Louisiana Purchase Auction™ - November 18 & 19, 2022

Neal Auction

Louisiana Purchase AuctionTM

November 18 & 19, 2022

18th and 19th c. American, French and English antiques, important paintings, historical material and decorative arts especially consigned by discerning collectors, estates and institutions, including:

A Fine Collection of Natural History Prints and Belle Epoque Tiffany Silver, Baton Rouge, LA

A New Orleans Lady’s Lifetime Collection of Jewelry

A Connoisseur’s Collection of Important 18th c. American Furniture, English and French Silver and Southern Regional Paintings, Natchez, MS

Clementine Hunter Paintings from the Estate of Professor James Levernier, Little Rock, AR

Important Collection of Works by Noel Rockmore from the Estate of Artist, Gallerist and Aesthete Sandra Zahn-Oreck (1940-2021)

Period Furniture and Decorative Arts from Bocage Antebellum Home, Darrow, LA And Property of Others

EXHIBITION

Beginning Monday, November 7, 10 a.m. to 5 p.m. Special Saturday Preview, November 12, 10 a.m. to 5 p.m. * Tuesday, November 15, 5 p.m. to 7 p.m., Evening Exhibition *

AUCTION

Friday, November 18, beginning at 1:00 p.m., lots 1-259 Saturday, November 19, beginning at 11:00 a.m., lots 260-664

Neal Auction Company Auctioneers of Antiques &

Fine Art

4038 Magazine Street, New Orleans, Louisiana, 70115 | 504.899.5329

LA Auc. Lic., Neal Auction Co. #AB-107 | Leckert #1514 | Carroll #1874 | Fagan #1935 | Robinson #2155

IMPORTANT COLLECTION OF WORKS BY NOEL ROCKMORE

FROM THE ESTATE OF ARTIST, GALLERIST AND AESTHETE

Sandra Zahn-Oreck grew up in Kings Point, New York and studied art at Pine Manor College. Art would remain her lifelong passion. After winning first prize honors in her first professional exhibition in 1973, Sandra created numerous sculptures and prints, and her work was displayed in more than 100 corporate and private collections worldwide.

Upon moving to New Orleans in 1975, Sandra opened an eponymous gallery and sculpture studio in the French Quarter. She represented and exhibited national and international artists, including Noel Rockmore, who came to Zahn-Oreck and asked her to represent him following a split with Bryant Galleries sometime prior to 1981. Over the next three years, she held three wildly successful shows of his work, each accompanied by memorable opening fêtes at her Uptown mansion that were often memorialized in the following day’s newspaper.

According to Ed Martinez in the Montrose Voice of Houston from April 2, 1982: “Sandra Oreck and Noel Rockmore complement each other, and, not infrequently, compliment each other as well. Ms. Oreck has the practical push that enables Rockmore’s work to be shown to best advantage…. a proud New Yorker and Manhattanite, Sandra Oreck is not only an artist, but a connoisseur of artists. She senses how important it is that Rockmore’s work be seen and appreciated.”

In 2008, Zahn-Oreck was quoted as saying: “I look back on my years with him fondly. Probably because Rockmore was such a complicated, complex person, I could relate to him from where he was coming from artistically. I think that that probably helped the relationship.” Near the end of Rockmore’s bohemian life, he was described in an Associated Press news article as a “Picasso-like figure who combined the mythological and real.” A prolific artist who later died in relative obscurity, his work continues to captivate to this day.

Zahn-Oreck’s next chapter after closing her gallery in New Orleans took her to Washington, D.C., where she worked at several art and cultural organizations. She then retired to Boca Raton, where she maintained a full schedule of social, cultural, and philanthropic activities, and she continued pursuing art through photography. Zahn-Oreck left behind a legacy not only of her own artwork, but also that of the fascinating artists she represented and shared with the world.

EXCEPTIONAL COLLECTION OF RARE CLEMENTINE HUNTER WORKS

FROM THE ESTATE OF PROFESSOR

JAMES A. LEVERNIER JAMES A. LEVERNIER

(1949-2021), Little Rock, AR.

profession:

master

~ Professor Zabelle Stodola

Dr. James Levernier was an American Studies professor in the English department at the University of Arkansas at Little Rock for forty-five years. Earning his doctorate from the University of Pennsylvania in 1975, Professor Levernier’s fields of interest were American Literature and American Studies, more specifically captivity narratives – of which he wrote his dissertation and co-authored several books – as well as the writings of the enslaved (and later emancipated) poet, Phillis Wheatley. A member of Phi Beta Kappa, he received a post-doctoral research fellowship from The Newberry Library, and he co-wrote the quintessential reference volumes American Writers before 1800: A Biographical and Critical Dictionary. He was well-recognized and respected by other prominent Early American scholars as someone who furthered the field of study.

At UALR, Professor Levernier taught classes on American Literature, World Literature and Writing, and he enjoyed mentoring students, particularly those who struggled in a collegiate academic setting. His devotion to his students earned him the 2011 annual UALR Faculty Excellence Award in Teaching, which he won on both the college and university-wide levels.

Professor Levernier became fascinated with Clementine Hunter, her works and her story in the 1980s, which is when he began collecting her paintings. Over time, he amassed an impressive collection of rare and early Clementine Hunter works which Neal Auction is honored to represent at auction.

“He exemplified the best of the

a

teacher, a brilliant researcher, and one of the most decent, generous, and loyal human beings I have ever encountered.”

Session One

1. 14 kt. Yellow Gold Textured Chain Link Flexible Bracelet, l. 8 in.; 18.00 dwts. [$800/1200]

7. 18 kt. Yellow Gold, Multicolor Tourmaline and Diamond Bracelet, set with 9 cabochon tourmalines, total wt. approx. 4.50 cts.; accented by 27 round cut diamonds, total wt. approx. 0.15 ct.; l. 7 in.; 16.00 dwts. [$500/700]

3. 14 kt. Yellow Gold Graduated Collar

Omega Necklace, l. 16 in.; 29.00 dwts. [$1000/2000]

2. 14 kt. Yellow Gold and Onyx Braid Bracelet, terminal bars set with 4 onyx cabochons, l. 7 1/2 in.; 15.50 dwts. [$10002000]

4. Group of Three 14 kt. Yellow Gold Omega Necklaces, l. 16 in. to 18 in.; 43.00 dwts. [$2000/3000]

5. Group of Five 14 kt. Yellow and White Gold Necklaces, incl. white gold omega, l. 19 in.; l. 17 in.; 3 yellow gold omegas, l. 16 in. to 17 in.; and shaped yellow gold collar necklace, l. 13 in.; 44.70 dwts. (5 pcs.) [$2000/3000]

6. Group of Twelve Pieces of 14 kt. Yellow Gold Jewelry, incl. 4 hinged bangle bracelets, inner cir. 7 in.; pair of earrings, l. 1 in.; pair of hoop earrings, l. 1 in.; omega necklace, l. 16 1/2 in.; cable necklace with heart pendant, l. 17 1/4 in.; and 3 rings, size 5.5; 15.50 dwts. (12 pcs.) [$800/1200]

8. Group of Six 14 kt. Yellow, White and Rose Gold Bracelets, incl. 3 chain link bracelets, l. 7 1/2 in.; and 3 hinged bangle bracelets, inner cir. 6 in.; 15.50 dwts. [$800/1200]

9. 14 kt. Yellow Gold Florentine Round and Teardrop Bib Necklace, l. 19 1/2 in.; 37.50 dwts. [$2000/3000]

10. Group of 14 kt. Yellow, White and Rose Gold Jewelry, incl. tri-color mariner link chain necklace, l. 16 in.; and tri-color wide link bracelet, l. 7 1/2 in.; 50.50 dwts. (2 pcs.) [$3000/5000]

11. Group of 14 kt. Yellow Gold Jewelry, incl. 3 embellished hinged bangle bracelets, inner cir. 6 1/2 in. to 6 3/4 in.; locket on rope chain, l. 30 in.; and geometric pendant, l. 2 in.; 57.50 dwts. (5 pcs.) [$3000/5000]

12. Group of 14 kt. and 18 kt. Yellow Gold and Diamond Jewelry, incl. 14 kt. gold and diamond necklace, with 17 bezel set round cut diamonds, total wt. approx. 0.68 ct., l. 16 in.; 14 kt. gold and diamond ring, set with 3 rows of round cut diamonds, total wt. approx. 0.50 ct., size 9; 14 kt. gold and diamond ring, openwork band with numerous diamonds, center round cut diamond, wt. approx. 1.60 cts., total wt. approx. 1.90 cts., size 6.25; 18 kt. gold and diamond hinged bangle bracelet, set with numerous round cut diamonds, total wt. approx. 1.96 cts., inner cir. 6 1/2 in.; 14 kt. gold alligator pendant, l. 1 1/2 in.; and pair of 14 kt. gold alligator earrings, clip backing, l. 1 in.; 65.50 dwts. (6 pcs.) [$3000/5000]

13. Mignon Faget Sterling Silver Vermeil, 14 kt. Yellow Gold, Pearl, Emerald and Peridot “Gumbo” Necklace, multiple strands with approx. 720 baroque pearls, 17 polished emerald beads, 68 peridot beads, 4 gold “okra” stations, 2 gold “crawfish” stations, and 1 gold “crab” station; l. 17 1/2 in.; 106.00 dwts. [$3000/5000]

14. 14 kt. Yellow Gold and Diamond Quilted Flexible Bracelet, clasp set with 22 round cut diamonds, total wt. approx. 0.35 ct.; l. 7 in.; 40.00 dwts. [$2000/3000]

15. 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. [$1000/2000]

17. 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. [$3000/5000]

20. 14 kt. White Gold and Diamond Pendant Necklace, pendant with filigree design set with numerous round cut dia monds, total wt. approx. 2.50 cts. pendants, l. 1 7/8 in., chain l. 18 1/2 in.; 6.50 dwts. [$2000/4000]

19. Two 14 kt. White Gold and Diamond Rings, complementary floral designs, set with 36 round cut diamonds, total wt. approx. 0.75 ct.; each size 4.5; 9.00 dwts. (2 pcs.) [$1500/2500]

22. 14 kt. Yellow Gold, Onyx, Blue Topaz and Diamond Link Bracelet, mounted with 6 onyx links; bridges set with 24 round cut diamonds, total wt. approx. 0.36 ct., and 6 square cut topaz, total wt. approx. 1.20 cts.; l. 7 1/2 in.; 22.50 dwts. [$1500/2500]

16. Group of Three 18 kt. and 14 kt. Yellow Gold and Diamond Rings, incl. 18 kt. gold ring, set with 14 round cut dia monds and 28 baguette cut diamonds, total wt. approx. 0.50 ct., size 7; 18 kt. gold ring, set with 60 baguette cut diamonds, total wt. approx. 1.80 cts., size 6.75; and 14 kt. gold ring, set with 42 round cut diamonds, total wt. approx. 2.50 cts.; size 7; 15.00 dwts. (3 pcs.) [$3000/5000]

18. Ladies’ 14 kt. Yellow Gold and Diamond Wristwatch, dial pave-set with 62 diamonds, total wt. approx. 0.60 ct.; framed with 24 round cut diamonds, total wt. approx. 0.30 ct.; cabochon sapphire crown; Seiko quartz move ment, back of case engraved “14-6369-A 900573”; 14 kt. yellow gold strap, marked “sa”, l. 6 in.; 22.00 dwts. incl. movement [$700/1000]

21. 14 kt. White Gold and Diamond Straight Line Necklace, total wt. approx. 3.40 cts., l. 20 in., 9.50 dwts. [$3000/5000]

23. 14 kt. Yellow Gold,

and Interchangeable Onyx,

Earrings, stylized double halo set with 124 round cut diamonds, total wt. approx. 0.62 ct.; approx. 3.00 cts. per each interchange able stone; 30.00 dwts. [$2000/3000]

Diamond

Pearl, Malachite and Turquoise

24.

25. David Yurman 18 kt. Yellow Gold, Topaz, Chalcedony, Aquamarine, Turquoise, Tanzanite and Diamond “Mosaic” Pendant Necklace, circle rope pendant framing numerous bezel set gemstones incl. round cut topaz, square cut topaz, trillion cut tanzanite, 2 cabochon turquoise, square cut chalcedony and 32 round cut diamonds, total dia. wt. approx. 0.40 ct.; pendant dia. 2 in.; chain l. 18 in.; 34.00 dwts. [$2000/3000]

27. Set of 18 kt. Yellow Gold, Blue Sapphire, Emerald, Ruby and Diamond Jewelry, incl. ring, size 6.75; earrings with clip backing, l. 1 in.; and hinged bangle bracelet, inner cir. 6 1/2 in.; mounted in stylized floral designs featuring a total of 4 sapphires, total wt. approx. 1.00 ct.; approx. 55 emeralds, total wt. approx. 1.50 cts.; 44 square cut rubies, total wt. approx. 2.00 cts.; and numerous diamonds; 30.00 dwts. (3 pcs.) [$2000/4000]

26. Pair of 18 kt. Yellow Gold, Ruby and Diamond Earrings with Matching Ring, set with numerous tapered baguette rubies, 2 each round faceted rubies and numerous round faceted diamonds; earrings with clip and post backs, ring size 4. [$800/1200]

28. 14 kt.

ct.;

total wt. approx. 0.68 ct.;

wt.

total wt. approx.

29. Group of 14 kt. Yellow Gold, Ruby and Diamond Jewelry, incl. necklace set with 73 round cut diamonds, total wt. approx. 5.25 cts., and 13 pear cut rubies, total wt. approx. 1.95 cts., l. 16 in.; hinged bangle bracelet set with 18 round cut diamonds, total wt. approx. 0.90 ct., and 11 round cut rubies, total wt. approx. 1.75 cts., inner cir. 6 1/4 in.; and pair of ruby clip earrings set with 16 pear cut rubies, total wt. approx. 0.40 ct., and 52 round cut diamonds; 32.50 dwts. (3 pcs.) [$3000/5000]

30. 18 kt. Yellow Gold, Ruby and Diamond Ring, center prong-set cushion cut ruby, wt. approx. 3.50 cts.; stylized floral setting with 2 round cut diamonds, 2 pear cut diamonds, and 60 baguette cut diamonds, total wt. approx. 4.80 cts.; size 7; 8.50 dwts. [$15000/25000]

Yellow Gold, Pearl, Diamond, Ruby, Sapphire, and Emerald Flexible Bracelet, mounted with 34 button pearls; 136 round cut diamonds,

6 round cut rubies,

0.36

6 round cut sapphires, total

approx. 0.36 ct.; and 5 round cut emeralds, total wt. approx. 0.30 ct.; l. 7 in.; 28.00 dwts. [$2000/4000]

18 kt. Yellow Gold, Multi-Color Gemstone, and Diamond Torsade Necklace, strands with approx. 720 briolette beads incl. amethyst, peridot, citrine, topaz, sapphire, morganite, aquamarine, quartz and tanzanite, total wt. approx. 36.00 cts.; clasp set with 18 round cut diamonds, total wt. approx. 0.10 ct., l. 17 1/2 in. to 18 in.; 76.00 dwts. [$2000/3000]

32. 14 kt. Yellow Gold, Cabochon Sapphire and Diamond Ring, central bezel set blue sapphire, wt. approx. 3.00 cts.; set with 48 round cut diamonds, total wt. approx. 1.20 cts.; size 6.25.; 7.50 dwts. [$3000/5000]

35. 18

31. 18 kt. Yellow Gold, Sapphire, and Diamond Ring and Similar 18 kt. Gold, Ruby and Diamond Ring, both mounted in stylized ribbon designs, incl. one ring set with 6 pear cut blue sapphires, total wt. approx. 1.20 cts., accented by 37 princess cut diamonds and 3 round cut diamonds, total wt. approx. 2.00 cts. ; and other ring set with 6 pear cut rubies, total wt. approx. 1.20 cts., accented by 37 princess cut diamonds and 3 round cut diamonds, total wt. approx. 2.00 cts.; both size 6.75; 11.00 dwts. (2 pcs.) [$3000/5000]

33. 14 kt. Yellow Gold, Blue Sapphire and Diamond Ring, center prong set oval cut sapphire, wt. approx. 3.00 cts.; set with 51 round cut diamonds, total wt. approx. 0.25 ct.; size 6.75; 6.00 dwts. [$8000/12000]

34. 18 kt. Yellow Gold, Sapphire and Diamond Ring, center prong set blue sapphire, wt. approx. 4.25 cts.; stylized floral mounting set with numerous marquise, baguette and tapered baguette cut diamonds, total wt. approx. 4.50 cts.; size 7; 8.50 dwts. [$10000/15000]

37. 18 kt. Yellow Gold, Emerald and Diamond Ring, center prong set cabochon emerald, wt. approx. 3.00 cts.; halo and shoulders set with 32 round cut diamonds, total wt. approx. 1.45 cts.; shoulders set with 6 square cut emeralds; size 6.75; 6.50 dwts. [$4000/6000]

36. 18 kt. Yellow Gold, Emerald and Diamond Ring, center prong-set step cut emerald, wt. approx. 11.70 cts.; setting with 34 round cut diamonds and 12 baguette cut diamonds, total wt. approx. 0.62 ct.; size 7; 9.00 dwts. [$12000/18000]

38. 18 kt. Yellow Gold, Diamond, Emerald and Ruby Frog Brooch, set with 158 round cut diamonds and 16 square cut diamonds, total wt. approx. 2.70 cts.; accented by 19 round cut emeralds and 31 square cut emeralds, total wt. approx. 2.10 cts.; eyes set with 2 cabochon rubies, total wt. approx. 3.00 cts.; engraved with “RO76 E125 D210”; 16.50 dwts. [$5000/7000]

kt. White Gold, Unheated Ceylon Sapphire and Diamond Ring, center prong set cushion 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 diamond, 2.5 cts; size 7; AGL report. [$25000/35000]

39. 14 kt. Yellow Gold, Diamond and Aquamarine Rings and Diamond and Moonstone Ring, the aquamarine, wt. approx. 18.00 cts., flanked by 45 round cut diamonds, total wt. approx. 0.45 ct., size 6.75; other set with cabochon moonstone, wt. approx. 2.50 cts., stylized surround set with 18 round cut diamonds and 4 marquise cut diamonds, total wt. approx. 0.11 ct., size 6.5; 10.00 dwts. (2 pcs.) [$1000/2000]

41. 18 kt. Yellow Gold, Tour maline and Diamond Ring, center rectangular cut tourmaline, wt. approx. 16.30 cts.; geometric setting with 62 round cut diamonds, total wt. approx. 0.50 ct.; size 7.5; 11.50 dwts. [$3000/5000]

43. Three Yellow Gold Cocktail Rings, incl. topaz, amethyst and fire opal, 14 kt. gold and rectangle cut topaz ring, wt. approx. 18.00 cts., set with 14 round cut diamonds, total wt. approx. 0.65 ct., size 7.25; 18 kt. gold and oval cut amethyst ring, wt. approx. 24.00 cts., set with 12 round cut diamonds, total wt. approx. 0.15 ct., size 6.75; and 14 kt. gold and oval cut fire opal ring, wt. approx. 5.00 cts., set with 32 round cut diamonds, total wt. approx. 0.22 ct., size 6.75; 22.50 dwts. (3 pcs.) [$3000/5000]

45. 14 kt. Yellow Gold, Opal and Diamond Pendant/ Brooch Necklace, central oval cabochon opal, wt. approx. 7.00 cts.; pierced filigree surround set with 38 round cut diamonds, total wt. approx. 2.00 cts.; rope chain, l. 17 in.; 20.00 dwts. [$2000/4000]

40. Group of 14 kt. Yellow Gold, Blue Topaz and Diamond Jewelry, incl. pendant brooch necklace, mounted with central bezel set blue topaz, wt. approx. 32.00 cts., accented by 63 round cut diamonds, total wt. approx. 0.50 ct., chain l. 20 in.; and pair of earrings, set with 2 pear cut blue topaz, total wt. approx. 20.00 cts., accented by numer ous diamonds; 46.50 dwts. (2 pcs.) [$3000/5000]

42. 14 kt. Yellow Gold, Fire Opal and Diamond Ring, center prong-set oval cut fire opal, wt. approx. 5.25 cts.; stylized setting with 33 round cut diamonds, total wt. approx. 0.45 ct., size 7; 5.50 dwts. [$3000/5000]

44. Group of Four 14 kt. Yellow Gold Pendants, incl. citrine, blue topaz and amethyst, large heart cut citrine pendant, wt. approx. 160.00 cts.; oval cut citrine pendant, wt. approx. 61.00 cts., set with numerous diamonds, total wt. approx. 0.58 ct.; pear cut blue topaz pendant, wt. approx. 55.25 cts., set with numerous diamonds, total wt. approx. 1.04 cts.; and pear cut amethyst pendant, wt. approx. 55.50 cts., accented by numerous diamonds, total wt. approx. 1.04 cts.; 75.00 dwts. [$5000/7000]

46. Set of 14 kt. Yellow Gold, Opal and Diamond Jewelry, incl. necklace, set with 32 opals, total wt. approx. 4.80 cts., and 55 diamonds, total wt. approx. 1.20 cts., l. 16 1/2 in.; pair of earrings, set with 22 oval cabochon opals, total wt. approx. 3.30 cts., and 6 round cut diamonds, total wt. approx. 0.10 ct., clip backings, l. 1 in.; 21.00 dwts. (2 pcs.) [$2000/4000]

47. 14 kt. Yellow Gold, Opal and Diamond Ring, center bezel set oval opal, wt. approx. 3.50 cts.; stylized halo set with 18 round cut diamonds, total wt. approx. 0.55 ct.; and 6 baguette cut diamonds, total wt. approx. 0.15 ct.; size 7; 5.00 dwts. [$2000/4000]

48. 18 kt. Yellow Gold, Opal and Diamond Necklace, 17 polished opal free-form beads, total wt. approx. 200.00 cts.; accented by 16 yellow gold stations set with 192 round cut diamonds; l. 19 1/4 in.; 64.50 dwts. [$4000/6000]

49. 14 kt. Yellow Gold, Opal and Diamond Ring, center prong-set oval cut black opal, wt. approx. 7.40 cts.; set with 20 round cut diamonds and 10 baguette cut diamonds, total wt. approx. 0.50 ct.; size 4.25; 5.50 dwts. [$3000/5000]

50. 14 kt. Yellow Gold, Opal and Diamond Pendant, center oval cut black opal, wt. approx. 30.00 cts.; stylized halo set with 52 round cut diamonds, total wt. approx. 0.31 ct.; finished with invisible bail; pendant l. 1 3/4 in., w. 1 1/8 in.; 13.00 dwts. [$4000/6000]

52. 14 kt. Yellow Gold, Opal Bead and Diamond Necklace, 37 graduated opal beads, approx. 10.20-12.6 mm; clasp and 6 stations set with 61 round cut diamonds, total wt. approx. 0.30 ct.; l. 18 in.; 49.50 dwts. [$2000/4000]

55. Set of 18 kt. Yellow Gold, South Sea Pearl and Diamond Jewelry, incl. day/night drop pearl and diamond necklace, set with removable round white pearl, approx. 15.60 mm, accented by 48 baguette cut diamonds, total wt. approx. 0.82 ct., and 62 round cut diamonds, total wt. approx. 0.86 ct., l. 16 1/2 in.; pair of pearl and diamond drop earrings, set with 16 baguette cut diamonds, total wt. approx. 0.12 ct., and 30 round cut diamonds, total wt. approx. 0.60 ct.; 25.50 dwts. (2 pcs.) [$2000/3000]

51. 18 kt. Yellow Gold, Opal and Diamond Ring, center prong-set oval cut black opal, wt. approx. 8.00 cts., ap prox. 12.30 x 16.20 x 5.80 mm; double halo with 56 round cut diamonds, total wt. approx. 1.40 cts.; size 6.5; 7.50 dwts. [$3000/5000]

53. 14 kt. White Gold, Tahitian Pearl and Diamond Necklace, 29 graduated silver Tahitian pearls, approx. 12.80-17.70 mm; plunger style bead clasp set with 10 round cut diamonds, total wt. approx. 0.05 ct.; l. 18 in.; 85.00 dwts. [$4000/6000]

54. 18 kt. Yellow Gold, Pearl and Diamond Bypass Ring, one round white pearl with rose overtones, approx. 10.80 mm; one grey round Tahitian pearl, 11.00 mm; set with 16 baguette cut diamonds, total wt. approx. 0.18 ct.; size 7; 9.00 dwts. [$700/900]

56. 18 kt. Yellow Gold, Pearl and Diamond Neck lace, 33 semi-baroque white pearls; 4 stations and clasp set with approx. 70 round cut diamonds, total wt. approx. 0.47 ct.; l. 20 in.; 55.00 dwts. [$2000/3000]

57. Platinum, South Sea Pearl and Diamond Ring, center round white pearl with rose overtones, approx. 13.70 mm; shoulders set with 88 round cut diamonds and 16 baguette cut diamonds, total wt. approx. 1.50 cts.; size 7; 10.50 dwts. [$3000/5000]

59. 14 kt. Yellow Gold, Pearl and Diamond Torsade Necklace, 6 strands with 275 semi-round white pearls with rose overtones; double lion’s head clasp joined by interlocking rings, set with 26 round cut diamonds, total wt. approx. 0.32. ct.; l. 15 1/2 to 17 in.; incl. 6 extra pearls; 108.00 dwts. [$2000/3000]

58. 18 kt. White Gold, South Sea Pearl and Diamond Necklace, 27 graduated white pearls, approx. 14.00-17.50 mm; barrel screw clasp mounted with approx. 80 pave-set round cut diamonds, total wt. approx. 0.95 ct.; 86.00 dwts. [$8000/12000]

60. 14 kt. Yellow Gold, Seed Pearl and Diamond Torsade Necklace, numerous strands set with approx. 16,500 natural seed pearls; clasp set with 12 round cut diamonds, total wt. approx. 0.18 ct.; l. 18 in.; 92.50 dwts. [$2000/4000]

61. Long Torsade Pearl Necklace with 18 kt. Yellow Gold, Jadeite and Ruby Pendant Clasp, 12 strands with approx. 2100 pearls; clasp set with carved jadeite plaque and 4 cabochon rubies, l. 2 in., w. 1 1/2 in.; necklace l. 43 in.; 182.50 dwts. [$2000/4000]

62. Art Deco 18 kt. White Gold and Diamond Bracelet, c. 1925, set with approx. 345 round and baguette cut diamonds; 3 largest round diamonds, wt. approx. 0.50 ct. each; total dia. wt. approx. 4.75 cts.; finished with invisible diamond set clasp; l. 7 1/2 in.; 34.00 dwts. [$8000/12000]

