Louisiana Purchase Auction - November 19 & 20, 2021 by Neal Auction

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Louisiana Purchase Auction

November 19 & 20, 2021 FEATURING:

18th and 19th c. American, French and English antiques, Southern paintings, historical materials and decorative arts consigned by discerning collectors, estates and institutions, including: The Legendary Portrait “Ashur Moses Nathan and Son” by Jules Lion Period Louisiana Furniture and Decorative Arts from Whitney Plantation, Wallace, LA Part II, Exceptional Early Works by Clementine Hunter from the Estate of Iris Brittain Rayford (1934-2018), Alexandria, LA Part II, Collection of Allison Kendrick from the Carroll-Crawford House, New Orleans A Lady’s Lifetime Collection of Chantilly Silver And Property of Others

EXHIBITION

Beginning Monday, November 8, 10 a.m. to 5 p.m. The Legend of a Louisiana Portrait – “Ashur Moses Nathan and Son” by Jules Lion Gallery Talk by Wendy Castenell, Ph.D., Thursday, November 11, 6:00 p.m. Special Saturday Preview, November 13, 10 a.m. to 5 p.m.

AUCTION

Friday, November 19, beginning at 2:00 p.m., Lots 1-116 Saturday, November 20, beginning at 11:00 a.m., Lots 117-575

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

EXCEPTIONAL LOUISIANA FURNITURE AND DECORATIVE ARTS FROM THE WHITNEY PLANTATION COLLECTION The Whitney Institute (DBA Whitney Plantation) is a nonprofit 501(c)3 organization operating Whitney Plantation Museum. Whitney Plantation opened as a museum on December 7, 2014 with a mission to educate the public about the history of slavery and its legacies. In its first five years, the museum welcomed over 400,000 visitors from destinations worldwide, who toured the grounds of the 18th century sugarcane, rice and indigo plantation. The original buildings dating from 1790 to the late 19th century reveal the story of an evolving plantation where more than 350 people were enslaved. In 2019, a re-envisioning of the Big House of the plantation was embarked upon in agreement with the staff and Board of Directors. This tremendous undertaking will allot more space for new exhibits, which deemphasize the history of the plantation owners and focus instead on the lives of the enslaved workers. Ideas for these spaces include acquiring new objects utilized by enslaved people on the plantation and displaying original artifacts discovered on the grounds during archaeological research. As a result of this new focus, the collection of period Louisiana furniture and decorative objects offered within this auction will support the museum’s current endeavors. In light of the recent devastating effects of Hurricane Ida to Whitney Plantation, the funds generated through this sale are crucial to implementing this large interpretive project and supporting the museum’s mission. While Whitney Plantation Museum works to recover from the storm, donations are more critical than ever to make repairs and allow the museum to continue to grow and thrive.

To make a tax-deductible contribution, please visit www.whitneyplantation.org/donate

Session One

Friday, November 19, 2 p.m. Neal Auction Company is pleased to present period Louisiana furniture and decorative arts from the Whitney Plantation Collection, sold to benefit their Big House reinterpretation fund. Many of the objects offered here were acquired at the legendary Houmas House Auction of the Collection of Dr. George Crozat in May 2003. The Whitney Plantation Collection comprises lots 1-52.

1. Large French Terracotta Olive Jar, 20th c., yellow glazed interior, attractive distressed finish, h. 41 in. [$1200/1800]

2. American Late Federal Carved Mahogany Two‑Part Dining Table, early 19th c., mid‑Atlantic, D end drop leaf top, conforming frieze, ring turned tapering legs, brass ferrules, casters, h. 30 in., open l. 92 1/2 in., w. 53 in. [$1000/1500]

3. Set of Four American “Hitchcock” Mixed Wood Side Chairs, early 19th c., New York, each with scrolled slat, plank seat, traces of old paint remain, h. 33 in., w. 16 in., d. 15 in. [$250/350]

4. Small French Terracotta Olive Jar, 20th c., yellow glazed interior, attractive distressed surface, h. 20 in. [$250/350]

5. Louisiana Cypress and Walnut Garde Manger, mid‑19th c., canted cornice over plain frieze, screen panels on four doors and sides, square legs, h. 84 in., w. 49 in., d. 19 in. [$800/1200] Note: The “double-case” construction of this food safe recalls the French buffet à deux corps form and is very similar to a well-known walnut garde manger in the Holden Family Collection. Ref.: Holden, et.al. Furnishing Louisiana: Creole and Acadian Furniture 1735-1835. p. 228, fig.

Photos by George Bookman

Photo by George Bookman 6. Antique Country French Walnut Extension Dining Table, plank top with (reduced) foldover top, plain apron, square tapering legs, pegged construction, h. 27 in., w. 75 in., d. 31 1/2 in. [$600/900]

7. Pair of French Carved Mahogany Balloon-Back Music Chairs, late 19th c., floral carved crest, cabriole legs, h. 36 1/2 in., w. 18 in., d. 14 1/2 in. [$75/100]

8. American Walnut and Cypress Corner Cupboard, early 19th c., molded cornice, two‑part case with beveled panel doors and central drawer, bracket feet, h. 76 in., w. 23 1/2 in., d. 37 in. [$800/1200]

9. Important Louisiana Cypress Kitchen Table, c. 1790, retains original Prussian blue paint, rectangular plank top over plain skirt, blocked legs joined by “I” form stretcher, h. 28 3/4 in., w. 34 in., d. 57 in. [$3000/5000]

10. Large French Terracotta Olive Jar, 20th c., yellow glazed interior, attractive distressed finish, h. 41 in. [$1200/1800]

Note: This lot is a classic French form most often found in France, Quebec and Nova Scotia but is a much rarer survivor in early Louisiana furniture.

11. Louisiana Creole Walnut and Cypress Armoire, c. 1790, cove‑molded cornice above plain frieze, two paneled doors with fiche hinges, interior with cypress and walnut shelves, original belt of drawers with scalloped apron with double lobed return, restored cabriole legs, “hoof” blocks, h. 87 in., w. 57 in., d. 22 in. [$7000/9000]

Provenance: Whitney Plantation; Neal Auction Company, October 2, 2004, lot 708.

Note: The rounded (not chamfered) case corners, inset door panels, false center stile, pierced escutcheons, distinctive front apron shape, simple swag side skirt, hoof feet, proportions, and restrained embellishment on this armoire relate closely to “Glapion Group” armoires at the Louisiana State Museum (acc. 1976.114 bearing a “Glapion” signature in chalk) and the Baudouin and Hollensworth Collections. Ref.: Holden, et.al. Furnishing Louisiana: Creole and Acadian Furniture 1735-1835. pp. 153-156, figs. 32, 35, 36. Poesch. Early Furniture of Louisiana. P. 19, fig. 7.

Photo by George Bookman

12. English Regency Mahogany Side Chair, spiral slat, saber legs, h. 33 in., w. 18 in., d. 16 in. [$150/250] 13. Pair of American Classical Mahogany Side Chairs, mid‑19th c., arched crest, vasiform splat, saber legs, h. 32 in., w. 18 in., d. 14 1/2 in. [$100/150]

Photo by George Bookman

14. Louisiana Cypress and Mixed Woods Cradle, 19th c., turned and section mosquito bar posts over gallery with turned supports, rockers below, h. 47 in., l. 37 1/2 in., w. 21 1/2 in. [$300/500]

15. Dr. George Crozat French Restauration Mahogany Gondola Chair, c. 1825, backscrolled crest, rectangular splat, molded supports, saber legs, h. 31 1/2 in., w. 19 in., d. 15 1/2 in. [$100/200] Provenance: Neal Auction Company, Houmas House Plantation, May 17, 2003, lot 414

16. Dr. George Crozat Louisiana Walnut Plantation Desk, c. 1830, gallery with scrolled sides, sloping lift lid flanked by open compartments, frieze drawers, turned legs, h. 37 in., w. 60 1/2 in., d. 33 in. [$2500/3500] Provenance: Neal Auction Company, Houmas House Plantation, May 17, 2003, lot 415

Neal Auction Company, Houmas House Plantation, May 17, 2003, lot 415

17. Louisiana Carved Walnut Four‑Poster Bed, c. 1825, later molded tester, baluster and ring turned posts, scroll headboard, turned legs, h. 101 in., l. 75 in., w. 51 1/2 in. [$6000/9000]

Provenance: Whitney Plantation; Collection of Dr. George Crozat, Houmas House, Neal Auction Company, May 18, 2003, lot 402. Note: The eared crest of the headboard and tall attenuated baluster and ring turned posts on this creole bed reflect the Anglo-Federal taste, a harbinger of the massive Grecian-style bed that Mississippi River Valley planters were to prefer by the 1830’s. This bed very closely relates to one from the Stromeyer family and now in the Tahvildari collection, Baton Rouge. Ref.: Holden, et.al. Furnishing Louisiana: Creole and Acadian Furniture 17351835. p. 384, fig. 10.

18. American Classical Cherrywood and Birdseye Maple Four‑Drawer Chest, c. 1830‑1840, outset frieze drawer over three graduated drawers, turned stiles and legs, h. 40 1/2 in., w. 39 in., d. 22 1/2 in. [$600/900]

19. American Mahogany Bedside Commode, c. 1825, mid‑Atlantic, galleried top, single door, ring‑turned legs, h. 34 in., w. 14 in., d. 14 in. [$300/500]

20. American Classical Mahogany Armoire, early 19th c., Louisiana or New York, molded cornice, flush paneled doors with reeded center, fiche hinges and shaped escutcheons, divided interior featuring fitted shelves and a drawer within the right partition, beehive turned legs, brass ball feet, h. 82 1/2 in., w. 52 1/2 in., d. 22 in. [$6000/9000]

21. English Brass‑Mounted Mahogany Writing Box, 19th c., interior writing slope inset with green leather, pen tray and two ink wells, h. 5 in., w. 14 in., d. 9 in. [$400/600]

23. American Painted Child’s Rocking Chair, mid‑19th c., New York, barrel form crest rail, turned supports, stretchers, rockers, h. 17 in., w. 18 1/2 in., d. 12 1/2 in. [$100/250]

22. Southern Cherrywood Low Post Bed, early 19th c., vasiform finials, turned posts, shaped head and foot board, later rails, h. 47 1/2 in., l. 74 1/2 in., w. 46 1/2 in. [$500/1000]

24. Napoleon III Carved Mahogany Child’s Chair, late 19th c., shaped crest, cabriole legs, h. 27 in., w. 14 1/2 in., d. 12 1/2 in. [$100/200]

25. Country French Fruitwood and Elm Nanny Chair, 19th c., ladder‑back, rush seat, box stretchers, h. 37 in., d. 28 in., d. 32 in. [$200/300]

26. Louisiana Creole Carved Walnut Armoire, late 18th/early 19th c., associated period cornice, shaped recessed panel doors, fiches hinges, shaped escutcheons, shaped apron, short cabriole legs now “ended out”, cypress secondary wood, h. 90 in., w. 56 in., d. 23 in. [$4000/6000]

Provenance: Whitney Plantation; Collection of Dr. George Crozat, Houmas House, Neal Auction Company, May 18, 2003, lot 616.

Note: The rounded (not chamfered) case corners, inset door panels with rococo shaped top, lack of center door stile, double lobe side skirt, proportions, and restrained embellishment on this walnut armoire relate closely to those on well-known Louisiana French Colonial period examples, most notably a walnut and cypress armoire in the collection of Robert and Isabelle Domingues. Ref.: Holden, et.al. Furnishing Louisiana: Creole and Acadian Furniture 1735-1835. p. 150, fig. 27

28. Southern Walnut Fall‑Front Plantation Desk, early 19th c., rectangular case with fall‑front writing surface, fitted with two compartments, stand with drawer, turned legs, h. 56 1/2 in., w. 35 1/2 in., d. 24 in. [$600/900]

27. Pine Domical Trunk, late 18th c., wrought iron strap fittings, h. 22 in., w. 49 in.,d. 22 in. [$150/250]

29. Louisiana or French Ebonized and Carved Prie‑Dieu, late 19th c., padded crest, cross carved splat, serpentine kneeler, turned legs, h. 36 in., w. 18 in., d. 16 1/2 in. [$200/400]

31. American Classical Carved Mahogany Bidet Chair, 19th c., crest with lift top, fitted interior, scroll stiles, lobed case top over ceramic basin (broken), saber legs, h. 32 in., w. 11 in., d. 19 1/2 in. [$150/250]

30. American Federal Tiger Maple Cradle, early 19th c., shaped top with canted dovetailed sides, rocker base, h. 22 1/2 in., w. 19 in., d. 41 in. [$200/400]

32. American Late Federal Mahogany Bowfront Chest, early 19th c., Salem, Massachusetts, pineapple and ropetwist stiles, four graduated drawers, turned legs, flame veneers, h. 41 1/2 in., w. 47 in., d. 20 in. [$1000/1500]

33. Fine Louisiana Mahogany Four Poster Bed, c. 1825, retains original tester, stepped baluster and ring turned posts, headboard with backscrolled crest, bookmatched panel, baluster turned legs, bun feet, h. 104 in., l. 75 1/2 in., w. 55 in. [$6000/9000]

Note: This boldly turned poster bed relates closely to several examples (all with River Road provenances) including a bed at Parlange Plantation and another from the Jacques Dupre house. A related Louisiana bed is also illustrated in The Magazine Antiques, April 1991, pl. VII, p. 736, the Sebastian Louis Kleinpeter House Historical Collection, Baton Rouge, LA.

35. Important Louisiana Inlaid Cherrywood Armoire, early 19th c., later cornice above an inlaid frieze centering a “CGD” inlaid monogram; two flush panel doors enclosing a replaced well‑fitted interior with belt of drawers; fiche hinges, shaped escutcheons, inlaid swag apron, front cabriole legs restored, h. 84 in., w. 56 in., d. 22 in. [$12000/18000] 34. China Trade Black Leather Covered and Brass Bound Camphorwood Coffer, early 19th c., brass plaque engraved “No 2 Captain Black”, h. 18 in., w. 37 1/2 in., d. 19 1/2 in. [$500/700]

Provenance: Whitney Plantation; Collection of Dr. George Crozat, Houmas House, Neal Auction Company. May 17, 2003, lot 480. Ill.: Holden, et.al. Furnishing Louisiana: Creole and Acadian Furniture 1735-1835. p. 175, fig. 64.

Note: The restrained ornament, proportions, flush door panels, and frieze with inlaid cypher “GCD” on this armoire are Creole cabinetmaking elements and relate closely to an armoire in the Whitecloud Family collection from the “Butterfly Man” Group among others. Juxtaposed to these aforementioned French Island qualities are the extensive “barber pole,” string and swag inlay and false center stile, all distinctive Anglo-American details, making this armoire a true Louisiana Purchase object, Creole at its inception, but showing evidence of American Federal style. 36. American Pitch-Painted Pine Doll’s Cradle, 19th c., original surface, cut rails, shaped sides and rockers, h. 9 1/2 in., l. 18 1/2 in., w. 11 in. [$100/250]

Ref.: The Whitecloud example is illustrated in Holden, et.al. Furnishing Louisiana: Creole and Acadian Furniture 1735-1835. p. 174, fig. 63.

Photo by George Bookman

37. American Classical Carved Mahogany Bidet Stand, 19th c., with ceramic basin, turned legs, lacking cover, h. 14 1/2 in., w. 22 1/2 in., d. 14 1/2 in. [$150/250]

39. Louisiana Gros Rouge Cypress “Cannon Ball” Bedstead, early 19th c., turned posts, shaped headboard, replaced side rails, h. 45 1/2 in., l. 76 in., w. 52. [$500/1000]

38. American Federal Mahogany Games Table, 19th c., foldover swivel top with circular baize playing surface, plain frieze, square tapering legs, h. 29 in., w. 31 in., d. 15 1/2 in. [$400/600]

40. American Classical Mahogany Bidet Stand, 19th c., kidney-form case with inset basin cover and cabriole legs, h. 17 in., w. 21 1/2 in., d. 15 in. [$300/500]

41. American Classical Revival Mahogany Side Chair, late 19th c., carved crest, saber legs, h. 32 1/2 in., w. 16 1/2 in., d. 15 in. [$100/200]

42. Antique Louis XVI-Style Carved Beechwood Canape, 19th c., flower and foliate crest rail with scroll terminals, conforming seat rail, fluted tapering legs, later white damask upholstery. [$400/600]

43. Pair of Louis XVI‑Style Carved Beechwood Fauteuils, 19th c., floral crests, serpentine seats, cabriole legs, h. 34 1/2 in., w. 22 in., d. 16 in. [$150/250]

44. American Federal Giltwood Overmantel Mirror, early 19th c., breakfront crest with spherules, eglomise frieze, mirror plate flanked by cluster columns, h. 57 in., w. 37 in., d. 4 3/4 in. [$1000/1500]

45. Creole Cherrywood Tea Table, late 18th/early 19th c., plank top with molded edges, shaped apron with drawer, cabriole legs, h. 28 in., w. 16 in., d. 26 in. [$600/900]

46. William IV Brass Inlaid Rosewood Lap Desk, mid‑19th c., fitted interior, writing slope inset with green velvet, on later stand, box h. 7 in., w. 15 1/2 in., d. 11 in., overall h. 25 in., w. 17 in., d. 12 1/2 in. [$600/900]

47. Rare Carved Mahogany “Butac” or “Campeche” Chair, early 19th c., possibly Louisiana or Yucatan, canted back and stiles connected to a conforming seat rail and curule form legs connected by turned stretchers, attractively upholstered in black leather with brass nailhead trim, h. 36 in., w. 21 in., d. 30 in. [$1000/1500]

Provenance: Found in New Orleans by a noted Louisiana antiquarian. Sold Neal Auction Company, Oct. 2, 2004, lot 709 Ref.: Holden, et al. Furnishing Louisiana, 2010, p. 332

Photo by George Bookman

48. American Carved Mahogany Curule Stool, early 19th c., rectangular seat frame upholstered en suite with the preceding lot in black leather with brass tacks, rectangular stretcher, h. 16 in., w. 18 in., w. 15 in. [$400/600]

49. Two Creole Walnut and Fruitwood Ladder-Back Armchairs, early 19th c. and later, turned stiles, curved box stretchers, rush seats, h. 35 in., d. 21 1/2 in., d. 20 in. (2 pcs.) [$3000/5000]

Provenance: Collection of Dr. George Crozat, Neal Auction Company, Houmas House, May 17, 2003, lot 610‑611. Ill.: Early Louisiana Furniture 1750‑1830, Louisiana State Museum, by Jessie J. Poesch, pl. 30, p. 46.

Photo by George Bookman

50. Creole Fruitwood Work Table, late 18th c., probably France, molded plank top, shaped apron with single drawer, attenuated cabriole legs, pegged construction, h. 29 in., w. 33 in., d. 22 1/2 in. [$800/1200]

Note: This table is closely related to Louisiana and Caribbean examples. The attenuated cabriole legs are similar to those illustrated in Roubo’s L’art du Meunissier pl. 257.

Ref.: Holden, et al. Furnishing Louisiana, 2010, p. 242.

51. Louisiana Creole Walnut and Cypress Armoire, c. 1810‑1825, cavetto cornice, flush panel doors with interior struts dovetailed into sides, flush panel returns and side aprons with center arch, cabriole legs, interior now void, h. 89 1/2 in., w. 56 in., d. 24 in. [$8000/10000]

Provenance: Whitney Plantation; Collection of Dr. George Crozat, Houmas House, Neal Auction Company. May 17, 2003, lot 184. Note: The flush panels with dovetailed braces, the distinctive arch in the center of the apron return, and the mitered backpanels with a waist rail on this armoire relate closely to those from the “Butterfly Man” group. The restrained ornament and proportions of this armoire also closely to four noted Butterfly Man examples in the Judice Family, Mary Etta Piller, and Harrod Family collections. Ill.: Poesch. “Early Louisiana Armoires,” Magazine Antiques. (August 1968) p 199, fig. 5.

Ref.: Gontar. Chasing the Butterfly Man: The Search for a Lost New Orleans Cabinetmaker 1810-1825. pp. 60-81, 132-147, 154-155, 162-163. Holden, “Echoes of an Island Past: Flush Panel Armoires in Saint Domingue and Louisiana,” The Journal of Southern History/ 74, no. 2 (2008) pp. 365–410.

52. Louisiana Mahogany and Satinwood Inlaid Armoire, early 19th c., later conforming cornice above recessed panel doors; shaped apron with lobe returns, cabriole legs, the whole inlaid with lozenge panels, quatre lune and checkered stringing, h. 85 in., w. 61 in., d. 21 in. [$15000/25000] Provenance: Collection of Dr. George Crozat, Houmas House, Neal Auction Company. May 17, 2003, lot 368; Property of Whitney Plantation Museum, Wallace, LA, sold to benefit the Big House reinterpretation fund. Ill.: Poesch. Early Furniture of Louisiana 1750-1830. p. 61, fig. 43.

Note: The proportions, inset door panels, inlay on the frieze panel and false center stile, and distinctive scallop pattern to the apron on this armoire relates to a cherry and cypress armoire at the Sebastian Kleinpeter Home in Baton Rouge, and a mahogany and cypress armoire descended in the LeComte-Lambre family in Central Louisiana. Interestingly, the apron design on the three aforementioned armoires relate to those attributed to Celestin Glapion the elder. Ref.: Holden, et.al. Furnishing Louisiana: Creole and Acadian Furniture 17351835. pp. 153-156 and 188-189, figs. 32, 33, 38, 81 and 83.

54. 18 kt. White and Yellow Gold, Citrine and Diamond Ring. [$300/500]

53. Louis Vuitton Leather and Monogram Canvas Train Case, variously marked “LV” and “Louis Vuitton” on lock, adjustable strap, and interior, gold tone hardware (lock lacking key), interior with adjustable loops for bottles and removable mirror and make‑up pouch, case (excl. strap) h. 8 5/8 in., w. 12 3/4 in., d. 8 1/2 in. [$1200/1800]

55. Platinum and Diamond Flexible Link Bracelet, comprised of 42 prong-set round faceted diamonds, total wt. approx. 9.98 cts., l. 6 3/4 in. [$10000/15000]

54A. 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. [$2500/3500]

56. Platinum and Diamond Three Stone Ring, center prong-set princess cut diamond, wt. approx. 0.70 ct., I color, SI‑2 clarity, 4.75 x 4.80 x 3.31 mm; flanked by 2 prong set princess cut diamonds, each wt. approx. 0.30 ct., G‑H color, SI‑2 clarity, 3.70 x 3.70 mm; size 5.25, mounting with trademark ZEI. [$1500/2500]

56B. 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. [$300/500]

56A. 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. [$700/1000]

57. Continental Platinum and Diamond Necklace, c. 1930, set with 21 Old European cut diamonds graduated from 2.19 ct. to .22 ct., totaling 9.96 cts., l. approx. 18 in. [$20000/30000]

58. Platinum and Diamond Flexible Link Bracelet, comprised of 41 prong set round faceted diamonds, total wt. approx. 10.40 cts., l. 6 7/8 in. [$12000/18000]

60. Platinum, Sapphire and Diamond Ring, center prong set cushion cut natural corundum sapphire, wt. 15.39 cts., 15.66 x 12.77 x 8.58 mm.; shoulders with 2 half‑moon cut diamonds, total wt. approx. 1.00 ct., F‑G color, VS1‑VS2 clarity; size 5.25; GIA (sapphire) and Gemassure reports. [$20000/25000]

59. 18 kt. White Gold and Cushion‑Cut Aquamarine Ring, signed Favero, with small single cut diamonds. [$800/1500]

61. Raymond Yard Platinum, Diamond and Ruby Brooch/ Pin, early 20th c., circular surround channel set with 15 each round faceted diamonds and tapered baguette rubies, reverse signed “YARD”, dia. 1 1/4 in. [$2500/3500]

62. Three French BronzeMounted Cut Crystal Boxes, incl. one oval, one round and one rectangular, h. 5 in., w. 6 1/2 in., d. 5 in. [$800/1200] 63. Marcel Goupy (French, 1886‑1980) Enameled Glass Vase, signed “M. Goupy” on base (worn), heavily enameled with stylized birds perched on thorny vines, h. 11 1/8 in., dia. 7 1/2 in. [$3000/5000] 64. Rene Lalique Opalescent Amber Glass Figure of “Suzanne”., early 20th c., reverse with molded signature “R. LALIQUE”, base with “France” in script, h. 9 in., w. 7 1/8 in., mounted to a period lamp stand as a lamp, base stamped “X591”, h. (incl. harp) 18 in. [$1500/2500]

65. Pair of Baccarat‑Style Bronze-Mounted Cut Crystal Jardinieres, zoomorphic handles, bun feet, diamond point cut crystal, h. 10 1/2 in., w. 16 in., d. 14 in. [$3000/5000] 66. Tiffany Studios Bronze and Slag Glass “Pine Needle” Inkwell and Picture Frame, early 20th c., both marked “TIFFANY STUDIOS/NEW YORK, inkwell h. 3 1/2 in., w. 4 in., d. 4 in., frame 7 1/4 in. x 6 in., opening 3 1/2 in. x 2 1/4 in. [$600/900]

67. Two Tiffany Favrile Glass Goblets, early 20th c., etched marks “L.C. Tiffany” and “Favrile”, white to lavender pastel, h. 8 1/8 in. and 7 3/8 in. [$600/900]

69. Tiffany Favrile Glass Bowl, early 20th c., with original paper label and etched marks “L.C. Tiffany”, “Favrile” and “1925”, intaglio cut leafy grape vine design, h. 3 3/8 in., dia. 8 1/8 in. [$500/700]

68. Four Tiffany Favrile Glass Goblets, early 20th c., etched marks “L.C.T.’ and “Favrile”, h. 3 7/8 in., dia. 2 7/8 in. to 3 in. [$600/900]

70. Two Tiffany Favrile Glass Scalloped Rim Bowls, early 20th c., each with etched marks “L.C.T”, incl. finger bowl, h. 2 1/4 in., dia. 5 in.; and salt, dia. 2 3/4 in. [$500/700]

71. Tiffany Favrile Glass Vase, early 20th c., etched marks “L.C. Tiffany”, “Favrile” and “4128H”, intaglio cut with colorful flowering, leafy vines, h. 7 3/8 in. [$1000/1500]

72. Quezal Iridescent Glass Vase, early 20th c., etched marks “Quezal” and “B872”, with trailing flower design, h. 6 in. [$600/900]

73. Venetian Pink and Aventurine (Avventurina) Glass Dessert Service, early 20th c., incl. 9 bowls with dolphin handles, h. 2 5/8 in., w. 6 3/4 in., d. 4 5/8 in., and 12 plates, dia. 9 1/8 in.; together with broken bowl (21 pcs.) [$600/800]

