Premier Collections: Art & Interiors Auction - June 24 & 25

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Premier Collections: Art & Interiors June 24 & 25, 2022 FEATURING: Collection of Janice and Jim Herblin, New Orleans, LA Collection of Wendy and the late George (1944-2013) Rodrigue, Part Two Select Property from the Collection of Connoisseur and Longtime Collector Jim Willeford, removed from 1130 Third St., New Orleans, LA Fine Jewelry from the Estate of Legendary New Orleans Performer Chris Owens And Property of Others

EXHIBITION

Beginning Monday, June13, 10 a.m. to 5 p.m.

Special Saturday Preview, June 18, 10 a.m. to 5 p.m..

AUCTION

Friday, June 24, beginning at 2:00 p.m., lots 1-200 Saturday, June 25, beginning at 11:00 a.m., lots 201-615

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

THE COLLECTION OF JANICE AND JIM HERBLIN FEATURING PAINTINGS

BY SELF-TAUGHT ARTIST

MOSE TOLLIVER Neal Auction Company is delighted to offer the following array of paintings by celebrated and beloved self-taught artist, Mose Tolliver, from the Janice and Jim Herblin Collection.

Born around 1920 in the Pike Road Community located near Montgomery, Alabama, Mose Tolliver was one of twelve children. He eventually married his childhood friend, Willie Mae Thomas and together they had thirteen children of their own. In the 1960s, a tragic injury left him unable to work, and thus he turned his full attention to his art. His oeuvre explores all manner of media and themes, and Tolliver found success within his lifetime with several solo and group exhibitions. His works have graced the walls of institutions such as the Ogden Museum, the New Orleans Museum of Art, the Folk Art Museum in New York, the High Museum in Atlanta, and the Visionary Art Museum in Baltimore.

Janice Herblin, who was a preschool teacher at Saint Augustine Episcopal Church, and Jim, a geologist with Getty Oil, were initially introduced to Tolliver by the wife of Jim’s high school friend from San Antonio who was a professor of art at Auburn University. The introduction would blossom into a friendship and patronage that lasted years, with the Herblins visiting Tolliver on their way to and from their residences in New Orleans, LA and Blowing Rock, NC. On every trip, they met the artist in his home where he sat on his bed, his studio of choice, and regaled them with stories about his life and art.

Every trip resulted in a new addition to the growing collection.

Over time, the Herblins would amass a vibrant and comprehensive compilation of Tolliver’s works, including rare shaped canvases, a portrait of Mose Tolliver by his daughter Annie (replete with actual hair from the artist/sitter).

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AUGUST 10, 2022 ESTATE OF LEGENDARY

NEW ORLEANS PERFORMER

CHRIS OWENS Neal Auction Company is pleased to present a selection of fine jewelry from the Estate of Chris Owens.

Known by New Orleanians as the “Queen of the Vieux Carré,” iconic performer and entrepreneur Chris Owens passed away on April 5, 2022, at the age of 89. Beloved by both locals and tourists, Owens entertained thousands at her Bourbon Street club for more than six decades. Owens reigned each year as queen of the French Quarter Easter Parade, where swaths of fans gathered to view the celebrated performer’s fabulous custom-made Easter costumes, overflowing with floral embellishment.

Along with her energetic singing and dancing, Owens’ timeless glamour and extravagant signature costumes established her as an unparalleled New Orleans entertainer.

In addition to this offering of fine jewelry, on August 10, 2022, Neal Auction Company will offer an exclusive collection of costumes, hats, paintings, photography, furniture, decorative objects, and more from the Estate of Chris Owens in our UNRESERVED @Neal Auction OnlineOnly Auction. To learn more about this special offering, or to register to bid, please visit nealauction.com.

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Session One Friday, Jun 24, 2 p.m. lots 1-200

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1. Chris Owens’ $20 Liberty and Saint Gaudens Gold Coin Belt, fashioned from 9 Gaudens (1908, 1914, 1922, 1923, 1924, 1925, 1927 (2), 1928; and 9 Liberty (1851, 1876s, 1880s, 1881s, 1882s, 1900, 1902s, 1904, 1907); total of 18 coins, l. 34 in. [$25000/35000] Provenance: Estate of Legendary New Orleans Performer Chris Owens.

2. Chris Owens’ Silver Dollar Belt, fashioned from 10 Morgans (1882, 1883o (2), 1884o, 1885, 1889, 1890o, 1891o, 1900, 1921 (2); 6 Peace (1922, 1923, 1924 (2), 1927; and one Eisenhower (1971); 17 coins total, l. 36 in. [$500/700] Provenance: Estate of Legendary New Orleans Performer Chris Owens.

3. Chris Owens’ Mexican 50 Pesos “Centenario” Cold Coin Pendant, 37.5 grams, puro oro, with diamond bezel, lacking chain. [$1000/1500] Provenance: Estate of Legendary New Orleans Performer Chris Owens.

4. Chris Owens’ Gold Coin Bracelet, 14 kt. yellow gold bracelet with 17 coins, also with 4 loose coins, incl. German 1889 20 mark, Dutch 1913 10 gulden, Italy 1809 40 lire, English 1958 Sovereign (2), US 1911 quarter eagle (colored), Italy 1858 10 lire, Iran 1/4 Pahlavi, Norway 1886 20 kroner, Mexico 1959 20 pesos (2), US 1914 ten dollar, French 1864 20 franc, French 1914 20 franc, Russian 1899 10 ruble, Belgian 1882 20 franc, Peru 1903 1 libra, US 1861 1 dollar, Cuban 1916 5 pesos, English 1885 sovereign, and Taiwan 1965, 1000 New Dollars, bracelet l. 9 in., 21 total coins. [$2500/3500] Provenance: Estate of Legendary New Orleans Performer Chris Owens.

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5. Chris Owens’ Hamilton Art-Deco Style Platinum and Diamond “Hidden” Bracelet Ladies Watch, serial number 001844, 17 jewels, movement also marked “T61” and “6032”. [$700/1000] Provenance: Estate of Legendary New Orleans Performer Chris Owens.

6. Lucien Piccard/ Rolex 14 kt. Yellow Gold and Diamond Ladies Watch, mesh bracelet, diamond bezel, movement a Rolex “Montres 1400” with 17 jewels, manual wind; together with a Waltham ladies quartz watch. (2 pcs.) [$700/1000] Provenance: Estate of Legendary New Orleans Performer Chris Owens.

7. Ladies 14 kt. Yellow Gold and Diamond Cyma Wristwatch, quartz movement, 14 kt. yellow gold mesh rope design bracelet set with 20 full cut diamonds totaling approx. 1.2 cts., overall wt. 20 dwt. [$400/600]

8. Italian 14 kt. Yellow Gold Hollow Rope Link Flexible Bracelet, w. 31.50 dwt. [$1000/2000]

9. 14 kt. Yellow Gold Flexible Rope Bracelet, with toggle clasp, wt. 9 dwt. [$400/600]

10. Pair of South American 14 kt. Yellow Gold and Colored Gemstone Half-Hoop Earrings, each set with oval citrine, heart-shaped pink tourmaline, round green tourmaline and emerald-cut aquamarine; note 1 earring broken. [$200/300]

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11. Continental .800 Silver Vermeil Aztec Design Earrings, post and clip back. [$150/250] 12. 14 kt. Yellow Gold, Black Onyx and Diamond Band Ring, set with 20 full cut diamonds totaling approx. .5 cts, overall wt.

10.5 dwt. [$200/300]

13. Italian 14 kt. Yellow Gold Flexible Collar, wt. 32 dwt. [$1500/2000]

14. Etruscan Design 18 kt. Yellow Gold, Cabochon Rhodolite Garnet and Tiny Diamond Clip Bail Enhancer/Pendant, marked “Athena”, wt. 16.5 dwt. [$1000/1500]

15. 14 kt. White Gold and Tahitian Pearl Necklace, 31 round dark gray cultured pearls, 12.00-15.00 mm; plunger style bead clasp; l. 17 1/2 in.; AIGL report. [$1200/1500]

16. 14 kt. White Gold and South Sea Pearl Necklace, 37 off round white cultured pearls, 10.00-13.00 mm; plunger style bead clasp; l. 18 1/4 in.; AIGL report. [$1200/1500]

17. 18 kt. White Gold, Pearl and Diamond Necklace, mounted with a central pearl dangling from a stylized ribbon set with numerous round and tapered baguette shape diamonds; l. 10 in. [$2000/3000]

18. Set of 14 kt. Yellow Gold, Ruby and Diamond Jewelry, incl. bracelet, mounted with 56 rubies and numerous round diamonds, l. 6 3/4 in.; pair of earrings, set with numerous round and tapered baguette shape rubies and numerous round diamonds; and matching ring, size 4 (3 pcs.). [$1000/1500]

19. Platinum, Diamond and Ruby Ring, numerous bezel set round and princess brilliant cut diamonds, total wt. approx. 0.70 ct.; accented with 4 round brilliant cut rubies, total wt. approx. 0.66 ct.; size 7.5; IAS report. [$1200/1800]

20. Oscar Friedman 18 kt. White Gold, Diamond and Ruby Ring, center bezel set round brilliant cut diamond, wt. approx. 1.50 cts., 7.157.15 x 4.63 mm, I color, I1 clarity; inner bezel with 16 channel set mixed cut natural rubies, total wt. approx. 2.21 cts.; outer bezel with 46 round brilliant cut diamonds, total wt. approx. 0.55 cts., G-H color, VS2 to SI2 clarity; size 7; SGL report. [$4000/6000] 77

21. 14 kt. Yellow Gold, Ruby and Diamond Ring, center oval shape mixed cut ruby, wt. approx. 3.92 cts., 11.37 x 7.89 x 4.52 mm; shoulders set with 4 round diamonds, total wt. approx. 0.25 ct., G-H color, VS-SI clarity; size 7; GAL report. [$800/1200]

22. 18 kt. White Gold, Diamond and Ruby Ring, center lozenge shape diamond, wt. approx. 1.88 cts.; inner bezel with 12 round rubies, total wt. approx.

0.37 ct.; outer bezel with 14 round diamonds, total wt. approx. 0.35 ct.; size 7. [$2000/3000]

23. Platinum, Diamond and Ruby Ring, stylized floral design, center bezel set round diamond, wt. approx. 1.00 ct.; double bezel and shoulders set with numerous rubies and diamonds; size 7. [$2000/3000]

24. 14 kt. Yellow Gold and EmeraldCut Diamond Ring, set with an approx.

1.33 ct. emerald-cut diamond, G color, VVS-2 clarity, prong-set in a cathedral mounting, marked “14k LIEMPRE”, with 2021 appraisal. [$4000/6000]

25. 14 kt. White Gold and Diamond Tennis Bracelet, half bezel set with 30 full cut round brilliant diamonds totaling approx. 15.85 cts., color F-G, clarity VS1 to VS2; with appraisal by Gem Scientific Laboratory Inc., dated 2/01/11. [$15000/20000]

26. 18 kt. Yellow Gold and Diamond Cluster Ring, set with oval diamond center stone, approx. 2 cts., K-L color, SI1-SI2 clarity, surrounded by 12 round brilliant cut diamonds totaling approx. 1.2 ct., with oval diamond surrounded by 12 small diamonds [$7000/9000]

27. 14 kt. Yellow Gold and Diamond Bracelet, apparently unmarked, set with 147 full cut diamonds totaling approx. 3.6 ct.; overall wt. 17.5 dwt. [$1800/2500]

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28. 14 kt. Yellow Gold and Diamond Stud Earrings, diamonds totaling approx. 1.2 ct., GH color, I1 clarity. [$1000/1500]

30. White Gold and Diamond Ring, two central prong set round diamonds, dia. approx. 6.00 mm and 5.90 mm; shoulders with 12 channel set baguette diamonds, size 5.5. [$1500/2500]

31. 18 kt. Yellow Gold and Diamond Ring, center oval shape brilliant cut diamond, wt. approx. 0.50 ct., 6.06 x 4.55 x 2.87 mm, E color, VS2 clarity; halo and shoulders set with 20 round diamonds, total wt. approx. 0.56 ct., F-G color, VS clarity; size 6.75; GAL report. [$1200/1500]

29. 18 kt. Yellow Gold and Diamond Half-Hoop Band Ring, set with 7 baguette diamonds totaling approx. .50 ct. and 56 princess cut diamonds totaling approx. 2 cts.; total diamond wt. approx. 2.50 ct., HI color, VS1-VS2 clarity. [$2000/3000]

32. 14 kt. Yellow Gold and Diamond Multi-Band Ring, set with 71 round brilliant cut diamonds, total wt. approx. 0.33 ct., G-H color, VS to SI clarity; size 6.5; GAL report. [$700/900]

33. 14 kt. White Gold and Diamond Tennis Bracelet, set with 31 round brilliant cut diamonds, total wt. approx.

11.68 cts., 4.30-4.70 mm, H-I color, SI2 to I1 clarity; l. 7 in.; AIGL report. [$6000/8000]

34. Pair of 18 kt. White Gold and Diamond Stud Earrings, 2 prong set round brilliant cut diamonds, total wt. approx. 2.78 cts., average dia. 6.90 mm and 7.00 mm, G color, I1 clarity; AIGL report. [$7000/9000]

35. 18 kt. Yellow Gold and Diamond Double Band Ring, center pear shape brilliant cut diamond, wt. approx.

0.40 ct., 6.64 x 4.63 x 2.12 mm, K-L color, VS2 clarity; size 4.5; GAL report. [$1200/1500]

36. 18 kt. Yellow Gold and Diamond Ring, center cathedral prong set round brilliant cut diamond, wt. exact 0.97 ct., 6.27-5.97 x 3.94 mm, I color, SI-2 clarity; shoulders with 6 flush set round brilliant cut diamonds, total wt. approx. 0.29 ct., F-G color, VS-2 to SI-1 clarity; size 6.5; AIG report. [$2500/3500]

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37. 14 kt. Rose Gold and Diamond Tennis Bracelet, mounted with 48 prong set round diamonds, total wt. approx. 7.59 cts.; l. 7 1/8 in. [$2500/3500]

38. 18 kt. Yellow Gold and Diamond Earrings, stylized circular design mounted with numerous prong set round diamonds, total wt. approx. 6.80 cts.; l. 1 in. [$3000/5000]

39. Pair of 18 kt. White Gold and Diamond Dangle Earrings, numerous prong set round diamonds, total wt. approx. 6.13 cts.; l. 1 1/2 in. [$2500/3500]

40. Pair of 18 kt. White Gold and Diamond Stud Earrings, 2 center prong set round diamonds, wt. approx. 1.39 cts. and 1.51 cts.; bezels with numerous round diamonds, total wt. approx. 0.32 ct. [$5500/7500]

41. Pair of Platinum and Diamond Dangle Earrings, stylized floral design with 2 central prong set round diamonds, wt. approx. 1.00 ct. and 1.01 cts.; bezels and links with numerous round diamonds, total wt. approx. 1.08 cts.; l. 1 1/8 in. [$3000/5000]

42. Pair of 14 kt. White Gold and Diamond Hoop Earrings, set with 50 round diamonds, total wt. approx.

9.24 cts.; dia. 1 1/2 in. [$3500/4500]

43. 18 kt. White Gold and Diamond Necklace, set with 21 variously shaped diamonds, total wt. approx.

7.26 cts., l. 60 in. [$2500/3500]

44. Platinum, 18 kt. White Gold and Diamond Ring, multi-level coil-form band with numerous bezel set round diamonds; size approx. 6. [$2000/3000]

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45. 14 kt. White Gold and Diamond Tennis Bracelet, mounted with 37 round diamonds, total wt. approx. 11.62 cts.; l. 6 3/4 in. [$6000/8000]

46. 18 kt. White Gold and Diamond Ring, center oval shape diamond, wt. approx. 1.13 cts., bezel and shoulders with numerous round diamonds, total wt. 0.41 ct.; size 6.5. [$2000/3000] 47. 14 kt. White Gold and Heart Shape Diamond Ring, center prong set heard shape diamond, wt. approx.

2.04 cts.; size 7. [$5000/6000]

48. 14 kt. White Gold and Diamond Ring, center prong set round diamond, wt. approx.

2.29 ct.; size 6.5. [$6000/8000]

49. Platinum and Diamond Bracelet, numerous round bezel set diamonds in a foliate design, approx. 18.75 cts. [$30000/40000] 50. 18 kt. White Gold, Unheated Ceylon Sapphire and Diamond Ring, center prong set cushion shape, mixed cut unheated Ceylon blue sapphire, wt. approx. 11.31 cts., approx. 13.73 x 10.75 x 7.41 mm; shoulders with 2 trillion cut diamonds; size 7; AGL report. [$50000/80000]

51. Platinum, Blue Sapphire and Diamond Ring, center prong set mixed cut cushion shape sapphire, wt. exact 6.96 cts., 13.37 x 10.40 x 5.71 mm; ballerina bezel with numerous round and tapered baguette shape diamonds; 1.10 cts., size 6.25; SSEF and Gübelin Gem Lab report. [$12000/18000] 11 11

52. Platinum, Diamond and Blue Sapphire Ring, center bezel set round brilliant cut diamond, wt. approx. 0.71 ct., 5.10-5.12 x 3.05 mm, K color, SI2 clarity; inner bezel with 15 tapered baguette cut sapphires, total wt. approx. 0.85 ct.; outer bezel with 26 round brilliant cut diamonds, total wt. approx. 0.33 ct., F-G color, VS to SI clarity; size 6.25; GAL report. [$2000/3000]

54. 18 kt. White Gold, Tanzanite and Diamond Heart-Shaped Pendant, gold unmarked but electronically tested, set with pearshaped faceted tanzanite, approx. 6.37 ct., and numerous small round brilliant cut diamonds totaling approx. .97 ct., Color G-I, Clarity VS-1 to SI-1; with Savoie Fine Jewelry Appraisal. [$2000/3000]

56. 18 kt. White Gold, Tanzanite and Diamond Ring, center bezel set emerald cut tanzanite, wt. approx. 3.85 cts.; bezel with numerous round brilliant cut diamonds, total wt. approx. 0.75 ct., G-H color, VS clarity; shoulders inlaid with black onyx, total wt. approx. 0.70 ct.; size 6.75; IAS report. [$2500/3500]

57. 14 kt. Yellow Gold, Tanzanite and Diamond Pendant on Chain, central prong set trillion cut tanzanite, wt. approx. 2.30 cts.; double bezel and link set with numerous round brilliant cut diamonds, total wt. approx. 0.47 ct., G-H color, VS clarity; link chain l. 18 in.; IAS report. [$1200/1800]

59. 18 kt. White Gold, Aquamarine and Diamond Ring, center prong set square emerald cut aquamarine, wt. approx. 2.65 cts., 8.82 x 8.92 x 5.85 mm; bezel and shoulders with 32 round diamonds, total wt. approx. 0.43 ct., F-G color, VS to SI clarity; size 7; GAL report. [$1000/2000]

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53. 18 kt. White Gold, Blue Sapphire and Diamond Ring, center modified brilliant cut octagonal shape sapphire, wt. exact 4.47 cts., 10.93 x 7.17 x 5.70 mm; bezel and shoulders with numerous diamonds, total wt. approx. 2.24 cts; size 7; GIA report. [$2000/3000]

55. Platinum, Tanzanite and Diamond Dangle Earrings, two central prong set oval mixed cut natural tanzanites, total wt. exact 8.84 cts., 11.00 x 9.00 x 6.50 mm; bezels and links with 100 prong set round brilliant cut diamonds, total wt. exact 1.61 cts., G-H color, SI-1 to I-1 clarity; l. 1 5/8 in.; AIG report. [$4000/6000]

58. 14 kt. White Gold, Aquamarine and Diamond Pendant on 14 kt. White Gold Chain, center oval shape modified brilliant cut aquamarine, wt. approx. 5.17 cts., 13.70 x 9.10 x 7.50 mm; bezel and link set with 67 round brilliant cut diamonds, total wt. approx. 1.10 cts., G-I color, SI2 to I2 clarity; chain l. 18 in.; AIGL report. [$1500/2500]

60. Platinum, Opal and Diamond Pendant on Chain, center prong set cushion shape cabochon natural opal, wt. approx.

9.41 cts.; bezel with 16 prong set round brilliant cut diamonds, total wt. approx. 0.50 ct., H color, VS to SI1 clarity; chain l. 18 in.; IAS report. [$1500/2500]

61. 14 kt. Yellow Gold, Opal and Diamond Ring, center prong set mixed cut natural black opal, wt. approx. 1.53 cts.; reticulated shoulders set with numerous round brilliant cut diamonds, total wt. approx. 0.68 ct., G-H color, SI1/2 clarity; size 7; IAS report. [$800/1200]

62. 14 kt. White Gold, Emerald and Diamond Ring, set with emerald-cut emerald, approx. 4.42 ct., surrounded by 28 round brilliant cut diamonds totaling approx. 1.6 ct., Color G-I, Clarity SI-1 to I-1; with Savoie Fine Jewelry Appraisal. [$2500/3500]

63. Pair of Art Deco-Style Platinum, Emerald and Diamond Dangle Earrings, 2 center bezel set emerald cut emeralds, total wt. approx. 4.96 cts., 8.96 x 6.99 x 5.24 mm and 9.11 x 6.83 x 5.41 mm; bezels and links set with 62 round brilliant cut and 22 baguette cut diamonds, total wt. approx. 1.79 cts., H-I color, SI clarity; l. 2 1/4 in.; GAL report. [$4000/6000]

64. Pair of 14 kt. White Gold, Emerald and Diamond Dangle Earrings, 2 central prong set rectangular mixed cut emeralds, total wt. approx. 2.69 cts., 8.00 x 6.00 mm; bezels and links set with 40 round brilliant cut diamonds, total wt. approx. 0.93 ct., 1.50-1.80 mm, G-H color, SI1 to SI2 clarity; l. 1 in. [$1500/2500]

65. Platinum, Emerald and Diamond Ring, center prong set step cut emerald, wt. exact 4.52 cts., 11.00 x 8.57 x 6.36 mm; bezel and shoulders set with 50 prong and bezel set round brilliant cut diamonds, total wt. approx.

0.74 ct., F-H color, VS-1 to VS-2 clarity; size 7; GIA and AIG reports. [$4000/6000]

66. 18 kt. Yellow Gold, Emerald and Diamond Ring, center pear shape mixed cut emerald, wt. approx.

0.81 ct., 8.49 x 5.79 x 3.24 mm; halo and shoulders set with 25 round diamonds, total wt. approx. 0.50 ct., G-H color, VS to SI clarity; size 7; GAL report. [$800/1200]

67. 18 kt. White Gold, Green Sapphire and Diamond Ring, 2 central prong set oval shape and square shape mixed cut sapphires, total wt. approx. 3.73 cts.; bezels and shoulders set with 48 prong set round brilliant cut diamonds, total wt. approx. 0.48 ct., F-H color, VS-1 to SI-1 clarity; size 7; AIG report. [$1500/2500]

68. Art Deco-Style 18 kt. White Gold, Diamond and Emerald Ring, center Asscher shape diamond, wt. approx. 1.70 cts.; bezel with 4 emeralds and numerous diamonds; size 6.75. [$5000/6000] 13 13

69. 18 kt. White Gold, Emerald and Diamond Ring, center prong set brilliant step cut oval shape emerald, wt. approx. 4.93 cts., 12.20 x 9.52 x 6.93 mm; bezel and shoulders with numerous round diamonds, total wt. approx. 1.70 cts.; size 7; GIA report. [$3000/5000]

70. Sterling Silver and 14 kt. Yellow Gold Pendant, unmarked, set with oval faceted amethyst and 8 small faceted emeralds. [$200/300]

71. Yellow Gold and Cabochon Pink Tourmaline Ring, unmarked, probably 18 kt., Greek design setting with foliate decoration and acid wash finish, tourmaline badly abraded, wt. 15 dwt. [$800/1200]

72. 18 kt. White Gold, Pink Sapphire and Diamond Bracelet, mounted with 81 emerald shape pink sapphires; linked with approx. 540 round diamonds in reticulated ribbon design; l. 7 in. [$4000/6000]

74. 18 kt. White Gold, Pink Sapphire and Diamond Ring, mounted with 14 emerald shape unheated pink sapphires, total wt. approx. 3.14 cts.; bezels with 46 r ound diamonds, total wt. approx.