63. Art Deco 18 kt. Yellow Gold, White Gold and Diamond Ring, c. 1920, with center old European cut diamond, wt. approx. 0.75 ct.; flanked by 2 old European cut diamonds, wt. approx. 0.45 ct. each; accented by 20 old mine cut diamonds, total wt. approx. 2.50 cts.; size 6.75; 7.50 dwts. [$7000/10000]

64. Art Deco 18 kt.

White Gold and Diamond Bracelet, c. 1925, set with 190 square, baguette and old European cut diamonds; largest center dia mond, wt. approx. 0.85 ct.; total dia. wt. approx. 4.50 cts.; finished with invisible diamond set clasp; l. 7 in.; 21.50 dwts. [$10000/15000]

65. Art Deco 18 kt. White Gold, Diamond and Blue Sapphire Collar Necklace, c. 1925, set with 185 old European cut diamonds and 4 baguette cut diamonds; largest center old European cut diamond, wt. approx. 0.75 ct., N-P color, VS1-VS2 clarity; total dia. wt. approx. 7.00 cts.; set with 14 oval cut sapphires, each approx. 6.80 x 8.70 x 4.75 mm, total wt. approx. 28.00 cts.; finished with invisible diamond set clasp; l. 15 in.; 55.00 dwts. [$30000/60000]

66. Antique 18 kt. White Gold and Diamond Double-Clip Brooch, openwork scrolling ribbon design centered by 2 old mine cut diamonds, wt. approx. 1.60 cts. and 1.90 cts., K-O color, S1-S2 clarity; set with approx. 315 round and old mine cut diamonds, total wt. approx. 18.50 cts.; assembled l. 3 1/4 in., w. 1 3/4 in.; 45.00 dwts. [$15000/25000]

67. 14 kt. White Gold and Diamond Ring, center prong-set old European cut diamond, approx. 8.90-8.80 x 5.19 mm, wt. approx. 2.60 cts., L color, VS1 clarity; flanked by 2 prong-set round brilliant cut diamonds, approx. 2.10-2.10 x 1.30, total wt. approx. 0.07 ct., G-I color, VS1 to VS2 clarity; finished with 12 channel set baguette cut diamonds, approx. 1.50 x 1.10 x 0.90 mm to 2.50 x 1.10 x 0.90 mm, total wt. approx. 0.22 ct., F-G color, VVS2 to VS1 clarity; total dia. wt. approx. 2.89 cts.; size 5.75; 3.00 dwts.; accompanied by jewelry appraisal report. [$7000/9000]

68. Victorian 14 kt. Rose Gold and Diamond Pendant/Brooch Necklace, late 19th c., circular pendant set with 56 old European cut diamonds; center diamond, wt. approx. 0.82 ct.; total dia. wt. approx. 7.45 cts.; chain l. 20 in.; 13.50 dwts. [$6000/8000]

70. Group of Victorian 14 kt. Yellow Gold, Garnet and Diamond Jewelry, late 19th c., incl. pendant brooch necklace, set with 28 round garnets, chain l. 17 1/2 in.; “heart” locket with starburst design centering 1 old mine cut diamond, chain l. 16 in.; and ring, set with 7 garnets, size 6.75; 26.50 dwts. (3 pcs.) [$2000/4000]

72. 14 kt. Yellow Gold, Diamond and Enamel Cross Pendant Necklace, reticulated cross pendant set with 13 round cut diamonds, total wt. approx. 0.70 ct.; set with black enamel accents; rope chain l. 33 in.; 24.00 dwts. [$1500/2500]

69. Victorian 14 kt. Yellow Gold and Diamond Hinged Cuff Bracelet, late 19th c., ornate openwork floral and ribbon designs with center old European cut diamond, wt. approx. 0.25 ct., surrounded by numerous old mine cut diamonds, total wt. approx. 4.40 cts.; inner cir. 6 in.; 35.50 dwts. [$6000/8000]

71. Group of Victorian-Style 14 kt. Yellow Gold, Opal and Diamond Jewelry, late 19th c., incl. opal and diamond ring, set with 13 cabochon opals, total wt. approx. 0.80 ct., and 10 diamonds, total wt. approx. 0.07 ct., size 4.25; opal hinged bangle, set with 13 cabochon opals, inner cir. 6 1/2 in.; and opal and garnet hinged bracelet, central cabochon opal, wt. approx. 1.25 cts., accented with 14 garnets, inner cir. 6 1/2 in.; 25.50 dwts. (3 pcs.) [$3000/5000]

73. 18 kt. Yellow Gold, Garnet, Opal and Labradorite Pendant Brooch with Oil Miniature of “Boyar’s Daughter”, after Firs Zhuravlev (Russian, 1836-1901) signed in Cyrillic mid left, sight h. 3 in., w. 2 in.; ornately framed in 18 kt. yellow gold and set with 8 round cabochon garnets, 4 pear cabochon gar nets, 8 opals, and 8 labradorite cabochon stones; overall h. 4 in., w. 3 in.; with 14 kt . yellow gold rope chain, l. 33 in.; 90.00 dwts. including oil miniature. [$5000/7000]

75. 14 kt. Yellow Gold and Cameo Bracelet, links of reticulated gold frames set with 11 cameos, incl. natural carved gemstone, abalone shell, shell and onyx cameos; 33.50 dwts. [$700/1000]

74. Group of 14 kt. and 18 kt. Yellow Gold and Cameo Jewelry, incl. 4 shell cameo pendants on 14 kt. gold chains, pendants l. 1 3/4 in. to 2 1/2 in., chains l. 18 1/2 in. to 22 in.; 2 14 kt. gold and shell cameo pendant brooches, l. 2 1/2 in. and 3 1/2 in.; 2 14 kt. gold, diamond and shell cameo pendant brooches, l. 1 3/4 in. to 2 5/8 in.; 18 kt. gold, enamel, seed pearl and shell cameo pendant brooches, l. 1 1/4 in.; 14 kt. gold, onyx and diamond cameo brooch, l. 1 3/4 in.; 18 kt. gold, pearl and carnelian necklace with shell cameo pendant, chain l. 27 in.; 14 kt. gold station bracelet with mother-of-pearl, white stone and shell cameos, l. 7 in.; and 2 pairs of gold, pearl, clear-stone and shell cameo earrings, l. 1 5/8 in. and 1 3/4 in. (15 pcs.)

[$3000/5000]

77. 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. [$400/600]

76. Group of Three 14 kt. Yellow Gold, Cameo and Seed Pearl Rings, each set with numerous carnelian, shell, and abalone shell cameos; accented by seed pearls; size 9.5, 6.75, and 6.75; 23.50 dwts. (3 pcs.) [$1500/2500]

78. Lady’s Baume & Mercier Stainless Steel and 18 kt. Yellow Gold Wristwatch, stick markers, date window, stainless steel and 18 kt. yellow gold bracelet. [$300/500]

79. Group of 14 kt. and 18 kt.

incl. 14 kt. gold necklace with central cabochon

jadeite, set with 183 round cut diamonds, total wt. approx. 3.11 cts., l. 18 in.; 18 kt. gold hinged bangle bracelet, set with 3 central cabochon lavender jadeite accented by 30 round cut diamonds, circ. 6 1/2 in.; and 14 kt. gold and cabochon lavender jadeite ring, halo set with 16 round cut diamonds, total wt. approx. 0.08 ct., and 16 round cut amethysts, total wt. approx. 0.48 ct., size 8.5; total wt. of all jadeite in lot approx. 65.00 cts.; 76.00 dwts. [$4000/6000]

80. Group of 14 kt. and 18 kt. Yellow Gold, Diamond and Jadeite Jewelry, incl. 14 kt. gold, orange jadeite and diamond hinged bangle bracelet, central jadeite, wt. approx. 2.00 cts., accented with approx. 44 round cut diamonds, total wt. approx. 0.26 ct., inner cir. 6 3/4 in.; pair of 14 kt. gold, orange jadeite and diamond earrings, central prong set oval jadeite, wt. approx. 3.20 cts., halos with numerous diamonds, total wt. approx. 1.00 ct.; and 18 kt. gold, lavender jadeite and diamond ring, central prong set oval jadeite, wt. approx. 6.00 cts., halo set with 18 round cut diamonds and 6 baguette cut diamonds, total wt. approx. 0.80 ct., size 6.75; 39.50 dwts. (3 pcs.) [$3000/5000]

Yellow Gold, Lavender Jadeite, Diamond and Amethyst Jewelry,

lavender

81. 14 kt. Yellow Gold, Lavender Jade and Diamond Pendant Brooch on Lavender Jade Bead Necklace, carved jade flower pendant brooch, set with 15 round cut diamonds, total wt. approx. 0.10 ct., l. 3 1/2 in.; with strand of 46 jade beads, approx. 11.80 mm, l. 25 1/2 in.; 117.50 dwts. [$2000/4000]

83. Two Chinese Carved Jade Bangle Bracelets, inner cir. 7 in. and 7 1/4 in. [$1000/2000]

86. Chinese 14 kt. Yellow Gold and Mottled Jade Belt Hook Pendant, S-curved shaft with dragonhead terminal facing a qiulong, now mounted as a pendant with a 14 kt. yellow gold bail, l. 3 in.; 39.00 dwts. [$1000/2000]

82. Chinese Jade Pendant on Amethyst Bead Necklace, carved jade pendant with 2 jade beads, pendant l. 2 1/2 in.; on strand of 10 amethyst beads, l. 19 in; 170.00 dwts. [$1000/2000]

84. Two Chinese 14 kt. Yellow Gold, Jade and Diamond Necklaces, incl. one carved jade bead necklace with carved jade pendant, gold bail set with numerous diamonds, pendant l. 3 1/8 in., strand l. 20 in.; and one graduated carved jade bead necklace, gold clasp, l. 18 in. (2 pcs.) [$1000/2000]

85. Group of Chinese 14 kt. and 18 kt. Yellow Gold, Jade and Diamond Jewelry, incl. 2 carved jade bangle bracelets, inner cir. 7 in.; carved jade pendant, finished with 18 kt. gold and diamond bail and stations, l. 3 in.; carved jade bead necklace with 14 kt. gold clasp, l. 20 in.; 18 kt. gold, diamond and carved jade bead bracelet, l. 8 in.; 14 kt. gold and carved jade bead bracelet, l. 8 in.; 18 kt. gold, diamond and carved jade hinged bangle bracelet, inner cir. 6 1/2 in.; 18 kt. gold, diamond and jade ring, size 7; and 14 kt. gold, diamond and carved jade ring, size 6.5.; 201.00 dwts. (8 pcs.) [$4000/6000]

87. Group of 18 kt. Yellow Gold and Mottled Jade Jewelry, incl. necklace with carved jade pendant set on 2 strands of 109 jade beads, clasp set with 1 cabochon jadeite, strand l. approx. 24 in., pendant l. 2 1/2 in.; and one carved jade ring, size 9; 163.00 dwts. (2 pcs.) [$500/700]

88. Chinese 14 kt. Yellow Gold, White, Orange and Black Jade Pendant Necklace, strand of white jade beads, l. 21 in.; with carved white jade pendant bordered with carved orange and black jade set in 14 kt. yellow gold frame; l. 3 in.; 44.00 dwts. [$400/600]

90. Group of 14 kt. and 18 kt. Yellow Gold, Jadeite and Diamond Jewelry, incl. green jadeite pendant with 14 kt. gold bail, l. 2 in.; graduated green jadeite bead necklace with 18 kt. gold and diamond clasp, l. 17 in.; 14 kt. gold and black and green jadeite medallion pendant on black jadeite bead necklace, l. 23 in.; 14 kt. gold and black and yellow jadeite medallion pendant on carved yellow jadeite bead necklace, l. 23 1/4 in.; and carved black jadeite bangle, inner cir. 7 1/2 in.; 298.50 dwts. (5 pcs.) [$3000/5000]

93. Nancy Gonzales Crocodile Skin Handbag, brown crocodile skin structured frame bag, dual top handles, top snap closure, gold-tone hardware, brown suede interior labeled “Genuine Crocodile Made in Colombia” and “14” under Nancy Gonzalez label, fitted interior pockets, h. 10 in., w. 13 in., d. 3 3/4 in., handle drop h. 7 in.; includes CITES authentication card, CITES de Colombia tag numbered “36854”, and original dust bag. [$300/500]

in.; bracelet set with 8 jadeite discs and 48 round cut diamonds, total wt. approx. 0.24 ct., l. 7 1/2 in.; and pair of earrings with 2 jadeite discs and 22 round cut diamonds, total wt. approx. 0.12 ct.; 51.00 dwts.(3 pcs.) [$3000/5000]

92. Judith Leiber Crystal and Metallic Gold Karung Leather Handbag, gold-tone hardware, single flap closure with crystal embellished fish, silk lined interior, labeled “Judith Leiber New York”, removable rope strap and tassel, strap drop h. 21 1/2 in., purse h. 5 in., w. 8 1/4 in., d. 4 in.; includes comb, compact and coin purse. [$200/400]

94. Louis Vuitton Monogram Canvas “Looping GM” Handbag, brown coated canvas, gold-tone hardware, leather trim, zip closure, interior labeled, interior zip and patch pockets, h. 12 1/2 in., w. 11 1/4 in., d. 4 in.; should strap h. 11 in. [$200/300]

95. Chanel Quilted Red Patent Leather 2.55 Reissue East West Clutch, c. 2008-2009, gold-tone hardware, single flap closure with Mademoiselle turn lock, chain strap, red leather interior with serial number, interior mirror and multiple pockets, h. 4 1/4 in., w. 10 1/2 in., d. 2 1/4 in.; chain drop h. 15 in.; includes original box and dustbag. [$800/1200]

97. Chanel Puzzle Collection Quilted Black Patent

Leather 2.55 Reissue Jumbo Classic Double Flap Bag, c. 2008-2009, gold-tone hardware, Mademoiselle turn lock closure, bijoux chain link strap, exterior pocket, leather interior with serial number, multiple interior pockets, h. 6 3/4 in., w. 11 in., d. 4 1/2 in.; includes authenticity card, original box, dustbag and envelope with booklets. [$2000/4000]

100. Chanel Quilted Burgundy Caviar

Leather Large City Shopping Tote, c. 2015-16, ruthenium hardware, matrasse chain link strap, Chanel logo charm, key strap, protective feet at base, single exterior pocket, flap closure, jacquard lined interior with serial number, multiple interior pockets, h. 10 1/2 in., w. 13 in., d. 6 in.; strap drop h. 11 1/2 in.; includes authenticity card, original box, dust bag and envelope with booklets. [$2000/3000]

101. Chanel Quilted

Grand Shopping Tote or “XL GST”, c. 2012, silver-tone hardware, dual chain link and leather shoulder straps, Chanel logo charm, protective feet at base, satin lined interior with serial number, multiple interior pockets and compartments, h. 10 in., w. 16 in., d. 7 in. ; strap drop h. 9 in.; includes authenticity card, original box, dustbag and envelope with booklets. [$2000/3000]

96. Chanel Quilted Black Patent

Leather Large Just Mademoiselle Bowling Bag, c. 2012, silver-tone hardware, matrasse chain link strap, Chanel logo charm, protective feet at base, snap closure, grosgrain lined interior with serial number, multiple interior pockets, h. 10 1/2 in., 2. 13 in. d. 6 in.; strap drop h. 8 in. to 15 1/2 in.; includes authenticity card, original box, dustbag, Chanel tag and envelope with booklets. [$1000/2000]

98. Chanel Golden Class Quilted Black Lambskin Wallet on Chain, c. 2015-16, gold-tone hardware, removable matrasse chain link strap, satin lined interior with serial number, multiple interior pockets and card slots, h. 5 in., w. 7 1/2 in., d. 2 in.; chain l. 52 in.; includes authenticity card, original box and dustbag. [$1000/2000]

99. Chanel Classic Quilted Black Lamb skin Double Flap Bag, c. 2003-04, gold-tone hardware, turn-lock logo closure, matrasse chain link strap, single exterior pocket, burgundy leather interior with serial number, multiple interior pockets, h. 6 in., w. 9 in., d. 2 1/2 in.; strap drop h. 10 in. to 18 in.; includes authentic ity card, Chanel box, dustbag and booklet. [$2000/3000]

Black Caviar Leather Extra Large

102. Noel Rockmore (American/Louisiana, 1928-1995), “Free Clinic”, 1970, oil on masonite, signed, titled and dated upper left, 20 in. x 16 in., unframed. [$2000/3000]

Provenance: Collection of Sandra Zahn-Oreck (1940-2021). Includes authenticity card, original box, dustbag and envelope with booklets.

103. Noel Rockmore (American/Louisiana, 1928-1995), “Boy with Green Flower in Vase”, 1961, oil on paper, signed, dated and inscribed “N.O.” lower right, “Sandra Zahn-Oreck Gallery” la bel with artist and date on reverse of frame, 18 1/4 in. x 14 1/2 in., framed. [$800/1200]

Provenance: Collection of Sandra Zahn-Oreck (1940-2021). Includes authenticity card, original box, dustbag and envelope with booklets.

104. Noel Rockmore (American/Louisiana, 1928-1995), “Untitled: Two Wrecking Balls”, 1964, oil on masonite, signed and dated lower right, artist information label attached en verso, 20 in. x 30 in., unframed. [$2500/3500]

Provenance: Collection of Sandra Zahn-Oreck (1940-2021). Includes authenticity card, original box, dustbag and envelope with booklets.

105. Noel Rockmore (American/Louisiana, 1928-1995), “Israel: Man, Woman and Boy”, 1968, oil on masonite, signed, titled and dated lower center, label inscribed “#54” en verso, 24 in. x 18 in., framed. [$1500/2500]

Provenance: Collection of Sandra Zahn-Oreck (1940-2021).

106. Noel Rockmore (American/Louisiana, 1928-1995), “Untitled: One Wrecking Ball”, 1964, oil on masonite, signed and dated lower left, artist information label attached en verso, 20 in. x 30 in., unframed. [$2500/3500]

Provenance: Collection of Sandra Zahn-Oreck (1940-2021).

1/4 in., framed. [$3000/5000]

Provenance:

107. Noel Rockmore (American/ Louisiana, 1928-1995), “Israel”, 1961, oil on board, signed, titled and dated upper right, 23 7/8 in. x 18 in., framed. [$1200/1800]

Provenance: Collection of Sandra Zahn-Oreck (1940-2021).

108. Noel Rockmore (American/ Louisiana, 1928-1995), “Untitled Portrait: For Charles”, 1981, charcoal on paper, signed, dated and personalized lower right, 14 in. x 11 in., framed. [$500/800]

Provenance: Collection of Sandra Zahn-Oreck (1940-2021).

109. Noel Rockmore (American/Louisiana, 1928-1995), “Place d’Armes, French Quarter Scene”, 1980, oil and collage on canvas, signed and dated lower right, 39 3/4 in. x 50

Collection of Sandra Zahn-Oreck (1940-2021).

113.

Provenance:

110. Noel Rockmore (American/Louisiana, 1928-1995), “Bourbon Street”, 1966, oil on masonite, signed and dated lower right, artist information label attached en verso, 20 in. x 39 3/4 in., unframed. [$3000/5000]

Provenance: Collection of Sandra Zahn-Oreck (1940-2021).

111. Noel Rockmore (American/Louisiana, 1928-1995), “The Family”, 1973, oil on linen, signed and dated lower right, “Sandra ZahnOreck Gallery” label with artist, title and date on reverse of frame, 24 1/8 in. x 18 in., framed. [$1500/2500]

Provenance: Collection of Sandra Zahn-Oreck (1940-2021).

112. Noel Rockmore (American/ Louisiana, 1928-1995), “Ruthie the Duck Girl”, 1981, tempera on linen board, signed and dated lower right, “Sandra Zahn-Oreck Gallery” label with artist, title and date en verso, 7 in. x 5 in., framed. [$800/1200]

Provenance: Collection of Sandra Zahn-Oreck (1940-2021).

114. Noel Rockmore (American/ Louisiana, 1928-1995), “The Octaganarian [sic] Primitive”, 1981, tempera on panel with oil glaze, signed and dated lower right, “Sandra Zahn Oreck Gallery and Sculpture Studio” label with artist, title and date en verso, 14 in. x 11 1/8 in., framed. [$1500/2500]

Provenance: Collection of Sandra Zahn-Oreck (1940-2021).

Noel Rockmore (American/Louisiana, 1928-1995), “Three Figures under a Full Moon”, oil on masonite, signed lower right, 5 in. x 7 in., framed. [$800/1200]

Collection of Sandra Zahn-Oreck (1940-2021).

115. Noel Rockmore (American/Louisiana, 1928-1995), “Two Musicians: George Lewis and Louis Nelson”, oil on masonite, signed upper right, “The Vincent Price Collection” label with artist and newspaper article en verso, 11 7/8 in. x 19 in., unframed. [$1200/1800]

Provenance: Collection of Sandra Zahn-Oreck (1940-2021).

118. Noel Rockmore (American/Louisiana, 1928-1995), “Caesarean Section”, 1984, oil on canvas, signed and dated lower left, 11 in. x 14 in., framed. [$300/500]

Provenance: Collection of Shirley Marvin; thence by descent to Rich Marvin; Private Collection.

Ill.: Marvin, Shirley, Rich Marvin, et al. The Phantasmagoric Art of Noel Rockmore New Orleans: Pel Hughes, 2014, p. 4.

116. Noel Rockmore (American/Louisiana, 1928-1995), “The Trombonist”, 1964, oil on masonite, signed and dated lower right, 12 in. x 17 7/8 in., unframed. [$1200/1800]

Provenance: Collection of Sandra Zahn-Oreck (1940-2021).

117. Noel Rockmore (American/Louisiana, 1928-1995), “Three Musicians”, oil on masonite, signed upper left, 12 in. x 15 7/8 in., unframed. [$1200/1800]

Provenance: Collection of Sandra Zahn-Oreck (1940-2021).

119. Qashqai Rug, Southwest Persia, c. 1900, 4 ft. 4 in. x 6 ft. 3 in., areas of wear [$600/900]

Provenance: Neal Auction, Sept. 9, 2022, lot 92; Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

121. Bidjar Rug, North Persia, c. 1890, 3 ft. 5 in. x 4ft. 3 in., losses to fringe [$800/1200]

Provenance: Neal Auction, Sept. 9, 2022, lot 102; Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

123. Saryk Ensi Rug, West Turkestan, c. 1890, silk highlights, 4 ft. 5 in. x 5 ft. 6 in. [$700/1000]

Provenance: Neal Auction, Sept. 9, 2022, lot 114; Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

125. Kuba Seychour Rug, Northeast Caucasus, c. 1890, 3 ft. 10 in. x 5 ft. [$1200/1800]

Provenance: Neal Auction, Sept. 9, 2022, lot 119; Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

120. Kuba Rug, Northeast Caucasus, c. 1890, 4 ft. x 4 ft. 5 in., partial ends [$800/1200]

Provenance: Neal Auction, Sept. 9, 2022, lot 93; Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

122. Tekke Ensi Rug, West Turkestan, c. 1900, 3 ft. 11 in. x 4 ft. 6 in. [$200/300]

Provenance: Neal Auction, Sept. 9, 2022, lot 102; Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

124. Marasali Shirvan/Daghestan Prayer Rug, East Caucasus, c. 1900, illegibly dated-possibly 1323 AH/1906 AD, 4 ft. 2 in. x 4 ft. 7 in. [$1500/2500]

Provenance: Neal Auction, Sept. 9, 2022, lot 116; Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.

126. Karnak Wilton “Liberty” Rug, c. 1917, Shuttleworth Brothers, Amsterdam, NY for W. & J. Sloane, with vignettes of aviatrix Ruth Law flying a biplane over the Statue of Liberty, Niagara Falls, the Mayflower, the Liberty Bell, the Washington Monument, Native American teepees, Independence Hall, a Model-T driving through a redwood tree, a ship passing through the Panama Canal, and others, machine made jacquard weave, 9 ft. x 12 in. [$2000/3000]

Note: The making of this rug was inspired by the lighting ceremony for the Statue of Liberty in 1916, at which President Woodrow Wilson officiated. Made in very few numbers, one was given to Wilson for use in the White House, and has since been shown at the Woodrow Wilson Library.

127. Tekke Turkestan Carpet, red ground, repeating guls, blue and ivory accents, 6 ft. 5 in. x 10 ft. 4 in. [$700/1000]

130. Persian Carpet, after Nain, 20th c., green and blue floral pattern, beige ground, 10 ft. 9 in. x 7 ft. [$700/1000]

128. Antique Serapi Carpet, central medallion, red and blue ground, ivory accents, floral and animal designs, 11 ft. 2 in. x 14 ft. 5 in. [$1500/2500]

131. Pair of Persian Runners, blue border, pink ground, beige accents, central medallions, 3 ft. 6 in. x 18 ft. [$700/1000]

Provenance: Bocage Antebellum Home, Darrow, LA

132. Antique Persian Runner, blue ground, red accents and borders, corner medallions, 3 ft. 8 in. x 13 ft. 6 in. [$500/700]

Provenance: Bocage Antebellum Home, Darrow, LA

129. Large Persian SemiAntique Carpet, red ground; coral, red, and blue central medallion, corner medallions, dark blue border, floral motif, 12 ft. 1 in. x 9 ft. 3 in. [$700/1000]

133. Antique Persian Runner, dark blue ground, red accents and borders, corner medallions, 3 ft. 5 in. x 13 ft. 10 in. [$600/900]

Provenance: Bocage Antebellum Home, Darrow, LA

134. Antique Persian Serapi Carpet, red ground, beige and blue accents, central medallion, floral design, 9 ft. x 11 ft. 6 in. [$700/1000]

Provenance: Bocage Antebellum Home, Darrow, LA

135. Antique Persian Kashan Carpet, blue ground, red border, green accents, overall floral design, 11 ft. 4 in. x 19 ft. 7 in. [$1000/1500]

136. Indian Wool Carpet, beige ground, green accents, floral motif, 8 ft. x 10 ft. [$600/900]

137. Serapi Carpet, orange and beige ground, blue and orange central medallion, floral motif, 10 ft. 2 in. x 8 ft. 3 in. [$1200/1800]

138. Antique Persian Zuli Sultan Carpet, beige ground, red and black accents, vase and flower design, 5 ft. 4 in. x 12 ft. 7 in. [$800/1200]

139. Chinese Soumak Carpet, blue ground, red border, ivory accents, floral motf with central medallion, 7 ft. 11 in. x 9 ft. 11 in. [$600/900]

140. Chinese Soumak Carpet, coral ground, light blue border and central medallion, ivory accents, spandrels, 6 ft. x 9 ft. [$600/900]

141. Antique Kazak Rug, light blue ground; green, coral, and ivory accents, three central medallions, 5 ft. 4 in. x 6 ft. 10 in. [$7001000]

142. Antique Sultanabad Carpet, beige ground, coral border, brown and blue accents, floral pillar motif, 13 ft. 7 in. x 23 ft. 2 in. [$4000/6000]

143. Antique Mudjar Prayer Rug, Anatolia, green and red ground, blue and ivory accents, 3 ft. 5 in. x 4 ft. 9 in. [$500/700]

144. Antique Soumak Runner, beige ground, orange, blue, green, and yellow accents, signed in corner, 3 ft. 9 in. x 11 ft. 5 in [$700/900]

145. Antique Shirvan Carpet, dark blue ground, repeating medallions, border with crab and latchook design, 8 ft. 4 in. x 10 ft. [$700/1000]

146. Irish Mahogany Stick Barometer, 19th c., marked “J. Buckley/14 Sackville St./ Dublin”, also incorporating a thermometer, h. 38 in., w. 4 1/2 in., d. 3 1/4 in. [$600/900]

149. Antique French Blanc de Chine and Bronze Three Piece Clock Garniture, mounted with foo dogs and flowers, striking bell movement, with conforming two-light candelabra, all on scrolled bases, clock h 12 3/4 in., w. 13 in., d. 6 in. [$800/1200]

147. American Mahogany and Gilt Banjo Clock, c. 1825, dial with script signature “Warranted by Curtis & Dunning/ Burlington/Vt.”, 8-day movement, rope molded frames, verre eglomise tablets with foliate design and Apollo riding his chariot, h. 33 in., w. 10 in., d. 4 in. [$3000/5000]

Provenance: C.L. Pricket, Fine Inc., Yardley, PA, Apr. 1990.