74. Antique Saraband Carpet, red ground, repeating designs, 5 ft. 8 in. x 12 ft. 5 in. [$600/800]

75. Antique Saraband Carpet, red ground, repeating designs, 6 ft. x 12 ft. 8 in. [$600/800]

76. Turkish Oushak Rug, olive and light brown ground, repeating designs, 6 ft. x 10 ft. 4 in. [$500/700]

77. Persian Tabriz Carpet, red and khaki ground, central medallion, overall vining foliate design, 10 ft. 6 in. x 16 ft. 8 in. [$1500/2500]

78. Antique French Aubusson Carpet, 19th c., olive and brown ground, repeating floral and chain design, shortened, 14 ft. 8 in. x 17 ft. 9 in.; together with remnant, 3 ft. 11 in. x 14 ft. 10 in. [$600/900] 79. Antique Persian Mahal Carpet, red ground, blue border, overall foliate design, 9 ft. 6 in. x 12 ft. 6 in. [$2000/3000]

80. Khoton Carpet, repeating designs, in khaki, blue and light brown, 7 ft. 11 in. x 10 ft. 10 in. [$2000/3000]

82. Persian Kerman Carpet, cream ground, central medallion, foliate design in red, blue and green, 9 ft. 9 in. x 13 ft. 2 in. [$3000/4000]

81. Oushak Carpet, khaki and gold, with muted foliate designs, 8 ft. x 9 ft. 9 in. [$2000/3000]

83. Persian Mahal Carpet, red ground, cream border, overall repeating stylized foliate design, h. 9 ft. 2 in. x 12 ft. 2 in. [$2000/3000]

84. Persian Sarouk Carpet, khaki ground, salmon border, central medallion, overall vining design, 9 ft. 11 in. x 13 ft. [$3000/4000]

86. Antique Persian Lavar Kerman Carpet, red ground, blue border, overall vining foliate design, 8 ft. 11 in. x 10 ft. 8 in. [$3000/4000]

88. Persian Kerman Carpet, red and blue ground, foliate cartouche designs, 9 ft. 8 in. x 14 ft. 9 in. [$3000/4000]

85. Persian Serapi Carpet, cream and teal ground, stylized floral designs in salmon, yellow, teal and blue, 9 ft. 10 in. x 13 ft. 7 in. [$3000/4000]

87. Persian Kerman Carpet, red ground, central medallion, foliate design, 9 ft. 10 in. x 14 ft. 6 in. [$3500/4500]

89. Amish Wedding Hearth Rug, 19th c., Lancaster, PA, decorated with dinner ware, cats, horse and flowers; linen backed, on stretcher, 39 1/2 in. x 58 1/4 in. [$2000/3000]

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

90. Antique Cast Iron Garden Figure of the Biblical “Woman with the Empty Jar”, painted white, standing with hand on face leaning on stone wall, the broken jar at her feet (Thomas 97), h. 55 in., w. 17 in., d. 22 in. [$1000/1200]

91. Pair of Renaissance‑Style Iron and Tôle Gates, Gate Posts and Lanterns, arched gates centering a crown cast with stars above armorial panels surrounded by scrolling leaves and stars, paneled bases with rosettes; gate posts with similar foliage and armorials surmounted by crowns issuing brackets suspending lanterns, approx. gate h. 139 in., approx. w. 120 1/2 in.; gate posts w. 24 in.; lantern h. 47 in.; bracket h. 41 in. [$6000/8000]

92. Group of Monumental Neoclassical White Marble Figures of the “Four Seasons”, after Franco‑Italian prototypes of the 18th c., largest h. 71 in. [$15000/20000]

93. Minton Majolica Figural Fountainhead, modeled as putti by the sea with net, seaweed and fish, h. 26 in., w. 14 in., d. 13 in. [$800/1000] 94. Chinese Wood Corner‑Leg Painting Table, waisted rectangular top, openwork apron, tall, square legs, hoof feet, h. 34 1/4 in., w. 49 1/2 in., d. 33 1/2 in. [$800/1000]

95. Chinese Red Lacquer Brush Pot, relief‑molded with dragons amid waves pursuing the flaming pearl, base with apocryphal Qianlong mark, h. 9 in., dia. 9 1/2 in. [$500/700]

96. Chinese Molded Red Lacquer Octagonal Covered Box, with central cartouche enclosing a mountainous landscape with trees, rocks and a pavilion, base with apocryphal Kangxi mark, h. 5 in., dia. 15 1/2 in. [$800/1000]

98. Large Chinese Carved Wood Recessed‑Leg Table, rectangular top with everted scroll ends, apron and spandrels exuberantly carved with dragons amid cloud scrolls, square section trestle base with openwork panels, h. 42 in., w. 102 in., d. 17 1/2 in. [$1500/2500]

97. Large and Highly Decorative Pair of Chinese Faux Cinnabar Covered Double Gourd Vases, molded with gourds on leafy vines, bases with apocryphal Qianlong marks, h. 25 in. [$1200/1800]

99. Decorative Pair of Chinese Famille Verte‑Decorated Powder Blue Ground Porcelain Rouleau Vases, painted with figural scenes, h. 31 in., dia. 12 in. [$2000/3000]

100. Decorative Pair of Chinese Oxblood Porcelain Hexagonal Vases, Modern, bases with apocryphal Qianlong marks, h. 19 in., w. 10 in., d. 8 1/2 in. [$600/800]

101. Large and Decorative Chinese Ming‑Style Celadon Porcelain Charger, decorated with central Qilin figure, dia. 20 1/2 in. [$700/900]

102. Chinese Rock Crystal Figure of a Beauty, carved standing with a bird, wood base, h. 9 1/2 in., w. 5 in., d. 3 1/2 in. [$400/600]

103. Decorative Pair of Asian Gem‑Inset and Rock Crystal Mounted Silvered Metal Filigree Covered Urns, probably Nepalese, h. 6 1/2 in., dia. 4 1/2 in. [$600/800]

104. Pair of Modern Chinese Peking‑Style Glass Bottle Vases, red bodies with applied white glass ornaments, bases with spurious Qianlong marks, h. 11 in. [$500/700]

105. Chinese Carved Hardwood Daybed or Luohan Couch, probably Huaimu, open gallery, woven matt seat, floral and scroll base, h. 29 1/2 in., w. 84 in., d. 37 in. [$800/1200] Provenance: Whisnant Galleries Collection, New Orleans, LA.

106. Three Japanese Wooden Work Benches, three sizes, tapered plank tops, canted legs with stretchers, tallest h. 20 3/4 in., w. 42 in., d. 12 in. [$350/550]

107. Pair of Asian Cloisonne Enamel Embellished Patinated Bronze Vases, elephant mask handles, cloisonne band and ruyi pendants, raised taotie mask band and relief dragons, h. 18 in. [$500/700]

108. Japanese Cloisonne Enamel Jardiniere, Meiji Period (1868‑1912), decorated with alternating dragon and phoenix panels, wood stand, overall h. 25 in., dia. 20 in. [$1200/1800]

110. Large Thai Partial Gilt Bronze Figure of a Seated Buddha, wood base, h. 43 1/2 in., w. 15 in., d. 26 in. [$1500/2500] 109. Two Japanese Bronze and Mixed Metal Dishes, 19th c., signed and inscribed “Kyoto”, incl. one with notched rim, other circular, decorated with figures in landscapes, dia. 12 in. [$800/1200]

111. Interesting Pair of Southeast Asian Bronze and Carved Wood Figures of Seated Buddhas, 20th c., h. 30 in., w. 18 in., d. 11 1/2 in. [$800/1200]

112. Southeast Asian Bronze Rain Drum, 20th c., h. 17 in., dia. 20 in. [$800/1000]

113. Pair of Chinese “Canton” Famille Rose Porcelain Vases, Buddhist lion mask‑affixed ring handles, decorated with bird, butterfly and flower cartouches, h. 14 in. [$500/700]

114. Pair of Modern Chinese Famille Rose Porcelain Octagonal Fish Bowls on Wood Stands, decorated in “rose medallion” pattern with figural and bird‑and‑flower panels and cartouches, overall h. 32 in., w. 20 in., d. 20 in. [$1200/1800]

115. Pair of Chinese Blue and White Porcelain Jardinieres, shaped octagonal bodies with pierced splayed bases, decorated with bird and landscape panels, h. 12 in., w. 19 1/2 in., d. 16 in. [$1000/1200]

116. Decorative Pair of Wrought Iron‑Mounted Chinese “Wucai” Porcelain Tea Canisters, decorated with Phoenix birds amid floral scrolls, shoulders with apocryphal Ming marks, h. 10 1/2 in., dia. 12 1/2 in. [$1000/1200]

Session Two

Saturday, November 20, 11 a.m.

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

117. Clementine Hunter (American/Louisiana, 1886-1988), “Cotton Picking”, oil on board, monogrammed lower right, Clementine Hunter brochure by Francois Mignon attached en verso, exhibition label on backing paper, 18 in. x 24 1/4 in., framed. [$4000/6000] 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, pl. 13. Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

118. Clementine Hunter (American/ Louisiana, 1886-1988), “Hoeing Cotton”, oil on board, monogrammed lower right, exhibition label on backing paper, 12 1/8 in. x 20 in., framed. [$3000/5000] 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. 14. Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

119. Clementine Hunter (American/ Louisiana, 1886-1988), “The Picnic”, oil on window shade laid on canvas, unsigned, inscribed on stretcher, exhibition label with title on backing paper, 33 in. x 35 in., framed. [$7000/10000] Provenance: Richard Gaspari; Estate of Iris Brittain Rayford (1934-2018). Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

120. Clementine Hunter (American/Louisiana, 1886-1988), “The Last Supper”, oil on paper laid on rice paper, monogrammed lower left, exhibition label with title on backing paper, 17 3/4 in. x 23 1/4 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.

121. Clementine Hunter (American/Louisiana, 18861988), “Two Sisters, One 30 and One 40 Years Old (African Women in Profile)”, oil on board, monogrammed lower right, inscribed with title and date and “New Orleans Museum of Art” exhibition label with title and date en verso, exhibition label on backing paper, 24 in. x 35 3/4 in., framed. [$4000/6000] 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. 4.

Ill.: Whitehead, Tom and Art Shiver. Clementine Hunter: Her Life and Art. Baton Rouge: LSU Press, 2012, pl. 45. Wilson, James L. Clementine Hunter: American Folk Artist. Gretna, LA: Pelican Publishing Company, 1988, p. 97. Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

122. Clementine Hunter (American/Louisiana, 1886-1988), “Cane River Baptism”, oil on window shade laid on masonite, unsigned, exhibition label on reverse of frame, sight 17 3/8 in. x 56 3/8 in., framed. [$18000/25000] Provenance: Collection of Dr. & Mrs. Robert F. Ryan; Estate of Iris Brittain Rayford (1934-2018).

Ill.: McDonald, Margaret. “Clementine the Painter.” The Shreveport Times. May 8, 1955: 2F; Whitehead, Tom and Art Shiver. Clementine Hunter: Her Life and Art. Baton Rouge: LSU Press, 2012, pl. 34. Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

Note: This early rendering of “Cane River Baptism” by Clementine Hunter was purchased by Dr. Robert Ryan at the Melrose Plantation Auction in June of 1970. The painting is reputedly her first baptism scene, although such claims are not rare and difficult to confirm with Hunter’s work. A photograph published in the May 8, 1955, edition of the Shreveport Times shows this unique painting, which was executed on a window shade, tacked above the doors of the back porch of the Yucca House at Melrose Plantation. Clementine Hunter historian and expert Tom Whitehead writes, “[t]his early masterpiece shows the artistic talents Clementine had in capturing the vivid colors and community involvement in a Baptism with the candidates in the Cane River, the preacher and the lady’s auxiliary of St. Matthew Baptist Church. Her use of colors in the background was unique and outstanding, highlighting the elements of the experience.”

123. Clementine Hunter (American/Louisiana, 1886-1988), “#95 Produits du Jardinage #2 (Produce of the Garden)”, oil on canvas board mounted to masonite, monogrammed lower right, 3 labels (one with title), 3 “J. Register” collector stamps, inscriptions by Mildred Hart Bailey and Iris Brittain Rayford and exhibition label en verso, 18 in. x 24 in., framed. [$4000/6000] Provenance: Acquired from the artist; James Register; Mildred Hart Bailey, 1978; Estate of Iris Brittain Rayford (1934-2018). Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

124. Clementine Hunter (American/Louisiana, 1886-1988), “Mary and Child”, oil on board, monogrammed lower right, exhibition label on backing paper, 18 in. x 24 in., framed. [$4000/6000] 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, pl. 36. Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

125. Clementine Hunter (American/Louisiana, 1886-1988), “Babysitting on Wash Day”, oil on board mounted to partial stabilizing board, unsigned, inscribed “Acquired from Francois Mignon on Aug. 20, 1977. Note resemblance in Roque House Frame. Obviously painted near the same time; possibly the first “Washday” painted by CH. / Mildred Hart Bailey / August 28, 1977” en verso, 16 3/16 in. x 21 3/16 in., unframed. [$3000/5000]

126. Clementine Hunter (American/Louisiana, 1886-1988), “Wash Day”, oil on masonite, unsigned, exhibition label with title on backing paper, 16 in. x 20 in., framed. [$3000/5000] Provenance: Estate of Iris Brittain Rayford (1934-1018). Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

Provenance: 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.

127 Clementine Hunter (American/Louisiana, 1886-1988), “Cane River Funeral”, oil on board, monogrammed lower right, exhibition label with title on backing paper, 16 in. x 24 in., framed. [$4000/6000] Provenance: Hugh Schoephoerster; Estate of Iris Brittain Rayford (1934-2018). Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

128. Clementine Hunter (American/Louisiana, 1886-1988), “Baptism on Cane River”, oil on cardboard, monogrammed lower right, 13 1/2 in. x 13 1/8 in., framed. [$2500/3500] Provenance: Estate of Iris Brittain Rayford (1934-2018). Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

129. Clementine Hunter (American/Louisiana, 1886-1988), “Angels in Flight”, oil on canvas board, monogrammed lower right, partial sketch and inscribed en verso, exhibition label with title on backing paper, 18 in. x 24 in., framed. [$4000/6000] Provenance: Acquired from the artist; Mildred Hart Bailey; Estate of Iris Brittain Rayford (1934-2018). Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

130. Clementine Hunter (American/Louisiana, 1886-1988), “Chapel on Little River”, oil on paper, unsigned, 9 in. x 12 in., framed. [$2000/3000]

131. Clementine Hunter (American/Louisiana, 1886-1988), “Abstract Baptism”, oil on found board, unsigned, 10 1/4 in. x 12 1/4 in., framed. [$1200/1800]

Provenance: Estate of Iris Brittain Rayford (1934-2018).

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

132. Clementine Hunter (American/Louisiana, 1886-1988), “Funeral on Cane River”, oil on board, monogrammed lower right, inscribed en verso, 11 3/4 in. x 17 7/8 in., framed. [$2500/3500] Provenance: Hugh Schoephoerster; Estate of Iris Brittain Rayford (1934-2018). Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

133. Clementine Hunter (American/Louisiana, 1886-1988), “Feeding the Camel”, oil on board, monogrammed lower right, pencil-inscribed en verso, exhibition label with title on backing paper, 12 in. x 16 in., framed. [$3000/5000]

134. Clementine Hunter (American/Louisiana, 1886-1988), “Chapel at Yucca”, oil on board, monogrammed lower right, exhibition label with title on backing paper, 9 3/4 in. x 17 3/4 in., framed. [$2000/3000] Provenance: Carolyn Ramsey; Richard Gaspari; Estate of Iris Brittain Rayford (1934-2018). Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

Provenance: Robert Ryan; Estate of Iris Brittain Rayford (1934-2018). Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

135. Clementine Hunter (American/Louisiana, 1886-1988), “Red Bird”, oil on canvas board, monogrammed upper left, partial sketch en verso, 8 in. x 10 in., framed. [$1000/1500] Provenance: Estate of Iris Brittain Rayford (1934-2018). Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

136. Clementine Hunter (American/Louisiana, 1886-1988), “Eating Watermelons”, oil on sheetrock, monogrammed lower right, 11 5/8 in. x 14 1/2 in., framed. [$2500/3500] Provenance: Hugh Schoephoerster; Estate of Iris Brittain Rayford (1934-2018). Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

End Estate of Iris Brittain Rayford

137. Clementine Hunter (American/ Louisiana, 1886-1988), “Watermelon Slice”, oil on board, monogrammed lower right, pencil-inscribed en verso, “Gilley’s Gallery” label on back glass, 4 1/4 in. x 10 7/8 in., framed in double-sided glass. [$1000/1500] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

138. Clementine Hunter (American/ Louisiana, 1886-1988), “Washday at Melrose Plantation”, oil on canvas board, monogrammed lower right, inscribed en verso, exhibition label with title on backing paper, 24 in. x 30 in., framed. [$6000/8000] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

139. Clementine Hunter (American/ Louisiana, 1886-1988), “Snowman”, oil on canvas board, monogrammed lower right, partial sketch and inscribed en verso, 18 in. x 24 in., unframed. [$4000/6000] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

140. Clementine Hunter (American/ Louisiana, 1886-1988), “Hauling Cotton with African House, Cotton Gin and Chickens”, oil on board, monogrammed lower right, pencil-inscribed and partial Clementine Hunter brochure by Francois Mignon with pencilinscribed date en verso, 16 in. x 24 in., framed. [$4000/6000] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

141. Clementine Hunter (American/Louisiana, 1886-1988), “Baptism”, oil on panel, monogrammed mid-right, 11 7/8 in. x 16 in., framed. [$2000/3000] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

142. Clementine Hunter (American/Louisiana, 18861988), “Zinnias in Yellow Bowl”, oil on panel, monogrammed lower right, 4 in. x 6 in., framed. [$800/1200] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

143. Clementine Hunter (American/Louisiana, 1886-1988), “Going to Church”, oil on panel, monogrammed lower right, 3 7/8 in. x 6 in., framed. [$800/1200] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead. 144. Clementine Hunter (American/Louisiana, 18861988), “Goose”, oil on panel, monogrammed lower right, 4 in. x 6 in., framed. [$800/1200] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

145. Clementine Hunter (American/Louisiana, 1886-1988), “Mary and Baby Jesus”, oil on panel, monogrammed lower right, 3 7/8 in. x 6 in., framed. [$800/1200] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

146. Clementine Hunter (American/ Louisiana, 1886-1988), “Girl Taking Flowers to Baby Jesus”, oil on canvas board, monogrammed mid-right, inscribed with title on backing paper, 13 7/8 in. x 17 7/8 in., framed. [$3000/5000] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

147. Clementine Hunter (American/ Louisiana, 1886-1988), “Wedding”, oil on board, monogrammed mid-right, 16 in. x 24 in., unframed. [$3000/5000] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

148. American Classical Mahogany Window Bench, mid-19th c., inset rectangular tapered cushion, molded base, bracket feet, h. 17 1/2 in., w. 44 1/4 in., d. 19 in. [$600/900]

150. American Federal Mahogany Server, early 19th c., shaped backsplash, reeded top over long and four short drawers, turned legs, bun feet, h. 41 in., w. 42 in., d. 20 7/8 in. [$800/1200]

149. American Late Classical Carved Mahogany Extension Dining Table, mid19th c., circular molded top opens to receive four later leaves, fluted standard, massive scroll legs, casters, h. 30 in., dia. (closed) 59 1/2 in., extended l. 105 in. [$700/900]

151. American Classical Mahogany Basin Stand, c. 1805-1815, probably Massachusetts, hinged top enclosing interior fitted for basin and cup, case fitted with cupboard door and drawer, ring and spiralturned legs with brass ball feet, h. 29 in., w. 15 in., d. 15 in, with antique ironstone bowl and pitcher. [$600/800] Provenance: Didier, Inc., New Orleans.

152. Restauration Carved Mahogany Dressing Table, 19th c., possibly New York, oval mirror on conforming stiles with swan terminals, white marble top, frieze drawer with fitted interior, curule supports, turned stretcher, brass paw feet, mirror labeled Framed by Galindo Mfg Co., 26 West Broadway, New York, ”, h. 54 3/8 in., w. 30 1/2 in., d. 17 1/2 in. [$600/900]

154. American Classical Mahogany Secretary Desk, c. 1830, New York, stepped cornice, bookmatched frieze, two glazed doors with gothic mullions, shelf interior, three drawers, foldover writing surface over three graduated drawers, colonnettes, blocked plinth, melon and foliate carved feet, h. 87 in., w. 46 in., d. 23 1/2 in. [$1400/1600]

153. American Late Classical Carved Mahogany Library Chair, mid-19th c., scroll carved crest, canted stiles, padded arms with scroll supports, fluted legs, cuffs, casters, h. 44 1/2 in., w. 23 in., d. 21 1/2 in. [$400/600]

155. American Faux Bois Pine Chest of Drawers, c. 1830, probably New England, shaped backsplash, three glove drawers on case of outset drawer over three drawers flanked by colonnettes, turned legs, pressed brass pulls, h. 45 in., w. 42 in., d. 19 1/4 in. [$700/1000] Provenance: Didier Inc., New Orleans.

155A. Antique American “Fancy” Painted and Stenciled Bedstead, c. 1820-30, probably New York State, winged headboard, ring-turned posts with pear-shaped finials, blocked and vase-turned legs with peg feet, h. 61 in., l. 76 in., w. 45 in. [$500/700] Provenance: Didier, Inc., New Orleans.

156. Rare American Federal Mahogany Field Bed, c. 1810, attr. to the noted Seymour family of Boston cabinetmakers, gabled headboard, reeded vasiform footposts with string-inlaid legs, turned tapering headposts, arched canopy, retaining the original side rails, vase-turned legs with peg feet, later canopy frame, h. 76 in., w. 60 in., l. 82 in. [$1000/1500] Provenance: Didier Inc., New Orleans.

157. Gorham “Chantilly” Pattern Sterling Silver Flatware Service, pat. 1895, designed by William C. Codman, incl. 12 each: forks (l. 7 5/8 in.), knives (l. 9 3/4 in.), steak knives (l. 9 1/4 in.), cream soup spoons, dessert spoons, bouillon spoons, cocktail forks and butter knives (fh); 11 salad forks, 18 teaspoons, 18 demitasse spoons, 3 tablespoons, gravy ladle, sugar shell, master butter knife and butter knife (hh); total wt. (weighable) 126 troy ozs. (150 pcs.) [$3500/4500]

159. Good Group of Gorham “Chantilly” Sterling Silver Dessert Flatware, incl. 10 ice cream forks, 12 ice cream spoons, 8 pie forks, 12 chocolate spoons, 1 long chocolate spoon (l. 5 1/2 in), 12 berry forks, 2 strawberry forks, 1 cherry fork, 1 coffee spoon, 2 individual salt spoons, 3 dessert forks (l. 5 7/8 in.), and 1 dessert fork (l. 6 in.), total wt. 37 troy ozs. (65 pcs.) [$700/1000]

158. Gorham “Chantilly” Pattern Sterling Silver Luncheon and Fish Flatware Service, incl. 12 each: luncheon forks (l. 7 in.), fish forks (l. 6 3/4 in.), fish knives (hh, l. 7 3/4 in.), cream soup spoons, ramekin forks, grapefruit spoons, 5 o’clock teaspoons, ice tea spoons and napkin clips; 10 salad forks, 2 fish knives (fh), 1 egg spoon, tablespoon, pierced tablespoon, gravy ladle, sugar shell and master butter knife; total wt. (weighable) 110.65 troy ozs. (125 pcs.) [$2500/3500]

160. Good Group of Gorham “Chantilly” Sterling Silver Serving Pieces, incl. asparagus serving fork, lettuce fork and spoon, fried oyster server, ice cream slice, pie server, waffle server, toast serving fork, cold meat fork (l. 8 in.), cold meat fork (l. 6 in.); total wt. 20.35 troy ozs. (10 pcs.) [$500/700]

161. Good Group of Gorham “Chantilly” Sterling Silver Serving Forks and Spoons, incl. dressing spoon (l. 121 3/8 in.), fish serving fork, l. 8 1/4 in.), salad serving fork and spoon (l. 10 in.), salad serving fork and spoon (l. 8 1/2 in.), and fork (l. 8 1/2 in.), total wt. 23.65 troy ozs. (7 pcs.) [$500/700]

162. Good Group of Gorham “Chantilly” Sterling Silver, incl. soup ladle (l. 12 1/4 in.), ladle with gilt wash bowl (l. 10 3/4 in.), bouillon ladle (l. 8 1/4 in.), crumber, 3 berry spoons with repousse gilt wash bowls, ice tongs, tea strainer and tea ball, total wt. 27.90 troy ozs. (10 pcs.) [$600/800]

163. Good Group of Gorham “Chantilly” Sterling Silver Serving Pieces, incl. cake saw, cheese knife, master butter knife, 2 cheese scoops (l. 8 and 10 in.), sugar tongs, small sandwich tongs, jelly server, jelly server with gilt wash, tomato server (l. 7 5/8 in.), cucumber server, nut pick, 2 butter picks, ice spoon, chocolate muddler, lemonade spoon, olive spoon with gold wash (l. 8 1/2 in.), olive spoon (6 in.), 3 cream ladles (1 with gold wash), mayonnaise ladle, 2 bonbon spoons (l. 4 5/8 and 5 1/2 in.), 2 sugar sifter spoons (1 with gilt wash), sardine fork, 2 chipped beef forks (l. 6 5/8 and 5 7/8 in.), cold meat fork (l. 7 1/8 in.), 2 lemon forks, olive fork and 3 pickle forks (l. 5 5/8, 5 7/8 and 8 1/4 in.), total wt. 37 troy ozs. (36 pcs.) [$500/700]

164. Large Group of Gorham “Chantilly” Sterling Silver Serving Pieces, all with hollow handles, incl. carving knife and fork (l. 13 in. and 11 in.), steak carving knife and fork (l. 10 in. and 9 in.), roast holder, poultry shears, cheese cleaver, 2 cheese servers, pastry server, pie server, cake knife, cake comb, ice scoop, bottle opener, bar knife, letter opener and makeup brush. (18 pcs.) [$400/600]

165. Pair of Gorham “Chantilly-Grand” Pattern Sterling Silver Asparagus Platters, No. A1951, incl. one mazarine, date marks for 1900 and 1910, 15 in. x 11 1/8 in., total wt. 64.90 troy ozs. [$1200/1800]

166. Gorham “ChantillyCountess” Pattern Sterling Silver Platter, A6412, date mark for 1907, 21 in. x 14 1/2 in., wt. 55.70 troy ozs. [$1000/2000]

167. Set of Ten Gorham “Chantilly-Duchess” Sterling Silver Bread Plates, No. 738, dia. 6 1/4 in.; together with 12 Gorham sterling butter pats, No. A1162, date mark for 1900, dia. 3 5/8 in.; total wt. 48.45 troy ozs. (22 pcs.) [$800/1200]