1.24 cts., G-H color, SI-2 to I-1 clarity; size 7; GLA report. [$1200/1800]

73. 18 kt. Rose Gold and Pink Sapphire Eternity Band Ring, mounted with 21 prong set cushion cut unheated sapphires, total wt. approx. 4.35 cts.; size 6.75; IAS report. [$600/800]

75. 18 kt. Rose and White Gold, Morganite and Diamond Pendant and Chain, gold unmarked but electronically tested, set with cushion-cut morganite, approx. 11.48 ct., and numerous small brilliant cut diamonds totaling approx. .85 ct., Color E-F, Clarity VS-1 to VS-2; with Savoie Fine Jewelry Appraisal. [$3500/4500]

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76. 14 kt. Rose Gold, Morganite and Diamond Ring, set with oval brilliant cut morganite, approx. 3.71 ct., surrounded by 74 single-cut diamonds totaling approx. .32 ct., Color E-G, Clarity SI-2 to I-1; with Savoie Fine Jewelry Appraisal. [$700/900]

77. 14 kt. Rose Gold, Morganite and Diamond Ring, center prong set rectangular step cut natural morganite, wt. approx. 8.94 cts., 16.90 x 11.00 x 7.00 mm; reticulated shoulders with 66 prong set round brilliant cut diamonds, total wt. approx. 0.35 ct., F-H color, SI-2 to I-2 clarity; size 7.75; AIG report. [$1200/1500]

78. Art Deco-Style 14 kt. Rose Gold, Morganite and Diamond Pendant on Chain, center bezel set cushion cut natural morganite, wt. approx. 12.77 cts.; bezel set with numerous round brilliant cut and princess cut diamonds, total wt. approx. 0.95 ct., G-H color, SI to I clarity; link chain l. 18 in.; IAS report. [$1500/2500]

79. 18 kt. White Gold, Black Diamond and Diamond Ring, center round modified brilliant cut black diamond, wt. approx. 1.90 cts., 7.55 x 7.54 x 4.48 mm; halo and shoulders with 58 round diamonds, total wt. approx. 0.20 cts., G-H color, VS to SI clarity; size 7; GAL report. [$800/1200]

80. 18 kt. White Gold, Yellow Diamond and Diamond Ring, center prong set marquise shape yellow diamond, wt. approx. 1.59 cts.; bezel and shoulders with numerous round diamonds, total wt. approx. 1.22 cts.; size 7. [$3000/5000]

81. Necklace of Sixty 11 mm. Tiger’s Eye Beads, l. 31 in. [$300/500]

82. Lady’s Baume & Mercier Stainless Steel and 18 kt. Yellow Gold Wristwatch, stick markers, date window, stainless steel and 18 kt. yellow gold bracelet. [$800/1200]

83. Gentleman’s Baume & Mercier Stainless Steel and 18 kt. Yellow Gold Riviera Wristwatch, model MOA06651, polished stainless steel case, 18 kt. yellow gold brushed bezel, Roman numeral markers, stainless steel and 18 kt. yellow gold bracelet. [$1200/1500] 15 15

84. Vintage Louis Vuitton Monogram Canvas Sac Plat Tote Handbag, brown coated canvas, gold-tone hardware, leather lining with dual interior pockets, h. 15 in., w. 14 1/4 in., d. 3 3/4 in.; together with Louis Vuitton strap, silver-tone hardware; dust bag. [$700/900]

85. Vintage Louis Vuitton Monogram Canvas Porte Documents Voyages Briefcase, brown coated canvas, goldtone hardware, leather lining with 5 interior pockets, leather ID holder, h. 13 in., w. 16 in., d. 2 1/4 in.; dust bag. [$400/600]

86. Vintage Louis Vuitton Monogram Canvas Keepall Bag, brown coated canvas, gold-tone hardware, canvas lined interior, leather ID holder, h. 13 1/2 in., w. 20 in., d. 8 in.; dust bag. [$400/600]

87. Vintage Louis Vuitton Monogram Canvas Keepall Bandoulière 55 Bag, brown coated canvas, gold-tone hardware, canvas lined interior, leather ID holder, padlock with keys, h. 12 in., w. 20 1/2 in., d. 10 in.; dust bag. [$700/900]

88. Louis Vuitton Canvas Rolling Horizon Soft Duffle 55, brown coated canvas, gold-tone hardware, exterior zippered pocket, canvas lined interior, leather ID holder monogrammed “RCB”, padlock with keys, h. 14 in., w. 24 in., d. 13 in.; dust bag. [$1500/2500] 89. Louis Vuitton Monogram Canvas Pegase 55 Trolley Suitcase, brown coated canvas, gold-tone hardware, exterior pocket, canvas lined interior, leather ID holder, h. 23 in., w. 14 1/2 in., d. 7 1/2 in.; dust bag. [$1500/2500]

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90. Louis Vuitton Monogram Canvas Travel Bag, brown coated canvas, gold-tone hardware, exterior zippered pocket, trolley pass through sleeve, canvas lined interior, leather ID holder monogrammed “RCB”, padlock with keys, detachable shoulder strap, h. 11 in., w. 15 in., d. 5 1/2 in .; dust bag. [$700/900]

91. Louis Vuitton Canvas Garment Cover Travel Bag, brown coated canvas, gold-tone hardware, exterior zippered pocket, canvas lined interior, leather ID holder, detachable shoulder strap, h. (closed) 18 in., w. 23 in., d. 6 1/4 in., h. (open) 40 in. [$500/700]

92. Judith Leiber Embossed “Lizard” Leather Handbag with Agate Disk Chain, gold-tone metal hardware, cabochon tiger eye clasp, silk lined interior, labeled “Judith Leiber New York”, two interior pockets, agate disk chain handle, h. 6 in., h. (incl. strap) 13 in., w. 9 1/2 in., d. 3 1/4 in .; incl. tassel comb, compact and coin purse and associated dustbag. [$400/600]

93. Chanel Jumbo 2.55 Quilted Leather Mademoiselle Flap Handbag, chocolate brown lambskin, ruthenium hardware, turn-lock closure, matrasse chain, single exterior pocket, two interior pockets, h. 8 in., w. 12 in., d. 3 1/2 in.; shoulder strap drop h. (max.) 16 in.; shoulder strap drop h. (min.)

9 in .; includes authenticity card, original box, dust bag, booklet and cards in envelope. [$2000/3000]

94. Chanel Classic Caviar Leather Medium Double Flap Handbag, quilted olive green leather, gold-tone hardware, turn-lock closure, matrasse chain, single exterior pocket, leather lining with four interior pockets, h. 6 1/2 in., w. 10 in., d. 3 in.; shoulder strap drop h. (max.) 17 in.; shoulder strap h. (min) 9 1/2 in.; includes authenticity card, original box, dust bag and booklet [$3000/5000]

95. Chanel Caviar Leather Coco Handle Flap Handbag, quilted beige leather, ruthenium hardware, turn-lock closure, leather top handle, chain link shoulder strap, single exterior pocket, burgundy grosgrain lining with five interior pockets, protective feet at base, h. 7 in., w. 12 in., d. 5 1/2 in.; handle drop h. 3 1/2 in.; shoulder strap drop h. 19 1/2 in.; includes authenticity card, original box, dust bag, booklet and Chanel tag. [$3000/5000] 17

96. Tabriz Carpet, salmon ground, central medallion overall foliate design, 12 ft. 5 in. x 14 ft. 5 in. [$1000/1500]

97. Antique Tabriz Carpet, khaki ground, central medallion and spandrels, 11 ft. x 14 ft. 5 in. [$1200/1800]

98. Ardabil Carpet, central medallion, cream ground, suspended urns, overall foliate design, 12 ft. x 17 ft. [$1500/2500]

99. Chinese Savonnerie-Style Carpet, coral ground, foliate, 10 ft. x 14 ft. 4 ft. [$800/1200]

100. Tabriz Carpet, khaki ground, repeating floral design, 10 ft. 4 in. x 13 ft. 2 in. [$800/1200] 101. Boukhara Carpet, khaki ground, repeating medallions, 14 ft. x 15 ft. 4 in. [$700/1000] 102. Persian Carpet, blue ground, central medallion, overall floral design, 12 ft. x 16 ft. [$800/1200]

103. Persian Carpet, blue ground, stylized floral design, 7 ft. 7 in. x 9 ft 6 in. [$700/1000]

104. Antique Heriz Carpet, central medallion, spandrels, 11 ft. 4 in. x 14 ft. 2 in. [$1200/1800] 18

105. Large Persian Carpet, red and blue ground, central medallion, repeating floral design, 12 ft. 4 in. x 19 ft. [$1500/2500]

106. Contemporary Indian Wool Carpet, burnt orange ground, overall foliate design, 10 ft. x 14 ft. [$700/1000]

107. Antique Persian Qashqai Carpet, red ground, triple medallion, 7 ft. 3 in. x 9 ft. 10 in. [$2400/3400]

109. Persian Heriz Carpet, red ground, blue border, central medallion, stylized floral design, 7 ft.

10 in. x 11 ft. 8 in. [$3500/4500]

108. Persian Serapi Carpet, cream ground, central medallion, 6 ft. 9 in. x 8 ft. [$2400/3400]

110. Persian Mahal Carpet, coral ground, central medallion, foliate design, 4 ft. 8 in. x 8 ft. 3 in. [$800/1000]

111. Persian Qashqai Carpet, repeating central medallions, 4 ft. 2 in. x 9 ft. 3 in. [$800/1000]

113. Persian Kerman Carpet, red ground, central and border floral design, 10 ft. x 13 ft. [$4000/5000]

114. Persian Kerman Carpet, cream ground, central medallion, overall foliate design, 9 ft. 9 in. x 12 ft. [$3800/4500]

112. Persian Kashan Carpet, cream ground, overall foliate design, 9 ft. 10 in. x 14 ft. [$3800/4500]

115. Persian Heriz Carpet, red ground, stylized floral design, 10 ft. x 13 ft. 3 in. [$3800/4500]

116. Persian Shiraz Carpet, triple medallions, 5 ft. x 6 ft. 7 in. [$1000/1500]

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

118. Large Patinated Metal Bust of an Egyptian Pharoah, h. 38 1/2 in., w. 29 in., d. 19 in. [$1800/2400]

119. Continental School, 19th/20th c., “Naval Convoy”, oil on canvas, indistinctly signed lower right, 25 1/2 in. x 31 3/4 in., framed. [$1600/1800]

120. Patinated Bronze Figure of “Le Hibou”, after Jules Moigniez, signature inscribed on self-base, h. 33 1/2 in., w. 23 1/2 in., d. 16 in., marble base, overall h. 35 in. [$1500/2500]

121. George Cochran Lambdin (American/Pennsylvania, 1830-1896), “Still Life with Roses”, 1876, oil on canvas, signed and dated lower center, 24 in. x 12 in., framed. [$2000/3000] 20

122. Otto Sommer (German/American, 1811-1911), “Mountain Lake”, 1841, oil on canvas, signed and dated lower left, “Charles Harris Design Original Frames, Boston, MA” and “Skinner” labels on reverse of frame, pencil-inscribed on stretcher, 27 in. x 39 in., framed. [$1500/2500] Provenance: “Fine Prints & Multiples, Fine Photographs, Fine Paintings & Sculpture”, Skinner, Boston, MA, Jan. 23, 2020, lot 280.

123. Elmer Boyd Smith (American, 1860-1943), “Brittany Haystacks”, c.

1889, oil on canvas laid on masonite, unsigned, artist stamp, label and inscribed with artist, title and date en verso, 12 1/4 in. x 14 1/2 in., framed with artist plaque. [$800/1200] 124. William F. Cogswell (American, 1819-1903), “Portrait of a Young Lady”, oil on canvas, signed lower right, 14 1/2 in. x 12 1/4 in., framed. [$500/700] Note: Prominent portrait artist William F. Cogswell captured likenesses of some of the most notable subjects of his day, including a portrait of Abraham Lincoln from 1864 that is now part of the White House Collection and a portrait of General Ulysses S. Grant from 1868. Cogswell is said to have been a favorite of the Grant family, even painting a life-sized portrait of the entire group. Born in upstate New York and entirely self-taught, Cogswell worked briefly as a color mixer at a Buffalo paint factory before moving to New York City to work as a successful professional artist. In the lovely portrait of a young lady offered here, Cogswell’s skillful brushwork and keen eye for color are on full display in the sensitive likeness. In 1849, Cogswell traveled to California to paint the gold rush and also captured scenes of Panama along his journey. Though well-established in New York, Cogswell moved to California permanently in 1873, settling in an area in what is now east of Pasadena where he founded the Sierra Madre Villa Hotel, considered to be southern California’s first famous resort.

125. Vincenzo Irolli (Italian, 1860-1949), “Spinning Wool”, oil on canvas mounted to board, signed lower right, 15 1/8 in. x 17 1/2 in., framed. [$3000/5000]

126. Bronze Bust of “Centurion”, after Emmanuel Hannaux, signature inscribed on shoulder, “Colin & Cie, Paris” foundry stamp on self-base, h. 6 in., w. 5 3/4 in., d. 5 1/4 in., marble base, overall h. 8 3/4 in. [$500/600] 21

127 Italian Carved Alabaster Bust of Petrarch, inscribed “Petrarca” on front of bust, h. 6 in., w. 4 3/4 in., d. 2 3/4 in., stone and alabaster columnar base, overall h. 15 in. [$700/900]

128. Continental School, 19th c., “Still Life of Fruit with Turkey and Peacock” and “Still Life of Fruit and Wine”, 2 oils on canvas, unsigned, each 31 1/4 in. x 22 1/2 in., framed alike. (2 pcs.). [$3000/5000]

129. Patinated Bronze Figure of a Faun with a Pan Flute, after Michel Claude Clodion, signature inscribed on self-base, h. 5 1/4 in., w. 2 in., d. 2 in., marble base, overall h. 6 in. Note: figure loosely connected to base. [$300/500]

130. After Guido Reni (Italian, 1575-1642), “Madonna with Sleeping Christ Child”, oil on canvas, unsigned, dia. 35 1/4 in., framed. [$2000/3000]

131. Pair of Gilt Bronze Figures of “32ème Demi Brigade, 1794” and “Vieille Garde”, after Armand Jules Leveel, each inscribed with artist, title, “Susse Freres Ed.” and Susse Freres foundry stamps on self-base, heights 14 1/2 in. to 15 in., marble bases, overall h. 16 3/4 in. to 17 1/4 in. [$2500/3500]

132. François Brunery (Italian, 1849-1926), “In the Parlor”, oil on canvas, signed lower right, “American Art Galleries, New York, NY” label and partial label on stretcher, 21 5/8 in. x 18 1/4 in., framed with artist plaque. [$2500/3500] 22

133. Eugenio Edouardo Zampighi (Italian, 1859-1944), “Ammirando i Piccioni”, oil on linen, signed lower left, 2 “National Association of Artists, Piazza Pitti, Florence, Italy” labels on stretcher and reverse of frame, inscribed on stretcher, 29 1/2 in. x 41 1/2 in., framed. [$4000/6000]

134. Continental School, 19th c., “Portrait of a Man” and “Portrait of a Woman”, 2 oils on canvas, both unsigned, each 27 1/8 in. x 22 1/8 in., framed alike. (2 pcs.). [$2000/4000]

135. British School, 19th c., “Children near Roadside Camp”, oil on canvas, unsigned, partial handwritten label inscribed “Southhampton” on stretcher, 24 in. x 20 1/8 in., framed. [$1000/1200]

136. Thomas Comley Vivian (British, 1847-1908), “The Two Squires”, oil on canvas, signed lower right, illegibly inscribed on stretcher, 68 1/2 in. x 43 5/8 in., framed. [$3000/5000]

137. Marble Figural Group of Woman and Child on the Seashore, h. 68 1/2 in. [$7000/9000] 23

138. Large Louisiana Cast Iron Sugar Kettle, 19th c., flared rim, h. 20 in., dia. 48 1/2 in. [$1000/1500] 139. Antique French Terracotta Olive Jar, yellow glaze interior, distressed surface, h. 25 in., rim dia. 14 in. [$600/900]

140. Pair of American “Gothic” Pattern Cast Iron Garden Benches, 19th c., quatrefoil seat back, reticulated arms and seat rail, splayed legs, h. 33 in., w. 54 1/4 in., d. 19 1/2 in. [$2500/3500]

141. Pair of Victorian Cast Iron Garden Chairs, 19th c., entwined floral and vine seat back, reticulated seat, acanthine legs, h. 30 in., w. 29 in., d. 20 in. [$800/1200]

142. Pair of American Cast Iron “Laurel” Pattern Garden Chairs, 19th c., foliate seat back, figural swan supports, h. 25 1/2 in., w. 26 in., d. 18 in. [$1000/1500] 144. Pair of American Cast Iron Garden Figures of Lions, late 19th c., attributed to J.W. Fiske, New York, opposing recumbent figures on integral plinth bases, two-part casting, after the original carved marble lions by Antonio Canova (Italian, 1757-1822), h. 18 1/2 in., l. 43 in., w. 14 in. [$2000/3000]

143. Pair of American Cast Iron Horse-Head Hitching Posts, 19th c., fluted standard, pedestal base, h. 45 in., w. 6 1/4 in., d. 6 in. [$600/900]

145. Vintage Painted Metal Garden Suite, incl. two armchairs, and a sectional settee, recent custom cushions, h. 31 in., w. 24 in., d. 24 in. (5 pcs.) [$500/700] 24

146. Pair of Patinated Cast Iron Garden Figures of Egrets, h. 28 in. [$400/600]

147. Four Chinese Hardstone Snuff Bottles, incl. jadeite, lapis, turquoise, and opal, h. 2 in. to 2 1/2 in. [$300/500]

148. Three Chinese Glass Snuff Bottles, incl. goldstone flecked, h. 3 3/4 in.; black overlay imitation realgar, h. 2 7/8 in.; and imitating agate, h. 2 7/8 in. [$400/600]

149. Three Chinese Snuff Bottles, incl. hardstone embellished tortoiseshell (lacking stopper), h. 3 1/4 in., dia. 2 7/8 in.; walnut carved with Luohan, h. 2 in.; and famille rose porcelain, h. 3 1/2 in. [$200/400]

150. Chinese Export Famille Rose Porcelain Octagonal ‘Pseudo Tobacco Leaf’ Platter, 18th c., decorated with colorful serrated leaves and pinwheels or mon highlighted in gilt, h. 1 1/2 in., w. 16 1/4 in., d. 13 1/4 in. Note: Staple repairs [$500/700]

151. Large Chinese Export Famille Rose Porcelain Oval Serving Platter, 18th c., decorated with floral sprays within iron red and gilt border, h. 1 1/4 in., l. 17 3/4 in., w. 15 1/4 in. [$300/500]

152. Assembled Chinese Export Famille Porcelain Dinner Service, late 19th/early 20th c., several pieces stamped “CHINA”, incl.

14 plates, dia. 9 1/2 to 10 in.; 16 deep dishes, dia. 7 3/4 in. to 8 1/2 in.; 15 plates, dia. 7 3/4 in. to 8 1/2 in.; 11 barbed rim dishes, dia. 6 1/4 in.; 9 small plates, dia. 5 1/2 in.; 15 saucers, dia. 3 3/4 in. to 4 3/8 in.; 17 coffee cups; 7 demitasse cups; and octagonal dish, w. 5 3/4 in.

(105 pcs.) [$1000/2000]

153. Chinese Export Famille Rose Porcelain Square Bowl and Cream Pitcher, 18th c., similarly decorated with flower sprays beneath scrolling pink diaper bands, bowl with molded cut corners, h. 4 7/8 in., w. 10 1/4 in., d. 9 3/4 in., jug h. 6 in. (2 pcs.) [$300/500]

154. Chinese Export Famille Rose Porcelain Cachepot or Jardiniere, late 19th/20th c., decorated in Rose Medallion pattern with alternating figural and bird-and-flower panels, h, 7 5/8 in., dia. 13 1/4 in. [$200/300]

155. Chinese Export Famille Rose Porcelain Armorial Dish, c. 1805, well painted with elegant ladies on a garden terrace, upturned rim with continuous waterscapes centered by the crest and motto of Waterhouse with Dexter wing and leg of an eagle above “Veritas Vincit Omnia (Truth Conquers All) “, h. 2 1/8 in., dia. 10 in. [$800/1200] 25

156. Two Chinese Export Famille Rose Porcelain Dishes, 18th c., incl. barbed rim plate, painted with exotic birds, dia. 9 1/8 in.; and foliate rim bowl, decorated with birds in a garden, dia. 8 7/8 in. (2 pcs.) [$150/250]

157. Two Chinese Export Famille Rose Porcelain Octagonal Dishes, 18th c., one painted with figures in a garden, dia. 8 7/8 in.; other with cranes in a garden, dia. 8 3/4 in. (2 pcs.) [$200/300]

158. Three Chinese Export Famille Rose Porcelain Dishes, 19th c., decorated in Rose Medallion pattern, incl. tri-lobed tray, w. 10 1/4 in., d. 10 5/8 in.; handled quadrilobed dish. h. 1 3/4 in., w. 9 3/8 in., d. 10 1/2 in.; and reticulated platter, h. 1 7/8 in., l. 11 1/8 in., w. 9 3/4 in. [$300/500]

161. Chinese Export Famille Rose Porcelain Punch Bowl, 19th c., decorated in Rose Medallion pattern with alternating bird-and-flower and figural panels, h. 4 7/8 in., dia. 11 1/2 in. [$200/300]

159. Chinese Export Famille Rose Porcelain Warming Platter and Cover, 19th c., decorated in the Rose Canton pattern with bird-and-flower and butterflyand-flower panels, h. 6 1/4 in., w. 14 1/4 in., d. 9 3/4 in. [$250/350]

160. Chinese Export Famille Rose Porcelain Covered Tureen, 19th c., decorated in Rose Medallion pattern with alternating bird-and-flower and figural panels, h. 4 1/2 in., w. 11 3/4 in. d. 9 3/4 in. [$200/300]

162. Pair of Chinese Export Famille Rose Porcelain Chargers, 18th c., molded foliate rims, decorated with colorful floral sprays within pink and iron red borders, h. 1 5/8 in., dia. 12 1/2 in. [$400/600]

163. Three Chinese Famille Rose Porcelain Rectangular Trays, 19th/ early 20th c., canted corners, painted with figures, 2 with inscriptions and seals, l. 9 1/2 in. to 9 5/8 in., d. 6 1/2 in. to 7 in. (3 pcs.) [$250/350] 164. Chinese Export Famille Rose ‘European Subject’ Molded Porcelain Punch Bowl, 18th c., exterior relief-molded with scrolling foliage, painted with English or Dutch silk merchants and foliage, h. 4 5/8 in., dia. 10 3/8 in. Note: Restoration. [$400/600]

165. Three Chinese Export Famille Rose Porcelain Tablewares, 18th c., incl. covered teapot, h. 5 1/4 in.; covered cream jug, h. 5 1/4 in.; and gravy boat, l. 7 1/2 in. (3 pcs.) [$300/500] 26

166. Pair of Chinese Famille Rose Porcelain Globular Jars, 19th/20th c., each decorated with a noble couple and horse with heavenly Beauties, h. 8 3/4 in., wood covers, overall h. 9 3/4 in. [$200/300]

167. Pair of Chinese Famille Rose Porcelain Jars, 20th c., decorated with figural scenes, h. 13 1/4 in., wood covers, overall h. 15 1/2 in. [$200/300]

169.Pair of Chinese Export Famille Rose Porcelain Garden Seats, 19th c., drum-form bodies with pierced cash symbols and raised boss bands, decorated in Rose Medallion pattern with figural and bird-and-flower scenes, h. 19 in., dia. 13 1/4 in. [$3000/5000]

168. Chinese Export Famille Rose Porcelain Rectangular Dish, 18th/19th c., painted with cranes in a fenced garden, h. 1 1/4 in., w. 11 in., d. 7 1/2 in.; together with 2 shaped dishes lacking covers, larger l. 7 3/4 in., w. 5 1/8 in., smaller l. 4 1/4 in. (3 pcs.) [$150/250]

170. Five Chinese Export Blue and White ‘Kraak’ Porcelain Dishes, 17th c., foliate barbed rims, painted with spotted deer in landscapes, dia. 5 1/4 in. [$300/500]

171. Six Chinese Export Blue and White ‘Kraak’ Porcelain Bowls, 17th c., one with barbed rim, all decorated with bird or insect in landscapes, h. 1 5/8 in. to 2 in., dia. 5 3/8 in. [$400/600]

173. Five Chinese Ming-Style Blue and White Porcelain Bowls, each freely painted with an insect above cabbage or bok choy leaves, unglazed short, wide feet, h. 1 3/4 in., dia. 5 1/2 in [$300/500]

172. Five Chinese Export Blue and White ‘Kraak’ Porcelain Dishes, 17th c., incl. bowl, exterior with phoenix in flight, h. 3 1/4 in., dia.