148. American Mahogany Banjo Clock, early 19th c., upper tablet with a banner indicating “Patented”, h. 33 1/2 in., w. 10 in., d. 4 in [$700/1000]

153. Ames Model 1840 NCO Sword and Scabbard, marked on ricasso “Made by/AMES MFG Co/Chicopee” and “US/AHC/1862”, knuckleguard also marked “AHC”, with leather scabbard, blade length 32 1/4 in. [$300/500]

151. Two Regency Flintlock Pocket Pistols, c. 1820, one marked “WOODWARD/LONDON”, the other “BLAKE/LONDON”, both with turn-off barrel and safety, the Blake with folding trigger, barrel lengths 1 1/2 in. [$500/700]

150. Antique French Gilt Bronze and Cloisonne 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]

154. Japanese Kyu Gunto Officer’s Sword and Scabbard, gilt brass fittings, chrysanthemum motifs, wire-bound ray grip, folding/locking guard, leather (losses) and wood scabbard, blade length 25 1/2 in. [$400/600]

152. Antique English Sword Cane, c. 1900, marked “WILKINSON SWORD LTD”, burled wood, silver collar, the stiletto blade with foliate design, blade length 26 1/2 in. [$400/600]

155. Japanese Wakizashi or Short Sword, tang signed, lacquered scabbard with inset kozuka, gilt dragon motifs, ray skin grip, blade length 20 3/4 in. [$700/1000]

156. Georges Washington

1827-1910), “Horsemen

on canvas, signed lower left, 18 1/4 in. x 21 3/4 in., framed. [$12000/18000]

157. Boris Valentinovich Shcherbakov (Russian, 1916-1996), “Small Island in the Istra”, 1959, oil on canvas laid on board, signed in cyrillic lower right, 2 “Art Salon for Export” labels with artist, title and date en verso, 8 1/2 in. x 12 1/2 in., framed. [$4000/6000]

Note: Neal Auction would like to thank Olga Mescherskaya for her assistance with the cataloguing of this lot.

159. Claude Marion the Younger (French, 18th c.), “A Parisien or Ile-deFrance Gateway to a Ducal Property”, 1771, ink, grisaille wash and watercolor on paper, inscribed “Marion fils en 1771” lower center, watermarked with fleur-de-lis in crowned cartouche and countermark “D & C Blauw”, 18 1/2 in. x 26 1/8 in. framed. [$400/600]

158. Spanish School, 20th c., “Still Life with Peonies and Fruit”, oil on canvas, signed “Guiberto” lower right, 31 1/2 in. x 51 1/4 in., framed. [$400/600]

Provenance: Spanish Painters Society, Madrid, 1973.

160. Francois Federle (French, 20th c.), “Ferme Environ de Barbizon” and “Marine Pornic”, 2 oils on canvas, both signed lower right, each 19 3/4 in. x 24 in., framed alike; accompanied by a copy of a certificate of authenticity. (3 pcs.) [$400/600]

Provenance: Acquired from the artist.

161. After Eugene Francois de Block (Belgian/ American, 1812-1893), “Fisherman’s Return”, oilenhanced print on canvas, printed signature and date upper center, 25 3/4 in. x 17 3/4 in., framed with artist name. [$400/600]

Provenance: Neal Auction Company, Sept. 15, 2012, lot 245.

162. George Richmond (British, 1809-1896), “Portrait of Erasmus of Rotterdam”, oil on panel, unsigned, after Hans Holbein the Younger (German, 1497-1543), 3 typed labels with artist name en verso, 28 1/4 in. x 20 3/4 in., framed. [$600/800]

Provenance: Arthur Anders, New Orleans, 1971.

(French,

by an Oasis”, oil

164. British School, 19th c., “Pair Sitting Cliffside under the Trees”, oil on canvas, unsigned, 35 1/4 in. x 27 1/4 in., framed. [$1200/1800]

[$700/1000]

165. John William Haynes (British, 1836-1908), “The Woodgatherer”, oil on canvas, signed lower right, 30 1/4 in. x 25 in., framed. [$600/800]

Provenance: Nell Fetzer, Baton Rouge, LA, 1970.

169. Antonio Nicolo Gasparo Jacobsen (American/New York, 1850-1921), “The I.F. Chapman”, 1919, oil on board, signed and dated lower right, 12 in. x 19 7/8 in., framed. [$1500/2500]

Provenance: Brunk Auctions, Sept. 21, 2013, lot 615.

170. 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. [$1500/2500]

166. Benjamin Williams Leader (British, 1831-1923), “Meadow with Birds”, oil on canvas, signed lower left, 18 1/8 in. x 13 1/4 in., framed with artist name. [$800/1200]

Provenance: Taylor Clark Gallery, Baton Rouge, LA, 1975.

168. Jo Saylors (American, 1932-2018), “Reluctant Playmate”, 1999, bronze, signed, dated and numbered “2/25” on self base, h. 36 in., w. 13 in., d. 17 in. [$1800/2500]

167. Maude Goodman (British, 1853-1938), “The Road Home” and “Bringing in the Flock”, 1890, 2 oils on canvas, signed and dated lower left or right, both 20 in. x 30 in., framed alike with title and name plaques. (2 pcs.)

163. Thomas Barker of Bath (British, 1769-1847), “Washing Sheep”, oil on canvas, unsigned, handwritten partial label with artist name and title on stretcher, 27 5/8 in. x 41 1/4 in., framed with artist and title plaque. [$3000/5000]

172.

171.

173. Harry (Henry) Chase (American, 1853-1889), “Fisherfolk on the Beach with Boats”, oil on canvas, signed lower right, 16 1/4 in. x 30 in., framed. [$3000/5000]

Provenance: Sotheby’s, New York, Oct. 23, 2000, lot 1382.

174. George Inness (American, 1825-1894), “Milton on the Hudson”, 1879, oil on board, signed lower left, inscribed and handwritten label with title and date en verso, inscribed and 4 Sotheby’s labels on reverse of frame, 12 in. x 18 in., framed with artist plaque; accompanied by a copy of a Nov. 15, 2007 letter of authenticity from Michael Quick. (2 pcs.) [$18000 25000]

Note: This work will be included in Michael Quick’s forthcoming supplement to the catalogue raisonné of the works of George Inness.

Provenance: Estate of the artist; Estate of his widow, Elizabeth Inness, Feb. 11, 1904, lot 37; Walter S. Ballou, Providence, RI; Sotheby’s, New York, Oct. 10, 2007, lot 138.

Note: Hudson River School artist George Inness was known for his intimate and poetic landscapes of the Hudson Valley and surrounding areas. Influenced by the works of his contemporaries, Thomas Cole and Asher B. Durand, as well as European artists and movements such as Claude Lorraine, Salvator Rosa, Theodore Rousseau and the Barbizon School, Inness’ powerful oeuvre exists at the intersection of spiritual and physical, with the artist discovering innovative ways to marry the two concepts throughout his illustrious career.

In the late 1870s and early 1880s, Inness spent his summers visiting with his friend, Asia Hallock, at her vacation home in Milton, New York, utilizing her barn as the site of his studio. The work on offer here, entitled “Milton on the Hudson,” was painted during that time. The scene is atmospheric, rendered with thick, impressionistic brushstrokes. The bushes in the foreground and center are presented undulating in the winds of the oncoming storm rolling through the top left quadrant and quashing the remaining light on the right. A dark, imposing tree anchors the horizon, while the rest of the composition effectively conveys the frantic rush that precedes the first crack of thunder just before a downpour. Inness’ adept ability to express the intangible through paint is expertly showcased in this powerful work.

Ref.: “Looking Over the Hudson at Milton.” The Nelson-Atkins Museum of Art. art.nelson-atkins.org. Accessed Oct. 21, 2022.

Manner of Albert Bierstadt (German/American, 1830-1902), “Sunset Landscape”, oil on canvas, unsigned, 29 3/8 in. x 48 in., framed with artist plaque. [$1500/2500]

Milton H. Lowell (American, 1848-1927), “Sunset over the Lake”, oil on canvas, signed lower right, 18 in. x 40 in., framed. [$600/800]

175.

Provenance:

176. Enoch Wood Perry Jr. (American, 1831-1915), “Women Weaving - The Wicker Workers”, oil on canvas, signed lower left, 34 1/2 in. x 54 in., period frame. [$20000/30000]

Provenance: Sotheby’s, New York, Mar. 11, 1999, lot 19.

Note: Enoch Wood Perry, Jr. was born in Boston in 1831 and spent his formative adolescent and young adulthood years in New Orleans where his family moved in 1848. He was determined to become an artist and earned enough money to travel to Europe to study at the Düsseldorf Academy in Germany and Thomas Couture’s atelier in France. Upon moving back to the United States, Perry first opened a studio in Philadelphia before returning to New Orleans on the eve of the Civil War and opening a studio here. Perry began traveling throughout the United States, perhaps most notably to Hawaii where he painted landscapes, portraits of wealthy landowners and Hawaiian royalty. Perry is nationally recognized for his genre scenes and portraits of prominent Americans.

In the 19th century American glass factories produced millions of bottles and provided a major industry for female and child labor securing glass jugs to protect them from breakage and the materials inside from sun damage. This kind of work provided cash for families that were struggling as the industrial revolution caused social and economic change.

In the monumental canvas offered here entitled “Women Weaving – The Wicker Workers,” women and children are depicted warmly lit by the sun pouring in through the window while casually weaving willow or seagrass around glass jugs, the largest of which are called “demijohns”. In the center, carefully illuminated and anchoring the composition, is a woman in red and white plaid seemingly lost in tranquil revery. Eyes unfocused and a placid expression on her face, she sits idly with an unfinished bottle in her lap. Close inspection reveals other details with each anonymous figure, portrait-like in their distinct mannerisms and frozen expressions. There is the young boy to the right who is absorbed by his weaving—practically a genre scene of its own, the woman by window in blue stripes who is distracted by something outside, and the foreman in the shadowed doorframe whose voyeuristic, intrusive gaze mirrors that of the viewer. Perry’s ability to render impeccable details and sensitive expressions shines in this remarkable American genre scene.

Ref.: Rumrill, Alan F. “Working From Home”. Historical Society of Cheshire County. May 2020. https:// hsccnh.org. Accessed Oct. 21, 2022.

177.

178.

in. x 16 in.,

[$700/1000]

Peter Baumgras (American, 1827-1904), “Still Life of Peaches, Apples and Melon”, 1870, oil on board, signed and dated lower right, 13 1/8 in. x 9 5/8 in., unframed. [$1000/1500]

Gustav Wolff (German/American, 1863-1935), “Urban Landscape”, oil on canvas, signed lower right, artist name and dates inscribed on stretcher, 12

framed.

Albert Fitch Bellows (American, 1829-1883), “Landscape with Cows by the River”, oil on canvas board, signed lower left, 10 in. x 16 1/2 in., framed. [$1500/2500]

Treadway Gallery, Oak Park, IL, Dec. 3, 2000, lot 566.

179. Pair of George III Sterling Silver Candlesticks, Matthew Boulton & John Fothergill, Birmingham, 1777, urn-shaped candle nozzle with removable bobeche, fluted baluster standard with acanthus spreading foot, incurvate plinth base with guilloche chasing on stippled ground, h. 12 3/8 in., filled base. [$2000/3000]

Provenance: Lake Forest Antiquarians, Lake Forest, IL, 1994.

180. Pair of George III Sterling

Silver Candlesticks, John Arnell, London, 1772, act. 1769-1774, urn-shaped candle nozzle with drip pan, tapered octagonal and bell-shaped standard, square base, gadroon decoration throughout, h. 10 1/2 in., wt. 52.60 troy ozs [$2000/3000]

Provenance: Lake Forest Antiquarians, Lake Forest, IL, 1994.

John Barnard, London, 1857, mark reg. 1851, shell, scroll and flower border, flat-chased well centering engraved crest with motto “VELLE EST FACERE”, reverse engraved “JOHN C. JACOB,/ SILVERSMITH,/ LIVERPOOL”, foliate scroll feet, h. 2 in., dia. 17 in., wt. 65.35 troy ozs. [$1500/2500]

181. Victorian Sterling

182.

RK/Aug st 13:1704”, h. 3 in., w. 6 in., wt. 3.85 troy ozs. [$300/500]

184. “King’s” Pattern Silver Partial Flatware Service, 1st half 19th c., associated, incl. 6 table forks (l. 8 1/4 in.), 6 luncheon forks (l. 6 7/8 in.) and dessert spoon, sterling, Chawner & Co. (George William Adams), London, 1846; and 10 tablespoons (l. 8 3/8 in.), 11 dessert spoons (l. 6 5/8 in.) and 7 teaspoons, coin silver, Pelletreau & Upson (Maltby Pelletreau & Stephen Upson), New York, NY, c. 1824; total wt. 92.55 troy ozs. (41 pcs.) [$1000/2000]

Ladle,

tipt handle, l. 13 1/4 in.; together with pair of Victorian sterling serving spoons, Mappin & Webb (John Newton Mappin), London, 1882, each with shell-shaped bowl, ropetwist handle and seal top, l. 8 3/4 in.; total wt. 9.40 troy ozs. (5 pcs.) [$300/400]

185. George III Sterling Silver Soup Ladle and Pair of Matching Gravy Ladles, London, 1803, possibly Richard Cook, handles with downturned tip, l. 12 1/2 in. and 7 in. respectively, total wt. 8.9 troy ozs. [$250/350]

186. English Victorian Sterling Silver Coffee and Tea Service, Joseph Angell and Joseph Angell II, London, 1842, incl. coffee pot, teapot, open sugar and creamer, each paneled octagonal form with flat chased decoration and egg and dart foot, sugar and creamer retain gilt wash interior, coffee pot h. 11 1/2 in., total wt. 71.25 troy ozs. (4 pcs.) [$1500/2500]

Silver Salver, Edward &

Queen Anne Britannia Standard Silver Two Handled Cup, London, 1704, maker’s mark “_O” untraced, scroll handles, central cartouche, gadroon girdle, spiral gadroon lower body, base inscribed “*/

183. George III Sterling Silver Punch

Thomas Wallis II, London, 1799, with shell-shaped bowl and down-turned

187.

, probably Irish, c. 1720-1750, one marked for maker PG, later chased decoration and applied commemorative of the “Glorious Revolution 1688”, h. 6 3/8 in., w. 9 in., combined wt. 40.959 troy ozs. [$1000/1500]

188.

, late 19th c.,

“...B & Co.”,

foliate loop handles, legs with lion’s masks and trifid feet, retains pierced and deep liners, h. 11 in., w. 20 in., d. 12 1/4 in. [$300/500]

189.

191.

193. American Sterling Silver Flatware Service, Dominick & Haff “Rococo” pattern, pat. 1888, ret. Theodore B. Starr, New York, act. 1877-1924, incl. 6 forks (l. 7 1/2 in.), 12 knives (l. 10 in.), 12 forks (l. 6 1/4 in.), 5 dessert knives (fh, sterling blade, l. 8 in.), 6 fish forks (l. 6 7/8 in.), 6 fish knives (fh, sterling handle, l. 8 1/4 in.), 11 cocktail forks, 5 teaspoons, 4 5 o’clock teaspoons, 7 butter knives (fh), 4 fruit knives (fh), 6 tablespoons, bonbon scoop and pickle fork (old style) total wt. (weighable) 108.05 troy ozs. (86 pcs.) [$1200/1800]

194. Tiffany “English King” Pattern

Sterling Silver Flatware Service, pat. 1885, incl. 6 forks (l. 7 5/8 in.), 3 knives (l. 9 1/2 in.), 6 cream soup spoons, 6 dessert spoons, 6 teaspoons, 2 salad forks (l. 6 3/4 in.), and 3 tablespoons; together with 3 associated silverplate knives (l. 9 3/4 in.); total wt. (weighable) 70 troy ozs. (35 pcs.) [$1000/2000]

192. Baltimore Sterling

, incl. coffee pot, teapot, sugar basket, creamer and tray; coffee pot, teapot and tray by S. Kirk & Son, 1932-1961, tray engraved “Whiteacres/ December 25, 1954” and with monogram “PAC” in cartouche, marked “S. KIRK & SON”, “STERLING”, “HAND DECORATED”, and “474” and “122AF” respectively; sugar basket by A.G. Schultz & Co., wc. 1899-1950, ret. J.S. MacDonald Co., wc. 1900-1920, marked “STERLING”, and with A.G. Schultz & Co. trademark and “JS MACDONALD CO”; creamer probably by J. Stuart MacDonald, wc. 1900-1920, marked “S. MACDONALD CO.”, “1155A”, “STERLING”, “925/1000 FINE” with rubbed trademark; coffee pot h. 9 1/4 in., combined wt. 153.55 troy ozs. (4 pcs.) [$4000/6000]

195. Kirk “Old Maryland” Pattern Sterling Silver Flatware Service, pat. 1936, incl. 12 each: forks (l. 7 7/8 in.), knives (l. 9 in.), salad forks, cream soup spoons, and teaspoons; tablespoon, cold meat fork (l. 8 1/2 in.), gravy ladle, sugar shell, tomato server (l. 7 3/4 in.) and demitasse spoon, total wt. (weighable) 79.60 troy ozs. (66 pcs.) [$1500/2500]

196. Set of Twelve Wallace Sterling Silver Wine Goblets, mid-20th c., pattern 14, h. 6 3/4 in.; together with set of 8 Mexican sterling cordials, h. 3 1/8 in.; total wt. 77.10 troy ozs. (20 pcs.) [$1000/1500]

Pair of English Victorian Covered Silverplate Entree Dishes, 19th c., “DP & SONS”, molded rim, cover with foliate scroll and loop handles, h. 6 1/2 in., l. 13 1/8 in., d. 10 1/8 in. [$300/400]

190. Pair of George III Sheffield Plate Candlesticks in the Adam Taste, late 18th c., urn-shaped candle nozzle, tapered standard with reeded collar and circular foot, h. 10 3/4 in. [$300/500]

Set of Twelve English Silverplate Service Plates, marked “MP/Sheffield”, with sawtooth border and engraved anchor crest, dia. 12 1/8 in. [$800/1200]

Silver Repousse Coffee and Tea Service

Pair of Provincial Georgian Sterling Silver Footed Urns

Monumental Antique English Silverplate Revolving Breakfest Tureen

marked

oval retracting domed cover,

197. Gorham “George I” Pattern Sterling Silver Coffee Pot and Teapot, date marks for 1942 and 1941 respectively; TOGETHER WITH a Crichton & Co. sterling tea caddy, and silverplate after-dinner coffee pot by Israel Freeman & Son, h. 8 5/8 in.; total wt. (weighable) 59.95 troy ozs. (4 pcs.) [$1000/1500]

198. Suite of Three American Sterling Silver Serving Platters, Theodore B. Starr, New York, act. 1890s-1924, each shaped oval with molded scroll border, graduated lengths 15 7/8 in., 17 3/4 in. and 19 3/4 in.; total wt. 139.55 troy ozs. [$1500/2500]

199. Good American Sterling Silver Circular Tray in the Neoclassical Taste, early 20th c., Graff, Washbourne & Dunn, New York, NY, act. 1899-1961, successors to Wood & Hughes, serpentine border with vases interspersed with rosette blocks, husk garlands, dia. 14 1/2 in., wt. 35.45 troy ozs. [$500/700]

200. Regency Bronze-Mounted Rosewood Music Cabinet, early 19th c., finialed paneled superstructure with turned supports, grillework door with upholstered backing, bracketed base, h. 54 in., w. 21 1/2 in., d. 16 in. [$800/1200]

202. Regency Carved Mahogany Chiffonier, early 19th c., galleried superstructure with scrolled supports, paneled doors, columnar stiles, double-bun feet, h. 48 in., w. 42 in., d. 16 in. [$700/1000]

203. Regency Carved Mahogany Gentleman’s Dressing Table, c. 1820, stamped “Gillows/Lancaster”, reeded backsplash, top fitted with five lidded compartments, frieze drawer flanked by faux drawers, reeded tapered legs, casters, h. 38 1/2 in., w. 42 in., d. 21 1/4 in. [$1000/1500]

201. Fine Pair of Regency

Carved Mahogany Torcheres, 19th c., dished top, foliate-carved and spiral-reeded standard, stepped plinth base, h. 58 in., dia. 12 in. [$700/1000]

204. Regency Bronze-Mounted Rosewood Bookcase, early 19th c., galleried superstructure with mirrored back, egg and dart molding, columnar supports, conforming base, h. 50 in., w. 49 in., d. 16 in. [$1000/1500]

206. Regency Carved Mahogany Open Bookcase, early 19th c., stepped cornice, bracketed colonnette stiles, molded shelves, conforming case, h. 88 1/2in., w. 38 3/4 in., d. 19 in. [$1200/1800]

205. Regency Carved and Inlaid Mahogany Pembroke Table, early 19th c., banded drop-leaf top, doublelyre base, sabre legs, brass paw feet, casters, h. 29 in., w. 19 in., d. 32 1/4 in. [$600/900]

207. Pair of George IV Carved Mahogany Hall Chairs, c. 1830, trefoil seat back with foliate base, shaped seat, turned and tapered legs, h. 35 1/2 in., w. 17 in., d. 14 1/2 in. [$600/900]

208. William IV Mahogany Writing Table, c. 1835, inset tooled leather top, frieze drawer, turned legs, casters, interior drawer stamped “Platt/ Auctioneer/ and Valuer/ Derby”, h. 28 3/4 in., w. 35 3/4 in., d. 20 1/2 in. [$600/900]

209. Regency Mahogany Chest of Drawers, early 19th c., top with rounded corners, conforming case with quarter columns, plinth base, h. 48 in., w. 48 in., d. 24 in. [$700/1000]

210. Regency Inlaid Mahogany Games Table, early 19th c., segmented veneer fold-over top, blocked frieze, ring-turned flared legs, h. 29 1/2 in., w. 36 in., d. 17 3/4 in. [$600/900]

211. Scottish Carved Mahogany Demilune Console, 19th c., Stamped “WHYTOCK & REID EDINBURGH”, dished top, frieze with sliding extension with foliate pulls, two deep drawers, shaped apron, chamfered legs, trifid feet, h. 30 1/4 in., w. 53 in., d. 22 1/2 in. [$1000/1500]

212. Early Victorian Carved Rosewood Oval Tilt Top Table, mid19th c., gadrooned edge, spiral-turned beaded standard, foliate scrolled paw feet, casters, h. (open) 55 in., h. (closed) 31 in., w. 59 1/2 in., d. 43 1/2 in. [$1200/1800]

213. Sixteen Chinese Chippendale-Style Carved Mahogany Armchairs, heavily scrolled crest rail with applied foliate decoration, reticulated splat, shaped arms with floral terminals, leafcarved cabriole legs, ball and claw feet, h. 39 1/2 in., w. 26 1/2 in., d. 24 in. [$1500/2500]

214. Antique French Neoclassical-Style Giltwood Mirror, rope-molded surround, tasseled dolphin supports, h. 47 in., w. 46 in. [$4000/6000]

215. Antique French Carved Limestone Figure of Cat, figure posted sitting, its tail curled around its paws, integral molded base, h. 21 1/2 in., w. 12 1/4 in., d. 12 1/2 in. [$2000/4000]

216. French Carved Limestone Figure of a Lion, 18th c., recumbent figure, plinth base, h. 16 1/2 in., w. 12 1/2 in., d. 25 1/2 in. [$2000/3000]

217. Louis Vuitton Wardrobe Trunk, early 20th c., all rivets and clasps marked, interior with 34 wood hangers and adjustable clothes presses, all marked, one side with 8 spherical wheels, 22 in. x 44 1/2 in. x 22 in. [$4000/6000]

Provenance: The trunk is marked “L.C.S./Boston/Mass”, for Lucille Casey Swift, and has a name tag “Mrs. George H. Swift, 25 Faneuil Hall Sq, Boston, Massachusetts”. George Hasting Swift was director of meat packing giant Swift & Co.