168. Group of Gorham “ChantillyDuchess” Pattern Sterling Silver Serving Dishes, incl. sandwich plate, No. 798, date mark for 1956, dia. 12 5/8 in; sandwich plate, No. 746, date mark for 1947, dia. 10 3/8 in; and circular vegetable bowl, No. 745, date mark for 1948, dia. 10 1/2 in.; total wt. 50.20 troy ozs. (3 pcs.) [$800/1200]

169. Three Gorham “Chantilly-Duchess” Pattern Graduated Compotes, incl. No. 708, h. 5 3/8 in., dia. 12 5/8 in.; No. 718, h. 4 1/2 in., dia. 10 1/2 in.; and No. 740, h. 3 3/4 in., dia. 6 1/4 in.; weighted bases. [$300/500]

170. Group of “Chantilly-Duchess” Sterling Silver Serving Dishes, incl. bread tray, No. 730, date mark for 1963, l. 12 3/4 in.; 2 bonbon bowls, No. 739, dia. 56 1/4 in.; gravy bowl with integral underplate, No. 728, h. 3 in., dia. 6 1/4 in.; and salt and pepper castors; total wt. 25.25 troy ozs. (6 pcs.) [$400/600]

172. Gorham Sterling Silver Teapot and Covered Sugar Bowl in the Rococo Taste, No. A177 and A4125, h. 6 1/2 in. and 5 3/4 in., total wt. 31.20 troy ozs. (2 pcs.) [$500/700]

173. Group of American Sterling Silver Serving Pieces, incl. Gorham “Buckingham” pattern sandwich tongs and serving spoon, pat. 1910, designed by William C. Codman, l. 8 7/8 in. and 9 in.; Wallace “Rose” pattern ice tongs, pat. 1888, designed by Henry L. Wallace, l. 7 in.; and bottle opener/corkscrew with 1912 presentation, l. 5 in.; total wt. (weighable) 12 troy ozs. (4 pcs.) [$300/500]

171. Antique Gorham Sterling Silver Circular Vegetable Bowl in the Rococo Taste, No. A8854, date mark for 1917, h. 2 3/4 in., dia. 10 3/4 in., wt. 22.70 troy ozs. [$400/600]

174. Group of Victorian Sterling Silver Serving Pieces, incl. Durgin “DuBarry” pattern salad serving fork and spoon, pat. 1901, ret. Bailey, Banks & Biddle Co., Philadelphia, gilt wash tines and bowl, l. 9 3/8 in. and 9 1/8 in.; Gorham “Raphael” pattern pie server, pat. 1875, designed by George Wilkinson, l. 9 3/8 in.; Elkington sugar sifter spoon in the Persian taste, Birmingham, 1896, gilt wash bowl, l. 6 1/2 in.; and Reed & Barton “Trajan” pattern horseradish spoon, pat. 1892, designed by Austin F. Jackson, gilt wash bowl, l. 6 1/4 in.; total wt. 12.40 troy ozs. (7 pcs.) [$300/500]

175. Victorian Taxidermy Group of Exotic Birds, 19th c., eight exotic birds, incl. Carolina parrot (now extinct), rainbow lorikeet, Hawaiian red honeyeater, and others, presented with foliage and seashells, with later glass dome, h. 22 1/4 in., w. 15 1/2 in., d. 8 1/2 in. [$800/1200]

176. American Classical Brass and Wirework Fireplace Garniture, c. 1830, New York, incl. fender with faceted finials, splayed feet, h. 17 1/2 in., w. 48 in., d. 19 in.; pair of andirons, spur feet, h. 23 in., w. 11 1/2 in., d. 20 in.; and conforming fire tools (poker, tongs, and shovel). [$1000/1500]

177. American Mahogany and Glass Firescreen, 19th c., hinged panels, on brass trestle feet, h. 43 3/4 in., w. (closed) 24 in., w. (open) 48 in., d. 13 1/2 in. [$500/700]

178. Louisiana Creole Doll House, mid20th c., pitched roof with cypress shingles, lift top for access to second floor, interior rooms fitted with walls and window casings, h. 29 in., w. 40 3/4 in., d. 31 1/4 in. [$500/700] Note: Crafted by a South Louisiana artisan, who specialized in dollhouses based on Louisiana and West Indies prototypes.

180. I.W. Harper Vitrolite Whiskey Advertising Sign, inscribed “Here’s Happy Days” and “Copyright 1909 by Bernheim Dist. Co.”, 24 in. x 18 in., framed. [$1200/1800] 179. Framed Half-Hull Carved Wood Model of a Sailing Ship, h. 31 1/2 in., w. 40 in., d. 3 in. [$500/700]

181. American Painted Chalkware Cigar Store Indian, early 20th c., with headdress standing pose on rusticated “log” base, h. 60 in. [$700/1000]

183. Pair of Louis XV-Style Gilt Metal, Rock and Cut Crystal Twelve-Light Chandeliers, beaded, scrolled arms, hung with pendants, electrified, h. 46 in., dia. 32 in. [$5000/7000]

182. Fine Pair of American Gilt Bronze SevenLight Candelabra, mid-19th c., Cornelius & Co., Philadelphia, marked “C & Co” on weight, each with two tiers of scrolled arms, columnar standard with floral and foliate appliques, shaped molded plinth, h. 19 in., w. 21 1/2 in. [$1200/1800] Ref.: Jones, J. Kenneth. “Cornelius and Company of Philadelphia”, The Magazine Antiques (Dec. 1983), vol. CXXIV, no. 6, pp. 1218-1222.

184. Near Pair of Chinoiserie Floor Lamps, with shades, h. 68 in., dia. 24 in. [$600/800]

185. Pair of American Gothic-Style Patinated Metal Sconces, attr. to Frederick Cooper, Chicago, h. 39 in., w. 10 in., d. 11 in. [$600/900]

186. Patinated Metal and Leaded Glass TwoLight Figural Sconce, 20th c., cherub holding foliate branches, h. 17 in., w. 16 1/2 in., d. 13 1/2 in. [$300/500]

187. Pair of Regence-Style Champleve and Gilt Bronze Five-Light Sconces, cast with portrait busts and swags, acanthus scroll arms, oak leaf pendants, h. 30 in., w. 25 in., d. 12 in. [$800/1200]

188. Pair of Antique French Gilt Metal Pricket Table Lamps, faceted standard, tapered lamp shades, h. 37 in. [$300/500]

189. Antique French Tole and Wrought Iron Six-Light Chandelier, 19th c., twist supports, foliate arms, not electrified, h. 33 in., dia. 24 in. [$500/700]

190. Pair of French Gilt Metal and Crystal TwoLight Sconces, 20th c., foliate design, h. 26 in., w. 12 in., d. 6 in. [$300/500]

191. Newcomb College Art Pottery Vase, 1924, decorated by Sadie Irvine, holly motif, square form rim, matte glaze, with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. NR78, h. 5 1/2 in., dia. 3 in. [$800/1200]

192. Newcomb College Art Pottery Vase, 1924, decorated by Henrietta Bailey, with a blue, yellow and green floral band, matte glazed, cylindrical form, base marked with Newcomb cipher, decorator’s mark, and reg. no. NW100, h. 6 1/4 in., dia. 2 3/4 in. [$800/1200]

193. Shearwater Art Pottery “Dancing Man” Vase, c. 1930s, decorated by Walter Anderson, blue glaze, dime size impressed mark, h. 8 in., dia. 6 1/4 in. [$800/1200] Ill.: Stewart, Dod, et. al Shearwater Pottery, Slidell: Bristol Publishing, 2005, p. 83.

194. Shearwater Art Pottery Plate, c. 1940, decorated by Walter Inglis Anderson, black and white design of shearwaters in flight, brown clay body, base with impressed quarter size Shearwater mark, dia. 9 in. [$1000/1500]

195. Large George Ohr Pottery Pitcher, c. 1900, inscribed signature “G E Ohr”, elongated form, folded rim, doubleloop handle, in purple and green glaze, h. 3 3/4 in., l. 8 1/4 in., w. 4 in. [$4000/6000]

196. Diminutive American Country Painted Pie Safe, early 20th c., two later glazed doors over pair of drawers and cabinet doors, sides notched for tapering feet, retains remnants of blue and white paint, h. 62 in., w. 30 in., d. 12 1/2 in. [$400/600]

197. Associated Set of Six American Late Classical Carved Mahogany Dining Chairs, mid19th c., each with shaped back, vasiform splat, saber legs, h. 32 1/2 in., w. 16 in., d. 22 in. [$600/800]

198. American Renaissance Carved Walnut Extension Dining Table, mid-19th c., molded circular top, strapwork decorated frieze, quadripartite base opens to accommodate 5 leaves, h. 29 1/2 in., w. (open) 132 in., w. (closed) 54 in., d. 54 in. [$800/1200] Provenance: “Wedding Cake” House, 5809 St. Charles Ave., New Orleans

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

200. Tropical Hardwood Planter’s Chair, continuous slat seat and back, extended arms, h. 30 in., w. 60 in., d. 19 in. [$400/600]

201. Southern American Inlaid Walnut Blanket Chest on Stand, 19th. c., molded rectangular top, dovetail case with fan inlay, two drawers, turned feet, h. 32 7/8 in., w. 49 3/4 in., d. 23 in. [$1000/1500] 202. American Rococo Mahogany Half Tester Bed, mid-19th c., stamped “C. Lee”, tester with cartouche carved brackets, elaborate headboard with rocaille crest and shaped panel, serpentine rails, massive turned posts. [$5000/7000] 203. Louisiana Cypress and Pine Work Table, 19th c., rectangular plank top, frieze drawer, square tapering legs with kerosene marks at base, pegged construction throughout, h. 25 1/2 in., w. 38 1/2 in., d. 28 1/2 in. [$500/700]

204. Rare Creole or West Indies Mahogany Petite Armoire, early 19th c., cove-molded cornice, veneered frieze with reeded banding, flush paneled doors with reeded center stile, scalloped skirt, cabriole legs with hoof feet, interior retaining original shelves and belt of drawers, h. 55 in., w. 43 in., d. 15 1/2 in. [$5000/7000]

Note: The use of flush panels for the doors and the distinctive “hoof” feet of this armoire exhibit the influence of French cabinetmaking, transmitted through the Caribbean into North America. A mahogany armoire and a buffet by Haitian/Philadelphia cabinetmakers Jean Baptiste Laurent and Charles Domballe in the Girard collection share these “island” features. An armoire for the Ursuline Convent with elements similar to those seen in this example is also illustrated in Jessie Poesch, Early Furniture of Louisiana, Louisiana State Museum, p. 41, pl. 9. Ref.: For Laurent Domballe examples see The Stephen Girard Collection, fig 33-34. Another excellent resource is Holden. “Echoes of an Island Past: Flush Panel Armoires in Saint-Domingue and Louisiana,” Southern Quarterly (Spring 2007).

205. John Gould (British, 1804-1881), “Pteroglossus Prasinus”, “Pteroglossus Suilcatus”, “Pteroglossus Nattereri”, “Pteroglossus Hypoglaucus”, “Pteroglossus Reinwardtii”, “Pteroglossus Culik” and “Pteroglossus Derbianus”, 7 hand-colored lithographs, 6 with corresponding text on backing paper, from Monograph of the Ramphastidae, or Family of Toucans, sights 19 1/2 in. x 13 1/2 in., framed alike. (7 pcs.) [$2000/3000]

206. Achille Perelli (Italian/New Orleans, 1822-1891), “Nature Morte: Pompano”, watercolor on paper, signed and inscribed “N.O.” center left, inscribed with artist on backing board, 27 3/4 in. x 20 5/8 in., framed. [$1500/2500]

207. George Louis Viavant (American/Louisiana, 1872-1925), “Sheepshead”, 1923, watercolor on paper mounted to board, signed, dated and inscribed “N.O.” lower left, 20 7/8 in. x 15 in., framed. [$4000/6000] Provenance: Gift of the artist; Private Collection, New Orleans; thence by descent.

208. George Louis Viavant (American/Louisiana, 1872-1925), “Ducks in Flight”, 1925, watercolor on paper mounted to board, signed and dated lower left, 29 3/4 in. x 20 7/8 in., framed. [$6000/8000] Provenance: Descended in the family of the artist.

Note: George Louis Viavant, the son of a New Orleans cotton broker, grew up within the city limits of New Orleans fishing and hunting from his father’s hunting lodge located on Gentilly Road. He began art lessons at the Southern Art Union in 1884 with Achille Perelli, a student of John James Audubon. Viavant drew inspiration for his subjects from the bayous, marshes and creatures of South Louisiana and painted scenes that combined his interest in the natural beauty of wildlife with a naturalist’s close attention to detail.

According to the monograph on the artist by George E. Jordan, Viavant created most of his sunrise and sunset swamp landscapes during the hot summer months, capturing the views from memory in his studio and imbuing many of the scenes with a touch of fantasy. Descended in the family of the artist, the large-scale watercolor offered here from Viavant’s last year of life depicts an expansive bayou with a group of ducks taking flight over the water. The composition is framed by tall grass in the foreground and a distant tree-lined shore in the background. Viavant’s mature mastery of the watercolor medium and the meticulous detail that was the hallmark of his well-known nature morte paintings blend into a scene that perfectly portrays the artist’s knowledge of and intimacy with the landscape of Louisiana. Ref.: Jordan, George E. George L. Viavant: Artist of the Hunt. New Orleans: The Historic New Orleans Collection, 2003

209. William Henry Buck (Norwegian/New Orleans, 1840-1888), “Stately Home under the Live Oaks along a New Orleans Avenue”, oil on canvas, unsigned, 12 1/4 in. x 20 1/8 in., framed. [$40000/60000] Provenance: Acquired from the artist in New Orleans, Henry Harrison Bankston (1820-1902), first mayor of Amite City, LA; his daughter, Mary Ann Bankston Watson (1855-1940); her daughter, Syrena Watson Sanders (1889-1981); her son, Kenneth Ivan Sanders (1923-2004); thence by descent.

Note: By 1880 William Henry Buck had opened his own studio at 26 Carondelet Street in New Orleans, where he was instrumental in defining the easel-sized painting market. Buck created the most expansive known body of work in the 19th century portraying the rivers, lakes, bayous and environs of New Orleans and its surrounding areas. His passion for capturing the Louisiana landscape is evident in the exquisite and subtle luminosity and carefully composed compositions of his works. While his rural bayou landscapes are perhaps his best known, rare urban scenes of New Orleans and its suburbs also appear in the artist’s oeuvre, portraying a unique glimpse into life in the city during an exciting period of growth and transformation. In the work offered here, Buck depicts a stately home under his iconic moss-draped trees, with the composition built around a strong diagonal of white fence lines – a technique noted in numerous of his canvases. The roadway in the forefront of the canvas hints at what are likely streetcar tracks. In 1860, New Orleans was home to the New Orleans and Carrollton Railroad Company, which ran horse or mule-drawn streetcars along four routes throughout the area in the “American” Quarter above Canal Street. Between 1861 and 1873, the amount of New Orleans and Carrollton Railroad Company street railways increased

from four lines to nine lines; over one hundred street cars ran along these tracks. By the early 1870s, experimentation with steam power had begun in order to provide an even faster streetcar that did not rely upon horses and mules for power, and in 1890, the last remaining mule car line was shut down as the electrification of the streetcar lines began. Likely completed sometime in the 1880s, this canvas was acquired by Henry Harrison Bankston, first mayor of Amite City, LA. Of Swedish roots, Bankston was active in the Scandinavian community of New Orleans, where he perhaps would have encountered Buck, who was born in Norway and immigrated to the United States around 1865. While the exact location of the structure depicted here remains a mystery, the elegant architecture with colonnade, red roof and expansive grounds is reminiscent even today of New Orleans’ grand avenues. Ref.: Wiesendanger, Martin and Margaret. 19th Century Louisiana Paintings from the Collection of W.E. Groves. Gretna, LA: Pelican Publishing Company, 1971

210. Jules Lion (French/American, 1806-1866, active New Orleans, 1837-1866), “Ashur Moses Nathan and Son”, c. 1845, pastel on heavy paper board, signed “Lion” lower left, sight 35 in. x 28 in., glazed in a period cove-molded giltwood frame. [$550000/750000] Provenance: Discovered in Mississippi and jointly owned by Francois Mignon (1899-1980) and Lyle Saxon (1891-1946), c. late 1930s; Francois Mignon, Natchitoches, LA, 1946; Ora Garland Williams (1910-1985), Natchitoches, LA, 1980; her daughter Ann Williams Brittain (1935-2003) and Jack Brittain Sr. (1928-2016), Natchitoches, LA, 1985; thence by descent to their children, 2010. Exh.: “Selections of Nineteenth-Century Afro-American Art,” Metropolitan Museum of Art, New York, NY, June 19 – August 1, 1976 and illustrated on cover of accompanying catalogue; “Currents of Change: Art and Life Along the Mississippi River,” Minneapolis Institute of Arts, May 27 – October 10, 2004 and illustrated in accompanying catalogue, p. 72; “Portraits of a People: Picturing African Americans in the Nineteenth Century”, Addison Gallery of American Art, Phillip’s Academy, Andover, MA, Jan. 14 – March 26, 2006 and illustrated in accompanying catalogue p. 85; “Portraits of a People: Picturing African Americans in the Nineteenth Century”, Delaware Art Museum, Wilmington, DE, April 21 – June 17, 2006; “Portraits of a People: Picturing African Americans in the Nineteenth Century”, Long Beach Museum of Art, Long Beach, CA, Aug. 25 – November 26, 2006.

Ill.: Wilson, Judith. “Optical Illusions: Images of Miscegenation in Nineteenth- and Twentieth-Century American Art.” American Art. Chicago: The University of Chicago Press on behalf of the Smithsonian American Art Museum 5.3 (Summer 1991): p. 92; African American Review. Saint Louis: Saint Louis University 41.1 (Spring 2007): cover illustration; Greenwald, Erin, ed., In Search of Julien Hudson: Free Artist of Color in Pre-Civil War New Orleans. New Orleans: The Historic New Orleans Collection, 2010, p. 84; Picard, Sara M., “Racing Jules Lion.” Louisiana History: The Journal of the Louisiana Historical Association. Lafayette: Louisiana Historical Association 58.1 (Winter 2017): p. 6; Gould, P., Seale, R., et al. Natchitoches and Louisiana’s Timeless Cane River Baton Rouge: Louisiana State University Press, 2002, p. 81; Southeastern Center for Contemporary Art. Next Generation: Southern Black Aesthetic Winston-Salem: Southeastern Center for Contemporary Art, 1990, p. 27.

Neal Auction would like to thank Wendy Castenell, Ph.D. for writing the following note. Note: The portrait, which has become known as “Ashur Moses Nathan and Son” is familiar to all who are interested in Louisiana portraiture or the history and legacy of African American art. The elusive portrait has been tucked away in private collections in Natchitoches, Louisiana, since its discovery by Louisiana authors Lyle Saxon and François Mignon in the 1930s in the attic of a private home of an unidentified resident in Mississippi. According to an interview with Mignon in the July 23, 1976 issue of The New Orleans Times-Picayune, the pair were made aware of the painting’s existence and location by a well-known New Orleans gallery owner who remained anonymous in the article. The portrait was jointly owned by Saxon and Mignon until Mignon’s death. In his will dated July 30, 1980, Mignon bequeathed the portrait to Mrs. Ora G. Williams, who in turn, left it to Jack and Ann Brittain in her will from April of 1985.

The pastel portrait by Jules Lion from c. 1845 depicts a middle-aged white man locked in an embrace with a mixed race younger man. The two sitters dominate the picture plane, drawing viewers’ attention to the details of their features, expressions, fashionable dress, and most importantly, their intimate pose. The older white man at the right, wears an elegant black jacket, waistcoat, and cravat. He gazes directly at the viewer with a serious expression. However, there is warmth in his eyes and a slight uptick at the corners of his mouth that prevents him from appearing severe. His graying hair is thinning, and his face displays sagging and some wrinkles that make him appear to be at the middle of life. His skin is slightly flushed, with a ruddiness in his cheeks and across the bridge of his nose. The younger man stands to his left, with his body pressed against the older sitter’s right side. The young man wraps his left arm around his companion’s shoulder, resting his hand on the older gentleman’s left shoulder. At the very bottom center of the composition, the two men clasp hands. The younger sitter is the taller of the two, and is also attired in a fashionable suit, with a black jacket and gray trousers. However, his garments are more impressive than the older man’s, as they include a blue and brown patterned waistcoat, a silk tie of the same shade of blue with a gold tie pin, a gold watch chain visible beneath his jacket, and a large ruby ring on the ring finger of his right hand. Like the older sitter, he too faces forward and meets the viewer’s gaze directly. His dark hair is shiny and arranged into a fashionable style, parted on the left and curling forward over each of his ears. His eyes, nose and mouth slightly larger than his companion’s, but there is nevertheless a resemblance in the shape of their features. While the younger man is also depicted with a slight blush in his cheeks, his flesh is a little darker and more olive toned than the sitter to his left. An indistinct, but lush landscape is depicted in the background. There is a thick crop of shadowy trees directly behind the sitters’ heads, with the hazy blue tones of atmospheric perspective distancing the landscape from the sitters in the foreground, as it also serves to draw the viewer’s eye to the faces of the sitter. In the sky above, there are an abundance of pillowy white clouds with patches of pale blue sky peeking from behind in several places. The artist’s name is clearly signed in red along the bottom left side of the portrait. The large pastel is at 35 x 28 inches, and is in pristine condition, with only a few areas of visible restoration. Lion displays his virtuosity with the pastel medium, particularly with his differentiation of the different textures throughout the image—lifelike skin, the different textures of cloth in the sitters’ attire, the shiny jewelry, and the distant landscape background. This portrait stands out as the masterpiece of Lion’s oeuvre. The portrait was featured in the 1976 show at the Metropolitan Museum of Art, Selections of Nineteenth-Century Afro-American Art, in which it appeared as the catalogue cover. Most recently, the portrait was in the 2006 travelling exhibition, Portraits of a People: Picturing African Americans in the Nineteenth Century, curated by the art historian Gwendolyn DuBois Shaw. The exhibition travelled to the Addison Gallery of American Art at Phillips Academy in Andover, MA, the Delaware Museum of Art in Wilmington, DE, and finally to the Long Beach Museum of Art in Long Beach, CA, and once again was included in the exhibition catalogue. Besides the portrait’s rare exhibition, it has received substantial scholarly attention since the 1970s. As art historians have tried to make the field of American art increasingly more inclusive by recovering works by Black artists and centering Black sitters, the Lion portrait has been repeatedly included. For example, a discussion of the portrait was included in the catalogue for David Driskell’s groundbreaking 1976 exhibition at the Los Angeles County Museum of Art, Two Centuries of Black American Art, despite the fact that the portrait itself was not included in the exhibition. Likewise, William Keyes Rudolph discussed the portrait in his exhibition catalogue for the 2010 show, In Search of Julien Hudson: Free Artists of Color in Pre-Civil War New Orleans at The Historic New Orleans Collection, even though the pastel was not in the show. Additionally, the portrait has been included in the publications of scholars such as Patricia Brady, Judith Wilson, and Sara M. Picard. The academic attention, combined with the portrait’s inclusion in a few major exhibitions and its otherwise inaccessibility, have elevated the work to legendary status. The legendary status of the Lion portrait is further augmented by the presumed racial identities of the sitters as well as their relationship to each other, what is believed to be known about Lion’s biography, and finally, the purported identities of the portrait’s subjects. Although the historical evidence about the race of each sitter, Lion’s race, and the identities of the sitters here are uncertain, the same narratives continue to be repeated by scholars as they cite one another without reexamining the archival records. The reason that scholars have been comfortable to repeat the mythologies about Lion and the portrait’s subjects is because if they are true, the stories make an extraordinary painting even more astonishing. In the iconic words from John Ford’s 1962 film, The Man Who Shot Liberty Valence, “when the legend becomes fact, print the legend.” The reason the portrait has long fascinated so many scholars is because, as art historian Gwendolyn DuBois Shaw wrote in her 2006 exhibition catalogue Portraits of a People, it is an image “which speak[s] to the complexities of family relationships and racial identification in Louisiana of the 1830s and ‘40s.” Indeed, the intimate pose depicted by Lion, as the two men stand together with their hands clasped and arms around one another, along with their similar facial features, indicates a loving familial bond. Furthermore, Lion’s careful handling of the two sitters’ skin tones creates a presumption that the two men are in fact a white father and his mixed race son. While it is never safe to make assumptions about the racial identities of sitters in nineteenth-century Louisiana portraits, Lion went through great pains to deliberately give the young man a deeper skin tone. Considering Lion’s adept use of the pastel medium throughout the rest of the image, it is evident this was intentional. Therefore, if this does represent a father and his mixed race son, the remarkable portrait is the only known example that illustrates a white father openly acknowledging his mixed race son in nineteenth-century American art. Furthermore, the image challenges viewers’ ideas and assumptions about race in the antebellum South, especially in a place like Louisiana, where affiliations across racial and caste boundaries were particularly complex. The image’s popularity is due, in part, to the astonishing and open interracial relationship it highlights—one that was exceedingly uncommon in the United States in the 1840s and is not known to have been visualized elsewhere.

