Spring Estates Auction - April 8 & 9, 2022 by Neal Auction

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Spring Estates Auction April 8 & 9, 2022 FEATURING: Property from the Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA American Antiques from the Collection of Dr. Norbert and Mary Fahey, Sacramento, CA Gentleman’s Collection from his French Quarter Pied-a-Terre on Exchange Place The Roland Begneaud Family Collection of Louisiana Paintings, Lafayette And Property of Others

EXHIBITION

Beginning Monday, March 28, 10 a.m. to 5 p.m. Special Saturday Preview, April 2, 10 a.m. to 5 p.m..

AUCTION

Friday, April 8, beginning at 2:00 p.m., lots 1-197 Saturday, April 9, beginning at 11:00 a.m., lots 198-560

Neal Auction Company

Auctioneers & Appraisers of Antiques & Fine Art

4038 Magazine Street, New Orleans, Louisiana 70115 | 504.899.5329

www.nealauction.com LA Auc. Lic., Neal Auction Co. #AB-107 Leckert #1514, Carroll #1874, Fagan #1935, Robinson #A-188

Session One Friday, April 8, 2 p.m. lots 1-197

2. Attributed to Louis-René Boquet (French, 1717-1814), “Costume de Ballet”, ink and watercolor on laid paper, unsigned, handwritten label inscribed with artist on backing board, sight 9 5/8 in. x 7 in., framed. [$800/1200] Provenance: Georges Haumont, Curator Le Musée National de Céramique, Sèvres, France; Palais Galliera, Paris, May 28, 1969, lot 3; Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

1. Attributed to Louis-René Boquet (French, 1717-1814), “Costume de Ballet, La Bergère”, ink and watercolor on laid paper, unsigned, 9 3/4 in. x 7 1/8 in., framed. [$800/1200] Provenance: Georges Haumont, Curator Le Musée National de Céramique, Sèvres, France; Hôtel Drouot, Paris, Mar. 22, 1928, lot 45; Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

3. Attributed to Louis-René Boquet (French, 1717-1814), “Costume de Ballet”, ink and watercolor on laid paper, unsigned, sight 9 5/8 in. x 7 in., framed. [$800/1200] Provenance: Georges Haumont, Curator Le Musée National de Céramique, Sèvres, France; Palais Galliera, Paris, May 28, 1969; Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA. 4. Louis XVI-Style Diminutive Giltwood Console, variegated rose marble top, floral blocked reticulated frieze, stop-fluted legs, beaded stretcher, h. 32 in., w. 29 1/4i n., d. 9 1/4 in. [$400/600] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

5. Pair of Louis XV-Style Polychrome Painted Side Chairs, floral crest, serpentine apron, cabriole legs, h. 34 1/2 in., w. 21 in., d. 21 1/2 in. [$500/700] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

6. Pair of Louis XV-Style Mahogany Side Tables, dished top, frieze drawer, cabriole legs, h. 28 in., w. 14 in., d. 13 in. [$600/900] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA. 7. French Neoclassical-Style Giltwood Console, rouge marble top, fluted floral-blocked frieze, fluted tapered legs, h. 32 in., w. 60 in., d. 12 1/2 in. [$600/900] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA. 3

8. Pair of Louis XV-Style Bleu and Creme Peinte Side Chairs, caned back, serpentine apron, cabriole legs, h. 36 in., w. 18 in., d. 17 1/2 in. [$400/600] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

9. Pair of Louis XVI-Style Bleu and Creme Peinte Side Chairs, caned backs, floral blocked seat rail, stop-fluted tapered legs, h. 35 in., w. 18 in., d. 18 1/2 in. [$500/700] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

10. Pair of Louis XVI-Style Bleu and Creme Peinte Side Chairs, rosette crest, oval back, floral apron, fluted tapered legs, h. 35 in., w. 20 1/2 in., d. 17 1/2 in. [$600/900] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

11. Pair of Louis XVI-Style Gilt Bronze Two Light Sconces, ribbon, tassel and oak leaf backplate, French horn candle arms, h. 17 in., w. 8 1/2 in., d. 3 1/2 in. [$700/1000] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

12. Pair of Louis XVI-Style Gilt Bronze Two Light Sconces, 19th c., urn and fluted standard backplate, foliate arms with ribbon and holly garland, h. 21 in., w. 11 1/2 in., d. 5 1/2 in. [$700/1000] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

13. Pair of French Carved Giltwood and Metal Two-Light Sconces, arrow and wreath trophée backplate, foliate arms, electrified, h. 31 in., w. 10 1/2 in., d. 6 1/2 in. [$400/600] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA. 4

14. Pair of Antique French Gilt-Bronze Roundels, wreath borders, reserves with a relief of Classical figures, integral loop hangers, dia. 6 1/4 in. [$250/350] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

15. Antique French Hand-Colored Fan, centered by a couple on a swing, flanked by winged allegorical figures, shadowbox frame, h. 8 3/4 in., w. 16 in. [$100/150] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

16. Antique Polychrome Baldachin, demilune form, hung with tassels, h. 12 in., w. 19 in., d. 10 1/2 in. [$150/250] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

17. Antique French Carved and Polychromed Architectural Panel, 19th c., fitted within later frame, 24 1/2 in. x 32 1/4 in. [$250/350] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA. 18. Two Pairs of Louis XVI-Style Bronze Sconces, 20th c., the larger h. 18 1/2 in., w. 13 1/2 in., w. 7 1/2 in. [$400/600] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

19. Pair of French Giltwood Brackets, 19th c., scroll and foliate design, h. 8 in., w. 6 1/4 in., d. 4 1/4 in., shelf 4 in. x 5 1/2 in. [$300/500] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA. 20. Six Antique Continental Giltwood Brackets, incl. two pairs (h. 6 1/4 x 4 1/4 x 3 3/4 and 5 x 4 3/4 x 3); a single with demilune shelf (7 1/2 x 5 x 40) and another single with remnants of gilding and blue paint (6 1/2 x 10 x 5). [$300/500] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

21. Aubusson-Style Carpet, sand ground, central medallion, scroll border, 9 ft. x 12 ft. 5 in. [$700/1000] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

22. Aubusson-Style Carpet, sage green and blue ground, central medallion, foliate design, 7 ft. x 10 ft. 3 in. [$600/900] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

23. Mennecy Porcelain Covered Sauciere and Underplate, c. 1750, impressed mark “D.V. (Duc de Villeroy), h. 4 1/4 in., w. 9 in., d. 5 3/4 in. [$500/700] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

25. Pair of Sevres Porcelain Shell-Form Dishes, 1756, interlaced L’s, date letter D, over painter’s mark for Vavasseur, loose foliate sprig design, 8 1/2 in. x 8 1/2 in. [$300/500] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

24. Vincennes/Sevres Porcelain Pot a Lait and Pot a Sucre Calabre, 1753 and 1755, interlaced L’s, the milk jug with date letter A, and with bird mark of modeller Boucher; the sugar with date letter C; together with two Sevres cups and saucers with interlaced L’s over fleur de lys, jug h. 4 in., 6 pcs. [$500/600] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

26. Four Sevres Porcelain Plates, the two larger with interlaced L’s, with 1790 date letters “mm”; the two smaller with interlaced L’s and with date letters J (1762) and V (1774), the large 8 1/4 in. x 8 1/4 in. [$500/700] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

27. Sevres Porcelain Cup and Saucer, 1769, interlaced L’s, date letter “Q”, with possible comet of 1769 mark, saucer dia. 5 3/8 in. [$200/300] Provenance: Brian Haughton Antiques, London; Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

28. Near Pair of Sevres Porcelain Wine Glass Coolers, 1761 and 1772, interlaced L’s, date letters I and T, Christie’s tags, loose floral sprig designs, h. 4 1/2 in., dia. 4 5/16 in. [$500/700] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

29. Paris Porcelain Dessert Service, 19th c., incl. tazza (h. 5 in., dia. 9 in.); footed cake plate (h. 2 1/2 in., dia. 9 in.); and 12 plates, dia. 9 in., gilt and rose Pompadour, with floral reserves [$400/600] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

30. George Rouard Limoges Partial Porcelain Dessert Service, c. 1920, signed “Rouard, Paris”, incl. milk pitcher (h. 4 3/4 in), two sugars, coffee cups (4), w/saucers (5), teacups (3), w/saucers (7), and 8 plates (dia. 6 1/4 in. [$300/500] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA. 6

31. Antique Empire-Style Bronze-Mounted Mahogany and Ebonized Semainier, verdigris marble top, columnar stiles, seven drawers, raised base, h. 40 1/2 in., w. 20 1/2 in., d. 12 1/2 in. [$700/1000] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

33. Louis XVI Giltwood Demilune Console, 18th c. and later, rose marble top, beaded floral frieze, foliate fluted legs, dentilated stretcher centered by a flaming urn finial, h. 22 in., w. 12 in., d. 9 1/2 in. [$600/900] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

32. Louis XVI-Style Mahogany and Walnut Table en Chiffoniere, brass galleried marble top, three drawers, shaped stretcher shelf, tapered legs, casters, h. 29 1/2 in., w. 19 in. [$500/700] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

34. Six Louis XVI-Style Bleu and Creme Peinte Dining Chairs, incl. one fauteuil and five side chairs, rope-molded crest rail, floral blocked seat rail, stop-fluted tapered legs, h. 36 in., w. 20 in., d. 21 in. [$800/1200] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

35. Antique Louis XV-Style Polychrome Painted and Parcel Gilt Lady’s Writing Desk, shaped top, conforming case with five drawers, cabriole legs, h. 29 in., w. 35 1/2 in., d. 16 1/2 in. [$500/700] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA. 36. Continental Walnut Diminutive Kas, likely 18th c., plank top, paneled doors and base, bracket feet, h. 36 1/2 in., w. 30 in., d. 13 in. [$300/500] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA. 7

37. Empire Gilt Bronze and Marble Two-Light Candelabra, 19th c., foliate branches, swan handles, h. 17 1/4 in., w. 11 in., d. 3 1/4 in. [$1000/1500] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

38. Pair of Napoleon III Gilt Bronze Figural Chenets, 19th c., scroll base, with portrait bust finial, h. 10 in., w. 11 in., d. 8 1/2 in. [$400/600] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

39. Pair of Napoleon III Gilt-Bronze Chenets, late 19th c., swagged urn, over fluted column base, 11 3/4 in., w. 5 1/2 in., d. 4 1/4 in. [$400/600] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

41. Antique French Bronze TwoLight Sconces, bowknot and tassel backplate, French horn candle arms, h. 18 in., w. 10 in., d. 4 in. [$500/700] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

42. Pair of Empire-Style Gilt Bronze and Marble Three-Light Figural Candelabra, floral candle arms, each putto standard holding a cornucopia, tall cylindrical base, h. 21 1/2 in., w. 12 1/2 in., d. 5 1/4 in. [$800/1200] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA. 8

40. Pair of Antique French Bronze Portrait Busts of French Royalty, late 19th c., tall pedestal base, cast with French coat-of-arms, h. 10 1/4 in., dia. 4 in. [$500/700] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

43. Empire Gilt Bronze and Marble Three-Light Candelabra, early 19th c., foliate branches, urn mounted with Bacchic masks and grape vines, h. 18 1/4 in., w. 8 in., d. 6 1/2 in. [$1200/1800] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

45. Pair of Louis XVI-Style Polished Bronze Candlesticks, tapered and fluted standard, h. 11 in., dia. 5 1/2 in. [$300/500] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

47. Diminutive Georgian Papier Mache Tray on Stand, lacquered tray with genre scene, 7 3/4 in. x 10 1/2 in., on later ebonized stand, h. 22 in. [$200/300] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

49. Pair of Dr. Wall Period Worcester Porcelain Shell-Form Dishes, 18th c., blue W mark, floral reserves, cobalt ground, repeating gilt rosettes, 7 1/2 in. x 7 1/2 in. [$400/600] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

44. Pair of Louis XVI-Style Gilt Bronze Candlesticks, tapered and fluted standard, foliate design, h. 9 1/2 in., dia. 5 in. [$400/600] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

46. Pair of Empire-Style Gilt-Bronze Candlesticks, stop-fluted column standard with swags, h. 9 in., w. 3 1/4 in., d. 3 1/4 in. [$400/600] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

48. George II Sterling Silver Diminutive Coffee Pot, Charles Martin, London, 1735, of lighthouse form, h. 7 5/8 in.; together with Victorian sterling mug, George Unite, Birmingham, 1882, flatchased fern decoration, h. 3 1/4 in.; combined wt. 18.90 troy ozs. Note: Dent to top of handle of mug. (2 pcs.) [$500/700] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

50. Six Royal Worcester for Tiffany & Co. Porcelain Plates, 19th c., foliate and scroll decoration, Pompadour pink scalloped rim, dia. 9 in. [$300/500] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

51. Group of English Porcelain Tableware, incl. Royal Worcester ret. by Tiffany & Co. consommé cups (7) and saucers (12); Minton demitasse set incl. cups (6), saucers (6, one larger), and a covered sugar; a Minton & Co. tile, 8 x 8 in.; and 2 Newhall dishes, dia. 5 1/4 in. (35 pcs.). [$500/700] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

52. Pair of French Silver GiltMounted Cut Glass Claret Jugs, late 19th c., Andre Aucoc, act. 18871911, 6 rue de la Paix, Paris, the 1st Standard mounts with husks, diaperwork and gadroon borders, flat moonshaped glass bodies, h. 10 1/3 in. [$1200/1800] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

53. Antique French Six Panel Screen, 18th/19th c., arabesque wallpaper panels, with urns, flowers, bouquets and putti, each panel h. 73 1/2 in. x 25 in.; total width 150 in. [$700/1000] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

55. Pair of Louis XV-Style Gilt Bronze Candlesticks, rococo design, h. 10 in., dia. 6 in [$500/700] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

54. Pair of Louis XVI-Style Gilt Bronze Candlesticks, tapered standard, cast with swags and berry leaves, h. 10 1/4 in., dia. 5 1/4 in. [$400/600] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

56. Diminutive Empire-Style Gilt Bronze Cassolettes, foliate decoration, the lids reversing to candle nozzles, h. 7 3/4 in., dia. 3 in. [$400/600] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

58. Antique Jasperware Plaque of the Rape of the Sabine Women, unmarked, frame tag reads “Rape of Sabines, Old Wedgwood Ware”, sight 5 in. x 8 1/2 in., giltwood frame. [$300/500] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

57. Antique Bronze Plaque After Fragonard, top cartouche titled “Les Bons Eleves”, marked “L.V.B. Graveur”, depicting children playing with dogs, hanging loop, h. 7 1/2 in., w. 7 1/2 in. [$200/300] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

59. Tzara, Tristan/Illustrated by Max Ernst, Yves Tanguy, and Miro. L’Antitete. I: Monsieur Aa l’Antiphilosopher. II: Minuits pour geants. III: Le Desesperanto., Paris, Bordas, 1949, first illustrated edition, 3 vols., 16mo (^ in. x 4 3/4 in.), each volume with paper cover and a second one in vellum, the cover titles and stars on the spines printed in silver, edition limited to 200 copies, this set one of 23 on Hollande van Gelder, cloth covered slipcase, each volume signed by Tzara and the artist, each volume with in-text illustrations and with out of text suites of hand-colored etchings by the artists; Ernst (8), Tanguy (7), and Miro (8). The Miro etchings are unique works of art because the reserves have original designs in ink and watercolor. [$8000/12000] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

60. [Raoul Dufy (French, 1877-1953)], Fargue, Leon-Paul. Illuminations Nouvelles, Lithographies et Dessins de Raoul Dufy, Paris, J. Daragnes, 1953, small folio (12 3/4 in. x 10 in.), lithographed plates and in-text illustrations by Dufy, incl. 14 double-page plates (7 in color), contents loose as issued, board chemise, number 71 of 250 copies. [$800/1200] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

61. Antique Green Silk Brocade Bishop’s Cope, 19th c., with green and gold velvet brocade trim, h. 52 1/2 in., w. 41 in., mounted within a clear acrylic frame, overall, 60 3/4 in. x 49 1/2 in. [$300/500] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

62. Napoleon III Gilt Bronze Cartel Clock, late 19th c., striking bell movement marked “Japy Freres”, cloud and scroll case with Cupid’s chariot drawn by doves, h. 20 in., w. 8 1/2 in., d. 3 3/4 in. [$700/1000] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

63. Chinese Export Famille Rose Porcelain Cachepot, 18th c., floral decoration, h. 3 1/2 in., dia. 4 in. [$300/500] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

64. Pair of Chinese Export Famille Rose Porcelain Beaker Vases, 18th c., bird and flower decoration, h. 7 1/2 in., dia. 3 3/8 in. [$600/900] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA

66. Silver-Mounted Chinese Export Famille Rose Porcelain Covered Ewer or Jug, 18th c., lobed baluster body decorated with flower sprays, h. 10 1/4 in., w. 6 1/4 in. [$300/500] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

65. Pair of Chinese Export Famille Rose Porcelain Baskets, Qing Dynasty (1644-1911), reticulated oval bodies, exteriors with multi-colored applied florets, interiors with flower and fruit sprays, h. 2 3/8 in., w. 7 3/4 in., d. 5 1/2 in. and h. 2 3/8 in., w. 7 1/2 in., d. 5 3/4 in. [$300/500] Provenance: Marcel Rosenau, Cie. des Arts Anciens, Paris, Jan. 1963; Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

68. Pair of Chinese Export Famille Rose Porcelain Garniture Vases, 18th c., decorated with flowering branches, h. 9 in. [$300/500] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

67. Chinese Export Famille Rose Porcelain Cachepot or Wine Cooler, 18th c., molded undulating rim, loop handles, decorated with shells, rocaille, and floral groupings, gilt bronze mounted foot ring, h. 4 7/8 in., w. 7 1/8 in., d. 5 3/4 in. [$300/500] Provenance: Acquired Paris, c. 1960s; Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

69. Three Chinese Export Porcelain Saucer Dishes, 18th c., incl. pair with central bird-on-tree roundels, encircled by cobalt and gilt bands, dia. 6 1/8 in., and single with famille rose floral and rock decoration, dia. 4 1/2 in. [$200/400] Provenance: (Famille rose) Galerie d’Art de la Compagnie de la Chine et des Indes, Paris, Aug. 1966; Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA. 12

70. Chinese Export Famille Rose Porcelain Charger, 18th c., decorated with birds amid hydrangeas, chrysanthemums, prunus, and other flowers and foliage, h. 2 in., dia. 15 1/2 in. [$600/800] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA. 71. Chinese Export Famille Rose Porcelain Bowl, 18th c., exterior decorated with floral sprays, interior with flowers and garlands interspersed with birds suspending bells, base with “Elinor Gordon” label, h. 4 1/2 in., dia. 10 1/4 in. [$800/1200] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

72. Chinese Export Famille Rose Porcelain Charger, probably 18th c., decorated with hydrangeas, chrysanthemums, and prunus, cavetto with blue, iron red, and gilt band with fish and flower heads, h. 1 7/8 in., dia. 12 5/8 in. [$400/600] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

74. Chinese Export Famille Rose Porcelain Bowl, 18th c., exterior painted with peacocks amid flowers, h. 4 5/8 in., dia. 10 1/4 in. [$200/300] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

73. Four Chinese Export Famille Rose Porcelain Dishes, 18th c., incl. pair decorated with floral groupings and banded cavetto; single similarly decorated with birds; and single with floral sprays; dia. 9 in. [$400/600] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

75. Chinese Famille Rose Porcelain Vase, 20th c., decorated with birds amid flowers and rocks, h. 14 1/4 in., mounted as a lamp, h. (incl socket) 20 3/4 in [$100/200] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

76. Paul Jacoulet (French, 1902-1960), 1940, “Les Jades. ‘Chinoise’”, woodblock print, pencil signed mid-right above boat seal, sealed and titled lower right and lower margins, reverse numbered “317/350”, “Asian Fine Arts / Minneapolis” label on backing paper, sheet 18 1/2 in. x 14 1/4 in. [$600/800] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

77. Decorative Giltwood Mirror, molded surround, beveled plate, h. 69 in., w. 45 in. [$300/500] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

78. Pair of Louis XV/Louis XVI Bronze-Mounted Kingwood and Parquetry Nightstands, frieze drawer, cabriole legs, sabots, h. 29 1/2 in., w. 20 in., d. 14 1/2 in. [$500/700]

79. Louis XV-Style Bronze-Mounted Kingwood and Parquetry Low Table, shaped top, serpentine apron, cabriole legs, sabots, h. 20 in., w. 54 in., d. 29 in. [$1000/1500]

80. Pair of Louis XVI-Style Bronze-Mounted Rouge Marble Pedestals, reeded standard, raised plinth base, h. 45 in., w. 16 1/2 in., d. 16 1/2 in. [$1500/2500]

82. Pair of Louis XVI-Style BronzeMounted Kingwood and Marquetry Nightstands, frieze drawer, tambour doors, cabriole legs, sabots, h. 33 in., w. 21 in., d. 13 1/2 in. [$500/700]

81. Antique Louis XVI-Style Bronze-Mounted Marble Pedestal, stepped top, floral plaques, raised base, h. 44 in., w. 16 1/2 in., d. 16 1/2 in. [$1200/1800]

83. Louis XV-Style Bronze-Mounted Kingwood Bureau Plat, shaped inset leather top, three frieze drawers, cabriole legs, sabots, h. 31 in., w. 58 in., d. 28 1/2 in. [$1000/1500]

84. Pair of Louis XV-Style Bronze-Mounted Kingwood and Marquetry Side Tables, shaped top and apron, cabriole legs, sabots, h. 29 in., w. 20 in., d. 20 in. [$600/900]