218. French Belle Epoque Boullework Cave a Liqueur, fitted with removable tray, 4 decanters and 14 liqueur glasses, (1 AS IS), with key, h. 11 in., w. 14 in., d. 11 in. [$700/1000]

222. Two English Leather Shot Buckets, 19th c., swing handles, now with copper liners, h. 13 3/4 in., dia. 5 3/4 in. [$400/600]

223. English Leather Shot Bucket, 19th c., swing handle, canvas interior, h. 13 in., dia. 8 1/4 in. [$300/500]

219. Georgian Tortoiseshell Tea Caddy, 19th c., square form, impressed foliate and bird design to front, interior with single lidded compartment, h. 4 3/8 in., w. 4 in., d. 3 3/4 in. [$800/1200]

220. George IV Green Tortoiseshell Tea Caddy, 19th c., interior with single lidded compartment, h. 4 3/8 in., w. 4 in., d. 3 1/2 in. [$1000/1500]

221. Collection of Painted Lead Figures, 14 on horseback, one marching; together with 14 Elastolin figures. (29 pcs.) [$150/250]

224. English Football Trophy Plaque, c. 1880, mahogany and silver plate repousse copper shield, for the “Football Shield League”, centered by an enamel on copper vignette of a football (soccer) match, h. 22 3/4 in., w. 18 3/4 in., d. 1 in. [$500/700]

226. Large Hermann Seger for KPM Porcelain Jardiniere, late 19th c., marked on removable drain cover “S.gr.P” with scepter, also impressed “M491”, blue and green ground, with elaborate gilt designs, h. 13 in., dia. 15 1/2 in. [$700/1000]

225. Five Antique French Polychrome and Gilt Porcelain Apothecary Jars, each inscribed and variously decorated, incl. “Ung: Nitr: H”, h. 9 3/4 in.; “EXT DE CHICOR”, h. 10 3/4 in.; ‘”ARAB GUMMI”, h. 10 1/2 in.; “FLOR MANZ:R:”, h. 9 3/4 in.; “P:LIRIO FLORENCE:”, h. 10 1/2 in.; and “SEM:HYOSC:N”, h. 11 in. [$1000/2000]

227. Pair of Antique Wedgwood Columnar Porcelain Candlesticks, h. 10 1/4 in., now mounted as lamps, overall h. 17 1/2 in. [$200/400]

228. Pair of Royal Worcester Polychrome Porcelain Figures of Water Carriers, 19th c., marked, h. 18 in. and 16 1/2 in. Note: both lacking vessels at base. [$400/600]

229. French Restauration Carved Mahogany Console, early 19th c., grey marble top with reeded edge, frieze drawer, heavily scrolled supports with paw terminals, incurvate plinth, cylindrical feet, h. 40 3/4 in., w. 49 in., d. 20 1/2 in. [$2000/3000]

231. Louis Philippe Giltwood Mirror, mid-19th c., incised floral decoration, beaded arched surround, h. 39 in., w. 28 in. [$400/600]

230. Continental Neoclassical Giltwood and Parcel Ebonized Mirror, 19th c., floral blocked corners, barley twist surround, beveled mirror plate, h. 32 in., w. 27 1/2 in. [$600/900]

232. Pair of French Neoclassical Bronze-Mounted Mahogany Demilune Tall Commodes, early 19th c., galleried inset marble top, upper cabinet with tambour door and fitted interior, lower cabinet with shelf interior, tapered legs, brass cuffs, h. 43 3/4 in., w. 24 1/2 in., d. 12 1/2 in. [$4000/6000]

Provenance: Parc Monceau Antiques, Atlanta, GA.

235. Italian Neoclassical Inlaid Walnut Commode, 19th c., chamfered top, conforming case with three drawers, stepped tapered legs, h. 37 1/2 in., w. 50 in., d. 24 3/4 in. [$800/1200]

233. Pair of Empire-Style Carved Mahogany Salon Chairs, foliate crest rail, winged figural arms, molded seat rail, canted paw feet, h. 40 in., w. 23 in., d. 20 1/2 in. [$8001200]

Provenance: Neal Auction Company, Sept. 30, 2006, lot 686.

237. Antique Italian Marquetry and Walnut Tilt-Top Table, octagonal top, turned standard, scrolled sabre legs, h. 23 1/2 in., w. 29 1/4 in., d. 29 1/4 in. [$500/700]

238. Dutch Marquetry Inlaid Walnut Tall Chest Secretary, 19th c., ogee cornice, shaped frieze drawer, five lower drawers, conforming base, disc feet, h. 62 in., w. 40 1/2 in., d. 20 in. [$2000/3000]

234.

[$500/700]

236. Antique Continental Red Deer Shed Antler High-Back Armchair, manner of Rampendahl, Hamburg, serpentine seat back with extensive antler crest and frame, leather upholstery with brass nailhead trim, h. 40 1/2 in., w. 25 in., d. 28 1/2 in. [$1500/2500]

239. Pair of Continental Neoclassical-Style Carved Giltwood Mirrors, 19th c., scallop shell and acanthine crest, lion’s head corners, Greek key surround, plaster stiles, h. 57 in., w. 35 in., condition of one mirror plate. [$2000/3000]

Provenance: Bocage Antebellum Home, Darrow, LA

Pair of Continental Faux Marbre Pedestals, sloped top, tapered standard with polychrome putti, plinth base, h. 55 1/2 in., w. 17 in., d. 15 in.

240. American Cast Iron Sugar Kettle, 19th c., with detachable handle, h. 20 1/2 in., dia. 35 1/4 in. [$2000/3000]

Provenance: Bocage Antebellum Home, Darrow, LA

245. Pair of Painted English Cast Iron and Wood Garden Benches, 19th c., naturalistic frame, plank back and seat, h. 36 in., w. 83 1/2 in., d. 19 in., note: condition. [$1500/2500]

Provenance: Sotheby’s May 30, 2007, Lot 108

247. Giant Clam Shell, tridacna gigas, South Pacific, h. 9 in., w. 32 in., d. 21 in. [$1000/1500]

249. Chinese Famille

Verte Porcelain Yenyen Vase, Qing Dynasty (16441911), painted with shaped figural panels on a dense floral ground with cranes, base with double ring mark, h. 17 3/8 in. [$500/700]

241. American Cast Iron Indigo Pot on Stand, 19th c., flared rim with handles, later stand, h. 38 in., dia. 38 in. [$1000/1500]

Provenance: Bocage Antebellum Home, Darrow, LA

243. Two American Rococo Garden Benches, one painted cast iron; the other painted metal; both with serpentine acanthine crest rail, reticulated back and seat, foliate scrolled legs, cast iron h. 34 in., w. 59 in., d. 19 in.; metal h. 36 in., w. 62 in., d. 19 in. [$1000/1500]

Provenance: Bocage Antebellum Home, Darrow, LA

244.

242. American Bronze Schoolhouse Bell, 19th c., labeled “The C.S. Bell Co., Hillsboro O.”, incl. wheel crank, h. 24 in., w. 28 in., d. 24 in. [$800/1200]

Provenance: Bocage Antebellum Home, Darrow, LA

246. Painted Cast Stone Garden Figure of Ares, standing on plinth with dog at base, h. 51 in., w. 20 in., d. 14 in. [$500/700]

248. Giant Clam Shell, tridacna gigas, South Pacific, h. 17 in., w. 37 1/2 in., d. 24 in. [$2800/3200]

250. Two Pairs of Chinese Amber, White and Celadon Crackle Glazed

Vases, larger with everted foliate rims, applied qilong, and brown relief-bands, bases with apocryphal Chenghua marks, one with “Tom Hayes & Associates” shipping label, h. 13 3/8 in.; smaller with brown glazed lingzhi rims, lions mask handles and brown relief bands, bases with apocryphal Chenghua marks, h. 11 3/8 in. [$1500/2500]

Provenance: Tom Hayes, Atlanta, GA

American Rococo Patinated Metal Garden Bench, serpentine acanthine crest rail, reticulated back and seat, foliate scrolled legs, h. 32 in., w. 57 1/2 in., d. 18 in. [$700/1000]

Porcelain

251. Antique Chinese Partial Gilt and Patinated Bronze Figure of Guanyin and Child, probably Ming Dynasty (1368-1644), cast seated in bhadrasana holding a small child, wearing long robes and a phoenix crown, remnant red pigment, “Michael Barber Fine Asian Art / Chicago” label, h. 11 3/8 in., wood stand, overall h. 13 1/4 in. [$3000/5000]

253. Highly Decorative Chinese/ Tibetan Gilt Bronze Figure of Bhaisajyaguru, the Medicine Buddha, modeled seated in vajraparyankasana on a lotus base, right hand resting on the knee, left holding an alms bowl, clad in robes and an antaravasaka tied at the waist, h. 25 in., w. 16 in., d. 11 3/4 in. [$800/1200]

255. Asian Carved Stone Head of Guanyin, serene downcast expression flanked by pendulous earlobes beneathe curled hair, h. 11 1/4 in. [$800/1200]

252. Antique Chinese Partial Gilt and Patinated Bronze Figure of Guanyin, probably Ming Dynasty (1368-1644), cast seated in bhadrasana holding a lingzhi cluster, wearing long robes and phoenix crown, h. 11 3/8 in., wood block seat. [$2000/3000]

256. Asian Carved Stone Bust of Buddhist Figure, serene downcast expression, pendulous earlobes, hair tied in knots, diaphanous robe secured over one shoulder, h. 12 1/2 in., mounted to splayed plinth base, overall h. 16 3/4 in., w. 7 3/4 in., d. 7 3/4 in. [$700/1000]

254. 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]

257. Chinese Carved and Painted Lacquer Eleven Panel Floor Screen, recto carved with an elaborate village waterscape, verso with crane amid pine, rock and lingzhi, one panel inscribed, h. 106 in., w. 198 in. Note: lacking one panel. [$700/1000]

258. Antique Chinese Motherof-Pearl Inlaid Carved Hardwood Cabinet on Stand, paneled front, hidden side door, h. 49 1/2 in., w. 44 1/2 in., d. 23 in.[$700/900]

259. Asian Carved Wood Stool or Mortar, waisted hourglass-form with vertical ridges, h. 19 in., dia. 17 in. [$800/1200]

260. Clementine Hunter (American/Louisiana, 1886-1988), “Wedding”, oil on board, monogrammed lower right, 14 in. x 18 in., framed. [$2500/3500]

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

262. Clementine Hunter (American/Louisiana, 1886-1988), “Angels”, oil on canvas board, monogrammed mid-right, 10 in. x 8 in., framed. [$1500/2500]

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

265. Clementine Hunter (American/ Louisiana, 1886-1988), “Funeral”, oil on canvas board, initialed mid-right, 16 in. x 20 in., framed. [$3000/5000]

Provenance: Estate of James Levernier, Little Rock, AR.

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

261. Clementine Hunter (American/Louisiana, 1886-1988), “Flowering Plant”, oil on canvas, monogrammed lower right, inscribed on stretcher, “The Ann and Jack Brittain & Children Collection” label with title on backing paper, 20 in. x 16 in., framed; accompanied by a copy of a certificate of authenticity. (2 pcs.) [$4000/6000]

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

263. Clementine Hunter (American/Louisiana, 18861988), “Two Women”, oil on canvas, monogrammed lower right, 9 in. x 12 in., framed. [$1500/2500]

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

264. Clementine Hunter (American/Louisiana, 1886-1988), “Boating on the Cane River”, oil on board, monogrammed mid-right, inscribed en verso, 14 in. x 18 in., framed. [$3000/5000]

Provenance: Estate of James Levernier, Little Rock, AR.

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

267. Clementine Hunter (American/Louisiana, 1886-1988), “Wake”, oil on canvas board, monogrammed mid-right, inscribed en verso, 18 in. x 24 in., framed; accompanied by a copy of a certificate of authenticity from Gilley’s Gallery, Baton Rouge, LA. (2 pcs.)

[$4000/6000]

Provenance: Estate of James Levernier, Little Rock, AR.

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

266. Clementine Hunter (American/Louisiana, 1886-1988), “Flower Garden”, oil on canvas, monogrammed lower right, 22 in. x 28 in., framed. [$4000/6000]

Provenance: Estate of James Levernier, Little Rock, AR.

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

268. Clementine Hunter (American/Louisiana, 1886-1988), “Saturday Night on Cane River”, oil on board, monogrammed mid-right, label with title and letter regarding provenance attached to backing paper, 18 in. x 23 3/4 in., framed.

[$4000/6000]

Provenance: Estate of James Levernier, Little Rock, AR.

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

269.

Provenance:

Note:

270.

Provenance:

Note:

271.

272.

Provenance:

Note:

Provenance:

Note:

273. Clementine Hunter (American/Louisiana, 1886-1988), “Baptism”, oil on board, monogrammed mid-right, 16 in. x 19 in., framed. [$3000/5000]

Provenance:

Note:

Clementine Hunter (American/Louisiana, 1886-1988), “Big Chicken Pulling a Cart”, oil on canvas board, monogrammed lower right, 16 in. x 20 in., framed. [$3000/5000]

Estate of James Levernier, Little Rock, AR.

This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

Clementine Hunter (American/Louisiana, 1886-1988), “Funeral”, oil on board, monogrammed mid-right, inscribed en verso, 18 in. x 24 in., framed. [$4000/6000]

Estate of James Levernier, Little Rock, AR.

This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

Clementine Hunter (American/Louisiana, 1886-1988), “Cotton Picking”, oil on canvas board, initialed mid-right, inscribed en verso, 16 in. x 20 in., framed. [$3000/5000]

Estate of James Levernier, Little Rock, AR.

This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

Clementine Hunter (American/Louisiana, 1886-1988), “Hauling Cotton and Cotton Gin”, oil on canvas board, initialed lower left, inscribed en verso, 16 in. x 20 in., framed. [$3000/5000]

Estate of James Levernier, Little Rock, AR.

This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

Estate of James Levernier, Little Rock, AR.

This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

274. Clementine Hunter (American/Louisiana, 1886-1988), “Wedding”, oil on canvas board, initialed mid-right, 16 in. x 20 in., framed. [$3000/5000]

Provenance: Estate of James Levernier, Little Rock, AR.

Note: This lot has been authenticated by

275. Clementine Hunter (American/Louisiana, 18861988), “Funeral”, oil on canvas, signed lower left, 10 in. x 13 3/4 in., framed. [$2000/3000]

Provenance: Estate of James Levernier, Little Rock, AR.

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

276.

Note:

277. Clementine Hunter (American/Louisiana, 1886-1988), “Flower Garden”, c. 1958, hand-sewn and appliqued quilt, stitched monogram lower right, 71 in. x 51 in., mounted in shadowbox frame. [$3000/5000]

Provenance: Created by the artist for Naomi Marshall, New Orleans, LA; Neal Auction Company, Feb. 6, 1999, lot 258.

Note: This lot has been authenticated by renowned Clementine Hunter

278. Clementine Hunter (American/ Louisiana, 1886-1988), “Cotton Gin”, oil on board, monogrammed lower right, inscribed, biography and photograph of artist attached en verso, 15 1/4 in. x 24 in., framed. [$4000/6000]

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

expert Tom Whitehead.

renowned Clementine Hunter expert Tom Whitehead.

Clementine Hunter (American/Louisiana, 1886-1988), “African House”, oil on canvas board, monogrammed lower right, 16 in. x 20 in., framed. [$4000/6000]

This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

280.

Newcomb College Art Pottery

High Glaze Vase, 1912, decorated by Marie de Hoa LeBlanc, with incised iris design; blue, green, and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. FF51, and “Q” for buff clay body, h. 2 1/2 in., dia. 4 in. [$1500/2500]

282. Newcomb College Art Pottery Vase and Stand, 19311935, hand-built by Rosalie Roos Wiener, high glaze, on molded stand, Newcomb hand built cipher, vase and base with signature, vase h. 7 3/8 in., dia. 2 1/2 in., h. with base 8 1/4 in. [$600/800]

283. Shearwater Art Pottery Flower

Pot Saucer, c. 1942, jiggered by Peter Anderson, decorated by Walter Inglis Anderson with fish design, impressed stamp on base, dia. 8 5/8 in., with Shearwater certificate. [$700/1000]

279. Clementine Hunter (American/Louisiana, 1886-1988), “Funeral”, oil on canvas board, monogrammed mid-right, inscribed en verso, 18 in. x 24 in., framed. [$4000/6000]

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

281. Newcomb College Art Pottery

Candlestick, 1918, decorated by Sadie Irvine, in daffodil design, matte glaze, blue, green, and yellow underglaze, Newcomb cipher, decorator’s mark, reg. no. JV1, h. 7 1/4 in., d. 4 1/4 in. [$800/1200]

284. Shearwater Art Pottery Flower

Pot Saucer, c. 1942, jiggered by Peter Anderson, decorated by Walter Inglis Anderson with duck design, impressed stamp on base, dia. 8 5/8 in., with Shearwater certificate. [$700/1000]

285. George Ohr Art Pottery Creamer, c. 1883-1898, marked, speckled green glaze, h. 2 1/4 in., w. 4 in., d. 3 1/4 in. [$700/1000]

287. Two Southern Stoneware Advertising Jugs, 19th c., incl. “A.P. Simms, Fine Whiskies, Natchez, Miss” and “S. Richard & Sons, Fine Liquors, Mobile, Ala.”, h. 11 1/4 in., dia. 6 3/4 in. [$300/500]

289. Four New Orleans Stoneware Advertising Jugs, 19th c., incl. “I.L Lyons & Co.”, “Lausalot & Barrene”, “King Bros. & Saint”, and “O.B Delord”, largest h. 15 1/2 in., dia. 9 1/2 in. [$400/600]

286. Four New Orleans Stoneware Crocks, 19th c., incl. two 4 gallons with cobalt decoration, and two smaller, all with impressed marks, large crocks h. 15 in., dia. 10 in. [$500/700]

291. Three New Orleans Stoneware Advertising Jugs, 19th c., incl. “Crescent City Wine Cellar”, “Liberty Wine Cellar”, and “Estate Charles Feahney”, largest 15 3/4 in., dia. 10 in. [$300/500]

288. Three New Orleans/Algiers Stoneware Advertising Jugs, 19th c., two from Carstens & Vezien, another from Abascal & Bro. Ltd., largest h. 13 3/4 in. dia. 8 1/2 in. [$250/350]

290. Two New Orleans Stoneware Advertising Jugs, 19th c., incl. a 5 gallon jug from “E.A. Zatarain & Sons”, and a “Harry Hyman & Co, Pickles, Vinegar & Catsup”, larger h. 18 1/2 in., dia. 10 1/2 in. [$300/500]

292. Two American Stoneware Crocks, with blue floral decoration, taller h. 9 1/4 in., dia. 6 1/2 in. [$800/1200]

293. Gorham Medallion Sterling Silver Syrup Pitcher, date mark for 1870, marked “STERLING/ lion-anchor-G/190/C”, hinged cover with medallion thumbpiece, vasiform footed body with angular handle, h. 6 1/2 in., together with associated sterling underplate, dia. 4 3/8 in., total wt. 8.5 troy ozs. [$500/700]

294. Set of Six American Sterling Silver Cabinet Cups and Saucers in the Neoclassical Taste, c. 1900-1920, overall h. 3 1/8 in., saucer dia. 5 1/2 in., weight 48.50 troy ozs. [$800/1200]

Provenance: Descended in a New Orleans Family.

295.

Group of New Orleans Sterling

Silver Souvenir Spoons, c. 1900, Wm. B. Durgin, act. 1880-1905, ret. M. Scooler, New Orleans, act. 1842-1900; incl. incl. 13 teaspoons (l. 5 3/4 in.), orange spoon (l. 6 in.) and demitasse spoon (l. 4 1/2 in.), each handle decorated with pelican, cotton bale and sugar cane on front, and “NEW ORLEANS, LA” raised on reverse, total wt. 13.75 troy ozs. (15 pcs.) [$200/400]

Ref.: Crescent City Collection, pp. 110-111 and 123, ill. 118-120, p. 110.

296.

ring, l. 14 in, wt. 6.7 troy ozs. [$500/700]

Note: Probably Laura Hall Holt (1815-1899), wife of Dr. Samuel D. Holt (1803-1863), Montgomery, AL. Portrait of Dr. Holt is illustrated in The National Society of the Colonial Dames of America “Louisiana Portraits”, p. 130. Water dippers were used to serve well water in the 19th c. South. Coin silver examples are rare.

[$500/700]

8 1/4 in., combined wt. 6.90 troy ozs. [$700/1000]

Ref.: Crescent City Silver, pp. 66-67, 120, marks ill. p. 125

Ref.: Crescent City Silver, p. 70.

Note: A French Colonial silver tablespoon with a near-identical “Coquet” engraving sold in these rooms December 3, 2016, Lot 483. “Coquet” possibly refers to Bernard Coquet, who was proprietor of a ballroom where free people of color held weekly dances in the late 18th century. In 1809 he initiated the “Blue Ribbon Balls” which became the celebrated Quadroon Balls. New Orleans City Directories list: (1805) J.B. Coquet residing at 27 Rue St. Philippe,(1811) Bernard Coquet residing at 27 St. Philip St., and (1822) Jacques Bernard Coquet as proprietor of the St. Philip Theatre at 32 and 39 St. Philip St.

Ref.: Clark, Emily. Masterless Mistresses: The New Orleans Ursulines and the Development of a New World Society 1727-1834, p. 149; Toledano, Rouhlac. The National Trust Guide to New Orleans, p. 206.

299. Pair of Louis XV Silver Candlesticks, Bayonne, 17691775, maker IB untraced, octagonal paneled and bell-shaped standard over shaped circular base, h. 9 3/4 in., wt. 38.35 troy ozs. [$2000/3000]

Provenance: Lake Forest Antiquarians, Late Forest, IL, 1986.

300. Associated Set of Four Antique

Table Candlesticks, probably 18th c., unmarked, paneled and bell-shaped standard over octagonal stepped base, h. 8 3/4 in., total wt. 54 troy ozs. [$2000/4000]

French Silver

297. Three New Orleans Coin Silver “Uniplat” Tablespoons, Jean-Noel Delarue (b. Baccalans, Bourdeaux, 1776, d. New Orleans, 1842, act. New Orleans 1802-1842), one marked “Delarue” in elongated oval flanked by butterflies in octagonal cartouches, 2 marked “De/Larue” in elongated oval flanked by bees in octagonal cartouches, each

298. New Orleans Coin Silver “Uniplat” Tablespoon, Louis-Gabriel Couvertie (b. St. Marc, Ste. Domingue, c. 1779, d. New Orleans, 1844); act. Ste. Domingue 1803, Santiago de Cuba 1803-1809, Baltimore 1809-1815, New Orleans 1815-1844); marked “L. Couvertie” in conforming cartouche, l. 8 3/8 in.; together with French Colonial coin silver “Uniplat” table fork, probably New Orleans or Ste. Domingue, early 19th c., double struck with star punch, engraved “Coquet”, l. 8 in., combined wt. 4.90 troy ozs.

Rare American Coin Silver Repousse Water Dipper, c. 1850, unmarked, bowl with flowers and scrolls centering cartouche engraved “To/ Mrs. Laura Holt/from/ Mrs. Rebecca Holt/ 1857”, reeded hollow handle with berry terminal and hanging

303. Rare New England William and

Walnut Highboy, early 18th c., likely New Haven or Boston, stepped cornice, bolection frieze drawer, upper case with five drawers, lower case with three drawers, shaped apron, trumpet-turned legs, serpentine stretcher, bulbous feet, oak and white pine secondary woods, h. 67 in., w. 40 1/2 in., w. 21 3/4 in. [$10000/15000]

Provenance: Antiquarians Grace and Elliot Snyder, South Egremont, MA, 2011.

Note: Bolection frieze drawer bottom includes pencil inscription “the Property of Hannah Jones, came from England in the year 1662.”

301. Connecticut Queen Anne Carved Cherrywood Highboy, c. 1750, bonnet top with broken arch cornice, turned finials, fan-carved drawers, scalloped apron, cabriole legs, pad feet, dovetailed case, pine secondary wood, h. 86 in., w. 38 1/2 in., d. 21 1/2 in. [$20000/30000]

Provenance: Kenneth E. Tuttle Antiques, Gardiner, ME, 2005.

Note: In the 1730s, Boston cabinetmakers applied Queen Anne design features like the broken-arch cornice and cabriole legs to the flat-top William & Mary-style high chest. This distinctively American design became popular with cabinetmakers throughout New England. The fine example offered here, constructed of cherrywood, includes features such as pad feet, fan carvings, a dovetailed case, and drop-finials that are hallmarks of this quintessential New England form.

Ref.: “Chest of Drawers.” The Metropolitan Museum of Art. metmuseum.org/art/collection/search/4278.

Accessed October 27, 2022.; “High Chest.” Historic New England. historicnewengland.org/explore/collectionsaccess/gusn/172354/. Accessed October 27, 2022.

302. Massachusetts Chippendale Mahogany Reverse Serpentine Chest of Drawers, c. 1760, shaped molded edge top, conforming case with four cockbeaded drawers, stepped base, bracketed claw and ball feet, white pine secondary wood, h. 32 in., w. 37 1/4 in., d. 21 3/4 in. [$12000/15000]

Provenance: Valdemar F. Jacobsen Antiques, Cold Spring Harbor, NY, 1989.

304. Rare New England Queen Anne Tiger Maple Highboy, c. 1750, Salem, molded ogee cornice, upper case with five graduated drawers, lower case with one long drawer over three deep drawers, center drawer with shell carving, scalloped apron, scrolled brackets, cabriole legs, pad feet, h. 75 3/4 ., w. 40 in., d. 20 in. [$12000/18000]

Provenance: Kenneth E. Tuttle Antiques, Gardiner, ME, 1990.

305. Antique Philadelphia

Chippendale-Style Carved Mahogany

Corner Cabinet, broken arch crest with tasseled rosette terminals, centered by a cabochon cartouche with bellflower, raised panel doors, interior with scalloped shelves, molded base on tall scalloped bracket feet, h. 95 in., w. 45 in., d. 20 1/2 in. [$1500/2500]

Mary

306. Rare Virginia Federal Inlaid Black Walnut Chest of Drawers, c. 1800-1810, Shenandoah Valley, banded edge top and drawers, raised base with splayed bracket feet, yellow pine, poplar walnut, and sycamore secondary woods, h. 42 3/4 in., w. 39 1/4 in., d. 21 in. [$3000/5000]

Provenance: Estate Antiques, Charleston, SC, 1992; thoroughly examined by expert John Bivens, Wilminton, NC, in 1991 (see accompanying document).

307. Rare Virginia Federal Inlaid Walnut Huntboard, c. 1790-1800, center drawer flanked by two deep drawers, arched apron, patera-inlaid stiles, tapered legs, yellow pine secondary wood, h. 44 3/4 in., w. 56 1/2 in., d. 20 in. [$3000/5000]

Provenance: David Stockwell, Inc., Wilmington, DE.

308. Acadian Carved Cypress Desk, 19th c., galleried hinged slant top, two drawers, scalloped apron, bracket feet, h. 32 1/2 in., w. 34 1/2 in., d. 18 in. [$500/700]

309. Acadian Cypress Table, labeled “hand crafted by Don Brasseaux, Breaux Bridge”, plank top, tapered legs, h. 30 in., w. 62 in., d. 31 in. [$600/900]

310. Acadian Cypress Bench, labeled “hand crafted by Don Brasseaux, Breaux Bridge”, plank seat, tapered legs, h. 19 1/2 in., w. 53 in., d. 15 1/2 in.