6 1/2 in.; 2 barbed-rim bowls, with central duck or leaf, h. 1 3/4 in. and 1 7/8 in., dia. 5 1/2 in. and 5 7/8 in.; and 2 deep dishes, with phoenix or bird, dia. 5 3/4 in. and 5 1/4 in. [$400/600]

174. Near Pair of Chinese Porcelain Ovoid Jars, late 19th/early 20th c., one with cover, both decorated with figural scenes, incl. boys at play and Immortals, h. 12 in. and 12 1/2 in. [$200/300] 175. Pair of Chinese Polychrome Decorated Celeste Blue Porcelain Ewers, painted with iron red and gilt bats and iron red and green dragons contesting a flaming pearl, bases with apocryphal Qianlong marks, h. 10 in., dia. 6 in. [$600/800] 27

176. Metal-Mounted Chinese Export Imari Porcelain Rose Water Sprinkler, Qing Dynasty (1644-1911), h. 10 5/8 in.; together with another in “as is” condition (2 pcs.) [$250/350]

177. Zhen-Huan Lu (Chinese/ New York, b. 1950), “Path to the Beach”, oil on canvas, signed lower left, 24 in. x 36 in., framed [$2500/3500]

178. Chinese Giltwood Wall Panel, Qing Dynasty (16441911), carved with birds and flowers, h. 27 3/4 in., w. 11 1/2 in., d. 1 in., iron loop hanger [$200/300]

179. Large Chinese ‘Sancai’ Glazed Tileworks Figure of a Buddhist Lion, probably Ming Dynasty (1368-1644), modeled standing foursquare on rectangular plinth, outfitted in a bellhung harness and saddle open-mouth surmount, removable tail, h. 18 1/4 in., w. 26 1/4 in., d. 6 1/45 in. [$800/1200]

180. Decorative Chinese Famille Rose Porcelain Inset Carved and Reticulated Wood Six-Panel Floor Screen, probably 20th c., h. 86 in., w. 140 in. [$1800/2200]

28

182. Large Chinese Famille Verte Porcelain ‘Immortals’ Vase, Qing Dynasty (1644-1911), tall ovoid body painted with the Eight Immortals with attendants in an elegant garden with Xi Wangmu, Queen Mother of the West, riding a phoenix in flight, h. 24 in. [$1000/1500]

181.Pair of Chinese Carved and Painted Wood Signs, bronze strap hangers, h. (excl. hangers) 52 3/4 in., w. 10 7/8 in., d. 1 1/4 in. [$300/500]

184. Chinese Famille Verte Porcelain Square Bowl, Qing Dynasty (1644-1911), tapered squared body with indented corners, decorated with figural landscapes and bird-and-flower scenes, base with Xuande mark, h. 4 1/2 in., w. 8 3/8 in., d. 8 3/8 in. [$500/700]

183. Chinese Famille Verte Porcelain Yenyen Vase, Qing Dynasty (1644-1911), painted with shaped figural panels on a dense floral ground with cranes, base with double ring mark, h. 17 3/8 in. [$1000/1500]

185. Chinese Famille Verte Glazed Biscuit Porcelain Figure of Guanyin, Qing Dynasty (1644-1911), modeled standing on a mounded wave base wearing long robes open at chest, lotus bead necklace, bracelets and cowl covering a high chignon, interior with “BaillyPommery & Ass./ 27” label, h. 14 1/2 in. [$1000/1200]

186. Pair of Chinese Famille Rose Yellow Ground Porcelain Covered Dishes, probably late 19th/early 20th c., vibrantly enameled with insects amid flowers and grapes, Qianlong marks, h. 5 in., dia. 10 in. [$500/700]

187. Chinese Famille Rose Blue Ground Porcelain Bowl, probably Qing Dynasty (1644-1911), painted with floral sprays in yellow cartouches on pale powdery blue grounds with foliage, bases with Qianlong marks, h. 2 3/4 in., dia. 5 1/2 in., storage box [$200/300]

188. Chinese Famille Rose Porcelain Baluster Vase, Qing Dynasty (16441911), painted with floral panels comprised of tree peonies, chrysanthemums and bamboo on a pale blue ground with scrolling foliage, base with double ring mark, h. 14 1/4 in. [$600/800]

29

189. Chinese Famille Rose Porcelain Five-Piece Sweetmeat or Rice Table Set, 19th c., painted with the Three Star Gods and Immortals in landscapes, overall w. 10 3/8 in., d. 10 3/8 in.

(5 pcs.) [$400/600]

190. Chinese Purple Splashed Junyao Censer, everted rim, tall cylindrical neck, compressed globular body on three curved feet, h. 3 7/8 in. [$800/1200]

191. Pair of Chinese Apple Green Crackle Glazed Vases, Qing Dynasty (1644-1911), overall golden wire crackle, brown-washed rims, h. 9 3/4 in. [$1000/2000]

192. Pair of Chinese Turquoise Glazed Porcelain Lantern Vases, 19th/early 20th c., overall pale green-blue glaze with pink interiors and bases, bases with four-character Qianlong marks, h. 10 3/4 in. [$500/700]

193. Pair of Chinese Amber Glazed Porcelain Bottle Vases, probably 19th c., overall mustard yellow glaze, incised with floral sprays beneath bands of pendant ruyi heads and upright leaf tips, bases with Kangxi marks, h. 12 3/4 in. [$400/600]

194. Pair of Decorative Chinese White Glazed Porcelain Covered Jars, relief-decorated with dragons amid clouds pursuing the flaming pearl, ruffled rim cover with lotus scrolls, h. 15 1/2 in., dia. 14 1/4 in., painted wood stands, overall h. 18 in. [$2500/3500]

195. Chinese Ming-Style Blue and White Porcelain ‘Lotus’ Basin, wide everted rim and deep flared sides decorated with lotus scrolls, well with 8-pointed starburst with ruyi heads, h. 5 7/8 in., dia. 12 1/2 in. [$600/800] 30

197. Chinese Cloisonne Enamel and Brass Figure of Budhai, 19th c., modeled standing on a dragon-pearl plinth wearing robes exposing a large, bare belly and holding a sack, h. 11 3/4 in., w. 5 7/8 in., d. 3 7/8 in. [$300/500]

196. Three Chinese Canton Enamel Pieces, 19th c., incl. teacup, h. 2 1/8 in.; square dish, w. 4 1/4 in.; and crescent shaped dish, w. 3 5/8 in., d. 2 5/8 in.

(3 pcs.) [$200/300]

198. Large and Impressive Pair of French Gilt Bronze-Mounted Chinese Gilt Bronze and Cloisonne Enamel Vases, 19th c., heavy, thick-walled bottleform bodies, decorated with lotus scrolls and Buddhist emblems, bases drilled, h.

22 3/4 in.; mouths fitted with removable open bronze caps, bases with stands with foundry mark “Lacarriere Freres / Delatour et Cie / Paris”, overall h. 25 1/2 in. [$2000/4000]

199. Japanese Shibayama Inlaid, Carved and Painted Lacquer Two Panel Floor Screen, mid-20th c., embellished with bone and mother-of-pearl birds and flowers on black oval ground, red surround painted with foliage above fish panels, framework carved with foliage centered by reticulated eagle and pine panels, h. 73 3/4 in., w. 66 3/4 in. [$800/1200]

200. Asian Marble Head of Guanyin, carved with serene, downcast expression, wearing hair swept up in a chignon with cloth covering centered by a floral bud, h. 12 1/2 in., square wood plinth, h. 18 1/2 in. [$800/1200]

31

Session Two Saturday, June 25, 11 a.m. lots 200-615

32

202. Clementine Hunter (American/Louisiana, 1886-1988), “Picking Cotton”, oil on canvas, monogrammed mid-right, partial sketch en verso, inscribed on stretcher, 16 in. x 20 in., framed. [$3000/5000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

201. William Hemmerling (American/Louisiana, 1943-2009), “Clementine”, 2003, mixed media on panel, signed lower right, titled lower center, dated en verso, 32 1/4 in. x 16 3/4 in., artist frame. [$2500/3500]

203. Clementine Hunter (American/ Louisiana, 1886-1988), “Baptism”, oil on board, monogrammed lower right, “Collection Richard C. Edgeworth, Chicago” stamp and inscribed “Mrs. Jack Brittain” en verso, 11 5/8 in. x 18 7/8 in., framed. [$3000/5000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

204. Clementine Hunter (American/Louisiana, 1886-1988), “Wash Day”, oil on board, monogrammed lower right, 18 in. x 24 in., framed. [$4000/6000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

33

205.Clementine Hunter (American/Louisiana, 1886-1988), “The Fight”, oil on canvas board, monogrammed lower right, 14 in. x 18 in., framed. [$3000/5000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

206. Clementine Hunter (American/Louisiana, 1886-1988), “Eating Watermelon”, c. 1950s oil on board, monogrammed lower right, 10 in. x 15 7/8 in., framed. [$3000/5000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

207. Clementine Hunter (American/Louisiana, 1886-1988), “Cotton Gin”, oil on board, monogrammed lower right, 16 in. x 24 in., matted. [$4000/6000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

208. Clementine Hunter (American/ Louisiana, 1886-1988), “Wash Day”, oil on canvas board, monogrammed midright, sketch en verso, 16 in. x 20 in., framed. [$3000/5000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

34

209. Clementine Hunter (American/ Louisiana, 1886-1988), “Melrose Plantation”, oil on canvas board, monogrammed mid-left, 18 in. x 24 in., framed. [$4000/6000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

210. Clementine Hunter (American/ Louisiana, 1886-1988), “Hauling Cotton”, oil on canvas board, monogrammed lower right, 14 in. x 18 in., framed. [$4000/6000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

211. Clementine Hunter (American/Louisiana, 1886-1988), “Cotton Picking”, oil on canvas board, monogrammed lower right, 18 in. x 24 in., framed. [$4000/6000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead

212. Clementine Hunter (American/Louisiana, 18861988), “Zinnias”, oil on wall paneling, monogrammed lower center, 17 1/4 in. x 10 7/8 in., framed. [$3000/5000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

35

213. Clementine Hunter (American/Louisiana, 1886-1988), “Going to Church”, oil on canvas board, monogrammed mid-right, 16 in. x 20 in., framed. [$3000/5000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

214. Clementine Hunter (American/Louisiana, 1886-1988), “Wash Day”, oil on board, monogrammed lower right, inscribed en verso, 16 in. x 24 in., unframed. [$3000/5000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

215. Clementine Hunter (American/ Louisiana, 1886-1988), “Saturday Night at the Juke Joint”, c.1960, oil on masonite, monogrammed lower right, inscribed en verso, 7 in. x 18 in., framed. [$3000/5000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

217. Clementine Hunter (American/Louisiana, 18861988), “Picking Cotton”, oil on canvas board, monogrammed lower right, inscribed en verso, 9 in. x 12 in., framed. [$2000/3000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

216. Clementine Hunter (American/Louisiana, 1886-1988), “Nativity Scene”, oil on board, monogrammed mid-right, 18 1/8 in. x 23 3/4 in., framed. [$5000/7000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

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218. Clementine Hunter (American/Louisiana, 1886-1988), “Wash Day”, oil on canvas board, monogrammed mid-right, 18 in. x 24 in., framed. [$4000/6000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

219. Clementine Hunter (American/Louisiana, 1886-1988), “Picking Cotton”, oil on board, monogrammed lower right, 16 in. x 23 7/8 in., matted. [$4000/6000] Note: This work has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

221. Clementine Hunter (American/Louisiana, 1886-1988), “Saturday Night Fight”, oil on board, monogrammed lower right, 9 in. x 16 in., unframed. [$4000/6000] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

220. Clementine Hunter (American/Louisiana, 1886-1988), “Funeral”, oil on canvas board, monogrammed lower right, titled en verso, 16 in. x 20 in., framed. [$4000/6000] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

222. Red River Revel Arts Festival Poster, 1986, offset lithograph, celebrating Clementine Hunter (American/Louisiana, 18861988), monogrammed in plate, numbered “123/1150” lower right, additionally monogrammed by Hunter, published by Red River Revel Arts Festival, Shreveport, LA, sight 19 1/2 in. x 20 1/2 in., framed. [$400/600]

Lots 223-228. These items heve been removed from the sale. No further information is available.

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229. Mose Tolliver (American/Alabama, 1920-2006), “Man in a Suit and Hat”, oil on panel, signed lower left, 32 in. x 23 3/4 in., unframed. [$600/800] Provenance: Collection of Janice and Jim Herblin, New Orleans, LA.

230. Mose Tolliver (American/Alabama, 1920-2006), “Red Dinosaur on Yellow Background”, oil on panel, signed upper right, 6 7/8 in. x 19 1/4 in., unframed. [$400/600] Provenance: Collection of Janice and Jim Herblin, New Orleans, LA.

Lots 231-233. These items heve been removed from the sale. No further information is available.

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234. Mose Tolliver (American/Alabama, 1920-2006), “Scooter Lady”, oil on panel, signed lower left, 24 in. x 23 1/4 in., unframed. [$400/600] Provenance: Collection of Janice and Jim Herblin, New Orleans. LA. Lots 235-236 & 238.

These items heve been removed from the sale.

No further information is available.

237. Mose Tolliver (American/ Alabama, 1920-2006), “Jesus on the Cross with Birds”, oil on shaped panel, signed lower left, 24 1/4 in. x 15 in., unframed. [$500/700] Provenance: Collection of Janice and Jim Herblin, New Orleans, LA.

240. Mose Tolliver (American/Alabama, 1920-2006), “Watermelon”, oil on panel, signed lower left, titled en verso, 15 1/2 in. x 19 3/4 in., unframed. [$400/600] Provenance: Collection of Janice and Jim Herblin, New Orleans, LA.

239. Mose Tolliver (American/ Alabama, 1920-2006), “Bird on a Tree with Yellow Background”, oil on panel, signed lower right, 23 7/8 in. x 7 7/8 in., unframed. [$400/600] Provenance: Collection of Janice and Jim Herblin, New Orleans, LA.

241. Annie Tolliver (American/ Alabama, 1950-2018), “My Dad with his Real Hair (Portrait of Mose Tolliver)”, 2004, oil and hair on panel, signed lower center, titled and dated en verso, 22 5/8 in. x 10 1/4 in., unframed. [$300/500] Provenance: Collection of Janice and Jim Herblin, New Orleans, LA. 39

Neal Auction Company is pleased to present select property from the Collection of Jim Willeford, lots 242-269.

242. Fine Empire Gilt Bronze Figural Mantel Clock, c. 1820, after the example by Pierre-Philippe Thomire (French, 1751-1843), allegorical figure of “Amour Fleeing with Time”, silk-thread movement marked “P.D.”, burnished gilt surface, stepped base with palmette and egg and dart molding, scrolled feet, h. 17 1/4 in., w. 10 1/2 in., d. 5 1/4 in. [$1500/2500]

243. Paris Cobalt and Gilt Porcelain Corbeille, early 19th c., marked “Manufacture/ de S.M. L’Imperatrice/ P.L. Dagoty/ a Paris”, reticulated navette form, intertwined dolphin standard, rectangular plinth base, h. 12 1/4 in., w. 16 1/2 in., d. 9 in. [$1000/2000] Ref.: Guillebon. Paris Porcelain, 1770-1850, pp. 222-231, mark ill. P. 331, fig. 65.

244.American Classical Carved Mahogany Dressing Table, early 19th c., attr. to Duncan Phfye, New York, mirror with baluster turned supports surmounted by acorn finials, beehive spherules, case with three drawers, curule base with incised decoration and spade feet, bulbous baluster-turned stretcher, h. 56 in., w. 37 1/2 in., d. 20 in. [$4000/6000] Note: The overall form and proportions of the dressing table offered here relate closely to a Duncan Phyfe dressing table that descended in family of Eliza Phyfe Vail and is conserved by the collection of the Boscobel House in New York. The curule base of the present lot and distinctively turned stretcher are related to a well-documented Phyfe chair held in the collection of the Metropolitan Museum of Art. Ref.: Kenny, Peter, et al. Duncan Phyfe: Master Cabinetmaker in New York. The Metropolitan Museum of Art: New York, 2011, pp. 119, 285.

245.American Classical Bronze-Mounted Mahogany Basin Stand, early 19th c., New York, School of Duncan Phyfe, hinged top, interior fitted with porcelain basin, lyre-decorated door, lower drawer, ring-turned baluster legs, brass ball feet, h. 36 in., w. 20 1/2 in., d. 18 1/2 in. [$800/1200]

247. Italian Grand Tour-Style Alabaster Model of the Temple of Vespasian, h. 13 1/2 in., w. 4 3/4 in., d. 4 1/2 in. [$700/1000]

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246. American Classical BronzeMounted Mahogany Side Table, 19th c., New York, later black marble top, columnar supports, incurvate triangular base, compressed ball feet, h. 28 in., dia. 23 1/2 in. [$1000/1500]

248.Italian Grand Tour-Style Alabaster Model of the Temple of Vespasian, h. 13 3/4 in., w. 5 in., d. 5 in. [$700/1000]

250. Antique English Mahogany Dumbwaiter, spherule finials, square shelves, ring-turned legs, casters [$300/500]

249. Bronze Figural Group of Diana the Huntress with Stag, h. 14 5/8 in., w. 6 3/4 in., d. 8 in. [$400/600]

251. Regency Rosewood Document Box, 19th c., hinged top, lion’s head and ring handles, h. 7 1/2 in., w. 14 in., d. 10 in. [$250/350]

252. Fine American Federal Carved Mahogany Three-Part Bangquet Table, late 18th c., New England, top with reeded edge and demilune ends, blocked frieze, ring-turned reeded and tapered legs, brass cuffs, casters, h. 29 1/2 in., w. (closed) 46 in., w. (open) 158 in., d. 47 1/2 in. [$3000/5000] Note: The versatile New England three-part banquet table in the present lot exhibits finely turned and reeded legs displaying features closely related to documented c. 1790-1800 examples from Boston, Salem, and Rhode Island. The generously stacked rings, fine tapering, and baluster-shaped foot relate closely to the work of Boston cabinetmakers John and Thomas Seymour.

Ref.: Bates, Elizabeth and Jonathan Fairbanks. American Furniture 1620 to Present. Richard Marek Publishers: New York, 1981, p.

239; Stoneman, Vernon C. John and Thomas Seymour: Cabinetmakers in Boston, 1794-1816. Special Publications: Boston, 1959, pp. 108. 112, 132.

253. Four American Classical Mahogany Side Chairs, early 19th c., paneled backscrolled crest rail, sabre legs, seats upholstered in period-appropriate horsehair from John Boyd Textiles, h. 33 in., w. 18 in., d. 16 in. [$800/1200]

254. Two American Classical Mahogany Side Chairs, early 19th c., associated, one chair with gadrooned decoration and ropeturned slat, other with cartouche slat, both with sabre legs, h. 33 1/2 in., w. 18 1/2 in., d. 16 1/2 in. [$300/500] 41

255. 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 ; 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.) [$500/800] Provenance: Esplanade Avenue Estate, New Orleans.

Ref.: Guillebon. Paris Porcelain, 1770-1850. p. 219.

256. Paris Porcelain Navette-Form Corbeille and Cream Pitcher, 19th c., blue bands and gilt accents; corbeille h.

11 1/4 in., w. 14 1/2 in., d. 7 1/2 in.; cream pitcher h. 5 3/4 in. (2 pcs.) [$200/300]

257. American Bronze SingleLight Argand Lamp in the Gothic Taste, vasiform font, foliate arm, matte and burnished gilt surface, frosted and cut shade, now electrified, h. 20 1/2 in., w. 13 in., d. 6 1/2 in. [$500/700]

259. Pair of American Bronze Argand Lamps, marked “Gardiner/ N. York”, now electrified, frosted and foliate cut shades (one “as is”), h. 16 in., w. 12 in., d. 6 in. [$700/1000]

258. Antique Brass Corinthian Columnar Oil Lamp, now electrified, frosted and cut shade, h. 35 in., dia. 7 in. [$700/1000]

260. Fine Louisiana Highly Figured Mahogany Armoire, c. 1815-1825, probably New Orleans, conservation and later cornice by esteemed New Orleans cabinetmaker Ruppert Kohlmaier, Sr., flush panel doors, fiche hinges, shelf interior with medial belt of drawers, distinctive ringturned block and ball feet, h. 95 in., w. 62 1/2 in., d. 24 1/2 in. [$5000/7000] Provenance: Noted Antiquarian Mary Ory, New Orleans.

Note: The armoire in the present lot shares many hallmark characteristics of Louisiana Creole-style armoires—a style defined by a fusion of French, Caribbean, and Federal design attributes. The armoire’s veneered frieze and unusual-shaped legs over brass ball feet exhibit the growing influence of Anglo and Federal design that became prevalent in Louisiana armoires beginning in the early 19th century. The flush panel doors, fiche hinges, and overall proportions are indicative of French and Caribbean characteristics seen on earlier Louisiana and West Indies armoires dating to the late 18th century. The armoire shown here is closely related to a group of first-quarter 19th century Federal-manner armoires illustrated in Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835 (fig. 45-48).

This armoire was meticulously conserved by the esteemed New Orleans cabinetmaker Ruppert Kohlmaier, Sr., who carefully recreated the armoire’s cornice based on similar Federal-influenced Creole examples. The German-born Kohlmaier established a cabinetmaking shop in New Orleans in 1937 and quickly became the most sought-after cabinetmaker of 20th century New Orleans. His son, Ruppert Kohlmaier, Jr., joined his father’s firm in 1954 and continues the family legacy of fine furniture craftsmanship today.

Ref.: Holden, Jack D., et al. Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835. The Historic New Orleans Collection, 2010, pp. 160-161; Gontar, Cybele. A Century on Harmony Street:

The Kohlmaier Cabinetmakers of New Orleans. The Louisiana Museum Foundation, 2021.