“the image challenges viewers’ ideas and assumptions about race in the antebellum South, especially in a place like Louisiana, where affiliations across racial and caste boundaries were particularly complex”

Lion’s racial identity has also recently been challenged. Lion was born in Paris, where he was academically trained and exhibited in the Paris Salon before following the examples of his many colleagues by immigrating to New Orleans where there was a thriving market for patronizing French immigré portraitists. Once in the city, he worked as a prominent lithographer, painter, art teacher, and he was credited with introducing the daguerreotype (the first economical photographic method to be used commercially in the nineteenth century) to the city in 1843. In her essay, “Racing Jules Lion,” Sara M. Picard explains that Jules Lion appeared with the designation of “f.m.c.,” or “free man of color,” in the New Orleans city directories from 1851 to 1856, but that all other documents of his life make no mention of his race, which indicates that he was believed to be white. Additionally, she argues that throughout his entire body of work, he only depicted two people of color, including the portrait here. The conclusion she reaches from her reexamination of the extant documents of Lion’s life and career suggest that he was a French immigrant to Louisiana of Jewish heritage. Although parts of Picard’s argument, like the fact that his predominantly white patrons indicates that he himself was white, have been challenged, her reassessment does make a significant point—namely, the necessity for new scholarship and a reexamination of the archival records on important works of art such as this portrait. Positing that Lion was Jewish and not a free man of color, does not diminish the cultural value of this portrait, or its significance within the African American art canon. Rather, it gives more complexity and nuance to the history of race and race relations in the nineteenth-century, in the same way as the portrait’s composition. Finally, recent scholarship has questioned the sitters’ identities as well. Since the portraits appeared in the 1976 exhibition catalogue produced by the Metropolitan Museum of Art, the portrait has been known as Ashur Moses Nathan and Son. In the catalogue, Regenia A. Perry firmly identifies the portraits’ sitters. Additionally, she weaves an intriguing story about the sitters and their relationship to Jules Lion himself. Ashur Moses Nathan was a Jewish man born in Amsterdam, who immigrated to Louisiana and became a successful dry goods merchant in New Orleans and Baton Rouge. His wife died in 1852, leaving no children from the union. Although Nathan had a nephew to whom he could have bequeathed his estate, instead he chose to petition the state of Louisiana to adopt the mixed race, Achille Leon (the records from the Louisiana state legislature’s special act spell his name “Achille Leon,” not Achile Lion.” Louisiana names frequently appeared without consistency throughout archival records, so it is possible that his name was also spelled “Achile Lion” in other documents). His request was granted on March 12, 1859 by a special act of the state legislature. Following the adoption, Nathan went on to draft a will in 1862 that left most of his estate to Achille Leon, as well as $8,000 to Anna Lion (presumably Achille’s sister). The lengths Nathan went through to officially adopt Achille, and to ensure that he could safely pass his estate onto him and his sister after his death, is a strong indication that Achille and Anna were his biological, extramarital mixed race children. Moreover, Nathan’s actions in securing the succession of his property to those mixed race children rather than his white nephew, indicates a close paternal relationship. However, Regenia Perry further argues that Achille Lion is not only Nathan’s biological son, but also Jules Lion’s stepson, the issue of Jules Lion’s unidentified mixed race wife and Nathan prior to her marriage. Perry’s evidence for this is an entry in the 1844 notarial archive that lists Jules Lion as having a son named Achile in his home. Perry writes, “that there were two Achile Lions in New Orleans in the 1840s seems improbable.” Yet, in a francophone city like New Orleans, neither the name “Achile” or “Lion” were uncommon. Despite the conjectures made by the author of the Met’s Selections of Nineteenth-Century Afro-American Art exhibition catalogue, the truth is that the portrait itself visually corroborates the account of Nathan and his son Achile. Nathan’s concerted efforts to adopt the young man and to secure his inheritance are echoed in the loving embrace of the sitters in the Lion’s portrait. Furthermore, the story woven in the Met’s catalogue is deeply compelling, underlining the convoluted mixtures and relationships across racial boundaries that happened throughout Louisiana’s history. In her essay, “Optical Illusions: Images of Miscegenation in Nineteenth- and Twentieth-Century American Art,” Judith Wilson neatly summarizes the effect this story has on the portrait’s interpretation when she writes, “the image would have served not only as a stepfather’s record of his stepson’s true paternity, but also as a biracial artist’s symbolic reference to his own mixed ancestry as well as to a crucial aspect of his wife’s past.” In the end, however, there is no known archival evidence to substantiate the attribution that the sitters depicted in this portrait are Ashur Moses Nathan and Achille Leon. In fact, in her 1976 article, Alberta Collier, an art critic for The Times Picayune asked the anonymous art dealer if he knew the portrait to depict Nathan and his son, to which he replied that “he had never had any information as to the sitters.” Collier concludes her article by saying, “This does not, in itself, mean that the sitters are not Achile and Nathan. It indicates, however, that much more research is needed before they can positively be identified as the principals involved in the Louisiana legislative act of March 12, 1859.” This is the salient point—this unique and intriguing portrait has captivated viewers for decades because of the essential questions it raises about race and interracial mixing in Louisiana history, but also in the nation’s history. The pastel is compelling because of the myriad ways it dismantles neat assumptions about the strict American racial binary, as well as the role inhabited by people of African descent in nineteenth-century America. Despite the fact that the artist was probably Jewish and not a free man of color, and that the sitters cannot be firmly identified as Ashur Moses Nathan and his son, Achille, the captivating visual record of interracial familial ties the portrait depicts will compel the next generation of researchers to return to the documentary evidence and continue to work at solving the mystery of this portrait, thereby further enhancing the complex story of African American art. Ref.: “An Act to Authorize Ashur M. Nathan to Adopt Achille Leon,” Laws for the Government for the District of Louisiana Passed by the Government and Judges of the Indiana Territory, Baton Rouge, LA, March 12, 1859; Brady, Patricia, “A Mixed Palette: Free Artists of Color in Antebellum New Orleans,” International Review of African American Art 12, no. 3 (1995): 5-57; Collier, Alberta, “Mystery Surrounds Louisiana Painting in Met Exhibit,” Times-Picayune (New Orleans, LA), July, 23, 1976; Driskell, David, Two Centuries of Black American Art, Los Angeles: Knopf, 1976; Greenwald, Erin, ed. In Search of Julien Hudson: Free Artist of Color in Pre-Civil War New Orleans, New Orleans: The Historic New Orleans Collection, 2010; “Last Will and Testament of François Mignon,” Natchitoches, LA, July 30, 1980; “Last Will and Testament of Ora G. Williams,” Natchitoches, LA, April 9, 1985; Perry, Regenia A., Selections of Nineteenth-Century Afro-American Art, New York: Metropolitan Museum of Art, 1976; Picard, Sara M. “Racing Jules Lion,” Louisiana History: The Journal of the Louisiana Historical Association 58, no. 1 (2017): 5-37; Shaw, Gwendolyn DuBois, Portraits of a People: Picturing African Americans in the Nineteenth Century, Seattle: University of Washington Press, 2006; Wilson, Judith, “Optical Illusions: Images of Miscegenation in Nineteenth- and Twentieth-Century American Art,” American Art 5, no. 1 (1991): 88-107.

Dr. Wendy Castenell is an Assistant Professor of African American Art in the Department of Art and Art History at The University of Alabama. Her research interests include representations of race and ethnicity in American visual culture, portraiture, photography, early cinema, and turn-of-the-century spectacles. Her first book, “Creole Identity in the Art of the American South: Louisiana from the Colonial Era to Reconstruction,” will be published in the spring of 2022 by Routledge/Taylor & Francis. 43

211. Harold Rudolph (American/Louisiana, 18501884), “Fishing on the Louisiana Bayou”, oil on canvas, signed lower right, 10 in. x 14 in., framed. [$5000/7000]

212. Marshall Joseph Smith, Jr. (American/Louisiana, 1854-1923), “Bucolic Louisiana Farmstead with Moss-Draped Live Oaks”, oil on canvas, signed lower left, 20 in. x 32 in., framed. [$30000/50000] Provenance: Estates of Louis and Georgia Woodson, Lafayette, LA

Note: Marshall Joseph Smith, Jr. was among the most talented and preeminent painters of Louisiana bayou and swamp scenes of the late 19th century. While maintaining a studio in New Orleans, Smith traveled extensively throughout the rural isolated countryside of southern Louisiana, at the time accessible only by boat or horse. Smith’s paintings reveal his intimate knowledge of the particulars of life in the rural Acadian communities.

By contemporary accounts, Smith was a favorite student of the dean of Louisiana landscape painting, Richard Clague. Upon finishing his studies in art at Virginia’s Washington College, Smith returned to New Orleans in 1869 and furthered his studies with Clague in his studio, and later during a Grand Tour of Europe. Smith’s sensitive and masterful brushwork, subtle and effective use of color, and his ability to interpret and respond to the landscape in his own personal style made him a highly respected, exhibited and collected artist of his day. Of the three masters of Louisiana landscape paintings, Richard Clague, William Henry Buck and Marshall

J. Smith, Jr., Smith was the least prolific. To appease his parents, Smith worked as a clerk and as an agent in his father’s insurance company. Additionally, as a founding member of the Krewe of Proteus, he designed their annual Mardi Gras floats and tableaux. Smith’s personal time to devote to traveling and painting his alluring and evocative Louisiana landscapes was limited, making his paintings particularly rare on the market today.

In the large canvas offered here, Smith’s complex composition centers around an imposing moss-laden live oak tree which anchors a farmstead with barn and distant structures. The tree provides shade for the cows resting beneath it, while a companion cow is being tended by a girl in the foreground in a charming vignette with figure, trough and animal. The low horizon line provides space for an expansive sky with floating wispy clouds above the open fields. The combination of the rarity of Smith paintings, clear artistic expertise in brushwork, nostalgic historical quality of rural southern Louisiana life, as well as the magnitude in scale of “Bucolic Louisiana Farmstead with Moss-Draped Live Oaks” contribute to the importance and significance of this exceptional offering. Ref.: Poesch, Jessie. “Growth and Development of the Old South, 1830-1900.” Painting in the South: 1564-1980. Richmond: Virginia Museum, 1983; Bacot, H. Parrott. Louisiana Art from the Roger Houston Ogden Collection. Baton Rouge: Louisiana State University, 1992; Pennington, Estill Curtis. Look Away: Reality and Sentiment in Southern Art. Atlanta: Peachtree Publishers, 2000

213. George Caleb Bingham (American, 1811-1879), “Portrait of a Young Lady”, oil on canvas laid on panel, signed lower left, 16 in. x 12 in., framed. [$3000/5000]

214. Thomas Bangs Thorpe (American/Louisiana, 1815-1878), “Portrait of a Gentleman from Jackson, Louisiana”, 1839, oil on canvas, signed, dated and inscribed “Jackson, LA” en verso, 30 in. x 25 in., framed. [$3000/5000] Ref.: Milton, Rickels. Thomas Bangs Thrope, Humorist of the Old Southwest. Baton Rouge: Louisiana State University Press, 1962; “Thomas B. Thorpe”. Britannica. www.britannica.com. Accessed May 25, 2021.

215. Southern School, 19th c., “Farmer’s Pride/Wm. & Geo. J, McNamara Covington, KY”, watercolor on paper, unsigned, titled upper and lower left, pencil-inscribed en verso, 11 1/8 in. x 11 1/8 in., matted. [$1500/2500]

216. American School, early 19th c., “Rebecca Abrams French (1786-1854)” and “Ephraim French (1778-1863)”, 2 oils on tin, both unsigned, each with biographical information on backing board and “Fogg Art Museum” loan label on reverse of frame, both 14 in. x 10 in., framed alike. (2 pcs.) [$3000/5000]

Note: The pair of charming portraits presented here depict Ephraim French, Jr. and his wife, Rebecca Abrams French. Ephraim is shown dressed in the height of fashion with a complementary coiffure, while Rebecca is wearing a stylish gown with jewels in her hair, gold hoops in her ears and delicate tendrils of hair on her forehead – a sophisticated young couple charismatically represented.

Ephraim was born August 26, 1778 in Amherst, New Hampshire to Sergeant Ephraim French and Hannah French. The senior French served as a corporal and sergeant in Captain William Barron’s company in the American Revolution. Rebecca Abrams was born May 27, 1786 in Groton, Massachusetts to William Abrams and his wife Anna Abrams (née Flagg). She and Ephraim French, Jr. wed on November 30, 1806 in Boston, Massachusetts, where they settled and had seven children.

217. Louisiana School, 19th c., “Life on the Mississippi”, oil on canvas, signed “R. Hirsch” lower right, partial handwritten label inscribed “Restored by...May 1968” on stretcher, 18 in. x 30 1/8 in., framed. [$10000/15000]

Note: In the intriguing panoramic landscape on offer here, the mysterious artist “R. Hirsch” depicts a quotidian nineteenth century scene along the Mississippi river. In this sweeping view, reminiscent of other landscapes from the era executed by famed Louisiana artists such as Richard Clague, Robert Brammer, William Henry Buck, Marshall Joseph Smith and Charles Giroux, the viewer is treated to a portmanteau of some of these artists’ most charming visual devices and cues. The similarities to other notable works of the same genre likely indicate that Hirsch was painting with or on the periphery of the Bayou School and its luminaries.

The expansive foreground highlights the wide, winding river which leads the eye upwards to the low horizon line in the background. The shores are dotted with signs of rural life, including a woodshed, pirogues, houses and a far-off homestead. Completing the painting are hazy moss-draped oak trees, a small sailboat, and a distant steamboat rounding the bend. While the enigmatic artist, “R. Hirsch” remains a mystery, this painting is a charismatic and enticing compliment to the existing body of nineteenth century Louisiana river landscapes.

218. American School, 19th c., “General Andrew Jackson”, oil on canvas, unsigned, inscribed “General Andrew Jackson” en verso, 30 in. x 25 1/4 in., framed with title plaque. [$4000/6000]

219. Pair of Plaster Busts after “Diane Chasseresse” and “Apollo Belvedere”, after the antiques, heights 22 3/4 in. and 23 3/4 in., respectively. [$800/1000]

222. French Fiddle Handles Silver Fork, early 18th c., Aix en Provance, l. 7 3/8 in. [$100/200]

223. French Fiddle Handle Silver Fork and Two Spoons, Paris, late 18th c., l. 8 1/2 in. [$200/300] 220. Associated Set of Antique French Fiddlethread Silver Flatware, incl. 5 table forks (l. 8 1/4 in.) and 6 tablespoons (l. 8 1/2 in.), Laurent Labbe, act. 1829-1852, 61 rue Quincampois, Paris; and 7 table forks and 6 tablespoons, maker RB, possibly Bordeaux, total wt. 62.25 troy ozs. (24 pcs.) [$1500/2500]

221. Set of Antique French Fiddle Handle Silver Flatware, marks rubbed, incl. 12 table forks (l. 7 7/8 in.) and 12 tablespoons (l. 8 1/4 in.), total wt. 55.80 troy ozs. (24 pcs.) [$1500/2500]

224. Kentucky Coin Silver Julep Cup, ret. William Kendrick, Louisville, act. 1831-1880, made by Peter L. Krider, Philadelphia, marked incuse “W.KENDRICK/ LOUISVILLE/.KY.” and “[star]P.L.K.[star]/ STANDARD”, tapered form with molded rims, h. 3 1/2in., wt. 4.45 troy ozs. [$200/300]

225. Large George II-Style Carved Walnut Armchair, 19th c., in the manner of Giles Grendy strapwork crest and splat with eagle terminals, scroll arms, lobed serpentine seat carved with masques, cabriole legs, paw feet, h. 39 1/2 in., w. 26 in., d. 21 in. [$1000/1500]

226. Eight Fine Chippendale-Style Carved Mahogany Dining Chairs, late 19th/early 20th c., incl. 2 arms and 6 sides, each with acanthus crest, pierced splat, ample brown leather seats with nailhead trim, gryphon carved knees, cabriole legs, paw feet, armchair h. 39 in., w. 24 in., d. 22 in., side h. 37 in., w. 22 1/2 in., d. 19 1/2 in. [$3000/5000]

227. American William and Mary Pine Chest of Drawers, 18th c., molded top, two short and two long graduated drawers, turned feet, teardrop pulls, incised escutcheons, h. 35 in., w. 36 3/4 in., d. 22 in. [$800/1200]

228. George III-Style Burlwood and Mahogany Partners Desk, early 20th c., breakfront top inset with red leather writing surface, each side with three frieze drawers, bracket feet, h. 30 in., w. 72 in., d. 45 in. [$1200/1800]

229. Continental Renaissance Revival Carved Maple Two-Part Bookcase, late 19th c., molded double domed upper case with glazed doors, shelf interior, masque mullions, associated lower case with two drawers, two doors, strapwork panels, plain plinth, h. 95 in., w. 59 1/4 in., d. 24 in. [$2500/3500] 230. Regency Carved Mahogany Parlor Cabinet, mid-19th c., stepped and breakfronted case with four doors, carved stiles, reeded blocked plinth, h. 39 1/2 in., w. 61 in., d. 20 in. [$1200/1800]

231. English Mahogany Trolley, 19th c., rectangular molded galleried top over two shelves, turned supports, large casters, h. 37 in., w. 39 in., d. 16 in. [$500/700] 233. Edwardian Inlaid Mahogany Bookcase, early 20th c., upper case with arched pediment, glazed doors with mullions, shelf interior, lower case with two doors inlaid with trophee panels, bracket feet, h. 83 in., w. 31 1/2 in., d. 15 in. [$1500/2500]

232. Edwardian Parcel Gilt and Paint-Decorated Satinwood Commode, early 20th c., demilune top over conforming case with anthemion frieze, single door, shelf interior, fluted legs, h. 38 in., w. 45 in., d. 20 in. [$1000/1200]

234. Edwardian Satinwood Table with Inset Tole Peinte Tray, early 20th c., oval tray painted with a river landscape, table with frieze drawer, square tapering legs, h. 30 in., w. 34 in., d. 26 1/2 in. [$800/1200]

235. George III Mahogany Chest of Drawers, c. 17901810, two short and three long graduated drawers, bracket feet, h. 37 in., w. 49 in., d. 20 in. [$1000/1500] Provenance: Keil’s Antiques, New Orleans.

236. Pair of George III-Style Carved Mahogany Console Tables, late 19th c., in the Adam taste, skirts carved with bellflower swags, square tapering legs, spade fee, h. 29 in., w. 48 in., d. 22 in. [$2000/3000]

237. Set of Six Anglo-Colonial George IV Mahogany Armchairs, 19th c., molded crest, X slat, scroll arms on baluster supports, trapezoidal seat, tapering reeded legs, h. 33 in., w. 22 in., d. 18 1/2 in. [$800/1200] 238. George III Mahogany Kneehole Desk, 19th c., later inset leather top over one long drawer and pedestals of three drawers, blind drawers on back, bracket feet, h. 31 in., w. 43 in., d. 26 1/2 in. [$1000/1500]

239. George III Tortoiseshell Tea Caddy, 19th c., oval form, single lidded compartment, h. 5 1/8 in., w. 5 1/2 in., d. 2 3/4 in. [$1000/1500]

242. George III Green Tortoiseshell Tea Caddy, 19th c., cover with bail handle, interior with two lidded compartments, ball feet, h. 5 in., w. 6 1/2 in., d. 3 3/4 in. [$1000/1500]

240. George III Tortoiseshell Tea Caddy, 19th c., serpentine front, interior with two lidded compartments, bun feet, h. 5 1/4 in., w. 9 in., d. 5 7/8 in. [$1000/1500]

243. George III Tortoiseshell Tea Caddy, 19th c., domed lid, interior with two lidded compartments, ball feet, h. 6 1/4 in., w. 7 in., d. 4 in. [$1000/1500]

245. Twenty-Six Halcyon Days Enamel Boxes, incl. four egg-form; together with four Crummles & Co. boxes, largest h. 1 1/8 in. dia. 2 1/4 in. [$500/700]

241. George III Tortoiseshell Tea Caddy, 19th c., serpentine front, interior with two lidded compartments, brass bun feet, h. 5 3/4 in., w. 9 1/4 in., d. 5 1/4 in. [$1000/1500]

244. Georgian Tortoiseshell Tea Caddy, 19th c., hexagonal form, bail handle, interior with single lidded compartment, h. 5 1/4 in., w. 7 in., d. 3 3/4 in. [$1000/1500]

246. Two Antique English Brass Bound Mahogany Jardinieres on Stands, 19th c., lion head and ring handles, h. 24 1/2 in., dia. 22 in. [$500/700]

248. [Walker Evans] Crane, Hart. The Bridge: A Poem, Paris, The Black Sun Press, Paris, 4to, first edition, photographs by Walker Evans, cream wrappers, printed in black and red, limited edition, this numbered 228 of 283. [$700/1000]

247. Pair of English Patinated Bronze Figural Jardinieres, 20th c., lion standards, spherical base, h. 45 in., dia. 13 1/2 in. [$1500/2500]

Note: The Bridge marks the debut of Walker Evans as a photographer. Evans had only just started taking photographs around the time of his chance meeting with Crane in 1928 under the Brooklyn Bridge.

249. West Florida Land Grant and Elias Durnford Surveyor Map, incl. a manuscript land grant, on vellum, signed by Montfort Browne (11 1/8 in. x 22 1/2 in.); and a partially printed document, dated 1768, granting a Mr. Diggory Cock 500 acres “on the River Mississippi opposite to the French Settlement of Pointe Coupe...”, signed by Elias Durnford, and with a survey map of the property, 12 1/2 in. x 11 3/4 in., both joined by a silk ribbon, together with another land indenture for Diggory Cock; and 9 unrelated Martin van Buren indentures. [$600/900]

Note: Montfort Browne was a British officer and lieutenant governor and later governor of West Florida from 1767-1769. He later was governor of the Bahamas from 1774-1780. Elias Durnford was a British officer and surveyor who laid out the plan for Pensacola. He later became governor of West Florida from 1769-1778.

252. Louis XV Boullework Mantel Clock, 18th c., movement backplate signed “Noel De Couigny, Paris”, case with flame finials, dial with porcelain inserts, h. 25 in., w. 13 1/2 in., d. 6 in. [$1000/1500]

250. Scottish Carved Mahogany Tall Case Clock, 19th c., dial signed “McLeod”, convex pendulum door, French feet, h. 81 in., w. 18 in., d. 9 3/4 in. [$1200/1800]

251. Antique English Chinoiserie Tall Case Clock, 19th c., dial signed “Henry Cooley, London Fecit”, h. 92 1/2 in., w. 17 1/2 in., d. 9 1/2 in. [$1500/2500]

Provenance: Chappell Jordan Clock Galleries, Natchez, Nov. 1996.

253. Louis XV-Style Porcelain and Bronze Three-Piece Clock Garniture, incl. clock and pair of five-light candelabra, clock face marked “A. B. Griswold & Co./ New Orleans” (act. 1865-1906), reserves of cherubs, clock, h. 16 in., w. 10 in., d. 6 in.; and candelabras, h. 16 1/2 in., w. 9 in., d. 9 in. [$1500/2500]

254. Louis XVI-Style Gilt Bronze Cartel Clock, urn finial, cast with foliage and Classical mask, h. 23 1/2 in., w. 10 1/2 in., d. 4 in. [$800/1200]

255. Continental Onyx, Ebonized and Giltwood Portico Clock, 19th c., striking gong movement, h. 22 in., w. 13 1/2 in., d. 6 in. [$1000/1200] 256. Faberge Brass-Mounted Rosewood “Imperial Fan” Clock, 1983, Thwaites & Reed, London, originally design by Igor Carl Faberge (1906-1982), fan centered by a pearl, sterling silver hour pointer, h. 11 in., w. 10 in., d. 5 in. [$1000/1200]

258. Four Louis XVI Walnut Fauteuils, 18th c., with Beauvais needlepoint upholstery, oval back, padded arms, fluted tapered legs, toupie feet, h. 38 1/2 in., w. 26 in., d. 26 in. [$2000/3000] Provenance: Whisnant Galleries Collection, New Orleans, LA.

257. Italian Rococo Carved Giltwood and Marble Console Table, early 19th c., possibly Rome, seravezza marble top, serpentine apron with satyr masque and strapwork cartouche, cabriole legs with masque knees, stretcher with acanthus, scroll toes, h. 38 in., w. 60 in., d. 25 in. [$3000/5000] Provenance: Acquired Lili Marleen, LLC, New York, 2009

259. Antique Louis XV-Style BronzeMounted Kingwood and Vernis Martin Vitrine, rococo crest, bombe form, romanticized cartouches, scrolled apron, sabot feet, velvet interior, lacking shelves, h. 71 in., w. 28 1/2 in., d. 23 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.