85. Antique Louis XVI-Style Ebonized Bureau Plat, inset leather top, five drawers, writing slide,tapered legs, bronze capped feet, h. 30 in., w. 59 in., d. 29 1/2 in. [$1000/1500]

86. Louis XVI-Style Gilt Bronze Console Table, glass top, acanthine and floral frieze, entwined stretcher, foliate feet, h. 30 in., w. 39 1/2 in., d. 17 1/2 in. [$800/1200]

87. Antique Louis XV-Style Giltwood Mirror, scrolled acanthine crest, undulating pierced foliate surround, h. 57 1/2 in., w. 37 in. [$1200/1800] 88. Antique Louis XV-Style Carved Giltwood Mirror, extensively modeled foliate surround mounted with cherubs, birds, and mythical masks, h. 75 in., w. 44 in., d. 7 in. [$3000/5000]

89. Pair of Continental Rococo-Style Giltwood Armchairs, pierced crest, foliate decoration, cabriole legs, h. 40 1/2 in., w. 28 in., d. 21 1/2 in. [$1000/1500]

90. Pair of Louis XV-Style BronzeMounted Kingwood Plant Stands, inset marble top, shaped stretcher shelf, cabriole legs, sabots, h. 30 in., dia. 16 in. [$500/700]

91. Pair of Louis XVI-Style Bronze and Polychrome Porcelain-Mounted Kingwood and Marquetry Cabinets, shaped marble top, foliate frieze, caryatid mounts, paneled center door with classical reserve, conforming base, tapered feet, h. 40 in., w. 55 1/2 in., d. 20 1/2 in. [$4000/6000]

92. Continental Carved Marble Figure of a Mountain Goat, 20th c., climbing a rockwork base, h. 34 in., w. 39 in., d. 14 in. Note: Lacks horns [$800/1200]

93. Carved Marble Classical Figure of a Woman Standing in Contrapposto, h. 49 in., w. 13 in., d. 13 in. [$2000/3000]

94. Marble Bust of a Woman with Flowers at Neckline, h. 21 in., w. 14 in., d. 8 1/2 in., on a green marble pedestal, overall h. 64 in. [$1500/2500] 95. Carved Marble Bust of Woman with Water Lily, h. 23 1/2, w. 17 1/2 in., d. 13 in. [$800/1200]

96. Malvina Cornell Hoffman (American, 1885-1966), “Matador”, 1953, bronze with golden patina, signed, dated, and “Roman Bronze Works Inc. N.Y.” inscribed on self-base, h. 11 1/2 in., w. 8 in., d. 3 in., stone base, overall h. 12 1/2 in. [$2000/3000]

97. Bronze Figural Grouping of “Coming Through the Rye”, after Frederick Sackrider Remington, signature inscribed on self-base, h. 27 in., w. 31 in., d. 28 in. [$1000/1500]

98. Patinated Bronze Figure of “Abraham Lincoln”, after Daniel Chester French, signature and “June 1915” inscribed on back of chair, “Art Bronze” foundry stamp and inscribed “F.P. 1” on self-base, h. 14 3/4 in., w. 9 1/4 in., d. 8 3/4 in. [$500/700]

99. Patinated Bronze Figural Group of a Satyr with Bacchante and Putti, manner of Clodion, signature inscribed on self-base, h. 19 in., w. 13 1/2 in., d. 13 in., marble base, overall h. 21 1/2 in [$500/700]

101. Meissen-Style Polychrome Porcelain Figural Group of an Amorous Couple with Lambs, mounted as a lamp, h. (incl. socket) 18 in., dia. 8 1/2 in. [$400/600]

100. Pair of Bronze Figures of Seated Muses, after Etienne-Henri Dumaige each, signature inscribed on each self-base, both h. 14 1/2 in., w. 6 1/2 in., d. 7 1/2 in [$1000/1500]

102. 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 [$600/900]

103. Pair of Baccarat-Style Gilt Bronze and Cut Crystal Urns, figural head handles, rouge marble bases, h. 18 in., w. 9 in., d. 8 1/2 in. [$1000/1500]

104. 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 [$2000/3000]

105. Suite of Sevres-Style Porcelain Cabinet Plates, probably late 19th c., spurious Sevres “Chateau de Tuileries 1846” marks, each well centered with gilt Louis Philippe cipher in laurel wreath or figural group, 8 plates with bleu de ciel borders, 5 with bleu du roi borders, dia. 9 5/8 in. [$1000/2000] Provenance: Descended in the Family of Angele Longer (Mrs. Evan Jones McCall). The handsome portrait of Mrs. McCall by Francois Bernard, which also descended in her family, sold in these rooms Dec. 1, 2007, lot 415.

106. Pair of Paris Polychrome and Parcel Gilt Porcelain Vases, bleu celeste banding, gilt ground, bodies reserved with Napoleonic portraits, necks with portrait medallions of courtiers, h. 24 in. w. 9 1/2 in., d. 8 in. [$500/700]

108. Large Chinese Export Famille Rose Porcelain Punch Bowl, late 18th c., painted with idyllic countryside scenes with nobles and peasants, h. 5 1/2 in., dia. 13 1/2 in., wood stand, overall h. 7 3/8 in. [$800/1200]

107. Pair of Continental Polychrome Porcelain Plates, 19th c., portrait reserves, rims with black ground and gilt floral motif, dia. 14 in. [$400/600]

109. Pair of Modern Chinese Famille Rose Porcelain Octagonal Fish Bowls, decorated in “rose medallion” pattern with figural and bird-andflower panels and cartouches, h. 19 in., w. 20 in., d. 20 in., wood stands, overall h. 32 in. [$800/1200]

110. French Bronze-Mounted Porcelain Serving Bowl, probably 19th c., probably Samson, decorated in Chinese Export Mandarin palette-style with famille rose figural scenes, pierced bronze foliate mounts, h. 15 in., w. 22 1/4 in., d. 12 1/2 in [$700/900] 18

111. English Renaissance Revival Mahoghany Center Table, c. 1860, stepped circular top, foliate standard, paw feet, h. 29 1/2 in., dia. 51 in. [$1000/1500]

112. Anglo-Colonial Silvered Repousse Low Table, inset upholstered top, foliate and floral decoration, cabriole legs, paw feet, h. 16 1/2 in., w. 47 in., d. 24 in. [$1000/1500]

113. Pair of Anglo-Colonial-Style Silvered Repousse Meridiennes, heavily scrolled back, incurvate foliate arm, lobed feet, h. 44 in., w. 73 in., d. 29 in. [$2000/3000]

114. Edwardian Painted Satinwood Carlton House Desk and Armchair, early 20th c., superstructure with dividers and cartonnier compartments, two frieze drawers, tapered legs, casters, h. 37 in., w. 42 in., d. 25 in.; armchair with pieced splat and caned seat, h. 35 1/2 in., w. 20 1/2 in., d. 17 1/2 in. [$1200/1800]

115. Edwardian Painted Satinwood Pembroke Table, early 20th c., drop-leaf top with putti reserve and floral decoration, tapered legs, casters, h. 28 1/2 in., w. 35 in., d. 20 in. [$700/900]

116. Adam-Style Painted Satinwood Triple-Back Settee, shield back with floral and swag decoration, shaped arms, turned and tapered legs, h. 38 in., w. 57 in., d. 21 in. [$600/800]

117. Pair of William and MaryStyle Red Lacquer and Parcel Gilt Side Chairs, 20th c., labeled “Scholle’s, Chicago”, serpentine crest rail, caned and pierced splat, shaped stretcher, shell-carved cabriole legs, h. 45 1/2 in., w. 21 in., d. 18 1/2 in. [$600/900] 19

118. Pair of English Rococo-Style 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]

119. Agra Carpet, cream and pale-yellow ground, foliate design in red, green and pink, 7 ft. 10 in. x 11 ft. 9 in. [$700/1000]

120. Persian Sarouk Carpet, red ground, overall foliate design, 8 ft. 6 in. x 11 ft. 7 in. [$700/1000]

121. Antique Heriz Carpet, salmon ground, central medallion, 10 ft. 6 in. x 16 ft. 5 in. [$2000/3000]

122. Persian Qashqai Carpet, triple medallion, repeating border design, 4 ft. 9 in. x 7 ft. 5 in. [$700/900]

123. Caucasian Hall Runner, dark blue and red ground, repeating central medallions, 4 ft. 5 in. x 11 ft. 7 in. [$1400/1800]

124. Persian Serapi Carpet, dark blue and cream ground, stylized foliate design, 6 ft. 8 in. x 8 ft. [$2000/2500]

125. Persian Sultanbad Carpet, khaki ground, subtle foliate design, 6 ft. 7 in. x 7 ft. 10 in. [$2000/2500]

126. Persian Kashan Carpet, dark and light blue ground, central medallion, foliate designs in yellow, blue orange and red, 9 ft. 5 in. x 12 ft. 4 in. [$2800/3400]

127. Persian Sarouk Carpet, blue ground, overall foliate design, 8 ft. 7 in. x 12 ft. 3 in. [$2800/3400] 20

128. Persian Serapi Carpet, dark blue and cream ground, foliate designs, 9 ft. 9 in. x 13 ft. [$3800/4800]

129. Persian Heriz Carpet, red and cream ground, central medallion, stylized foliate design, 9 ft. 9 in. x 12 ft. 9 in. [$3500/4500]

130. Sultanbad Carpet, cream and light blue ground, overall foliate design, 9 ft. x 11 ft. 10 in. [$2400/2800]

131. Sultanbad Carpet, light greengrey ground, foliate design, 8 ft. 10 in. x 12 ft. 5 in. [$2400/2800]

133. Continental Carved Stone Figural Garden Pedestal, lobed dished top, cherub standard, scrolled foliate base, h. 38 in., w. 16 in., d. 13 in. [$300/500] Provenance: Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

132. Zebra Skin Rug, lined, edge leather-wrapped, 7 ft. x 11 ft. [$1000/1500]

134. Classical-Style Molded Stone Garden Bench, incurvate seat, heavily scrolled supports, h. 18 in., w. 45 1/2 in., d. 15 1/2 in. [$400/600] Provenance: Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

135. Pair of Monumental Carved Stone Garden Urns, decorated with floral swags, lobed body, plinth base, h. 39 in., d. 26 in. [$1000/1500] Provenance: Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

136. Pair of Painted Molded Stone Garden Urns, swag decoration, lobed body, plinth base, h. 17 in., w. 15 in., d. 14 in. [$200/300] Provenance: Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

137. Vintage Continental Classical-Style Garden Statue, modeled as a maiden carrying an urn, h. 52 1/2 in., w. 16 in., d. 15 1/2 in. [$300/500] Provenance: Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

138. Antique American Mixed Woods and Painted Cast Iron Garden Bench, lion’s head terminals, slatted back and seat, scrolled legs, h. 31 in., w. 50 in., d. 24 in. [$400/600] Provenance: Collection of Dr. Norbert and Mary Fahey, Sacramento, CA. 21

140. Pair of Vintage Painted Metal Plant Stands in the Victorian Taste, reticulated top, phoenix head mounts, winding scrolled legs, paw feet, h. 19 in., w. 12 in., d. 15 in. [$200/300] Provenance: Collection of Dr. Norbert and Mary Fahey, Sacramento, CA. 139. Five-Piece Vintage Painted Metal Garden Suite in the Victorian Taste, incl. table, pair of chairs, bench, and plant stand; scrolled reticulated motif, table h. 25 in., w. 26 in., d. 26 in.; bench h. 16 in., w. 50 in., d. 17 in.; chair h. 34 in., w. 17 in., d. 17 in.; stand h. 25 in., w. 11 in., d. 11 in. [$500/700] Provenance: Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

141. Vintage American Painted Metal Garden Table and Six Armchairs, scroll motif, reeded foliate legs, table h. 28 in., w. 40 in., d. 40 in.; chairs h. 31 in., w. 23 in., d. 20 in. [$700/1000] Provenance: Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

142. Pair of Vintage Painted Metal Garden Chaises Longues, floral vine decoration, mesh back and seat, scrolled wheels, h. 44 in., w. 31 in., d. 77 in. [$400/600] Provenance: Collection of Dr. Norbert and Mary Fahey, Sacramento, CA. 143. Antique English Patinated Metal Garden Figure, modeled as a boy holding a fruit basket, h. 38 in., w. 19 in., d. 13 in. [$1000/1500]

144. Pair of Patinated Metal Garden Figures of Geese, life-size, taller h. 28 in. [$800/1200]

146. Pair of Patinated Bronze Garden Figures of Ducks, taller h. 19 in. [$400/600]

147. Pair of Large Patinated Bronze Figures of Lions, plinth bases, h. 22 in., l. 39 in., w. 17 in. [$1500/2500]

148. Monumental Wrought Iron Console Table, serpentine cast stone top, large bracket base with scroll apron, h. 39 1/4 in., w. 68 in., d. 37 in. [$400/600] 22

145. Decorative Carved Marble Garden Figure of an Egret, h. 28 1/2 in., w. 9 in., d. 21 in. [$1000/1500]

149. Pair of Spanish Rococo-Style Wrought Iron and Marble Garden Tables, scrolled standard with floral sprigs, h. 32 in., dia. 24 in. [$400/600]

150. 14 kt. Yellow Gold, South Sea Pearl and Diamond Ring, two center white pearls, approx. 11.30 mm.; set with numerous round brilliant cut diamonds, total wt. approx. 0.37 ct., G color, SI1 clarity; size 7.5; IAS report. [$1200/1600]

151. 14 kt. Yellow Gold and South Sea Pearl Necklace, 35 off-round cultured pearls, graduated from 10.00 to 13.00 mm., plunger style bead clasp; l. 18 in.; AIGL report. [$1200/1600]

152. 14 kt. White Gold, Tahitian Pearl and Diamond Necklace, 16 cultured pearls, graduated from 8.00 to 11.50 mm., elaborately linked with 462 prong set round brilliant cut diamonds, total wt. approx. 5.82 cts., G-I color, I-1 to I-3 clarity; l. 17 1/2 in.; AIG report. [$5000/7000]

153. 14 kt. Yellow Gold, Emerald and Diamond Ring, 3 central prong-set emerald-cut emeralds, total wt. approx. 1.89 cts.; bezel with numerous round brilliant-cut diamonds, total wt. approx. 0.10 ct., G-H color, I clarity; size 7; IAS report. [$800/1200]

154. Platinum, Emerald and Diamond Ring, center prong-set emeraldcut emerald, wt. approx. 1.60 cts., 7.64 x 6.48 x 4.26 mm.; bezel and shoulders with 48 round brilliant cut diamonds, total wt. approx. 0.40 ct., G-H color, VS-SI clarity; size 7; Florida Diamond Appraisers report. [$1500/2500]

157. 18 kt. Yellow Gold, Emerald and Diamond Ring, center prongset octagonal step-cut emerald, wt. exactly 6.97 cts., 13.03 x 10.18 x 6.28 mm; bezel with 14 prong-set round brilliant-cut diamonds, total wt. approx. 2.80 cts., K color, VS2 to SI2 clarity; size 6; SGL and GIA reports. [$4000/6000]

159. Platinum, Emerald and Diamond Bracelet, 23 prongset oval emeralds, total wt. approx. 8.80 cts.; linked by bezels with 338 prong-set round brilliant cut diamonds, total wt. approx. 2.04 cts., H color, SI2 to I2 clarity; l. 7 1/4 in.; SGL report. [$3000/5000]

155. Platinum, Emerald and Diamond Ring, center prong-set rectangular cut-cornered step-cut emerald, wt. approx. 2.76 cts., 9.80 x 7.70 mm.; stylized cross-form bezel with 248 round brilliant cut diamonds, total wt. approx. 2.40 cts, 1.00-1.50 mm., F-H color, VS2 to SI2 clarity; size 7.5; AIGL report. [$4000/6000]

156. 18 kt. Yellow and White Gold, Emerald and Diamond Ring, center emerald cut-emerald, wt. exactly 5.94 cts., 10.77 x 10.11 x 7.59 mm; halo with 20 round brilliant-cut diamonds, total wt. approx. 0.77 ct., 2.00 mm, E-F color, VS1 to SI1 clarity; size 6.75; AGL and AIGL reports. [$5000/7000]

158. Oscar Friedman Art Deco-Style 18 kt. White Gold, Diamond and Emerald Ring, center bezel-set round brilliant cut-diamond, wt. approx. 0.47 ct., I color, SI3 clarity; interior bezel with 16 baguette-cut emeralds, total wt. approx. 0.93 ct., 1.500-2.50 mm; exterior bezel and band with 42 round brilliant cut diamonds, total wt. approx. 0.30 ct., F-G color, SI1 clarity; size 6.75; AIGL report. [$1500/2500] 160. 18 kt. White Gold, Emerald and Diamond Bracelet, center prong-set octagonal step-cut emerald, wt. exact 9.37 cts., 12.89 x 10.42 x 8.87 mm; stylized bezel and links set with numerous round brilliant and baguette cut diamonds, total wt. approx. 4.35 cts., F-G color, VS to SI clarity; l. 6 1/2 in.; IAS and GIA report. [$8000/12000] 23

161. 14 kt. White Gold, Emerald and Diamond Necklace, 45 graduated prongset oval mixed cut emeralds, total wt. approx. 24.81 cts.; bezels with 752 prong-set round brilliant-cut diamonds, total wt. approx. 5.40 cts., G-I color, SI-2 to I-2 clarity; l. 17 in.; AIG report. [$6000/8000]

162. Oscar Heyman and Brothers Platinum, Emerald and Diamond Ring, c. 1962, serial number 62506, set with an emerald-cut emerald, approx. 2.50 cts., in a ballerina setting with 33 tapered baguette cut diamonds, totaling approx. 3.30 cts., G-H color, VS clarity; accompanied by Oscar Heyman Certificate of Authenticity dated August 9, 2019. Note: Emerald of good color but badly abraded and chipped. [$6000/9000] Provenance: Estate of Iris Brittain Rayfield (1934-2018).

164. 18 kt. White Gold, Emerald and Diamond Ring, center oval mixed-cut emerald, wt. approx. 8.35 cts., 14.73 x 10.82 x 7.05 mm; double bezel set with numerous round brilliant cut diamonds, total wt. approx. 2.81 cts.; size 7; GIA report. [$5000/7000]

163. 18 kt. White Gold, Emerald and Diamond Eternity Band Ring, 6 bezel-set oval emeralds, total wt. approx. 3.80 cts.; and 6 bezel-set princess or emerald-cut diamonds, total wt. approx. 1.52 cts.; size 7. [$3000/5000]

165. Platinum, Sapphire and Diamond Ring, center prong set oval shaped mixed cut blue sapphire, wt. approx. 2.00 cts., 6.20 x 5.65 x 3.76 mm; bezel and shoulders with 38 prong and channel set baguette and round brilliant cut diamonds, total wt. approx. 0.77 ct., F-H color, VS-1 to SI-1 clarity; size 7; AIG report. [$1500/2500]

166. 18 kt. White Gold, Sapphire and Diamond Ring, center prong-set oval shaped mixed cut blue sapphire, wt. exact 1.01 cts., 6.75 x 5.75 x 3.33 mm; triple halo and supports with 136 round brilliant cut diamonds, total wt. approx. 0.71 ct., 1.00-1.20 mm; size 6.75; AIGL and GIA reports. [$1500/2500]

169. 14 kt. White Gold, Sapphire and Diamond Necklace, mounted with 51 oval shaped mixed cut blue sapphires, total wt. approx. 29.56 cts., 5.00 x 4.00 - 8.00 x 6.00 mm; linked by bezels set with 780 round brilliant cut diamonds, total wt. approx. 5.40 cts., H-J color, SI2 to I2 clarity; l. 16 1/2 in.; AIGL report.[$4000/6000] 24

167. 18 kt. White and Yellow Gold, Sapphire and Diamond Ring, center prong-set rectangular cushion mixed cut blue sapphire, wt. exact 1.97 cts., 7.09 x 6.58 x 4.81 mm; triple band set with 66 prong-set round brilliant cut diamonds, total wt. approx. 0.48 ct., F-H color, SI-1 to I-1 clarity; size 6.75; AIG and GIA reports. [$1500/2500]

170. 18 kt. White Gold, Sapphire and Diamond Ring, center oval mixed cut blue sapphire, wt. approx. 13.93 cts., 15.35 x 10.61 x 9.12 mm; double bezel with numerous round brilliant cut and single cut diamonds, total wt. approx. 1.79 cts.; size 6.75; GIA report. [$4000/6000]

168. Pair of Platinum, Sapphire and Diamond Dangle Earrings, two prongset marquise mixed cut blue sapphires, total wt. approx. 3.46 cts., 10.30 x 5.45 x 3.38 mm; double bezels with 158 prong set round brilliant cut diamonds, total wt. approx. 0.93 ct., E-G color, VS-1 to SI-1 clarity; l. 1 1/4 in.; AIG report. [$2500/3500]

171. 18 kt. White Gold, Sapphire and Diamond Ring, center prong-set cushion shaped brilliant step-cut blue sapphire, wt. approx. 2.23 cts., 7.94 x 7.94 x 3.82 mm; double bezel with numerous round brilliant and single cut diamonds, total wt. approx. 1.93 cts.; size 7; GIA report. [$1500/2500]

172. 18 kt. Yellow Gold, Diamond and Multicolor Gemstone Ring, stylized floral design set with 12 round shaped diamonds and numerous blue and red gemstones, size 5.75 [$400/600]

173. 18 kt. White Gold, Ruby and Diamond Ring, center oval shaped ruby, wt. approx. 2.10 cts., 8.29 x 6.49 x 4.62 mm; stylized floral bezel with 46 channel-set baguette-cut diamonds, total wt. approx. 1.00 ct.; size 6.5; SGL report. [$2000/3000]