[$500/700]

313. Three Antique American Painted Papier-Mache Birds, life-size shore birds, tallest h. 15 1/2 in. [$1500/2500]

311. New Orleans Advertising Sign and Stoneware Jugs, 19th c., I.L. Lyons & Co., New Orleans, incl. four stoneware jugs, largest a 5 gallon, h. 17 1/2 in., dia. 15 in.; together with painted sign, 22 in. x 38 in. [$800/1200]

312. Antique Acadian Handspun Woven Cotton Blanket, c. 1900, constructed in two panels, 63 in. x 81 in. [$400/600]

314. Three Antique Duck Decoys, canvasback duck, c. 1910, by James Holly (18551935), Havre de Grace, Maryland; a redhead drake, 1972, signed by Madison Mitchell, Havre de Grace, Maryland; and another, longest l. 16 in. [$300/500]

315. Antique Oval Needlepoint of the Sacred Heart, surrounded by lilies and roses. convex glass frame, h. 22 1/2 in., w. 18 1/2 in. [$500/700]

317.

Tiffany Studios “American

Indian” Pattern Bronze Letter Stand, marked “TIFFANY STUDIOS/ NEW YORK/ 118”, h. 6 in., w. 11 1/8 in., d. 2 3/4 in. [$300/500]

319. Pair of American Classical Brass Andirons, c. 1830, New York, ribbed standard and feet, h. 21 1/2 in., w. 12 in., d. 25 1/2 in. [$600/900]

318. Large Handel Bronze and Leaded Glass Table Lamp, c. 1915, stylized floral base and magnolia-design shade both marked “HANDEL”, five cluster Hubbell sockets, with acorn pulls, h. 30 1/2 in., dia. 24 1/2 in. [$3500/5500]

316. Tiffany Studios

“Vine Border” Table Lamp, shade impressed “TIFFANY STUDIOS/NEW YORK”, base stamped “TIFFANY STUDIOS/ NEW YORK/618”, leaded glass, patinated bronze, h. 18 1/2 in., dia. 12 1/4 in. [$7000/10000]

320. Pair of Antique American or English Aesthetic Iron Andirons, c. 1900, stylized floral design, arched legs, h. 31 in., w. 12 in., d. 22 in. [$600/900]

321. Fine American Ship Model of the H.M.S. Bounty, c. 1987, made by Edward A. de la Cruz, Empire, LA, finely detailed carved and painted wood, cord, wire, and cast metal, on a base modeled as an authentic ship launch, h. 43 in., length 52 in., d. 23 1/2 in. [$5000/7000]

50

322. Rare American Mahogany Arts and Crafts Cigar Humidor, c. 1911, attr. to William Woodward (1859-1939), New Orleans, with label “NC WW Lounge 1911”, rectangular top with raised block corners and brass nail heads, divided interior with central well, the frieze with rectangular plaques, slatted sides, square channeled legs, stretcher with open coffer, on block feet, h. 27 3/4 in., w. 19 1/2 in., d. 22 in. [$1200/1800]

Provenance: Janvier Family, St. Francisville, LA; Neal Auction, New Orleans, Oct. 22, 2002, lot

327.

323. Alberta Kinsey (American/ Louisiana, 1875-1952), “Still Life of Flowers and Fruit”, oil on canvas, signed lower right, 24 1/8 in. x 20 1/8 in., framed. [$1000/1500]

325. J. Ralph Wilcox (American/Florida, 1866-1915), “Everglades”, watercolor on paper, unsigned, artist label on backing board, 14 in. x 5 1/4 in., framed. [$800/1200]

324. Alberta Kinsey (American/ Louisiana, 1875-1952), “Pirate’s Alley”, oil on canvas board, signed lower left, 14 3/16 in. x 11 1/8 in., framed. [$1500/2500]

326. Charles Reinike, Jr. (American/ Louisiana, 1906-1983), “The Cabildo”, “Jean Lafitte’s Tavern” and “St. Anthony’s Garden, St. Louis Cathedral”, 3 watercolors on paper, each signed, all inscribed on backing paper, 7 1/2 in. x 10 1/2 in. to 10 1/2 in. x 7 1/2 in., framed alike. (3 pcs.) [$1200/1800]

328. Colette Pope Heldner (American/Louisiana, 1902-1990), “Antoine’s, New Orleans, LA”, 1928, oil on board, signed lower right, titled and dated on backing board, 10 in. x 8 in., framed. [$2000/3000]

William Ousley (American/Louisiana, 1866-1953), “West Fork of Calcasieu River, LA. No. 412, Autumn”, 1930, oil on canvas, signed lower right, titled lower center, signed, titled and inscribed en verso, 19 1/8 in. x 34 in., framed. [$1000/1500]

333. Alexander John Drysdale (American/Louisiana, 1870-1934), “Sailboats on the Horizon”, 1912, oil on board, pencil-signed and dated lower right, 18 3/8 in. x 24 1/4 in., framed. [$6000/8000]

334. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Landscape with Moss-Laden Live Oaks and Cabin”, 1897, oil on canvas, signed and dated lower left, 20 in. x 25 in., framed. [$10000/15000]

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

330. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou Scene with Live Oak Tree”, oil wash on board, pencil-signed lower left, 15 in. x 40 in., framed. [$2500/3500]

331. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou Scene with Live Oak”, oil wash on board, signed lower right, 20 in. x 29 7/8 in., framed. [$1500/2500]

332. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou”, oil wash on board mounted to heavy board, pencil-signed lower center, 20 in. x 30 in., framed. [$1000/1500]

339. William Woodward (American/Louisiana, 18591939), “Asheville, North Carolina”, oil on board, signed lower left, 8 in. x 10 in., framed. [$1000/1500]

Provenance: Neal Auction Company, Sept. 11, 2010, lot 398.

335. Alexander John Drysdale (American/ Louisiana, 1870-1934), “Louisiana Bayou Landscape with Oak Trees and Waterlilies”, 1917, oil wash on board, pencil-signed and dated lower left, 20 in. x 30 in., framed. [$3000/5000]

Provenance: Descended in the Faust Family, New Orleans, LA; Neal Auction Company, Feb. 23, 2013, lot 397; Private Collection.

336. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou Landscape with Tall Cypress Trees”, 1917, oil wash on board, pencil-signed and dated lower right, 30 in. x 20 in., framed. [$3000/5000]

340. Ellsworth Woodward

(American/Louisiana, 1861-1939),

“Still Life of Vase with Tulips”, watercolor on board, pencil-initialed lower right, “Dr. James W. Nelson Collection, Gonzales, LA” label with artist, title and provenance and “LeMieux Galleries, New Orleans, LA” label on backing paper, 15 3/8 in. x 11 1/4 in., framed.

[$2000/3000]

Provenance: Carl Woodward, New Orleans, LA; Dr. James W. Nelson, Gonzales, LA; Neal Auction Company, Oct. 12, 2002, lot 609.

337. William Woodward (American/Louisiana, 1859-1939), “Still Life with Pineapple”, 1899, oil on canvas, signed, dated and inscribed “N.O. La” lower left, incised initials and date lower right, pencil-signed and “Tulane University” inscribed on stretcher, 16 in. x 20 in., framed. [$6000/8000]

338. William Woodward (American/Louisiana, 1859-1939), “Feeding Birds by the Pier, New England”, 1890, watercolor on paper, signed and dated lower left, 14 in. x 19 7/8 in., framed. [$600/800] Provenance: Neal Auction Company, Sept. 15, 2018, lot 318.

341. Ellsworth Woodward (American/Louisiana, 18611939), “The Elder (Joseph Meyer)”, watercolor on board mounted to heavy board, signed lower left, 15 in. x 10 1/2 in., framed. [$2000/3000]

Exh.: “Louisiana Artists: From the Collection of Dr. and Mrs. James W. Nelson”, Union Building Gallery, Louisiana State University, Baton Rouge, LA, July 15, 1968, and listed in the accompanying catalogue.

344. Clarence

“Market Day: Saturday Night”, oil on canvas, signed and titled en verso, handwritten label with artist and title on reverse of frame, 25 1/4 in. x 30 in., framed. [$18000/25000]

Provenance: Neal Auction Company, May 18, 1996, lot 334.

342. Harry Armstrong Nolan (American/Louisiana, 1891-1929), “French Quarter Street Scene”, 1920, oil on canvas, signed and dated lower right, 23 in. x 30 in., framed. [$3000/5000]

343. Robert Wadsworth Grafton (American, 1876-1936, active New Orleans, 1916-1920), “Reflections of Luggar’s Landing, New Basin Canal”, 1918, oil on canvas board, signed and dated lower right, artist name inscribed en verso, 16 in. x 20 in., framed. [$20000/30000]

Provenance: Neal Auction Company, Jan. 30, 2010, lot 324.

Note: In the early twentieth century, American Impressionism started flourishing in the Midwest, centered in Indianapolis and South Indiana’s Brown County art colony (which had ties to Chicago). Inspired and encouraged by the artists T.C. Steele, William Forsyth and John Ottis Adams—collectively known as the Hoosier Group—the next generation of artists were motivated to paint landscapes of the world around them.

Robert Grafton and his friend and fellow Indiana artist, Louis Oscar Griffith, often visited New Orleans where they were captivated by the historic buildings and waterways that made up the city as well as the lively art community which was largely centered in the French Quarter. In the painting offered here, Grafton used thick, lush brushwork to beautifully render the reflections of the boats in the water of the New Basin Canal. Luggers were small single sail wooden boats used regionally to bring seafood (mainly oysters) from the coast to the city, and they were extremely important to the economy of New Orleans during the 1914 to 1920 period in which Grafton painted. As shipping and refrigeration technology evolved, the canal became less and less important, and by 1950 it was completely filled in to create the Laffite Corridor, Pontchartrain Express Way and West End Boulevard. Grafton’s painting captures the vibrancy and color of a very particular time in the city’s history.

Millet (American/Louisiana, 1897-1959),

345.

347. Attributed to Angela Gregory (American/Louisiana, 1903-1990), “Woman Seated with Flowers (After Vincent Van Gogh)”, double-sided oil on panel, unsigned, 12 in. x 16 in., unframed. [$800/1200]

348. Caroline Wogan Durieux (American/Louisiana, 1896-1989), “Less is Better”, ink on board, signed upper right, titled lower left, 9 5/8 in. x 9 in., framed. [$700/1000]

346. Morris Henry Hobbs (American/ Louisiana, 1892-1967), “Green Door”, 1938, watercolor on paper, signed and dated lower left, inscribed “New Orleans” lower right, “Jean Bragg Gallery” label with title and artist attached to backing paper, 14 in. x 10 in., framed.

[$700/1000]

349. Ralph A. Richards (American/ Alabama, 20th c.), “Oysterman, Bayou La Batre”, oil on canvas, signed lower right, label with artist and title en verso, 36 in. x 24 in., framed.

[$800/1200]

350. Marie Atkinson Hull (American/ Mississippi, 1890-1980), “Field of Flowers [California]”, oil on board, signed lower right, pencil-signed, titled and inscribed en verso, 12 in. x 15 3/4 in., framed. [$2000/3000]

Provenance: Descended in the family of the artist.

Clarence Millet (American/Louisiana, 1897-1959), “French Quarter House and Garden Courtyard”, oil on canvas board, signed lower left, 12 3/4 in. x 16 1/4 in., framed. [$6000/8000]

351. Marie Atkinson Hull (American/Mississippi, 1890-1980), “Florida Palms”, watercolor and graphite on paper, unsigned, 12 in. x 8 7/8 in., matted. [$1200/1800]

Provenance: Descended in the family of the artist.

352. Marie Atkinson Hull (American/Mississippi, 1890-1980), “Boat Coming In (Tarpon Springs, FL)”, 1925, oil on canvas board, signed lower right, signed, titled and inscribed en verso, handwritten label with artist, title and date on reverse of frame, 20 in. x 16 in., framed. [$7000/10000]

Note: In 1925, Marie Hull and her husband, Emmett embarked on a cross-country road trip eventually ending up in St. Petersburg, Florida. The Hulls enjoyed the city so much that Emmett set up an architecture office there while Marie visited the nearby coastal towns to document the charming local sights including the scenes of Tarpon Springs, which is the setting for the painting offered here. In it, energetic brushstrokes simulate the rippling reflections of a boat as it makes its ways to dock. Hull’s masterful understanding of color shines in the vibrant pinks and yellows of the boat and its contents as well as in the transformation of the hues as they descend into the murkier oranges and tinged blues in the reflection below.

Ref.: Levingston, Bruce. Bright Fields: The Mastery of Marie Hull. Jackson: University Press of Mississippi, 2015.

353. Bruce Bordelon (American/Louisiana, b. 1940), “Springtime in Shreveport”, 2007, oil on canvas board, signed, titled and dated en verso, 16 in. x 20 in., framed. [$600/800]

354. Marie Atkinson Hull (American/Mississippi, 18901980), “Mildred”, oil on canvas, unsigned, typed letter with title and provenance attached en verso, 47 3/4 in. x 39 in., framed. [$6000/8000]

Provenance: Acquired from the artist.

355. Frank Neal (American/ Mississippi, 20th c.), “Forest Landscape”, 1975, oil on masonite, signed and dated lower left, 20 in. x 24 in., framed. [$300/500]

356. Eleanor Greaves Sutherland (American/Mississippi, b. 1964), “Still Life of Fruit Baskets”, oil on clayboard, signed lower right, 8 in. x 10 in., framed. [$400/600]

360. Grace T. Granger (American/ Louisiana, 20th c.), “Portraits of Edward Avery McIlhenny (1872-1949)”, ink and graphite on paper and graphite on tracing paper, one signed lower left, inscribed lower right and pencilinscribed with sitter name en verso, with handwritten label with artist and sitter, 17 13/16 in. x 13 13/16 in. and 17 in. x 13 3/8 in. both unframed. (2 pcs.) [$300/500]

359. Nathalie Comte (American, 1874-1940, active New Orleans, 19241937), “First Portrait of Huey P. Long”, 1926/1936, oil on canvas, signed and dated “1936” lower left, signed, titled and dated “1926” en verso, “The Farish Art Store, New Orleans” label on stretcher, 26 in. x 22 1/4 in., framed. [$20000/30000]

Note: Little is known about artist Nathalie M. Comte aside from what can be gleaned from the 1924 New Orleans Directory that lists her as a “decorative artist” and a short article and advertisement in The Times-Picayune dated 1932. Comte was born in Frieberg, Switzerland in 1874 or 1875 and came to the United States through Ellis Island in 1896, eventually settling in Louisiana in 1911. In 1932, The Times-Picayune lists a “New Studio in Town” for “Madame Comte” at 718 Orleans Street while mentioning that her paintings have been exhibited in Chicago and “a few more are to be shown at the World’s Fair next year,” referring to the “Century of Progress” themed World’s Fair held in Chicago in 1933.

Comte painted the likenesses of several important Louisiana public figures such as Mayor Robert Maestri, Justice Harney Felix Bruno and Tulane Professor Hal. W. Mosely. The most famous of her sitters was the iconic and controversial Governor Huey P. Long. In the lot presented here, the dates 1926 en verso and 1936 en recto suggest that Comte—who likely painted the painting from life in 1926 and inscribed it as her “first portrait” of Long— possibly revisited it after this 1935 assassination. She then painted a similar, later portrait of Long dated 1937. Currently in the collection of the Louisiana State Museum, said portrait shows the state capitol built in 1930 in the background and Long holding a sketch of the bridge that bears his name in Jefferson Parish which opened in 1935.

Comte died in 1940 in Chicago leaving few details about her remarkable work as a soughtafter female artist in New Orleans painting some of the most influential men of the era.

Ref.: “First Portrait of Huey P. Long”. Huey Long Portrait. www.hueylongportrait.com. Accessed Oct. 25, 2022. “Up and Down the Street”. The Times-Picayune. Nov. 15, 1932.360.

361. American School, 20th c., “Man in a Rowboat”, watercolor on paper, unsigned, 10 in. x 15 in., framed. [$800/1200]

357. Stan Farnham (American/Texas, b. 1920), “Gulf Coast”, gouache on board, signed lower left, 14 1/2 in. x 21 1/4 in., unframed. [$700/1000]

358. Louis Edward Jones (American/Tennessee, 1878-1958), “A Sunlit Cove”, 1934, oil on canvas board, signed and dated lower right, signed, titled and dated en verso, 8 1/4 in. x 10 1/4 in., framed. [$700/1000]

362. American Rococo Carved and Laminated Rosewood Triple-Back Settee, mid-19th c., attr. to John Henry Belter, New York, scroll pattern, serpentine seat rail, cabriole legs, scroll toes, h. 38 1/2 in., w. 66 1/2 in., d. 32 in. [$1000/1500]

364. Pair of American Rococo Carved and Laminated Rosewood Side Chairs, c. 1850-1860 attr. to John Henry Belter, New York, fruit and foliate crest with grape clusters, round seats, shaped apron, cabriole legs, scroll toes, casters, cut velvet upholstery, h. 36 in., w. 20 in., d. 22 in.

[$1000/1500]

Provenance: Bocage Antebellum Home, Darrow, LA

363. Three American Rococo Carved and Laminated Rosewood Side Chairs, c. 1850-1860, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Rosalie”, fruit and floral crest, scrolled crest rail, serpentine seat, cabriole legs, casters, h. 37 1/2 in., w. 19 in., d. 18 in. [$1000/1500]

365. American Rococo Carved and Laminated Rosewood Sofa, 19th c., attr. to John Henry Belter, New York, in the pattern commonly referred to as “Rosalie”, triple back with floral and fruit crests, scrolled crest rail, molded arms, serpentine seat rail with carved rosettes, cabriole legs, casters, h. 39 1/2 in., w. 66 in., d. 25 in. [$1000/1500]

Provenance: Bocage Antebellum Home, Darrow, LA

366. American Rococo Carved Mahogany Music Cabinet, mid-19th c., New York, possibly J. & J.W. Meeks, acanthine crest centered by a floral cartouche, scrolled mirrored doors flanked by spiral-turned colonnettes, conforming lower case with applied reticulated panels with antique silk backing, serpentine apron, roundel feet, h. 78 in., w. 39 1/4 in., d. 22 1/2 in. [$1000/1500]

368.

Provenance:

367.

[$2000/3000]

[$7000/10000]

Note: This half-tester bed shares the same distinctive features, including its overall form and cluster column posts with mosquito net poles, as a well-documented bed at Lansdowne in Natchez, Mississippi that came from famed New Orleans retailer Prudent Mallard.

Ref. Otto, Cecilia. American Furniture of the Nineteenth Century. New York: Viking, 1965, pl. 289.

369.

Provenance: Estate of Reuel Lacy “Sonny” and June Ann Anderson, Baton Rouge, LA.

Note: The exceptionally rare mahogany poster bed in the present lot is nearly identical in proportions and overall form to a full-tester bed featuring a “D. Barjon” stencil, held in a private New Orleans collection. Dutreuil Barjon, a free person of color, was born in Saint Domingue in 1799 and immigrated to New Orleans as a teenager. Barjon apprenticed under cabinetmaker Jean Rousseau and later established his own firm at 245 Royal Street. His son, Dutreuil Barjon Jr. took over the firm in 1856 when the elder Barjon retired to Paris, France. Barjon furniture is conserved in institutional collections including the Louisiana State Museum and The Historic New Orleans Collection and Hermann-Grima House, has been featured in numerous exhibitions on Black artisans in the United States.

Ref.: Harrison, Stephen, “The Nineteenth-Century Furniture Trade in New Orleans,” Magazine Antiques, May 1997, pp. 748-759; Moscou, Margo, “New Orleans’ Freemen of Color: a Forgotten Generation of Cabinetmakers Rediscovered,” Magazine Antiques, May 2007, pp. 540-4; Patton, Sharon, “Antebellum Louisiana Artisans, The Black Furniture Makers,” International Review of African American Art, 1995, p. 19.

American Renaissance Carved Walnut Sofa, mid-19th c., likely Alexander Roux, New York, arched high back with elaborately carved foliate crest centered by a cabochon scrolled medallion, guilloche crest rail, lobed finials, barley twist supports and stretchers, padded arms with lion’s head supports, floral-blocked feet, h. 56 in., w. 84 in., d. 26 in.

American Rococo Carved Rosewood and Grained Half-Tester Bed, mid-19th c., attr. to retailer Prudent Mallard, New Orleans, later floral urn crest, shaped tester with egg and dart molding, paneled headboard with later foliate crest, cluster column posts, serpentine rails centered by scallop shell medallions, foot board posts with finialed mosquito net pole fittings, h. 126 in., l. 83 1/2 in., w. 62 1/2 in.

Bocage Antebellum Home, Darrow, LA

American Rococo Mahogany Poster Bed, c. 1850-1860, attr. to Dutreuil Barjon, New Orleans, robust shell-carved and scrolled headboard, cylindrical posts, shaped rails and foot board, h. 95 in., l. 81 in., w. 58 in. [$2000/3000]

370. American Rococo Carved Rosewood Dressing Chest, mid-19th c., New York, cartouche shaped mirror with cabochon crest, foliate scroll supports, serpentine marble top, conforming case with 4 long drawers and blind drawer at base, cylindrical feet, h. 82 1/2 in., w. 46 in., d. 23 in. [$1200/1800]

Provenance: Bocage Antebellum Home, Darrow, LA

371. Six American Renaissance Carved Mahogany Dining Chairs, late 19th c., scrolled crest, foliate crest rail with opposing dolphins, foliate stiles, tapered legs, blocked feet, casters, h. 41 1/2 in., w. 19 1/2 in., d. 21 in. [$800/1200]

Provenance: Bocage Antebellum Home, Darrow, LA

372. American Rococo

Rosewood Center Table, 19th c., New York, shaped marble top, reticulated beaded frieze, scrolled floral apron, foliate scrolled supports, shaped stretcher surmounted by lobed finial, disc feet, h. 30 in., w. 47 in., d. 30 1/4 in. [$2500/3500]

Provenance: Bocage Antebellum Home, Darrow, LA

373. American Renaissance Walnut and Burl Portfolio Stand, late 19th c., incised decoration, slatted folio supports, trestle base, shaped plinth, h. 45 in., w. 29 1/2 in., d. 24 in. [$700/1000]

374. American Aesthetic Movement Bronze-Mounted and Carved Mahogany Etagere, late 19th c., possibly A. & H. Lejambre, Philadelphia, pierced frieze, architectonic base with fluted and spiral-turned supports, claw and ball feet, h. 37 1/2 in., w. 16 1/2 in., d. 16 1/2 in. [$800/1200]

Carved

375. Tiffany “Olympian” Pattern

Sterling Silver Flatware Service for Twelve, pat. 1878, incl. 12 each: dinner knives (l. 10 in.), dinner forks (l. 7 7/8 in.), luncheon forks (l. 7 in.), 3 tine salad forks (l. 6 3/4 in.), individual pie forks, cream soup/gumbo spoons (l. 8 in.), boullion spoons, dessert spoons (l. 7 1/8 in.), teaspoons (l. 6 in.), 5 o’clock teaspoons (l. 4 3/4 in.), demitasse spoons (l. 4 1/8 in.), orange spoons (l. 6 in.), ice cream spoons (l. 5 3/4), and butter knives (fh); and 8 ice cream forks; total (weighable) wt. 264.45 troy ozs., Virginia Galleries mahogany fitted case on stand. (176 pcs.) [$8000/12000]

376.

presentation “Sept. 7, 1907” on underside, h. 14 7/8 in., w. 15 in. wt. 119.05 troy ozs. [$8000/10000]

Provenance: Antiquest, Inc., New York, NY, 1995.

377. Gorham Martele .9584 Silver Platter, 1907, marked “Martele/ (eagle)/ Gorham trademark/ .9584/ NRD/ 16 IN/ SPAULDING & Co. CHICAGO”, everted rim chased with cattleya orchids, well centered with intwined script monogram “JHB”, hammered surface, dia. 16 1/4 in., wt. 59.90 troy ozs. [$4000/6000]

Provenance: Sotheby’s, New York, Nov. 2011, lot 63. Note: Gorham company nomenclature terms this platter an “entree dish”. Ref.: Keefe, John Webster et al. Magnificent, Marvelous Martele: American Art Nouveau Silver from the Jolie and Robert Shelton Collection, pp. 51, 59, 265-265; a similar “entree dish” ill. p. 265.

380. Tiffany & Co. Makers Sterling Silver Asparagus Tray, mark for 1902-1907, pattern introduced 1989, serpentine everted rim with robustly cast flower heads, acanthus paw feet, retains matching mazarine, 13 1/4 in. x 11 in., wt. 38.90 troy ozs. [$1500/2500]

379. Suite of Belgian 2nd Standard (.833) Silver Serving Pieces, Wolfers Freres, Brussels, early 20th c., incl. oval platter (17 3/4 in. x 11 5/8 in.), 2 circular platters (dias. 13 5/8 in. and 11 3/4 in.) and pair of saucers with integral underplates (l. 9 3/8 in.), all with molded borders interspersed with stylized shells; total wt. 112.65 troy ozs. (5 pcs.)[$1200/1800]

381. American Victorian Sterling Silver Centerpiece Basket, marked “STERLING” and “2159”, probably by a New York maker such as Grosjean & Woodward for Tiffany, oval with robustly molded C-scroll and acanthus rim, acanthus reticulation and chasing on quilted ground, acanthus scroll feet, reticulated swing handle, h. (to top of handle) 11 in., w. 15 in., d. 12 1/2 in., wt. 50.30 troy ozs. [$1200/1800]

378. Gorham Hammered Sterling Silver Water Pitcher, date mark for 1918, footed vase form with grape, grapeleaf and vine handle and branchwork rims, h. 9 1/2 in., wt. 37.20 troy ozs. [$1000/1500]

Pair of Tiffany & Co. Makers Sterling Silver Three-Light Candelabra in the Aesthetic Taste, mark for 1891-1902, pattern introduced 1900, engraved

383. Monumental Tiffany & Co. Makers Belle Epoque Sterling Silver Ewer, mark for 1891-1902, pattern introduced 1895, robustly cast with cavorting cupids, rosebuds and scrolls, h. 23 3/8 in., wt. 78.55 troy ozs. [$4000/6000]

Provenance: Sotheby’s, New York, Jan. 21, 2012, lot 65.

382. Colonial Revival Tiffany & Co. Makers Sterling Silver Coffee and Tea Service, mark for 1907-1947, incl. coffee pot (h. 9 1/2 in.), teapot (h. 5 3/4 in.), covered sugar, creamer and tray (14 1/8 in. x 10 1/2 in.), total wt. 80.10 troy ozs. (5 pcs.) [$2000/2500]

Provenance: Philip and Shirley Gordon, Plattsburgh, NY, 1986.

384. Pair of Tiffany & Co.

Garniture Baskets, mark for 1902-1907, pattern introduced 1907, tall loop handles, reticulated body cast with flowers, molded oval base, h. 8 3/4 in., w. 9 1/4 in., wt. 24.60 troy ozs. [$1000/1500]

Provenance: Dottie Freeman & Alan Teal, Chester Heights, PA, 2009.

388.

385.

[$5000/7000]

Provenance: Sotheby’s, New York, January 18, 2002, lot 513.