260. Pair of Louis XV-Style Carved Fruitwood Fauteuils, 18th c., rocaille crest, padded oval back and arms, serpentine seat, cabriole legs, h. 44 in., w. 28 1/2 in., d. 25 in. [$2000/3000]

261. Louis XV-Style Gilt BronzeMounted Kingwood Bureau, Cartonnier and Clock, putto mount on bombe superstructure with clock, kidneyform writing surface with inset leather, frieze drawer, cabriole legs, sabots, h. 57 1/2 in., w. 34 in., d. 17 1/2 in. [$800/1200]

262. Pair of Louis XVI-Style Bronze Mounted Marquetry Cabinets, breakfronted white marble top, conforming case, frieze fitted with drawer, stiles mounted with female terms, panels inlaid with floral urns, toupie feet, h. 46 in., w. 54 1/2 in., d. 19 1/2 in. [$4000/6000]

264. Louis XV-Style Gilt Bronze-Mounted Kingwood and Vernis Martin Bedstead, serpentine headboard and foot board, extensively mounted with swags and urns, panels painted with cavorting putti, conforming rails, cabriole legs, h. 69 in., w. 95 in., d. 83 in. [$12000/15000] 263. Baroque-Style Carved Giltwood Mirror, beveled oval mirror plate surrounded by bold acanthus and grape scrolls, h. 40 in., w. 37 in., d. 5 in. [$800/1200]

265. Pair of Louis XV-Style Bronze-Mounted Kingwood Parquetry and Marquetry Pedestals, serpentine marble top, bombe case with terms and sabots, h. 48 in., w. 16 in., d. 16 in. [$3500/4500]

267. Italian Carved Walnut Cassone, early 20th c., egg and dart top and plinth, waisted case carved in bas relief with scenes of the Rape of the Sabine Women, carved lion paw feet, h. 30 in., w. 72 in., d. 22 in. [$700/1000]

Provenance: Sotheby’s Chicago

266. Italian Neoclassical-Style Gilt Mirror, h. 41 in., w. 33 1/2 in. [$500/700]

268. Pair of Louis XV-Style Bronze-Mounted Faux Marquetry and Kingwood Side Tables, gilt banded top, frieze fitted with writing slide and single drawer, cabriole legs, sabots, h. 29 1/2 in., w. 26 in., d. 17 1/2 in. [$700/900]

269. French Rococo Revival Carved and Gilded Console, 19th c., serpentine rouge marble top over reticulated apron, cabriole legs, X stretcher centered by a cartouche, h. 37 in., w. 57 1/2 in., d. 22 in. [$2000/3000]

271. Art Moderne Specimen Marble and Parcel Gilt Center Table, circular pietra dura top, fluted spreading base, circular plinth, h. 31 in., dia. 39 1/2 in. [$2000/3000]

270. Pair of Louis XVI-Style Whitewashed Fauteuils, balloon back, padded arms, serpentine seat, fluted legs, yellow stripe silk upholstery, h. 33 1/2 in., w. 23 1/2 in., d. 18 in. [$1000/1500]

272. Empire-Style Parcel Gilt Fruitwood Center Table, circular black marble top, blocked frieze, Egyptian term supports, medial stretcher with falcon on acroteria, paw feet, h. 32 in., dia. 26 1/2 in. [$800/1200]

273. Napoleon III Brass and Silver Inlaid and Ebonized Commode, late 19th c., breakfronted gris de Ste. Anne marble top, conforming case with single door inlaid with grotesques, fluted stiles, conforming plinth, turned feet, h. 44 1/2 in., w. 45 1/2 in., d. 20 in. [$1000/2000]

274. Vatican Studio Framed Mosaic Plaque of the “Madonna delle Stoffe”, early 20th c., by Lodovico Lucietto, after the 17th c. painting by Carlo Dolci in the Palazzo Pitti, label on reverse with artist name, title, and order no. 3886, h. 17 in., w. 13 in. [$6000/8000]

277. Grand Tour-Style Bronze Model of the Vendome Column, 20th c., mounted with a thermometer, marble base, h. 12 1/2 in., w. 4 1/2 in., d. 4 1/2 in. [$500/700] 275. Four Italian Grand Tour Alabaster Models of the Pisa Baptistry, c. 1900, largest h. 12 in., dia. 9 in. [$600/800]

278. Three Grand Tour-Style Carved Stone Models of Architectural Ruins, 20th c., h. 12 in., w. 9 in., d. 3 in. [$800/1200]

276. Italian Grand Tour-Style Temple on Black Marble Base, 20th c., h. 15 in., w. 11 in., d. 11 in. [$800/1200]

279. Continental Tortoiseshell Frame with European School Painting, 19th c., cushion frame with ribbon molding, opening 21 5/8 in. x 14 1/4 in.; exterior 29 in. x 21 1/2 in.; enclosing oil on canvas of a man in European costume, signed lower right “S. Stefano”, 22 3/8 in. x 15 in. [$800/1200] 280. Pair of Continental White Marble Columnar Pedestals, 19th c., molded top and base, h. 46 in., dia. 14 3/4 in. [$800/1200]

281. Pair of Monumental Antique Continental Bronze Andirons, flame finial, standard with rosettes, acanthine collar, bail-handled lion mask, hairy paw feet, h. 38 in., w. 23 in., d. 33 in. [$2500/3500]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

282. Pair of Large Continental Wrought Iron and Brass Andirons, 19th c., h. 40 1/2 in., w. 15 1/2 in., d. 34 in. [$800/1200]

283. Pair of Continental Polychromed Pricket Candlesticks, 20th c., embellished with metal “charms”, h. 19 in., w. 5 3/4 in., d. 5 3/4 in. [$250/350] 284. Pair of Antique French Brass Candlesticks, foliate design, tripartite base, h. 25 3/4 in., dia. 7 in. [$250/350]

285. Antique French Gilt Metal Six-Light Girandole, foliate arms with applied lilies, vasiform standard, electrified, h. 38 in., w. 14 in., d. 8 in. [$500/700]

286. Pair of Charles X Gilt Bronze Three-Light Candelabra, winged griffin arms, tapered standard with lotus collar, h. 21 in., w. 10 1/2 in., d. 6 1/2 in. [$2000/4000]

287. Pair of Italian Carved Granite Urns, 20th c., h. 17 in., dia. 12 in. [$800/1200]

289. Pair of Large Grand Tour-Style Specimen Marble Obelisks, 20th c., h. 52 in., w. 11 in., d. 11 in. [$1800/2400]

288. Pair of Patinated Bronze Figures of Noblemen, 19th c., sienna marble bases, h. 16 1/2 in., w. 8 in., d. 5 in. [$1000/1200]

290. Four Antique Carved, Painted and Parcel Gilt Ornaments, 19th c., beaded glass floral bouquets in vasiform bases, h. 17 1/2 in., dia. 5 1/2 in. [$1000/1200]

291. Louis XV-Style Giltwood Side Table, 20th c., serpentine white marble top, foliate carved frieze with drawer, cabriole legs, h. 30 in., w. 31 1/4 in., d. 19 3/4 in. [$1000/1500]

292. Miniature Italian Olivewood Bombé Commode, 20th c., four graduated drawers, cabriole legs, h. 20 3/4 in., w. 19 3/4 in., d. 11 in. [$400/600]

293. Dutch Baroque-Style Repousse Brass Cushion Mirror, 19th c., elaborate cartouche crest, divided mirror plate, reticulated cabochon brackets, foliate stiles, h. 53 1/2 in., w. 32 in. [$1000/1200]

294. Louis XVI-Style Bronze-Mounted Mahogany Low Table, oval marble top, frieze mounted with garlands, cabriole legs joined by stretchers and acroteria, h. 20 1/2 in., w. 44 in., d. 25 1/2 in. [$800/1000]

295. Renaissance Revival Carved Walnut Credenza, late 19th c., breakfronted green marble top, bold dentil molded frieze, twist supports, back with carved pilasters and mirror plates, stepped blocked plinth, h. 36 in., w. 78 in., d. 20 in. [$1000/1200]

296. Louis XVI-Style Bronze-Mounted Marquetry Work Table, 20th c., oval top over skirt with two drawers and writing slide, cabriole legs, stretcher shelf, inlaid panels of still life with vases, h. 28 in., w. 24 in., d. 16 1/2 in. [$400/600]

297. Empire-Style Bronze-Mounted Mahogany Commode and Mirror, 19th c. and later, rectangular mirror over marble top, case with three graduated drawers flanked by colonnettes, h. 38 in., w. 47 1/2 in., d. 23 1/2 in., mirror h. 63 in., w. 37 1/2 in. [$2000/3000]

298. Pair of Art Nouveau-Style Carved and Gilt Wood Settees, divided padded backs, cabriole legs, h. 45 in., w. 63 in., d. 24 in. [$1200/1400]

299. Pair of Louis XV-Style Carved Giltwood Mirrors, pierced rocaille crest, scroll surround, h. 33 in., w. 36 1/2 in. [$1200/1800]

300. Pair of Empire-Style Gilt Bronze Gueridons, circular white marble top and medial shelf inset in molded bronze frame, eagle supports, stretchers, paw feet, h. 29 in., dia. 32 in. [$2500/3500]

301. Empire-Style Gilt Bronze-Mounted Mahogany Library Table, late 19th c., rectangular top over two drawers, bowed supports with scroll brackets, incurvate stretcher centered by a lyre, four outswept legs, paw feet, h. 28 1/2 in., w. 56 1/2 in., d. 33 1/2 in. [$1200/1500]

302. Pair of Louis XVI-Style Giltwood Fauteuils, late 19th c., each with trophee crest, molded bellflower stiles, padded arms, ample seats, fluted legs, yellow stripe silk upholstery, h. 41 in., w. 27 1/2 in., d. 22 in. [$1000/1200]

303. Charles X Inlaid Rosewood Work Table, 19th c., sarcophagus case, tapered triangular standard, incurvate plinth, three outswept legs, h. 29 1/2 in., w. 19 in., d. 13 1/2 in. [$600/800] 304. George III Walnut Games Table, 19th c., foldover top, frieze drawer with brass bale pulls, square tapering legs, waisted feet, h. 28 3/4 in., w. 35 7/8 in., d. 16 1/2 in. [$400/600]

306. Colette Pope Heldner (American/Louisiana, 1902-1990), “French Quarter Courtyard with Archway”, 1927, oil on canvas, signed lower right, “Architects and Engineers Supply Company” label inscribed with “Arts & Crafts Club - New Orleans, La”, artist and date en verso, pencilinscribed on stretcher, 22 in. x 18 in., framed. [$1000/1500]

305. Colette Pope Heldner (American/Louisiana, 1902-1990), “Patio at Antoine’s, New Orleans”, oil on panel, signed lower right, “Ben’s Studio, New Orleans” label on backing board, 10 3/8 in. x 18 in., framed. [$600/800]

307. Southern School, 20th c., “Wooded Landscape with Live Oak Adorned with Spanish Moss”, oil on canvas mounted to board, unsigned, partial sketch on reverse of mounting board, 13 1/2 in. x 17 1/2 in., framed. [$1000/1500] 308. Don Wright (American/Louisiana, 1938-2007), “Bayou Landscape”, 1975, oil on canvas, signed and dated lower left, label with artist, title and date and “Jean Bragg Gallery of Southern Art, New Orleans” label on backing paper, 18 in. x 24 in., framed. [$1000/1500] Provenance: Jean Bragg Gallery, New Orleans, LA.

309. Charles Woodward Hutson (American/South Carolina, 1840-1936, active New Orleans, 1908-1936), “Two Oaks”, “A Road at Dawn” and “A Quiet Pool”, 3 watercolors on paper, one pencilmonogrammed lower right, each with artist label with title en verso, 10 in. x 14 in. to 14 in. x 10 in., unframed. (3 pcs.) [$1000/1500]

310. Charles Woodward Hutson (American/South Carolina, 1840-1936, active New Orleans, 1908-1936), “Broken Pier”, “Fun for Children” and “The Foot Bridge”, 3 watercolors on paper, each pencilmonogrammed lower right, each with artist label with title en verso, 9 in. x 12 in. to 14 in. x 10 in., unframed. (3 pcs.) [$1000/1500]

311. Ellsworth Woodward (American/Louisiana, 1861-1939), “St. Tammany Pines”, 1914, oil on canvas, signed and dated lower left, inscribed on stretcher, 18 in. x 24 in., framed. [$7000/10000]

312. Ellsworth Woodward (American/Louisiana, 1861-1939), “Rothenburg”, 1909, watercolor and graphite on paper, signed, titled and dated lower left, pencil-inscribed with title en verso, 15 in. x 10 1/2 in., framed. [$800/1200]

313. Alexander John Drysdale (American/New Orleans, 1870-1934), “Houses along the Shore”, 1923, oil on canvas, signed and dated lower left, “Williams Frame Shop, New Orleans, LA” label on reverse of frame, 21 1/4 in. x 30 in., framed. [$6000/8000]

314. Alexander John Drysdale (American/New Orleans, 1870-1934), “Moonlit Bayou Landscape with Cabin”, oil on academy board, signed lower left, “F. Weber & Co’s Academy Board” label en verso, 17 in. x 23 in., framed with artist plaque. [$4000/6000] Provenance: Jean Bragg Gallery, New Orleans, LA.

316. Alexander John Drysdale (American/New Orleans, 1870-1934), “Louisiana Bayou”, oil wash on board, pencil-signed lower right, “Marx Art Store, New Orleans, LA” label on backing paper, 6 in. x 20 in., framed. [$1000/1500] 315. Alexander John Drysdale (American/New Orleans, 1870-1934), “Louisiana Bayou”, oil wash on board, signed lower left, “W.E. Seebold” label and inscribed en verso, 20 in. x 30 in., framed. [$2500/3500]

317. Alexander John Drysdale (American/New Orleans, 1870-1934), “Bayou Landscape with Live Oaks”, oil wash on board, signed lower left, 20 in. x 30 in., framed. [$3000/5000]

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

319. Harry Davis FluhartWilliams (American/Indiana, 1861-1938), “Florida Sunset”, oil on canvas, signed lower left, 16 3/4 in. x 10 1/8 in., framed with artist plaque. [$800/1200]

320. Everett Longley Warner (American/Iowa, 1877-1963), “Florida Cypress Trees”, pastel on paper, signed lower right, 22 1/2 in. x 28 5/8 in., framed. [$500/700]

321. Julian Courtenay Hunt (American/Florida, 1917-2014), “Graveyard”, oil on canvas, signed lower left, “Steller’s Gallery, Jacksonville, FL” label on reverse of frame, 18 in. x 24 in., framed. [$600/800]

322. Robert Malcolm Rucker (American/Louisiana, 19322001), “Pulling into the Depot at Dusk”, oil on canvas, signed lower right, inscribed en verso, 24 1/8 in. x 30 1/8 in., framed. [$1000/1500]

324. William Ousley (American/Louisiana, 1866-1953), “Louisiana Sunset / One of the Many Beautiful Scenes in Southwest, La.”, 1928, oil on canvas, signed and titled lower right, signed, titled, dated and inscribed en verso, 15 in. x 30 in., framed. [$1000/1500]

323. William Ousley (American/Louisiana, 1866-1953), “West Fork of Calcasieu River S.W. La., No. 541”, 1931, oil on canvas, signed lower right, titled lower center, titled, dated and inscribed en verso, 18 in. x 34 1/8 in., framed. [$1000/1500]

325. Morris Henry Hobbs (American/New Orleans, 1892-1967), “New Orleans (Woman with Cane)”, graphite on paper, signed and inscribed “New Orleans” lower left, 6 15/16 in. x 5 in.; together with “Old Gallatin St., New Orleans”, 1939, etching, pencil-signed, titled and inscribed “Ed/100” lower margin, 4 7/8 in. x 3 1/2 in.; AND “Cucullu’s Bakery, Old New Orleans”, 1939, etching, pencil-signed and titled lower margin, 5 in. x 4 in., each matted. (3 pcs.) [$1200/1800] Ill.: Isbell, Reed W. Morris Henry Hobbs - A Catalogue Raisonné of Etchings, Engravings & Lithographs. McLean, VA: Coffee Street Publishing. 2017, pp. 118 & 127

326. Morris Henry Hobbs (American/New Orleans, 1892-1967), “Garden Gate at Casa Manana, New Orleans”, 1938, etching, pencil-signed and inscribed “early proof” lower margin, 5 in. x 3 1/4 in.; “Decatur St., Old New Orleans”, 1944, soft ground etching and aquatint, pencil-signed, titled and inscribed “Ed/200” lower margin, 8 1/8 in. x 6 in.; and “Sunlight and Shadow in Old New Orleans”, 1948, etching, pencil-signed, titled and inscribed “Ed/200” lower margin, dated and inscribed in plate, 8 15/16 in. x 10 in., each matted. (3 pcs.) [$1000/1500] Ill.: Isbell, Reed W. Morris Henry Hobbs - A Catalogue Raisonné of Etchings, Engravings & Lithographs. McLean, VA: Coffee Street Publishing, 2017, pp. 118, 130 & 147

327. George Frederick Castleden (British/New Orleans, 1861-1945), “West End of the Lake”, 1936, oil on canvas, signed and dated lower left, pencil-titled en verso, 18 in. x 22 in., framed. [$1200/1800]

328. George Frederick Castleden (British/New Orleans, 1861-1945), “Arched Stairway, Royal St., New Orleans”, oil on board, signed lower left, pencil-signed, titled and inscribed en verso, handwritten label with artist, title and inscription on reverse of frame, 6 1/2 in. x 4 1/4 in., framed. [$1000/1500]

329. William R. Hollingsworth, Jr. (American/Mississippi, 1910-1944), “Conversation”, 1930, oil on canvas, signed and dated lower left, handwritten label with artist, title and date en verso, 18 in. x 22 1/4 in., framed. [$1500/2500] Provenance: Private Collection, MS; thence by descent.

330. American School, 1945, “Ferry Landing”, watercolor on paper, signed “W. Gill”, titled and dated lower right, 15 in. x 9 1/2 in., framed. [$1000/1500]

331. American Classical Pembroke Table, attr. Duncan Phyfe, New York, shaped drop leaves, beaded drawers flanked by pendants, four turned and reeded supports, incurvate plinth, foliate carved legs, brass cuffs, casters, h. 28 1/2 in., w. 38 in., d. 26 in. [$2000/3000] Note: Ink label interior “Helen Elmyer Kleimer Katherine Joy Dyer.

332. Pair of American Classical Mahogany Games Tables, early 19th c., New York, each foldover top with canted corners, frieze with swag carved tablet, lyre base, carved plinth, acanthus carved saber legs, paw feet, casters, h. 29 1/2 in., w. 36 in., d. 18 in. [$4000/6000]

333. American Late Classical Carved Mahogany Sideboard, mid-19th c., Mid-Atlantic, backsplash with mirrored porticoes, breakfronted case with drawers over doors flanked by carved colonettes, conforming plinth, acanthus carved paw feet, pressed brass pulls and finely figured veneers throughout, h. 50 1/2 in., w. 73 in., d. 24 in. [$1000/1500]

334. Fine American Classical Bronze-Mounted Mahogany Box Sofa, early 19th c., New York, back-scrolled crest rail, columnar arm supports, acanthine feet, cups and casters, now in gilt-tooled leather, h. 33 in., w. 80 in., d. 27 1/2 in. [$5000/7000] Provenance: Collection of Dr. Mark A. Geist, Providence, RI.

Note: This sofa is closely related to well-known examples: one included in the Newark Museum’s “Classical America” exhibition of 1963; another sold by Neal Auction Company as lot 378, February 23, 2008, realizing $32,900. Other New York sofas of similar form include a mahogany sofa in the Brooklyn Museum of Art (acc. 41.1181); and a similar sofa descended in the Drayton Family of Charleston sold as lot 435 by Neal Auction Company, June 9, 2007. Ref.: Tracy. Classical America 1815-1845. pl. 57 and Voorsanger and Howat. Art and the Empire City, New York 1825-1861, p. 516, pl. 224.

335. American Federal Inlaid Mahogany Armchair, early 19th c., New England, back-scrolled crest, serpentine seat rail with swag inlay, incurvate arms, reeded turned supports and front legs, h. 38 in., w. 25 1/2 in., d. 21 1/2 in. [$500/800]

337. American Classical Parcel Gilt Mahogany Work Table, early 19th c., Philadelphia, blocked case with colonnettes and two graduated drawers, acanthus carved standard, incurvate plinth, paw feet, casters, flame veneers throughout, h. 30 5/8 in., w. 19 3/4 in., d. 16 1/2 in. [$700/1000]

338. Pair of GeorgianStyle Inlaid Walnut Bedsteps, labeled “Beacon Hill”, green leather inset treads, turned legs, h. 27 in., w. 16 in., d. 29 in. [$700/1000]

339. Set of Eight Regency Carved Mahogany Dining Chairs, 19th c., incl. 2 armchairs and 6 side chairs, scrolled crests, plain stiles, carved seat rails, reeded legs, turned feet, arm h. 33 in., w. 18 1/2 in., d. 16 in., side h. 33 in., w. 21 1/2 in., d. 17 1/2 in. [$1200/1800]

340. American Federal Inlaid Walnut Tall Chest, late 18th/early 19th c., probably Pennsylvania, molded cornice, string inlaid frieze, three drawers over two drawers over four graduated drawers, fan inlaid serpentine apron, flared feet, h. 69 1/2 in., w. 45 3/4 in., d. 23 in. [$700/1000]

341. Imperial Russian Silver-Gilt Trompe L’Oeil Cigar Box, mark of Vasilii Rukavishnikov, Moscow, 1896-1908, hinged cover and sides chased and engraved to simulate wood grain and tax bands, Russian inscription ‘Imported Tobacco’, and with label ‘La Flor de Henry Clay Juliana LVz Havana’, award medals, and import label, gilt interior, marked inside cover and base, h. 1 3/4 in., w. 6 in., d. 4 in., wt. 13.55 troy ozs. [$2000/3000]

336. Antique ChippendaleStyle Carved Giltwood and Mahogany Looking Glass, spreadwing eagle mounted crest, pierced incised scroll surround, h. 51 1/2 in., w. 24 1/4 in. [$700/900]

342. Baroque-Style Sterling Silver Centerpiece by Lale, Istanbul, 20th c., putti playing trumpets on each handle, gilt-washed interior, total wt. approx. 240 troy ozs., h. 19 in., w. 30 in., d. 14 in. [$6000/8000]

343. George III Sterling Silver Coffee Pot, Walter Brind, London, 1767, mark reg. 1757, pyriform body with domed cover, scroll handle and spout, gadrooning throughout, engraved with family crest, h. 11 3/4 in., wt. 33.35 troy ozs. [$1000/1500]

344. Tiffany & Co. Makers Sterling Silver Coffee Pot, after the 18th c. Pygan Adams (South London, CT) example in the Clearwater Collection at the Metropolitan Museum of Art, 1927 engraved presentation on underside, reverse tapered form with domed cover, scroll handle and spout, molded foot, h. 10 in., wt. 34.55 troy ozs. [$700/900]

346. Antique English Silverplate Entrée Dish on Warming Stand with Burner, mid-19th c., pierced and solid removable liners, h. 9 in., w. 14 1/4 in., d. 9 1/4 in. [$300/500]

345. Good Group of American Sterling Silver Holloware, incl. Gorham reticulated nut basket (l. 8 3/8 in.), no. A1998, date mark for 1917, with 7 matching individual nut dishes (l. 3 7/8 in.); and 4 Revere bowls, various makers, incl. h. 4 1/4 in., dia. 8 in.; 2 h. 2 1/2 in., dia. 5 in.; and h. 2 1/4 in., dia. 3 3/4 in., total wt. 38.75 troy ozs. (12 pcs.) [$750/1000]

347. Gorham “Old London” Pattern Sterling Silver Flatware Service, pat. 1916, ret. Bigelow & Kennard, Boston, incl. 12 each: dinner forks (l. 7 5/8 in.), dinner knives (l. 9 5/8 in.), luncheon forks (l. 7 in.), salad forks, dessert spoons and bouillion spoons; 9 teaspoons, 6 iced tea spoon, 6 citrus spoons, 5 luncheon knives (l. 8 3/8 in.), butter knife (fh), sugar spoon and baby spoon, total wt. (weighable) 107.25 troy ozs., in a fitted storage case. (101 pcs.) [$1500/2500]

348. Reed & Barton “Diamond” Pattern Sterling Silver Flatware Service, pat. 1958, designed by Gio Ponti (1891-1979), incl. 13 forks (l. 7 5/8 in.), 10 knives (l. 8 7/8 in.), 8 salad forks, 8 cocktail forks, 7 dessert spoons, 9 teaspoons, 10 butter knives (hh), cold meat fork, tablespoon, pierced tablespoon, cream ladle, sugar spoon, lemon fork and pickle fork, total wt. (weighable) 78.35 troy ozs. (72 pcs.) [$2500/3500]

Provenance: M.S. Rau, New Orleans, 1987.

349. Tiffany & Co. Makers Modernist Sterling Silver After-Dinner Coffee Service, incl. after-dinner coffee pot h. 9 7/8 in.), open sugar, creamer and circular tray (dia. 11 in.), pod finial and handles, total wt. 51 troy ozs. [$1000/1500]

350. Tiffany & Co. Makers Sterling Silver Footed Basket, pattern introduced 1914, swing handle with reticulated border, molded rim and foot, h. 7 5/8 in., dia. 8 3/8 in., wt. 14.88 troy ozs. [$300/500]

351. American Arts and Crafts HandWrought and Hammered Sterling Silver Water Pitcher, Lewy Bros. Co., Chicago, early 20th c., h. 8 3/8 in., wt. 17.65 troy ozs. [$400/600] Note: Lewy Brothers jewelers catered to Chicago’s carriage trade in the early 20th century. The youngest Lewy brother, Ervin, died on the Titanic, returning from a business trip to Europe.

352. American Art Deco Sterling Silver Cocktail Shaker, La Pierre, New York, early 20th c., h. 11 1/2 in., wt. 30.70 troy ozs. [$500/700]

353. Tiffany & Co. Makers Sterling Silver Salver, early 20th c., pattern introduced 1907, circular with molded rim, flat-chased garland border, well with monogram, molded foot, h. 2 in., dia. 12 in., wt. 29.90 troy ozs. [$600/900]

354. American Chippendale Figured Mahogany Slant-Front Desk, c. 1770-1785, probably Salem, Massachusetts, slant lid enclosing fitted desk interior with small drawers and cubbyholes, four graduated serpentine drawers, conforming molded base with ogee bracket feet, h. 44 1/2 in., w. 45 in., d. 23 in. [$2000/3000] Provenance: Didier Inc., New Orleans.

355. American Queen Anne Tiger Maple Dressing Table, late 18th c., New England, molded rectangular top, one long and three short drawers, shaped apron, cabriole legs, pad feet, batwing brass pulls, h. 35 in., w. 39 in., d. 21 in. [$1500/2500] Provenance: Estate of James Fenimore Cooper IV, Neal Auction Company, Apr. 25, 2014, lot 992; to a New Orleans Gentleman.

357. George III Carved Mahogany Library Chair, early 19th c., serpentine crest, incurvate padded arms, reeded supports, square legs, stretcher, h. 40 1/2 in., w. 27 in., d. 24 1/2 in. [$150/250]

356. American Chippendale-Style Carved Mahogany Secretary Bookcase, 19th c., urn finials, swan neck pediment, glazed bookcase with trapezoidal mullions, slant front desk lid carved with shell, fitted interior, four graduated drawers, ball and claw feet, h. 102 in., w. 41 in., d. 22 1/2 in. [$2000/3000]

358. Pair of English RococoStyle Carved Mahogany Armchairs, late 19th c., foliate crest, shaped back, scroll arms, foliate shell apron, paw feet, each with turquoise damask upholstery, h. 44 1/2 in., w. 27 1/2 in., d. 23 1/2 in. [$1500/2500]

359. English Mahogany Document Box on Stand, 19th c., silvered plaque on lid engraved “The British Family Society Instituted anno 1788”, sides with bale handles, false bottom on interior, later stand, overall h. 23 in., w. 21 in., d. 13 in. [$500/700] 360. Irish Chippendale-Style Mahogany Side Table, 20th c., rectangular top with gadrooned edge, carved frieze, cabriole legs and angel masque terms, ball and claw feet, h. 29 in., w. 41 1/2 in., d. 25 1/2 in. [$800/1200]

361. Georgian-Style Carved Mahogany Hallstand, late 19th c., flame finial, fluted and carved standard, three tiers of hat hooks, circular platform pierced for walking sticks, reeded saber legs, cuffs, casters, h. 63 in., dia. 20 in. [$1000/1500] 362. American Chippendale Carved Walnut Highboy, late 18th c. and later, Philadelphia, swan neck pediment flanking an acroterion, dentil cornice and blind fretwork frieze, three short and four long graduated drawers, lower case with one long and three short drawers centered by shell carving, shaped carved apron, cabriole legs, ball and claw feet, batwing brasses throughout, h. 90 in., w. 44 1/2 in., d. 22 1/2 in. [$3000/5000]

Provenance: Neal Auction Company, Jun. 30, 2012, lot 289.

363. American Chippendale Cherrywood Chest of Drawers, late 18th c., rectangular top, four graduated drawers, ogee bracket feet, h. 35 in., w. 41 1/2 in., d. 23 in. [$800/1200]

364. George II Carved Walnut Armchair and Stool, 18th c., chair with shell crest, pierced splat, arms with scroll terminals, trapezoidal drop-in seat, shell carved knees on restrained cabriole legs, stool with guilloche carved seat rail, cabriole legs, snake feet, red leather upholstery, h. 17 1/2 in., w. 17 1/4 in., d. 17 1/2 in. [$600/900]

365. George III Inlaid Mahogany Serving Table, 19th c., bowfront with flame figured tablet flanked by drawers, square tapering legs, spade feet, h, 36 in., w. 60 in., d. 24 1/2 in. [$600/900]

366. Hunt Slonem (American/Louisiana, b. 1951), “Untitled (Birds on Gold)”, 2006, oil on canvas, signed and dated en verso, 22 in. x 51 in., framed. [$4000/6000]

367. Hunt Slonem (American/Louisiana, b. 1951), “St. Expidito [sic]: Angels and Saints Series” and “Untitled: Angels and Saints Series”, 2 oils on canvas, former signed and titled en verso, latter unsigned, both with artist cards on stretcher, 8 in. x 8 1/8 in. and 10 in. x 8 1/4 in., framed alike. (2 pcs.) [$2000/3000] Provenance: Acquired from Hunt Slonem, 87 East Houston, New York, NY.