174. 18 kt. White Gold, Ruby and Diamond Ring, center prong-set oval mixed cut ruby, wt. exact 1.58 cts., 7.66 x 6.01 x 4.16 mm; bezel and supports with 24 prong-set round brilliant-cut diamonds, total wt. approx. 0.52 ct., 2.40-1.60 x 1.23 mm (depth est.), F-H color, VS-2 to SI-2 clarity; size 7; AIG and GIA reports. [$1200/1500]

176. 14 kt. White Gold, Ruby and Diamond Necklace, mounted with 41 oval shaped mixed cut rubies, total wt. approx. 43.65 cts., 7.00 x 5.00-9.00 x 7.00 mm; bezels with 598 round brilliant-cut diamonds, total wt. approx. 8.43 cts., 1.30-1.50 mm, H-J color, SI3 to I3 clarity; l. 17 in.; AIGL report. [$6000/8000]

175. 18 kt. Yellow Gold, Ruby and Diamond Ring, center prong-set oval shaped brilliant step-cut ruby, wt. exact 6.09 cts., 13.58 x 9.20 x 5.31 mm; tiered bezel with 148 prongset round brilliant-cut diamonds, total wt. approx. 1.25 cts., G-I color, VS-2 to SI-2 clarity; size 6.75; AIG and GIA reports. [$5000/7000]

177. 14 kt. Yellow Gold and Diamond Ring, center prong-set marquise shaped diamond, wt. approx. 1.58 cts., 11.50 x 5.50 x 4.00 mm (depth est.), H color, I-2 clarity; adjacent clusters and ribbon band with 24 prong-set marquise and baguette-cut diamonds, total wt. approx. 2.00 cts., G-I color, VS-2 to SI-2 clarity, band with stabilizer beads; AIG report. [$5000/7000]

178. Pair of 18 kt. Yellow Gold and Diamond Earrings, stylized cascade design with numerous prong set round shaped diamonds, total wt. approx. 5.93 cts., l. 1 in. [$2500/3500]

180. 14 kt. White Gold and Diamond Tennis Bracelet, mounted with 44 prong-set round brilliant-cut diamonds, total wt. approx. 7.66 cts., approx. 3.50-3.60 x 2.25 mm, G-H color, SI1 to SI3 clarity; l. 7 in.; SGL report. [$5000/7000]

182. 18 kt. White Gold and Diamond Pavé Stud Earrings, dia. 7/16 in. [$1000/1200]

183. 18 kt. White Gold and Diamond Stud Earrings, 2 center prong-set round shaped diamonds, wt. approx. 1.02 cts. and 1.08 cts.; bezels with numerous round diamonds, total wt. approx. 0.33 ct. [$3000/5000]

179. 14 kt. Yellow Gold and Diamond Hoop Earrings, set with 28 round shaped diamonds, total wt. approx. 11.85 cts.; dia. 1 1/4 in. [$5000/7000]

181. 18 kt. White Gold and Diamond Necklace, mounted with 115 round brilliant-cut diamonds, total wt. approx. 23.01 cts., 3.40-4.00 mm, H-K color, SI1 to I1 clarity; finished with tension lock clasp and double safety clasp; l. 17 1/4 in.; AIGL report. [$15000/20000]

184. 14 kt. White Gold and Diamond Tennis Bracelet, mounted with 37 round shaped diamonds, total wt. approx. 5.34 cts.; l. 6 3/4 in. [$2500/3500] 25

185. 18 kt. White Gold and Diamond Art Deco-Style Ring, center bezel-set round shaped diamond, wt. approx. 1.24 cts.; reticulated bezel and supports with numerous baguette and round shaped diamonds; size 6.75 [$2000/3000]

186. 14 kt. White Gold and Diamond Bangle Bracelet, set with 41 graduated round shaped diamonds, total wt. approx. 5.15 cts.; expandable opening; dia. 2 1/2 in. [$2500/3500]

187. 14 kt. White Gold and Diamond Tennis Bracelet, set with 36 round shaped diamonds, total wt. approx. 14.54 cts.; l. 7 1/4 in. [$8000/12000]

188. 18 kt. White Gold and Diamond Necklace, set with approx. 145 graduated round shaped diamonds, total wt. approx. 11.82 cts.; l. 17 in. [$7000/9000]

189. Oscar Friedman 18 kt. Yellow Gold and Yellow Diamond Necklace, mounted with 82 bezel set heart shaped brilliant-cut diamonds, total wt. approx. 13.74 cts., fancy to light yellow color, SI1 to I1 clarity; l. 16 1/4 in.; SGL report. [$12000/18000]

191. 14 kt. White Gold, Yellow Diamond and Diamond Ring, center prong-set heart shaped yellow diamond, wt. approx. 1.00 ct.; center prong-set heart shaped diamond, wt. approx. 0.52 ct.; bezels and bands with numerous round shaped diamonds; size 6.5 [$1500/2500]

190. 18 kt. Yellow and White Gold and Diamond Dangle Earrings, two center prong-set pearshaped yellow diamonds, total wt. approx. 10.59 cts., natural fancy light yellow color, SI1/2 clarity; interior bezels with 72 round brilliant-cut fancy yellow diamonds; exterior bezels and links with numerous round brilliant and marquisecut diamonds, total wt. approx. (incl. interior bezels) 2.18 cts., F-G color, VS/SI clarity; l. 1 5/8 in.; IAS report. [$50000/60000]

192. Pair of 14 kt. White and Yellow Gold Multicolor Diamond Dangle Earrings, central yellow diamond clusters with 32 cushion, heart, oval, round and pear-cut diamonds, total wt. approx. 5.57 cts., Fancy Deep Yellow to Light Yellow color, VS-1 to SI-2 clarity; framed by bezels with 86 prong set round brilliant cut diamonds, total wt. approx. 1.01 cts., G-I color, VS-1 to SI-2 clarity; l. 1 in.; AIG report. [$3500/4500]

193. 18 kt. Yellow, Rose and White Gold and Diamond Triple Strand Bracelet, first strand with 56 prong setround brilliant cut diamonds, total wt. approx. 2.50 cts., F-H color, VS-2 to SI-2 clarity; second strand with 56 prong-set round brilliant cut diamonds, total wt. approx. 2.71 cts., light yellow to light fancy yellow color, VS-1 to SI-1 clarity; third strand with 56 prong-set round brilliant cut diamonds, total wt. approx. 2.70 cts., white, very light brown to brown color, VS-2 to SI-2 clarity; l. 6 3/4 in.; AIG report. [$5000/7000]

194. 18 kt. White Gold and Diamond Ring, center prong-set cushion-cut fancy brown diamond, wt. approx. 2.10 cts., 7.90 x 6.60 x 4.09 mm (depth est.), SI-2 clarity; shoulders with 6 prong-set baguettecut diamonds, total wt. approx. 0.65 ct., G-H color, VS-1 to VS-2 clarity ; band with 16 bead-set round brilliant cut diamonds, total wt. approx. 0.10 ct., G-I color, SI-1 to I-1 clarity; size 6.5; AIG report. [$6000/8000]

195. 18 kt. White and Rose Gold Pink Diamond Ring, center prongset marquise-shaped brilliant-cut pink diamond, wt. exact 0.41 ct., 7.27 x 3.67 x 2.50 mm, fancy purplish pink color; triple bezel and shoulders with 142 round brilliant-cut diamonds, total wt. approx. 1.65 cts., 1.30-1.50 mm, near colorless to light yellow color; size 6.75; AIGL and GIA reports. [$6000/8000]

196. 14 kt. White Gold, Turquoise and Diamond Ring, center bezel-set oval turquoise, wt. approx. 4.81 cts.; stylized bezel with numerous round brilliant-cut diamonds, total wt. approx. 0.70 cts., G-H color, SI clarity range; size 6.75; IAS report. [$900/1000]

197. Vintage 14 kt. White Gold and Diamond Cameo Pendant, cameo depicting profile of a maiden with flowers; central bezel-set roundcut diamond, wt. approx. 0.18 ct., H-I color, SI3 clarity; l. 1 3/4 in., w. 1 1/4 in.; with link chain; IAS report. [$400/600]

End Session One 27

Session Two Saturday, April 9, 11 a.m. lots 198-560

198. Clementine Hunter (American/ Louisiana, 1886-1988), “Angels in Flight”, 1971, oil on board, monogrammed and dated mid-right, 16 in. x 24 in., framed. [$4000/6000] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

199. Clementine Hunter (American/Louisiana, 1886-1988), “Afternoon Coffee”, oil on canvas board, monogrammed lower right, estate stamp and inscribed en verso, “Gilley’s Gallery, Baton Rouge, LA” label on backing paper, 14 in. x 18 in., framed. [$3000/5000] Provenance: Estate of Yvonne Arnoult Ryan, 1999; Neal Auction Company, Apr. 8, 2000, lot 967; Gilley’s Gallery, Baton Rouge, LA; Roland Begneaud Family Collection, Lafayette, LA. Ill.: Gilley, Shelby R. Painting by Heart: The Life and Art of Clementine Hunter, Louisiana Folk Artist. Baton Rouge: St. Emma Press, 2000, p. 161. Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

200. Clementine Hunter (American/Louisiana, 1886-1988), “Zinnias”, oil on metal water pail with wood handle, monogrammed, h. 7 in., dia. 11 7/8 in., with handle h. 13 in. [$1000/1500] Provenance: Gilley’s Gallery, Baton Rouge, LA; Roland Begneaud Family Collection, Lafayette, LA. Ill.: Gilley, Shelby R. Painting by Heart: The Life and Art of Clementine Hunter, Louisiana Folk Artist. Baton Rouge: St. Emma Press, 2000, p. 164. Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

201. Clementine Hunter (American/Louisiana, 1886-1988), Set of Four Kitchen Canisters, with scenes including “Zinnias”, “Duck Hunt” and “Man with Cane”, oil on plastic canisters, each monogrammed, h. 5 3/4 in., w. 5 7/8 in., d. 4 in. to h. 9 in., w. 8 1/4 in., d. 5 3/4 in. [$1500/2500] Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

202. Clementine Hunter (American/Louisiana, 1886-1988), “Zinnias”, oil on wood tissue box, monogrammed, h. 3 3/4 in., w. 11 in., d. 6 in. [$700/1000] Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

203. Clementine Hunter (American/ Louisiana, 1886-1988), “Pecan Picking”, oil on wood book rack, monogrammed mid-right on side, inscribed on inside, h. 16 5/8 in., w. 25 1/8 in., d. 16 3/4 in., on metal casters, overall h. 19 in. [$1500/2500] Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead. 29

204. Clementine Hunter (American/Louisiana, 1886-1988), “Zinnias in a Blue Vase”, oil on canvas board, monogrammed lower right, inscribed “Ryan” en verso, 24 in. x 12 in., unframed. [$3000/5000] Provenance: Succession of Yvonne Arnoult Ryan, 1999; Neal Auction Company, Dec. 4, 1999, lot 970. Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

205. Clementine Hunter (American/Louisiana, 1886-1988), “Interior Scene with Zinnias”, oil on board, monogrammed mid-right, 16 in. x 20 in., framed. [$5000/7000] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

206. Clementine Hunter (American/Louisiana, 1886-1988), “Dancing at the Juke Joint”, oil on board, monogrammed mid-right, 16 in. x 19 7/8 in., framed. [$5000/7000] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

207. Clementine Hunter (American/Louisiana, 1886-1988), “African Head Dress”, oil on canvas board, monogrammed lower right, exhibition label with title on backing paper, 18 in. x 14 in., framed. [$3000/5000] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

208. Clementine Hunter (American/Louisiana, 1886-1988), “Nativity Scene”, oil on board, monogrammed lower right, 16 in. x 24 in., framed. [$4000/6000] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead. 30

209. Sister Gertrude Morgan (American/ New Orleans, 1900-1980), “Everlasting Gospel Prayer Mission”, double-sided mixed media on paper, signed lower center, label with artist and title and “Gilley’s Gallery, Baton Rouge, LA” label on backing board, 3 1/4 in. x 4 1/2 in., framed with verso visible. [$1000/1500] Provenance: Gilley’s Gallery, Baton Rouge, LA.

210. American Rococo Carved and Laminated Rosewood Sofa, c. 1850-1860, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Tuthill King”, reticulated scrolled grape and vine crest surmounted by floral clusters, molded arms, serpentine seat rail, cabriole legs, casters, h. 45 1/2 in., w. 84 in., d. 32 in. [$8000/12000] Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

211. Four American Rococo Carved and Laminated Rosewood Side Chairs, c. 1850-1860, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Tuthill King”, reticulated scrolled grape and vine crest rail surmounted by a floral cluster crest, serpentine seat rail, cabriole legs, casters, h. 38 in., w. 19 in., d. 24 in. [$2000/3000] Provenance: The Columbia Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

212. American Renaissance Rosewood Center Table, mid-tolate 19th c., inset circular marble top, molded conforming frieze, heavily scrolled supports, four-part base centered by a lobed floral finial, scrolled feet, casters, h. 30 in., dia. 36 in. [$1200/1800] Provenance: Collection of Dr. Norbert and Mary Fahey, Sacramento, CA. 31

213. American Renaissance Carved Walnut and Burl Etagere, late 19th c., probably New York, architectonic broken arch pediment centered by a maiden mask, central mirror flanked by three shelves on each side, extensive tassel and floral medallion decoration, base with later marble, bracket feet, h. 93 in., w. 56 in., d. 20 in. [$1500/2500] Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

214. American Aesthetic Brass and Colored Glass Chandelier, c. 1900, with repousse foliate design, dimpled cranberry shade, electrified, h. 33 in., dia. 15 in. [$600/900] Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

215. American Rococo Carved and Laminated Rosewood Settee, c. 1850-1860, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Rosalie,” scrolled floral and fruit triple crest, molded arms, serpentine seat rail, cabriole legs, casters, h. 39 in., w. 65 in., d. 30 1/2 in. [$3000/5000] Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

216. American Rococo Carved and Laminated Rosewood Gentleman’s Armchair, c. 1850-1860, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Rosalie,” floral and fruit crest, scrolled crest rail, molded arms, serpentine seat rail, cabriole legs, casters, h. 43 in., w. 22 in., d. 28 in. [$1000/1500]

Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA. 32

217. American Rococo Carved and Laminated Rosewood Lady’s Armchair, c. 1850-1860, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Rosalie,” floral and fruit crest, scrolled crest rail, molded arms, serpentine seat rail, cabriole legs, casters, h. 36 in., w. 23 in., d. 24 in. [$800/1200] Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

218. Pair of American Rococo Carved and Laminated Rosewood Side Chairs, c. 1850-1860, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Rosalie,” floral and fruit crest, scrolled crest rail, serpentine seat rail, cabriole legs, casters, h. 36 in., w. 18 in., d. 24 in. [$1200/1800] Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

219. Pair of American Rococo Carved and Laminated Rosewood Meridiennes, c. 1850-1860, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Rosalie,” floral and fruit-carved crest, molded arm support, floral carved seat rail, cabriole legs, casters, h. 38 in., w. 40 in., d. 27 in. [$4000/6000] Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

221. American Rococo Carved and Rosewood Grained Lamp Table, mid-19th c., shaped marble top, conforming molded frieze, heavily scrolled supports decorated with spherules, circular stretcher surmounted by a turned finial, scrolled legs, casters, h. 28 in., w. 25 in., d. 17 in. [$700/900] Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

220. American Rococo Carved Mahogany Lamp Table, mid-19th c., inset circular marble top, molded conforming frieze, scrolled and reverse-tapering supports, turned standard with scroll and dolphin mask decoration, scrolled legs, casters, h. 30 in., dia. 35 in. [$800/1200] Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

222. Rare American Rococo Carved and Laminated Rosewood Bedstead, c. 1856, marked “J.H. Belter, Patent Aug. 19, 1856, N.Y.”, elaborate foliate and floral scrolled maiden and cherub crest, serpentine incurvate headboard, conforming rails and foot board, scrolled feet, incl. custom box spring made from original Belter patented mattress support, h. 74 in., w. 82 in., d. 58 in. [$10000/15000] Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA. Note: This ornately carved bed is a stunning example of John Henry Belter’s patented bed design, filed in 1856. The U.S. Patent No. 15552 bed design shows a serpentine two-part bedstead with an undulating scrolled headboard and footboard, similar to the present lot. The patent illustration also shows Belter’s signature seven-layer lamination and the corresponding patent specification text written by Belter explains his intricate design process. Belter states within the patent text that the bed was constructed to be easily taken apart without the use of tools, which are “an evil more particularly apparent when it becomes necessary to separate the parts very hurriedly in case of a fire.” A rare example of Belter’s figural carvings, the crest of this bed features opposing maiden and cherub figures at the center among the robustly modeled scrolling foliage. The two figures share the same distinctive features found on other documented Belter figures, including the maiden and cherubs on an etagere from the Service Collection of Grant Oakes. Ref.: United States Patent and Trademark Office, Patent #US000015552. patft.uspto.gov; Dubrow, Eileen and Richard. American Furniture of the 19th Century, 1840-1880. Pennsylvania: Schiffer Publishing, 1983, pp. 148-150, 155. 33

223. American Rococo Carved and Laminated Rosewood Meridienne, c. 1850-1860, attr. to John Henry Belter, New York, floral crest, undulating crest rail, molded arm support, serpentine seat rail, cabriole legs, casters, h. 36 1/2 in., w. 41 in., d. 24 in. [$1000/2000] Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA. 224. American Rococo Carved and Laminated Rosewood Side Chair, c. 1850-1860, New York, floral crest, ornately reticulated seat back carved with grapes and scrolling acanthus motifs, rounded seat, shaped foliate legs, casters, h. 41 in., w. 19 in., d. 23 in. [$600/900] Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA. Note: An identical chair is illustrated in American Furniture of the 19th Century: 1840-1880 by Eileen and Richard Dubrow, p. 94.

225. American Late Classical Carved Rosewood Side Table, c. 1840, likely J. & J.W. Meeks, NY, shaped marble top, conforming frieze, gothicized stretcher shelf, turned supports and stretcher, trestle base, h. 28 in., w. 27 in., d. 16 in. [$700/900] Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

226. American Rococo Carved Rosewood Dresser, mid-19th c., possibly Mitchell & Rammelsburg, Cincinnati, arched mirror with floral crest flanked by finials, shaped marble top, serpentine case with four graduated drawers, turned supports, conforming base, h. 85 in., w. 43 1/2 in., d. 22 in. [$1200/1800] Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

227. Two American Rococo Rosewood Work Tables, c. 1850, likely New York, shaped hinged top opening to a fitted interior, applied foliate decoration, lower work basket, cabriole legs, taller h. 30 in., w. 34 in., d. 19 in., shorter h. 28 in., w. 25 in., d. 19 in. [$800/1200 Provenance: M.S. Rau, New Orleans, LA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA. 34

228. American Rococo Carved Rosewood Lady’s Dressing Table, mid-to-late 19th c., mirror with finely carved acorn, vine and acanthus crest cartouche, mirror with turned supports, marble top, base with shaped apron and cabriole legs, h. 72 in., w. 46 in., d. 19 in. [$700/1000] Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

230. Continental Cut Crystal Eighteen-Light Chandelier, 20th c., scroll arms, h. 31 in., dia. 32 in. [$700/1000] Provenance: Collection of Dr. Norbert and Mary Fahey, Sacramento, CA. 229. American Belle Epoque Brass and Onyx Stand, late 19th c., repousse shelves, scrolled supports and feet, h. 47 in., w. 37 in., d. 14 in. [$400/600] Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

231. Set of Eight Continental Cut Crystal Two-Light Sconces, mirrored backplate, prism hung, h. 14 in., w. 9 1/2 in., d. 7 in. [$800/1200] Provenance: Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.

232. Moore Combination Desk Company Carved and Burl Walnut “Queen” Desk, c. 1878, labeled “Moore’s Cabinet Desk, Indianapolis, IND., Patented Jan. 8, 1878”, spindled gallery, paneled door opens to an intricately fitted interior with cartonnier boxes and horizontal sliding writing surface, plinth base, h. 64 in., w. 41 in., d. 29 in. [$2000/3000] Note: A former Wooton Desk Company employee, Joseph A. Moore obtained four patents for multifaceted bookkeeping desks, beginning in 1878. Similar in style and overall form as their Wooton predecessors, Moore desks were designed so that the writing table remained level when the desk was closed, which Moore considered an advantage over the hinged writing surface found on most Wooton desks. Moore advertised this feature with the slogan “no desk can be complete or valuable without it.” Ref.: Driesbach, Janice, et al. Wooton Patent Desks: A Place for Everything and Everything in Its Place. Indiana State Museum and The Oakland Museum, 1983, pp. 49-50.

234. American Renaissance Inlaid Walnut Games Table, late 19th c., gameboard top, turned standard with medial dished shelf, scrolled incised legs, h. 29 1/2 in., dia. 22 in. [$500/700] 233. American Mahogany Barrister Bookcase, c. 1900, flared cornice, hinged doors open to fitted interior, h. 76 1/2 in., w. 60 1/2 in., d. 18 1/2 in. [$1200/1800] 35

235. American Renaissance Parcel Gilt, Marquetry and Rosewood Parlor Cabinet, c. 1860-1870, New York, possibly Pottier & Stymus or a related firm, shaped top with foliate-banded edge, blocked frieze, fluted foliate stiles with Ionic capitals, paneled doors, conforming base, h. 42 in., w. 51 in., d. 21 in. [$3000/5000] Note: This stylish rosewood cabinet, featuring intricate marquetry and incised decoration, is closely related to the work of prestigious nineteenth century New York cabinetmakers such as Pottier & Stymus, Alexander Roux, and Leon Marcotte. This cabinet shares similar features with an impressive New York tripartite cabinet in collection of the Munson-Williams-Proctor Institute in Utica, NY and is related in overall form to an Alexander Roux cabinet held in the same collection. Ref.: D’Ambrosio, Anna Tobin, et al. Masterpieces of American Furniture from the Munson-Williams-Proctor Institute. University of Syracuse Press, 1999, pp. 104-109.