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261. Cypress Columnar Side Table, black marble top, fluted body, conforming base, h. 27 1/2 in., dia. 16 in. [$600/900]

262. Two Table Lamps, incl. brass columnar oil lamp base with Ionic capital h. (incl. socket) 21 in.; and brass and cut glass oil lamp, electrified, h. (incl. socket) 24 in. [$150/250]

263. Marble Columnar Oil Lamp Standard with Ionic Capital, partial oil font, h. 16 in., dia. 5 3/4 in. [$100/150] 264. Antique Acadian Carved Cypress Table, plank top, reeded frieze, turned legs, ball feet, h. 30 in., w. 72 in., d. 29 in. [$700/1000]

265. Group of Three Antique Side Chairs, incl. two painted Windsor chairs and a mahogany chair. [$300/500]

267. American Stoneware Four Gallon Jar, impressed “4”, tapered form, h. 14 3/4 in., dia. 10 1/2 in. [$150/250]

268. American Stoneware FiveGallon Jar, impressed “5”, baluster form, h. 17 3/4 in., dia. 9 3/4 in. [$150/250]

266.Four Pieces of Copper Cookware, incl. pot, h. 6 3/4 in., dia. 8 1/4 in.; terrine pan, 5 1/2 in. x 18 in. x 6 in.; pan, h. 3 in., dia. 13 in.; and keyhole form tray, 17 in. x 12 in. [$400/600]

269. Group of Three Brass Floor Lamps, inc. 3 brass and 1 painted with polished brass accents, tallest h. 58 in. [$200/400] 43

271. George III-Style Mahogany Linen Cabinet, paneled doors, linen drawer interior, bracket feet, h. 44 1/2 in., w. 49 1/2 in., d. 24 1/2 in. [$1000/1500]

270. Pair of French Neoclassical-Style Gilt Bronze Gueridons, inset black marble top and stretcher shelf, scrolled incurvate legs, tripart stretcher centered by a foliate finial, acanthine paw feet, h. 26 7/8 in., dia. 27 41/2 in. [$150/2500]

272. George IV Mahogany Console Table, c. 1830, top with beveled edge, frieze drawer, turned and tapered legs, h. 29 1/2 in., d. 22 in. [$500/700]

273. Victorian Mahogany Teapoy in the Rococo Taste, mid-19th c., stepped top opens to fitted interior, applied scroll decoration, rope-molded base, cabriole legs, scrolled toes, h. 32 in., w. 21 1/2 in., d. 18 in. [$700/900]

274. Antique French Provincial Carved Fruitwood “Pied de Biche” Table, plank top, paneled drawer, serpentine apron, cabriole legs, scrolled toes surmounting hoof feet, h. 30 in., w. 35 in., d. 25 in. [$600/900]

275. English Walnut Pedestal Desk, late 19th c., inset tooled leather top, center frieze drawer, pedestals with four graduated drawers, plinth base, h. 30 1/2 in., w. 48 in., d. 22 1/2 in. [$500/700]

276. Fine American Classical Carved and Highly-Figured Mahogany Secretary Bookcase, c. 1830-1840, Boston, flared stepped cornice, Gothicized glazed doors, shelf interior, three cartonnier drawers, fold-out writing surface, columnar supports, paneled cabinet doors, foliate paw feet [$2000/3000]

277. Fine American Classical Bronze-Mounted and Highly Figured Mahogany Drum Table, c. 1820-1830, Boston, top with bookmatched veneers, six frieze drawers, columnar standard, foliate scrolled legs, brass paw feet, casters. [$1500/2500] 44

278. George III Sterling Silver Covered Urn, Charles Wright, London, 1776, engraved crest with motto “Pro Deo Et Ecclesia (for God and Church)”, vase shaped with beaded borders, scroll handles, pedestal base with bayonet fitting and ball-and-claw feet, h. 20 3/4 in., w. 9 3/4 in.; wt. 81 troy ozs. [$2000/4000] 279. Antique English Silverplate Two-Bottle Decanter Trolley, 19th c., vintage motif wine coasters, turned wood bottoms, silver buttons with engraved armorials, movable carriage, overall l. 20 in. [$700/900]

281. Christofle “Dupleix” Pattern Sterling Silver Dessert Flatware Service, pattern introduced 1991, incl. 22 dessert forks (l. 6 3/4 in.), 18 dessert knives (l. 8 in.), 18 dessert spoons (l. 6 3/4 in.), 18 teaspoons (l. 6 in.), 2 serving spoons (l. 10 in.) and serving fork (l. 10 in.), total wt. (weighable) 107.95 troy ozs. (79 pcs.) [$1500/2500]

280. Set of Ten French 1st Standard Silver Table Forks and Tablespoons in the Louis XVI Taste, Henri-Louis Chenailler, 277 rue Sainte-Martin, Paris, mid-19th c., each l. 8 3/8 in., total wt. 58.60 troy ozs. [$1200/1800]

282.Continental Silver Figure of a Horse, marks rubbed, probably .800 silver, German, late 19th/early 20th c., well detailed, h. 4 1/8 in., l. 5 1/2 in., wt. 6.80 troy ozs. [$300/400]

283. Dominick & Haff “Pointed Antique” Pattern Sterling Silver Flatware Service, pat. 1895, incl. 12 each: forks (l. 8 in.), forks (l. 7 1/4 in.), salad forks, knives (l. 9 3/8 in.), knives (l. 8 1/4 in.), knives (l. 7 1/2 in.), dessert spoons and bouillon spoons; 24 teaspoons, 6 five o’clock teaspoons, 6 citrus spoons (ribbed bowl, l. 6 in.), 2 tablespoons, 2 serving spoons (l. 9 1/8 in.), gravy ladle, jelly spoon, medium cold meat fork, carving knife (l. 13 in.), fork and steel, steak carving knife, pie knife, cake comb and bottle opener; total wt. (weighable) 139.55 troy ozs. (145 pcs.) [$2500/3500]

285. Tiffany “Audubon” Pattern Sterling Silver Flatware Service, introduced 1871, reintroduced 1956, designed by Edward Moore, incl. 4 forks (l. 8 1/8 in.), 2 forks (l. 8 3/8 in.), 6 knives (l. 10 in.), 6 salad forks, 6 teaspoons, 6 butter knives (hh), serving fork and spoon, total wt. (weighable) 43.85 troy ozs.; together with associated Reed & Barton fitted case. (32 pcs.) [$2500/3500]

286.Victorian Silverplate Folding Biscuit Box, Fenton Brothers, Sheffield, Registry mark for Sept. 2, 1876, branchwork frame and handle, flat-chased fern decoration, retains interior fittings, h. 9 1/2 in., w. 7 3/4 in. [$300/500]

284. American Coin Silver Soup Ladle, William Wilson (1755-1829), act. Abington, MD 1781-1829, late 18th/early 19th c., elongated fiddle handle, period script monogram, l. 13 3/8 in., wt. 5.85 troy ozs. [$200/300]

287. Gorham Sterling Silver Water Pitcher, pattern 1031/1, date mark for 1948, chased floral and scroll cartouche, scroll handle, molded foot, h. 10 1/4 in., wt. 26.95 troy ozs. [$500/700] 45

288. Atlantic Indians Trapshooting Association Sterling Silver Trophy, by Meriden Britannia Silver Co., engraved “ATLANTIC INDIANS/ ROGER FAWCETT TROPHY/ SEPT. 1959” centering applied crest of the Atlantic Indians Trapshooting Association, h. 16 in., wt. 61.45 troy ozs. [$1000/2000] Note: The Atlantic Indians Trapshooting Association was organized in Wilmington, Delaware in 1918 and held its first tournament at Travers Island, NY.

289. American Classical Brass Inlaid and Bronze-Mounted Mahogany Sideboard, early 19th c., School of Duncan Phyfe, New York, blocked, molded top, conforming case, central fall-front compartment enclosing silver trays, over mirror back, flanked by revolving barrel form compartments each flanked by colonnettes, blocked base, brass hairy paw feet, h. 44 1/2 in., w. 85 1/2 in., d. 24 1/2 in. [$1500/2500]

290. American Classical Giltwood Overmantel Mirror, early 19th c., cornice with spherule decoration, rosette blocked corners, turned and foliate accented surround, divided mirror plate, h. 29 1/2 in., w. 89 in. [$1000/1500]

291. American Classical Carved Mahogany Games Table, early 19th c., attr. to Anthony Quervelle, Philadelphia, foldover top, bolection frieze with floral corners, bulbous foliate standard, shaped base, foliate paw feet, casters, h. 29 in., w. 51 in., d. 25 in. [$1200/1800]

292. American Classical Carved Mahogany Bookcase, c. 1825-1835, probably New York, broken arch cornice, flame-figured paneled doors, deep drawer, foliate-carved columnar colonnettes, lobed feet, h. 95 1/2 in., w. 50 1/2 in., d. 21 in. [$1200/1800] 293. American Late Classical Parcel Gilded Mahogany Writing Cabinet, c. 1830-1840, fold-out writing surface, ogee frieze drawer with fitted interior, paneled door flanked by foliate columnar stiles, toupie feet, casters, h. 33 in., w. 34 in., d. 20 in. [$700/1000] 46

294. American Classical Giltwood Pier Mirror, early 19th c., stepped cornice with acorn pendants, shell and floral frieze, ring and rope-turned split baluster surround, floral-blocked base, h 42 in., w. 25 3/4 in. [$600/900]

295. American Late Classical Mahogany Meridienne, c. 1840, probably Baltimore, scrolled back and arm, roundel paneled bolster, arched seat rail, paneled feet, casters [$1000/1500]

296. American Late Classical Mahogany Sleigh Bed, c. 1830-1840, scrolled headboard and foot board, plinth base, block feet, h. 42 1/2 in., l. 76 n., w. 57 in. [$800/1200]

297. American Classical Mahogany Sideboard, c. 1825-1840, superstructure with arcaded backsplash and two short drawers, frieze with three outset drawers over four-paneled cupboard doors, flanking columns, turned feet, restorations, h. 97 in., w. 73 in., d. 23 in. [$1000/1500]

298. American Late Classical Mahogany Bookcase, c. 1840, stepped cornice, glazed doors, two frieze drawers over Ionic colonnettes, paneled doors, incurvate base, ball feet, h. 93 in., w. 46 in., d. 21 in. [$1000/1500]

299.Twelve American Late Classical Carved Mahogany Dining Chairs, c. 1840, incl. 2 armchairs and 10 side chairs, rose centered foliate crest, pierced lyre splat, scrolled arms, sabre legs, armchair h. 36 in., w. 26 1/2 in., d. 18 1/2 in., side chair h. 30 in., w. 16 in., d. 15 1/2 in. [$1200/1800] 47

301. Shearwater Art Pottery “Bacchante” Vase, 1930s, designed and decorated by Walter Inglis Anderson with a motif of Bacchante dancers and grapes, comprised of fourteen figures, lavender glaze, base with impressed dime-sized Shearwater stamp, h. 10 in., dia. 8 3/4 in. [$5000/7000] Note: The rare lavender glaze was only produced in the 1930s and was achieved by using gold dust.

300. American Classical Giltwood Mirror, early 19th c., rosette blocked corners, ring-turned and “granulated” textured split baluster surround, h. 35 in., w. 24 in. [$600/900]

302. Pair of Newcomb College Art Pottery Candlesticks, 1926, decorated by Anna Frances Simpson, with freesias, matte glaze with blue, green, white and yellow underglaze, bases marks with Newcomb cipher, decorator’s mark, Joseph Meyer’s Potter’s mark, reg. no. PF 66, one retains original paper label, h. 9 7/8 in. [$1500/2500]

303. Newcomb College Art Pottery Trivet, 1928, decorated by Anna Frances Simpson with reliefcarved oak and moss motif, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cypher, decorator’s mark, Joseph Meyer’s potter’s mark, and reg. no. RC 49, dia. 6 in. [$1000/1500] 304. Mary Kirk Kelly (American/ Alabama, 1918-2013), ceramic cabbage head, signed, h. 7 in. w. 8 in., d. 7 in. [$300/500] Provenance: From the personal collection of Mary Kirk Kelly

305. Mary Kirk Kelly (American/Alabama, 1918-2013), six ceramic lemon cups, life-size [$250/350] Provenance: From the personal collection of Mary Kirk Kelly.

307. Mary Kirk Kelly (American/ Alabama, 1918-2013), large ceramic cabbage leaf bowl, signed, dated 9/29/2010, and inscribed “For CE Bradley, h. 3 3/4 in., w. 13 in., d. 11 1/2 in. [$300/500] Provenance: From the personal collection of Mary Kirk Kelly.

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306. Mary Kirk Kelly (American/ Alabama, 1918-2013), ceramic plaque of daisies, signed and dated 1993, h. 11 in., w. 5 1/2 in. [$300/500] Provenance: From the personal collection of Mary Kirk Kelly.

308. Mary Kirk Kelly (American/ Alabama, 1918-2013), ceramic plaque of a sunflower, signed, dia. 7 1/2 in. [$300/500] Provenance: From the personal collection of Mary Kirk Kelly.

309. American Rococo Carved and Laminated Rosewood Settee, c. 1850-1860, attr. to John Henry Belter, New York, pedimented back surmounted by a floral basket, scrolled crest rail with elaborate reticulated cabochon and acorn decoration, serpentine seat with rosette accents, foliate cabriole legs, h. 40 in., w. 64 in., d. 24 in. [$3000/5000]

310. American Rococo Carved and Laminated Rosewood Meridienne, 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 arm, serpentine seat, cabriole legs, h. 37 in., w. 40 in., d. 20 in. [$1500/2500]

311. American Rococo Carved and Laminated Rosewood Meridienne, c. 1850-1860, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Henry Clay”, fruit, floral and C-scroll crest, scrolled arm, serpentine seat, floral seat rail, foliate cabriole legs, casters, h. 38 1/2 in., w. 39 in., d. 20 in. [$2000/3000]

312. Pair of American Rococo Carved and Laminated Rosewood Side Chairs, c. 18501860, attr. to John Henry Belter, New York, closely related to the Springmeier group of Belter chairs, rosette crest, scrolled cartouche back with distinctive pierced motif, serpentine floral seat, foliate cabriole legs, casters, h. 39 in., w. 18 1/2 in., d. 17 in. [$1000/1500]

313.Pair of American Rococo Carved and Laminated Rosewood Meridennes, c. 1850-1860, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Henry Clay”, C-scroll floral crest, serpentine crest rail, scrolled arm, conforming seat, cabriole legs, scrolled toes, casters, h. 35 in., w. 40 in., d. 27 in. [$3000/5000]

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315. American Renaissance Carved Rosewood Fire Screen, c. 1870, scrolled cabochon crest, barley twist supports and stretcher, octagonal falcon needlepoint panel, scrolled trestle base, casters, h. 51 in., w. 32 in., d. 18 in. [$500/700]

314. American Rococo Burl Walnut and Parcel Ebonized Music Cabinet, mid-to-late 19th c., surmounted by a raised serpentine shelf with turned finials, top with outset corners, cartouche-paneled door with robustly carved fruit and floral trophée, fluted columnar stiles, conforming base, disc feet, h. 59 in., w. 29 in., d. 19 in. [$800/1200]

316. Pair of American Renaissance Carved and Burl Walnut Nightstands, 19th c., possibly Grand Rapids, marble top, frieze drawer, three lower drawers, turned and fluted stiles, conforming plinth base, casters, h.

34 in., w. 20 1/2 in., d. 19 in. [$1200/1800]

317. American Renaissance Carved Walnut Bookcase, late 19th c., labeled “Robert Mitchell Furniture Co., Cincinnati, Ohio”, in the manner of R.J. Horner, New York, foliate molded top, chamfered corners, frieze with mythological masks, grillework doors, shelf interior, compressed ball feet, h.

52 in., w. 71 in., d. 16 in. [$1000/1500]

318. American Renaissance Carved Oak Center Table, 19th c., manner of R.J. Horner, New York, top with foliate border, corners mounted with mythological masks, frieze centered by lion’s masks, bulbous turned foliate supports surmounting floral blocks, incurvate stretcher shelf, paw feet, h. 29 in., w. 42 in., d. 27 1/2 in. [$1000/1500]

319. American Renaissance Carved Oak Center Table, 19th c., manner of R.J. Horner, New York, top with foliate border, corners mounted with mythological masks, frieze centered by lion’s masks, bulbousturned foliate supports surmounting floral blocks, turned stretcher, compressed ball feet, h. 30 in., w. 42 in., d. 28 in. [$1000/1500]

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320. Antique American Rococo-Style Giltwood Dressing Table, foliate mirror surround, beveled mirror plate, scrolled supports, shell-carved frieze drawer, cabriole legs, scrolled toes, h. 53 1/2 in., w. 28 in., d. 18 in. [$700/1000]

321. Antique Louis XVI-Style Verte Peinte and Parcel Gilt Trumeau Mirror, stepped cornice, reserve with seated maidens, foliate surround, conforming base, h. 53 1/2 in., w. 28 in., d. 18 in. [$1000/1500]

323. Pair of Large Art DecoStyle Silvered Brass and Glass Chandeliers, rod supports, ribbed gallery, fitted with glass palmettes, h. 53 in., dia. 37 in. [$700/1000]

322. American Gilt Bronze Figural Sinumbra Lamp, 19th c., maiden on tapered shaft, frosted and cut glass shade, marble base, h. 32 1/2 in., dia. 11 in. [$600/900] Ref.: Gowitt, Gerald T. 19th century Elegant Lighting, p. 88 illustrates solar lamp with an identical standard. The model appears in Hooper, Dietz and Cornelius catalogues.

324. Antique American Bronze Figural Gas Brackets, backplate with winged cherubs, the arm in the form of a dragon entwined around a branch, h. 17 in., w. 5 1/2 in., d. 15 1/2 in., note: lacking one wing. [$600/900]

326. Austrian Glass Hall Lantern, etched mark “M. Ditmar, Wien”, h. 22 in., dia. 10 in. [$400/600]

325. Antique Dutch or English Brass Twelve-Light Chandelier, two-tiered, scroll arms, electrified, h. 32 in., dia. 26 in. [$600/900]

327. Murano Glass Six-Light Chandelier, tapered shaft, foliate designs in clear and pink variegated glass, h. 37 in., dia. 30 in. [$700/1000]

328. French Provincial-Style Carved Cherrywood Tester Bed, 1985, benchmade by David Pruitt, Natchez, MS, signed, ogee tester with serpentine apron, molded posts, cartouche-paneled headboard with fern and floral accents, heavily scrolled feet, h. 103 1/2 in., w. 64 1/2 in., d. 84 1/2 in. [$1500/2500] 51

329. Antique French Provincial Fruitwood Settee in the Louis Philippe Taste, arched crest rail, heavily scrolled arms, flared legs, “h. 34 1/2 in., w. 59 1/2 in., d. 21 in. [$700/1000]

330. Provincial Louis XV Carved Oak Commode, 18th c., molded top, serpentine case with three drawers, cartouche paneled returns, with bec-de-corbin molding, cabriole legs, h. 35 1/2 in., w. 50 in., d. 26 in. [$1000/1500]

331. French Provincial Carved Oak Draw Leaf Table, top with molded serpentine edge, shaped apron with star and foliate decoration, acanthine cabriole legs, scrolled toes, h. 29 1/2 in., w. (closed) 58 1/2 in., w. (open) 96 1/2 in., d. 38 in. [$800/1200]

332.Pair of French Provincial Carved Fruitwood Fauteuils, scrolled arms with bone medallions, rush seat, serpentine stretcher, cabriole legs, h. 38 in., w. 23 in., d. 26 in. [$700/1000]

333. Pair of Antique French Provincial Carved Walnut Bergères, molded rectangular back, scrolled arms, padded back and seat, baluster uprights, rounded floral blocked seat rail, turned legs, h. 36 in., w. 26 in., d. 22 in. [$800/1200]

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334. Antique Neoclassical-Style Parcel Gilded Pine Trumeau Mirror, molded ogee cornice, courting couple reserve, ribbon and bead surround, h. 59 in., w. 42 1/2 in. [$800/1200]

336. Pair of French Provincial Fruitwood Tilt-Top Wine Tables, oval plank top, gate support, trestle base, one h. 31 in., w. 49 in., d. 34 in.; other h. 28 1/2 in., dia. 37 in. [$1200/1800]

335. Continental Four-Panel Polychromed Screen, 19th c., in two parts, serpentine crest rail, painted canvas panels with framed pastoral reserve, h. 76 1/2 in., each panel w. 24 in. [$1500/2500]

337. Ten Louis XV-Style Carved Fruitwood Side Chairs, serpentine floral crest rail, caned back and seat, cabriole legs, leather cushions, h. 40 1/2 in., w. 21 1/2 in., d. 19 in. [$800/1200]

338. French Provincial Leather-Clad Fruitwood Slant-Front Desk, 19th c., fall-front door opens to fitted interior, bank of nine cartonnier drawers, cabriole legs [$700/1000]

339. German Inlaid Fruitwood Slant-Front Desk, 18th c., incurvate fall-front door, fitted interior, serpentine case with three drawers, bracket feet, h. 44 in., w. 43 in., d. 23 in. [$1400/1800]

340. French Belle Epoque BronzeMounted Mahogany Semainier, c. 1900, serpentine-molded top, conforming case with five drawers, foliate apron, cabriole legs, casters, h. 50 in., w. 24 in., d. 16 in. [$600/900]

341. Louis XV-Style Giltwood Hall Mirror, rocaille and floral surround, divided mirror plate, h. 90, w. 15 in. [$800/1200] 53

342. M.A. Purdom (American/New Orleans, 20th c.), “Street Vendor in the French Quarter”, 1922, oil on board, signed and dated lower right, 14 in. x 10 1/2 in., framed. [$800/1200]

343. Arthur Kern (American/New Orleans, b. 1931), “Carnival Madness”, oil on canvas, signed lower right, signed twice and personalized on stretcher, typed label with artist and title en verso, 42 1/8 in. x 14 in., framed. [$3000/5000] Exh.: Le Petit Salon, New Orleans, 1952.

Note: Famously elusive and private, Arthur Kern is a native of New Orleans who received his BA and MFA from Tulane University. After a brief stint teaching at the University of Southwest Louisiana (now University of Louisiana at Lafayette) from 1967 to 1969, Kern taught at Tulane from 1969 until his retirement in 1996. Little information can be found on Kern’s early work, as he destroyed most of his paintings and drawings for a fresh start in sculpture some four decades ago. Kern, not wanting his work and ideas to be influenced by the marketplace, is also quoted as saying: “I try to keep only what I think is the best that I can do and if it doesn’t come up to that I don’t feel that it’s worth surviving.”

In 2016, Kern consented to an exhibition of his sculpture at the Ogden Museum of Southern Art, curated by the novelist John Berendt, author of Midnight in the Garden of Good and Evil. Arresting and surrealist, Kern’s sculpture is a clear transformation from this early painting that survived the artist’s purge. However, foreshadowing hints of the mysterious and unnerving that define Kern’s sculpture can be found upon close examination, particularly in the prone costumed figure in the foreground. In “Carnival Madness,” Kern stylistically harkens to popular American Scene painting techniques with a sharply vertical composition depicting the chaos of Carnival revelers amidst the architecture of the French Quarter. The atmospheric lighting and bold shadows of the nighttime setting add a sinister element that heightens the contrast between the familiar subject and the unsettling feeling it provokes in the viewer – a contrast Kern has clearly mastered in both two and three dimensions.

Ref.: Mazur, Jacqueline. “Strange, Beautiful and Surreal, the Work of New Orleans Sculptor Arthur Kern is Revealed Decades Later.” WGNO. June 29, 2016. www.wgno. com. Accessed May 31, 2022. Norwood, Nicondra. “New Ogden Exhibit Features Artist Some Presumed Dead.” Fox 8. Mar. 30, 2016. www.fox8live.com. Accessed May 31, 2022; Robertson, Campbell. “At 84, an Artist Tries Something New: Displaying His Work.” The New York Times. Mar. 28, 2016. www.nytimes.com. Accessed May 31, 2002.