368. Hunt Slonem (American/ Louisiana, b. 1951), “Dr. Gregorio Hernandez”, 1985, oil on canvas, signed and dated lower right, signed, titled and dated on stretcher, 74 in. x 38 in., unframed. [$8000/12000] Provenance: Acquired from Hunt Slonem, 87 East Houston, New York, NY.

369. George Condo (American, b. 1957), “So What?”, 1985, oil on canvas, signed, titled, dated and inscribed en verso, “Galerie Bischofberger, Zurich”, “Edward Totah Gallery, London” and “di Belle Arte Moderna & Contemporanea” labels on reverse of frame, 8 5/8 in. x 6 3/8 in., original frame; accompanied by a copy of authenticity documentation from the artist. [$60000/80000] Provenance: Galerie Bischofberger, Zurich; Edward Totah Gallery, London; Private Collection.

Note: Known for his dynamic approach to traditional portraiture, George Condo has been highly celebrated for his figurative works since the 1980s, with a signature style that marries portrait painting with art historical inquiry. His particularly rich and imaginative visual language pays homage to a wide range of traditions and genres, bringing together elements from portraits by European masters to contemporary American culture. Condo’s works are most often occupied by singular characters, featuring bulging eyes, bulbous noses and proliferating appendages. The artist describes his portraits as mixtures of various psychological states painted in different ways, reflecting the madness of everyday life. He coins this style “artificial realism” - defined by the painter as the “realistic representation of what is artificial.” “There was a time when I realized that the central focal point of portraiture did not have to be representational in any way,” he once remarked, “you don’t need to paint the body to show the truth about a character.”

The first public exhibitions of Condo’s work were held in New York City at various East Village galleries from 1981 to 1983. During this period, he worked in Andy Warhol’s Factory, primarily in the silkscreen production studio. Condo was featured in his first solo show in 1983 at the Ulrike Kantor Gallery in Los Angeles. After returning to New York later that year, he made his first trip to Europe where he began working with American art dealer Barbara Gladstone. In 1984, he had two simultaneous gallery exhibitions in New York at Pat Hearn and Barbara Gladstone Galleries. Already close friends with Jean-Michel Basquiat, Condo met Keith Haring with whom he would remain close friends until Haring’s death in 1990. Several of Condo’s most significant works from this period, such as “Dancing to Miles” from 1985 which was included in the 1987 Whitney Biennial and is now in the collection of the Broad Foundation in Los Angeles, were painted in Keith Haring’s East Village studio. From 1985 to 1995, Condo lived and worked mostly in hotels and rented or borrowed studios between Paris and New York, while continuing to exhibit extensively in the United States and Europe. In the 1985 work offered here, Condo fuses his iconic cartoon-like figure with human form into a state of metamorphosis, simultaneously reflecting a plethora of emotions and gestures. With this single portrait, Condo does what he does best and exactly what led to his status as one of the greatest American painters today – connect the figurative tradition of the Old Masters to the gestural abstraction of the late twentieth century in a psychological mash-up all his own. Ref.: Bonney, Anney. “George Condo.” BOMB. July 1, 1992. www.bombmagazine.org. Accessed Oct. 11, 2021. “George Condo – the Latest Hero of American Painting.” Christie’s. Oct. 20, 2019. www.christie’s.com. Accessed Oct. 11, 2021

370. George Bauer Dunbar (American/New Orleans, b. 1927), “Abstract Composition in White”, 1959, mixed media on board, signed and dated midright, “Art Shop and Gallery, Monroe, LA” label on reverse of frame, 16 in. x 22 in., framed. [$2000/3000]

371. George Bauer Dunbar (American/New Orleans, b. 1927), “Heart”, red and black clay, signed lower right, 14 in. x 12 in., framed. [$3000/5000]

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

373. George Bauer Dunbar (American/New Orleans, b. 1927), “Surge”, gold leaf on black and red clay, signed lower right, 24 in. x 42 in., framed. [$8000/12000]

374. Mitchell Lonas (American/Tennessee, 20th c.), “Barnswallow Nest”, 2011, incised painted aluminum, signed and dated lower right, signed, titled and dated en verso, 12 in. x 21 in., unframed. [$1200/1800]

Note: Mitchell Lonas’ current artistic style was inspired by a chance encounter with three bird nests in the foothills of the Smokey Mountains. In an attempt to capture the delicate, almost weightless nature of the nests, Lonas derived a method of incising painted steel or aluminum panels. The resultant effects are as dynamic as they are mesmerizing. This incising technique allows the viewer to discover new subtle details in the work with a change of light or perspective. The longer one looks at them the more one is captivated. His pieces, such as the present lot, offer a combination of haunting surreality and naturalistic rendering, the amalgamation of which rewards the viewer in new and exciting ways upon each viewing. Ref.: Speer, Richard. “Mitchell Lonas: The Wrench Series.” Mitchell Lonas. Aug. 2010. www. mitchelllonas.com. Accessed Oct. 12, 2021.

375. Mitchell Lonas (American/Tennessee, 20th c.), “Wrench Nest”, 2011, incised painted aluminum, signed and dated lower right, signed, titled and dated en verso, 12 in. x 21 in., unframed. [$800/1200]

376. José-María Cundín (Spanish/New Orleans, b. 1938), “La Máxima Levitación de Rosita Camargo”, 1970, oil on canvas, signed and dated lower center, signed, titled, dated and inscribed en verso, 50 in. x 50 in., framed. [$6000/8000] Provenance: Bienville Gallery, New Orleans, 1971.

378. Newton Reeve Howard (American/New Orleans, 1912-1984), “Pirogue”, 1982, oil on canvas, signed and dated lower left, label with title on reverse of frame, 15 in. x 30 in., framed. [$6000/8000]

377. Douglas Bourgeois (American/Louisiana, b. 1951), “Out of Here”, 1995, oil on panel, signed and dated lower right, pencil-inscribed with artist and title and “Arthur Roger Gallery” label with artist, title and date on backing paper, 16 in. x 20 in., framed. [$6000/8000] Provenance: Arthur Roger Gallery, New Orleans, LA.

379. Simon Gunning (American/Louisiana, b. 1956), “Black Water #3”, 2005, oil on canvas, signed lower right, titled and dated en verso, “Arthur Roger Gallery, New Orleans” label with artist, title and date on reverse of frame, 40 in. x 30 in., framed. [$10000/15000]

Provenance: Arthur Roger Gallery, New Orleans, LA. Exh.: “Simon Gunning Drawings and Paintings From the Gulf”, Arthur Roger Gallery, New Orleans, LA, Mar. 4 - Apr. 22, 2006

Note: Simon Gunning has been painting Louisiana scenes since he moved to the state in the early 1980s. While fascinated by the scenery in general, it is the element of water in particular that most holds his interest. In his native Australia he often admired his country’s own traditional landscape painters, and his compositions, style, and overall execution have often been compared to the great European romantic artists. However, Gunning always chooses the objectively unromantic view, focusing less on nature’s untouched beauty in favor of the manmade additions to the scenery and finding the beauty in the contrast. His naturalistic landscapes are peppered with broken down ships, abandoned buildings, rusted metal bridges and workboats – the use and decay of an industrial society. In a way, he is creating a dialogue exploring the modern day rarity of the beautiful and raw landscapes that were so celebrated by artists working in the romantic tradition such as those of the Hudson River School. In contemporary Louisiana, the occurrence of an untouched and untainted landscape is virtually nonexistent. There is, though, a new type of Romanticism featured in Gunning’s decay and the mystery and wonder provoked by the industrial ruins that pervade these works. In the painting offered here, a wrecked boat is juxtaposed against a functioning one, both entangled in the dark swamp. The presence of human activity is denoted by two figures fishing on the waterline. The painting expertly investigates the concept of destruction and rejuvenation and can be interpreted as a modern take on the age-old depiction of the cycles of life and death – the shrimp boats that bring food for the community are destined to one day be someone else’s old ruins and fishing haunts. This painting was done in 2005, not long before Hurricane Katrina, which adds a certain prophetic quality that drives home Gunning’s point. In discussing Gunning’s works, critic Doug McCash confidently states that they are “…the best depictions of Louisiana’s watery coastal landscape ever made — ever. Better than Meeker, Clague, Buck, Heldner, Coulon, Millet or anyone else who ever tried to capture that impenetrable muddy water and endless vista on canvas.” Ref.: Calas, Terrington. “Gunning’s Balancing Act.” The New Orleans Art Review. Spring/Summer (2006). McCash, Doug. “Top Gunning.” The Times-Picayune. Mar. 17, 2006. www.nola.com. Accessed Oct. 12, 2021.

380. Betty Anglin Smith (American/South Carolina, b. 1946), “Capers Island”, 1998, oil on gallery-wrapped canvas, signed lower left, signed, titled, dated and inscribed en verso, 42 in. x 58 in., unframed. [$10000/15000] Provenance: Acquired from the artist.

381. Robert “Bob” Tannen (American/New Orleans, b. 1937) and Various Artists, “Art by Committee Mur-ALL”, 2011, mixed media on unstretched canvas, 105 1/2 in. x 215 in., with 2x4 hanging rod; accompanied by original cardboard signage. (3 pcs.) [$10000/15000] Exh.: “Art House on the Levee”, Prospect 2, New Orleans, 2011-2012.

Note: For this mural, New Orleans artist Robert Tannen enlisted the help of fellow artists, neighbors, friends and students to create a community piece for New Orleans’ celebrated exhibition Prospect.2. The canvas was hung in his and his wife, Jeanne Nathan’s recently acquired Holy Cross studio christened “The Art House on the Levee,” an artistic haven that also serves as a backdrop for local meetings. As Susan Langenhennig from The Times-Picayune reported: “Tannen provided the paint and stood back. He offered guidance, if asked, but no rules. Graffiti artists worked alongside folks with art school educations and kids used to finger paints. One woman brought her infant daughter, dipped the child’s feet in the colors and painted with them…” Tori Bush, Dapper Bruce Lafitte, Clifton Webb, and “at least 30 other Committee Citizen Artists” all contributed to the piece. Ref.: Langenhennig, Susan. “The Artist’s Folly: Robert Tannen and Jeanne Nathan turn a double shotgun into a creative hub.” The Times-Picayune. Dec. 3, 2015. www.nola.com. Accessed Oct. 12, 2021

382. George Valentine Dureau (American/New Orleans, 19302014), “Instructing Adam”, 1991/2002, oil on canvas, signed and dated lower center, signed, titled and dated en verso, 79 in. x 51 in., unframed. [$12000/18000] Ill.: Rice, Anne. Memnoch the Devil. New Orleans: B.E. Trice Publishing, 1995, cover.

Note: This iconic painting by George Dureau was featured on the cover of the special first edition of Memnoch the Devil by Anne Rice, published by B.E. Trice Publishing. The painting, entitled “Instructing Adam,” features some of the same mythological creatures that typically inhabit Dureau’s works. Rice, a popular author and noted New Orleans resident, is known for her gothic fiction featuring God, the devil, vampires and witches, among other fantastical beings. With colorful New Orleans as a popular backdrop for her novels, it is not surprising that her creative concept meshes perfectly with Dureau’s artistic vision.

383. George Valentine Dureau (American/New Orleans, 1930-2014), “Adam Gathering”, oil and charcoal on canvas mounted to panel, signed mid-right, 54 in. x 85 in., unframed. [$8000/12000]

384. Dusti Swetman Bongé (American/ Mississippi, 1903-1993), “Refused at Revue”, 1958, oil on masonite, signed and dated lower right, “Amanda Winstead Fine Art, New Orleans” label with artist, title and date on backing paper, 24 in. x 44 1/8 in., framed. [$10000/15000] Provenance: Collection of Larry Borenstein, New Orleans, LA; Amanda Winstead Fine Art, New Orleans, LA; Private Collection, 2018.

385. Arthur Silverman (American/ New Orleans, 1923-2018), “Thighs (Geo Curl)”, 1997, brushed aluminum, signed and dated, h. 11 1/2 in., w. 21 1/2 in., d. 15 in., painted metal base, overall h. 14 1/4 in. [$2500/3500]

386. Arthur Silverman (American/ New Orleans, 1923-2018), “Untitled (Geometric Composition)”, 1998, bronze, signed and dated, h. 8 3/4 in., w. 13 3/4 in., d. 10 1/2 in., painted metal base, overall h. 12 in.[$2000/3000]

387. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Magnolia Seed Pod”, watercolor and graphite on paper, unsigned, 8 1/2 in. x 11 in., framed. [$8000/12000]

389. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Cows and Roosters under Trees”, watercolor and graphite on paper, unsigned, “Jean Bragg Gallery of Southern Art” label on backing paper, 10 in. x 13 13/16 in., framed. [$6000/8000] Provenance: Jean Bragg Gallery, New Orleans, LA

388. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Baby Birds”, watercolor and graphite on paper mounted to board, unsigned, “Kennedy Studios, Boston” label on backing board, 8 1/2 in. x 11 in., framed. [$8000/12000]

390. Henry Casselli (American/New Orleans, b. 1946), “Evelina”, 1972, oil and graphite on paper, pencil-titled lower right, handwritten artist card with title and date attached to backing paper, 22 1/2 in. x 30 1/4 in., framed. [$3000/5000]

392. Adele Lemm (American/Tennessee, 1904-1977), “Edgartown Harbor”, oil on canvas, signed lower left, signed and titled on stretcher, “Susan Henderson Kunkler Gallery, Spartanburg, SC” business card and partial label with artist on backing board, 32 in. x 42 in., framed. [$3000/5000] Provenance: H+K Gallery, Spartanburg, SC; Private Collection, 2016

391. Joseph Lambert Cain (American/New Orleans, 1904-2003), “Mardi Gras”, oil on masonite, signed lower right, “Estate of JO CAIN” stamp and “The Charleston Renaissance Gallery, Charleston, SC” label with artist and title en verso, 30 in. x 36 in., framed. [$5000/7000]

393. Gerald Deloach (American/Mississippi, b. 1948), “Building on Piers/ Late Morning”, oil on masonite, signed lower left, titled en verso, 26 in. x 29 3/4 in., framed. [$800/1000]

394. George III Mahogany Serpentine Chest of Drawers, four graduated drawers, bracket feet, h. 35 in., w. 38 1.2 in., d. 20 1/2 in. [$800/1200]

395. George III Mahogany Game Table, 19th c., foldover top with outset dished corners for gaming chips and baize-lined playing surface, frieze drawer, cabriole legs, h. 29 in., w. 33 in., d. 16 in. [$600/800]

396. George III Mahogany Pembroke Table, 19th c., drop leaves, frieze drawer, square tapered legs, castors, h. 28 1/4 in., w. (open) 38 3/4 in., w. (closed) 20 1/4 in., d. 36 in. Note: later castors. [$500/700]

397. Pair of Large Antique Queen Anne-Style Mahogany Armchairs, 19th c., with shield backs, saddle seats, shepherd’s hook arms, cabriole legs, h. 37 3/4 in., w. 27 3/4 in., d. 20 1/2 in. [$800/1200]

398. Rococo-Style Painted and Giltwood Mirror, floral cartouche crest with inset oval mirror plate, rectangular frame with foliate and scroll embellishments, cloudy mirror plates, h. 60 in., w. 32 in. [$800/1200]

400. Georgian-Style Carved Mahogany Library Steps, 20th c., demilune balustrade with blocked turned supports, turned finials, six steps, stretchers, casters, h. 71 in., w. 38 in., d. 23 1/2 in. [$1000/1500]

399. George III Mahogany Slant Front Secretary/Bookcase, early 19th c., molded cornice, inlaid frieze, glazed doors with geometric mullions, fall front writing surface, desk interior with drawers and letter slots, four beaded graduated drawers with brass bale pulls, bracket feet, h. 80 1/4 in., w. 38 1/4 in., d. 19 3/4 in. [$3000/5000]

402. Fine Regency Rosewood and Brass Inlaid Library Table, 19th c., after Thomas Hope, banded D end top with two frieze drawers, two lotus carved standards, trestle base, feet with anthemion petal brackets, h. 30 in., w. 57 in., d. 27 in. [$5000/7000] 401. Fine Regency Inlaid Mahogany Pedestal Sideboard, early 19th c., scroll backsplash, serpentine frieze of three drawers, flanked by massive cabinets with sarcophagus tops, bowed fronts with drawers and cabinet doors enclosing cellarette drawers, colonnettes, scroll front feet, h. 46 in., w. 97 in., d. 25 1/2 in. [$1500/2500]

403. Regency Rosewood and Brass Inlaid Side Cabinet, 19th c., green scagliola marble top, two drawers over pair of glazed doors, plinth base, back panel with carrying handles, h. 35 in., w. 46 1/2 in., d. 16 in. [$1000/1500] 404. Large English Carved Mahogany Bookcase, mid-19th c., scroll and shell carved pediment over bookcase with glazed doors, lower case with paneled doors, carved apron, cabriole bracket feet, plum pudding veneers throughout, oak secondary wood, h. 109 1/2 in., w. 63 1/2 in., d. 20 1/2 in. [$3000/5000]

405. Fine Gillows Neo-Grec Inlaid Amboyna and Parcel Ebonized Davenport Desk, late 19th c., stamped “Gillow”, Chubb patent lock marked “546889”, galleried slant top, inset writing surface, interior well-fitted with drawers, fluted and inlaid pilasters, returns inset with shelves, trestle base, bun feet, h. 34 in., w. 26 in., d. 24 in. [$5000/7000] Note: The English furniture-making firm Gillow & Co. is wellknown for its quality. First based in Lancaster, Lancashire, and then in London, it was founded by Robert Gillow in 1730. Gillows was owned by the family until 1814 when it was taken over by Redmayne, Whiteside, and Ferguson, who continued to use the Gillow name. Gillows furniture is referred to by Jane Austen, Thackeray and the first Lord Lytton, and a Gilbert and Sullivan comic opera.

The use of amboyna veneers and high style Neo Grec design on this desk indicate it was made during the peak years of the quality of the firm’s production. It relates closely to a Gillow table at the National Trust property Hanbury Hall, Worcestershire (acc: NT 41450). Reference: http://www.nationaltrustcollections.org.uk/ object/414050

406. George III Mahogany Silver Table, 18th/19th c., serpentine galleried top, blind fretwork legs, open fret stretcher, block feet, h. 29 1/2 in., w. 34 in., d. 24 in. [$1400/1800]

407. Four Anglo-Colonial Brass and Abalone Inlaid Armchairs, late 19th c., arched crest, triangular finials, turned stiles, circular back cushion, square seat, turned legs, casters, h. 37 in., w. 22 in., d. 20 in. [$800/1200]

408. Regency Inlaid Rosewood Work Table, 19th c., banded drop-leaf top, two drawers, turned legs, casters, h. 27 1/2 in., w. 15 1/2 in., d. 18 in. [$800/1000]

409. English Chippendale-Style Carved Walnut Side Table, late 19th c., gadroon edge, acanthus carved knees, cabriole legs with well articulated ball and claw feet, h. 28 1/2 in., w. 43 in., d. 24 1/2 in. [$1000/1500]

410. Diminutive Gilt Bronze Figural Three-Light Chandelier, modeled as a cherub supported by swags, h. 22 in., dia. 13 in. [$800/1200]

411. Pair of French Empire-Style Bronze Lamps, 19th c., mounted with garlands and masks, h. 32 in., dia. 9 in. [$800/1200]

412. Pair of Diminutive Continental Amber and Ruby Glass Chandeliers, cage form, single light, h. 26 in., dia. 12 in. [$600/800]

414. French Neoclassical Style Bronze and Colored Glass Hall Lantern, 20th c., h. 28 1/2 in., dia. 17 in. [$600/800] 415. Empire-Style Patinated and Gilt Bronze Twelve-Light Chandelier, font with flame finial, arms cast with Classical masks, h. 35 in., dia. 23 in. [$3000/5000]

413. Pair of French Bagues-Style Rock Crystal Two-Light Sconces, modeled as a floral vase, with grotesque mask pendant, electrified, h. 23 in., w. 19 in., d. 6 in. [$2000/3000]

416. Pair of EmpireStyle Gilt and Patinated Bronze Three-Light Candelabra Lamps, with green tole shades, h. 33 in. [$800/1200]

417. Empire-Style EightLight Chandelier, foliate mounts, bell with “hammered” surface, h. 30 in., dia. 25 in. [$1200/1400]

418. Pair of French Painted Iron, Tole and Crystal Eight-Light Chandeliers, 20th c., scroll arms, faceted pendants, h. 34 in., dia. 32 in. [$1500/2500]

419. Three French Bouillotte Lamps, with adjustable tole shades, tallest h. 28 in., w. 16 in. [$500/700]

420. Two Italian Pressed Brass and Mirrored Two-Light Sconces, late 19th c., foliate decoration, pricket candlearms, the mirror plate mounted with bird prints, h. 19 1/4 in., w. 14 in., d. 4 in. [$300/500] Provenance: Estate of Stefanie C. Golden, Florence, Italy.

421. Moorish-Style Mother-of-Pearl and Bone Inlaid Table Cabinet, two doors, fitted interior, h. 13 in., w. 20 in., d. 12 in. [$800/1200]

422. Three French Enamel Plaques on Copper, depicting a European city view, dancers, and a shepherd, framed, 12 1/2 in. x 17 1/2 in. [$800/1200]

423. Pair of French Bronze-Mounted Marble Cassolettes, cherub handles, holding garlands, h. 20 in., w. 7 1/2 in., d. 7 in. [$1000/1200]

424. Pair of EtruscanStyle Bronze Standing Figures, flared bases, h. 65 in., w. 13 1/2 in., d. 15 in. [$1200/1800]

426. Pair of RenaissanceStyle Patinated Bronze Lionheads, bronze bases, h. 19 1/2 in., w. 5 in., d. 12 in. [$1000/1200] 425. Pair of Patinated Bronze Fish, incl. a catfish and a dolphin, each mounted on marble base, h. 11 in., w. 5 in., d. 16 1/2 in. [$600/800]

427. Pair of DirectoireStyle Gilt and Patinated Bronze Three-Light Sconces, 20th c., with Classical maiden and lion masks, electrified, h. 23 in., w. 9 in., d. 6 1/2 in. [$600/800]

428. Pair of Directoire Bronze and Marble Two-Light Candelabra, 19th c., foliate arms, vasiform standard with eagle head handles, plinth base, h. 19 in., w. 10 in., d. 3 1/2 in. [$1200/1800]

429. Pair of French Empire-Style Gilt Bronze FiveLight Candelabra, 19th c., foliate arms, tall plinth base with garlands and griffins, h. 25 in., w. 10 1/2 in., d. 10 1/2 in. [$2000/3000]

430. Pair of Italian Rococo-Style Verte Peinte and Parcel Gilt Jardinieres, S scroll legs, removable metal liner, h. 46 in., w. 21 in., d. 21 in. [$800/1200]

431. Continental Patinated Bronze Figural Card Stand, 19th c., with an Arab holding a tray, h. 43 in., w. 16 1/2 in., d. 20 in. [$800/1200]

432. Carl Kauba (Austrian, 1865-1922), “Cake Walk”, early 20th c., cold-painted bronze, signed and titled on base, h. 5 1/4 in., w. 3 in., d. 2 1/2 in. [$200/300]

434. Pair of Empire-Style Carved Marble Pedestals, 20th c., with lion masks, garlands and cherubs, h. 44 in., w. 15 1/2 in., d. 15 1/2 in. [$4000/6000]

433. Pair of French Regence-Style Patinated and Gilt Bronze Chenets, 19th c., surmounted by busts, scrolled legs centered by a cartouche with monogram “B”, h. 18 in., w. 8 1/2 in., d. 5 in. [$600/800]

435. Russian Bejeweled Malachite Box, in the form of a book, h. 4 in., w. 11 1/2 in., d. 8 1/2 in. [$1200/1800]

438. One Hundred Twenty Hardstone and Semi-Precious Stone Eggs, on lucite bases, h. 3 in. [$3000/5000]

436. Russian Malachite Hexagonal Urn, 20th c., with lion head and ring handles, h. 19 1/2 in., w. 14 in., d. 14 in. [$2500/3500]

437. Continental Rock Crystal and Silverplate Centerpiece Bowl, 20th c., lobed bowl, tripodal base, h. 9 1/2 in., dia. 10 in. [$1000/1500]

439. Pair of Italian NeoclassicalStyle Marble Tazzas, 20th c., molded rim, h. 16 in., dia. 21 1/2 in. [$1500/2500]

440. English Chinoiserie Lacquer Cabinet on Stand, 19th c., with key, cabinet with strapwork hinges, fitted interior, h. 43 in., w. 22 in., w. 18 in. [$1200/1400]

441. English Eglomise and Mahogany Tilt-Top Tea Table, late 19th c., hexagonal top with inset mirror panel with Chinese figures, turned standard, tripod feet, h. 29 in., w. 23 1/2 in., d. 23 1/2 in. [$500/700]

443. Jacobean-Style Inlaid Oak Rent Table, late 19th c., stamped “Edwards & Roberts”, octagonal top with carved molding, frieze drawers with marquetry panels, cup and cover supports with medial stretcher, h. 29 1/2 in., w. 54 in., d. 54 in. [$1500/2000]

442. English Japanned Gilt Lacquer Sewing Box on Stand, mid-19th c., octagonal sarcophagus form box, conforming plinth, turned standard, three outswept legs, h. 33 1/2 in., w. 17 in., d. 12 in. [$500/700]

444. Two Jacobean-Style Oak and Mixed Woods Joint Stools, late 19th c., both with rectangular tops and box stretchers, one with ropetwist the other with turned supports, taller h. 21 3/8 in., w. 19 7/8 in., d. 12 in., smaller h. 17 5/8 in., w. 18 in., d. 13 in. [$600/900]

445. William and Mary Inlaid Walnut Coffer, 18th c., whole with star and scroll inlay, lift top, bale handles, later plinth and bun feet, h. 26 1/2 in., w. 31 1/2 in., d. 21 1/2 in. [$1500/2500] 446. Fine English Carved Oak Davenport Desk, c. 1870, stamped “Miles & Edwards, Oxford St., London 30636”, slant lid with leather inset writing surface, interior fitted with drawers, frieze carved with grapevines, term supports, arch panel side cupboards, plinth base, h. 34 in., w. 31 in., d. 32 1/2 in. [$2500/3500]

Note: London retailer Miles and Edwards began operation in 1822 at 134 Oxford Street, Westminister, specializing in fine furniture, upholstery and wallpaper to noted clientele such as the Duchess of Marlborough, the British ambassador to Paris and the Empress of Russia. With new owners in 1844, the firm continued operation until 1892.