236. American Renaissance Ebonized and Marquetry Center Table, c. 1870, probably New York, shaped top, blocked tapered legs, incised stretcher, h. 28 in., w. 48 1/2 in., d. 26 1/2 in. [$700/900]

237. American Gothic Carved Walnut Sideboard, late 19th c., pedimented mirrored superstructure with spherule decoration flanked by two shelves, marble top, two frieze drawers, slatted doors, h. 87 in., w. 59 1/2 in., d. 23 in. [$1000/1500]

238. Albert Lynch (Peruvian/Paris, 1851-1912), “Arranging Flowers”, oil on canvas, signed lower left, “Morin & Janet, Paris” stamp on stretcher, 25 3/4 in. x 19 3/4 in., framed. [$2500/3500] 36

239. Southern School, 19th c., “Mobile Bay, Aug. 5, 1864”, oil on canvas, unsigned, titled lower left, 10 in. x 14 in., framed. [$4000/6000] Provenance: Long Island Estate; Christie’s, New York, Jan. 19, 2007, lot 324.

Note: “Damn the torpedoes, full speed ahead!” The painting offered here depicts the August 5, 1864 Battle of Mobile Bay. At the time, Mobile was one of only two functioning ports in the Confederacy. The bay was guarded by torpedoes and a small flotilla, including the ironclad CSS Tennessee (represented on the right). While navigating the hostile waters, the USS Tecumseh sunk upon striking a torpedo, prompting a widespread hesitation of the advancing Union fleet. Rear Admiral David G. Farragut, undeterred, shouted at his men, “Damn the torpedoes! Four bells. Captain Drayton, go ahead! Jouett, full speed!,” which with its generations of recounting has been transformed into the famous catchphrase above. Ref.: “Mobile Bay.” American Battlefield Trust. www.battlefields.org. Accessed Mar. 3, 2022.

240. François Bernard (French/New Orleans, 1812-1875), “Member of the Burthe Family, reputedly Antoinette Estelle Millaudon Burthe (1819-1853)”, 1856, oil on canvas, signed and dated lower left, handwritten note with sitter information attached to reverse of frame, 41 in. x 35 in. (oval), period frame. [$2000/3000] Note: Based on a handwritten note on the reverse of the frame, the painting offered in this lot is possibly a posthumous portrait of Antoinette Estelle Millaudon Burthe (1819-1853). The portrait was completed in 1856 by artist François Bernard, two years after Burthe’s death. Although not much is known about Antoinette, she was married to Judge Victor Burthe, a wealthy landowner and state political figure. He served as judge in the Carrollton Courthouse in the town of Carrollton, the seat of government in Jefferson Parish from 1855 to 1874. Victor and Antoinette’s fathers, Dominque François Burthe (1785-1852) and Laurent Millaudon (c. 1785-1868) were prominent figures and are considered founding fathers of Carrollton, Louisiana. Both men served as Presidents of the New Orleans and Carrollton Railroad Company, one of the first public transit trolley systems in the urban United States. Burthe and Millaudon Streets in Carrollton retain the men’s surnames to this day as a tribute to the legacy of the two families. This lovely portrait presents the sitter in calm repose with her arm placed on a table at her side. Within arm’s reach sits a vase of flowers executed in precise detail. Her jewelry is finely represented as well, making it possible to study the small birds depicted on the brooch at the sitter’s neck. The canvas highlights Bernard’s sharp eye for detail and versatility in his agile portrayal of both still life and portraiture. 241. American School, 19th c., “Luminous Landscape at Sunset”, oil on canvas, indistinctly signed lower right, inscribed “New England” on stretcher, 10 5/8 in. x 20 in., framed. [$1000/1500]

242. Henry Farrer (British/American, 1843-1903), “Landscape with Creek”, 1900, watercolor on paper, signed and dated lower left, 10 3/16 in. x 15 3/16 in., framed. [$2000/3000]

243. Henry Farrer (British/American, 1843-1903), “Landscape with Creek”, 1900, watercolor on paper mounted to board, signed and dated lower left, 12 in. x 18 1/8 in., framed with artist plaque. [$2000/3000] 37

245. Henry Farrer (British/American, 1843-1903), “Landscape with Cottage”, 1890, watercolor on paper, signed and dated lower left, 8 in. x 13 1/8 in., framed. [$1800/2800] 244. Henry Farrer (British/American, 1843-1903), “Landscape with Creek”, 1892, watercolor on paper mounted to board, signed and dated lower left, 2 “Christie’s” labels on reverse of mount, 17 3/4 in. x 25 1/4 in., framed. [$2000/3000] Provenance: Christie’s East, New York, Nov. 23, 1995, lot 85. 246. Attributed to Edwin Murray MacKay (American/ Michigan, 1869-1926), “Seated Lady in Black”, oil on canvas, unsigned, 38 3/8 in. x 32 1/8 in., framed. [$1200/1800]

247. Louis Aston Knight (American/France, 1873-1948), “Summer Morning”, oil on canvas, signed and inscribed “Paris” lower left, titled and “Raymond and Raymond Inc., New York, NY” label on stretcher, “The House of Heydenryk, New York, NY” label on reverse of frame, 21 3/4 in. x 18 1/4 in., framed. [$2000/3000]

248. Attributed to Dwight William Tryon (American/Connecticut, 1849-1925), “Mountainous Landscape with Creek”, oil on canvas, unsigned, inscribed with artist and “from Henry....artist uncle...” on stretcher, partial “F.W. Devoe” canvas stamp en verso, 18 in. x 24 in., framed. [$2000/3000] 38

249. Henry Pember Smith (American/Connecticut, 1854-1907), “On the Flanders Road, East Lyme, New London, Conn.”, oil on canvas, signed lower right, 14 in. x 20 1/8 in., framed. [$1800/2500]

250. George Henry Smillie (American/New York, 1840-1921), “In the Woods, Arkville”, 1887, watercolor on paper mounted to board, signed, titled and dated lower left, pencil-signed and titled on reverse of mount, “Kenneth Lux Gallery, New York” label with artist and date on backing board, 9 1/4 in. x 13 in., framed. [$1000/1500]

252. Continental School, 1878, “Country Landscape with Cottage”, oil on canvas, signed “Frank Mostyn” lower left, inscribed “J. Kershaw / after / R. Fielding”, dated and illegible canvas stamp en verso, 18 1/4 in. x 27 in., framed. [$2000/3000]

254. Continental School, 19th c., “Still Life of Fruit and Flowers”, oil on canvas, unsigned, 35 7/8 in. x 35 7/8 in., framed. [$800/1200]

251. Continental School, 19th c., “Landscape with Cattle”, oil on canvas, signed “Brown” lower left, 11 1/8 in. x 14 3/4 in. (oval), framed. [$1000/1500]

253. Ilya Schor (American, 1904-1961), “Village Scene”, gouache on board, signed lower left, 8 1/8 in. x 10 1/8 in., framed. [$2000/3000] Note: Neal Auction would like to thank Mira Schor for her assistance with the cataloguing of this lot.

255. Continental School, 19th c., “Portrait of a Man in Uniform” and “Portrait of a Woman with Posey”, 2 oils on panel, illegibly monogrammed lower left and right, 13 1/4 in. x 11 1/2 in. and 13 1/8 in. x 11 in., framed alike. (2 pcs.). [$800/1200] 39

256. Edward Benjamin Herberte (British, 1857-1893), “The Meet” and “Full Cry”, 1885, 2 oils on canvas, each signed and dated lower right, both 12 in. x 20 in., framed alike. (2 pcs.). [$1200/1800]

258. After John James Audubon (American, 1785-1851), “Rosette Spoonbill”, offset lithograph reproduction mounted to foamcore, 32 in. x 47 3/4 in., framed. [$800/1200] 257. John James Audubon (American, 1785-1851), “Common Mouse, Male, Female and Young”, Plate XC, hand-colored lithograph, from The Viviparous Quadrupeds of North America, J.T. Bowen edition, sheet 21 1/4 in. x 27 1/4 in., framed. [$3000/5000]

259. John Gould (British, 1804-1881), The Birds of Great Britain, 5 vols., [1862]1873, published by the author, London, folio (22 in. x 15 in.), with 367 hand-colored lithographed plates by Gould, Joseph Wolf, H.C. Richter, and W. Hart, with dedication leaf, preface, list of subscribers, list of plates, three-quarter morocco, gilt titles, gilt “C” and stamp of Cruising Association Library, top edges gilt, marbled end papers, with bookplate of The Cruising Association. [$30000/50000] Provenance: Neal Auction Company, Feb. 8, 2014, lot 20. 40

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

261. Roberts, David. The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia, London, Day & Son, 1855-1856, 5 volumes (of 6, lacking vol. V), quarto (11 1/4 in. x 8 in.), three-quarter leather, with gilt tooling, spine with raised bands, with 207 tinted lithographs (out of 250) [$700/1000]

262. Rare Jacques Tanesse Manuscript Map of New Orleans, 1817, hand-colored manuscript map, a key on the left detailing the position of various places, incl. Custom House, Steam-Engine, Fort St. Charles, Spot formerly occupied by Fort St. John lately demolished, and others; an area noted as “portion of the Commons of the City consisting of low sand under Water during a part of the year”; verso with signed manuscript certifications and paper seals from Tanesse, Augustin Macarty (mayor of New Orleans, 1815-1820), and Michel de Armas (Notary Public, 1809-1822), 9 1/4 in. x 16 1/2 in.; together with a partially printed document signed by James Villere (Governor of Louisiana, 1816-1820), certifying the positions of Macarty and Armas, 9 1/2 in. x 7 3/4 in., both matted and conserved in a custom clamshell box. [$7000/10000] Note: Armas notes that the manuscript map offered here is an exact copy of the original deposited in the “office of the clerk of the city council of New Orleans.” Tannesse’s famous engraved map of 1817 was based on his original survey done in 1815. Ref.: Lemmon, Alfred, John Magill and Jason Wiese. Charting Louisiana, New Orleans, H.N.O.C., 2003, pg. 320.

263. Associated Group of Five Baluster Form Glass Hurricane Shades, all with folded foot rims, one with foliate design, tallest h. 24 1/4 in. [$1500/2500]

264. Seven Baccarat Crystal Panel-Cut Double Old Fashioneds, marked, h. 3 7/8 in., dia. 3 3/4 in. [$400/600]

265. Baccarat Crystal Wine Cooler or Ice Bucket, 20th c., base marked with acid-etched stamp, gilt bronze handles, tapered fluted form, h. 9 1/8 in., w. 10 3/4 in. [$400/600]

266. Extensive Paris Porcelain Dinner Service, c. 1840-1850, marked Chapelle-Maillard, Paris, decorated with blue bands, monogrammed “OR”, incl. 72 plates, dia. 9 1/4 in.; covered tureen, h. 12 in.; 2 footed serving bowls, dia. 10 1/4 in.; 2 platters, l. 17 1/2 in.; platter, l. 25 1/4 in. ; platter, dia. 13 1/4 in.; 7 plates, dia. 11 in. to 11 3/4 in.; candleholder, h. 5 1/2 in.; and three associated lids, dia. 8 in. (90 pcs.) [$800/1200] Provenance: Esplanade Avenue Estate, New Orleans. Ref.: Guillibon. Paris Porcelain, 1770-1850. p. 219. 41

267. Ludwigsburg Polychrome and Gilt Porcelain Covered Tureen, late 18th/early 19th c., marked, decorated with harbor and fishing village scenes, floral accents, scrollwork handles, h. 13 in., w. 14 in., d. 9 1/4 in. [$500/700]

268. George III Mahogany Secretary Bookcase, likely late 18th c., broken arch cornice centered by an urn finial, cartouche mirrored doors, fall-front lid encloses fitted interior, four lower drawers flanked by columnar stiles, ogee bracket feet, h. 92 in., w. 28 in., d. 22 1/2 in. [$2500/3500]

269. Pair of Chinese Chippendale-Style Carved Mahogany Wall Shelves, figural finial, reticulated pedimented crest, scrolled decoration, embellished shelves, foliate-mounted stiles, lobed pendant, h. 48 in., w. 36 in., d. 11 1/2 in. [$3000/5000]

270. Pair of Antique Chippendale-Style Carved Mahogany Console Tables, 19th c. and later, demilune top, frieze drawers with foliate swag decoration, tapered legs, lobed feet, h. 34 in., w. 46 in., d. 23 in. [$1000/1500]

271. Chippendale-Style Mahogany Serpentine Chest, 19th c., blind fretwork chamfered corners, four drawers, ogee bracket feet, h. 31 1/2 in., w. 38 in., d. 21 1/2 in. [$1000/1500]

273. Antique Georgian-Style Mahogany Dressing Table, sliding top opens to fitted interior with mirror, h. 31 in., w. 36 in., d. 19 1/2 in. [$600/800]

272. Eight Antique Chippendale-Style Mahogany Dining Chairs, incl. 2 armchairs and 6 side chairs, scrolled foliate crest rail, pierced lyre splat with bellflower decoration, scrolled arms, cabriole legs, ball and claw feet, armchair h. 38 1/2 in., d. 23 1/2 in., d. 20 in., side h. 38 1/2 in., w. 21 1/2 in., d. 18 1/2 in. [$1000/1500]

274.Eight George III-Style Mahogany Dining Chairs, each with serpentine crest rail, Gothicized pierced splat, distressed leather seat, h. 36 1/2 in., w. 22 in., d. 18 in. [$1000/1500]

276. George III Mahogany Bowfront Chest of Drawers, early 19th c., five drawers, flared legs, h. 41 1/2 in., w. 40 1/2 in., d. 20 1/2 in. [$500/700]

275. George II-Style Carved Walnut Armchair, shell-carved crest, vasiform splat, shaped arms, cabriole legs, ball and claw feet, h. 40 1/2 in., w. 29 in., d. 20 1/2 in. [$400/600]

277. George III Mahogany Secretary Desk, early 19th c., fall-front top opens to fitted interior, four graduated drawers, bracketed base, h. 39 in., w. 37 in., d. 20 1/2 in. [$500/700]

278. Georgian-Style Inlaid Mahogany Sideboard, three frieze drawers and lower compartments, tapered legs, h. 40 in., w. 67 1/2 in., d. 20 1/2 in. [$700/900]

279. George III Mahogany Pedestal Desk, early 19th c., inset leather top, one long drawer over pedestals of three drawers, bracket feet, h. 31 in., w. 43 in., d. 26 1/2 in. [$1000/1500]

280. George III Mahogany Lady’s Writing Desk, probably late 18th c., slant-front inset leather top, fitted interior, recessed side drawer, tapered legs, pad feet, h. 37 1/2 in., w. 21 3/4 in., d. 20 in. [$800/1200]

281. 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. [$800/1200]

282. Antique ChippendaleStyle Carved Mahogany Chest of Drawers, 19th c., banded molded top, chamfered corners with fretwork, four beaded graduated drawers, chamfered bracket feet, h. 34 in., w. 38 in., d. 19 in [$800/1200]

283. George III Inlaid Mahogany Sideboard, c. 1780, long frieze drawer, cellarette drawer proper right side, two drawers opposite, tapered legs, spade feet, h. 37 1/2 in., w. 66 1/4 in., d. 27 1/2 in [$2500/3500]

284. George III Mahogany Secretary Bookcase, late 18th c., broken arch pediment, paneled doors, candle slides, fall-front slant lid, fitted interior, five drawers, bracket feet, h. 92 1/2 in., w. 39 in., d. 22 in. [$1200/1800]

285. George III Mahogany Kneehole Desk, c. 1780, long frieze drawer, pedestals each with three short drawers, bracket feet, h. 33 1/2 in., w. 37 1/2 in., d. 20 1/2 in. [$1000/1500]

287. George III Giltwood Convex Mirror, 19th c., pedimented foliate crest, molded surround, swagged pendant, h. 50 in., w. 28 in. [$800/1200] 44

288. Georgian-Style Carved Mahogany Armchair, swag motif splat, ball and claw feet, h. 41 in., w. 27 in., d. 20 in. [$500/700]

286. 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. [$2500/3500]

289. Antique George III-Style Inlaid Mahogany Bowfront Sideboard, shaped top, frieze drawer, faux drawer cabinets, arched center bracket, tapered legs, spade feet, h. 36 in., w. 82 in., d. 29 in. [$1200/1800]

291. Good Group of Fiddlethread Coin Silver Serving Pieces, mid-19th c., incl. Hyde & Goodrich, New Orleans, soup ladle, act. 1828-1861, marked “HYDE & GOODRICH” in rectangle, l. 12 in.; Hyde & Goodrich, New Orleans, crumber, marked “Hyde & Goodrich” in rectangle and with curious marks, l. 11 3/4 in. and serving tongs, Salisbury & Co., New York, 18311855, l. 6 3/4 in.; together with a French fiddlethread silverplate soup ladle, 19th c., l.2 1/2 in.; total wt. (weighable) 13.85 troy ozs. (4 pcs.) [$400/600]

290. American Aesthetic Movement Sterling Silver Napkin Ring, George W. Shiebler & Co., New York, act. 1876-1907, leaf-form napkin ring secured by a “pin”, applied cast copper beetle, h. 2 in., dia. 2 1/4 in., wt. 1.5 troy ozs. [$500/700] 292. Towle “Craftsman” Pattern Sterling Silver Flatware Service for Twelve, incl. 12 each: dinner forks (l. 8 in.), place forks (l. 7 3/8 in.), salad forks, dinner knives (l. 9 5/8 in.), cocktail forks, cream soup spoons, teaspoons, demitasse spoons and butter knives (fh); 2 tablespoons, cold meat fork, gravy ladle; jelly spoon, lemon fork, cake knife (hh), carving fork (hh) and carving knife (hh) with broken blade, total wt. (weighable) 119.75 troy ozs. (116 pcs.) [$2500/3500]

294. American Rococo Revival Sterling Silver Center Bowl, Frank Smith, Gardner, MA, act. 18861958, everted rim with robust scroll border, dia. 15 1/2 in., wt. 32.85 troy ozs. [$600/900]

295. Gorham Sterling Silver Oval Covered Vegetable Tureen, date mark for 1906, l. 11 1/8 in., wt. 29.30 troy ozs. [$500/700]

297. Maison Boin-Taburet, Paris Silverplate Mirrored Plateau, c. 1900, marked “BOINTABURET A PARIS”, est. 1873, reeded surround with rubbed gilt foliate detail, 35 1/2 in. x 23 5/8 in. [$2000/3000]

299. Victorian Sterling Silver Repousse Coffee and Tea Service, Susannah Brasted, London, 1888-1889, mark reg. 1888, incl. coffee pot (h. 8 5/8 in.), teapot, covered hot milk jug, open sugar and large and small cream pitchers, total wt. 88.35 troy ozs.; in fitted oak presentation case with interior plaque inscribed “FROM LEOPOLD DE ROTHSCHILD 1889”. [$2000/3000]

293. American Art Nouveau Sterling Silver Center Bowl, c. 1900, Unger Brothers, Newark, NJ, act. 1872-1919, everted rim with hibiscus decoration, dia. 11 3/4 in., wt. 12.50 troy ozs. [$300/500]

296. Continental Silver Coffee and Tea Service in the Rococo Taste, probably Eastern European, variously marked 13 (.8125 fine), 800 and sterling (sugar bowl lid), each lobed form with serpent, branch and fowl handle, covers with pod finial, foliate scroll feet, coffee pot h. 9 3/4 in., total wt. 77.75 troy ozs. [$1200/1800]

298. French 1st Standard Silver and Bleu de Roi Porcelain Coffee Service, Marie Amelie Cardeilhac, Maison Cardeilhac, 91 Rue de Rivoli, Paris, 1904-1920, incl. coffee pot, lidded sugar, 12 cup frames, saucers, and cobalt porcelain liners with gilt rims and interiors; each silver frame with floral swag, coffee pot h. 9 in [$2000/4000]

300. Pair of English Rococo Sterling Silver Monteiths, with spurious hallmarks for 1776, London, dia. 10 1/2 in; total wt. 80.70 troy ozs. [$1500/2500]

301. George II Sterling Silver Coffee Pot, Richard Bayley, London, 1749, mark reg. 1739, domed cover, tapered body, foliate spout, fruitwood scroll handle, molded feet, h. 9 3/4 in., wt. 21.75 troy ozs. [$600/900]

302. Charleston Coin Silver Julep Cup, J.E. Spear & Co., active c. 1849, marked “J.E.SPEAR&Co.” in rectangle, molded and beaded rims, tapered body, engraved “AEB/1856” and “MAR/1919”, h. 3 _ in., wt. 5.3 troy ozs [$400/600] Note: James E. Spear (1817-1871) was active in Charleston from 1846 to 1871. He formed a partnership with J.C. Wood, J.E. Spear & Co., at 235 King St. The partnership is listed in the 1849 directory but apparently only lasted a short time. Ref.: E. Milby Burton, South Carolina Silversmiths, 1690-1860, pp. 176-177.