344. Melba Dukes Gianelloni (American/New Orleans, 19142012), “St. Louis Basilica: Cathedral”, 1965, oil on canvas board, signed and dated lower right, signed, titled and dated en verso, 20 in. x 24 in., framed. [$400/600]

345. Melba Dukes Gianelloni (American/New Orleans, 1914-2012), “Toulouse Street Wharf”, 1965, oil on canvas board, initialed and dated lower left, signed, titled and dated en verso, 20 in. x 24 in., framed. [$400/600]

346. Marie Madeleine Seebold Molinary (American/New Orleans, 1866-1948), “French Market”, oil on canvas board, signed and inscribed “N.O.” lower left, 5 3/4 in. x 10 in., unframed. [$1200/1800]

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347.

Samuel “Koch” Kochmeister (Polish/American, 1887-1963), “Pirate’s Alley”, 1945, oil on canvas, signed and dated lower right, 20 in. x 24 in., framed. [$2000/3000]

348. Alberta Kinsey (American/New Orleans, 18751952), “French Quarter at Night, New Orleans”, oil on canvas board, signed lower left, 23 7/8 in. x 17 7/8 in., framed. [$1200/1800]

349. Alberta Kinsey (American/New Orleans, 1875-1952), “French Quarter Courtyard”, oil on board, signed lower left, 19 7/8 in. x 15 3/4 in., framed. [$1000/1500]

351. Amelia Montague Watson (American/Florida, 1856-1934), “Southern Landscape”, watercolor and graphite on paper, signed lower right, 10 5/8 in. x 15 in., framed. [$1000/1500]

350. Robert Malcolm Rucker (American/Louisiana, 1932-2001), “Spring Landscape with Gazebo”, 1986, oil on canvas, signed and dated lower right, artist card attached to stretcher, 34 in. x 50 in., framed; accompanied by “Louisiana, This One’s For You” by Jimmie Davis, published by Ed Cheshire Publications, Baton Rouge, 1985. (2 pcs.) [$1000/2000]

352. Alexander John Drysdale (American/New Orleans, 1870-1934), “Bayou Scene with Oak Tree and Pirogue”, 1931, oil wash on board, pencil-signed and dated lower left, 8 in. x 12 7/8 in., framed. [$1200/1800] 55

353. Alexander John Drysdale (American/New Orleans, 1870-1934), “Bayou Scene with Live Oak”, oil wash on board laid on cardboard, signed lower left, “Marx Art Store, New Orleans” label en verso, 20 in. x 30 in., framed. [$1500/2500]

354. Colette Pope Heldner (American/Louisiana, 1902-1990), “Swamp Idyll”, oil on canvas, signed lower left, 16 in. x 20 in., framed. [$800/1200]

356. Knute Heldner (Swedish/Louisiana, 1877-1952), “Bayou Scene”, oil on canvas, signed lower right, 16 in. x 20 in., framed. [$1200/1800] 355. Colette Pope Heldner (American/Louisiana, 1902-1990), “Courtyard of Madam [sic] John’s Legacy, Dumaine St., Old French Quarter, New Orleans”, 1933, oil on canvas, signed and dated lower right, signed, titled and dated en verso, pencil-inscribed on stretcher, 18 in. x 14 in., framed. [$600/800]

357. William Ousley (American/Louisiana, 1866-1953), “West Fork of Calcasieu River, LA”, 1928, oil on canvas, signed lower right, titled lower center, signed, titled, dated and inscribed en verso, 17 1/2 in. x 34 in., framed. [$1000/1500] 56

358. William Ousley (American/Louisiana, 1866-1953), “West Fork of Calcasieu River, LA, Spring”, 1930, oil on canvas, signed lower right, titled lower center, signed, titled, dated and inscribed en verso, 18 1/2 in. x 34 in., framed. [$600/800]

360. M. Stephen Doherty (American/Louisiana, b. 1948), “Anne Rice’s House #3”, oil on panel, signed lower right, handwritten label with title, “Ampersand Art Supply” stamp and “Bryant Galleries, New Orleans, LA” exhibition label attached en verso, 9 in. x 12 in., framed; accompanied by a copy of certificate of authenticity. (2 pcs.). [$600/800]

359. Homer J. Allbritton (American/Texas, 20th c.), “Cacti”, oil on canvas board, signed lower left, pencil-inscribed en verso, 12 in. x 16 in., framed. [$1000/1500]

361.Charles Meurer (German/ American, 1865-1955), “Ducks on Pond, Coral Gables, Florida”, 1941, oil on canvas, signed and dated lower right, titled on stretcher, 18 in. x 26 in., unframed. [$600/800]

362. Emmitt Thames (American/Mississippi, b. 1933), “Afternoon Picnic”, 1976, egg tempera on panel, signed and dated lower right, 18 in. x 24 in., framed. [$600/800] 363. Don Wright (American/ Louisiana, 1938-2007), “Louisiana Live Oak Landscape”, 1975, oil on canvas, signed and dated lower left, 15 in. x 20 in., unframed. [$800/1200]

364. Don Wright (American/ Louisiana, 1938-2007), “Cruxification [sic]”, 1975, oil on canvas, signed and dated lower left, signed and titled on left side, 24 in. x 36 in., unframed. [$700/1000]

365. Morris Henry Hobbs (American/New Orleans, 1892-1967), “Nude with Dotted-Swiss Stole”, watercolor and graphite on paper mounted to board, signed with artist cipher lower left, 20 7/8 in. x 14 5/8 in., framed. [$1200/1800] 366.Walter Inglis Anderson (American/Mississippi, 1903-1965), “Single Tern”, hand-colored linocut on wallpaper, unsigned, 13 1/2 in. x 24 in., unframed. [$1000/1500] Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 68.

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367. American Federal Tiger Maple Tall Post Bed, early 19th c., arched and paneled headboard with boss terminals, ring and urn turned posts, tapered legs, toupie feet, h. 89 in., l. 71 1/2 in., w. 42 1/2 in. [$400/600]

368. Six American Classical Tiger and Birdseye Maple Side Chairs, 19th c., shaped crest rail, vasiform splat, sabre legs, incurvate stretcher, caned seat, h. 32 1/2 in., w. 15 1/2 in., d. 16 in. [$800/1200]

369. American Classical Tiger Maple Pier Mirror, c. 1830-1840, arched serpentine crest, paneled frieze, split columnar stiles, conforming base, h. 65 in., w. 25 in. [$700/1000]

370. Federal Inlaid Cherrywood Chest of Drawers, late 18th/early 19th c., two short drawers over three long drawers, plinth base, h. 43 in., w. 42 in., d. 19 in. [$700/1000] 371. Southern Cherrywood Tester Bed, c. 1840, likely lower Mississippi Valley, molded tester, robust turned posts, rolling pin headboard, compressed ball feet, en suite with trundle bed, h. 95 in., l. 76 1/2 in., w. 57 in. [$1500/2500]

372. American Chippendale Mahogany Slant-Front Desk, late 18th c., fall-front door opens to fitted interior, four lower drawers, ball and claw feet, h. 44 in., w. 46 1/2 in., d. 24 in. [$700/1000] 58

373. Antique American Walnut and Burl Three Pedestal Dining Table, banded top, baluster-turned pedestals with cabriole legs, two extension leaves, h. 30 in., w. 144 in., d. 47 in. [$600/900]

375. American Late Classical Carved Walnut Bookcase, mid-19th c., ogee-molded cornice, three arched glazed doors, adjustable shelves, lower case with three shaped paneled doors, molded arched base, bracket feet, h. 98 in., w. 73 1/4 in., d. 23 1/8 in. [$800/1200] 374. Six American Federal Carved Mahogany Dining Chairs in the Sheraton Taste, early 19th c., probably New York, incl. 1 arm and 5 sides, shield back with entwined splat and Prince of Wales plume, serpentine seat, tapered legs, armchair h. 42 in., w. 22 in., d. 20 in., side chair h. 35 in., w. 21 in., d. 18 in. [$1000/1500]

376. Fine American Terracotta Figural Mantel Brackets, 19th c., depicting Hercules holding his club and Athena with her Medusa shield, h. 46 in., w. 11 in., 14 1/2 in. [$700/1000] 377. Art Deco Bronze-Mounted Glass Lamp, early 20th c., cast with glass geometric design, h. (incl. socket) 23 in.; together with bronze-mounted onyx lamp, h. (incl. socket) 15 1/2 in. (2 pcs.) [$400/600]

379. Pair of Large Art Moderne Bronze-Mounted Malachite Candlesticks, h. 23 in., dia. 7 in. [$800/1200]

378. Pair of Italian Marble Tazzas, gadrooned rim, lobed body, h. 9 1/2 in., dia. 15 1/2 in. [$1000/1500]

380. Pair of Empire-Style Patinated and Gilt Bronze “Winged Victory” Five-Light Figural Candelabra, oval rouge marble pedestal, h. 32 in., w. 12 in., d. 9 in. [$2000/3000]

381. Pair of Louis Philippe Gilt Bronze Six-Light Candelabra, fluted shaft, paw feet, h. 25 in., dia. 9 1/2 in. [$1200/1800]

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382. Pair of Continental Rock Crystal Obelisks, of typical form, h. 23 1/2 in., w. 4 in., d. 4 in. [$1000/1500]

383. Continental Marquetry Plaque, 19th c., depicting the meeting of Jesus and Pontius Pilate, mahogany frame, 15 1/2 in. x 22 in. [$400/600]

385. Pair of Continental Marble Obelisks, pink variegated and black marble, h. 19 1/2 in., w. 4 in., d. 4 in. [$400/600]

386. Pair of Louis Philippe Gilt and Patinated Bronze Five-Light Candelabra, 19th c, standard with addorsed cherubs and dolphins, lobed marble base, h. 27 in., dia. 9 in. [$800/1200]

384. Rock Crystal and Agate Skull, h. 6 1/2 in., w. 5 in., d. 7 1/2 in. [$800/1000]

387. Henri Payen (French, 1894-1933) Bronze “Monkey” Automobile Fender Mascot, c. 1920, signed “H. Payen”, with clear and red lenses, h. 3 3/4 in. [$700/1000]

388. Large Grand Tour-Style Patinated Bronze Urn, entwined snake and mask handles, h. 34 1/2 in., w. 36 in., d. 23 in. [$1800/2400]

389. French Art Nouveau-Style Three-Piece Fireplace Garniture, incl. fire fender and pair of andirons, urn finials, scrolled accents, trefoil corners, andirons h. 24 in., fender w. 51 in. [$500/700]

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390. Antique Continental Enamel, Pearl and Silverplate-Mounted Perfume Bottle, parrot finial, foliate designed glass bottle, h. 5 3/4 in. [$500/700]

391. Art Deco Bronze-Mounted Favrile Glass Three-Piece Garniture, center piece with hinged lid, surmounted with nymph, conforming vases, bases with swan and foliate design, vase h. 6 1/4 in. [$400/600]

392. Steuben Blue Aurene Glass Vase, marked, h. 11 3/4 in., dia. 7 in. [$600/900]

393. Pair of Baccarat-Style Cut Crystal Covered Urns, diamond and twist cut designs, h. 28 in., dia. 10 1/2 in. [$600/800]

394. Pair of Regency Black Lacquer and ChinoiserieDecorated Armchairs, 19th c., rope-turned crest rail, heavily scrolled arms, caned back panel joined by stretchers, sabre legs, h.

33 1/2 in., w. 22 in., d. 20 1/2 in. [$1500/2500]

395. Regency Inlaid Rosewood Breakfront Bookcase, early 19th c., stepped cornice, glazed doors, shelf interior, paneled doors, brass cuffs, casters [$1500/2500]

396. Pair of Regency-Style Parcel Gilded Mahogany Armchairs, reeded crest rail, spherule frieze, caned back and seat, scrolled arms, flared legs, casters, h. 37 in., w. 25 1/2 in., d. 30 in. [$2000/3000]

397. Regency Carved and Gilded Mahogany Drum Table, 19th c., manner of Thomas Hope, inset leather top, frieze drawers, standard with lotus leaf collar, incurvate triangular base, paw feet, h. 31 in., dia. 38 in. [$1000/1500]

398. Regency Carved Mahogany Writing Table, early 19th c., incurvate top with double reeded edge, scrolled trestle base, brass cuffs, casters, h. 28 1/2 in., w. 35 in., d. 25 1/2 in. [$600/900] 61

399. Pair of Antique Late Regency-Style Carved Mahogany Armchairs, back-scrolled crest rail, swan-carved back slat, scrolled arms, sabre legs, h. 35 in., w. 21 in., d. 18 1/2 in. [$500/700]

400. Seven George IV Mahogany Dining Chairs, c. 1830, incl. two armchairs and five side chairs, shaped crest rail, scrolled arms, turned legs, armchair h. 35 in., w. 21 1/2 in., d. 18 in., side chair h. 34 in., w. 18 in., d. 16 in. [$1000/1500]

401. William IV Mahogany Writing Table, mid-19th c., two frieze drawers, turned and tapered legs, casters, h. 29 in., w. 42 in., d. 21 1/2 in.[$700/900]

402. Victorian Ebonized and Paint-Decorated Dressing Chest, mid-19th c., c. 1840, attr. to Hart, Ware & Co., Philadelphia, shaped mirror on bracket supports, serpentine frieze drawer over doors, molded base, h. 71 in., w. 35 in., d. 22 in. [$800/1000] Prov. Neal Auction lot 1081 September 25, 2016 403. William IV Rosewood Work Table, c. 1840, drop-leaf top with hinged writing surface, quill drawers flanking case with two drawers, reeded tapered legs, brass cuffs, casters, h. 29 in., w. 46 in., d. 16 1/2 in. [$600/900]

404. Lee Crum (American/Arkansas, 20th c., active New Orleans 1978-2005), “Nude in Tree”, 2004, archival pigment print on paper, pencil-initialed, dated and inscribed “AP” en verso, sheet 47 in. x 35 in., framed. [$1200/1800] Note: Lee Crum discovered his love of photography when he started photographing musicians at the concerts he would attend in Arkansas. Studying journalism at the University of Arkansas, he worked for newspapers in the Little Rock area eventually moving to New Orleans to work for The Times-Picayune. Upon his arrival here, his talents were quickly noticed by the likes of Sports Illustrated and various marketing firms around the country where he made a name for himself in design and corporate circles as a talented photographer.

While entertaining a thriving advertising and journalism career, Crum creates very different photographs for his own personal body of work with a noted distinction between his “corporate” and “art” photography.

Inspired by Diane Arbus, his personal works veer toward minimalism and explore his fascination with nature which offers a stunning contrast to the highly, more slickly produced images of his advertising work as is evidenced in the lot offered here. “Nude in a Tree” showcases his personal style drawing upon his photojournalistic background where a single image can be used to allude to an entire story. Crum’s masterful depiction of the environment starkly punctuated with the classical female figure produce a striking and enigmatic arrangement.

Ref: Boyles, Sallie W. “Eye of the Beholder”. Vie Magazine. March 2011, vol. 1, p. 92-101.

Accessed from www.viemagazine.com, March 31, 2022.

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406. Annie Leibovitz (American, b. 1949), “The White Stripes, New York”, 2003, c-print mounted to board, signed, titled, dated and numbered “3/40” lower margin, image 15 1/2 in. x 23 in., sheet 19 7/8 in. x 23 7/8 in., framed. [$3000/5000]

405. Lee Crum (American/Arkansas, 20th c., active New Orleans 1978-2005), “Palm Frond”, 2004, archival pigment print on paper, pencil-initialed, dated and inscribed “AP” en verso, sheet 31 3/4 in. x 24 in., framed. [$1200/1800]

407. Paul Caponigro (American/ Massachusetts, b. 1932), “Still Life, Dublin, Ireland”, negative creation date 1966, print date 1990, gelatin silver print, pencil-signed on mat, titled and dated on backing paper, sight 11 in. x 8 1/2 in., framed. [$700/1000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

409. Herman Leonard (American, 1923-2010), “Charlie Parker, NYC”, 1949, gelatin silver print, signed, titled and dated lower margin, “The Bienville Shop, New Orleans, LA” label and label with artist, title and date on backing paper, image 12 1/4 in. x 9 3/8 in., sheet 14 in. x 11 in., framed. [$1000/1500]

408. Lew Thomas (American/California, 19322021), “Constructing the Phallus”, 1989, mixed media photo collage, pencil-signed and dated lower right, pencil-dedicated “For Adelle” lower left, 16 in. x 13 1/4 in., framed. [$2000/3000]

410. Eudora Welty (American/Mississippi, 1909-2001), “Holiness Sisters, Jackson”, negative creation date 1936, later print, gelatin silver print mounted to board, signed, titled and dated lower margin, “Keeton’s Frame Gallery, Jackson, MS” label on backing paper, image 12 7/8 in. x 9 1/2 in., sheet 13 7/8 in. x 11 in., framed. [$3000/5000]

411. Eudora Welty (American/ Mississippi, 1909-2001), “Saturday Trip to Town”, negative creation date 1939, print date 1980, gelatin silver print mounted to board, pencil-signed and numbered “53/75” on mount, from 20 Photographs: Portfolio, printed full sheet 9 7/8 in. x 13 7/8 in., framed. [$3000/5000] 63

412. Milo Baughman for Thayer Coggins Upholstered Sectional Circular Sofa, c. 1960-1970, period appropriate later green tweed upholstery, rosewood base, h. 28 in., dia. 168 in. [$3000/5000]

413. Group of Five Chrome Marcel Breuer-Design Beechwood “Cesca” Armchairs, labeled “Made in Italy”, caned back and seats, together with one related side chair, h. 31 1/2 in., w. 24 in., d. 20 in. (6 pcs.) Note: one chair with damaged seat. [$600/900]

414. Pair of Italian Cesca-Style Chrome Side Chairs, woven back and seat, h. 32 in., w. 18 in., d. 26 in. [$300/500]

415. Four Modern Chrome and Laminated Walnut Barstools, concave seat, adjustable base, h. 34 in., w. 14 in., d. 16 in. [$700/1000]

416. Mario Villa (Nicaraguan/New Orleans, 1953-2021) Floor Lamp, welded steel, copper shade, h. 68 in., dia. 22 in. [$600/900]

417. Zebra Skin Rug, felt lined, 8 ft. 7 in. x 5 ft. 7 in. [$500/700]

418. Contemporary Silk Carpet, geometric designs in blue, green, brown, and gold, 5 ft. 6 in. x 7 ft. 7 in. [$1000/1500] 64

419. Noel Rockmore (American/New Orleans, 19281995), “The Boxer”, 1963, oil on masonite, signed, titled and dated upper left, 20 in. x 16 in., unframed. [$800/1200]

420. Robert Joseph Warrens (American/Louisiana, b. 1933), “The Fountain”, 1972, acrylic on canvas, initialed lower left, label with artist, title and date and label inscribed “Stern” on stretcher, 59 7/8 in. x 53 7/8 in., framed. [$2000/3000] Provenance: Galerie Simonne Stern, New Orleans, LA. 421. Jacqueline Bishop (American/New Orleans, b. 1955), “Chico Mendes: Man of the Forest”, 1990, oil on masonite, signed and dated lower right, pencil-signed, titled, dated and “Art Museum of Southeast Texas” exhibition label with artist, title and date en verso, 14 in. x 11 in., framed. [$1000/1500] Exh.: “Sistema de Naturaleza”, Art Museum of Southeast Texas, Beaumont, TX, Dec. 1991 - Jan. 1992.

422. Ashley Longshore (American/New Orleans, b. 1975), “Hopeless”, 1999, acrylic on canvas, signed and dated lower left, signed, titled and dated en verso, 36 in. x 24 in., unframed. [$1000/2000]

423. Elemore Morgan, Jr. (American/Louisiana, 1931-2008), “Winter Space”, 1989, acrylic on masonite, initialed lower right, signed, titled and dated on stretcher, 7 7/8 in. x 61 1/4 in., unframed. [$7000/10000] Provenance: Arthur Roger Gallery, New Orleans, LA.

424.

Hunt Slonem (American/Louisiana, b. 1951), “Finches Lakeside”, 2007, oil on canvas, signed, titled and dated en verso, 40 in. x 30 in., unframed. [$7000/10000] Provenance: Acquired from the artist, 2007.

425. Hunt Slonem (American/Louisiana, b.

1951), “Orioles”, 2002, oil on panel, signed, titled, dated and inscribed en verso, 10 in. x 8 1/8 in., framed. [$1500/2500] 65

426. Hunt Slonem (American/Louisiana, b. 1951), “Blue Line Warren”, 2019, oil and diamond dust on canvas, signed, titled, dated and inscribed en verso, 72 1/8 in. x 84 1/4 in., unframed. [$40000/60000]

427. George Rodrigue (American/Louisiana, 1944-2013), “Oak Tree”, oil on canvas, signed lower right, 4 in. x 5 in., framed. [$4000/6000]

66

428. Dan Corbin (American/ Alabama, b. 1947), “Untitled”, 1998, bauxite and mixed media sculpture, signed and dated on proper right thigh, h.

28 1/4 in., w. 15 in., d. 10 1/2 in. [$2000/3000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

429. David Harouni (Iranian/New Orleans, b.

1962), “Untitled: Portrait on Red”, oil on canvas, signed lower right, 24 in. x 20 in., framed. [$1200/1800]

430. David Harouni (Iranian/New Orleans, b.

1962), “Untitled: Female Figure on Red”, oil on canvas, signed lower left, 39 3/4 in. x 29 7/8 in., framed. [$3500/5000]

431. David Harouni (Iranian/New Orleans, b. 1962), “Untitled: Christ Wearing Crown of Thorns”, 2006, oil on canvas, signed lower left, signed, dated and personalized en verso, 47 3/4 in. x 47 3/4 in., framed. [$5000/7000]

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432. Jesús Bautista Moroles (American/Texas, 1950-2015), “Lapstrake”, 1987, Georgia gray granite, unsigned, h. 82 1/2 in., w. 40 in., d. 6 1/2 in. [$10000/15000] Provenance: Acquired directly from the artist; Estate of Kenneth A. McAshan (1949-2021), New Orleans, LA Note: Jesús Moroles was one of the master sculptors of his generation. Born in Corpus Christi, TX, Moroles developed an early passion for art. Following service in the Air Force during the Vietnam War and studies at North Texas State University, Moroles worked as an apprentice to renowned sculptor Luis Jimenez (1940-2006). In 1980, he fulfilled a lifelong dream to travel to Pietra Santra, Italy for one year, where he was deeply moved by the art and tradition of marble carving. The artist returned to Texas shortly thereafter and committed to working in stone.

Rather than carving marble, however, Moroles instead felt that granite would be his medium.

He was quoted as saying “granite was a fundamental element…the core and heart of the universe.” Looking to the work of Isamu Noguchi (1904-1988) for aesthetic inspiration, Moroles began using wedge-like tools to split stone: “I wanted to expose the true nature of the stone, so I decided not to carve it but tear it.” This method involved hammering five-inch steel wedges into the stone, causing it to split along the natural grain. Moroles polished some surfaces of the granite, but left others rough. The interplay of the smooth and coarse surfaces became a vital element in his work, a subtle commentary on the theme of man versus nature that would be woven into his sculptures throughout his career.

Despite their large scale, Moroles completed all of his works in his own studio in Rockport, TX. Granite required both great physical strength and perseverance to transform, and Moroles rarely worked from sketches, instead allowing the medium to shape his design. His forms were universal columns, crescents, triangles, obelisks, and pyramids. Moroles’ largest work was a 1991 memorial to Houston police officers, a 120-by-120-foot public sculpture on the banks of Buffalo Bayou. His most visible was “Lapstrake” from 1987, a 64-ton, 22-foot-tall sculpture at 31 West 52nd Street Plaza in New York, across the street from the Museum of Modern Art. The word lapstrake means “​ overlapping” or “​ not flush.” With this series and the work offered here, Moroles wanted to “​bring the quarry into the gallery” by creating a single block of granite that looks like many pieces of stone uneasily balanced atop one another. To “​ make the stone important,” Moroles preserved a sense of the rock’s original form and character, rather than carve the material into another object or abstract form. He effortlessly achieved the sense of monumentality, captivating surface and delicate sense of balance that transform the surrounding environment into a “sacred space.”

