Database Management / Internet Auction Administrator Lisa Weisdorffer

Paintings, Prints & Photography Marney Robinson; Sophie Hirabayashi; Beth Sherwood; Casey Foote

Books, Maps & Natural History Prints Marc Fagan

Silver & Decorative Arts Katherine Hovas

Asian Arts Bettine Field Carroll

Bookkeeper

Rita LaGrange-Perez

Social Media Coordinator / Junior Cataloguer Cameron McHarg

General Manager Jason Leckert

GRAPHICS

Graphics Director / Catalogue Design David Roberts

Photography

Jason Leckert

Gerard Lewis

Owen Murphy

Graphics Staff Katie Barnett Sonya Contino

Trust & Estates Advisor Henry G. McCall

Senior Appraiser Fine Arts Amanda Mantle Winstead

Appraisals

Marc Fagan

Newcomb Pottery & Decorative Arts Sally Main

Silver

Carey Mackie

Operations Staff

AUCTIONEERS

Director of Museum Services & Research Douglas Lewis, Ph.D., F.A.A.R.

Director of Operations

Jerry Major

EXHIBITION STAFF

Cecile Ballard Cammie Mayer Margo Phelps

CATALOGUE CONSULTANTS

OPERATIONS

Charlie Clay Dannell Ducre Kelvin Gibson

AUCTION SERVICES

Weston Guidry Tremaine Major

Yvette Semmes Carolyn Wogan Claire Whitmore

Michelle LeBlanc Leckert #1514 Bettine Field Carroll #1874 Marc Fagan #1935

Decorative Arts & Victoriana Ann M. Masson

Jewelry

Stephen A. Moses,

GIA Graduate Gemologist