387. Good American Sterling Silver Oval Platter, Dominick & Haff, ret. Cartier, New York, date mark for 1931, oval with molded rim, l. 20 1/4 in., wt. 56.70 troy ozs. [$1200/1800]

(1886-1973)

Handwrought Sterling Silver Salver, mid-20th c., ret. V.C. Morris, San Francisco, no. M14, hammered surface, dia. 8 in., wt. 13.95 troy ozs. [$300/500]

Note: Renowned silversmith Porter Blanchard was active in Gardner, MA from 1915 to 1923, and in Burbank, CA from 1923 to 1973. The Porter Blanchard Shop remained active until 1993. The shop of retailer V.C. Morris, at 140 Maiden Lane near Union Square in San Francisco, was designed by Frank Lloyd Wright in 1948.

389. Tiffany & Co. Makers

Sterling Silver Cocktail Shaker, 1891-1902, pattern introduced 1896, tapered body, 2 removable sleeves/ beakers, h. 7 1/2 in., dia. 3 5/8 in.,wt. 25.40 troy ozs. [$700/1000]

Tiffany & Co. Makers Sterling Silver Tea Tray, mark for 1902-1907, pattern introduced 1890, oblong with shaped loop handles, cast foliate scroll border, foliate scroll well centering intwined script monogram, 30 in. x 19 3/4 in., wt. approx. 12 lbs.

386. Tiffany & Co. Makers Sterling Silver Oval Platter and Circular Tray, patterns introduced 1913 and 1928 respectively, each with molded rim, oval 16 1/8 in. x 11 ½ in., circular dia. 10 in., total wt. 48 troy ozs. (2 pcs.)

Porter Blanchard

Makers Sterling Silver

390. Attributed to John Wesley Jarvis (British, 1781-1840, active New Orleans, 1821-1834), “Elizabeth Jarvis Child (1782-1853)” and “Lewis Child (1781-1829)”, 2 oils on canvas, both unsigned, typewritten label with sitters’ information and remnant label attached to backing boards, 20 1/8 in. x 16 in., framed. (2 pcs.) [$2000/3000]

At the peak of his success in 1814, he was commissioned to paint a series of

the patrons of the project.

392. Southern School, mid-19th c., “Henry Dickenson Blair (1825-1855)”, oil on canvas, unsigned, handwritten labels with sitter information on reverse of frame, 36 1/8 in. x 29 in., framed. [$700/1000]

Provenance: Descended in the family of the sitter; Neal Auction Company, Feb. 7, 2021, lot 1043.

Jarvis was known for his ostentatious style, consumption of alcohol and recklessness with his finances. In the early 1820’s he suffered a debilitating stroke while in New Orleans that left him partially paralyzed, and he spent the remainder of his life with his widowed sister Elizabeth Jarvis Child (1782-1830) in New York until he died in 1840. The pair of paintings presented here are of his sister and later caretaker, Elizabeth and her husband Lewis Child (1781-1829). They are likely preparatory sketches by Jarvis who completed at least one other more detailed portrait of his sister that is conserved in collection of the Princeton University Art Museum. These works, executed with looser brushstrokes and with visible graphite outlines, serve as fascinating glimpses into the famed portraitist’s creative process, and the sensitivity with which he renders the kind dignity and soft features of his sister perhaps reflect the fondness he had for the sibling who would take care of him in the last years of his life. 393. George Frank Higgins (American, 1850-1884), “Figures Strolling in Florida Landscape”, oil on board, signed lower right, 12 1/8 in. x 16 1/4 in., framed. [$800/1200]

391. Southern School, 19th c., “Louisiana Bayou Sunrise” and “Cypress Swamp”, 2 watercolors on paper, unsigned, each 7 in. x 9 1/4 in., framed alike. (2 pcs.) [$600/800]

Note: Born in England in 1781, John Wesley Jarvis’ family moved and settled in Philadelphia in the mid-1780’s. Around 1796 he started an apprenticeship under Edward Savage and moved with Savage to New York in 1801. A year later Jarvis set out on his own as an engraver and miniature and portrait painter, eventually becoming the leading portraitist in New York City between 1800 and 1820. Though he considered his home to be New York, Jarvis traveled and had extended residencies in Charleston, Baltimore, and New Orleans among other cities.

portraits of military heroes from the War of 1812 for New York City Hall, a job he took over from Gilbert Stuart after Stuart had disagreements with

Note: Little is known concerning the early life of the artist José Francisco Xavier de Salazar y Mendoza. What is clear is that by 1782, when Salazar had arrived in New Orleans from the Yucatán, he was already a mature artist as evidenced by the portraiture he created during the next two decades featuring Louisiana’s most distinguished civic, military and religious elite. Of the known works attributed to Salazar, only around a dozen are signed and even fewer are additionally inscribed. From the portrait of Abraham Kortright Brasher (signed, dated 1800, and inscribed New Orleans) and the portrait of James Mather, Mayor of New Orleans (signed and dated 1802), Salazar clearly was actively painting in the city even during the year of his death. One finds it not surprising, therefore, to discover this quietly extraordinary portrait of a New Orleans sitter dated to 1801. The seated figure is depicted in a classic Salazar three quarter length view on a spindleback chair within the partial fictive dimensional oval frame, which was a common format for the artist, and, in this work, provides a space for the lengthy inscription.

While the New Orleans gentleman in this painting remains an intriguing mystery, a relatively common occurrence among Salazar portraits, he was undoubtedly a distinguished figure of prominence, with the means necessary to procure a likeness by the most admired portraitist in colonial Louisiana. Rather than the classical pose with one hand in the waistcoat, this sitter displays, one might even say proudly emphasizes with the positioning of his hands, his “power paunch.” In eighteenth-century art, the stomach serving as a visual cue of class, prowess and masculinity was not uncommon. Other Salazar portraits of important sitters, such as General James Wilkinson, William Dunbar, James Mather and certainly Don Andrés Almonester y Royas Estrada, depict a sitter with a larger stomach and waistcoat buttons straining, but none reach the level of attention given to the lower curve of the torso of this subject. In a society where the economy was sharply divided and often unstable, the ability to attain a larger weight could be interpreted as a symbol of power and influence just as clearly as a sitter’s luxurious fabrics, clothing and jewels. In this case, his paunch becomes the visual weapon and status symbol of the composed and stately gentleman. Salazar’s portraits serve as a lasting remembrance of the affluent, powerful and often notorious characters that populated New Orleans during one the most tumultuous and fascinating periods in the city’s long history. One can hope that the story of each of his sitters, even those whose names have been lost to time, will continue to be explored and shared. Perhaps with further research, this enigmatic gentleman will prove to be a noteworthy figure who played a crucial role in early Louisiana history.

Ref.: National Society of the Colonial Dames of America in the State of Louisiana. Louisiana Portraits. New Orleans: Wetzel Printing, Inc., 1975. Gontar, Cybèle, ed. Salazar: Portraits of Influence in Spanish New Orleans, 1785-1802. New Orleans: Ogden Museum of Southern Art/University of New Orleans Press, 2018.

394. Jose Francisco Xavier de Salazar y Mendoza (Mexican/Louisiana, 1750-1802), “Portrait of a Louisiana Gentleman”, 1801, oil on canvas, signed, dated and inscribed “J.M. Salazar, pinxit, Nova Aurelia, 1801” lower right, 36 1/4 in. x 27 in., antique gilt frame. [$20000/30000]

395. William Henry Buck (Norwegian/Louisiana, 1840-1888), “Expansive View of a Sun-Dappled Louisiana Vista with Bayou Farmstead and French Creole Cottage surrounding a Moss-Draped Oak”, oil on canvas, signed lower right, “Sotheby’s New York” label attached on reverse of frame, 26 in. x 40 in ., period frame. [$200000/300000]

Provenance: Sotheby’s, New York, Mar. 11, 1999, lot 32.

Note: William Henry Buck created both intimate and expansive landscapes portraying the rivers, lakes and bayous of New Orleans and its surrounding area. Among his known body of work, perhaps no canvas more perfectly encapsulates Buck’s passion for the environs of Louisiana than the monumental work offered here. A farmstead scene with a French Colonial home is centered by the artist’s iconic oak in a vast panorama which simultaneously depicts both the grandeur of nature and minutiae of everyday life along a southern bayou in the nineteenth century.

Rows of diagonal cotton shrubs at the forefront of the composition lead to a planter’s house constructed in the French Colonial style, although perhaps built during the Spanish or Early American periods. The characteristic French Colonial features include the wide gallery and double-pitched roof composed of cypress shakes. The wall surfaces appear to be wide boards intended to protect the colombage, or heavy timber frame raised on short piers. The “fill” might have been brick or bousillage, a mixture of mud, animal hair, and moss that was common in the country. Behind to the right is a kitchen building that could have included a laundry and other domestic rooms along with two rows of former slave cabins. Next to the water, a small crop of corn is grown, likely to feed the livestock grazing in the distance. Small figures engaged in various labors are scattered throughout the scene furthering the feeling of a fleeting moment in time captured within the breadth of Buck’s canvas.

Both a sweeping landscape and an historical window into the past, this masterwork portrays the beauty and the toil that accompanied carving out a self-sustaining home in the Louisiana countryside. The moss-draped oak anchors the scene, providing shade and serving as a symbol of the enduring heart of the people of South Louisiana. Buck’s distinctive and subtle luminosity yields a golden glow that bathes the scene from the distant vanishing point to the shadowed fields. The depictions of the clouds, reflections on the water, dense foliage and meticulous details are Buck at his very finest, which, combined with the substantial dimensions of the canvas, truly set this staggering work apart within the artist’s oeuvre.

Neal Auction would like to thank Ann Masson for her assistance with the cataloguing of this lot.

396. August A. Norieri (American/Louisiana, 1860-1898), “Schooners on Lake Pontchartrain”, oil on canvas, signed lower right, 26 1/8 in. x 42 1/4 in., period frame. [$20000/30000]

Provenance: Gift of the artist to his sailing partner; thence by descent; Neal Auction Company, Dec. 6, 1997, lot 786. Note: The South’s long and ever-changing love affair with its waterways, both as transportation and entertainment, has been depicted on canvas over the last two centuries by some of its most storied artists. Nowhere is that more evident than New Orleans and the neighboring towns along the Gulf Coast. The Southern Yacht Club was founded in 1849 in Pass Christian, Mississippi, making it the second oldest yacht club in the United States. The first recorded regattas in the region were held as early as the 1830s in Biloxi and Mobile, as many New Orleanians escaped the city during the summer months for respite from the heat and outbreaks of yellow fever. The club continues to host their annual Race to the Coast, begun in 1850 and one of the oldest regattas still regularly contested in the Western Hemisphere. In 1857, the club relocated to New Orleans where Lake Pontchartrain then played an even larger role in their races.

August Norieri was born in New Orleans in 1860 and came of age at a time when river and lake travel was undergoing a transformation following the Industrial Revolution and Reconstruction. The young artist was captivated by maritime subjects that serve as the focus of his work much more than his contemporaries, such as William Henry Buck, Richard Clague and Joseph Rusling Meeker, and his mentor, Andres Molinary. Norieri studied under Molinary from 1880 to 1881 and opened his own studio in the city where he practiced his art until his death at the age of just thirty-eight in 1898. His relatively short career resulted in a remarkable yet regrettably small body of work that offers a window into a fashionable pastime of the nineteenth century that remains popular to this day.

In the significant canvas offered here, Norieri perfectly captures the sailboat in the foreground as it catches the wind in its sails and heels, allowing the boat to race along the water of the lake away from the viewer. The tipped vessel and swooping sails are reminiscent of Winslow Homer’s instantly iconic 1876 masterpiece “Breezing Up (A Fair Wind),” with which Norieri would have undoubtedly been familiar. In mimicking the famous composition, Norieri’s own masterwork can be considered a uniquely Southern response to the maritime scenes that were primarily coming out of Gloucester and the Northeast at the time.

In this work, the expanses of sky and water of Lake Pontchartrain are contrasted against Norieri’s inclusion of small details such as the figures on the schooners engaged in momentarily greeting, or even taunting each other, as the boats gain speed. The silhouette of the sails against the horizon line and the feeling of the waves breaking against the hulls delivers a dynamic view of a celebrated day of sailing on Lake Pontchartrain. Similar smaller scenes by the artist are included in the collections of local museums, and one version was unfortunately lost to fire at the Southern Yacht Club during the aftermath of Hurricane Katrina, making a Norieri sailing canvas of this size a particularly rare offering at auction.

Ref.: “A Brief History.” Southern Yacht Club. www.southernyachtclub.org. Accessed Oct. 26, 2022; Dobie, Ann B. “August Norieri.” 64 Parishes. www.64parishes.org. Accessed Oct. 26, 2022.

397.

Provenance:

400. French Provincial

Table, early 19th c., foldover plank top, tapered legs, h. 30 in., w. 62 1/2 in., d. 27 3/4 in. [$1000/1500]

398. Alexandre Alaux (French/Louisiana, 1851-1932), “Husband” and “Wife”, 2 oils on canvas, each signed mid-right, both with “W.E. Seebold” stamp en verso, each 30 in. x 25 in., framed alike. (2 pcs.) [$1500/2500]

399. Louis XIV Carved Walnut Fauteuil de Malade, 18th c., mechanized reclining seat back, turned uprights, legs and stretchers, h. 49 in., w. 27 in., d. 24 in. [$2500/3500]

Provenance: Tom Haynes

401.

Carved Oak Buffet, three frieze drawers, paneled doors with peacock escutcheons, serpentine apron, cabriole legs, h. 44 1/2 in., w. 55 in., d. 25 in. [$700/1000]

402. Antique French Provincial Carved

Desk, galleried top above three drawers, square tapering legs, h. 42 in., w. 38 in., d. 21 in. [$1000/1500]

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]

403. Provincial Louis XV

Louisiana School, 19th c., “Night Scene, Louisiana Swamps”, 2 watercolors and gouache on paper, unsigned, each inscribed with title on reverse of mat and “Robert Hicklin Jr., Inc., Spartanburg, SC” label with title on backing board, each 5 5/8 in. x 7 5/8 in ., framed alike. (2 pcs.) [$2000/3000]

Robert M. Hicklin Jr., Inc., Spartanburg, SC

Fruitwood

Antique French Provincial

Oak

Carved Oak

404.

serpentine top, conforming case

long

H 36 1/2 in.x w 78 x d 28 1/4 in. [2000/3000]

407. Louis XVI-Style

405. Antique RegenceStyle Painted Serpentine Commode, shaped top, conforming case with three graduated drawers, round paneled stiles, scrolled apron and feet, h. 33 in., w. 47 1/2 in., d. 27 in. [$2000/3000]

406. Pair of Louis XVI Carved Walnut Fauteuils, late 18th c., molded oval seat back, scrolled arms, stop-fluted uprights, floral blocked seat rail, stop-fluted tapered legs, toupie feet, h. 35 in., w. 24 in., d. 20 in. [$600/900]

and

Pedestal Desk, shaped top with inset leather writing surface, frieze drawer, pedestals with three drawers, foliate mounts, h. 29 in., w. 62 7/8 in., d. 33 in. [$1200/1500]

408. Large Antique Continental Carved and Painted Mirror, corners, extensive beaded and foliate decoration, heavily silvered mirror plate, h. 76 1/2 in., w. 30 in., d. 5 1/2 in. [$2000/3500]

409. Pair of Continental Arts and Crafts Limed Oak Stools, early 20th c., woven seats, shaped legs, stretchers, h. 19 3/4 in., w. 12 1/4 in., d. 12 1/4 in. [$1000/1500]

410. John James Audubon (American, 1785-1851), “Blue Jay”, Plate 102, hand-colored engraving with aquatint, from The Birds of America, Havell edition, “J.Whatman 1836” watermark visible, sheet 37 1/2 in. x 25 3/4 in., unframed. [$12000/20000]

Bronze-Mounted

Inlaid Amboyna

Antique George III-Style Carved Mahogany Sideboard, 19th c.,

with

frieze drawer, tapered legs, spade feet.

413.

(American, 1785-1851), “Great Crested Flycatcher”, Plate CXXIX, handcolored aquatint with engraving, from The Birds of America, Havell edition, “J.Whatman 1851” watermark visible, “Taylor Clark, Baton Rouge, LA” label on backing paper, sheet 38 5/8 in. x 25 3/4 in., framed. [$800/1200]

411. John James Audubon (American, 1785-1851), “Fish Crow”, Plate CXLVI, hand-colored aquatint with engraving, from The Birds of America, Havell edition, “J.Whatman Turkey Mill 1834” watermark visible, sheet 39 3/4 in. x 27 1/4 in., framed.

[$1000/1500]

417. John James Audubon (American, 1785-1851), “Ground Dove”, Plate CLXXII, hand-colored engraving with aquatint, from The Birds of America, Havell edition, “J.Whatman 1833” watermark visible, sheet 38 1/8 in. x 25 1/2 in., unframed. [$1500/2500]

414. John James Audubon (American, 1785-1851), “Blue Grey Flycatcher”, Plate LXXXIV, hand-colored aquatint with engraving, from The Birds of America, Havell edition, partial “J.Whatman...” watermark visible, “Taylor Clark, Baton Rouge, LA” label on backing paper, trimmed sheet 25 1/4 in. x 17 3/4 in., framed. [$800/1200]

415. John James Audubon (American, 1785-1851), “Cat Bird”, Plate 128, hand-colored engraving with aquatint, from The Birds of America, Havell edition, “J.Whatman 1831” watermark visible, “Arader Galleries, Philadelphia, PA” label attached to backing board, sheet 38 1/4 in. x 25 1/2 in., unframed. [$800/1200]

412. John James Audubon (American, 1785-1851), “Hawk Owl”, Plate CCCLXXVIII, hand-colored aquatint with engraving, from The Birds of America, Havell edition, “J.Whatman Turkey Mill 1837” watermark visible, sheet 39 1/4 in. x 26 1/2 in., framed.

[$700/1000]

418. John James Audubon (American, 1785-1851), “Boat-Tailed Grackle”, Plate CLXXXVII, hand-colored engraving with aquatint, from The Birds of America , Havell edition, “J.Whatman 1834” watermark, sheet 38 1/2 in. x 25 7/8 in., unframed. [$1500/2500]

419. John James Audubon (American, 1785-1851), “Cock of the Plains”, Plate 371, hand-colored engraving with aquatint, from The Birds of America, Havell edition, “J.Whatman 1837” watermark visible, sheet 37 5/8 in. x 25 1/2 in., unframed. [$1500/2500]

416. John James Audubon (American, 1785-1851), “Ferruginous Thrush”, Plate CXVI, hand-colored engraving with aquatint, from The Birds of America, Havell edition, “J.Whatman 1831” watermark visible, sheet 26 1/4 in. x 39 in., unframed. [$2500/3500]

420. John James Audubon (American, 1785-1851), “Summer Red Bird”, Plate 44, hand-colored engraving with aquatint, from The Birds of America, Havell edition, “J.Whatman 1830” watermark visible, sheet 38 7/8 in. x 25 3/4 in., unframed. [$1200/1800]

John James Audubon

421. John James Audubon (American, 1785-1851), “Louisiana Tanager and Scarlet Tanager”, Plate 354, hand-colored engraving with aquatint, from The Birds of America, Havell edition, “J.Whatman 1837” watermark visible, sheet 38 3/8 in. x 25 3/8 in., unframed. [$2000/3000]

422. John James Audubon (American, 1785-1851), “Painted Bunting”, Plate 53, handcolored engraving with aquatint, from The Birds of America, Havell edition, “J.Whatman Turkey Mill 1828” watermark visible, sheet 38 5/8 in. x 25 3/4 in., framed. [$1000/1500]

423. John James Audubon (American, 1785-1851), “Orchard Oriole”, Plate 42, hand-colored engraving with aquatint, from The Birds of America, Havell edition, “J.Whatman 1830” watermark visible, sheet 38 5/8 in. x 26 1/4 in., framed. [$1500/2500]

424. John James Audubon (American, 1785-1851), “Red-Bellied Squirrel”, Plate XXXVIII, hand-colored lithograph, from The Viviparous Quadrupeds of North America, Bowen edition, sheet 27 1/2 in. x 21 1/2 in., unframed. [$600/900]

425. John James Audubon (American, 1785-1851), “Canada Porcupine”, Plate XXXVI, hand-colored lithograph, from Viviparous Quadrupeds of North America, Bowen edition, sheet 26 7/8 in. x 20 1/2 in., unframed. [$800/1200]

426. John James Audubon (American, 1785-1851), “Common American Skunk”, Plate XLII, handcolored lithograph, from The Viviparous Quadrupeds of North America, Bowen edition, sheet 25 7/8 in. x 20 3/4 in., unframed. [$700/1000]

427. John James Audubon (American, 1785-1851), “Canada Lynx”, Plate XVI, handcolored lithograph, from The Viviparous Quadrupeds of North America, Bowen edition, sheet 21 1/2 in. x 27 3/8 in., unframed. [$1500/2500]

428. John James Audubon (American, 1785-1851), “Mink”, Plate XXXIII, handcolored lithograph, from The Quadrupeds of North America, Bowen edition, sheet 21 3/4 in. x 27 in., unframed. [$700/1000]

429. John James Audubon (American, 1785-1851), “Northern Hare”, Plate XII, hand-colored lithograph, from Viviparous Quadrupeds of North America, Bowen edition, sheet 21 3/4 in. x 27 in., unframed. [$700/1000]

431. John Woodhouse Audubon (American, 18121862), “Rocky Mountain Goat”, Plate CXXVIII, hand-colored lithograph, from Viviparous Quadrupeds of North America, Bowen edition, sheet 21 in. x 27 5/8 in., unframed. [$700/1000]

432. John Woodhouse Audubon (American, 1812-1862), “Polar Bear”, Plate XCI, hand-colored lithograph, from The Viviparous Quadrupeds of North America, Bowen edition, sheet 21 1/4 in. x 27 1/2 in., unframed. [$1800/2500]

430. John James Audubon (American, 1785-1851), “White American Wolf”, Plate LXXII, hand-colored lithograph, from The Viviparous Quadrupeds of North America, Bowen edition, sheet 21 1/2 in. x 27 1/4 in., unframed. [$700/1000]

433.

1812-1862), “American

x 27 in., unframed. [$1500/2500]

434.

435. John Woodhouse Audubon (American, 1812-1862), “American Black Bear”, Plate CXLI, handcolored lithograph, from The Viviparous Quadrupeds of North America, sheet 21 1/4 in. x 27 1/4 in., unframed. [$1500/2500]

436. John James Audubon (American, 1785-1851), “RedTailed Squirrel”, Plate LV, handcolored lithograph, from The Viviparous Quadrupeds of North America, Bowen edition, sheet 27 1/2 in. x 22 1/2 in., unframed. [$600/900]

John Woodhouse Audubon (American,

Black or Silver Fox”, Plate CXVI, hand-colored lithograph, from The Viviparous Quadrupeds of North America, Bowen edition, sheet 21 in.

John Woodhouse Audubon (American, 1812-1862), “Grizzly Bear”, Plate CXXXI, hand-colored lithograph, from The Viviparous Quadrupeds of North America, Bowen edition, sheet 21 1/4 in. x 27 1/4 in., unframed. [$1500/2500]

437. After Joseph Wolf (Prussian/ British, 1820-1899), “Felis Pardus”, 1883, hand-colored lithograph, from A Monograph of the Felidae or Family of the Cats, printed by M. & H. Hanhart, London, published by Daniel Giraud Elliot (18351915), London, with corresponding text, sheet 23 5/8 in. x 18 7/8 in., matted. [$500/700]

438. After Joseph Wolf (Prussian/ British, 1820-1899), “Felis Marmorata”, 1883, hand-colored lithograph, from A Monograph of the Felidae or Family of the Cats, printed by M. & H. Hanhart, London, published by Daniel Giraud Elliot (1835-1915), London, sheet 23 11/16 in. x 18 13/16 in., matted.[$500/700]

441. After Joseph Wolf (Prussian/ British, 1820-1899), “Felis Bengalensis”, 1883, hand-colored lithograph, from A Monograph of the Felidae or Family of the Cats, printed by M. & H. Hanhart, London, published by Daniel Giraud Elliot (1835-1915), London, with corresponding text, sheet 23 5/8 in. x 18 3/4 in., unframed. [$500/700]

Ill.: Arader, Graham. Native Grace, Prints of the New World 1590-1876 Charlottesville: Thomasson-Grant, 1988, p. 109.