Ref.: Adlmann, Jan Ernet and Jesús Moroles. Moroles: Granite Sculpture. Houston, TX: Herring Press, 2004; Castro, Fernando. “Jesús Moroles, Sculptor (1950-2015).” Literal Magazine. June 2015. www.literalmagazine.com. Accessed May 28, 2022; Gangelhoff, Bonnie. “Jesús Bautista Moroloes.” Southwest Art. Sept. 1997. www.southwestart.com. Accessed May 28, 2022.

433. Ida Rittenberg Kohlmeyer (American/ New Orleans, 1912-1997), “Doubled No. 2”, 1970, mixed media on canvas, pencil-signed and dated lower right, 13 13/16 in. x 8 in., framed. [$2500/3500] Provenance: Neal Auction Company, June 11, 2005, lot 772.

434. George Bauer Dunbar (American/New Orleans, b. 1927), “Black and White Series, No. 3”, 2009, paper and canvas collage on masonite, signed lower right, label with title and date en verso, 9 7/8 in. x 11 1/2 in., framed. [$1000/1500] 68

435. Jean Seidenberg (American/New Orleans, b. 1930), “Two Seated Figures”, 1961, oil on canvas, signed and dated upper right, 46 in. x 40 1/8 in., framed. [$1500/2500] Provenance: Collection of New Orleans Artist and Conservator Lillian Louise Beeson (1933-2021).

436. José-Mariá Cundín (Spanish/New Orleans, b. 1938), “Single Figure”, 1968 and “Pig”, 2 oils on masonite, former signed and dated lower left, 8 in. x 7 3/8 in. and 6 3/4 in. x 8 1/2 in., both unframed. (2 pcs.). [$1200/1800]

437. George Schmidt (American/New Orleans, b. 1944), “Nick LaRocca at the Corner of Canal and Royal, New Orleans, 1915”, oil on canvas, signed lower right, 48 in. x 60 in., framed. [$10000/15000] Note: Celebrated local artist George Schmidt is known for his playful depictions of New Orleans’ cultural moments – both contemporary and historical. In his paintings of the past, he “recasts historic events or famous paintings with his own visual irony and playfulness.”

The painting on offer here is from Schmidt’s “A History of New Orleans Jazz” series. Famed traditional jazz musician Nick LaRocca is depicted playing in “Papa” Jack Laine’s Reliance Band to an attentive crowd from the back of a bandwagon, while promoting a prizefight between local featherweight Peter Herman and Eddie Coulon as indicated by the scattered flyers littering the ground. LaRocca’s performance so impressed Chicago club owner, Harry James, he invited him to play at his Booster’s Club in the Windy City. This important day in December 1915 is regarded as one of the cultural cornerstones in the history of jazz, as it is emblematic of the soon-to-be widespread proliferation of New Orleans jazz throughout the country and world.

The composition is compelling and dynamic, and Schmidt’s training in architecture at Tulane University is evident in the crisp perspective of the French Quarter buildings at the Royal and Canal streets intersection. The sharp lines direct the viewer to witness and partake this important day in musical history.

Ref.: “George Schmidt.” 64 Parishes. Sept. 12, 2012. https://64parishes.org. Accessed Oct. 15, 2019. Satire, Scandal, and Spectacle: The Art of George Schmidt. Lafayette: Paul and Lulu Hilliard University, University of Louisiana at Lafayette, 2012.

439. Bruce “Dapper Bruce Lafitte” Davenport, Jr. (American/New Orleans, b. 1972), “The Rumble in the Jungle”, 2022, “Hitman Hearns”, 2022, “Iron Mike Tyson”, 2022 and “Ali”, 2022, 4 markers on paper, all titled center, each signed and dated lower right, all signed and inscribed en verso, each 14 in. x 11 in., unframed. (4 pcs.). [$1000/1500]

438. George Schmidt (American/New Orleans, b. 1944), “Flowers”, oil on canvas, signed lower left, 71 1/2 in. x 56 7/8 in., framed. [$5000/8000]

440. Bruce “Dapper Bruce Lafitte” Davenport, Jr. (American/New Orleans, b. 1972), “RIP Trojans”, 2013, “A.J. Bell Jr. H.S.”, 2019 and “Love is Good”, 2018, 3 markers on paper, all titled lower center, signed and dated lower right, all signed and inscribed en verso, each 12 in. x 9 in., unframed. (3 pcs.). [$700/1000] 69

441. Charles Whedon Rain (American/Tennessee, 1911-1985), “Night Music”, 1950/59, oil on masonite, signed lower right, signed, titled, dated and inscribed “New York” en verso, pencil-inscribed with artist on reverse of frame, sight 17 1/2 in. x 28 1/2 in., framed. [$10000/15000] Exh.: Remembering Charles Rain: Selected Works from 1933-1973, Jonathan Edwards College, Yale University, New Haven, CT, Mar. 25 - May 25, 2004 and listed in the accompanying catalogue, cat. 13, p. 26.

442. Charles Whedon Rain (American/Tennessee, 1911-1985), “Chinese White”, 1959, oil on masonite, signed lower right, signed, titled, dated and inscribed “New York” en verso, sight 23 1/2 in. x 19 1/2 in., framed. [$7000/10000] Exh.: Remembering Charles Rain: Selected Works from 1933-1973, Jonathan Edwards College, Yale University, New Haven, CT, Mar. 25 - May 25, 2004 and listed in the accompanying catalogue, cat. 22, p. 34.

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Note: Charles Rain’s artistic career spanned over five decades with an oeuvre that often defies traditional art historical categorization. His most celebrated works are photorealistic paintings of landscapes and still lifes, which he injected with his own imprint of surrealism to become quintessential examples of the magic realist style. He was quoted as saying: “My aim is to record…the view of one individual – what I see and what I imagine – in the methods of what may be called romantic or magic realism.” Born in Tennessee, Rain was raised in Nebraska and attended the Art Institute of Chicago for several years prior to traveling to Europe in 1933. While in Berlin, he was greatly inspired by a viewing of “Portrait of Ugolino Martelli” by Agnolo Bronzino (1503-1572), and Bronzino’s classic technique of under-painting and glazing would stay with Rain throughout his life.

Upon returning to New York, Rain was featured in a 1935 solo exhibition at the Julien Levy Gallery, which was not well received by critics and led to the artist undertaking a short break from painting.

While designing costumes for the New York City Ballet during this time period, Rain met photographer George Platt Lynes, who, along with Lincoln Kirstein, Monroe Wheeler and Paul Cadmus, became part of Rain’s sophisticated and artistic circle of friends. Curator Daphne Anderson Deeds described the assemblage as: “…members of a closely knit homosexual group…much of their work includes encoded imagery referring to their private cliquish world.”

In “Night Music” and “Chinese White” offered here, Rain presents an original, surrealistic vision by combining his interests in the symbology that permeates popular culture with his own ideology and placing them within a mysterious context. As a result of the artist’s desire for perfection, his surviving body of work is smaller than most – each a treasured and complex glimpse into Rain’s unique ideas and endless imagination.

Ref.: Deeds, Daphne Anderson. “Charles Rain: A Singular Realist.” Remembering Charles Rain: Selected Works from 1933-1973. New Haven: Yale University, 2004, pp. 7-15.

443. Hans Bellmer (German, 1902-1975), “Untitled”, graphite on paper, pencil-signed lower left, 11 3/4 in. x 8 in., framed. [$3000/5000]

444. Henri Manguin (French, 1874-1949), “Bouquet de Fleurs”, oil on panel, signed mid-right, handwritten label with artist en verso, 29 in. x 24 in., framed. [$2500/3500]

445.Gen Paul (French, 1895-1975), “La Lecture”, 1927, oil on canvas, signed lower right, signed, titled and dated en verso, 29 in. x 36 1/4 in., framed. [$12000/18000] Note: Born Eugène Paul, Gen Paul was born in Montmartre and began his artistic pursuits early in life. Upon the outbreak of World War I, Paul joined the French Army and subsequently was seriously wounded. While recovering from a leg amputation, Paul returned to his childhood passion of painting. Drawing inspiration from his surroundings and the vibrant art community in Montmartre, Paul developed his own signature expressionist style alongside contemporaries such as Juan Gris, Utrillo and Jean Dufy. Fascinated with jazz, Paul traveled throughout the United States, including a stay in New Orleans, to discover the subjects that would appear in his paintings. Paul’s use of gestural brushstrokes lent a strong sense of motion to his work, resulting in art historians naming him the first action painter and a precursor to the abstract expressionists. Between 1925 and 1929, Paul produced many of his best works, and the canvas offered here from 1927 exemplifies Paul’s most desired period with a strong diagonal composition, flat areas of color juxtaposed next to expressionistic brushstrokes and a strong sense of dynamism.

Ref.: „Gen Paul 1895-1975).“ Findlay Galleries. www.findlaygalleries.com. Accessed July 27, 2020

446. Bruce Bordelon (American/Louisiana, b. 1940), “Neon Night”, 1998, oil on canvas, signed and dated lower left, signed and titled on stretcher, 16 in. x 20 in., framed. [$1000/1500] Note: A native of Bunkie, Louisiana and resident of Shreveport, artist and teacher, Bruce Bordelon is one of the premier landscape artists of Louisiana drawing comparisons to artists like Elemore Morgan and Rolland Golden. He is known for his rural land and seascapes but also excels at depicting urban scenes. Whereas he previously painted en plein-air, he now prefers to paint from sketches and memories of the places to which he has traveled creating dramatic scenes of reality with touches of his imagination. Working in a style of “improvisation,” he lets the scene in his mind’s eye together with his paint palette guide him in crafting compositions in rich textures utilizing his brush, palette knife and, sometimes, his fingers.

In the work offered here, Bordelon highlights the neon colors that glow at night along Canal St. in New Orleans. The busy city street and the lighted reflection of shop windows beaming off the pavement build a scene of contrast and activity that typifies a night out in New Orleans.

Ref.: Bordelon, Bruce. “Painting by Plan or Improvisation.” American Artist. May 1995: 42-45.

448. Bruce Bordelon (American/Louisiana, b.

1940), “Lovely Lady”, oil on canvas board, signed lower right, signed and titled en verso, 20 in. x 16 in., framed. [$1000/1500]

447. Bruce Bordelon (American/Louisiana, b.

1940), “Old Mission Door”, 2005, oil on canvas board, signed and dated lower left, signed and titled en verso, 20 in. x 16 in., framed. [$1000/1200]

449. Ted Ellis (American/Louisiana, b.

1963), “On My Way Home”, oil on canvas, signed lower right, partial label with title on stretcher, 15 3/4 in. x 20 in., framed. [$800/1200]

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450. Ted Ellis (American/ Louisiana, b. 1963), “Dragging the Bag (We Do What We Gotta Do)”, 2004, oil on canvas board, signed and dated lower right, titled, dated, inscribed and 4 “T. Ellis Arts” stamps en verso, titled on backing paper, 15 in. x 30 in., framed. [$1500/2500]

451. James Michalopoulos (American/New Orleans, b. 1951), “Jeune Rider”, oil on canvas, signed lower left, titled and artist label en verso, 26 7/8 in. x 35 in., framed. [$3000/5000]

452. James Michalopoulos (American/New Orleans, b. 1951), “Glance Askance”, 1998, oil on masonite, signed lower left, signed, titled and dated en verso, artist label and handwritten label with title en verso, 47 1/4 in. x 23 5/8 in., unframed. [$2000/3000] 453. Robert Gordy (American/New Orleans, 1933-1986), “Study for Double Cross”, 1974, color marker on paper, signed and dated lower left, 17 1/16 in. x 22 1/16 in., framed. [$1200/1800] Provenance: Neal Auction Company, Dec. 5, 2004, lot 1093.

454. William Hemmerling (American/Louisiana, 1943-2009), “Lafitte’s Blacksmith Shop Bar”, 2006, mixed media on found tin, signed lower right, signed, titled, dated, personalized and inscribed en verso, 44 1/2 in. x 30 in., unframed. [$4000/6000]

455. William Hemmerling (American/Louisiana, 1943-2009), “Baptism”, 2004, oil on board, signed lower right, signed, titled and dated en verso, 25 in. x 20 1/8 in., artist frame. [$2000/3000]

456. Caroline Wogan Durieux (American/Louisiana, 1896-1989), “Portrait”, 1955, graphite on paper, pencilsigned, titled and dated lower right, partial sketch en verso, sheet 11 in. x 8 1/4 in., framed. [$500/700] 72

458. Caroline Wogan Durieux (American/Louisiana, 1896-1989), “The Happy Octopus”, hand-enhanced color electron print, pencil-signed and titled lower margin, sheet 14 3/4 in. x 18 in., unframed. [$700/1000] 457. Caroline Wogan Durieux (American/ Louisiana, 1896-1989), “In Circles”, 1943, graphite and ink on paper, pencil-signed, titled and dated lower right, sheet 13 1/8 in. x 15 1/2 in., framed. [$500/700] Ill.: Caroline Durieux: 43 Lithographs and Drawings. Baton Rouge: Louisiana State University Press, 1949, p. 30.

459. Caroline Wogan Durieux (American/New Orleans, 1896-1989), “Bright Aquarium”, Cliché-verre, pencilsigned, titled and inscribed “artists proof” lower margin, sheet 16 in. x 19 7/8 in., framed. [$400/600]

460. Caroline Wogan Durieux (American/New Orleans, 1896-1989), “Banc Parisien”, 1950, lithograph, pencilsigned, titled and numbered “12/25” lower center, inscribed “edition 25” lower margin, “Rives” watermark visible, 22 in. x 15 1/8 in., framed. [$600/800]

461. Adele Lemm (American/Tennessee, 1904-1977), “Untitled #66”, oil on linen, signed lower left, titled, “The Charleston Renaissance Gallery, Charleston, SC”, “Robert M. Hicklin, Jr., Inc., Spartanburg, SC” and “Greenville County Museum of Art, SC” labels en verso, 29 in. x 38 in., framed. [$2000/3000] Provenance: The Charleston Renaissance Gallery, Charleston, SC.

462. John Korver (American/Louisiana, 1910-1988), “Rhinoceros in the Wild”, oil on canvas, signed lower right, 32 in. x 50 in., framed. [$1000/1500] 73

463. Dale Chihuly (American, b. 1941), “Cinnamon Macchia”, Portland Press 2001 Studio Edition, etched signature to underside “ Chihuly PP01”, blown glass with red lip wrap, 7 in. x 6 1/2 in. x 6 1/4 in., with Plexiglas case, h. 13 3/4 in., w. 12 1/2 in., d. 12 1/2 in. [$2000/3000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

465. Dale Chihuly (American, b. 1941), “Parrot Green Persian Set”, Portland Press 2001 Studio Edition, etched signature to underside of small element “Chihuly PP01”, blown green glass with red lip wrap, 7 1/2 in. x 11 1/2 in. x 10 1/4 in., and 3 1/2 in. x 3 1/2 in. x 9 1/2 in. [$2000/3000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

464. Dale Chihuly (American, b. 1941), “Paris Blue Basket Set”, Portland Press 2001 Studio Edition, etched signature to underside of smallest element “Chihuly PP01”, blown glass with orange lip wraps, 10 1/4 in. x 8 1/4 in. x 8 in., 4 in. x 3 1/2 in. x 3 1/4 in., and 1 3/8 in. x 4 in. x 3 1/4 in. [$2500/3500] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

466. Tommie Rush (American, b. 1954) Art Glass Centerpiece Bowl, underside with molded signature “T.RUSH”, amber and red floral design, h. 9 1/2 in., w. 21 3/4 in., d. 16 1/4 in. [$400/600] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

467. Curtis Jere Brass and Slag Glass Ship, signed “C. Jere” and dated 1976, on integral base, h. 41 1/4 in., l. 46 1/2 in., d. 7 1/2 in. [$500/700]

468. Samia Halaby (Palestinian/ New York, b. 1936), “Untitled: Black and Blue”, c. 1962, oil on paper, pencilsigned lower right, 12 3/8 in. x 9 in., matted. [$1200/1800] Provenance: Estate of Curator and Scholar and Advocate of Outsider and Contemporary Art Bill Fagaly, sold to benefit Prospect New Orleans’ William A. Fagaly Memorial Fund for Social Impact.

Note: Neal Auction would like to thank Samia Halaby for her assistance in the cataloguing of this lot.

469. Maria Scotti (American/Rhode Island, 1942-2012), “Etruscan Painting #1”, 1981/91, oil on canvas, signed, dated and inscribed en verso, 40 in. x 60 in., unframed. [$1200/1800] 470. Aristides Logothetis (Greek/American, b. 1967), “Spider”, 2013, plastic, fabric and metal snaps, unsigned, from the Arachnae series, h. 6 in., w. 17 in., d. 14 in. [$800/1200] Provenance: Estate of Curator and Scholar and Advocate of Outsider and Contemporary Art Bill Fagaly, sold to benefit Prospect New Orleans’ William A. Fagaly Memorial Fund for Social Impact.

Note: Originally from Greece, Aristides Logothetis immigrated to the United States at the age of ten and later came to New Orleans to attend the MFA program at University of New Orleans which he completed in 2001. Growing up in Athens, he interpreted meanings from the patterns left at the bottom of a coffee cup for many friends and family, instilling in him at an early age the importance of searching for meaning in abstraction. This sense of wonder and play has greatly influenced his work throughout his artistic career, while his childhood experience as an immigrant formed his contradictory desires for both assimilation and rebellion and also provided him with a unique perspective on American class divide and gender roles.

The spider motif, which is a form Logothetis revisits often, exemplifies this exploration of gender and identity. In the work offered here, he uses neckties – in this case those of Bill Fagaly – all in a brown palette referencing masculinity while the shiny plastic coverings are reminiscent of the traditional domestic realm of a mother’s parlor couch. The clear vinyl slipcover of American suburbia and its implicit allusion to safety and security are a striking contrast to the unease and arachnophobia elicited by the brown fabric spider resulting in a playful visual gag.

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471. Aristides Logothetis (Greek/ American, b. 1967), “Quiddity”, 1996, watercolor and ink on board, pencil-signed, titled and dated en verso, 12 7/8 in. x 10 1/4 in., framed. [$300/500] Provenance: Gift of the artist, 2001; Estate of Curator and Scholar and Advocate of Outsider and Contemporary Art Bill Fagaly, sold to benefit Prospect New Orleans’ William A. Fagaly Memorial Fund for Social Impact.

Exh.: “What a Wonderful World”, Contemporary Arts Center, New Orleans, LA, Oct. 4 - Dec. 14, 2003.

472. Vernon Fisher (American/Texas, b. 1943), “Untitled: Shells”, 1990, mixed media on paper, signed and dated lower right, 22 in. x 25 7/8 in., framed. [$1200/1800]

473. Suzanne O’Neal (American/California, 20th c.), “Southern Comfort”, oil on canvas, signed lower right, label with title en verso, 30 in. x 36 in., framed. [$500/700] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

474. Damian Romero (American, 20th c.), “Drink Jack and a Lot of It”, mixed media on wood door, unsigned, 79 3/8 in. x 31 7/8 in., unframed. [$800/1200] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

475. Damian Romero (American, 20th c.), “Untitled: King and Wolf”, 1998, mixed media on wood door, signed and dated lower right, 79 1/8 in. x 30 in., unframed. [$800/1000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

476. Anne Coe (American/Arizona, b. 1949), “Untitled: Chimpanzee with Sock Monkey”, oil on canvas, signed lower right, 30 in. x 19 7/8 in., unframed. [$800/1200] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

477. Jerry Gunning (American, 20th c.), “Mount Humphrey Summer”, 1984, acrylic on canvas, signed and dated lower right, “Suzanne Brown Gallery, Scottsdale, AZ” label with artist and title on stretcher, “Freeport-McMoRan, Inc.” inventory label en verso, 58 in. x 78 in., framed. [$600/800]

478. Suzanne “Martyl” Schweig Langsdorf (American/Missouri, 1917-2013), “Winter”, acrylic and gouache on paper, signed lower right, information label with artist and title on backing paper, 20 3/8 in. x 26 5/8 in., framed. [$600/800] 75

479. Baltic Neoclassical Rosewood and Marquetry Games Table, 19th c., foldover top, playing surface lined in baize, reverse-tapered foliate standard, arched quadripartite base, brass bun feet [$800/1200]

480. Baltic Neoclassical-Style Parcel Ebonized and Gilded Burl Wood Secretaire a Abattant, convex superstructure with dolphin supports, fall-front door with fitted interior, caryatid stiles, two lower drawers, block feet, h. 77 in., w. 42 in., d. 22 in [$1400/1800]

481. Pair of Baltic Neoclassical-Style BronzeMounted Mahogany Pedestals, inset verdigris marble top and base, attenuating supports, medial shelf with urn finial, incurvate triangular plinth, compressed ball feet, h. 43 1/2 in., w. 15 in., d. 15 in. [$3000/5000]

482. Biedermeier-Style Burl Wood Mechanized Extension Dining Table, molded edge, three leaves, square tapered legs, brass cuffs, casters, h. 33 in., l. 117 in., d. 37 in. [$2000/3000]

484. Continental Fruitwood Center Table, late 19th c., molded edge circular top, vasiform standard, robust foliate paw feet, h. 29 in., dia. 44 in. [$1000/1500] 483. Six Restauration Mahogany Gondola Chairs, 19th c., arched crest rail, vasiform splat, lappet-carved sabre legs, h. 33 in., w. 19 in., d. 14 1/2 in. [$1000/1500]

485. Large French Empire Faux Porphyry Painted and Parcel Gilt Overmantel Mirror, 19th c., cornice with egg and dart molding, foliate tablet, rectangular mirror plate flanked by colonnettes, h. 70 in., w. 71 1/2 in., d. 7 in. [$3000/5000]

486. Louis Philippe-Style Giltwood Mirror, late 19th c., arched molded surround with incised floral decoration and beading, h. 55 in., w. 34 in. [$700/1000] 76

487.Pair of French Neoclassical-Style Parquetry and Marquetry Demilune Commodes, late 19th c., stamped “Made in France”, each with marble top, three frieze drawers, over two drawers flanked by doors, tapered fluted legs, brass cuffs, h. 33 in., w. 34 1/2 in., d. 15 in. [$1000/1500]

488. Louis Philippe Carved Mahogany Bergère, c. 1840, scrolled arms, foliate uprights, lappet-carved legs, brass cuffs, casters [$600/900]

490. Group of Antique Staffordshire Pearlware Blue Shell-Edge Dinnerware, 19th c., incl. 3 graduated platters, 16 1/2 in. x 13 1/2 in., 15 1/2 in. x 12 1/4 in. and 15 in. x 11 in., covered vegetable tureen, h. 6 1/2 in., w. 13 in., d. 9 1/2 in., and 2 plates, dia. 9 1/2 in. (7 pcs.) (incl. lid). [$300/400]

489. Portuguese Faience Inkwell and Sand Pot, probably Cavaquinho, late 18th/early 19th c., lion mask decoration, h. 2 1/2 in., dia. 3 1/2 in [$200/400] Provenance: Palacio do Correio Velho, Lisbon, Faience Collection of Antonio Capucho.

491. Group of Antique Staffordshire Pearlware Green Shell-Edge Serving Pieces, 19th c., incl. 3 oblong platters, 1 with impressed mark “ADAMS/WARRANTED/ STAFFORDSHIRE”, 16 1/2 in. x 13 1/2 in., 15 in. x 12 in. and 13 in. x 10 in., and 2 sauceboats, l. 7 1/4 in. and 6 1/2 in.