303. George Frederick Castleden (British/New Orleans, 1861-1945), “Landscape with Pond”, oil on canvas, signed lower right, inscribed on stretcher and reverse of frame, 16 1/4 in. x 20 1/4 in., framed. [$700/1000]

304. Marie Atkinson Hull (American/Mississippi, 1890-1980), “Still Life of Daylilies in a Vase”, oil on canvas board, signed lower left, 19 7/8 in. x 15 7/8 in., framed. [$2000/3000]

305. Charles Reinike, Jr. (American/Louisiana, 1906-1983), “Waverly Garden, New Orleans”, c. 1938, watercolor on paper, signed lower right, heavily inscribed on backing paper, sight 14 in. x 19 3/4 in., original frame. [$1000/1500] 46

306. Alexander John Drysdale (American/New Orleans, 1870-1934), “Twilight Bayou Barataria, La”, 1933, oil wash on board, signed and dated lower right, signed, titled, dated and inscribed en verso, 15 in. x 20 in., framed. [$1800/2500]

307. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Cormorants”, watercolor and graphite on paper, unsigned, “Jean Bragg Gallery of Southern Art, New Orleans, LA” label with artist and title on backing paper, 11 in. x 8 1/4 in., framed. [$6000/8000]

308. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Eggplants”, watercolor and graphite on paper, unsigned, estate stamp lower right, “Jean Bragg Gallery of Southern Art, New Orleans, LA” label on backing paper, 8 1/2 in. x 11 1/8 in., framed. [$5000/8000]

309. Alexander John Drysdale (American/New Orleans, 1870-1934), “Bayou Scene with Live Oak”, oil wash on board, signed lower left, “Taylor Clark’s Fine Framing, Baton Rouge, LA” label on backing paper, 6 in. x 20 in., framed. [$1000/1500]

310. Colette Pope Heldner (American/Louisiana, 1902-1990), “Swamp Idyll (Louisiana Bayou Country)”, oil on canvas, signed lower left, signed and titled en verso, 24 in. x 48 in., framed. [$1200/1800]

311. Colette Pope Heldner (American/Louisiana, 1902-1990), “Swamp Idyll: Louisiana Bayou Country”, oil on canvas board, signed lower left, signed and titled en verso, 16 in. x 20 in., framed. [$800/1200]

312. Morris Henry Hobbs (American/New Orleans, 1892-1967), “Gordon C. Greene of Cincinnati”, 1938, graphite on paper, signed, titled and dated lower right, 12 7/8 in. x 10 in.; and “Untitled (Docks)”, 1923, graphite on paper, monogrammed and dated lower right, 9 1/8 in. x 7 in., each matted. (2 pcs.). [$1000/1500]

313. Charles Whitfield Richards (American/Louisiana, 1906-1992), “St. Louis Cathedral”, oil on canvas, signed upper right, “The Fortier Gallery, New Orleans” label and artist biography attached to stretcher, 16 in. x 20 in., framed. [$800/1200]

314. Charles Whitfield Richards (American/Louisiana, 1906-1992), “Esplanade Ave. and Decatur St.”, oil on canvas, signed lower right, “D.H. Holmes Co.” framing label and artist biography attached to stretcher, 16 1/8 in. x 20 in., framed. [$800/1200]

315. Robert Wadsworth Grafton (American, 1876-1936, active New Orleans 1916-1920), “The Twelve Hours Mediating Between the Active and Contemplative Life”, 1927, oil on canvas, signed and dated lower right, 23 in. x 64 1/2 in., framed. [$1500/2500] Provenance: Louisiana Purchase Auction, Neal Auction Company, New Orleans, LA, Nov. 20, 2010, lot 932; Estate of Richard D. Bass, Dallas, TX; Fine & Decorative Arts Including Estates Signature Auction, Heritage Auctions, Dallas, TX, Feb. 20, 2016, lot 65422.

316. George Ohr Pottery Vase, c. 1900, impressed mark, trumpet gourd form and magenta ground and black and white speckle glaze, h. 10 1/2 in., w. 7 in., d. 6 1/2 in. [$1000/1500]

317. George Ohr Pottery Puzzle Mug, c. 1900, script signature, mottled brown glaze, h. 3 1/2 in., w. 4 1/2 in., d. 3 1/2 in. [$600/900]

318. George Ohr Pottery Bowl, c. 1900, script signature, dimpled sides, with brown and green glaze, h. 4 in., w. 5 1/2 in., d. 6 in. [$1200/1800] 49

320. Shearwater Art Pottery Beaker, c. 1935, quarter-size impressed mark, decorated by Walter Anderson, with stylized waves and antelopes, in blue and purple slip glaze, h. 4 1/2 in., dia. 3 1/2 in. [$800/1200]

319. Shearwater Art Pottery Vase, 1976, James “Mac” Anderson, quarter size impressed mark, straight sides decorated with clown masks, h. 6 3/4 in., dia. 3 3/4 in. [$600/900]

322. Mary Kirk Kelly (American/Alabama, 1918-2013), ceramic cabbage leaf bowl, signed and dated 1987, h. 3 in., w. 11 1/2 in., d. 12 in. [$400/600]

321. Mary Kirk Kelly (American/Alabama, 1918-2013), ceramic cabbage footed bowl, signed, h. 8 1/4 in., dia. 10 1/2 in. [$700/1000]

323. Mary Kirk Kelly (American/Alabama, 1918-2013), five ceramic vegetables incl. lettuce head, two mushrooms, yellow bell pepper, and a radish, each signed, largest h. 4 in. [$400/600]

325. Georges Jouve (French, 1910-1964) Ceramic Pitcher, 1950s, incised with artist’s monogram, h. 14 in., w. 7 in., d. 5 in. [$4000/6000] Provenance: Sotheby’s, New York, Lot #96, June 17, 2004. 50

326. American Federal Carved Mahogany Games Table, early 19th c., possibly Massachusetts, shaped foldover top, ring-turned rope-twist tapered legs, h. 29 1/2 in., w. 36 1/4 in., d. 17 3/4 in [$600/800]

324. Mary Kirk Kelly (American/Alabama, 1918-2013), four ceramic vegetables incl. butter squash, two red peppers, and a white onion, each signed, largest h. 8 in. [$400/600]

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

328. American Federal Carved Walnut Settee, early 19th c., probably Philadelphia, reeded arms, turned supports and legs, casters, h. 38 in., w. 72 in., d. 27 in. [$600/800]

329. Louisiana Carved Mahogany Poster Bed of Generous Width, c. 1825-35, headboard with turned crest rail having leaf carved scrolled ends, distinctive well-turned posts ending in brass caps, h. 98 in., w. 81 1/2 in., l. 87 in. [$3000/5000] Provenance: Estate of Emily Cyr Bridges, Albania Plantation, Jeanerette, LA.

330. American Classical Carved Mahogany Tilt-Top Candlestand, early to mid-19th c., likely Philadelphia, gadrooned top, foliate standard, scrolled tripod base, paw feet, casters, h. 29 in., dia. 30 1/2 in. [$600/900]

331. American Classical Mahogany Extension Dining Table, 19th c., circular top, four leaves, cluster column standard, scrolled base, lobed finials, casters, h. 29 1/4 in., dia. 49 3/4 in [$2000/4000]

332. American Late Classical Mahogany Secretary Bookcase, mid-19th c., probably New York, flared stepped cornice, glazed doors, fitted secretary drawer, three lower drawers, columnar stiles, foliate paw feet, h. 103 in., w. 47 in., d. 23 in. [$1500/2500]

333. American Classical Carved and Inlaid Mahogany Sofa, early 19th c., probably Philadelphia, heavily scrolled crest rail, out-swept foliate arms, acanthine paw feet, h. 32 in., w. 88 in., d. 22 1/2 in. [$800/1200] 51

334. Alban E. “A. E.” Woolley (American/Louisiana, 1926-1997), “Mental Illness, Criminally Insane”, 1962, 2 gelatin silver prints mounted to board, both pencil-signed, titled and dated on mount, each with “A. E. Woolley, Photograph, New Platz, N.Y.” stamp on reverse of mount, 13 in. x 8 1/2 in. and 13 1/2 in. x 8 7/8 in., each matted. (2 pcs.). [$1000/1500] Note: Alban E. “A. E.” Woolley was a Baton Rouge-based photojournalist and photographer whose work appeared in magazines such as Time, Sports Illustrated, Life, Holiday, and Look. In addition to his professional photography career, he was also a professor at Louisiana State University and the State University of New York in New Paltz. In the three lots offered here, Woolley explores the harsh realities of marginalized groups such as the mentally ill and the prisoners of Angola – Louisiana State Penitentiary. With a trained eye, Woolley focuses on individuals isolated within a group context. While taken from a distance with an almost clinical perspective, each portrait manages to convey a sense of vulnerable intimacy.

335. Alban E. “A. E.” Woolley (American/Louisiana, 1926-1997), “Mental Illness, Criminally Insane, Despair” and “Mental Illness Infantile Regression”, 1962, 2 gelatin silver prints mounted to board, each pencil-signed, titled and dated on mount, each with “A. E. Woolley, Photograph, New Platz, N.Y.”, stamp on reverse of mount, 6 3/8 in. x 9 7/8 in. and 9 7/16 in. x 6 3/8 in., each matted. (2 pcs.). [$1000/1500]

336. Alban E. “A. E.” Woolley (American/Louisiana, 1926-1997), “Prison, Prisoners in Classroom, Angola, Louisiana”, 1961, gelatin silver print mounted to board, pencil-signed, titled and dated on mount, “A. E. Woolley, Photograph, New Platz, N.Y.” stamp on reverse of mount, 6 1/4 in. x 9 3/8 in., matted. [$800/1200]

337. Herman Leonard (American, 1923-2010), “Duke Ellington, Paris, 1958”, negative creation date 1958, print date 1990, gelatin silver print, pencilsigned, titled and dated lower margin, 12 1/2 in. x 10 in., framed. [$800/1200] Note: Neal Auction would like to thank Zach Smith for his assistance in the cataloguing of this lot. 52

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

339. George Bauer Dunbar (American/New Orleans, b. 1927), “Untitled”, gold leaf on black clay, signed upper right, 11 3/4 in. x 13 3/4 in., framed. [$4000/6000]

340. George Bauer Dunbar (American/New Orleans, b. 1927), “Heart”, gold leaf on black and red clay, signed lower right, 14 in. x 12 in., framed. [$2500/3500] 53

341. Lin Emery (American/New Orleans, 1926-2021), “Chevron Series”, aluminum, unsigned, h. 28 in. [$7000/10000]

342. 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.). [$5000/7000] Exh.: “Art House on the Levee”, Prospect 2, New Orleans, 2011-2012 54

343. Austin Allen James (American/Texas, b. 1967), “Abstract Diptych”, 2014, 2 mixed medias on panel, both signed en verso, one dated en verso, each 75 in. x 40 in., overall 75 in. x 80 in., unframed. (2 pcs.). [$2000/3000]

344. Miranda Lake (American/New Orleans, b. 1969), “Department of Homeland Security”, 2006, encaustic and mixed media collage on panel, signed, titled, dated and gallery label with title and date en verso, 34 in. x 48 in., unframed. [$1200/1800] Provenance: Jonathan Ferrara Gallery, New Orleans, LA.

345. Douglas Bourgeois American/Louisiana, b. 1951), “Champagne Party Popper”, 2000, oil on panel, signed and dated lower right, 19 in. x 16 3/4 in., framed. [$4000/6000] 55

346.Robert Rauschenberg (American/New York, 1925-2008), “People Have Enough Trouble Without Being Intimidated by an Artichoke”, 1979, offset color lithograph with collage, signed, dated and inscribed “TP” lower center, “Styria Studio” blindstamp lower left, sheet 30 1/2 in. x 23 in., framed. [$1000/1500]

347. 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. [$30000/50000] Provenance: Galerie Bischofberger, Zurich; Edward Totah Gallery, London; Private Collection.

348. Alexandre Noll (French, 1890-1970), “Abstract Form”, c. 1950s, carved stained oak on wood base, incised signature, h. 21 in., w. 7 1/2 in., d. 6 1/4 in. [$25000/35000] Provenance: “Property from the Collection of Wolfgang Joop”, Sotheby’s, New York, Dec. 12, 2003, lot 477. Exh.: “Alexandre Noll”, Schloss Charlottenburg, Berlin, June 30 - Aug. 27, 2000. Note: “Je ne tue pas le bois, je lui obeis. Suivant docilement ses contours, ses noeuds, les moindres accidents de ses veines, j’en tire un oeuvre inspirée par la nature meme… I do not kill the wood, I obey it. Carefully following its contours, its knots, the meandering lines of its veins. I derive from the wood, a work inspired by nature itself.” – Alexandre Noll Originally an artisan and designer whose initial focus was on creating smaller wood objects (parasol handles, lampstands, boot trees, wood shoe soles, etc…), Alexandre Noll’s early talents earned him the attention of prominent designers of the time such as Paul Poiret and Perugia. Noll honed his style, which became more expressive around the Second World War, when his objects and furniture became larger in scale and the design more intuitive. As Ben Weaver writes in The London List: “The objects Noll carved, chiselled and sanded over the next half century reveal an organic unity, a manifestation of the artist’s belief in the sacredness of wood… His mastery of and engagement with every block of rough timber was a form or erudition, an expression of action between subject and object.” The Alexandre Noll work offered here is an excellent example of his sculpture, showcasing his gift in revealing the purest, most intrinsic form of his media. Ref.: Weaver, Ben. “Alexandre Noll.” The London List. www.thelondonlist.com. Accessed Mar. 7, 2022.

349. Karl Wirsum (American/Chicago, 1939-2021), “Frances Faye in Frenzy”, 1961, oil and oil crayon on canvas, signed and dated lower center, titled and dated on stretcher, 18 in. x 24 1/8 in., framed. [$2000/3000] Provenance: The artist; Paul McCarron; Terenchin Gallery, Hudson, NY; Private Collection, FL.

350. Louise Nevelson (American, 1899-1988), “Sun-Set”, 1981, black polyester resin, signed, titled, dated, numbered “26/125” and inscribed “Pace Editions, Inc., New York” on metal plaque en verso, h. 12 1/2 in., w. 18 in., d. 2 5/8 in. [$5000/7000]

351. Jean Hans Arp (French, 1886-1966), “Oval Working Plan”, celluloid cut-outs and plastic cut-out on paper, signed lower right, 3 “Christie’s” labels, one handwritten label, 2 “Fondation ARP” labels each with title, artist and additional information, “Fondation ARP” stamps and illegible signature on backing board, 14 1/4 in. x 10 3/4 in., framed. [$10000/15000] Provenance: Ateliers René Guillard, Malakoff; M. Irving Yamet, Sr., 1965; Richard Yamet, Yamet Arts, Inc., New York; Anon. Sale, Swann Galleries, New York, Dec. 6, 1990, lot 15; Private Collection; “Impressionist and Modern Art”, Christie’s, New York, Nov. 6, 2001, lot 98. Note: The Fondation Arp, Clamart has confirmed the authenticity of this collage.

352. Lee Ufan (Korean, b. 1936), “Port of Call 4”, 1991, lithograph, pencil-signed and dated lower right, numbered “40/50” lower left, “Ann Kendall Richards, Inc., New York” label with artist and date on backing paper, 35 1/2 in. x 29 1/2 in., framed. [$2000/3000] 57

353. Henri Matisse (French, 1869-1954), “La Cage de Perruches et les Poissons Rouges (Duthuit 213)”, 1929, etching on Chine-collé, signed and dated in plate lower center, pencil-signed and inscribed “bon à tirer” lower margin, edition of 25 and 6 proofs, image 9 3/8 in. x 6 1/2 in., sheet 15 in. x 11 1/8 in., framed. [$10000/15000] Provenance: Piasa, Paris, France, May 25, 2000, lot 205. Ill.: Duthuit, Claude and Marguerite Duthuit-Matisse. Henri Matisse: Catalogue Raisonné des Ouvrages Illustrés. Paris: Claude Duthuit, 1983/1988, no. 213.

354. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), “Abstract Form”, 1992, ceramic, signed and dated on underside, h. 17 1/2 in., w. 12 in., d. 2 1/4 in. [$2000/3000] 355. Elemore Morgan, Jr. (American/Louisiana, 19312008), “Reclining Figure”, 1993, pastel on paper, pencil-signed and dated lower right, dated lower left, pencil-signed, titled, dated, inscribed and personalized en verso, 17 7/8 in. x 23 15/16 in., unframed. [$1200/1800]

356. Caroline Wogan Durieux (American/Louisiana, 18961989), “Committee of the Whole”, 1978, cliché-vérre, signed and dated lower right, titled and numbered “10/10” lower left, sheet 15 15/16 in. x 19 13/16 in., unframed. [$800/1200] 58

357. Cora Kelley Ward (American/Louisiana, 1920-1989), “Night Fire”, 1983, oil on canvas, signed, titled and dated en verso, 11 in. x 40 in., framed. [$2500/3500] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

358. Cora Kelley Ward (American/Louisiana, 1920-1989), “Sea Bank”, 1982, aquatec acrylic on canvas, signed, titled and dated en verso, 34 in. x 15 in., framed. [$2000/3000] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

360. Jesselyn Benson Zurik (American/New Orleans, 1916-2012), “Bernini”, mixed media assemblage, signed, inscribed, typed artist label with title and handwritten “ Glade Gallery” 1966 exhibition label on reverse, dia. 18 in. [$700/1000] Note: New Orleans native and important American minimalist artist, Jesselyn Benson Zurik excelled in creating sculptural assemblages imbued with architectural and industrial elements. Zurik attended Lafayette School and the Arts and Crafts School of New Orleans before enrolling in Isidore Newman School. While at Newman, she served as art editor of the Pioneer from 1931 to 1934. In 1934, Zurik then enrolled in Newcomb College at Tulane University, where she received a Bachelor of Design in 1938. During her time at Newcomb, Zurik studied under some of the great arts educators in the South of the time, including Xavier Gonzales, Will Henry Stevens and Caroline Durieux. In the pre-war years, Zurik worked as an illustrator for Katz & Besthoff Drug Company, Adler’s Jewelry Store and D.H. Holmes. During World War II, she served as a naval draftsperson for Andrew Higgins of Higgins Industries. After the war, Zurik returned to a prolific art career, completing additional years of study at Newcomb College, and creating assemblage pieces, as well as oil paintings, charcoals and pen and inks. Zurik’s work hangs in numerous public and private collections throughout the United States, Canada, England, France, Israel, Italy and Switzerland. Her art was exhibited in over 250 juried or invitational shows and thirty-four one-woman shows. She received twenty-one awards for her exemplary artwork, which has been documented in fifty-six art publications. Zurik was an original memberartist of the Glade Gallery of New Orleans, and the monochromatic assemblage offered here was featured in a one-woman show at the gallery in 1966.

359. Cora Kelley Ward (American/Louisiana, 1920-1989), “Cadence”, 1982, aquatec acrylic on canvas, signed, titled and dated en verso, 28 in. x 15 in.; AND “Untitled”, 1981, acrylic on canvas, signed and dated en verso, 22 in. x 16 in., unframed. (2 pcs.). [$1800/2500] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

361. Jesselyn Benson Zurik (American/New Orleans, 1916-2012), “Untitled”, 1967, mixed media assemblage, signed and dated on reverse, 12 in. x 9 1/4 in. [$500/700]

362. Pair of Chocolate Leather Club Chairs, high square back, tapered feet, h. 42 1/2 in., w. 34 in., d. 31 1/2 in. [$800/1000]

364. Pair of Continental Leather Club Chairs, distressed leather surface, h. 34 in., w. 29 in., d. 32 in [$700/900]

363. Five Charles Pollock for Knoll Aluminum and Leather Executive Armchairs, 1970s, designed 1963, Knoll International labels, h. 33 in., w. 26 1/2 in., d. 27 in. [$800/1200]

365. Charles and Ray Eames-Style ESU Storage Unit, Modernica, originally designed in 1952, painted hardboard and sliding doors in grey, black and white, zinc-coated steel, h. 58 1/2 in., w. 47 1/2 in., d. 17 in. [$700/1000]

366. Charles and Ray Eames-Style ESU Desk, Modernica, originally designed 1950, maple top, zinc-coated steel, three drawers, painted hardboard panels, h. 29 1/2 in., w. 60 in., d. 23 3/4 in. [$400/600]

367. Lalique Glass “Perceval” Greyhound, marked, h. 8 in., w. 10 1/2 in., d. 3 1/8 in. [$300/500] 60

368. Lalique “Memphis” Clear Glass Center Bowl, engraved “Lalique France” and numbered “225/299”, boat form center set on ovoid base embossed with two dancing nude figures, h. 7 3/4 in., w. 18 1/4 in., d. 7 3/4 in. [$400/600] Provenance: Dr. Roger Hatchette, New Orleans, LA

369. Loredano Rosin (Italian, 1936-1991), after Max Ernst (German, 1891-1976), “Couple enlacé”, smoke glass, signature inscribed on self-base, with Rosin glass seal, h. 19 1/4 in., w. 10 3/4 in., d. 5 1/4 in. [$1000/1500] Provenance: “Arts Décoratifs du 20e siècle”, Etude Tajan, lot 237.