439. After Joseph Wolf (Prussian/British, 1820-1899), “Cynailurus Jubata”, 1883, handcolored lithograph, from A Monograph of the Felidae or Family of the Cats, printed by M. & H. Hanhart, London, published by Daniel Giraud Elliot (1835-1915), London, with corresponding text, sheet 19 in. x 23 1/8 in., unframed. [$500/700]

440. After Joseph Wolf (Prussian/British, 1820-1899), “Felis Rufa”, 1883, hand-colored lithograph, from A Monograph of the Felidae or Family of the Cats, printed by M. & H. Hanhart, London, published by Daniel Giraud Elliot (1835-1915), London, with corresponding text, sheet 18 3/4 in . x 23 5/8 in., unframed. [$500/700]

442. After Joseph Wolf (Prussian/ British, 1820-1899), “Felis Scripta”, 1883, hand-colored lithograph, from A Monograph of the Felidae or Family of the Cats, printed by M. & N. Hanhart, London, published by Daniel Giraud Elliot (1835-1915), London, sheet 23 11/16 in. x 18 7/8 in., unframed. [$500/700]

[$7000/10000]

Note: “This is one of the finest American color-plate books

are after the paintings rendered (at McKenney’s

the period,

Charles

most

so this work not only preserves the likeness of Native American leaders of the period, but it is also a significant American art historical document, Field 992: “The plates are accurate portraits of celebrated chiefs, or characteristic individuals of the race; and are colored with care, to faithfully represent their features and costumes.” Sabin 43411; Howes M129

portraits were lost in the 1855 Smithsonian

443. Karl Bodmer (Swiss/French, 1809-1893), “Herd of Bison and Elk on the Upper Missouri”, hand-colored engraving with aquatint, “CH Bodmer” blindstamp lower margin, from Maximilian, Prince of Wied’s, Travels in the Interior of North America 1832-1834, printed by Charles Vogel (German, 1788-1868), published by Ackermann & Co., London, sheet 17 1/2 in. x 24 in., unframed. [$800/1200]

444. McKinney, Thomas L. (1785-1859) and James Hall (1793-1868), History of the Indian Tribes of North America, Philadelphia: J. T. Bowen, 1848-1850, 3 volumes, first octavo edition, gilt red-morocco publisher’s deluxe binding, spine with four raised bands, five compartments, all edges gilt, with 120 lithographed plates, plus the colored dedication to Washington.

of

in which

of the plates

behest) by the artist

Bird King. Most of King’s

fire,

445. After Charles Bird King (American/Rhode Island, 1785-1862), “Tuko-See-Mathla, a Seminole Chief”, 1843, hand-colored lithograph, from History of the Indian Tribes of North America, printed by Lithographic & Print Coloring Estab lishment, Philadelphia, published by Daniel Rice & James G. Clark, Philadelphia for McKenney and Hall, sheet 20 1/4 in. x 14 1/8 in., unframed. [$500/700]

446. After Charles Bird King (American/Rhode Island, 1785-1862), “Tah-Col-O-Quoit”, 1842, “SharI-Tar-Ish, a Pawnee Chief”, 1872, “Kee-Shes-Wa, a Fox Chief”, 1836 and “Ahyouwaighs, Chief of the Six Nations”, 1836, 4 hand-colored lithographs, from History of the Indian Tribes of North America, printed by J.T. Bowen Lithographic Establishment, Philadelphia, 2 published by F.W. Greenough, Philadelphia, one published by Dan iel Rice & James G. Clark, Philadelphia, one published by Rice & Rutters, Philadelphia for McKenney and Hall, sheets, 19 3/16 in. x 12 7/8 in. to 20 3/4 in. x 14 5/8 in., unframed. ( 4 pcs.) [$800/1200]

447. After Charles Bird King (American/ Rhode Island, 1785-1862), “Tshusick, an Ojibway Woman”, 1837, “Kish-Ke-Kosh, a Fox Brave”, 1836, “Chon-Mon-I-Case, an Otto Half Chief”, 1837 and “Ma Has Kah, Chief of the Ioways”, 1836, 4 hand-colored lithographs, from History of the Indian Tribes of North America, 2 initialed in plate by lithographer Alfred M. Hotty (British/American, 17961872), printed by J.T. Bowen Lithographic Establishment, Philadelphia, 2 published by E.C. Biddle, Philadelphia, 2 published by F.W. Greenough, Philadelphia for McKenney and Hall, one with “Graham Arader III Gallery, San Francisco, CA” label on reverse of mat, sheets 19 1/4 in. x 14 1/8 in. to 20 1/4 in. x 14 3/16 in., 3 matted, one unframed. (4 pcs.) [$500/700]

448. John Gould (British, 1804-1881), “Fuligula Marila (Scaup Duck)”, hand-colored lithograph, from Birds of Great Britain, sheet 15 1/8 in. x 21 15/16 in.; and “Anas Clypeata (Shoveller Duck)”, hand-colored lithograph, from Birds of Europe, sheet 14 3/4 in. x 21 15/16 in., each with corresponding texts, unframed. [$500/700]

449. John Gould (British, 18041881), “Chaulelasmus Strepera (Gadwell Duck)” and “Nyroca Leucop thalmos (White-Eyed or Ferruginous Duck)”, 2 hand-colored lithographs, from Birds of Great Britain, each with corresponding texts, sheets 15 1/8 in. x 21 7/8 in. and 15 1/8 in. x 21 3/4 in., unframed. [$500/700]

450. John Gould (British, 1804-1881), “Platala Leucorodia” and “Cicoina Alba”, 2 hand-colored lithographs, from Birds of Great Britain, sheets 14 1/2 in. x 21 3/8 in. and 21 3/8 in. x 14 5/8 in.; and “Spoonbill (Platalea Leucorodia)”, hand-colored lithograph, from Birds of Europe, sheet 22 in. x 14 1/2 in., each with corresponding texts, 2 unframed, one matted. [$600/900]

451. John Gould (British, 18041881), “Dafila Acuta (Pintailed Duck)”, hand-colored lithograph, from Birds of Great Britain, sheet 15 1/8 in. x 21 3/4 in.; and “Anas Boschas (Common Wild Duck)”, hand-colored lithograph, from Birds of Europe, sheet 14 5/8 in. x 22 in ., each with corresponding text, unframed. [$500/700]

452. Alexander Pope, Jr. (American/Massachusetts, 1849-1924), “Brant Goose”, “Greater Scaup Duck”, “Golden Eye Duck”, “Buffle Headed Duck”, “Black Duck” and “Pinnated Grouse”, and “Wood Duck”, 7 chromolithographs mounted to board, each signed in plate, from Upland Game Birds and Water Fowl of the United States, sheets 14 in. x 20 in., unframed. (7 pcs.) [$400/600]

453. After John James Audubon (American, 1785-1851), “King Duck”, later reproduction offset lithograph, from The Birds of America, sheet 25 3/4 in. x 36 3/4 in., unframed. [$500/700]

454. After John James Audubon (American, 1785-1851), “Hooping Crane”, Plate CCXLI, 1985, lithograph, from The Birds of America, Abbeville edition, “Audubon Society Abbeville Press” watermark visible, sheet 39 3/8 in. x 26 3/8 in., framed. [$500/700]

456. After John James Audubon (American, 17851851), “American Flamingo”, later reproduction, from T he Birds of America, “4th edition limited to 500 sets The Ariel Press, London, printed in German Democratic Republic” printed lower margin, “Taylor Clark, Baton Rouge, LA” label on backing paper, sight 37 3/4 in. x 25 in., framed. [$500/700]

455. After

457.

458.

Ill.:

Ref.:

459. Jean Baptiste Bourguignon d’Anville (French, 1697-1782), “Carte de la Louisiane”, Paris, 1752, hand-colored engraved map, with an inset map of the upper Mississippi River Valley, sight 21 in. x 25 1/4 in., matted and framed. [$1000/2000]

Note: The map extends east just past Mobile Bay, west to include Adayes, the Spanish capital of “Tecas”, and north to show Le Grande Ponte Coupee on the Mississippi. It is also the first map to show “Le Baton Rouge.”

460.

John James Audubon (American, 1785-1851), “Canvas-backed Duck”, later reproduction, from The Birds of America, sheet 25 1/8 in. x 38 1/2 in., framed. [$500/700]

[Early New York View], after William Burgis (active 1722-1736), “Fort George with the City of New York from the SW.”, c. 1794, hand-colored engraving by John Carwitham, published by Carington Bowles, London, watermark “EDMEADS & PINE” with Strasburg lily over 1794, image 11 1/4 in. x 17 3/8 in., sheet 16 in. x 21 in., framed. [$3000/5000]

John Bachmann (Swiss/American, 1814-1896), “Bird’s Eye View of New Orleans”, 1851, hand-colored lithograph, printed by J. Bachmann, published by A. Guerber & Co., New York, “The Old Print Shop, New York, NY” label on backing paper, image 21 1/4 in. x 35 3/8 in., sheet 26 1/4 in . x 35 3/8 in., framed. [$3000/5000]

Poesch, Jessie, ed. Printmaking in New Orleans. Jackson/New Orleans: University Press of Mississippi/Historic New Orleans Collection, 2006, p. 108, cover illustration.

Deak, Gloria-Gilda. American Views. New York: Viking Press, 1976, p. 94.

Two New Orleans Sheriff’s Sale Broadsides, 19th c., the larger for a property in the Faubourg Marigny, the smaller for a property in Faubourg Washington, sight 34 1/2 in. x 24 in., and 18 1/4 in. x 11 1/2 in., both framed. [$400/600]

462. Louisiana Governor James “Jimmie” Davis Senate Resolution, Senate Resolution No, 16, dated July 10, 1946, adopted with 40 Yeas and 0 Nays, signed by 39 state senators, as well as the Secretary of the Senate, in part, “...the Senate do express its confidence in Honorable James H. Davis, Governor of Louisiana and in his administration...”, sight 13 3/4 in. x 8 1/8 in., framed [$700/1000]

461. Typed Letter Signed by Huey P. Long, to Henry Jastremski, Secretary of the LA Public Service Commission, November 5, 1924, signed “Huey P. Long”, sight10 in. x 7 1/2 in., framed. [$500/700]

Note: Long was an attorney and Chairman of the Louisiana Public Service Commission at the time this letter was typed, and had lost in the gubernatorial primary on January 15.

464. Conway Twitty Show Satin “Twitty Bird”, drum cover or jacket applique, with stitched “Ted” applied to top, dia. 20 in., framed. [$300/500]

Provenance: Estate of Theodore L. “Ted” Jones, Baton Rouge, LA.

468. Large Collection of Vintage Winter Sports Photographs, 1920s-1950s, 108 press photos, most 8 in. x 10 in., incl. images of the Olympics, Sun Valley, Dartmouth Winter Carnival, Lake Placid, St. Moritz, and many others, one album, all in sleeves, with 7 misc. tennis photos. [$700/1000]

466. Theodore L. “Ted” Jones’ 10 kt. Yellow Gold Sugar Bowl Committee Member Ring, size 11, engraved “JONES”, and “MEMBER/1984”, total weight .75 troy oz. [$400/600]

Provenance: Estate of Theodore L. Jones. “Ted” Jones was a member of the Sugar Bowl Committee from 1984-2011

463.

, cover, and first two pages, signed “To Ted Jones, one of the greatest friends I’ve ever had, Best Wishes, Jimmie Davis”, framed, 31 1/2 in. x 25 in. [$300/500]

“Jimmie”

465. Louisiana Governor

Davis’ LSU Stadium Blanket, wool, labels of maker Butwin, and retailer Simpson-Stoutz Sporting Goods, New Orleans, stitched name “Governor Jimmie Davis”, raised varsity jacket-style “L.S.U.” lettering, 5 ft. x 6 ft. [$1000/1500]

Provenance: Estate of Theodore L. “Ted” Jones, Baton Rouge, LA. The blanket was a gift from Governor Davis.

467. Large Collection of Vintage Louisiana Athletes Photographs, 1920s-1970s, football, baseball, track, tennis, and golf press photos, most 8 in. x 10 in., incl. LSU (32), Tulane (21); as well as 21 photos of athletes from other schools and a few professionals, and some misc. photos of Huey Long and Baton Rouge, two albums, all in sleeves. (83 pcs.) [$400/600]

469. Large Collection of Vintage Aviation History Photographs, 176 press photographs from the 1920s-1950s, the majority 8 in. x 10 in., showing pilots, boat planes, experimental planes, balloons, clippers, zeppelins, and others, one album, all in sleeves, 176 pcs. [$700/1000]

You Are My Sunshine Music Sheets Signed by Louisiana Governor James

Davis

Jimmie

470. Eight Carved Walnut Lancashire Dining Chairs, 20th c., incl. two armchairs and six side chairs, serpentine crest rail, spindled back, turned legs and stretcher, rush seat, armchair h. 42 1/2 in., w. 21 in., d. 17 in.; side h. 37 in., w. 19 in., d. 15 1/2 in. [$1000/1500]

471. Jacobean Carved Oak Chest of Drawers, 17th c., plank top, three double-paneled drawers, Gothicized returns, bun feet, h. 35 in., w. 47 1/2 in., d. 23 in. [$1200/1800]

472. Jacobean Carved Oak Chest of Drawers, 17th c., plank top, four double-paneled drawers, bracket feet, h. 40 1/2 in., w. 40 in., d. 22 in. [$1200/1800]

473. George I/II Tiger Oak Low Boy, early 18th c., top with molded edge, frieze drawer, cylindrical legs, pad feet, h. 29 3/4 in., w. 36 1/4 in., d. 24 in.[$700/1000]

474. Queen Anne Walnut Mirror, 18th c., later antique beveled mirror plate, labeled “Archer, Cowley & Co./ Lady Carmichael, arched shaped surround. [$700/1000]

Provenance: By repute, Estate of Jenny Jerome Churchill, The London Shop, New Orleans, 1968.

476. George II Carved Oak Dressing Table, c. 1740, two-board top, long drawer over two shore drawers, spurred apron, foliate carved legs, pad feet, h. 31 in., w. 40 1/4 in., d. 22 1/4 in. [$800/1200]

475. Georgian Carved Oak Lowboy, 18th c., three drawers, fan-carved accents, square legs, h. 31 1/4 in., w. 35 1/2 in., d. 17 1/4 in. [$600/900]

477. English Inlaid Carved Oak Welsh Dresser, 18th c., ogee cornice, reticulated apron with pierced monogram, paneled cabinet doors with conch shell reserve, three shelves mounted with cup hooks, base with three drawers, conforming apron, tapered legs, h. 84 in., w. 69 1/4 in., d. 18 in. [$3000/5000]

478. Georgian Walnut and Parcel Gilt Mirror, 18th c., scrolled crest and pendant molded surround, h. 37 in., w. 20 1/2 in. [$700/1000]

479. Ten George II-Style Carved Walnut Dining Chairs, incl. two armchairs and eight side chairs, scrolled crest rail centered by an anthemion, shaped splat, scrolled arms, foliate cabriole legs, pad feet, armchair h. 43 in., w. 28 in., d. 23 in.; side chair h. 43 in., w. 33 in., d. 22 in. [$1200/1800]

Provenance: George Steinbrenner Collection, Tampa, FL.

481. Pair of George II Mahogany Side Chairs, mid-18th c., serpentine crest rail, vasiform splat, pad feet, h. 39 1/4 in., w. 19 1/2 in., d. 21 in. [$500/700]

480. Six Antique Queen Anne-Style Mahogany Side Chairs, incurvate crest rail, vasiform splat, cabriole legs, pad feet, h. 38i n., w. 21 1/2 in., d. 21 in. [$700/1000]

482. Pair of Queen Anne Carved Walnut Armchairs, 18th c., shaped arms, cabriole legs with shell-carved accents, pad feet, h. 34 in., w. 23 in., d. 22 in. [$600/900]

483. Pair of Georgian Walnut Convex Mirrors, 18th c., molded surround, silvered mirror plate, h. 25 in., w. 22 in. [$2000/3000]

484. Large Fine French Cut-Crystal

Eighteen-Light Chandelier, 19th c., attributed to Baccarat, double-tiered vasiform standard, issuing spiral crooks and arms hung with pendant bellflowers, the spiral arms ending with prism-hung nozzles and bobeches, hung with garlands of faceted crystals, h. 60 h. 60 in., dia. 38 in.

[$6000/9000]

Provenance: Bocage Antebellum Home, Darrow, L, Neal Auction, May 3, 2008, lot 69 (pair); Estate of Fairy Coy, Richmond, KY; Neal Auction, Dec. 9, 1994, lot 182.

486. French Empire-Style

Nine-Light Chandelier, 20th c., patinated metal and brass, h. 34 in., dia. 27 in. [$700/1000]

488. Antique Continental

Carved Marble Mantel, shaped shelf, scrolled, paneled frieze and pilasters, black marble surround, h. 41 1/2 in., w. 50 1/2 in., d. 14 1/4 in. [$1000/1500]

485. Large Fine French Cut-Crystal Eighteen-Light Chandelier, 19th c., attributed to Baccarat, double-tiered vasiform standard, issuing spiral crooks and arms hung with pendant bellflowers, the spiral arms ending with prism-hung nozzles and bobeches, hung with garlands of faceted crystals, h. 60 h. 60 in., dia. 38 in. [$6000/9000]

Provenance: Bocage Antebellum Home, Darrow, LA; Neal Auction, May 3, 2008, lot 69 (pair); Estate of Fairy Coy, Richmond, KY; Neal Auction, Dec. 9, 1994, lot 182.

487. American Brass

Six-Light Gasolier, 19th c., scroll arms, central oil font, electrified, h. 41 in., dia. 31 in. [$800/1200]

489. Group of Ten Copper Pots, graduated sizes, largest dia. 9 3/4 in. [$300/500]

490. Art Nouveau Gorham

Sterling Silver Tyg, pattern A1960, date mark for 1901, floral decoration, script monogram, engraved presentation “From Mother/Xmas 1901”, h. 8 in., width 10 1/2 in. wt. 51.60 troy ozs. [$700/1000]

491. Pair of Baroque-Style Carved Marble Pedestals, 20th c., with lion masks, garlands and cherubs, h. 44 in., w. 15 1/2 in., d. 15 1/2 in [$3000/5000]

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

493. After Luca Della Robbia (Italian, 1400-1482), “Trumpeters with Dancing Children” from the Cantoria Frieze, c. 1911, plaster cast, wood, from P.P. Caproni & Bro., Boston, MA, h. 41 in., w. 38 1/2 in., d. 7 in. [$2000/3000]

Ref.: Caproni & Bro. Catalogue of Plater Reproductions, 1911, p. 109.

495. Antique Continental Bronze-Mounted Onyx Pedestal, square top, foliate mounts, plinth base, h. 43 in., w. 16 in., d. 16 in. [$1000/1500]

494. After

“Erté”, (Russian/French, 1892-1990), “Hera and

a Peacock”, 1989, three-piece cold painted polychrome and parcel gilt bronze, stamped signature, date, “149/500” and “Sevenarts LTD., London” on reverse of Hera and Zeus, stamped “149/500” on reverse of peacock, h. 18 1/2 in., w. 14 1/2 in., d. 13 1/4 in. to h. 3 1/2 in., w. 5 in., d. 1 3/4 in. (3 pcs.) [$1500/2500]

Provenance: Dyansen Gallery, New Orleans, LA.

497. French Terracotta Olive Jar, loop handles, sgraffito decoration, h. 28 1/2 in., dia. 18 in. [$300/500]

Provenance: Bocage Antebellum Home, Darrow, LA

496. Pair of Louis XVI-Style Six-Light Candelabra, 19th c., quiver and arrow standard, scrolled arms with eagle terms, h. 24 in., w. 12 1/2 in., d. 9 in. [$500/700]

Provenance: Bocage Antebellum Home, Darrow, LA

Romain de Tirtoff

Zeus with

498. After Giuseppe Galli Bibiena (Italian, 1696-1757), “Classical Architecture”, Plates 28 and 34, 2 etchings with engraving, from Architetture e Prospettive, Dedicate alla Maest di Carlo Sesto, printed and published by Johann Andreas Pfeffel (Austrian, 1674-1748), Augsburg, Germany, 10 7/8 in. x 18 7/8 in. and 11 1/4 in. x 19 1/4 in., framed alike. (2 pcs.) [$1000/1500]

499. 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. [$1500/2500]

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.

501. Paul Jacoulet (French, 1896-1960), “L’etoile de Cobi”, woodblock print, pencil-signed and artist stamp lower left, titled lower margin, sealed right margin, 15 1/2 in. x 11 3/4 in., unframed.

[$800/1200]

500. 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]

502. Salvador Dali (Spanish, 1904-1989), “After 50 Years of Surrealism”, portfolio, published by Transworld Art, Switzerland, printed by Atelier Rigal, France, 1974, with 8 (of 12) colored etchings, signed and numbered A72/195, on Arches paper, sheet 26 in. x 19 3/4 in., with text in English, title, colophon, boards, and clamshell box, the titles: “The Laurels of Happiness”, “Flung Out Like a Fag-End by the Big Wigs”, “Picasso: A Ticket for Glory”, “The Great Inquisitor Expels the Saviour”, “God, Time, Space, and the Pope”, “Gala’s Castle”, and “The Museum of Genius and Fancy”, 8 etchings. [$2000/3000]

503. Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997), “Kohlmeyer Kloud”, 1973, silkscreen, pencil-signed, titled, dated and numbered “50/100” lower margin, printed by Landfall Press, Chicago, blind stamp lower left and ink stamp en verso, 31 in. x 24 in., framed.

[$800/1200]

505. Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997), “Smogged In”, 1973, silkscreen, pencilsigned and dated lower center, titled and numbered “46/100” lower left, printed by Landfall Press, Chicago, with blind stamp lower left and ink stamp en verso, 19 1/4 in. x 25 3/8 in., framed.

[$800/1200]

506. Ida Rittenerg Kohlmeyer (American/Louisiana, 1912-1997), “Kohlmeyer Kloud”, 1973, silkscreen, pencilsigned, titled, dated and numbered “4/100” lower margin, printed by Landfall Press, Chicago, blind stamp lower left and ink stamp en verso, 31 in. x 24 in., framed. [$800/1200]

504. Ida Rittenberg Kohlmeyer (American/ Louisiana, 1912-1997), “Romantic Triple Decker”, 1973, silkscreen and collage on paper, pencil-signed, titled, dated and numbered “49/75” lower margin, printed by Landfall Press, Chicago, with blind stamp lower left and ink stamp en verso, sheet 24 in. x 27 1/2 in., framed. [$800/1200]

507. Kayla Mahaffey (American/Illinois, b. 1994), “Head in the Clouds”, 2021, 27-color screenprint, signed lower right, numbered “13/75” lower left, dated and monogrammed in plate, 35 in. x 42 in., unframed. [$1500/2500]

Note: Born and raised on the South side of Chicago, Kayla Mahaffey took the struggle in the world around her and the support from her community to evolve a unique and personal style that imbues her work with imagination, whimsy, positivity and the narrative of her own life story. Her works are best described as a mixture of pop art and Afro-surrealism and based around her childhood memories and the safety and comfort she felt in her younger years, particularly while watching cartoons. Mahaffey’s works have a depth of meaning and universal appeal that have led to her recent meteoric rise within the art world.

In the skilled hands of Mahaffey, popular culture imagery is re-purposed and re-invented. By combining immediately recognizable cartoon elements with images of Black children, she succeeds in carving out space for them, and herself, within the imaginative chaos. This lot entitled “Head in the Clouds” is the first large-scale version of the print to be offered at auction. The main figure is wearing a bib dress and holding a basket, reminiscent of Dorothy from the Wizard of Oz. She is surrounded by the controversial crows from Dumbo and picking cartoon bombs from a field of flowers, while a blue bird is perched on her hand singing off-key musical notes. The work is saturated in bubble gum and cotton candy colors, and the girl engages the viewer with a clear gaze and slight smile, inviting them into the artist’s world. The resulting effect is an aesthetically exquisite work which is as sentimental and whimsical as it is deeply powerful.

Ref.: Scott, Chadd. “Kayla Mahaffey Explores Nostalgia in New Paintings.” See Great Art. Sept. 17, 2021. www.seegreatart.art. Accessed Oct. 27, 2022; “Interview with Kayla Mahaffey for ‘Remember the Time.’” Sour Harvest. Sept. 21, 2021. www.sourharvest.com. Accessed Oct. 27, 2022; Mahaffey, Kayla. “About.” Kayla May. www.kaylamay.art. Accessed Oct. 27, 2022.

508. George Rodrigue (American/Louisiana, 19442013), “Morning Glories Blonde”, 1989, serigraph, pencilsigned, numbered “31/225” and pencil-remarque of Blue Dog and oak trees with additional pencil signature lower margin, 37 1/2 in. x 28 1/2 in., framed. [$1000/1500]

509. George Rodrigue (American/Louisiana, 19442013), “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. [$2000/3000]

511. George Rodrigue (American/ Louisiana, 1944-2013), “We Will Rise Again”, 2005, silkscreen, pencil-signed lower left, open edition, 23 1/2 in. x 16 1/2 in., framed. [$800/1200]

Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Harry N. Abrams, Inc., 2008, p. 232.

510. George Rodrigue (American/Louisiana, 1944-2013), “Home on the Moon”, 1991, offset lithograph, signed lower right, signed in plate lower left, edition of 1000, 10 3/4 in. x 22 in., framed. [$1000/1500]

Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Harry N. Abrams, Inc., 2008, p. 211.

512. George Rodrigue (American/ Louisiana, 1944-2013), “Sweet Like You”, 2000, silkscreen, signed lower left, numbered “50/150” lower right, 20 in. x 15 1/2 in., unframed; accompanied by a copy of a certificate of authenticity. (2 pcs.) [$800/1200]

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

513. George Rodrigue (American/ Louisiana, 1944-2013), “Angel Baby”, 2000, silkscreen, signed lower left, numbered “19/150” lower right, 20 1/4 in. x 15 5/8 in., unframed; accompanied by a copy of a certificate of authenticity. (2 pcs.) [$800/1200]

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

514. George Rodrigue (American/ Louisiana, 1944-2013), “George’s Sweet Inspirations”, 2000, silkscreen, signed lower left, numbered “144/150” lower right, 20 1/8 in. x 15 1/2 in., unframed; accompanied by a copy of a certificate of authenticity. (2 pcs.) [$800/1200]

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

517. Caroline Wogan Durieux (American/Louisiana, 1896-1989), “Survivor”, lithograph, pencil-signed, titled, numbered “3/3” and inscribed “3” lower margin, sheet 18 9/16 in. x 13 1/2 in., unframed. [$700/1000]

515. Caroline Wogan Durieux (American/Louisiana, 1896-1989), “Annunciation”, 1973, cliché-verre, signed and dated lower right, titled upper right, numbered “10/10” lower left, sheet 19 7/8 in. x 16 in., unframed. [$800/1200]

516. Caroline Wogan Durieux

(American/Louisiana, 1896-1989), “Victory”, 1975, hand-enhanced electron print, signed, titled and numbered “5/10” lower left, pencil-inscribed “5” lower margin, sheet 19 7/8 in. x 15 7/8 in., unframed. [$800/1200]

519. Caroline Wogan Durieux (American/Louisiana, 1896-1989), “Conferencia (Los Diplomaticos)”, 1943, lithograph, pencil-signed, titled and dated lower margin, pencil-inscribed “Edition of 12” lower margin under mat, “Taylor Clark Gallery, Baton Rouge, LA” label on backing paper, 10 1/8 in. x 7 5/8 in., framed. [$600/800]

Ill.: Durieux, Caroline. Caroline Durieux: 43 Lithographs and Drawings. Baton Rouge: Louisiana State University Press, 1949, pl. 6.

518. Caroline Wogan Durieux (American/Louisiana, 1896-1989), “Fragmented Clowns”, 1961, cliché-verre, pencil-signed, titled and numbered “14/16” lower margin, sheet 18 1/4 in. x 15 1/4 in., unframed. [$500/700]

521. Caroline Wogan Durieux (American/Louisiana, 18961989), “Invasion”, lithograph, pencil-signed, titled and numbered “4/20” lower margin, “Rives” watermark and blind stamps visible, “Taylor Clark Gallery, Baton Rouge, LA” label on backing paper, sheet 19 in. x 24 in., framed. [$500/700]

522. Caroline Wogan Durieux

(American/Louisiana, 18961989), “Elegant Fowl”, 1973, electron print, signed and dated lower right, titled and numbered “9/10” lower left, inscribed “artist proof” right margin, pencil-inscribed en verso, sheet 19 7/8 in. x 16 15/16 in., framed. [$400/600]

520. Caroline Wogan Durieux (American/Louisiana, 18961989), “Improbable Dance”, 1977, hand-enhanced electron print, pencil-signed and dated lower right, titled and numbered “1/5” lower left, sheet 15 7/8 in. x 19 7/8 in., framed. [$500/700]

523. Herbert Matter (Swiss/ American, 1907-1984), “Head of Diego”, “Bust of Elie Lotar” and “Double Exposure of Giacometti Sculpture”, 3 gelatin silver prints, unsigned, sheets 10 7/8 in. x 8 1/2 in. to 17 1/4 in. x 14 in., framed alike. (3 pcs.) [$1500/2500]

524. Lee Crum (American/ Arkansas, 20th c., active New Orleans, 1978-2005), “Nude beside Brick Ruins”, 2004, archival pigment print on paper, pencil-initialed, dated and inscribed “AP” en verso, sheet 46 3/4 in. x 34 7/8 in., framed. [$1000/1500]

526. Frank Relle (American/ Louisiana, b. 1976), “Clio”, 2011, c-print, signed, titled and dated lower margin, inscribed and numbered “6/15” en verso, signed and dated artist label attached to backing paper, 22 in. x 16 in., framed. [$800/1200]

Ill.: New York Times, Mar. 14, 2014.