447. Jacobean-Style Carved Walnut Hall Bench, 19th/20th c., tall back with carved panels and palmette crest, serpent form arms, box seat, h. 58 in., w. 45 1/2 in., d. 20 in. [$600/800]

448. Regency Inlaid and Carved Mahogany Secretaire Bookcase, 19th c., dentil molded cornice, lozenge mullions on glazed bookcase, fall front desk with well-fitted interior, incl. prospect door, over two door cabinet with linen drawers, reeded stiles, turned legs, h. 97 in., w. 46 in., d. 22 in. [$1500/2500]

450. English “Whimsical” Carved Mahogany and Bronze Piano Stool, 20th c., circular leather-upholstered adjustable seat, four bronze boot-form legs with leather laces, h. 20 1/2 to 25 in., dia. 15 in. [$800/1200]

452. Antique Queen AnneStyle Walnut Chest-on-Stand, 19th c., three short and three long drawers, shaped apron, cabriole legs, later brasses, h. 58 1/2 in., w. 53 in., d. 23 in. [$800/1200]

449. Georgian Carved Walnut Side Cabinet, 19th c. and later, two paneled doors, molded and blocked stiles, interior fitted with drawers, plinth base, h. 40 in., w. 43 in., d. 19 in. [$1200/1800]

451. George II Inlaid Walnut Chest of Drawers, 18th c., two short and three long drawers, bracket feet, bookmatched and banded inlay throughout, h. 40 1/4 in., w. 36 1/2 in., d. 19 1/2 in. [$800/1200]

453. George III Mahogany Tilt-Top Breakfast Table, c. 1780-1810, banded top, vasiform standard, outswept reeded legs with brass caps and casters, h. 28 1/2 in., w. 49 in., d. 33 in. [$300/500]

454. Pair of Large MintonStyle Gilt and Blue Porcelain Covered Urns, marked, bodies with putti at work, gilt swags, standards with three bisque putti, h. 29 in., w. 9 in., d. 9 in. [$1400/1600]

455. Pair of Meissen Polychrome Porcelain Figures, 19th c., crossed swords mark, modeled as young boy and girl peasant farmers, h. 9 in., w. 4 in., d. 5 in. [$600/800]

456. Pair of Meissen Polychrome and Gilt Porcelain Covered Urns, 19th c., marked, bodies and covers with applied flowers, necks with applied putti and floral swags, h. 18 in., w. 6 in. [$1000/1500]

458. Meissen Polychrome and Parcel Gilt Porcelain Figural Centerpiece, 19th c., crossed swords mark, incised “2113” and painted “16.” in iron red, flower encrusted reticulated basket supported on 4 figures of Atlas standing upon rockwork, h. 11 1/2 in., dia. 10 1/2 in. [$1200/1800] 457. Meissen Polychrome and Gilt Porcelain Coffee and Tea Service, 19th c., crossed swords marks, various impressed/inscribed numbers and letters, handpainted floral sprigs, rims with gilt foliage motif, incl. covered coffee, h. 10 1/2 in.; covered teapot, h. 8 1/2 in.; covered sugar, h. 6 in; open creamer, h. 5 1/4 in.; 11 cups, h. 2 3/4 in.; and 11 saucers, dia. 6 in. (26 pcs.) [$1000/1500] Provenance: M.S. Rau Antiques, New Orleans

459. Pair of KPM-Style Polychrome and Gilt Porcelain Vases, marked, gilt ground, reserved with Classical figures, swan-form handles, h. 18 in., w. 10 in., d. 6 1/2 in. [$500/700]

460. Pair of Sevres-Style Bronze-Mounted Polychrome and Gilt Porcelain Covered Vases, bleu celeste ground, bodies reserved with interior and garden scenes, bronze ram’s head handles, bud finials, h. 11 1/2 in., w., 6 in. [$1000/1500]

461. Pair of BronzeMounted Sevres Polychrome and Gilt Porcelain Jardinieres, 19th c., bleu celeste ground, reserved with courting couples in a garden, floral medallions, rocaille bronze mounts, h. 12 1/2 in., w. 10 1/2 in., d. 10 1/2 in. [$5000/7000]

462. Pair of Paris Polychrome and Gilt Porcelain Amphora Vases, early 19th c., bodies reserved with floral still life motif, acanthus scroll handles, pedestal base, h. 21 1/2 in., w. 10 in., d. 7 1/2 in. [$1000/2000]

464. Pair of Paris Bisque, Polychrome and Gilt Porcelain Amphora Vases, winged female bust handles, bodies with Classical maidens playing musical instruments and stenciled bands of garlands and putti, marble plinths, h. 18 1/4 in. [$800/1000]

463. Pair of Paris Gilt Decorated Porcelain Cachepots on Stands, 19th c., each in 2 parts, decorated with foliate scrolls, garlands and pendants, h. 8 1/4 in., dia. 8 1/4 in. [$600/900]

465. Continental Iridescent Glaze Ceramic Vase in the Style of Clement Messier, c. 1900, four sinuous handles, in a blue, green, and purple glaze, h. 7 1/4 in., dia. 4 1/2 in. [$300/500] Provenance: Collection of Dr. Mark A. Geist, Providence, RI.

466. Francois Gall (Hungarian/French, 19121987), “Argenteuil”, oil on canvas, signed and titled lower left, signed en verso, “Harry F. Marks Galleries, New York, NY and Palm Beach, FL” labels on stretcher, 25 5/8 in. x 21 1/2 in., framed with artist plaque. [$2500/3500]

467. Gen Paul (French, 1895-1975), “Nouvel Ambigu”, oil on canvas, signed lower right, signed and titled en verso, “Arthur Lenars & Co., Paris, France” and “Galerie DrouantDavid, Paris, France” labels on stretcher, 29 in. x 36 in., framed. [$7000/10000]

469. Andrew LaMar Hopkins (American/New Orleans, b. 1977), “Basile Crokere Fencing Master AKA Cameo Man”, 2014, acrylic on canvas board, signed and dated lower right, signed, titled, gallery label with artist and title and artist business card en verso, 11 in. x 14 in., framed. [$6000/8000] 468. Anna Woodward (American/Pennsylvania, 1868-1935), “My Garden (Hawaii)”, 1930, oil on canvas board, signed and dated lower left, pencil-signed and titled en verso, “The Art Shop, Honolulu” label en verso, 18 in. x 15 in., framed. [$400/600]

Note: "At a young age when I was first learning about New Orleans free people of color none fascinated me more than Basile Crokere, also known as the ‘Cameo Man’ because of his love of carved cameos. Basile Raphael Crocker was a New Orleans free man of color. Basile owned a small plantation on the right side of Bayou Road in 1835. H was an early real estate developer in Treme. He bought and built houses on the 1200 and 1300 blocks of Ursulines Street. He was a fencing master and had a fencing school on Bayou Road, near Claiborne. His school Salle d’Armes was always crowded with students. The Creole gentry did not scruple to cross swords with him in private assaults. Crokere was said to be one of the handsomest men of New Orleans. With dignity he walked down the street in his green broadcloth suit with spotless linen and the widest of black stocks around his neck. He was famous for his collection of carved cameos. He wore cameo rings, breast pins and even a cameo bracelet. Basile was also a skilled mathematician and a craftsman of some reputation. As a carpenter he became one of the most skilled builders of staircases in New Orleans. Only one other man was his equal in this trade, his friend Noel J. Bacchus. Crokere was 79 at his death in 1879 and was survived by his wife Antoinette Hazeur.”– Andrew LaMar Hopkins Ref.: Hopkins, Andrew. “Colorful Creoles, The Lifestyle & Legacy of New Orleans Free People of Color. Part 2 The Paintings in the Collection.” Andrew Hopkins Art. March 21, 2015. www.andrewhopkinsart.blogspot.com. Accessed Oct. 19, 2021.

470. John Weygandt (American/ Pennsylvania, 1869-1951), “Afternoon Shadows” and “Spring Landscape”, 2 oils on canvas board, each signed lower right, one with handwritten label with artist and title en verso, 9 3/8 in. x 12 in. and 9 3/4 in. x 12 in., framed alike. (2 pcs.) [$1000/1500] 471. Bruce Crane (American, 1857-1937), “Russet and Gold”, 1919, oil on canvas, signed and dated lower right, handwritten label with artist and title on stretcher, “Questroyal Fine Art, New York, NY” label on backing board, 12 1/8 in. x 16 1/8 in., framed. [$2500/3500] Provenance: Questroyal Fine Art, New York, NY

472. Adolphe Joseph Thomas Monticelli (French, 1824-1886), “Outdoor Gathering”, oil on canvas, signed lower left, 15 7/8 in. x 12 3/4 in., framed. [$1500/2500]

473. Charles François Daubigny (French, 18171878), “Bateau aux bords du fleuve”, oil on panel, signed lower right, 10 3/8 in. x 13 1/4 in., framed with artist plaque. [$3000/5000]

Provenance: Questroyal Fine Art, New York, NY

475. Ralph Albert Blakelock (American, 1847-1919), “Landscape at Middletown / Middletown Hospital (UN #472)”, oil on board, signed lower left, “University of Nebraska Blakelock Inventory” label, “MSL” stamp and inscription from Allen Blakelock (son of the artist) en verso, “Adelson Galleries, New York, NY”, “Questroyal Fine Art, New York, NY” and “Fenn Galleries, Santa Fe, NM” labels with titles and “Fenn Galleries” stamp on reverse of frame, 5 1/2 in. x 9 in., framed. [$3000/5000] Provenance: Questroyal Fine Art, New York, NY.

474. Samuel Colman (American/New York, 1832-1920), “River Landscape”, pastel on paper, pencil-signed lower left, “Questroyal Fine Art, New York, NY” label on backing board, “Gill & Lagodich Frame Gallery” label on reverse of frame, 7 5/8 in. x 12 3/4 in., framed. [$1000/1500]

476. Augustus Maurice Friedlander (American/New York, 1856-1897), “Sunset After Rain, Bernardsville, N.J.”, 1894, oil on canvas, signed lower right, signed, titled and dated en verso, inscribed with artist on stretcher, “Questroyal Fine Art, New York” label on backing board, 11 1/4 in. x 29 1/2 in., framed with artist and title plaque; accompanied by a copy of the Questroyal Fine Art invoice from 2007. [$1500/2500]

Provenance: Questroyal Fine Art, New York, NY.

Note: Neal Auction would like to thank Louis Salerno and Leah Hicks from Questroyal Fine Art for their assistance in the cataloguing of this lot.

Provenance: Questroyal Fine Art, New York, NY

Note: Ilya Schor was a renowned artist of Judaica working on commissions for synagogues and featured in exhibitions throughout the United States. He worked in diverse media – jewelry, metalwork, painting and sculpture. Schor was born in 1904 in Złoczów in Galicia, later Poland. In 1937, while studying painting at the Academy of Fine Arts in Warsaw, Schor was awarded a grant to study in Paris. He and his wife, Resia who was also an artist, moved to Paris where he showed his work at the Salon d’Automne in 1938. They later fled the Holocaust in 1941 and immigrated to New York City where they eventually had two daughters.

477. Ilya Schor (American, 1904-1961), “Village Scene”, gouache on board, signed lower left, 8 1/8 in. x 10 1/8 in., framed. [$4000/6000] Neal Auction would like to thank Mira Schor for her assistance with the cataloguing of this lot.

Though he spent twenty years in the United States, Schor’s mind and artistic depictions frequently harkened back to his roots in the small villages of Galicia. Schor’s works are remembrances of a place and time that no longer existed after the Second World War. According to Schor’s daughter, Mira Schor, the work presented here “…is a naturalistic scene of the rural outskirts of his hometown…most likely painted in New York City in the late 1940s or early 1950s.” The vibrant painting portrays the daily tasks of villagers with a loose style and brushwork reminiscent of folk artists of the turn of the century. Centered in the composition is a robust tree, perhaps a nod to the “tree of life,” a traditional Judeo-Christian motif, and one that Schor often utilized.

478. Alphonse Gamotis (American/New Orleans, 1842-1919), “Mountainous Landscapes”, 4 watercolors on paper, 3 mounted to board, 2 signed lower left, one signed lower center, 3 7/8 in. x 7 in. to 7 in. x 5 1/8 in., framed. [$1000/1500]

480. American Aesthetic Carved and Ebonized Hardwood Pedestal, late 19th c., stepped molded top with canted corners, winged griffin monopod legs, two shelves, h. 41 in., w. 21 in., d. 21 in. [$600/800]

479. American Aesthetic Cherrywood Work Table, late 19th c., rectangular case with two double face drawers, turned supports flank a storkcarved panel, stretcher shelf, paw feet, casters, h. 35 in., w. 24 in., d. 16 1/2 in. [$800/1200]

481. American Renaissance Inlaid and Ebonized Rosewood Parlor Cabinet, c. 1870, attr. to Pottier and Stymus, New York, or Thomas Godey, Baltimore, sarcophagus top, center door with bronze plaque of Vestal Virgin, satinwood and ebonized interior, incurvate sides with inlaid panels, conforming plinth, h. 44 in., w. 57 1/2 in., d. 16 1/2 in. [$2000/3000] Note: A related labeled Thomas Godey parlor cabinet, deaccessioned from the High Museum of Art, sold in these rooms February 19, 2005, lot 516; ill. Peirce, Donald C., In Pursuit of Beauty, pp. 126-127.

482. Large American Aesthetic Carved Oak Two Part Banquette, late 19th c., probably New York, bas relief foliate carved stiles, palmette carved seat rails, melon feet, black leather upholstery, overall h. 40 1/2 in., w. 147 1/2 in., d. 42 in., larger w. 95 1/2 in., d. 21 1/2 in., smaller w. 52 1/4 in., d. 42 in. [$2500/3500]

483. American Renaissance Walnut and Parcel Ebonized Pedestal, late 19th c., square top retains red velvet platform, scrolled collar over tapering support, conforming plinth, whole with gilt incised decoration, h. 38 in., w. 17 1/2 in., d. 15 1/2 in. [$800/1200]

484. American Aesthetic Carved Walnut Wardrobe, 19th c., possibly Daniel Pabst, Philadelphia, three cabinets with dolphin carved gallery, linen fold and flower carved panels, strap hinges, reticulated pulls, h. 99 1/4 in., w. 95 in., d. 24 1/2 in. [$2000/3000]

Note: The exuberant and well carved dolphins, diagonal beaded door panels and distinctive strap hinges on this monumental wardrobe appear in known examples from the workshop of Daniel Pabst executing the designs of Philadelphia architect Frank Furness (1839-1912), some seen in the furniture of the Physick House in Cape May, New Jersey and Temple Rodeph Shalom, Philadelphia. The distinct design of this lot indicates it was designed for a specific space and purpose, likely a Furness commission.

485. American Renaissance BronzeMounted Inlaid and Ebonized Rosewood Parlor Cabinet, late 19th c., attr. to Pottier and Stymus, New York, incurvate sides with colonnettes flanking cabinet door, trophee and urn inlaid panels, shelf interior, conforming plinth, lacking back panel, h. 41 in., w. 61 in., d. 24 1/2 in. [$800/1200]

486. American Aesthetic Mahogany Library Table, late 19th c., inset gilt-tooled red leather top, gadrooned edge, two frieze drawers, melon-lobed and turned legs, conforming stretcher, large brass lion masque feet, h. 29 1/2 in., w. 59 1/2 in., d. 36 in. [$1200/1800]

487. Alberta Kinsey (American/ New Orleans, 1875-1952), “Brulatour Courtyard”, oil on academy board, signed lower left, 22 in. x 15 3/4 in., framed. [$1500/2500] Provenance: Neal Auction Company, Mar. 5, 2006, lot 789; Collection of Allison Kendrick, The Carroll-Crawford House, New Orleans.

488. Alberta Kinsey (American/New Orleans, 1875-1952), “Courtyard at 726 St. Peter Street”, oil on canvas board, signed lower left, 19 in. x 16 1/4 in., framed. [$1500/2500]

Provenance: Neal Auction Company, Mar. 4, 2006, lot 788; Collection of Allison Kendrick, The Carroll-Crawford House, New Orleans.

489. Guy Pène du Bois (American/New Orleans, 1884-1958), “Flowers”, 1943, oil on canvas, signed and dated lower right, “James Graham & Sons, New York” label with artist, title and date, 2 handwritten labels and “Shannon’s” label on stretcher, 20 1/8 in. x 16 1/8 in., framed Provenance: Collection of Allison Kendrick, The Carroll-Crawford House, New Orleans. [$4000/6000]

Note: A keen observer of class dynamics, Guy Pène du Bois built a successful artistic career documenting the bourgeois lives of the Parisians and Americans he encountered throughout his lifetime. Born to Louisiana writer and journalist, Henri Pène du Bois, Guy inherited his father’s enthusiasm for the French language and culture. In 1905, after spending his early career studying under Robert Henri and William Merritt Chase and alongside fellow students George Bellows and Edward Hopper, he traveled to Paris with his father where his work was exhibited in the Paris Salon for the first time that same year. Due to his father falling ill, he was forced to return to New York in 1906. There, he would go on to become an art critic for the New York Tribune and remain involved in the local art scene, even helping to organize the 1913 Armory Show, which included several of his works. Du Bois would return to Paris in 1924 for a few years to focus on painting, before settling in New York once again to teach at his own art school and the Art Students League.

While he was known primarily as a satirist of social scenes, du Bois’ painting on offer here is a rare and tender still life. The pink, white and red tones of the flowers glow against the saturated blue background, and the artist’s expert and effortless brushwork is demonstrated in the shading of the vase and the petals of the flowers. Painted later in his life, this 1948 composition is a haunting example of du Bois’ mature talent.

Photos by Cameron McHarg

Ref.: Torchia, Robert. “Guy Pène du Bois”. National Gallery of Art. Aug. 17, 2018. www.nga.gov.

Note: Noted artist and inspiring teacher, Hobson Pittman was born in Edgecombe County, North Carolina to a merchant father and devoutly religious mother. Both sides of his family had long ties to eastern North Carolina. By the time he was sixteen, both of his parents had died, and Pittman moved to Philadelphia to live with a married sister. Pittman studied art at the Penn State University in State College and the Carnegie Institute of Technology in Pittsburgh before attending Columbia University and the Woodstock Summer Art School in New York. He left to study in Europe in 1928, the first of many trips he would make in his lifetime.

During the 1930s and 1940s, he developed the stylistic and iconographic means through which he explored themes of loneliness and memory in his work—subjects he shared with numerous Southern writers of the period. Pittman became most well-known for his impressionist still lifes and arresting scenes of domestic interiors. In the work offered here from 1937, a scene of luxurious camping under the stars merges the indoors with nature in a setting illuminated by moonlight, appearing almost otherworldly or perhaps as in a dream of a distant memory of a happy childhood moment in North Carolina. As Ben F. Williams states in his foreword to the Hobson Pittman: Retrospective Exhibition His Work Since 1920 exhibition catalogue for the North Carolina Museum of Art in 1963, “Hobson Pittman’s works uniquely provide a continuity that would otherwise be lacking in any chronological recording through art of North Carolina’s past….it remained, then, for Hobson Pittman to set down in his poetic and gentle way his echoing of things past.” Ref.: “Hobson Lafayette Pittman (1899-1972).” Hickory Museum of Art. www.hickoryart.org. Accessed Oct. 11, 2021. Williams, Ben F. Hobson Pittman. Raleigh, NC: North Carolina Museum of Art, 1963. 490. Hobson Lafayette Pittman (American/North Carolina, 1899-1972), “Summer Pleasures”, 1937, oil on canvas, signed lower right, pencil-signed, titled, dated, inscribed and 3 partial labels on stretcher, 2 “Pook & Pook” labels on reverse of frame, 28 in. x 38 1/8 in., framed. [$3000/5000] Provenance: Collection of Allison Kendrick, The Carroll-Crawford House, New Orleans.

491. Hobson Lafayette Pittman (American/North Carolina, 18991972), “Still Life with a Bouquet of Flowers Posed on a Chair”, oil on board, signed upper right, “Pook & Pook” label and printed label en verso, printed label on reverse of frame, 42 in. x 29 3/4 in., framed. [$1800/2500] Provenance: Collection of Allison Kendrick, The Carroll-Crawford House, New Orleans.

Photo by Cameron McHarg

492. Elemore Morgan, Jr. (American/Louisiana, 1931-2008), “Intermediate Sky”, 2002, acrylic on masonite, initialed lower right, signed, titled and dated on stretcher, 36 in. x 48 in., unframed. [$10000/15000] Provenance: Collection of Allison Kendrick, The Carroll-Crawford House, New Orleans.

493. Knute Heldner (Swedish/ Louisiana, 1877-1952), “Portrait of a Woman”, oil on canvas, signed lower left, label inscribed “No. 39” on stretcher, 18 in. x 15 in., framed. [$2500/3500] Provenance: Collection of Allison Kendrick, The Carroll-Crawford House, New Orleans.

494. Knute Heldner (Swedish/ Louisiana, 1877-1952), “A Hard Day’s Work”, oil on panel, signed lower left, 32 in. x 35 1/2 in., framed. [$3000/5000] Provenance: Collection of Allison Kendrick, The Carroll-Crawford House, New Orleans.

Photos by Cameron McHarg

Note: Paul Ninas lived and worked in New Orleans from 1932 until his death in 1964. After his arrival in the city, his modernist Caribbean subjects transitioned to South Louisiana ones – classic street scenes, local industry, wharves and of course, Carnival. The large-scale graphite drawing offered here captures all the frenetic energy, chaos, and licentiousness of a Mardi Gras parade route. The line of figures, facing the passing horse-drawn float barely seen in the background, reach for tokens thrown by riders and otherwise engage in Mardi Gras revelry. The careful details of the masks, costumes, and discarded wine bottle manifest into a timeless scene of the annual bacchanalian celebration.

495. Paul Ninas (American/New Orleans, 1903-1964), “Untitled (Carnival Scene)”, c. 1938, graphite on paper, unsigned, artist estate label with title and date on backing paper, 17 1/2 in. x 35 in., framed. [$10000/15000] Provenance: Collection of Allison Kendrick, The Carroll-Crawford House, New Orleans.

The strong horizontal format of the drawing lends credence to the thought that the work is likely a study for a mural. Ninas completed two WPA murals, one at the Maybin School in New Orleans and the other in the post office of Henderson, Texas, but sadly neither survived. He also was privately commissioned to create a four-panel mural at the Sazerac Bar in 1938 at the Roosevelt Hotel in New Orleans and, in 1945, three large panels for the Delta Line, an ocean-going passenger steamship based in New Orleans. This drawing bears striking stylistic similarity to the murals in the Sazerac Bar, likely completed around the same time. Ref.: Kemp, John R. “Paul Ninas.” 64 Parishes. www.64parishes.org. Accessed Oct. 11, 2021.

Photo by Cameron McHarg

496. Edward Schoenberger (American/New Orleans, 1915-2007), “The Musicians”, 1948, oil on canvas, signed and dated lower left, 59 5/8 in. x 108 1/4 in., framed. [$30000/50000]

Provenance: Estate of the Artist; 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. 22. Note:“Art is the creative use of the human imagination to interpret, understand and enjoy life.” – Edward Schoenberger

Edward Schoenberger, who was Paul Ninas’ studio assistant and friends with John McCrady, was a talented artist whose body of work has been frequently overlooked, even though he is often mentioned alongside his famous New Orleans contemporaries. He studied at the Arts and Crafts Club of New Orleans, the Philadelphia Academy of Fine Art, and the Art Students League of New York. No stranger to working on a grand scale, Schoenberger was commissioned by the WPA in 1940 to paint a mural for the New Orleans Public Library branch at 2940 Canal Street. The resulting work, entitled “The History of Printing,” was deemed at the time the largest mural in the United States on a single canvas at nine feet tall and forty-eight feet wide, and it depicted the development of the written word from ancient history to modern day.

The monumental painting by Schoenberger on offer here was featured in pride of place in the famous Carroll-Crawford House in the Garden District. Those who have been fortunate enough to spend time within the manse’s walls will immediately recognize this modernist masterpiece from where it was prominently displayed in the grand stairwell. At an astounding 108 inches in length, this impressive canvas serves as a sensational debut for the artist on the secondary market. In it, Schoenberger executed his figures with confident brushstrokes and a bold palette, bringing to life the performing musicians. The color scheme and composition are reminiscent of Henri Matisse’s 1909 painting “Dance (I)” with hints of the figural elements of Pablo Picasso’s “Les Demoiselles d’Avignon.” One can also see Schoenberger’s close ties to the New Orleans modernists, such as the aforementioned Ninas. On a grand scale, the artist proves himself to be equal to the great artists of the day, with a distinctive viewpoint uniquely his own. Ref.: MacCash, Doug. “Mural Uncovered in Former Beauty School”. The Times-Picayune. Oct. 4, 2009. www.nola.com. Accessed Oct. 11, 2021. Paterson, Seale. “Nostalgia: Print in Paint.” myNewOrleans.com. May 1, 2019. www.myneworleans.com. Accessed Oct. 11, 2021. “Edward Theodore ‘Eddie’ Schoenberger Obituary”. The Times-Picayune. Oct. 31, 2007. www.nola.com. Accessed Oct. 11, 2021.

497. American Federal-Style Inlaid Mahogany Writing Desk, 19th c., superstructure with shelves and drawers, base with pull-out writing surface, frieze drawer, square tapering legs, h. 53 1/2 in., w. 48 in., d. 23 1/2 in. [$600/800]

498. Pair of American Federal Inlaid Mahogany Console Tables, 19th c., D end reeded tops, blocked skirts, turned legs, h. 29 in., w. 48 in., d. 20 1/2 in. [$1000/1200]

499. American Rococo Carved Rosewood Center Table, attr. John Henry Belter, serpentine marble top, apron with scroll and flower applique, cabriole legs with fruit on knees, X stretcher with twist finial, acanthus scroll feet, casters, h. 28 1/2 in., w. 42 3/4 in., d. 33 1/2 in. [$4000/6000]

500. Pair of Monumental Chippendale-Style Parcel Gilt Mahogany Console Tables, 20th c., each with pink marble top, shell and acanthus carved skirt, cabriole legs, ball and claw feet, h. 37 in., w. 53 1/2 in., d. 28 in. [$4000/6000]

Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH

502. Pair of Gilt Metal and Sevres-Style Porcelain Gueridons, each with anthemion gallery and circular porcelain plaque of courting couples, three incurvate legs with medial stretcher, beaded legs, foliate toes, h. 32 1/4 in., dia. 20 in. [$1000/1500]

501. Pair of Venetian Baroque-Style Painted Credenzas, serpentine sienna faux marbre top, conforming case with Pompeii red ground painted with cartouches, h. 32 in., w. 57 1/2 in., d. 20 1/2 in. [$5000/7000]

503 American Gothic Walnut Bookcase, mid-19th c., molded cornice, two glazed doors with quatrefoil and arch tracery, shaped apron with bracket feet, h. 80 1/2 in., w. 49 in., d. 14 in. [$2000/4000]

504. Italian Pietra Dura and Wrought Iron Table, h. 30 1/2 in., w. 71 in., d. 47 1/2 in. [$4000/6000]

505. Regence-Style BronzeMounted Kingwood Bureau, 20th c., inset gilt-tooled black leather writing surface, brass molding, central drawer flanked by two pedestals of three drawers, square tapering legs, h. 31 in., w. 71 1/2 in., d. 34 1/2 in. [$2000/4000]

506. Ashley Longshore (American/New Orleans, b. 1975), “Silver Leaf Audrey”, 2018, mixed media on gallerywrapped canvas, signed on left side, 60 in. x 48 in., unframed; accompanied by a copy of a certificate of authenticity from the artist’s studio. (2 pcs.) [$7000/10000]

507. Ashley Longshore (American/New Orleans, b. 1975), “Have the Cake”, 2018, mixed media on panel, signed on left side, 60 in. x 60 in., unframed; accompanied by a copy of a certificate of authenticity from the artist’s studio. (2 pcs.) [$8000/12000]

508. Ashley Longshore (American/New Orleans, b. 1975), “Emerald Cut Diamond”, 2018, mixed media on panel, signed on right side, 60 in. x 40 in., unframed; accompanied by a copy of a certificate of authenticity from the artist’s studio. (2 pcs.) [$7000/10000] Exh.: Bergdorf Goodman, New York, NY.