370. John Littleton (American, b. 1957) and Kate Vogel (American, b. 1956), “Shard and Bags”, 1984, blown, cut and fused glass, signed and dated, h. 14 1/2 in., w. 14 1/2 in., d. 9 in. [$800/1200]

372. Pair of American Glass Beaded Hall Lanterns, 20th c., globular form, interior fitted with four lights, h. 18 in., dia. 10 in. [$700/900]

371. Contemporary Red-Painted “Pineapple” Six-Light Chandelier, tasseled arms with basekt and foliate candle holders, h. 28 in., dia. 22 in. [$400/600]

373. American Brass and Glass Seven-Light Chandelier, 19th c., central font, foliate supports, light green shade, h. 33 in., dia. 22 in. [$400/600]

374. Art Deco-Style Brass and Glass Chandelier, late 20th c., curved and fishscale outer blue glass, inner ring of clear glass, fitted with five lights, h. 29 in., dia. 31 in. [$500/700]

375. Large American Brilliant Cut Glass and Silverplate Table Lamp, c. 1900, baluster form standard, prismhung band with domical shade, cut with fans and starburts, h. 22 in., d. 12 in [$300/500]

376. Louis XV-Style Gilt Metal and Cut Crystal Fifteen-Light Chandelier, 20th c., vasiform standard, scroll arms, faceted sphere pendant, h. 32 in., dia. 25 in. [$1000/1500]

377. Baccarat-Style Cut Crystal Nine-Light Chandelier, vasiform standard, scroll arms, pendant sphere, electrified, h. 57 in., dia. 44 in. [$1200/1800]

378. Baccarat-Style Cut Crystal Ten-Light Chandelier, vasiform standard, scroll arms, acornform pendant, electrified, h. 60 in., dia. 42 in., Note: some losses and restorations. [$1200/1800] 61

379. Carlo Bugatti Brass-Mounted, Bone Inlaid and Parcel Ebonized Walnut “Sgabello” Chair, c. 1900, circular seatback with ornate string and mosaic inlay, shaped seat, trestle base, h. 39 1/4 in., w. 14 in., d. 20 in. [$7000/10000] Provenance: Sotheby’s, London, UK, Applied Arts & Design, Apr. 20, 2001, lot 32. Ref.: Dejuan, Philippe. Bugatti: Carlo, Rembrandt, Ettore, Jean. New York: Rizzoli, 1982, p. 53. 380. Antique Italian Rococo Carved Walnut Mirror, finely modeled foliate and putto figural surround, h. 79 1/2 in., w. 53 in. [$3500/4500]

381. Antique Italian Parcel Ebonized and Marquetry Table, stepped top, turned standard, shaped sabre legs, h. 29 1/2 in., dia. 27 in. [$400/600]

382. Italian Renaissance-Style Carved Walnut Credenza, dentilated top, two frieze drawers, scrolled brackets, paneled doors, shaped base, h. 41 in., w. 64 in., d. 20 in. [$500/700] 383. Italian Pietra Dura and Wrought Iron Table, scrolled trestle base, h. 30 1/2 in., w. 71 in., d. 47 1/2 in. [$3000/5000]

384. Pair of Venetian Polychrome Painted Armchairs, vasiform splat, scrolled arms, cabriole legs, h. 42 1/2 in., w. 25 in., d. 19 in. [$500/700]

385. Antique Venetian Polychrome Tray on Stand, dished surround, stand with shaped apron and cabriole legs, h. 23 in., w. 29 in., d. 18 in. [$500/700]

386. Pair of Venetian Polychrome Painted Bombe Commodes, early 19th c., serpentine top, conforming case, three drawers, cabriole legs, heavily scrolled toes, h. 33 1/2 in., w. 47 1/2 in., d. 21 1/2 in. [$6000/8000]

387. Antique Venetian Polychrome Painted Commode, serpentine top, two drawers, cabriole legs, h. 35 in., w. 42 in., d. 17 in. [$600/900] 62

389. Belgian Gothic Carved Oak Diminutive Cabinet, 19th c., architectural case with dentilated spire, fluted door, lower drawer, h. 20 in., w. 14 in., d. 8 in. [$800/1200] 388. Venetian Carved Walnut Cassone, 18th c., hinged plank top, floral scroll reserves, blocked base, foliate feet, h. 27 in., w. 65 1/2 in., d. 22 1/2 in. [$1000/1500]

390. Spanish Colonial Hardwood Trestle Table, three frieze drawers, serpentine stretchers, h. 32 in., w. 57 in., d. 27 in. [$600/800]

391. Spanish Wrought Iron Low Table, marble top, scrolled motif with foliate decoration, h. 19 1/2 in., w. 52 in., d. 30 in. [$500/700]

392. Pair of Moorish Inlaid Hardwood Tabouret Tables, reticulated frieze, bracketed base, turned legs, h. 30 1/2 in., w. 24 1/2 in., d. 24 1/2 in. [$1000/1500]

393. Moorish Inlaid Hardwood Blanket Chest, hinged top, floral decoration, bracket feet, h. 30 in., w. 39 1/2 in., d. 19 1/2 in. [$1500/2500]

395. Napoleon III Polychrome Painted Bookshelf, late 19th c., trapezoidal form, glazed door opens to shelf interior, conforming base, h. 89 1/2 in., w. 55 1/2 in., d. 15 in. [$1000/1500]

396. Italian Ebonized, Parcel Gilt and Mosaic Side Table in the Neoclassical Taste, swag and drapery decoration, paw feet, h. 30 in., dia. 26 1/2 in. [$3000/5000] 394. Pair of Continental Carrara Marble Pedestals, columnar form, h. 39 in., w. 10 in., d. 10 in. [$500/700] 63

397. Napoleon III-Style Bronze-Mounted Mahogany Side Table, rouge marble top, Classical reserve frieze, caryatid supports, shaped stretcher surmounted by a corbeille, tapered feet, h. 31, w. 33 in., w. 20 in. [$1500/2500]

398. Pair of Napoleon III-Style Boullework Pedestals, each with square black marble top, tapering pedestal with gilt bronze mounts, outswept plinth, sabots, h. 48 1/2 in., w. 15 1/2 in., d. 15 1/2 in. [$700/900]

399. Continental Patinated Metal and Pietra Dura Table, octagonal floral motif top, tripod base cast with masks, reticulated stretcher shelf, h. 28 in., dia. 32 in. [$800/1200]

400. Pair of French Neoclassical-Style Gilt Bronze Gueridons, inset circular marble top, lion’s mask mounts, X-stretchers, paw feet, h. 30 in., dia. 34 in. [$3000/5000]

402. Continental Brass Armillary Sphere, nine orbit rings, centered by rotating sun, h. 39 1/2 in., w. 21 1/2 in. [$700/1000] 401. Continental Carved Oak Relief Plaque, 18th/19th c., depicting figures during harvest, h. 10 in., w. 11 in., d. 3/4 in. [$500/700] 404. Pair of Continental Carved Wood Figural Brackets, modeled as leaping fish, shaped shelf, h. 10 1/4 in., w. 11 1/2 in., d. 8 3/4 in. [$500/700]

405. Art Nouveau Gilt Metal Figural Table Lamp of Dancer Loie Fuller, after Lucien Alliot (French, 18771967), fitted with single light, h. 17 in., w. 7 1/2 in., d. 7 in. [$800/1200]

406. Pair of Louis XV-Style Bronze Seven-Light Candelabra, vasiform standard, Greek key and foliate candle arms, h. 32 in., w. 17 in., d. 14 in. [$1500/2500]

403. Pair of Large Crème Peinte Ecclesiastical Prickets, nickel plated metal mounts, h. 37 in., h. (with large candles) 44 1/2 in. [$700/1000]

408. Austrian Silver Gilt and Jeweled Enamel Ewer, scrolled handle, chased with foliate design, h. 9 in., w. 6 in., d. 4 1/2 in. [$700/900]

407. Four Framed Pietra Dura Plaques, inlaid with birds on flowering branches, 17 in. x 25 in. [$500/700]

410. Iberian Brass and Mother-of-Pearl Inlaid Dome Top Coffer, 20th c., h. 17 in., w. 21 1/2 in., d. 13 1/2 in. [$600/800]

409. Pair of Empire Bronze Sphinx Chenets, 19th c., h. 9 in., w. 11 in., d. 4 in. [$500/700]

411. Continental Silvered, Gilt, Enameled and Bejeweled Carriage Group, 20th c., polished mahogany stand, note: small losses to enamel and “jewels”, h. 8 1/2 in., w. 26 in., d. 12 in. [$5000/7000]

412. Pair of Napoleon III Bronze Figural Chenets, 19th c., surmounted by cherubs, cast with flaming urns and lion masks, on paw feet, h. 14 in., w. 17 in., d. 4 in. [$500/700]

413. Three Grand Tour-Style Carved Stone Models of Architectural Ruins, 20th c., h. 12 in., w. 9 in., d. 3 in. [$600/800]

415. Pair of French EmpireStyle Gilt Bronze Five-Light Candelabra, 19th c., foliate candle arms, tall plinth base with garlands and griffins, h. 25 in., w. 10 1/2 in., d. 10 1/2 in. [$1200/1800]

414. Pair of Charles X Gilt Bronze Three-Light Candelabra, winged griffin candle arms, tapered standard, with lotus collar, h. 21 in., w. 10 1/2 in., d. 6 1/2 in. [$1200/1800]

416. Pair of Patinated Bronze Figures of Noblemen, 19th c., sienna marble bases, h. 16 1/2 in., w. 8 in., d. 5 in. [$500/700]

417. 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. [$3000/5000]

419. Regency Inlaid Mahogany Pembroke Table, early 19th c., oval drop-leaf top, frieze drawer, ring-turned legs, casters, h. 28 in., w. 33 in., d. 21 in. [$500/700]

421. Regency-Style Egyptianesque Inlaid, Parcel Ebonized and Gilded Mahogany Sideboard, shaped top, conforming frieze centered by a lion’s mask, four drawers, pharaoh mask mounts, tapered legs, paw feet, h. 39 in. w. 95 in., d. 32 in. [$2500/3500]

423. Pair of Regency Inlaid Mahogany Pedestal Cabinets, early 19th c., sarcophagus-form case, two frieze drawers, paneled door, molded scrolled feet, h. 40 in., w. 22 1/2 in., d. 16 1/2 in. [$1200/1800] 66

418. Continental Rock Crystal and Silverplate Centerpiece Bowl, 20th c., lobed bowl, tripodal base, h. 9 1/2 in., dia. 10 in. [$500/700]

420. Regency Inlaid Mahogany Games Table, early 19th c., foldover top, blocked frieze, gate leg, h. 29 1/2 in., w. 35 1/2 in., d. 17 1/2 in. [$500/700]

422. Regency Egyptianesque Inlaid and Ebonized Mahogany Stand, early 19th c., manner of Thomas Hope, sarcophagus-form case with pharaoh masks, splayed legs, h. 31 1/2 in., w. 16 1/2 in., d. 16 1/2 in. [$1200/1800]

424. Eight Antique Regency-Style Painted and Parcel Gilt Fancy Chairs, incl. 2 armchairs and 6 side chairs, back-scrolled crest rail, fluted arms, ring-turned tapered legs, h. 34 1/2 in., w. 18 1/2 in., d. 18 in. [$1500/2500]

425. Regency Silvered Wrought Iron Mirror, c. 1820, divided frame with floral medallions, later mirror plate, h. 57 in., w. 41 1/2 in. [$1500/2500] Provenance: Jerry Pair, Atlanta, GA. 426. Regency Mahogany Bookcase, early 19th c., pedimented cornice, glazed doors, shelf interior, four graduated drawers, flared bracket feet, h. 98 in., w. 49 1/2 in., d. 22 1/2 in. [$1200/1800]

427. Regency Figured Mahogany Bow-Front Chest, early 19th c., two short drawers over four long drawers, serpentine apron, French feet, h. 51 1/2 in., w. 45 1/2 in., d. 23 in. [$800/1200]

429. William IV Mahogany Bookcase, mid-19th c., stepped cornice, arched glazed doors, foliate stiles, lower case with paneled doors, interior fitted with a bank of drawers, paw feet, h. 99 in., w. 46 in., d. 22 1/2 in. [$2500/3500]

428. William IV Carved Mahogany Sideboard, c. 1830, manner of Gillows, shaped backsplash, gadrooned top, frieze drawer flanked by doors, turned pendant and reeded legs, h. 47 1/2 in., w. 74 in., d. 22 in. [$1000/1500]

430. William IV Mahogany Library Table, c. 1830, inset leather top, four small frieze drawers, baluster turned legs, casters, h. 30 1/2 in., w. 72 in., d. 47 in. [$2000/3000] 67

431. Six William IV Mahogany Side Chairs, c. 1840, back-scrolled crest rail, turned and tapered legs; together with one chair with lappet-carved legs, h. 34 in., w. 18 in., d. 16 1/2 in. [$800/1200]

432. Eight William IV Carved Mahogany Dining Chairs, c. 1840, manner of Gillows, incl. 2 armchairs and 6 side chairs, incised crest, scrolled slat, scrolled arms, turned and reeded legs, armchair h. 34 in., w. 21 in., d. 17 1/2 in., side h. 34 in., w. 19 1/2 in., d. 16 1/2 in. [$1000/1500]

433. Large William IV Carved Mahogany Bookcase, mid-19th c., scroll and shell carved pediment over glazed doors, lower case with paneled doors, carved apron, scrolled feet, plum pudding veneers throughout, oak secondary wood, h. 109 1/2 in., w. 63 1/2 in., d. 20 1/2 in. [$1500/2500]

434. William IV-Style Parcel Ebonized and Gilded Mahogany Sofa Table, drop-leaf top, frieze drawer, fluted columnar standard, incurvate base, paw feet, h. 30 in., w. 39 in., d. 27 1/2 in. [$1000/1500]

435. William IV Mahogany Sideboard, mid-19th c., pedimented superstructure with two drawers, reverse breakfronted frieze, recessed arch, paneled doors, turned feet, h. 46 1/2 in., w. 79 in., d. 30 in. [$1000/1500] 68

436. William IV Mahogany Writing Table, mid-19th c., two frieze drawers, turned trestle base, casters, h. 29 1/2 in., w. 38 1/2 in., d. 19 1/2 in. [$700/1000]

437. Louis XV-Style Porcelain and Bronze Three-Piece Clock Garniture, incl. clock and pair of fivelight 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 candelabra, h. 16 1/2 in., w. 9 in., d. 9 in. [$800/1200]

438. Louis XV-Style Gilt Bronze-Mounted Clock, Father Time finial, dial marked “Passemant, Hgr. du Roy”, tall cabriole legs, h. 21 1/2 in., w. 7 in., d. 6 in. [$1000/1500]

439. French BoulleStyle Bracket Clock, 20th c., cherub finial, Classical relief decoration, conforming bracket, h. 41 in., w. 15 in., d. 7 1/2 in.[$1800/2500]

441. French Porcelain-Mounted Gilt Bronze Mantel Clock, surmounted by a maiden and putto, floral and foliate case, h. 19 in., w. 18 in., d. 6 1/2 in. [$600/800]

442. Charles X Patinated and Gilt Bronze Clock, dial supported on winged lions, surmounted by helmet and swords, h. 18 in., w. 8 in., d. 4 1/2 in. [$800/1200]

440. Georgian Chinoiserie Tall Case Clock, signed “Tho-West Ralcliff Cross, London”, h. 86 1/2 in., w. 18 in., d. 9 in. [$1500/2500]

443. Antique French Six-Bell Twelve-Air Cylinder Music Box, burl walnut case, movement with two combs (lacking 3 tines), h. 11 in., w. 29 in., d. 13 1/4 in. [$700/900] 69

444. Hart McNee (American/New Orleans, 1943-2009), “Spain + Burgundy”, 1994, acrylic on panel, signed, titled and dated en verso, 48 in. x 72 in., unframed. [$800/1200]

445. Holly Sarré (American/New Orleans, 20th c.), “1 Cat in da Attic”, 2006, oil on gallery-wrapped canvas, signed and dated lower right, signed, titled, dated and inscribed en verso, 48 in. x 31 3/4 in., unframed. [$1500/2500]

446. Rene Portocarrero (Cuban, 1912-1985), “Woman Plucking a Rooster”, 1947, pastel on paper, signed and dated lower left, sight 21 in. x 16 1/2 in., framed. [$12000/18000] Provenance: Galeria de La Habana, Cuba, June 23, 1963; Private Collection, Habana, 1978; thence by descent.

447. James Michalopoulos (American/New Orleans, b. 1951), “Milky Sway”, 1995, oil on canvas, signed lower left, signed, titled and dated en verso, 47 3/4 in. x 36 in., framed. [$6000/8000] 70

448. William Hemmerling (American/Louisiana, 19432009), “Biddies”, 2007, paint on panel, signed, dated and inscribed en verso, 27 1/2 in. x 18 3/4 in., unframed. [$2000/3000]

449. William Hemmerling (American/Louisiana, 19432009), “Woman with Orange Tree”, oil on found decorative print on panel, unsigned, 47 in. x 36 in., framed. [$4000/6000]

450. George Rodrigue (American/Louisiana, 1944-2013), “The Three Musketeers”, 1995, acrylic on canvas, signed lower left, inscribed on side, artist stamp and inscribed on stretcher, 36 in. x 24 in., original frame. [$40000/60000] Provenance: Rodrigue Gallery, Carmel, CA, Aug. 26, 1998. Ill.: Freundlich, Lawrence S. George Rodrigue: A Cajun Artist. New York: Penguin Books, 1996, p. 215, pl. 212. Note: “The Three Musketeers” represents a turning point in George Rodrigue’s decades long journey with his Blue Dog series. Due to health concerns in the mid-1990s, Rodrigue was forced to substitute acrylic painting for his traditional oils. Rodrigue eventually came to favor the medium for its ability to dry quickly, produce vibrant colors and allow him to push the boundaries of his visual language. One of the first paintings produced in acrylic, the canvas offered here displays Rodrigue’s initial explorations in the new medium and a playful change in his treatment of the Blue Dog, and perhaps more importantly, its surroundings. The Blue Dog at the forefront morphs into the different character of Dudley the Bull Dog and wears a bear suit inspired by Rodrigue’s childhood stuffed toy. The lushness of the Louisiana landscape typically serving as the focus or backdrop of Rodrigue’s previous works transforms into bold shapes and primary colors. Visually, the scene has flattened, with the background now matching the iconic twodimensionality of the Blue Dog. With paintings from this important time period, Rodrigue realized he had the ability to take the Blue Dog anywhere he desired on his canvases – a freedom that would profoundly affect the works that followed. Ref.: Rodrigue, Wendy. “Blue Dog Man, 1996-1999.” Musings of an Artist’s Wife. Dec. 10, 2009. www.legacyarttour.org. Accessed Mar. 5, 2022. Exh.: “Blue Dog: The Art of George Rodrigue”, Dixon Gallery and Gardens Museum, Memphis, TN, July 29 - Oct. 14, 2007; “Rodrigue’s Louisiana: Forty Years of Cajuns, Blue Dogs, and Beyond Katrina”, The New Orleans Museum of Art, New Orleans, LA, Mar. 1 - June 8, 2008.

451. Jean Pierre Serrier (French, 1934-1989), “Course de Vélo”, 1973, oil on canvas, signed lower right, signed, dated, personalized in French and inscribed “Schon New Orleans” on stretcher, 35 1/4 in. x 57 in., framed. [$2000/3000] Provenance: Kurt Schon Gallery, New Orleans, LA. Note: Jean-Pierre Serrier was born in Montparnasse and attended the Académie des Beaux-Arts in Paris. He had his first exhibition in 1955, before being sent to Algeria to complete his military service. In 1961, Serrier made his first visit to the United States to exhibit at a New York gallery. In 1975 and 1979, he had successful exhibitions in New Orleans in conjunction with Kurt Schon Gallery, and his work was included in art and news magazines, including Time and Newsweek. One of the last French Surrealists, Serrier evoked themes of humanity and mortality through the lens of the teachings of Nietzsche and Freud, as seen in the large-scale and haunting painting offered here. He was a member of the Autumn Salon and in 1976 was elected a jury member. He exhibited widely during his lifetime, including in London, Paris, Geneva, and Brussels, and posthumous retrospectives of his work took place in both New York and New Orleans. 71

452. Paul Ninas (American/New Orleans, 1903-1964), “Bayou Landscape”, oil on paper laid on masonite, unsigned, “LeMieux Galleries, New Orleans” label on backing paper, 23 1/2 in. x 35 1/2 in., framed. [$3000/5000]

453. George Rodrigue (American/Louisiana, 1944-2013), “Fishing, 10¢ a Day (Entrepreneurs)”, 1976, oil on canvas, signed lower left, signed and dated en verso, titled and artist stamps on stretcher, exhibition label with title on reverse of frame, 36 in. x 24 in., framed with artist plaque. [$20000/30000] Provenance: Acquired from the artist; Roland Begneaud Family Collection, Lafayette, LA. Ill.: Freundlich, Lawrence S. George Rodrigue: A Cajun Artist. New York: Penguin Books, 1996, p. 80, pl. 53. Exh.: “George Rodrigue: Cajuns and Blue Dogs - Paintings from Louisiana Family Collections 1971-2008”, Louisiana State Museum - Wedell-Williams Aviation & Cypress Sawmill Museum, Patterson, LA, July 17 - Nov. 29, 2008; “George Rodrigue: Legends and Lives of Acadiana”, Acadiana Center for the Arts, Lafayette, LA, Mar. 14 - Apr. 26, 2009. Note: Roland Begneaud (1925-1997) was a pharmacist and engineer who started Begneaud’s Pharmacy in the Oil Center of Lafayette in 1963, as a second location to the original opened by his father, Arista Begneaud, at the corner of South Buchanan and Congress Streets in 1939. In 1972, Dickie Hebert, childhood friend of George Rodrigue, worked as a pharmacist for Begneaud and introduced the two. By this time, Rodrigue had opened a small gallery on Pinhook Road in Lafayette, where he painted daily, and had begun to receive early recognition for his work. Begneaud recognized the talent of the emerging artist and as well as the potential in investing in his work. Over the next ten years, he amassed the largest private collection of Rodrigue Cajun paintings to date. According to Wendy Rodrigue, “the two friends became fast business associates, working out purchase agreements, oftentimes hand-written on the backs of the pharmacy’s prescription pads, to help Rodrigue finance the improvements on his single-story Victorian-style home on Jefferson Street. Rodrigue famously (and expensively) raised the house, building an additional floor underneath as his gallery… [W]ith the exception of Roland Begneaud and a handful of other friends, the majority of Rodrigue’s collectors, whether Cajun or Blue Dog canvases, lived outside of Louisiana. And throughout his life, Rodrigue remained grateful to Roland Begneaud for appreciating and nurturing his vision.” In 1976, both Rodrigue and Begneaud celebrated their success when the book The Cajuns of George Rodrigue, featuring eleven works from the Begneaud Collection, was chosen by The National Endowment for the Arts and Rosalynn Carter as an Official White House Gift of State during the Carter administration. Subsequent books published on the artist included further works from the Begneaud Collection, such as the one offered here and illustrated in George Rodrigue: A Cajun Artist from 1996. Upon Begneaud’s death, his family inherited the works, and they have graciously loaned their paintings on numerous occasions for public exhibition. Often based on 1920s-30s period photographs from his mother’s album, Rodrigue’s early Cajun paintings reflect his interpretation of a fading era and his own Louisiana Cajun heritage with a contemporary and unique approach. His timeless figures inhabit a landscape clearly both familiar and beloved by the artist. The two sources of light in the scene, the woman and the light beneath the trees, serve to highlight the often-shadowed landscape of Acadiana and allow Rodrigue’s Cajuns to shine from within with the hope of a displaced people. Ref.: Rodrigue, Wendy. “The Begneaud Collection.” Musings of an Artist’s Wife. Oct. 25, 2016. www.legacyarttour.org. Accessed Mar. 5, 2022. 72

454. George Rodrigue (American/ Louisiana, 1944-2013), “Looking for the Winner”, 1980, oil on canvas, signed lower left, signed and dated en verso, titled and artist stamps on stretcher, exhibition label with title and date on reverse of frame, 24 in. x 36 in., framed. [$20000/30000] Provenance: Acquired from the artist; Roland Begneaud Family Collection, Lafayette, LA. Exh.: “George Rodrigue: Cajuns and Blue Dogs - Paintings from Louisiana Family Collections 1971-2008”, Louisiana State Museum - Wedell-Williams Aviation & Cypress Sawmill Museum, Patterson, LA, July 17 - Nov. 29, 2008.