(5 pcs.) [$300/400] 492. Group of Antique Staffordshire Pearlware Blue ShellEdge Serving Pieces, 19th c., incl. octagonal platter, 17 1/4 in. x 14 in., 3 graduated oblong platters, 17 1/2 in. x 14 1/2 in., 16 in. x 12 in. and 13 1/4 in. x 10 in., and sauceboat. (5 pcs.) [$300/400]

493. Pair of English Polychrome and Gilt Porcelain Bocage Figures of a Boy and Girl, anchor and sword mark, flowering trees, scrollwork bases, h. 9 in., w. 6 in., d. 4 in. [$400/600] 494. Limoges Polychrome and Gilt Porcelain Fish Service, marked “Theodore Haviland Limoges France”, cobalt blue and gilt rims, fish scene reserves signed “L. Martin”, incl. platter, l. 25 in; 10 plates, dia. 9 in.; and saucier with attached underplate, l. 9 1/2 in. (12 pcs.) [$300/500]

495. Paris Polychrome and Gilt Porcelain Teapot and Stand, peach ground, blue foliate motif, gilt accents, h. 5 1/2 in., dia. 8 1/4 in. (2 pcs.) [$200/300] 77

496. Late Georgian Mahogany Trolley, early 19th c., acorn finials, three tiers with three-quarter galleries, balusterturned supports, casters, h. 51 in., w. 48 in., d. 20 in. [$800/1200]

497. Antique George IIIStyle Inlaid Mahogany Console Table, serpentine top with molded edge, conforming frieze, tapered legs, h. 32 in., w. 45 in., d. 23 in. [$600/900]

498. Empire-Style Giltwood, Marble, Faux Tortoiseshell and Specimen Marble Center Table, geometric mosaic top, foliate scrolled supports terminating in paw feet, incurvate triangular base centered by a floral finial, h. 31 3/4 in., dia. 44 in. [$4000/6000]

499. Antique Georgian-Style Mahogany Settee in the Sheraton Taste, sloped arms, vasiform foliate supports, reeded tapered legs, brass cuffs, casters, h. 36 in., w. 55 in., d. 25 1/2 in. [$500/700]

500. George III Carved Giltwood Mirror, likely late 18th c., urn and arched foliate crest, paneled and beaded surround, acanthine brackets, h. 52 1/2 in., w. 28 in. [$1000/1500] 501. Antique George III-Style Carved Mahogany Console Table in the Sheraton Taste, 19th c., shaped top, conforming frieze with three drawers and acanthine decoration, fluted tapered legs, blocked feet, h. 35 in., w. 71 1/2 in., d. 23 in. [$700/1000]

502. Pair of George IIIStyle Mahogany Pedestal Cabinets, stepped coved top, fluted frieze, paneled door with urn and swag decoration, interior with cutlery drawers and shelves, plinth base, h. 39 in., w. 19 in., d. 18 in. [$800/1200]

503. George III-Style Inlaid Mahogany Demilune Serving Table, top with brass gallery and segmented inlay, frieze drawers with lion’s head and ring pulls, reeded foliate tapered legs [$800/1200] 78

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

505. Antique Georgian-Style Carved Mahogany Demilune Server, doors with blind fretwork borders flanked by frieze drawer, tapered legs, casters, h. 30 1/2 in., w. 47 1/2 in., d. 23 5/8 in. [$700/1000]

506. Georgian-Style Mahogany Corner Cabinet, egg and dart cornice, blind fretwork frieze, Gothicized glazed door, oval-paneled cabinet door, gadrooned bracket feet, h. 96 in., w. 32 in., d. 11 in. [$800/1000]

507. Georgian-Style Leather Wing Chair, arched crest, distressed leather upholstery, brass nailhead trim, h. 43 1/2 in., w. 31 1/2 in., d. 28 1/2 in. [$800/1200]

508. Pair of Antique Georgian-Style Mahogany Nightstands, molded top, four graduated drawers, plinth base, h. 37 1/2 in., w. 21 in., d. 17 in. [$1200/1800]

509. Edwardian Parcel Gilt and Paint-Decorated Satinwood Demilune Commode, early 20th c., anthemion frieze, single door, shelf interior, fluted legs, h. 38 in., w. 45 in., d. 20 in [$1000/1200] 510. Antique Adam-Style Painted Satinwood Table, oval top with floral motif, blocked frieze, tapered legs, h. 27 1/2 in., w. 36 1/2 in., d. 24 in. [$700/1000]

511. Georgian Tortoiseshell Tea Caddy, 19th c., pyramid top, unusual pressed design to front, interior with lidded compartment, h. 5 5/8 in., w. 4 5/8 in., d. 3 1/4 in. [$1000/1500]

512. George III Tortoiseshell and Mother-of-Pearl Tea Caddy, 19th c., domed top, fluted front, interior with two lidded compartments, on bun feet, h. 5 in., w. 8 in., d. 5 in. [$1000/1500]

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

514. Georgian Green Tortoiseshell Tea Caddy, 19th c., lid with monogrammed cartouche, interior with two lidded compartments, on ball feet, h. 5 1/4 in., w. 6 3/4 in., d. 3 1/2 in. [$1000/1500] 79

515. Jacobean Carved Oak Cabinet, late 17th/early 18th c., molded top, three frieze drawers, two cabinet doors, two central drawers, block feet, h. 35 in., w. 70 1/2 in., d. 17 1/2 in. [$1000/1500] 516. Pair of Antique Continental Renaissance-Style Carved Walnut and Parcel Gilt Armchairs, scrolled anthemion crest, acorn finials, padded back and seat, turned foliate uprights, heavily scrolled arms, foliate scrolled stretcher and legs, h. 50 in., w. 29 in., d. 23 1/2 in. [$1200/1800] 517. English Colonial Rosewood Partner’s Desk, 19th c., inset leather top, elaborately carved foliate frieze with arched center panel and lappet finial, gadrooned edge, segmented foliate stretcher, arched trestle base, casters, h. 31 1/2 in., w. 60 in., d. 36 in. [$1500/2500]

518. Anglo-Colonial BrassMounted Tropical Hardwood Campaign Chest, 19th c., in two parts, upper case with two short drawers over long drawer, lower case with two long drawers, compressed ball feet, h. 41 in., w. 36 in., d. 19 1/2 in. [$1200/1800] 519. Antique English Chinoiserie-Decorated Chest of Drawers, banded top, two short drawers over two long drawers with applied foliate scroll accents, baluster-turned supports, h. 36 in., w. 49 in., d. 23 in. [$2000/3000]

520. Dutch Carved Oak Armoire, 19th c., stepped cornice, fluted frieze, guilloche stiles, paneled doors, scrolled feet, shelf interior, h. 72 in., w. 50 in., d. 20 1/2 in. [$800/1200] 521. Spanish Colonial Tropical Hardwood Console Table, two frieze drawers, floral panel decoration, chamfered legs, h. 31 1/2 in., w. 73 in., d. 30 in. [$1000/1500] 80

522. Pair of Antique Iberian Walnut and Tooled Leather Armchairs, probably 19th c., intricately tooled leather back and seat, brass nailhead trim, scrolled acanthus arms, turned and blocked legs, arched scrolled stretcher, Spanish feet, h. 43 in., w. 23 1/2 in., d. 18 in. [$2000/3000]

523. Pair of Brass-Mounted Hardwood Camel Saddle Stools, pierced tan leather cushion, yoke supports, h. 17 in., w. 22 in., d. 12 in. [$800/1200] 524. Pair of Moorish Inlaid Hardwood Tabouret Tables, octagonal geometric motif top, conforming case, pointed arch brackets, chamfered legs, shaped feet, h. 28 in., dia. 18 in. [$1200/1800]

525. Antique Italian RenaissanceStyle Carved Walnut Credenza, molded top, dentilated trim, two frieze drawers, flanked by mythological masks, columnar supports, arched paneled doors, caryatid stiles, foliate base, paw feet, h. 41 1/2 in., w. 54 1/2 in., d. 19 1/2 in. [$1000/1500] 526. Italian Renaissance Carved Walnut Cabinet, 18th c., reeded edge cornice, paneled doors with portrait busts, medial drawer between cabinets, stepped base, bun feet. [$1000/1500]

527. Large Italian Marble and Pietra Dura Table, polychrome floral mosaic top, carved foliate scrolled supports, h. 33 in., w. 96 in., d. 48 in. [$7000/10000]

528. Italian Mahogany and Marquetry Center Table, 19th c., verde antico marble top, incurvate molded standard, foliate and anthemion inlay, scrolled base, h. 32 in., dia. 40 1/2 in [$800/1200]

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529. Bernhard Stafford Good (British/American, 18931969), “Hunter and Trapper in the Woods”, oil on canvas, signed lower right, 40 in. x 28 1/8 in., framed. [$800/1200]

530. Frank Vining Smith (American/Massachusetts, 1879-1967), “Clipper Ship at Sea”, oil on canvas, signed lower right, 28 1/8 in. x 38 in., framed. [$3000/5000]

531. Mary Fairchild Low (American/Connecticut, 1858-1946), “Portrait of a West Point Cadet”, 1928, oil on canvas, signed and dated lower right, 20 in. x 16 in., framed. [$1200/1800]

532. Attributed to Mary Fairchild Low (American/ Connecticut, 1858-1946), “Portrait of a Young Lady”, oil on canvas, unsigned, 24 1/4 in. x 18 1/4 in., framed. [$1000/1500]

533. Polychrome Concrete Bust of Abraham Lincoln (1809-1865), h. 21 1/2 in., w. 14 1/2 in., d. 14 1/2 in [$800/1200]

534.

James Montgomery Flagg (American/New York, 1877-1960), “A Strange Specimen”, watercolor and graphite on board, signed lower left, “Property of Cosmopolitan Magazine” label and inscribed “#74 Sept. Issue” en verso, “Columbus Museum of Art & Crafts, Columbus GA” exhibition label with artist and title on backing paper, 21 3/8 in. x 26 3/16 in., framed. [$700/1000] Exh.: “Bicentennial Exhibition of James Montgomery Flagg”, Columbus Museum of Art, Columbus, GA, Mar. 7 - Apr. 18, 1976.

Note: Special thanks to Rebecca Bush, Curator of History and Exhibitions Manager, at the Columbus Museum of Art for her assistance in the cataloguing of this lot.

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535. After James Earle Fraser (American, 1876-1953), “End of the Trail”, bronze, signature inscribed on self-base, h.

29 1/2 in., w. 30 in., d. 9 1/4 in., marble base with artist and title plaque, overall h. 30 3/4 in. [$4000/6000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

537. John James Audubon (American, 1785-1851), The Quadrupeds of North America by John James Audubon and the Rev. John Bachman, published by V.G. Audubon, New York, 18491854, three volumes, octavo, with 155 lithograph plates after J.J. & J.W. Audubon, printed and hand-colored by J.T. Bowen and Nagel & Weingaertner, full leather with gilt tooling, spine with four raised bands, the boards blind-stamped (front gilt) with a squirrel. [$3000/5000]

536. After Marie Adrien Persac (American/Louisiana, 1823-1873), “Plantations on the Mississippi River from Natchez to New Orleans, 1858”, New Orleans, Pelican Book Shop, Inc., 1931, printed by Rand McNally & Company, showing the divisions of land with owner’s names, vignettes of New Orleans, Baton Rouge and plantations, decorative border composed of cotton plants and sugar cane, sight 52 1/2 in. x 30 3/4 in., framed. [$700/1000]

538. John James Audubon (American, 1785-1851), “Sandwich Tern”, Plate CCLXXIX, hand-colored aquatint with engraving, from Birds of North America, Havell edition, “J. Whatman 1836” watermark visible, sheet 26 in. x 38 7/8 in., framed. [$800/1200]

539. Nicholas Richard Brewer (American/Minnesota, 18571949), “The Stars’ Vigil, San Juan Capistrano”, 1922, oil on canvas, signed and dated lower left, titled en verso, 20 in. x 24 1/4 in., framed. [$1800/2500]

540. Brian Blood (American, b. 1962), “Coastline of Asilomar”, 2000, oil on canvas board, initialed lower right, initialed, titled, dated and “Pitzer’s of Carmel” label en verso, 11 in. x 14 in., framed. [$600/800] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

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541. Brian Blood (American, b. 1962), “Untitled: Landscape”, oil on canvas, initialed lower left, “Pitzer’s of Carmel” label en verso, 18 in. x 24 in., framed. [$1500/2500] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

542. California School, 20th c., “Rocky Cove”, 1970, oil on canvas, indistinctly signed lower right, signed “Zeid? S. Barry”, dated and inscribed “Calif.” en verso, 23 7/8 in. x 30 in., framed. [$800/1200] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

543.Charles Dormon Robinson (American, 1847-1933), “Eel River from Woods Pond, Humboldt Co. CA”, 1907, oil on canvas, signed lower right, titled and dated on stretcher, 12 in. x 18 1/4 in., framed. [$600/800]

544. Ernest Marius Wilson (Swedish/ American, 1885-1969), “Mission San Carlos Borroméo de Carmelo (The Carmel Mission, Carmel, CA)”, 1967, oil on canvas, signed and dated lower right, signed, titled and inscribed en verso, 23 3/4 in. x 39 in., framed. [$800/1200]

545. Caroline Di Nunzio (American/ Massachusetts, 1919-2019), “Still Life of Barrels and Bottles”, acrylic on canvas, signed lower left, 36 in. x 24 in., framed. [$1500/2500] Note: Lifelong artist Caroline Di Nunzio found early recognition in her art at the age of eleven when she won a scholarship to the Massachusetts College of Art. She was a Lexington, MA resident for over 50 years, and remained a part of the local creative communities maintaining membership in the Copley Art Society, the Cambridge Art Association, the Concord Art Association, and the Monotype Guild of New England. Throughout her career she explored many media and artistic styles as evidenced in the two lots on offer here, which showcase the range of Di Nunzio’s talent: an acrylic on canvas realistic grisaille still life of barrels and bottles and “Joseph Taken Prisoner by Pontiphor,” a mixed media and collage on canvas that is more stylized and abstract. Both works highlight Di Nunzio’s versatility, creativity and range. These are the first works of Di Nunzio to be offered at auction.

Ref.: “Monotype magic earns accolade for artist.” Wicked Local. Sept. 9, 2008. www.wickedlocal.com. Accessed May 31, 2022.

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546. Caroline Di Nunzio (American/Massachusetts, 19192019), “Joseph Taken Prisoner by Pontiphar”, mixed media and collage on paper, pencil-signed lower center, signed lower right, artist business card on backing board, 30 in. x 40 in., framed. [$1000/1500]

547. Pair of Queen Anne-Style Walnut Collector’s Cabinets, benchmade from antique and later elements, molded arched crest, glazed door and side panels, shelf interior, conforming lower case with door, spurred bracket feet, h. 80 in., w. 37 in., d. 14 in [$1000/1500] Provenance: B. Manheim Galleries, New Orleans, Aug. 1963.

548. Antique Chinoiserie BrassMounted Gallery Tray, on later custom stand, h. 17 1/2 in., w. 20 in., d. 14 in. [$300/500] Provenance: Henry Stern, New Orleans.

549. Pair of Dutch Walnut and Marquetry Side Chairs in the Queen Anne Taste, probably 18th c., shaped splat, turned legs and stretchers, hoof feet, h. 39 1/2 in., w. 20 in., d. 16 in. [$700/1000] 550. Antique English ChippendaleStyle Mahogany Triple Chair-Back Settee, probably early 19th c., serpentine crest rail, Gothicized pierced splat, shaped arms, square legs and stretchers, h. 37 1/2 in., w. 72 1/2 in., d. 22 in. [$800/1200]

551. Ten Chippendale-Style Mahogany Dining Chairs, scrolled crest rail, elaborately pierced splat, molded legs, stretchers, armchair h. 39 in., w. 26 1/2 in., d. 18 1/2 in., side h. 39 in., w. 22 in., d. 18 in. [$1800/2400]

553. Antique Chippendale-Style Carved Giltwood Mirror, elaborately scrolled and reticulated floral and foliate crest and surround, h. 77 1/2 in., w. 43 1/2 in. [$1500/2500]

552. Antique Chippendale-Style Mahogany Cabinet-on-Stand, 19th c., case with dentilated cornice, paneled doors and shelf interior, stand with two drawers, blind fretwork legs, decorative brackets. [$1000/1500]

554. Eight Antique ChippendaleStyle Carved Mahogany Dining Chairs, incl. two armchairs and six side chairs, serpentine crest rail, quatrefoil pierced splat, scrolled arms, cabriole legs, ball and claw feet, armchair h. 45 1/2 in., w. 26 in., d. 21 in., side chair h. 41 in., w. 18 1/2 in., d. 22 1/2 in. [$1200/1800]

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555. Paul Jacoulet (French, 1896-1960), “Le Sculpteur de Tokobueï, Mers du Sud”, woodblock print, pencil-signed and peony seal lower right, titled and sealed lower left margin, numbered “23/350” en verso, watermark visible, exhibition label with artist and title on backing paper, 11 7/8 in. x 15 1/2 in., framed. [$800/1200] Provenance: The Pace Collection, Lake Charles, LA. Exh.: “The Pace Collection”, Historic City Hall, Lake Charles, LA, Oct. 23 - Dec. 31, 2021.

556. Paul Jacoulet (French, 1896-1960), “La Fille du Chef, Mogomog...”, 1953, woodblock print, pencil-signed and peony stamp lower right, titled and sealed lower right margin, numbered “23/350” en verso, watermark visible, exhibition label with artist and title on backing paper 15 3/8 in. x 11 3/4 in., framed. [$800/1200] Provenance: The Pace Collection, Lake Charles, LA. Exh.: “The Pace Collection”, Historic City Hall, Lake Charles, LA, Oct. 23 - Dec. 31, 2021.

558. Paul Jacoulet (French, 1896-1960), “Retour de la Jungle Tondano: Celebes”, 1948, woodblock print with embossing, pencil-signed and red bird seal lower right, titled and sealed lower right margin, numbered “16/250” en verso, watermark visible, exhibition label with artist and title on backing paper, 15 3/8 in. x 11 7/8 in., framed. [$700/1000] Provenance: The Pace Collection, Lake Charles, LA. Exh.: “The Pace Collection”, Historic City Hall, Lake Charles, LA, Oct. 23 - Dec. 31, 2021.

557. Paul Jacoulet (French, 1896-1960), “Preparatifs pour l’Hiver, Pouh-zan: Corée”, 1951, woodblock print with mica, pencilsigned and peach seal lower left, titled and sealed lower left margin, numbered “179/350” en verso, watermark visible, exhibition label with artist and title on backing paper, 11 3/4 in. x 15 1/2 in., framed. [$700/1000] Provenance: The Pace Collection, Lake Charles, LA. Exh.: “The Pace Collection”, Historic City Hall, Lake Charles, LA, Oct. 23 - Dec. 31, 2021.

559. Paul Jacoulet (French, 18961960), “Fleurs D’Hiver, Oshima, Japon”, woodblock print, signed and peony seal lower right, titled and sealed lower right margin, red ink stamp en verso, watermark visible, exhibition label with artist and title on backing paper, 15 1/2 in. x 11 3/4 in., framed. [$700/1000] Provenance: The Pace Collection, Lake Charles, LA. Exh.: “The Pace Collection”, Historic City Hall, Lake Charles, LA, Oct. 23 - Dec. 31, 2021.

560. Jean-François Millet (French, 1814-1875), “La Fileuse Auvergnate”, etching, signed in plate, 7 3/4 in. x 5 1/8 in., framed. [$700/1000] 86

561. William Merritt Chase (American, 1849-1916), “Portrait of a Woman Wearing a White Neck Scarf”, c. 1880-1914, monotype, unsigned, “Chapellier Galleries, New York, NY” label with artist and title on backing paper, artist name printed on mat, image 7 5/8 in. x 5 7/8 in., sheet 10 7/8 in. x 7 7/8 in., framed. [$3000/5000] Provenance: Helen Chase Storm (the artist’s daughter); Jackson Chase Storm (the artist’s grandson); Chapellier Galleries, New York (as agent); Private Collection.

Ill.: Pisano, Ronald G. William Merritt Chase: The Paintings in Pastel, Monotypes, Painted Tiles and Plates, Watercolors and Prints. New Haven: Yale University Press, 2006, p. 57, M.24.

562. Arthur Wesley Dow (American/ Massachusetts, 1857-1922), “Nabby’s Point” and “Moon over the Hill”, 2 woodblocks on paper mounted to heavy paper, each with 2 artist stamps on mount, 3 in. x 5 in. and 3 7/8 in. x 6 in., both framed. (2 pcs.). [$1000/1500]

563. James Edmund Allen (American/Missouri, 18941964), “Teeming Ingots”, lithograph, pencil-signed and inscribed “ed/60” lower margin, sheet 16 7/8 in. x 12 1/4 in., framed. [$800/1200]

564. Alexander Calder (American, 1898-1976), “Composition (Blue and Yellow Boomerang with Four Forms)”, 1962, color lithograph, pencil-signed lower right, pencil-numbered “4/90” lower left, “Rives” watermark visible, sheet 21 3/4 in. x 29 3/4 in., framed. [$1500/2500]

565. Alexander Calder (American, 1898-1976), “Hommage à Man Ray”, 1974, color lithograph, pencil-signed lower right, pencil-numbered “67/100” and publisher’s blind stamp lower left, from suite Hommage à Man Ray, published

by Alba Editions, New York, sheet 19 5/8 in. x 14 5/8 in., framed. [$1500/2500]

566. Alvar Suñol Munoz-Ramos (Spanish, b. 1935), “Concerto Bleu”, 1972, lithograph, pencil-signed lower right, numbered “50/260” lower left, label with artist, title and date on backing paper, 25 1/8 in. x 19 in., framed. [$1000/1200] 87

567. Robert Gordy (American/ New Orleans, 1933-1986), “River Bathers”, silkscreen, signed and numbered “6/25” lower margin, label with artist and edition on backing board, 26 3/4 in. x 31 7/8 in., framed. [$700/1000]

568. Robert Gordy (American/ New Orleans, 1933-1986), “Waterbabies”, silkscreen, signed and numbered “89/100” lower margin, label with title and edition on backing paper, 21 7/8 in. x 29 7/8 in., framed. [$600/800]

569. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), “Kohlmeyer Kloud”, 1973, silkscreen, pencil-signed, titled and dated lower center, printed by Landfall Press, Chicago, with artist blind stamp lower left and ink stamp en verso, sheet 31 in. x 23 7/8 in., framed. [$800/1200]

570. George Rodrigue (American/ Louisiana, 1944-2013), “Guess Who’s Coming to Dinner”, 2007/08, stone lithograph, pencil-signed and numbered “641/900” lower margin, signed in plate, Amuse Bouche edition, sheet 36 in. x 27 1/2 in., framed. [$3000/5000]

571. George Rodrigue (American/Louisiana, 1944-2013), “God Bless America”, 2001, silkscreen, pencil-signed lower right, edition of 1000, sheet 28 in. x 28 in., framed. [$2000/3000] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 230.

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572. George Rodrigue (American/Louisiana, 1944-2013), “Space Traveler”, 1997, silkscreen, signed and numbered “104/120” lower margin, sheet 16 in. x 11 1/2 in., framed. [$1500/2500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue.

George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 133.

573. George Rodrigue (American/Louisiana, 1944-2013), “A Flame in My Heart for You”, 1992, silkscreen, signed lower left, inscribed “artist proof” lower right, sheet 17 1/2 in. x 12 3/4 in., framed. [$1000/1500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue.

George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, p. 68.