509. Ashley Longshore (American/New Orleans, b. 1975), “Leave the Cash on the Table”, 2018, mixed media on gallery-wrapped canvas, signed on right side, 48 in. x 48 in., unframed; accompanied by a copy of a certificate of authenticity from the artist’s studio. (2 pcs.) [$5000/7000]

510. Ashley Longshore (American/New Orleans, b. 1975), “Cookie Monster”, 2018, mixed media on gallery-wrapped canvas, signed on right side, 36 in. x 36 in., unframed; accompanied by a copy of a certificate of authenticity from the artist’s studio. (2 pcs.) [$4000/6000]

511. After Andy Warhol (American, 1928-1987), “Marilyn”, screen print on heavy paper, open authorized edition, unsigned, published by Sunday B. Morning, printer’s stamp and “Fill in your own signature” stamp en verso, 36 in. x 36 in., framed; accompanied by a copy of a certificate of authenticity from Galerie Ferrero, Nice. (2 pcs.) [$700/1000]

512. James Michalopoulos (American/New Orleans, b. 1951), “Pumping Pinkly”, oil on canvas, signed “Mitchell” lower left, 23 3/4 in. x 30 in., framed. [$4000/6000]

513. George Rodrigue (American/Louisiana, 1944-2013), “We Are Marching Again”, 2006, silkscreen, pencil-signed lower right, open edition, 23 in. x 18 in., framed. [$1000/1500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2007, p. 235.

514. George Rodrigue (American/Louisiana, 19442013), “A Number One Tiger Fan”, 2011, silkscreen, pencilsigned lower left, open edition, 27 in. x 18 in., framed. [$1000/1500]

515. George Rodrigue (American/Louisiana, 1944-2013), “Chicken in a Basket”, 1993, silkscreen, signed and numbered “46/100” lower right, 23 in. x 24 in., framed. [$1500/2500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 86.

516. George Rodrigue (American/ Louisiana, 1944-2013), “Junkyard Dog”, 1993, silkscreen, signed and numbered “77/90” lower right, 34 in. x 23 in., unframed. [$1500/2500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p.82.

517. George Rodrigue (American/ Louisiana, 1944-2013), “George’s Sweet Inspirations”, 2000, silkscreen, signed lower left, numbered “18/150” lower right, 20 in. x 16 in., unframed. [$800/1200]

Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 179.

518. George Rodrigue (American/ Louisiana, 1944-2013), “Ho Ho Ho”, 2000, silkscreen, signed lower left, numbered “119/150” lower right, 20 in. x 16 in., unframed. [$800/1200]

Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 178.

520. Venetian-Style PaintDecorated Armoire, molded cornice, chamfered case, two doors with iron latch and strap hinges (interior), interior fitted with shelves, plinth base, cream ground with urns, scrolls and roses, h. 72 in., w. 52 in., d. 20 in. [$700/900] 519. Pair of Classical-Style Verdigris Painted and Parcel Gilt Pedestals, squared tops on spreading base with anthemion and swag applique, fluted body, h. 31 in., w. 22 1/2 in., d. 22 1/2 in. [$600/800] 521. Diminutive Empire-Style Gilt Bronze and Mahogany Gueridon, mid-20th c., circular white marble top inset in mahogany panel, tripod standard with figure of Mercury, incurvate triangular plinth, h. 20 1/2 in., dia. 13 in. [$800/1200]

522. Portuguese Inlaid Hardwood Vargueno Cabinet, 18th c. and later, upper case with 32 drawers and prospect doors, conforming lower case with two cabinet doors, h. 78 in., w. 40 in., d. 19 1/2 in. [$4000/6000]

523. Pair of Louis XVI-Style Parquetry Bedside Commodes, frieze drawer, tambour doors, cabriole legs, sabots, h. 33 in., w. 21 in., d. 13 1/2 in. [$700/900]

524. Louis XVI-Style Carved, Crème Peinte and Giltwood Trumeau Mirror, early 20th c., blocked cornice, still life oil on canvas painting of fruit in beribboned oval reserve, rectangular mirror plate, urn appliques, h. 69 1/4 in., w. 47 in. [$700/1000]

525. Venetian-Style Painted Commode, late 20th c., molded hardwood top over three drawers, square tapering legs, whole with distressed surface, cream paint ground with grotesque motifs, h. 38 1/2 in., w. 49 in., d. 19 in. [$800/1200]

526. Pair of Large Louis XV-Style Fauteuils, shield backs, serpentine seats, cabriole legs, brown leather upholstery with nailhead trim, h. 43 1/2 in., w. 31 1/2 in., d. 25 1/2 in. [$1200/1800] 527. Baroque-Style Carved Giltwood Center Table, circular chinoiserie coromandel top, heavily festooned skirt, carved and block legs with stretcher, toupie feet, h. 35 1/2 in., dia. 40 in. [$3000/5000]

528. Fine Pair of American Rococo Carved and Laminated Rosewood Side Chairs, c. 18501860, attr. John Henry Belter, New York, in the pattern known as “Cornucopia”, tall high relief carved crest, acanthus carved uprights, exuberant floral carved serpentine seat rail, cabriole legs, casters, tufted damask upholstery, h. 38 1/2 in., w. 19 in., d. 18 1/2 in. [$8000/12000]

529. Antique Louis XVI-Style Fruitwood Bureau Plat, early 20th c., inset baize top over one long and two short drawers proper right and one deep drawer proper left, fluted stiles and legs, cuff feet, h. 28 3/4 in., w. 51 in., d. 27 1/2 in. [$600/900]

Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH Ill.: Dubrow, Richard. American Furniture of the Nineteenth Century, p. 77.

530. Louis XVI-Style Marquetry Dining Table, oval top inlaid with foliate scrolls and floral cartouche, tapered legs, h. 31 in., w. 75 in., d. 39 in. [$1000/1500]

531. Pair of Louis XVI-Style Giltwood Mirrors, crest with cartouche and putti, arched and blocked mirror plates, h. 94 1/2 in., w. 47 in., d. 5 in. [$4000/6000]

532. Louis XV-Style Gilt Bronze-Mounted Kingwood and Marquetry Games Table, late 19th c., foldover swivel top, shaped apron with drawer, cabriole legs, sabots, floral sprays throughout, h. 31 in., w. 32 in., d. 23 in. [$700/1000]

533. Biedermeier-Style Burlwood and Marquetry Low Table, 20th c., circular top, incurvate support on conforming plinth, molded feet, foliate vine decoration, formerly center table now reduced in height, h. 20 in., dia. 46 1/2 in. [$500/700]

Provenance: Collection of Dr. Mark A. Geist, Providence, RI

534. Biedermeier Stenciled Fruitwood Lyre-Form Etagere, early 19th c., stepped blocked base, h. 36 in., w. 36 5/8 in., d. 17 in. [$500/700]

535. Large Louis XVI-Style Bronze-Mounted Mahogany Bureau Plat, mid-20th c., rectangular top inset with tooled leather writing surface, shaped apron with three drawers and three blind drawers on back, term mounts on cabriole legs, sabots, h. 30 1/2 in., w. 70 in., d. 34 1/2 in. [$800/1200]

Provenance: Euro Exports, Boston, MA, 2005; Collection of Dr. Mark A. Geist, Providence, RI.

537. Pair of Antique French Bronze and Marble Candlesticks, modeled as a branch with bird’s nest, h. 15 1/2 in., w. 6 1/2 in., d. 4 in. [$600/800] 538. French Patinated Bronze Plaque, 19th c., signed “H. Chapu”, h. 14 1/2 in., w. 10 in., d. 4 in. [$800/1200]

536. Antique Continental Painted Canvas Four Panel Screen, each arched panel with a tropical bird on dark ground, nailhead trim, h. 66 3/4 in., w. 80 in. [$800/1200]

539. Pair of Black Marble and Bronze Four Light Candelabra in the Bagues Style, 20th c., crystal fronds, raised base, electrified, h. 22 in., w. 15 1/2 in., d. 7 in. [$600/800]

540. Pair of French Gilt and Patinated Bronze SixLight Candelabra, 19th c., vasiform standard, tall base, paw feet, h. 25 in., dia. 11 in. [$800/1200]

541. Napoleon III Gilt Bronze Encrier, 19th c., triangular base, mounted with cherubs and hounds, h. 11 in., w. 8 1/2 in., d. 8 1/2 in. [$800/1200]

542. Pair of Louis XV-Style Painted and Parcel Giltwood, Iron and Crystal Three-Light Girandoles, 20th c, h. 38 in., w. 14 in., d. 9 in. [$800/1200]

543. Pair of Charles X Bronze Candlesticks, with reeding and palm collar, h. 12 1/2 in., dia. 6 in. [$800/1200]

544. Pair of Continental Rock Crystal Obelisks, 20th c., of typical form, h. 20 1/2 in., w. 4 in., d. 4 in. [$1200/1800]

545. Two Pairs of Charles X Gilt Bronze Candlesticks, 19th c., one with spiral foliate design, the other fluted, h. 10 1/2 in., dia. 4 in. (4 pcs.) [$800/1000]

546. Empire Gilt and Patinated Bronze FiveLight Candelabra, early 19th c., foliate arms, fluted standard, paw feet, h. 18 3/4 in., dia. 9 in. [$700/1000]

547. Edwardian Mahogany Trolley, early 20th c., scrolled square supports, shelves, cuffs and casters, h. 50 in., w. 18 in., d. 18 in. [$500/700]

548. Napoleon III BronzeMounted Boullework and Ebonized Poudreuse, 19th c., serpentine top lifts to fitted interior, cabriole legs, sabots, h. 28 1/2 in., w. 24 in., d. 17 in. [$600/800]

549. Spanish Renaissance Revival Carved Walnut Table, 19th c., rectangular top, carved and turned supports with tenoned medial stretcher, trestle base, h. 25 1/2 in., w. 30 in., d. 17 1/2 in. [$400/600]

550. Small Spanish Baroque-Style Mahogany Side Table, mid-20th c., rectangular molded top, lyre supports, wrought iron stretchers, h. 26 in., w. 28 in., d. 18 in. [$400/600]

551. Charles X Parcel Gilt Mahogany Center Table, 19th c., circular dished white marble top, faceted vasiform standard, tripartite plinth with scrolls and paw feet, h. 28 in., dia. 40 in. [$800/1200]

552. Louis XVI-Style BronzeMounted Mahogany Side Table, 19th c., oval marble top with brass gallery, Jasperware plaques on reticulated skirt, tapering legs, toupie feet, h. 25 1/2 in., w. 30 1/2 in., d. 22 1/2 in. [$800/1000]

554. Venetian Rococo-Style Carved Giltwood Mirror, 19th c., elaborate reticulated crest with rocaille carvings and inset engraved mirror panels, rectangular cloudy mirror plate below, h. 55 in., w. 32 in., d. 8 in. [$1500/2500]

555. Empire-Style BronzeMounted Malachite Low Table, rectangular top, cornucopia-shaped legs, dolphin terminals, whole with malachite veneer, h. 17 1/2 in., w. 40 in., d. 24 in. [$3000/5000]

553. Louis XVI-Style Bronze-Mounted Kingwood Vitrine Cabinet, breakfronted case with marble top, glazed panels mounted with garlands, tapering legs, toupie feet, h. 64 in., w. 47 in., d. 18 in. [$2000/3000]

556. Pair of Louis XVI-Style Carved Giltwood Fauteuils, tapestry upholstery, h. 40 1/2 in., w. 25 1/2 in., d. 21 in. [$800/1200]

557. Pair of Louis XVIStyle Bronze-Mounted Parquetry Bedside Commodes, square marble top, three drawers, cabriole legs, stretcher shelf, h. 31 in., w. 14 in., d. 14 in. [$700/900]

558. Pair of Beaux ArtsStyle Ebonized and Parcel Gilt Side Chairs, circular padded back with scroll crest, serpentine seat, cabriole legs, beige silk upholstery, h. 45 1/2 in., w. 19 in., d. 20 in. [$600/800]

560. Louis XVI-Style Creme Peinte and Parcel Gilt Salon Table, circular rouge marble top, fluted skirt with swags, scroll supports, conforming plinth centered by urn finial, h. 33 1/2 in., dia. 42 in. [$2500/3500]

559. Louis XV Provincial Poudreuse, 18th c., fold out top with mirror and compartments, shell carved frieze, cabriole legs, hoof feet, h. 28 in., w. 40 in., d. 25 in. [$800/1200]

562. Chinese Export Famille Rose Porcelain Garden Seat, 19th/early 20th c., top with pierced cash symbol, body decorated in Rose Medallion style with figural and bird-and-flower panels between raised boss bands, h. 18 1/2 in. [$800/1200]

561. Pair of Regence-Style Bronze-Mounted Marquetry Side Tables, top inlaid with trophee, frieze with blind drawer, square tapering legs, stretcher shelf, toupie feet, h. 30 in., w. 25 1/2 in., d. 17 in. [$1500/2500]

564. Chinese “Blanc de Chine” Porcelain Tripod Censer, Ding, 16th/17th c., upright loop handles, bulbous body with leiwen band, splayed legs with zoomorphic masks and ruyi heads, h. 6 7/8 in., dia. 5 3/4 in. [$1000/1500] Provenance: Whisnant Galleries Collection, New Orleans, LA.

Ref.: See Ayers, John. Divine Images in Porcelain. p. 40, fig 8. 563. China Trade School, late 19th c., “Chinese Junk on Open Water”, oil on canvas, backing board with Louisiana State Museum label and accession number “7539”, stretcher with accession number, 17 5/8 in. x 23 1/4 in., unframed. [$800/1200]

565. Large Chinese “Blanc de Chine” Porcelain Figure of Guanyin, modeled standing on a wave and lotus base above a dragon and child acolyte, wearing a downcast serene expression, long robes, and a bead necklace, her right hand held in abhayamudra, h. 28 1/2 in. Note: lacking left hand. [$1000/1500]

Provenance: Neal Auction, Sept. 20, 2021, lot 320l, property deaccessioned from the Louisiana State Museum, New Orleans.

566. Chinese Bodhi Leaf-Illustrated Accordion Fold Album, early 20th c., set with 11 paintings, ink and color on pipal or peepal leaves (some heightened with gold), and 11 tantric text panels, gilt on blue leafshaped paper, illustrating the story of the followers of Buddha, silk-bound covers, 11 1/4 in. x 7 1/2 in. [$1000/1500] Provenance: Property of the Mobile Museum of Art, Mobile, AL, sold to benefit their Collections, Care and Acquisitions Fund.

568. Fine Antique Chinese Gilt Bronze Figure of Avalokiteshvara, probably early Qing Dynasty (1644-1911), finely cast in rajalilasana or “royal ease” with his left arm resting on raised knee, the hand bent at the wrist and gently brushing his cheek, his inclined head painted in Tibetan manner, his hair tied high in a chignon and surmounted by a chintamani ornament, wearing a 9-pointed crown, celestial scarf, loose skirt and Bodhisattva jewelry, seated on separate lotus base flanked by multi stemmed lotus, h. 16 1/4 in. [$4000/6000] 567. Zao Wou-Ki (Chinese, 1920-2013), “Untitled (Agerup 185)”, 1968, color lithograph on Rives, pencil-signed, dated and inscribed “e.a.” lower margin, sheet 19 3/4 in. x 25 3/4 in., matted and framed. [$1500/2500]

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

569. Chinese White Jade Horse, h. 2 in., l. 3 1/8 in. [$800/1200]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

570. Chinese Grayish White and Russet Jade Horse, h. 1 3/4 in., l. 4 1/4 in. [$800/1200] Provenance: Whisnant Galleries Collection, New Orleans, LA.

572. Chinese Grayish White Jade Camel, h. 2 1/2 in., w. 2 1/4 in. [$800/1200] Provenance: Whisnant Galleries Collection, New Orleans, LA.

574. Chinese Lavender and Green Jadeite “Fu Lu Shou” Group, carved as the Three Star Gods in grotto-like setting surrounded by their attributes, children and good luck symbols, reverse with cash, h. 15 3/4 in., w. 11 3/4 in. [$2000/3000] Provenance: Whisnant Galleries Collection, New Orleans, LA.

571. Chinese Green and Russet Jade Camel, h. 2 1/8 in., w. 3 1/2 in. [$800/1200]

Provenance: Whisnant Galleries Collection, New Orleans, LA.

573. Chinese Creamy-White and Russet Jade Camel, carved recumbent with its head twisted toward its humps, h. 1 1/2 in., l. 2 7/8 in. [$800/1200] Provenance: Whisnant Galleries Collection, New Orleans, LA.

575. Asian Polychrome Painted and Mother-of-Pearl Inlaid Orange-Red Lacquer Table Stand, 19th c., crafted as a shaped base decorated with a Kirin supporting two figures or Karako in Chinese dress holding a tray inlaid with 4 trigrams, h. 15 in., w. 19 in., d. 13 in. [$800/1200]

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Auctioneers Appraisers Antiques Fine ArtArtArt Auctioneers Appraisers Antiques Fine Auctioneers && Appraisers of of Antiques && Fine Art Auctioneers && Appraisers of of Antiques && Fine 4038 Magazine Street, New Orleans, Louisiana 70115 4038 Magazine Street, New Orleans, Louisiana 70115 4038 Magazine Street, New Orleans, Louisiana 70115 4038 Magazine Street, New Orleans, Louisiana 70115 s &AX s WWW NEALAUCTION COM s &AX s WWW NEALAUCTION COM s &AX s WWW NEALAUCTION COM s &AX s WWW NEALAUCTION COM

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PLEASE REVIEW GUIDELINES FOR AOR BSENTEE TELEPHONE BIDDING PLEASE REVIEW GUIDELINES F ABSENTEE & TELEPHONE BIDDING PLEASE REVIEW GUIDELINES FOR BSENTEE && TELEPHONE BIDDING : : : : PLEASE REVIEW GUIDELINES FAOR ABSENTEE & TELEPHONE BIDDING 4 ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE 4ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE 4 ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE 4ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW ! LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION !LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday ! LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday !LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday prior to the auction . )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE . !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE ! LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN ! LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN ! LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN !LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE

First Last First Last First Last First Last Name: _________________________ Name: ____________________________________ Company: __________________________ Name: _________________________ Name: ____________________________________ Company: __________________________ Name: _________________________ Name: ____________________________________ Company: __________________________ Name: _________________________ Name: ____________________________________ Company: __________________________ Address: ______________________________________________________________________________________________________ Address: ______________________________________________________________________________________________________ Address: ______________________________________________________________________________________________________ Address: ______________________________________________________________________________________________________ #ITY ????????????????????????????????????????????? 0ROV 3TATE ??????????????????????? 0OSTAL #ODE ???????????????? #ITY ????????????????????????????????????????????? 0ROV 3TATE ??????????????????????? 0OSTAL #ODE ???????????????? #ITY ????????????????????????????????????????????? 0ROV 3TATE ??????????????????????? 0OSTAL #ODE ???????????????? #ITY ????????????????????????????????????????????? 0ROV 3TATE 0OSTAL #ODE : ??????????????????????? : ???????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealers must provide Neal Auction Company with proper documentation prior to bidding. Dealers must provide Neal Auction Company with proper documentation bidding. Dealers must provide Neal Auction Company with proper documentation prior to prior bidding. Dealers must provide Neal Auction Company with proper documentation prior to to bidding.

-534 02/6)$% -534 02/6)$% : : : : -534 02/6)$% -534 02/6)$% -534 0ROVIDE: -534 0ROVIDE: -534 0ROVIDE: -534 0ROVIDE: Cash Cash Credit Cash Cash 0AYMENT Credit 0AYMENT Credit 0AYMENT 0AYMENT Credit Check Check Card Check 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? Method: Card Method: Check Card Method: Method: Card 7IRE 7IRE 7IRE 7IRE Credit Card V-code:________ Credit Card V-code:________ )& 35##%33&5, PLEASE BILL MY CARD Credit Card V-code:________ Credit Card V-code:________ )& 35##%33&5, PLEASE BILL MY CARD )& 35##%33&5, PLEASE BILL MY CARD )& 35##%33&5, PLEASE BILL MY CARD .UMBER #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ?????????????????????????? .UMBER 4O #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ?????????????????????????? .UMBER 4O 4O #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ?????????????????????????? .UMBER 4O #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ??????????????????????????

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"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 11/18/21 Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________

to 504-617-6431 504-617-9990 to 504-617-6431 or504-617-9990 504-617-9990 504-617-6431 504-617-9990 toto 504-617-6431 or 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 or 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 to to 504-617-6431 504-617-6431 oror bids@nealauction.com 504-617-9990

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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 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).

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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. 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).

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.

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

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. MANDATORY AND EXCLUSIVE FORUM SELECTION; CHOICE OF LAW

PAYMENT

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.

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.

MISCELLANEOUS LEGAL PROVISIONS

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%.

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.

If any part of these Conditions of Sale is held to be invalid, null, or unenforceable, that part shall be reformed so as to implement the intent of the parties as expressed herein, and any such holding shall not affect the remaining provisions of these Conditions of Sale, which shall remain in full force and effect, subject to reformation to implement the intent of the parties as expressed herein. The paragraph headings contained herein are for convenience of reference only and shall not affect the meaning or interpretation of these Conditions of Sale. All prior and contemporaneous representations, communications, and agreements, if any, between the bidder or buyer and Neal Auction Company (and any of its owners, officers, directors, representatives, insurers, agents, and employees) relating to any of the lots offered for sale or to the auction or sale are hereby superseded and merged into these Conditions of Sale, which are the entire and only contract between the bidder or buyer and Neal Auction Company relating to the subject matter herein. Any modifications, amendments, or waivers of these Conditions of Sale must be made in a writing signed by both Neal Auction Company and the bidder or buyer. In the event of any disputes arising out of the auction or sale of lots or these Conditions of Sale, Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated or responsible for any general, special, exemplary, incidental, or consequential damages (including but not limited to lost profits and attorneys’ fees). Every bidder and buyer WAIVES and RELEASES any rights to such damages. This LIMITATION OF LIABILITY does not, and is not intended to, enlarge or expand any rights or interests of a bidder or buyer that are restricted or limited elsewhere in these Conditions of Sale (including but not limited to the WARRANTY WAIVERS and LIABILITY LIMITATIONS set forth herein). These Conditions of Sale constitute a binding legal contract between Neal Auction Company and each bidder or buyer. Each bidder and buyer acknowledges having read and understood these Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY. All bidders and buyers further acknowledge that they enter into these Conditions of Sale of their own free will, with full authority, and under no duress or coercion.

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September 17 & 18, 2021 • Auction Results 102

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A American School, 216, 218, 330 Walter Inglis Anderson, 387-389

B George Caleb Bingham, 213 Ralph Albert Blakelock, 475 Dusti Swetman Bongé, 384 Douglas Bourgeois, 377 William Henry Buck, 209

D Charles François Daubigny, 473 Gerald Deloach, 393 Alexander John Drysdale, 313-318 George Bauer Dunbar, 370-373 George Valentine Dureau, 382, 383

H Colette Pope Heldner, 305, 306 Knute Heldner, 493, 494 Morris Henry Hobbs, 325, 326 William R. Hollingsworth, Jr., 329 Andrew LaMar Hopkins, 469 Newton Reeve Howard, 378 Julian Courtenay Hunt, 321 Clementine Hunter, 117-147 Charles Woodward Hutson, 309, 310

N Paul Ninas, 495

O William Ousley, 323, 324

P Gen Paul, 467 Guy Pène du Bois, 489 Achille Perelli, 206 Hobson Lafayette Pittman, 490, 491

R George Rodrigue, 513-518 Robert Malcolm Rucker, 322 Harold Rudolph, 211

S Edward Schoenberger, 496 Ilya Schor, 477 Arthur Silverman, 385, 386 Hunt Slonem, 366-368 Betty Anglin Smith, 380 Marshall Joseph Smith, Jr., 212 Southern School, 215, 307

W Andy Warhol (aft), 511 Everett Longley Warner, 320 John Weygandt, 470 Anna Woodward, 468 Ellsworth Woodward, 311, 312 Zao Wou-Ki, 567 Don Wright, 308

Artist Index

G Francois Gall, 466 Alphonse Gamotis, 478 John Gould, 205 Simon Gunning, 379

M James Michalopoulos, 512 Adolphe Joseph Thomas Monticelli, 472 Elemore Morgan, Jr., 492

V George Louis Viavant, 207, 208

•

Harry Davis Fluhart-Williams, 319 Augustus Maurice Friedlander, 476

L Adele Lemm, 392 Jules Lion, 210 Mitchell Lonas, 374, 375 Ashley Longshore, 506-510 Louisiana School, 217

T Robert “Bob” Tannen, 381 Thomas Bangs Thorpe, 214

November 19 & 20, 2021

C Joseph Lambert Cain, 391 Henry Casselli, 390 George Frederick Castleden, 327, 328 China Trade School, 563 Samuel Colman, 474 George Condo, 369 Bruce Crane, 471 José-María Cundín, 376

K Alberta Kinsey, 487, 488

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We are currently accepting consignments across all collecting categories, including Paintings, Drawings, Prints, and Photography • Sculpture • Furniture and Decorative Objects • Asian Art • Lighting • Silver • Glass • Jewelry • Pottery • Historical Documents, Books, and Maps • and More.

The Neal Auction name is synonymous with quality, trust, integrity and irreproachable service. Over the past three and a half decades, Neal Auction has regularly established record prices for objects sold under our care. Neal Auction is widely considered the foremost auctioneer in the sale of southern regional art and material culture.

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