455. Melissa Bonin (American/Louisiana, b. 1960), “Twilight”, 2005, oil on canvas, signed, titled and dated en verso, 59 3/4 in. x 60 in., framed. [$3000/5000] Note: “Landscapes permit me to sit on the edge of abstraction and reality. You can manipulate colors in a way that produces a feeling of the landscape without copying everything realistically.” --- Melissa Bonin Melissa Bonin began taking art classes at the age of fifteen at the University of Southwestern Louisiana on the advice of fellow artist, Elemore Morgan, Jr. Bonin, a native of New Iberia, captures the luminous spirit of her beloved Bayou Teche with her hazy and romantic landscapes. “When I go out on the water, something happens to me. I feel an electricity, an energy.” These intangible elements are brilliantly put to canvas in the painting on offer here. Ref.: Kemp, John R. Expressions of Place: The Contemporary Louisiana Landscape. Jackson: University Press of Mississippi, 2016, p. 37.

456. Ashley Longshore (American/ New Orleans, b. 1975), “Cookie Monster”, 2018, mixed media on gallerywrapped 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.). [$2000/3000] 457. 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.). [$2500/3500] 73

459. Robert Deyber (American/ Connecticut, 1955-2021), “The Butt of Jokes”, acrylic on canvas, signed lower right, titled on stretcher, handwritten artist label with personalization and “Martin Lawrence Gallery” label with artist and title on reverse of frame, 36 in. x 36 in., framed. [$800/1200] Provenance: Martin Lawrence Galleries. 458. Robert Deyber (American/Connecticut, 1955-2021), “What Goes Around Comes Around”, acrylic on canvas, signed lower right, titled on stretcher, titled, inventory number, handwritten artist label with personalization and “Martin Lawrence Gallery” label with artist and title on reverse of frame, 30 in. x 40 in., framed. [$800/1200] Provenance: Martin Lawrence Galleries 460. Gen Paul (French, 1895-1975), “Notre-Dame, Paris”, watercolor and gouache on paper, signed upper left, “CANSON-France-C a grain” watermark visible, “A.M. Gallery, Lafayette, LA” stamp on backing paper, 19 1/2 in. x 25 1/2 in.; “Le Petite Train”, watercolor and gouache on paper, signed lower left, “CANSON-France-C a grain” watermark visible, 2 “A.M. Gallery, Lafayette, LA” stamps on backing paper, 19 1/2 in. x 25 1/2 in., framed alike. (2 pcs.). [$5000/7000]

462. Harold Hitchcock (British, 1914-2009), “Homage to Venice”, 1971, watercolor on board, monogrammed and dated lower right, pencil-signed, titled and dated en verso, 29 1/4 in. x 42 7/8 in., framed. [$1200/1800]

461. Marcel Dyf (French, 1899-1985), “Campagne de St. Tropez (Pampelone)”, 1980, oil on canvas, signed lower right, inventory number and “Frost & Reed” label with artist and title on stretcher, “Christie’s” labels on reverse of frame, 18 1/8 in. x 21 5/8 in., framed with artist plaque. [$4000/6000] Provenance: Frost & Reed Ltd., London; Tom and Ruth Jones; Christie’s, New York, June 24, 2014, lot 76; Private Collection, Shreveport, LA. Note: Claudine Dyf confirmed the authenticity of this work upon the occasion of its prior sale through Christie’s in 2014. The work is registered in the Dyf archives under no. 4013. 74

463. Harold Hitchcock (British, 1914-2009), “The Colleoni Monument, Venice”, 1971, watercolor and gouache on paper, monogrammed and dated lower right, signed, titled and dated en verso, signed, titled, dated, inscribed and “Robert Fisher, Ltd., London” shipping label with artist on backing board, 20 in. x 25 1/4 in., framed. [$800/1200]

464. Desmond Heeley (British/ American, 1931-2016), “Loves Labor’s Lost: Muscovite”, 1974, “Loves Labor’s Lost: Moth as Hercules”, 1974 and “The Miser: Harpagon”, 1988, 3 mixed medias on paper, each signed, titled, dated and inscribed, 2 with artist biography on backing papers, 11 in. x 8 1/2 in. to 14 3/4 in. x 11 in., framed. (3 pcs.). [$1000/1500]

465. Pair of Antique George II-Style Inlaid Walnut Side Chairs, vasiform splat, shellcarved legs, ball and claw feet, h. 38 1/2 in., w. 20 1/2 in., d. 18 in. [$1500/2500] 466. Fine William and Mary Inlaid and Banded Burl Walnut Chest-on-Chest, 18th c., upper case with molded cornice, bolection frieze drawer, two doors, fitted interior; lower case with two short drawers, two long drawers, bracket feet, h. 67 in., w. 43 1/4 in., d. 18 1/2 in. [$2000/3000] 467. Antique Queen Anne-Style Inlaid Burl Walnut Slant-Front Secretary Bookcase, upper case with glazed door, lower case with fall-front lid, fitted interior, two short drawers, over two long drawers, bun feet, h. 83 in., w. 38., d. 20 in [$1000/1500]

468. Antique Queen Anne-Style Oyster Veneer Pedestal Desk, frieze drawer, writing surface slides, pedestals with four graduated drawers, plinth base, h. 30 in., w. 55 in., d. 24 1/2 in. [$1000/1500]

469. Queen Anne Walnut Drop-Leaf Table, 18th c., demilune ends, cabriole legs, pad feet, h. 28 in., dia. 48 in. [$700/900]

470. William and Mary Marquetry and Burl Walnut Chest on Stand, 18th c., upper case with two short drawers over two long drawers; lower case with long drawer, shaped apron, cabriole legs, pad feet, h. 55 1/2 in., w. 42 1/2 in., d. 24 in. [$1500/2500] 75

471. George III Burl Walnut Chest of Drawers, early 19th c., ringed top with banded edge, two short drawers over two long drawers, bracket feet, h. 33 in., w. 42 1/2 in., d. 18 in. [$800/1200] 472. Antique George III-Style Burl Walnut Chest of Drawers, banded top, two short drawers over two long drawers, bracket feet, h. 30 1/2 in., w. 42 1/2 in., d. 18 in. [$1000/1500]

474. Pair of Antique French Tole and Brass Bouillotte Lamps, h. 25 in., w. 15 1/2 in., d. 8 1/2 in. [$800/1200] 473. Pair of Antique Louis XV-Style Three-Light Sconces, h. 20 in., w. 18 in., d. 10 in. [$400/600]

475. Antique Empire-Style Patinated and Gilt Bronze Seven-Light Chandelier, h. 31 in., dia. 20 in. [$1200/1800]

476. Pair of Spanish Renaissance-Style Wrought Iron and Tole Lanterns, h. 50 in., w. 42 in., d. 15 in. [$1000/1500]

477. Pair of Louis XV-Style Gilt Bronze and Crystal Nine-Light Sconces, h. 27 1/2 in., w. 18 1/2 in., d. 8 in. [$1000/1500]

478. Pair of Maison Bagues-Style Rock Crystal and Metal Two-Light Wall Sconces, each centered by parrot seated on urn upon tapering plinth flanked by scroll arms with foliage h. 26 1/2 in., w. 20 1/2 in., d. 7 in. [$1800/2500] 76

479. Pair of Bagues-Style Rock Crystal and Gilt Metal Two-Light Sconces, h. 24 in., w. 25 in., d. 7 1/2 in. [$1800/2500]

480. Aesthetic Glass and Brass Hall Lantern, c. 1870, ornate brass frame, colored etched glass panels, h. 24 in., dia. 13 in. [$500/800]

481. Monumental Italian Carved Giltwood Floor Lamp, tripartite base carved with sphinxes, on paw feet, shade embellished with flowers and fringe in metal bullion thread, h. 82 in., dia. 33 in. [$1500/2500]

482. Pair of Regence-Style Carved Giltwood Stools, tapered legs with bellflower decoration, scrolled stretcher, h. 20 1/2 in., w. 21 in., d. 17 in. [$800/1200]

483. Regence-Style Giltwood and ChinoiseriePainted Center Table, shaped top, shell and acanthusdecorated frieze, volute legs with foliate masks, scrolled finialed stretcher, h. 30 1/2 in., w. 40 in., d. 24 1/2 in. [$2000/3000] 484. Regence-Style Giltwood Mirror, surmounted by a floral basket, torchere finials, pierced swagged crest decorated with opposing birds, beaded surround, acanthine pendant, h. 62 in., w. 42 in. [$600/900]

485. Pair of Regence-Style Giltwood Cushion Mirrors, abundantly carved foliate surround, h. 95 in., w. 62 in. [$1000/1500]

486. Antique Regence-Style Gilded Repousse Cushion Mirror, floral surround and crest, h. 61 in., w. 39 1/2 in. [$1000/1500]

487. 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. [$500/700]

488. Pair of Louis XV-Style Painted and Parcel Gilt Settees, serpentine crest rail with floral decoration, molded arms with acanthine terminals, cabriole legs, damask upholstery, h. 35 in., w. 51 in., d. 28 in. [$1000/1500]

489. 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. [$700/900]

491. Antique Louis XV-Style Giltwood Chaise Longue, caned back, floral crest rail, ropemolded seat rail, tapered fluted legs, h. 39 in., w. 27 in., d. 66 in. [$700/900]

490. Pair of Louis XV-Style Crème Peinte Fauteuils, serpentine acanthine crest rail, shaped arms, cabriole legs, scrolled toes, silk upholstery, h. 40 in., w. 29 in., d. 26 in. [$1000/1500]

493. French Provincial Marquetry and Walnut Escritoire, late 18th c., fall front lid opens to fitted interior, two frieze drawers, cabriole legs, h. 38 in., w. 36 in., d. 21 in. [$700/1000]

492. Louis XIII-Style Walnut Fauteuil à Oreilles, leather back and seat, heavily turned supports and stretchers, h. 46 in., w. 26 in., d. 21 in. [$700/900]

494. French Provincial Carved Walnut Side Table, likely 19th c., rouge marble top, fluted acanthine frieze, cabriole legs, hoof feet, h. 29 1/2 in., w. 24 in., d. 24 in. [$1200/1800] 495. Antique French Provincial Stenciled Fruitwood Two-Part Cabinet, stepped cornice, upper and lower case with paneled doors, plinth base, h. 86 in. w. 57 in., d. 23 in. [$1000/1500]

496. Antique Louis XV-Style Kingwood and Marquetry Side Table, gameboard hinged top with inset leather surface, cabriole legs, h. 28 in., w. 26 in., d. 17 in. [$800/1200]

498. 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 [$500/700]

497. Italian Grand TourStyle Temple on Black Marble Base, 20th c., h. 15 in., w. 11 in., d. 11 in [$500/700]

499. 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]

501. Continental Jewel-Encrusted Malachite Box, h. 4 in., w. 12 1/2 in., d. 8 1/2 in. [$1000/1500]

500. Empire Gilt Bronze Watch Holder, early 19th c., harp-form flanked by swans, oval base, h. 10 1/2 in., w. 4 1/4 in., d. 3 3/4 in. [$100/200]

502. Four Vintage Louis Vuitton Suitcases, three largest 20 1/2 in. x 32 in. x 10 in.; the fourth 8 1/2 in. x 18 1/2 in. x 27 3/4 in. [$3000/5000]

503. Moorish Inlaid Hardwood Box, hinged lid, void interior, h. 11 in., w. 16 in., d. 10 1/2 in. [$400/600]

504. Pair of Antique French Neoclassical-Style Gilt Bronze Figural Chenets, h. 18 in., w. 14 in., d. 4 1/2 in. [$1500/2500]

505. Pair of Louis Philippe Patinated and Gilt Bronze Six-Light Candelabra, now mounted as lamps, painted shades, h. 38 in., dia. 18 in. [$1000/1500]

506. Pair of Charles X Marble and Patinated Bronze Urns, h. 9 1/2 in., dia. 6 1/2 in. [$800/1200]

507. Pair of Antique Continental BronzeMounted Tole Water Pots, on faux marbre pedestals, h. 77 in., w. 21 in., d. 16 in. [$1000/1500]

509. Pair of American Neoclassical-Style Patinated Bronze Chenets, h. 28 in., w. 13 in., d. 23 in. [$400/600]

508. Bronze Figure of a Pharaoh, signed A. Bourcher, h. 40 1/2 in., w. 12 in., d. 12 in. [$1000/1500]

510. Pair of Venetian Etched Glass and Giltwood Prickets, h. 36 in., w. 7 in., d. 7 in. [$600/800] 511. Pair of Louis XV-Style Giltwood Jardinieres, lined interior, heavily carved and scrolled body with floral basket finial, h. 39 in., w. 24 in., d. 24 in. [$800/1200]

512. Pair of NeoclassicalStyle Marble Urns, h. 19 in., dia. 13 in. [$800/1200]

514. Carved Alabaster Figure of “Pauline Bonaparte as Venus Victrix” after Antonio Canova, h. 13 in., w. 22 3/4 in., d. 7 1/2 in., on wood stand, overall h. 16 1/2 in. [$1000/1500]

513. Pair of Antique Louis XV-Style Gilt Bronze Six-Light Candelabra, h. 29 in., dia. 14 in. [$1000/1500]

515. Antique Empire-Style BronzeMounted Mahogany Bergère, reeded crest rail, foliate scrolled and padded arms, tapered legs mounted with winged caryatids, paw feet, h. 43 in., w. 31 in., d. 24 in. [$1500/2500]

516. Empire-Style Bronze-Mounted Mahogany Chaise Longue, scrolled back, lion and dolphin mask mounts, turned and tapered feet, h. 33 in., l. 80 in., d. 35 in. [$3500/5500]

517. Pair of Antique Empire-Style Bronze-Mounted Burl Walnut Bergères, square back, padded arms, sphere-capped terminals, tapered legs, h. 39 1/2 in., w. 27 1/2 in., d. 26 in. [$4000/6000]

518. Pair of Empire Crème Peinte and Parcel Gilt Fauteuils, 19th c., square back, foliate decoration, tapered legs, h. 39 in., w. 26 in., d. 20 in. [$1500/2500]

519. Pair of Italian Neoclassical Painted and Parcel Gilt Fauteuils, 19th c., decorated with floral medallions, padded arms, ring-turned legs, ball feet, h. 36 in., w. 21 in., d. 18 in. [$1000/1500]

520. Antique Neoclassical-Style Inlaid and Polychrome-Painted Kingwood Cartonnier, upper compartments with classical reserves, lower paneled doors, tapered legs, h. 54 in., w. 22 1/2 in., d. 14 1/2 in. [$1000/1500]

521. Antique Italian Neoclassical-Style Fruitwood Marquetry Desk, kneehole configuration of drawers, tapered legs, h. 30 1/2 in., w. 51 in., d. 34 1/2 in. [$5000/7000]

522. Antique Empire-Style Bronze-Mounted Mahogany Secretaire à Abattant, marble top, mirrored fall-front lid opens to fitted interior, pier table base with columnar supports, h. 54 1/2 in., w. 32 in., d. 18 1/2 in. [$800/1200]

523. Antique Italian Neoclassical-Style Carved and Painted Console Table, variegated marble top with molded edge, reticulated floral frieze, foliate tapered legs, h. 32 1/2 in., w. 50 1/2 in., d. 24 1/2 in. [$1800/2500]

524. Russian Neoclassical-Style Gilded Mahogany Center Table, grey marble top, reverse-tapered standard, six-point star-shaped base, casters, h. 29 in. dia. 44 in. [$4000/6000] 525. Neoclassical-Style Gilt Bronze Side Table, inset black marble top, X-stretchers, paw feet, h. 26 in., w. 30 in., d. 19 in. [$700/900]

526. Four Louis Philippe Rosewood Parlour Chairs, mid-19th c., incl. two armchairs and two side chairs, foliate carved crest rail, oval back, scrolled supports, cabriole legs, casters, side chair h. 37 in., w. 19 1/4 in., d. 17 1/2 in., armchair h. 40 in., w. 24 in., d. 23 1/2 in [$600/900] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

527. Empire-Style BronzeMounted Mahogany Commode and Mirror, 19th c. and later, rectangular mirror, case with marble top, 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 [$1000/1500]

528. Biedermeier Inlaid Fruitwood Two-Part Corner Cabinet, early 19th c., upper case with cartouche glass doors, shelf interior, tapered supports; lower case with demilune front, paneled doors, spade feet, h. 79 1/2 in., w. 42 in., d. 28 in. [$1000/1500]

529. Dutch Neoclassical Mahogany Cabinet, c. 1820, serpentine chamfered top, conforming case, frieze drawer, tambour door, fluted tapered legs, h. 29 1/2 in., w. 29 1/2 in., d. 15 in. [$500/700]

530. Biedermeier Parcel Ebonized Fruitwood Pier Table, mid-19th c., chamfered top, frieze drawer, scrolled supports, mirrored back, incurvate base, h. 36 in., w. 42 in., d. 16 1/2 in. [$800/1200]

531. Biedermeier Parcel Ebonized Fruitwood Secretaire à Abattant, early 19th c., chamfered corners, frieze drawer, fall-front lid, fitted desk interior, paneled lower doors, tapered legs, h. 62 in., w. 39 1/2 in., d. 17 in. [$800/1200]

532. Antique Continental BronzeMounted Oak Console Table, paneled superstructure with putti reserves, marble top, lion mask scrolled foliate supports, stepped base, h. 50 in., w. 62 in., d. 15 in. [$700/1000]

533. Pair of Italian Neoclassical Marble Plaques, wrought iron frames, h. 21 in., w. 20 in. [$1200/1800] 84

534. Pair of Italian Neoclassical-Style Gilded and Faux Marbre Obelisks, h. 60 in., w. 12 1/2 in., d. 12 1/2 in. [$1800/2200] 535. Large Continental Rock Crystal Bowl, fluted body on wood base, h. 15 1/2 in., dia. 12 in. [$2000/3000]

536. Pair of French Neoclassical Rouge Marble Trumpet Vases, 19th c., h. 22 in., dia. 8 1/2 in. [$1000/1500] 537. Four Italian Neoclassical Silvered Carved Wood and Bronze Mounted Wall Ornaments, h. 13 1/2 in., w. 9 in., d. 4 1/2 in. [$500/700]

538. Pair of Italian Silver and Gilt Metal Figures of Knights, onyx bases, h. 11 in., w. 4 1/2 in., d. 3 in [$300/500]

540. Pair of Italian Louis XV-Style Parcel Gilt Veneered Black Marble Covered Urns, h. 32 in., w. 17 1/2 in., d. 14 in. [$800/1200]

542. Patinated Bronze Figure of a Horse, h. 19 in., w. 8 in., d. 23 in. [$400/600]

543. Pair of Small Square Malachite Planters, h. 7 1/2 in., w. 5 in., d. 5 in. [$500/700]

539. French Cast Iron Figural Group of Ariadne on the Panther, after a model by Johann Heinrich von Dannecker, h. 38 in., w. 47 in., d. 15 in. [$1500/2500]

541. Pair of Monumental Italian Carved Wood Torcheres, h. 64 1/2 in., dia. 15 in. [$1500/2500]

544. Pompeian-Style Patinated Bronze Prancing Horse, marble base, h. 15 in., w. 6 1/2 in., d. 15 in. [$800/1200] 85

546. Georgian Tortoiseshell Tea Caddy, 19th c., octagonal case, interior with two lidded compartments, h. 4 1/8 in. w. 7 1/4 in., d. 3 3/4 in. [$800/1200]

545. George III Tortoiseshell Tea Caddy, 19th c., pagoda-form, interior with two lidded compartments, 5 1/4 in., w. 7 1/2 in., d. 4 1/2 in. [$800/1200]