574. George Rodrigue (American/Louisiana, 1944-2013), “The Golden Flame”, 2000, silkscreen, signed lower left, numbered “145/250” lower right, sheet 11 5/8 in. x 10 5/8 in., framed. [$1000/1500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue.

George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, p. 150.

575. George Rodrigue (American/ Louisiana, 1944-2013), “New Orleans Jazz Club”, 1998, silkscreen poster, pencil-signed and numbered “375/400” lower margin, signed in plate, sheet 35 in. x 24 in., framed. [$1500/2500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007.

New York: Abrams, 2008, p. 216.

576. George Rodrigue (American/Louisiana, 1944-2013), “Boiling My Blues Away”, 1998, silkscreen, signed and numbered “49/150” and remarque lower right, signed in plate, sheet 32 3/4 in. x 23 in., framed. [$1500/2500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue.

George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 215.

577. George Rodrigue (American/ Louisiana, 1944-2013), “Washington Blue Dog”, 1993, lithograph, signed lower left margin, signed in plate, open edition, 20 1/2 in. x 25 in., framed. [$1200/1800] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007.

New York: Abrams, p. 213.

578. George Rodrigue (American/ Louisiana, 1944-2013), “Jolie Blonde”, direct image transfer giclée on board, signed in plate, signed and numbered “11/100” lower right, signed, titled, numbered “11” and “George Rodrigue Gallery, Lafayette, LA” label en verso, 24 in. x 18 in., framed. [$3000/5000]

579. George Rodrigue (American/Louisiana, 1944-2013), “Racing at Broussard’s Farm”, 1982, screenprint, signed and numbered “831/1000” lower margin, signed in plate, sheet 22 1/2 in. x 25 1/2 in., framed. [$400/600]

580. George Rodrigue (American/Louisiana, 1944-2013), “Cuban Cigar Labels”, 1997, silkscreen, pencil-signed lower left, inscribed “artist proof” lower right, sheet 32 in. x 22 7/8 in., framed. [$1200/1800] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue.

George Rodrigue Prints: A Catalogue Raisonné 19702007. New York: Abrams, 2008, p. 162.

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581. George Rodrigue (American/ Louisiana, 1944-2013), “Friendship”, 1997, offset lithograph poster, signed lower left, signed in plate, printed by HaffDaugherty Graphics, Miami, published by The Humane Society of Broward County, Miami, sheet 28 in. x 22 in., unframed. [$500/700] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 216.

582. After George Rodrigue (American/Louisiana, 1944-2013), “We Will Rise Again”, 2017, silkscreen, estate edition, estate stamp lower right, sight 25 1/4 in. x 17 in., framed. [$500/700]

583. LeRoy Neiman (American/New York, 1921-2012), “Nolan Ryan”, 1982, silkscreen, pencil-signed by artist and Nolan Ryan, numbered “177/300” and personalized by Nolan Ryan lower margin, commemorating Ryan’s 5th No Hitter, Houston, Texas, September 26, 1981, sight 36 in. x 25 in., framed with title plaque, baseball and bat signed by Nolan Ryan. [$1000/2000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

584. Antique Directoire-Style Creme Peinte and Parcel Gilt Fauteuil, scrolled crest rail, palm and urn splat, padded arms and seat, baluster uprights and legs, spade feet, h. 34 1/2 in., w. 22 1/2 in., d. 18 in. [$400/600] Provenance: Empire Antiques, New Orleans.

585. Antique Louis XVI-Style Carved and Gris Peinte Bergère, rounded guilloche crest rail with floral crest, scrolled arms, molded uprights, floral blocked seat rail, fluted tapered legs, h. 36 1/2 in., w. 25 1/2 in., d. 17 in. [$500/700] Provenance: Karla Katz, New Orleans.

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586. Antique Louis XVI-Style Gris Peinte Console, molded marble top, guilloche and swag frieze, fluted tapered legs, finialed X-stretcher. [$1000/1500]

587. Directoire-Style Painted Iron and Slate Top Dining Table, octagonal top, conforming frieze, tapered spindled legs, flat bar feet, h. 29 5/8 in., w. 50 in., d. 49 1/2 in. [$2000/4000] 588. Antique Neoclassical-Style Verte Peinte and Parcel Gilt Mirror, foliate crest, lobed finials, arched cornice, fluted stiles, blocked base, h. 42 in., w. 24 in. [$500/700] Provenance: Karla Katz, New Orleans.

589. Louis XVI-Style Verte Peinte and Parcel Gilt Trumeau Mirror, 19th c., molded cornice, festooned and trophée accents, landscape reserve, rope-molded mirror surround, conforming base, h. 70 in., w. 32 in. [$1000/1500] 590. 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. [$500/700] Provenance: Collection of Alexandra Stafford and Raymond Rathle, Metairie, LA.

591. Louis XVI-Style Porcelain and Gilt Bronze Clock, urn-form, ram’s head mounts, incurvate triangular base, h. 19 1/2 in., w. 8 1/2 in., d. 7 1/2 in. dial glass broken. [$700/900]

592. Charles X Gilt Bronze Clock, case surmounted by a rose and flanked by a putto, swagged base, paw feet, h. 15 in., w. 13 in., d. 5 1/2 in. [$1200/1800]

593. Antique French Gilt Bronze and Cloisonné Three-Piece Clock Garniture, incl. clock and pair of six-light candelabra, clock h. 16 1/2 in., w. 9 in., d. 4 1/2 in.; candelabra h. 23 1/2 in., dia. 13 1/2 in. [$2000/3000] 91

595. Scottish Georgian Mahogany Tallcase Clock, c. 1810, dial marked “Walter Barr”, h. 85 1/2 in., w. 17 in., d. 8 1/2 in. [$1000/1500]

594. Antique French Gilt Bronze Clock in the Gothic Taste, stamped “Tiffany”, h. 37 in., w. 27 in., d. 11 1/2 in. [$1500/2500] 596. Georgian Chinoiserie Tallcase Clock, late 18th c., dial signed “Oliver Smith/London”, h. 92 in., w. 18 in., d. 8 1/2 in. [$1000/1500] 597. Antique Empire-Style Bronze-Mounted Mahogany Secretaire à Abattant, molded stepped top, chamfered columnar corners with maiden busts, frieze drawer, fall front door with fitted interior, paneled lower doors, tapered legs, h. 58 in., w. 41 in., d. 19 in. [$1000/1500]

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

599. Louis Philippe-Style Carved and Parcel Gilded Mahogany Center Table, circular top with rope-molded edge, beehive standard, foliate tripartite base, paw feet, h. 30 1/2 in., dia. 46 1/2 in. [$800/1200]

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600. Antique Louis XV-Style Ebonized and Bronze-Mounted Bureau Plat, inset leather top, three frieze drawers, cabriole legs, sabots, h. 28 1/2 in., w. 56 1/2 in., d. 26 1/2 in. [$1500/2500]

601. Pair of Louis XVI-Style Giltwood Settees, floral-carved caned and cushion back, swagged seat rail, tapered legs, h. 37 in., w. 52 in., d. 20 in [$2000/3000]

602. Pair of Louis XV-Style Bronze-Mounted Kingwood and Marquetry Bombe Pedestals, shaped inset marble top, flared legs, sabots, h. 47 in., w. 16 in., d. 16 in. [$1000/1500]

603. Pair of Louis XV-Style BronzeMounted Kingwood and Parquetry Gueridons, inset variegated marble top, shaped apron with floral mounts, cabriole legs, serpentine stretcher, sabots, h. 30 in., dia. 34 in. [$4000/6000]

604. Pair of Louis XV-Style Giltwood Window Benches, arched festooned ends with floral bouquet crests, daisy-carved seat rail with floral mounts, cabriole legs, roundel feet, h. 31 in. w. 57 in., d. 25 in. [$1500/2500]

605. Pair of Louis XV-Style Bronze and Porcelain-Mounted Kingwood and Marquetry Side Tables, cartouche top, shaped apron, cabriole legs, sabots, h. 29 1/2 in., w. 21 1/2 in., d. 21 1/2 in. [$1000/1500]

607. Antique Empire-Style BronzeMounted Mahogany Dressing Table, oval mirror on columnar supports surmounted by urn finials, inset oval marble top, frieze drawer, lower columnar supports, incurvate plinth base, casters, h. 57 in., w. 26 in., d. 18 in. [$700/1000]

606. Antique French BronzeMounted and Parquetry Secretaire a Abattant, rouge marble top, fall front door, fitted interior, lower cabinet doors, serpentine apron, chamfered feet, h. 44 in., w. 25 in., d. 13 in. [$700/1000]

608. Napoleon III Bronze-Mounted and Ebonized Parlor Cabinet, marble top, foliate frieze, paneled door with swagged putto medallion, plinth base, bracket feet, h. 53 in., w. 22 in., d. 14 1/2 in. [$1000/1500]

93

609. Pair of German KPM-Style Polychrome and Gilt Porcelain Vases, marked, gilt bodies with armorial plaques and Greek key motif, reserved with Classical scenes, h. 15 1/2 in., w. 10 in., d. 6 in. [$700/900]

610. Pair of Minton-Style Parcel Gilt Porcelain Footed Vases, marked, pale blue ground, cobalt reserves with pate-sur-pate style putti and angels, gilt lion’s head handles, h. 16 1/2 in., w. 10 in., d. 8 1/2 in. [$600/900]

611. Pair of Minton-Style Polychrome and Gilt Porcelain Covered Vases, marked, cobalt ground, reserved with pate-sur-pate Classical maidens and putti, architectural accents, h. 16 1/2 in. dia. 10 1/2 in. [$1200/1800] 612. Sevres-Style Polychrome Porcelain Tray, 19th c., bleu celeste ground, reserved with portrait of Louis XV, rim with various floral monograms, dia. 20 in. [$800/1000]

613. Pair of Bronze-Mounted Sevres Polychrome and Gilt Porcelain Cachepots, 19th c., bleu celeste ground, bodies reserved with putti at harvest, h. 10 1/2 in., w. 12 in., d. 8 1/2 in. [$3000/5000]

614. Pair of Monumental Sevres-Style Polychrome and Gilt Porcelain Covered Tureens on Stands, marked, floral reserves, rose Pompadour ground, gilt foliate handles, h. 16 1/2 in., w. 23 1/2 in., d. 14 1/2 in. [$1000/1500] 94

615. Pair of Capodimonte Polychrome and Gilt Porcelain Lidded Urns, marked, bodies with bacchanalian scenes, floral and foliate accents, ram’s head handles, putti finials, h. 22 in., dia. 13 1/2 in. [$700/1000]

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July 14, 2022 Estate of Mario Villa Online Auction – Part 2 August 10 & 11, 2022 UNRESERVED @ Neal Auction Online-only September 9 & 10, 2022 Premier Collections: Art & Interiors 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 95

April 8 & 9, 2022 • Auction Results 96

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the

Spanish S uth The New Orleans Antiques Forum 2022

August 4–7, 2022 • The Historic New Orleans Collection • hnoc.org/noaf

Sponsored by

Cabildo iron door; btw. 1930 and 1950; photograph by Eugene A. Delcroix; THNOC, gift of Joel Jergins and Mrs. Eugene Delcroix, courtesy of the New Orleans Museum of Art, 1984.189.3272

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PLEASE VISIT NEALAUCTION.COM TO REQUEST AND VIEW CONDITION REPORTS, REGISTER TO BID LIVE ONLINE, AND SUBMIT ABSENTEE/TELEPHONE BIDS CONDITIONS OF SALE; WAIVERS OF WARRANTY; LIMITATIONS OF LIABILITY Registering for and/or placing a bid at auction constitutes the acceptance of and agreement to these Conditions of Sale; WAIVERS OF WARRANTY; and LIMITATIONS OF LIABILITY (collectively, the “Conditions of Sale”). These Conditions of Sale are binding and enforceable on all bidders and buyers.

1. WARRANTY WAIVERS; LIABILITY LIMITATIONS. All lots are sold “AS IS, WHERE IS” – WITH ALL FAULTS and WITH NO EXPRESS OR IMPLIED WARRANTIES. No statement or description regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, value, size, or quality of a lot, whether made orally at the auction or at any other time, in electronic messages, online, in writing, or in a catalogue, website, correspondence, advertising, literature, or elsewhere, is or shall be construed to be a guarantee, an express or implied warranty, or assumption of liability, obligation, or responsibility. The bidder or buyer WAIVES any such warranty, WAIVES any warranty of fitness for ordinary use or for any intended use, and further WAIVES any warranty against redhibitory vices and defects, whether latent, hidden, or apparent, and whether imposed by the Louisiana Civil Code or any other applicable statute, law, jurisprudence, or legal authority. The buyer further WAIVES any rights or remedies in redhibition to a return or reduction of the purchase price for any lot, including for any lot with any defect rendering the lot useless, inconvenient, or of diminished usefulness. All sales are final, without exception.

Each bidder and buyer agrees and acknowledges that: (a) the bidder or buyer is not relying on Neal Auction Company’s actual, perceived, or expressed skill, expertise, experience, knowledge, or judgment in deciding to purchase any lot; (b) no oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value is the cause of or reason behind the buyer’s purchase of any lot; (c) the buyer would have purchased any lot regardless of any oral, written, or electronic statement or description about attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value, made in a catalogue, website, correspondence, advertising, literature, or elsewhere; (d) Neal Auction Company did not know, nor should it have known that attribution, authenticity, authorship, character, condition, kind, period, provenance, size, quality, or expressed value is the cause or reason why the buyer decides to purchase any lot; (e) the buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; (f) Neal Auction Company did not know, nor should it have known, that any oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere would cause a pecuniary or nonpecuniary loss to any bidder or buyer; (g) the bidder or buyer has had the opportunity prior to bidding to make independent inspections of, and conduct due diligence on, all lots being offered; (h) there is no inspection or examination period after the auction bidding; (i) the bidder’s or buyer’s failure to be fully informed as to the attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value of a lot will not be grounds for any reduction of the purchase price or rescission of the sale; (j) Neal Auction Company shall not be liable, obligated, or responsible for the presence of lead-based paint or any other environmental or other hazard of any lot; (k) Neal Auction Company shall not be liable, obligated, or responsible to the buyer as to third parties who may claims rights to or interests in any lot; (l) the buyer is buying at the buyer’s sole risk and peril; (m) Neal Auction Company shall not be liable, obligated, or responsible for any errors or omissions in any oral, written or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere. Each bidder and buyer WAIVES and RELEASES any and all claims arising out of the matters expressed above. All such waivers, releases, and limitations of liability shall apply to Neal Auction Company and its owners, officers, directors, representatives, insurers, agents, and employees.

2. Fine Art. Subject to the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, with respect to authorship of works of fine art, the following phrases have the following meanings: ARTIST - In our qualified opinion, we believe the work is by the artist named.

Attributed to ARTIST - In our qualified opinion, we believe the work may be ascribed to the artist named on the basis of style and period, but our opinion is less certain than in the previous category.

Signed “ARTIST” - In our qualified opinion, the signature, monogram, or other indication of authorship is a signature of the artist.

School of ARTIST - In our qualified opinion, the work is of the period of the artist named, by a student or a follower of the artist, but not by the artist.

Manner of ARTIST - In our qualified opinion, although the work is in the style of the artist named, it is actually of a later period.

After ARTIST - In our qualified opinion, the work is a copy of a known work of the artist named.

Bears signature “ARTIST” - In our qualified opinion, although the work bears the signature or monogram of the artist, the work most likely is not that of the artist.

3. Discretionary Rescission. Notwithstanding the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale of a work of fine art on the basis of authenticity of authorship only under the following terms, conditions, and LIMITATIONS OF LIABILITY, all of which apply, and the buyer WAIVES and RELEASES any other rights, relief or remedies: A. Neal Auction Company shall not grant rescission of any lot identified by the terms “attributed to,” “signed,” “school of,” “manner of,” “after,” or “bears signature.”

B. Neal Auction Company shall not grant rescission of any lot unless the buyer notifies Neal Auction Company in writing within 25 calendar days from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale.

C. Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written document signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery.

D. Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the original buyer, and any rights or interests of the original buyer are not transferrable, inheritable, or assignable.

E. Neal Auction Company shall not grant rescission when: (a) there is a conflict of expert opinion as to the authorship; (b) expert opinion supported authorship at the time of auction, although expert opinion may have changed afterward; and (c) scientific or other tests, examinations, investigations, research, or processes that were unavailable, expensive, or impractical at the time of the auction have revealed since that time that the author, character, condition, kind, provenance, period, quality, or value Neal Auction Company believed to be accurate at the time of sale was inaccurate.

In any dispute between Neal Auction Company and the bidder or buyer regarding authorship of a work of fine art, rescission of the sale and refund of the purchase price paid shall be the buyer’s sole recourse or remedy, if any is available. Neal Auction Company (and its owners, officers, directors, representatives, agents, insurers, and employees) shall not be liable, obligated, or responsible for any damages (including compensatory, general, incidental, consequential, exemplary, or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorneys’ fees, or any other monetary, declaratory, equitable, or injunctive relief or remedy. The buyer WAIVES and RELEASES any and all such damages, relief, and remedies.

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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.

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7.

Virtually all lots offered have been subject to use over a considerable period of time. No mention of cracks, scratches, chips, tears, breaks, weaknesses, or any damages or wear will be included in oral, written, or electronic statements or descriptions in the catalogue, website, correspondence, advertising, or literature.

Condition reports may be provided upon request, but condition reports may not mention all cracks, scratches, chips, defects, hazards, tears, breaks, weaknesses, or other damages or wear. Neal Auction Company makes no representations or warranties as to the accuracy or completeness of any information or description in a condition report or elsewhere, whether oral, written, electronic, or online. Neal Auction Company reserves the right to decline to provide a condition report for any specific lot, at its sole discretion.

8.

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11.

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13.

Canvassing or solicitating on the auction premises is prohibited.

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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.

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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.

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23. All bidders are required to select, and notify Neal Auction Company of, a method of payment (cash, check, wire, or credit card) in writing at the time of registration.

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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%.

3.

In the event of any dispute, the Neal Auction Company sale record is conclusive.

4.

Unless exempt by law, the buyer will be required to pay Louisiana and local taxes, and, if applicable, any federal luxury or other tax, on the total purchase price.

5.

Documentation of tax exemption must be provided upon registration. Billing name and address of a bidder must agree with that on the sales tax exemption certificate.

6.

Payment in full of the purchase price must be made by the successful bidder in U.S. Dollars within 15 calendar days of the auction. Interest charges of one and one-half percent per month shall apply to invoices paid after this period expires. Neal Auction Company reserves the right to require payment in full of the purchase price immediately following declaration of the successful bidder.

7. Payment for all jewelry purchases must be made by cash, check or wire transfer.

8.

VISA, MasterCard, Discover, and American Express are accepted for payment of invoices (except jewelry) up to $25,000 per buyer.

9.

Checks must be drawn on a U.S. bank. All lots shall be held by Neal Auction Company until the check clears.

10. The buyer’s signature on a registration form (or other writing with the buyer’s credit card number) gives Neal Auction Company permission to charge the buyer’s credit card the full amount of the buyer’s invoice if full payment is not received within 15 calendar days of the auction or, in Neal Auction Company’s discretion, to charge the buyer’s credit card later, with interest at the rate of one and one-half percent per month.

PACKING, MOVING, SHIPPING, AND DELIVERY

Neal Auction Company may furnish information on packers, movers, or shippers for bidders or buyers making packing, moving, shipping, and delivery arrangements, but Neal Auction Company shall not be liable, obligated, or responsible therefore, and buyers retain packers, movers, and shippers at their own risk and peril. Shipping, moving, packing, and delivery arrangements and agreements are strictly between the buyer and the shipper, mover, or packer. Neal Auction Company shall not be liable, obligated, or responsible for any damage to property, including vehicles, or for any personal injuries of buyer or any third parties involved in packing, moving, shipping, or delivery. Buyers WAIVE and RELEASE Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any and all claims relating to packing, moving, shipping, and delivery of purchased lots, and any damage or injuries to persons or property arising therefrom.

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.

99

A

H

O

Walter Inglis Anderson, 366

Samia Halaby, 468

Suzanne O’Neal, 473

James Edmund Allen, 563

David Harouni, 429-431

Homer J. Allbritton, 359

John James Audubon, 537, 538 B Hans Bellmer, 443

Jacqueline Bishop, 421 Brian Blood, 540, 541

Artist Index

Bruce Bordelon, 446-448

• June 24 & 25, 2022

P

William Hemmerling, 201, 454, 455

Marie Adrien Persac (aft), 536

Knute Heldner, 356

Gen Paul, 445

Morris Henry Hobbs, 365

M. A. Purdom, 342

Clementine Hunter, 202-221

R I Vincenzo Irolli, 125

Francois Brunery, 132

J

British School, 135

William Ousley, 357, 358

Colette Pope Heldner, 354, 355

Nicholas Richard Brewer, 539

Paul Jacoulet, 555-559

C Alexander Calder, 564, 565

K

Paul Caponigro, 407

Arthur Kern, 343

Charles Whedon Rain, 441, 442 Guido Reni (aft), 130

Charles Dormon Robinson, 543 Noel Rockmore, 419

George Rodrigue, 427, 570-581, 582 (aft) Damian Romero, 474, 475

Robert Malcolm Rucker, 350

California School, 542

Mary Kirk Kelly, 304-308

William Merritt Chase, 561

Alberta Kinsey, 348, 349

S

Ida Rittenberg Kohlmeyer, 433, 569

Maria Scotti, 469

Dale Chihuly, 463-465

Michel Claude Clodion (aft), 129 Anne Coe, 476

William F. Cogswell, 124

George Schmidt, 437, 438

John Korver, 462

Jean Seidenberg, 435

L

Lee Crum, 404, 405

Suzanne “Martyl” Schweig Langsdorf, 478

Dan Corbin, 428

George Cochran Lambdin, 121

José-Mariá Cundín, 436

Annie Leibovitz, 406

D Bruce “Dapper Bruce Lafitte” Davenport, Jr., 439, 440 M. Stephen Doherty, 360 Arthur Wesley Dow, 562

Alexander John Drysdale, 352, 353 George Dunbar, 434

Caroline Wogan Durieux, 456-460

Tommie Rush, 466

Samuel “Koch” Kochmeister, 347

Continental School, 119, 128, 134

Hunt Slonem, 424-426

Elmer Boyd Smith, 123

Frank Vining Smith, 530 Otto Sommer, 122

Adele Lemm, 461

T

Armand Jules Leveel (aft), 131

Lew Thomas, 408

Herman Leonard, 409

Emmitt Thames, 362

Aristides Logothetis, 470, 471

Annie Tolliver, 241

Ashley Longshore, 422

Mary Fairchild Low, 531, 532 (attr) Zhen-Huan Lu, 177

Mose Tolliver, 223-240 V Thomas Comley Vivian, 136

M E Ted Ellis, 449-450 F Vernon Fisher, 472

James Montgomery Flagg, 534 James Earl Fraser (aft), 535 G Melba Dukes Gianelloni, 344, 345

Henri Manguin, 444

W

James Michalopoulos, 451, 452

Amelia Montague Watson, 351

Charles Meurer, 361

Robert Joseph Warrens, 420

Jean-Francois Millet, 560

Eudora Welty, 410, 411

Jules Moigniez (aft), 120

Marie Madeleine Seebold Molinary, 346 Elemore Morgan, Jr., 423

Jesús Bautista Moroles, 432

Alvar Suñol Munoz-Ramos, 566

Bernhard Stafford Good, 529

N

Jerry Gunning, 477

Caroline Di Nunzio, 545, 546

Robert Gordy, 453, 567, 568

100

Emmanuel Hannaux (aft), 126

LeRoy Neiman, 583

Ernest Marius Wilson, 544 Don Wright, 363, 364 Z Eugenio Edouardo Zampighi, 133

115

116