547. Three Antique English Tortoiseshell Boxes, incl. 18th c. silvermounted lidded box, h. 3 1/4 in., w. 9 1/2 in., d. 6 1/8 in.; an Anglo-Indian bone and tortoiseshell box, h. 3 1/4 in., w. 7 3/4 in., d. 5 1/2 in., and a red lidded box, h. 3 in., w. 5 in., d. 4 in. [$700/1000]

548. Four Antique English Tortoiseshell Desk Items, 19th c., incl. small oval, silver mounted lidded box (silver worn), small box, and a Georgian travelling mirror, largest h. 2 in., w. 5 1/2 in., d. 4 in. [$500/700]

549. Antique English Tortoiseshell Dresser Box, hinged lid mounted with a gilt-metal medallion of a hunt scene, h. 1 3/4 in., w. 11 1/2 in., d. 3 3/4 in.; together with a tortoiseshell and a mother-of-pearl calling card case, larger 4 in. x 2 3/4 in. [$200/300] 550. Three Antique Carved Bone Walking Sticks, figural heads, brass collars, tallest l. 37 in [$700/900]

551. Pair of American Cold Painted Iron Dogs, h. 9 in., w. 10 in., d. 4 1/2 in. [$300/500]

553. Pair of Classical-Style Cast Resin Figural Wall Brackets, h. 11 1/2 in., w. 12 1/2 in., d. 8 in. [$250/350]

552. American Cast Iron Rooster Windmill Weight, early 20th c., attributed to Elgin Wind Power and Pump Co., Elgin, Illinois, h. 16 in., w. 16 1/2 in., d. 4 1/2 in. [$500/700]

554. Two Antique American Needlepoint Panels, framed, h. 25 in., w. 25 in. [$400/600]

555. Three Chinese Coral Carvings, incl. vase of flowers; Beauty; and the Immortal Lu Dongbin with fly whisk, sword, and acolytes; wood stands, tallest overall h. 5 in. [$4000/6000]

556. Four Chinese Hardstone Trees in Cloisonne Enamel Pots, incl. 2 pairs, each naturalistically rendered with fabric wrapped branches and colorful stone leaves and flowers, tallest h. 13 in., w. 10 in., d. 8 in. [ $300/500]

557. Pair of Chinese Cloisonne Enamel Buddhist Lions on Stands, modeled seated on their haunches on rectangular draped plinths, female with a brocade ball and male with a cub, tiered wood stands, overall h. 28 1/2 in., w. 14 in., d. 21 in. [$1500/2500]

559. Chinese Carved Mixed Woods, Giltwood, Cloisonne Enamel, and Hard and Soft Stone Embellished Lacquer Floor Screen, rectangular insert with shaped sections enclosing auspicious objects and animals, relief-carved stand further embellished with ruyi scepters and peaches, h. 65 in., w. 46 in., d. 18 in. [$1500/2500]

558. Decorative Pair of Chinese Famille Rose Porcelain Vases, stylized pink handles, bodies painted with floral bands and scenes with bats amid auspicious emblems, bases with apocryphal Qianlong marks, h. 12 1/2 in. [$400/600]

560. Pair of Antique Chinese Hardwood Armchairs, horseshoe crest rail, pierced spalt, woven seat, stretchered legs, h. 40 in., w. 25 1/2 in., d. 21 1/2 in. [$500/700] 87

2022 AUCTION SCHEDULE May 12, 2022 Estate of Mario Villa Live Auction – Part 1 May 25 & 26, 2022 UNRESERVED @ Neal Auction Online-only June 24 & 25, 2022 Summer Estates Auction July 14, 2022 Estate of Mario Villa Online Auction – Part 2 August 10 & 11, 2022 UNRESERVED @ Neal Auction Online-only September 9 & 10, 2022 Fall Estates Auction October 12 & 13, 2022 UNRESERVED @ Neal Auction Online-only November 18 & 19, 2022 Louisiana Purchase Auction™

December 8, 2022 Mid-Century, Modern and Contempory Art & Design 89

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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 The auctioneer shall have absolute discretion in determining the highest and best bid on each lot. The 1. 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.

If the buyer fails to comply with any of these Conditions of Sale, Neal Auction Company reserves the 6. right to (a) hold such defaulting buyer liable, obligated, and responsible for the total amount due and to commence legal proceedings to recover the entire amount along with interest, reasonable attorneys’ fees, expenses, and costs; (b) charge outstanding amounts to the buyer’s credit card; (c) apply any payments to outstanding amounts chosen by Neal Auction Company notwithstanding the instructions of the buyer; (d) cancel the sale, retaining as liquidated damages any payment made by the buyer; (e) resell the lot without reserve at public auction, online-only auction, or privately on seven calendar days’ notice to the buyer; (f) enforce specific performance of the sale; (g) require a deposit in future auctions; (h) exclude the buyer from future auctions or bidding on particular lots; (i) exercise the rights and remedies of a person holding security and/or privilege over property in Neal Auction Company’s possession, whether by pledge, security interest or any other mechanism, to the full extent allowed under Louisiana law, and Neal Auction Company may hold the property of the buyer as collateral security for the buyer’s obligations; (j) and/or take such other actions allowed by law in Neal Auction Company’s sole discretion. If Neal Auction Company resells the lot, the defaulting buyer shall be liable, obligated, and responsible for the payment of any deficiency in the purchase price and any damages, including but not limited to all costs and expenses of both sales, such as, by way of example only, storage, handling, insurance, repairs, illustrations, consultations, examinations, moving, shipping, promotions, advertising, reasonable attorneys’ fees, commissions, and incidental damages.

Virtually all lots offered have been subject to use over a considerable period of time. No mention of 7. cracks, scratches, chips, tears, breaks, weaknesses, or any damages or wear will be included in oral, written, or electronic statements or descriptions in the catalogue, website, correspondence, advertising, or literature. Condition reports may be provided upon request, but condition reports may not mention all cracks, scratches, chips, defects, hazards, tears, breaks, weaknesses, or other damages or wear. Neal Auction Company makes no representations or warranties as to the accuracy or completeness of any information or description in a condition report or elsewhere, whether oral, written, electronic, or online. Neal Auction Company reserves the right to decline to provide a condition report for any specific lot, at its sole discretion. Neither high nor low estimates in a catalogue, website, advertising, correspondence, literature, or 8. elsewhere should be relied on as a representation, prediction, appraisal, guarantee, or warranty that a particular lot will sell for a particular price or that a particular lot has a particular value.

9. Neal Auction Company has absolute discretion to admit a bidder to the auction premises, to expel a bidder from the auction premises, or to refuse a bidder from participating in the auction. 10. Neal Auction Company and its auctioneers shall not be liable, obligated, or responsible for failure to recognize or execute any bids for any reason whatsoever, or for no reason. Bidders and buyers WAIVE and RELEASE any rights to damages, and equitable, declaratory, and injunctive relief arising out of the failure or rejection of any bid, or any errors or omissions relating to the bidding process. 11.

Interfering with the auction in any way is prohibited.

13.

Canvassing or solicitating on the auction premises is prohibited.

12. Bid rigging is strictly prohibited. Any agreement, understanding, or arrangement not to bid against another or otherwise to dampen the bidding is unlawful. The auctioneer reserves the right to bid on behalf of the consignor for the protection of the consignor if this illegal activity by two or more bidders is detected, disclosed, alleged, or suspected. 14. The auctioneer has the sole discretion as to the increments of bidding, the recognition of any bid, the acceptance of the final bid, and resolving any disputes among bidders.

15. Neal Auction Company represents the consignors only and is not acting as agent or representative of bidders or buyers. The payment of the buyer’s premium by the buyer does not indicate a dual agency relationship. Neal Auction Company is to be paid a fee or commission by the consignor pursuant to a separate written agreement between the consignor and Neal Auction Company. The consignor is the seller of the lot sold. Neal Auction Company is the consignment agent or representative, not the seller. 16. The successful bidder is obligated to pay the purchase price in full unless Neal Auction Company has consented in writing at the time of the bidder’s registration that the bidder is acting as an agent on behalf of an identified person and that said principal is obligated to pay the purchase price in full. Neal Auction Company reserves the right to require an advance deposit for such bids.

17. Prior to placing any bid, all bidders must complete a standard Neal Auction Company Registration Form in use at the time of the auction. 18.

Dealers must provide Neal Auction Company with proper documentation prior to bidding.

20.

Bids are required to be made in U.S. dollars.

19.

First time bidders are required to produce a valid state-issued identification card or passport.

21. Neal Auction Company may require a bidder or buyer at any time to produce financial, banking, or trade references and information.

22. All bidders are required to provide credit card information (such as but not limited to the type of card, card number, name as it appears on the card, billing zip code, expiration date, and security code).

23. All bidders are required to select, and notify Neal Auction Company of, a method of payment (cash, check, wire, or credit card) in writing at the time of registration. 24. Neal Auction Company reserves the right to describe or to make photographic, video, or audio recordings of the auction, or any part thereof, and to publish such descriptions, photographs and/or recordings.

25. Lots may be offered subject to a reserve, which is the confidential minimum hammer price below which the lot will not be sold, for the protection of the consignor. Such reserve will not exceed the low estimate for the lot. The auctioneer may open the bidding on any lot by placing a bid on behalf of the consignor, auctioneer, or an absentee bidder that is below the reserve. The auctioneer may continue to bid on behalf of the consignor, auctioneer, or absentee bidder up to the amount of the reserve, by placing consecutive bids or by bidding in response to other bidders. Neal Auction Company may sell a lot at a hammer price below the reserve at its discretion, subject to its agreement with the consignor. ABSENTEE/TELEPHONE/ONLINE BIDS 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.

VISA, MasterCard, Discover, and American Express are accepted for payment of invoices (except jewelry) 8. 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.

January 28 & 29, 2022 • Auction Results 94

0001 - $3,072

0054 - $448

0104 - $2,625

0156 - $128

0219 - $10,625

0279 - $768

0339 - $427

0406 - $2,074

0474 - $704

0546 - $427

0002 - $14,640

0055 - $21,350

0105 - $1,280

0157 - $512

0220 - $12,200

0280 - $704

0340 - $4,575

0408 - $4,575

0475 - $915

0547 - $488

0003 - $3,200

0056 - $3,294

0106 - $1,536

0158 - $96

0221 - $12,800

0281 - $1,920

0342 - $1,536

0410 - $1,664

0476 - $1,830

0548 - $732

0004 - $14,720

0057 - $4,575

0108 - $1,536

0159 - $793

0222 - $15,860

0283 - $610

0345 - $1,220

0411 - $976

0477 - $732

0549 - $896

0007 - $12,500

0058 - $2,196

0109 - $896

0160 - $549

0223 - $8,960

0284 - $1,280

0346 - $1,920

0412 - $1,952

0478 - $1,024

0550 - $512

0008 - $7,320

0059 - $1,280

0110 - $768

0161 - $4,270

0224 - $7,320

0286 - $854

0347 - $1,152

0414 - $976

0479 - $9,760

0552 - $768

0009 - $34,160

0060 - $448

0111 - $61

0162 - $488

0225 - $960

0287 - $6,080

0348 - $704

0416 - $671

0480 - $625

0553 - $768

0010 - $4,160

0061 - $1,280

0112 - $1,792

0163 - $1,088

0227 - $793

0288 - $2,000

0349 - $2,176

0417 - $576

0483 - $854

0554 - $915

0011 - $1,098

0062 - $448

0113 - $1,830

0164 - $1,220

0228 - $1,464

0289 - $3,965

0350 - $1,792

0418 - $1,024

0486 - $1,342

0555 - $305

0012 - $704

0063 - $1,920

0114 - $671

0165 - $2,304

0229 - $1,024

0290 - $2,432

0352 - $512

0419 - $1,792

0487 - $1,159

0556 - $576

0013 - $671

0064 - $896

0115 - $640

0166 - $1,088

0230 - $8,540

0291 - $2,318

0355 - $427

0420 - $1,920

0488 - $750

0557 - $1,037

0014 - $854

0065 - $1,152

0116 - $640

0168 - $1,220

0231 - $1,000

0292 - $610

0357 - $1,664

0422 - $1,952

0489 - $1,250

0558 - $3,000

0015 - $704

0066 - $549

0117 - $793

0169 - $2,304

0232 - $1,664

0293 - $768

0359 - $384

0424 - $3,200

0491 - $1,152

0559 - $256

0016 - $2,432

0067 - $768

0118 - $384

0170 - $1,280

0233 - $12,800

0294 - $5,760

0360 - $512

0427 - $2,560

0493 - $2,560

0560 - $704

0017 - $427

0068 - $183

0119 - $1,664

0171 - $30,720

0234 - $3,840

0295 - $2,816

0362 - $896

0432 - $576

0494 - $1,664

0561 - $671

0018 - $2,560

0069 - $1,280

0120 - $1,037

0176 - $3,172

0235 - $610

0296 - $14,640

0363 - $671

0436 - $1,280

0495 - $48,800

0562 - $512

0019 - $16,640

0070 - $427

0121 - $640

0177 - $10,880

0236 - $1,152

0297 - $9,760

0364 - $812

0437 - $854

0496 - $2,560

0565 - $3,328

0020 - $1,280

0071 - $576

0122 - $366

0178 - $3,416

0237 - $768

0298 - $11,590

0365 - $384

0438 - $2,432

0497 - $2,928

0566 - $3,416

0021 - $640

0072 - $512

0123 - $2,176

0180 - $3,294

0240 - $1,664

0301 - $1,280

0366 - $896

0439 - $2,562

0499 - $2,806

0567 - $1,586

0022 - $1,708

0073 - $183

0124 - $256

0181 - $2,684

0241 - $896

0302 - $2,560

0367 - $1,536

0442 - $976

0500 - $960

0568 - $2,074

0023 - $1,216

0074 - $1,664

0125 - $488

0182 - $4,270

0243 - $3,294

0304 - $1,098

0369 - $1,280

0443 - $1,464

0501 - $1,408

0569 - $3,456

0024 - $3,456

0075 - $768

0126 - $640

0186 - $4,270

0244 - $2,688

0305 - $915

0371 - $1,000

0444 - $11,590

0504 - $1,098

0570 - $4,800

0025 - $448

0076 - $671

0127 - $488

0187 - $7,680

0245 - $2,500

0306 - $854

0373 - $832

0445 - $976

0505 - $4,575

0571 - $3,965

0026 - $1,152

0077 - $915

0128 - $305

0188 - $1,019

0246 - $1,037

0307 - $640

0374 - $12,800

0446 - $1,159

0509 - $1,024

0573 - $1,952

0027 - $384

0078 - $854

0129 - $256

0189 - $1,159

0247 - $2,432

0308 - $1,037

0375 - $30,500

0447 - $3,660

0511 - $2,944

0574 - $1,000

0028 - $1,088

0079 - $2,074

0130 - $312

0190 - $5,185

0248 - $576

0309 - $3,072

0376 - $4,480

0448 - $5,440

0513 - $1,216

0575 - $1,220

0029 - $427

0080 - $4,160

0131 - $2,304

0191 - $3,050

0249 - $732

0311 - $1,664

0377 - $512

0449 - $15,360

0514 - $960

0578 - $812

0030 - $384

0082 - $976

0132 - $427

0193 - $3,840

0250 - $1,216

0313 - $896

0378 - $512

0450 - $8,960

0515 - $1,220

0580 - $427

0031 - $448

0083 - $1,342

0133 - $152

0194 - $2,176

0251 - $128

0314 - $793

0379 - $576

0451 - $320

0516 - $960

0581 - $2,304

0032 - $832

0084 - $320

0134 - $448

0196 - $6,100

0252 - $704

0315 - $671

0380 - $1,586

0452 - $2,688

0517 - $2,560

0582 - $2,560

0033 - $610

0085 - $1,536

0135 - $896

0197 - $4,575

0253 - $1,152

0317 - $549

0381 - $610

0453 - $3,538

0518 - $640

0583 - $384

0034 - $15,860

0086 - $1,792

0137 - $1,024

0198 - $4,160

0254 - $3,050

0319 - $854

0382 - $671

0454 - $2,440

0519 - $375

0584 - $7,040

0035 - $640

0087 - $576

0138 - $7,680

0200 - $4,160

0255 - $1,408

0320 - $1,098

0385 - $750

0455 - $960

0520 - $976

0585 - $512

0036 - $256

0088 - $427

0139 - $3,584

0201 - $1,464

0256 - $640

0321 - $384

0386 - $812.50

0456 - $549

0521 - $366

0586 - $5,440

0037 - $512

0089 - $384

0141 - $3,965

0202 - $1,708

0259 - $488

0322 - $320

0387 - $732

0457 - $366

0522 - $640

0587 - $9,760

0038 - $43,920

0090 - $384

0142 - $640

0204 - $5,120

0261 - $6,562

0323 - $768

0388 - $915

0458 - $1,024

0523 - $768

0588 - $427

0039 - $183

0091 - $312

0143 - $832

0206 - $854

0262 - $3,416

0324 - $854

0389 - $9,760

0459 - $1,408

0525 - $2,304

0590 - $896

0040 - $256

0092 - $640

0144 - $192

0207 - $8,540

0263 - $384

0325 - $1,920

0390 - $793

0460 - $2,318

0530 - $192

0591 - $3,840

0041 - $488

0093 - $6,400

0145 - $488

0208 - $8,960

0264 - $3,660

0326 - $1,708

0391 - $25,620

0461 - $915

0533 - $1,152

0592 - $704

0042 - $244

0094 - $427

0146 - $1,152

0209 - $15,250

0265 - $2,816

0327 - $687

0392 - $2,318

0462 - $1,159

0534 - $3,965

0593 - $1,152

0043 - $427

0095 - $1,152

0147 - $610

0210 - $10,240

0266 - $3,712

0328 - $610

0393 - $4,160

0463 - $1,375

0535 - $4,160

0594 - $3,840

0044 - $183

0096 - $832

0148 - $1,152

0211 - $10,880

0267 - $1,152

0329 - $1,125

0394 - $3,328

0464 - $768

0536 - $512

0045 - $576

0097 - $960

0149 - $427

0212 - $5,120

0268 - $2,688

0331 - $625

0395 - $2,816

0465 - $7,930

0537 - $256

0046 - $320

0098 - $448

0150 - $1,952

0213 - $10,370

0270 - $1,920

0332 - $1,098

0396 - $2,688

0466 - $1,088

0538 - $1,024

0047 - $549

0099 - $625

0151 - $192

0214 - $10,240

0272 - $1,024

0333 - $896

0397 - $3,660

0467 - $448

0540 - $768

0048 - $576

0100 - $256

0152 - $384

0215 - $12,810

0274 - $1,098

0334 - $750

0400 - $3,840

0469 - $2,176

0541 - $512

0049 - $512

0101 - $396

0153 - $1,408

0216 - $11,520

0276 - $2,304

0336 - $1,152

0401 - $640

0470 - $512

0542 - $2,304

0051 - $2,048

0102 - $366

0154 - $448

0217 - $5,795

0277 - $610

0337 - $488

0402 - $1,216

0472 - $1,024

0544 - $512

0052 - $1,664

0103 - $320

0155 - $320

0218 - $12,160

0278 - $488

0338 - $2,816

0404 - $1,875

0473 - $1,037

0545 - $704

American School, 241

Desmond Heeley, 464

Gen Paul, 460

Jean Hans Arp, 351

William Hemmerling, 448, 449

Walter Inglis Anderson, 305, 306 John James Audubon, 257, (aft) 258, 260

B François Bernard, 240 Melissa Bonin, 455

Louis-René Boquet (attr), 1-3

Colette Pope Heldner, 310, 311

Rene Portocarrero, 446

Edward Benjamin Herberte, 256

Morris Henry Hobbs, 312

Charles Reinike, Jr., 307

Harold Hitchcock, 462, 463

Robert Rauschenberg, 346

Malvina Cornell Hoffman, 96

Frederick Sackrider Remington (aft), 97

Marie Atkinson Hull, 304

Clementine Hunter, 198-208

Douglas Bourgeois, 345

Charles Whitfield Richards, 313, 314 George Rodrigue, 450, 453, 454 Loredano Rosin, 369

George Frederick Castleden, 303 Clodion (mnr), 99

Georges Jouve, 325

Ilya Schor, 253

Austin Allen James, 343

George Condo, 347

Continental School, 251, 252, 254, 255

Robert Deyber, 458, 459

Jean Pierre Serrier, 451

George Henry Smillie, 250 K Mary Kirk Kelly, 321-324 Louis Aston Knight, 247

Holly Sarré, 445

Henry Pember Smith, 249 Southern School, 239

Ida Rittenberg Kohlmeyer, 354 T

Alexander John Drysdale, 308, 309

Robert “Bob” Tannen, 342

Etienne-Henri Dumaige (aft), 100

Caroline Wogan Durieux, 356

Herman Leonard, 337

Dwight William Tryon (attr), 248

Marcel Dyf, 461

John Littleton, 370

Albert Lynch, 238

Lee Ufan, 352

Ashley Longshore, 456, 457

E Lin Emery, 341

Max Ernst (aft), 369

Edwin Murray MacKay (attr), 246 Henri Matisse, 353

F Henry Farrer, 242-245

Daniel Chester French (aft), 98

Hart McNee, 444

James Michalopoulos, 447 Elemore Morgan, Jr., 355

Sister Gertrude Morgan, 209

Robert Wadsworth Grafton, 315

W Cora Kelley Ward, 357-359 Karl Wirsum, 349

Alban E. “A.E.” Woolley, 334-336

G John Gould, 259

Kate Vogel, 370

Artist Index

Miranda Lake, 344

•

George Bauer Dunbar, 338-340

April 8 & 9, 2022

Paul Jacoulet, 76

N Louise Nevelson, 350 Paul Ninas, 452

Alexandre Noll, 348

V Jesselyn Benson Zurik, 360, 361

O George Ohr, 316-318

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