525. Lee Crum (American/ Arkansas, 20th c., active New Orleans, 1978-2005), “Nude near Endless Pool”, 2004, archival pigment print on paper, pencilinitialed, dated and inscribed “AP” en verso, sheet 37 in. x 34 7/8 in., framed.

[$1000/1500]

528. 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]

527.

13 in. x 18 1/4 in., framed. [$800/1200]

529.

(5 pcs.) [$1200/1800]

Alban E. “A. E.” Woolley (American/Louisiana, 1926-1997), “Five Photos from the Angola Prison Series”, 1961-1962, 5 gelatin silver prints mounted to board, all pencil-signed, titled and dated on mount, each with “A.E. Woolley, Photograph, New Paltz, N.Y.” stamp on reverse of mount, 6 1/4 in. x 9 3/8 in. to 13 1/2 in. x 8 7/8 in., all matted.

Herman Leonard (American, 1923-2010), “Louis Armstrong, Paris, 1960”, silver gelatin print, signed, titled, dated and numbered “38/50” lower margin,

530. Clarence John Laughlin (American/Louisiana, 1905-1985),

“The Shell Spiral No. 2”, negative creation date 1948, print date 1978, gelatin silver print mounted to board, signed, titled and dated on mount, initialed, titled, print date, numbered “10” and artist stamp on reverse of mount, sheet 13 11/16 in. x 11 in., unframed. [$1200/1800]

532. Clarence John Laughlin (American/Louisiana, 1905-1985),

“The Florid Dress (Black and White)”, negative creation date 1941, print date 1973, gelatin silver print mounted to board, signed, titled and dated on mount, initialed, titled, print date, numbered “3” and artist stamp on reverse of mount, sheet 13 1/2 in. x 10 1/6 in., unframed. [$1000/1500]

Ill.: Laughlin, Clarence John. Ghosts Along the Mississippi. New York: John Scribner’s Sons, 1951, pl. 5.

534.

531. Clarence John Laughlin (American/Louisiana, 1905-1985), “She Who Commands the Cobwebs (Enid Foster)”, negative creation date 1955, print date 1976, gelatin silver print mounted to board, signed, titled and dated on mount, initialed, print date, numbered “4” and artist stamp on reverse of mount, sheet 10 in. x 13 3/8 in., unframed. [$1200/1800]

535. American Classical Mahogany Center Table, c. 1840, Boston, dodecagonal Egyptian marble top, conforming incurvate frieze with ribbon molding, scrolled supports on serpentine triangular base with scroll feet, h. 31 1/2 in., dia. 34 1/4 in. [$1500/2500]

536. American Classical Mahogany Work Table, c. 1825, New York, lift top with fitted interior, lyre supports, baluster-turned stretcher, shaped trestle base, h. 29 1/2 in., w. 20 1/2 in., d. 14 1/4 in. [$800/1200]

533. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “The Hermit”, c. 1928, “Tonging for Oysters, Grand Isle”, c. 1938, “Fonville with Riverboat” and “Bayou Queen”, 4 silver gelatin prints, later prints from original negatives, each with embossed estate signature lower right, each titled and 2 dated on artist information cards, 15 1/2 in. x 19 3/4 in. to 19 1/2 in. x 23 1/2 in., unframed. (4 pcs.) [$600/800]

Theodore “Fonville” Winans (American/ Louisiana, 1911-1992), “Sugar Harvest”, “Blessing of the Fleet, Morgan City”, c. 1934 and “State Capital in Snow”, c. 1940, 3 silver gelatin prints, later prints from original negatives, each with embossed estate signature lower right, each titled and 2 dated on artist information cards, 15 1/2 in. x 19 1/2 in. to 19 1/2 in. x 23 1/2 in., unframed. (3 pcs.) [$600/800]

537. American Classical Carved Mahogany Banquet Table, early 19th c., probably Philadelphia or Baltimore, in two parts, each with drop leaf, frieze centering foliate panels, spiral-turned legs, ball feet, h. 29 in., w. 48 in., d. 92 1/2 in. [$700/1000]

538. American Classical Carved Mahogany Secretary Bookcase, c. 1830, ogee cornice, geometric glazed doors, fall-front writing drawer with fitted interior, three lower drawers flanked by Ionic columns, paw feet, h. 91 1/2 in., w. 49 1/2 in., d. 23 3/4 in. [$1200/1600]

539. American Classical Mahogany Drum Table, early 19th c., New York, rotating top with inset leather, four frieze drawers and four hinged compartments, octagonal standard, sabre legs, brass paw feet, casters, h. 30 1/2i n., dia. 41 in. [$800/1200]

541. Monumental American Classical Carved Plum Pudding Mahogany Wardrobe, c. 1830-1840, New York, stepped cornice, inset arched frieze, foliate Ionic columnar stiles, paneled doors, fitted interior, lobed feet, h. 93 in., w. 77 1/2 in., d. 29 1/2 in. [$2500/3500]

Provenance: Bocage Antebellum Home, Darrow, LA

540. American Classical Carved Mahogany Pembroke Table, early 19th c., New York, scalloped drop-leaf top, frieze drawer, reeded tapered legs, brass cuffs, casters, h. 29 1/4 in., w. 32 1/2 in., d. 20 1/2 in. [$800/1200]

Provenance: Bocage Antebellum Home, Darrow, LA

542. American Classical Carved Mahogany Sofa, c. 1825-1830, Philadelphia, back-scrolled crest rail, padded cylindrical arms, bolection seat rail, large hairy paw feet, h. 36 in., w. 86 in., d. 22 in. [$700/1000]

Provenance: Bocage Antebellum Home, Darrow, LA

545. American Late Classical Mahogany Mechanized Extension Dining Table, c. 1840, drop-leaf ends, split ogee frieze and plinth base, raised on casters, with later cypress leaves, h. 29 1/2 in., w. (open) 127 in., w. (closed) 23 in., d. 41 3/4 in. [$800/1200]

543. American Classical Carved Mahogany Tester Bed, c. 1825-1835, probably New York, molded tester, shaped headboard, foliate-carved reeded posts, baluster legs; together with 3 photographic portraits of the Darcantel Family, h. 98 in., l. 73 1/2 in., w. 44 1/2 in. [$3000/5000]

Provenance: Descended in the Darcantel family, White Castle, LA.

544. Pair of American Classical Mahogany Poster Beds, c. 1830-1840, turned posts with brass ball finials and feet, paneled headboard with large rolling pin crest h. 96 in., w. 44 1/4 in., l. 77 in. [$2000/3000]

548. American Classical Carved Mahogany Games Table, early 19th c., foldover swivel top, ogee frieze, acanthus carved lyre support, leaf carved scrolled legs, incurvate plinth, lion’s paw casters, h. 30 in., w. 35 in., d. 17 1/2 in. [$800/1200]

546. American Classical Carved Mahogany Armoire, c. 1830-1840, New York, possibly J. & J.W. Meeks, ogee cornice, tympanum frieze, paneled doors, raised base, bulbous lobed feet, h. 102 in., w. 67 1/4 in., d 28 in. [$2500/3500]

547. American Classical Carved Mahogany Two-Part Dining Table, early 19th c., each section with drop-leaf swivel top, acanthus-carved pedestal with lobed collar, incurvate plinth, volute bracketed paw feet, casters, h. 29 in., w. 94 in., d. 48 in. [$1200/1800]

549. Anglo-Colonial Carved Tropical Hardwood Sofa, early-to-mid 19th c., likely British West Indies, paneled crest rail with floral terminals, heavily scrolled floral arms, blocked seat rail, lobed foliate legs, h. 36 in., w. 84 in., d. 26 in. [$1000/1500]

550. Hunt Slonem (American/Louisiana, b. 1951), “Yellow Bunny”, 2016, oil on panel, signed and dated en verso, 10 in. x 8 in., framed. [$4000/6000]

551. Antique Louis XVI-Style Creme Peinte and Hunt Slonem Fabric-Upholstered Sofa, ribbonmolded crest rail, scrolled arms, rosette blocked seat rail, fluted tapered legs, h. 39 1/2 in., w. 57 in., d. 21 in. [$1500/2500]

553. George Rodrigue (American/Louisiana, 1944-2013), “A Night on Blue Bayou”, 1990, oil on linen, signed lower right, signed, titled, dated and inscribed “Blue Dog Series #5” en verso, 24 in. x 18 in., framed. [$40000/60000]

Provenance: The Rodrigue Gallery, New Orleans, LA, May 17, 1990.

Ill.: Danto, Ginger. The Art of George Rodrigue. New York: Harry N. Abrams, Inc., 2003, p. 108.

Note: In the early 1990s, George Rodrigue designed a billboard for I-10 at Henderson, Louisiana, where he had a studio behind Landry’s Restaurant from the late 1980s to around 1994. In the process of developing his idea for the sign, he experimented with what he coined an “out of the picture” style. In addition to the billboard, Rodrigue created a handful of easel paintings in this same manner. This period was a particularly exciting one in the early development of the Blue Dog series, as Rodrigue was exploring the meaning of his, shortly thereafter internationally famous, image and where it could take him on his canvases.

In this work, Rodrigue frames the landscape within a painted cream border, creating a picture within a picture, with edges he then disrupts with a threequarter view of the Blue Dog, a swirling moon and a tree. He adds dimensionality and depth with the addition of each component. In this case, further visual interest derives from the apparent contradiction in the essential flatness of the Blue Dog breaking the picture plane into the illusion of three-dimensional space—a modern take on classic trompe l’oeil.

The artist’s early training in hard-edged painting with crisply defined shapes and contours is clearly displayed and contrasts beautifully against the expressionistic brushstrokes and blended colors of his blue bayou. In the place of his familiar oak, Rodrigue includes a rare depiction of a cypress tree, likely desiring a strong vertical counterpart to the other compositional elements, rather than having an interest in the tree itself as an alluring shape or symbol. This work is a remarkably unique example within the Blue Dog series, melding aspects from multiple sources of inspiration and yielding something entirely new and captivating.

552. Melissa Bonin (American/Louisiana, b. 1960), “Le Sablier”, 2015, oil on gallery-wrapped canvas, signed lower right, signed, titled and dated en verso, 60 in. x 44 in., unframed. [$12000/18000]

556.

[$25000/35000]

Provenance:

Note: In 1976, George Rodrigue completed three canvases depicting a young girl named Darra. Two of the works are illustrated in The Cajuns of George Rodrigue, with the sitter described by the artist as: “Darra, a five year old small Cajun girl, who sits in front of the same tree her greatgreat-grandfather stood under, represents, to me, the future of the Cajun. The hope of the Cajun. The love of the Cajun.”

In the version offered here, Darra occupies a ladder-back chair that emphasizes her small stature and hauntingly alludes to her aloneness within the landscape. As in the other depictions, she is clothed in a long white gown that glows in distinctive ghostly Rodrigue fashion against the dark oak tree of Acadiana. While he would have utilized photographs of Darra as inspiration for his composition, Rodrigue imagined his own unique world on his canvases, with the image of the girl serving as a lasting remembrance and symbol while furthering the artist’s visual storytelling of his rich culture.

Ref.: Rodrigue, George. The Cajuns of George Rodrigue. Birmingham: Oxmoor House, Inc., 1976.

554. George Rodrigue (American/Louisiana, 1944-2013), “Daddy’s Yellow Dog”, 1988, oil on canvas, signed lower right, signed, dated and inscribed “#8-B” en verso, 14 in. x 18 in., framed. [$15000/25000]

Provenance: Acquired from the artist; Estate of Actress Pat Snow, Baton Rouge, LA.

555. George Rodrigue (American/Louisiana, 1944-2013), “Looking for a Pirogue”, 1992, oil on canvas, signed lower left, signed and dated en verso, inscribed with artist name, title and “9216” on stretcher, artist stamps on reverse of frame, 24 in. x 20 in., framed. [$30000/50000]

George Rodrigue (American/Louisiana, 1944-2013), “Portrait of Darra in Chair”, 1976, oil on canvas, signed lower left, signed, dated and inscribed en verso, titled, inscribed and 3 artist stamps on stretcher, inscribed on reverse of frame, 36 in. x 24 in., framed.

Acquired from the artist; Estate of Actress Pat Snow, Baton Rouge, LA.

557. George Rodrigue (American/Louisiana, 1944-2013), “Gallery Edition I: Mixed Media”, 1990, silkscreen on mahogany panel, signed and numbered “6/17” lower left, titled right margin, 27 in. x 27 in., framed. [$6000/8000]

Provenance: The Rodrigue Gallery of New Orleans, Inc., New Orleans, LA, May, 17, 1990.

Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Harry N. Abrams, Inc., 2008, p. 40.

Note: To draw attention to his new French Quarter gallery in 1990, George Rodrigue created his first silkscreen design featuring the Blue Dog – “Gallery Edition I.” He made the image into a limited series of ninety prints on paper complemented by a very rare edition of just seventeen printed on a thin wood panel, and in some cases, enhanced by acrylic paint. One such example of this edition is offered here for the first time at auction. In addition to being signed and numbered, Rodrigue wrote in blue the phrase “Sometimes I Feel like a Blue Dog” in the negative space along the right edge. The phrase was perhaps a foreshadowing of what was to follow, as this silkscreen inaugurated two decades of the artist exploring his Blue Dog through printmaking.

Ref.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Harry N. Abrams, Inc., 2008.

558. George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, gold leaf on black clay, signed lower center, 20 in. x 17 1/4 in., framed. [$5000/8000]

559. George Bauer Dunbar (American/ Louisiana, b. 1927), “Heart”, gold leaf on red and black clay, signed lower right, 14 in. x 12 in., framed. [$2000/3000]

560. Frank Fleming (American/Alabama, 1940-2018), “Penguin with Head of Staff”, bronze, incised signature and numbered “5 of 12” on proper left foot, h. 18 3/4 in., w. 13 in., d. 8 1/2 in. [$4000/6000]

Note: Frank Fleming often attributed his becoming an artist to the hardships of growing up with a severe speech impediment. Struggling to form words, he stopped speaking in the first grade and did not resume until 11 years later, opting instead to use imagery as the main way of expressing himself. After years of intense speech and vocal therapy, he was able to attend Florence State University (now the University of North Alabama) but again felt himself to be an outsider.

At the time, Abstract Expressionism was the focus of most academic art programs, and Fleming’s own views were at odds with his professors and peers over his need to ground his art in natural and figurative terms. Following his difficult days at university, he discovered the Funk Art Movement, and within it, the sculptures of Robert Arneson which introduced him to a new way of thinking and pointed him in the direction that eventually led to the formation of his own artistic voice. In contrast to the serious world of Abstract Expressionism, the Funk artists focused on absurdity and irony and the observation of these qualities in the natural world. Fleming took that spirit and combined it with his dark sense of humor and attention to detail and in so doing, created a uniquely surrealist way of looking at the world which prompted art critic Vanessa Gregory to describe his works as “whimsical and unnervingly Messianic”.

The sculpture offered here is a prime example of his mature oeuvre. Blurring the lines between man and beast, “Penguin with Head Staff” has an almost mythic quality to it, featuring a defiant penguin holding up a human hand, finger pointed to the sky as if mid-speech while in the other hand is a staff crowned with a human head. In the real world where gentlemen used to carry fancy canes topped with elaborate carved animal-shaped handles, this sculpture comically reverses the narrative.

Ref.: Gregory, Vanessa. “The Fantastical World of Frank Fleming”. Garden and Gun. Feb/Mar 2014. www. gardenandgun.com. Accessed Oct. 24, 2022; “In Memorandum: Frank Fleming”. Birmingham Museum of

561. Ashley Longshore (American/Louisiana, b. 1975), “Kate Moss”, acrylic and mixed media on gallery-wrapped canvas with resin, signed lower right, 60 in. x 48 in., unframed.

[$6000/8000]

562. Bruce “Dapper Bruce Lafitte” Davenport, Jr. (American/Louisiana, b. 1972), “Shorty Bop”, 2020, “Slam U”, 2020, “Blue Indian”, 2020 and “Foots”, 2017, 4 markers on paper, all titled lower center, signed and dated lower right, signed and inscribed en verso, 11 in. x 14 in. to 12 in. x 9 in., unframed. (4 pcs.) [$800/1200]

563. George Valentine Dureau (American/ Louisiana, 1930-2014), “Man with Centaur and Putto”, charcoal on paper, pencil-signed lower center, 29 in. x 23 in., framed. [$500/700]

564. Albert “Al” LaVergne (American/Louisiana, 1943-2020), “Hand”, bronze, unsigned, h. 10 1/2 in., w. 9 in., d. 7 1/2 in., wood base, overall h. 12 in. [$4000/6000]

Note: Louisiana-born Albert “Al” LaVergne was the son of sharecropper parents. Growing up on a farm, he developed many skills repairing farm equipment and tools that would prepare him for his artistic career as a sculptor. He also enjoyed visiting the local blacksmith shop with his father where he would watch the skilled artisan at work. These early-in-life moments helped to pave the way for LaVergne’s artistic vision and high level of execution.

LaVergne received his BA from Southern University in Baton Rouge and his MFA at the University of California Berkeley in 1973. After graduating from Berkeley, he returned to Southern University, this time as a professor of art. He also taught at Western Michigan University in Kalamazoo and received two Fulbright grants to travel to Nigeria where he created a fourteen-foot-tall sculpture entitled “The Gift,” which he described as “a prodigal son coming home.” His time in Nigeria was particularly meaningful for the African American artist who always felt a “strong connection on some level” to Africa. The work offered here is a bronze outreaching hand with fingers tensely spread as if desperately reaching for an unseen goal. The skin appears warped and pinched into unnatural shapes with a sharp contrast between the soft fleshiness and the hard medium. The hand, as symbolic of the body as a whole, is filled with expression, movement and the small imperfections of a life lived. A similar LaVergne piece from 1987 was featured in the Baton Rouge Gallery’s “50/50” retrospective exhibition in 2016, celebrating the fiftieth anniversary of the gallery.

Ref.: “Fulbright Scholar Inspires and Connects in Ife.” United States Diplomatic Mission, Nigeria. Aug. 2, 2012. usembassynigeria. blogspot.com. Accessed: Oct. 24, 2022; Feinberg, Robbie. “Through a Nigerian Trip, Sculptor Al Lavergne Crafts a 14-Foot Tall ‘Gift.’” WMUK. July 10, 2015. wmuk.org. Accessed Oct. 24, 2022; Miller, Robin. “Baton Rouge Gallery 50/50 Show Looks at 50 Years of Contemporary Artists and Their Art.” The Advocate. July 13, 2016. www.theadvocate.com. Accessed Oct. 24, 2022.

565. Allison Stewart (American/Louisiana, b. 1941), “Abstract on Grey”, oil on canvas, unsigned, 30 in. x 38 in., unframed. [$1500/2500]

566. Louisiana School, 20th c., “Night Blooming Cereus”, oil on canvas laid on board, unsigned, 39 in. x 28 1/4 in., framed. [$1000/1500]

567. Georges Febres (Ecuadorian/ Louisiana, 1943-1996), “Two Minotaurs”, 1976, graphite and charcoal on paper, pencilsigned and dated lower right, partial sketch en verso, 24 in. x 18 3/4 in., framed. [$400/600]

568. Jean Seidenberg (American/Louisiana, b. 1930), “Self Portrait in White Overalls”, 2002/2003, oil on canvas, signed, titled and dated en verso, artist label with title and date on reverse of frame, 27 in. x 26 in., framed. [$2000/3000]

569. Melody Guichet (American/Louisiana, b. 1949), “The Waitresses”, 1980/1981, acrylic and oil on canvas with fish hooks, Rhophex and glass beads, signed lower right, “Galerie Simonne Stern” label with artist, title and date attached to reverse of frame, 28 1/4 in. x 44 in., framed. [$1000/1500]

Provenance: Galerie Simonne Stern, New Orleans, LA; Arthur Roger Gallery, New Orleans, LA.

570. Barry Stone Bailey (American/ Louisiana, 1952-2021), “Asymmetric Still Life on Table”, 2013, mixed media on wood, signed and dated on reverse of tabletop, h. 30 in., w. 9 1/2 in., d. 13 in. [$1500/2500]

571. Roy Ferdinand (American/ Louisiana, 1959-2004), “Untitled: Couple”, 1992, mixed media on paper, signed and dated lower right, 28 in. x 22 in., framed. [$1000/1500]

572. Purvis Young (American/ Florida, 1943-2010), “Army Truck Pullin’ a Cannon”, mixed media on unstretched canvas, unsigned, 25 in. x 46 in., framed; accompanied by a copy of a certificate of authenticity attached to backing paper. (2 pcs.) [$1500/2500]

573. Purvis Young (American/ Florida, 1943-2010), “Triptych”, 3 oils on paper, 2 signed, each 10 3/4 in. x 8 in. to 10 3/4 in. x 8 1/2 in., framed together, overall 17 in. x 35 1/4 in. [$800/1200]

574. Purvis Young (American/Florida, 19432010), “Figure”, oil on wood, signed lower left and right, 47 5/8 in. x 20 in., unframed. [$600/800]

575. Holly Sarré (American/ Louisiana, 20th c.), “Ground Below Zero”, 2006, oil on gallerywrapped canvas, signed and dated lower right, signed, titled, dated and inscribed en verso, 30 in. x 24 in., unframed. [$2000/3000]

576. William Hemmerling (American/Louisiana, 1943-2009), “Poppy”, oil on wall paneling, signed lower right, titled upper right, 38 in. x 19 3/4 in., unframed. [$3000/5000]

577. James Michalopoulos (American/Louisiana, b. 1951), “Pitgary Heights”, 1995, oil on canvas, signed lower left, signed and dated en verso, titled on stretcher, 48 in. x 24 in., framed. [$4000/6000]

579.

in. x 36 in., framed. [$5000/7000]

578. James Michalopoulos (American/Louisiana, b. 1951), “Blue Car”, oil on canvas, signed lower left, 22 in. x 27 3/4 in., framed. [$3000/5000]

James Michalopoulos (American/Louisiana, b. 1951), “Lavender House”, 1995, oil on canvas, signed lower left, signed and dated en verso, 47 3/4

580. James Michalopoulos (American/Louisiana, b. 1951), “Roof Patout”, 2000, oil on canvas, signed lower left, signed, dated and artist label en verso, titled and numbered “4628” on stretcher, 35 1/2 in. x 47 3/4 in., unframed. [$4000/6000]

583.

585.

[$4000/6000]

581. James Michalopoulos (American/Louisiana, b. 1951), “Dude for UNO”, 1995, oil on canvas, signed lower left, signed and dated en verso, titled on stretcher, 28 in. x 22 in., framed.

[$2500/3500]

582. James Michalopoulos (American/Louisiana, b. 1951), “Swim Swager”, 1995, oil on canvas, signed lower left, signed and dated en verso, titled on stretcher, 36 in. x 60 in., framed.

[$4000/6000]

584. James Michalopoulos (American/Louisiana, b. 1951), “Baboovale”, oil on canvas, signed lower right, titled on stretcher, 40 1/2 in. x 29 3/4 in., framed.

[$4000/6000]

586.

[$4000/6000]

James Michalopoulos (American/Louisiana, b. 1951), “Rojo Swerve”, 1994, oil on canvas, signed lower left, signed “Mitchell Michalopoulos” and dated en verso, titled on stretcher, 36 in. x 47 3/4 in., framed. [$5000/7000]

David Harouni (Iranian/Louisiana, b. 1962), “Untitled: Queen”, oil on gallery-wrapped canvas, signed lower right, 48 in. x 48 in., unframed.

David Harouni (Iranian/Louisiana, b. 1962), “Untitled: Queen”, oil on gallery-wrapped canvas, signed lower right, 47 3/4 in. x 47 7/8 in., unframed.

587. Chuah Thean Teng (Chinese/Malaysian, 1912-2008), “At the Fruit Stall”, 1975, batik on cloth, signed lower right, label with signature, artist stamp, title and date and “Yahong Gallery, Penang, Malaysia” label attached en verso, 24 in. x 18 1/2 in., framed; accompanied by booklet Batik Painting by Teng (2 pcs.) [$5000/8000]

588. Chuah Thean Teng (Chinese/Malaysian, 1912-2008), “Mother and Child”, batik on cloth, signed lower right, sight 23 1/4 in. x 17 1/2 in., framed. [$5000/8000]

589. Hans Bellmer (German, 1902-1975), “Untitled”, graphite on paper, pencil-signed lower left, 11 3/4 in. x 8 in., framed. [$1500/2500]

590. Kenneth D. Snelson (American, 1927-2016), “Four Chances”, 1979-99, aluminum and steel wire, signed, dated and numbered “0/4” on one aluminum tube, h. 15 in., w. 19 1/4 in., d. 15 1/2 in.; accompanied by a copy of a letter detailing provenance. (2 pcs.) [$7000/10000]

Provenance: Collection of artist’s widow, Katherine Snelson; Private Collection, TX.

Note: Kenneth Snelson was born and raised in Pendleton, Oregon. At an early age he started constructing model airplanes in his family’s basement where he could escape from “normal family bickering”. This hobby combined with his father’s passion for cameras and photography laid groundwork for his future artistic career.

After serving in the Navy for about a year until the end of WWII, he spent his time pursuing higher education at several different universities, often switching his focus of study from business to English to architecture before settling on painting for a couple years. It wasn’t until his first summer in Black Mountain College in 1948 that influential artist and instructor Josef Albers noticed his talent for three dimensional objects and encouraged Snelson to pursue sculpture. Albers then connected him with architect Buckminster Fuller who shared an interest in geometric form and using laws of physics in art. Fuller later became famous for patenting the geodesic dome, a structure Snelson helped him conceptualize, though their relationship eventually turned contentious due to accusations of the architect using the sculptor’s ideas without credit. Over time, the resentment thawed and Snelson later expressed his respect and appreciation for Fuller and his work.

The sculpture “Four Chances”, on offer here, is a small-scale model of his 1982 piece in the collection of the Buffalo AKG Art Museum in New York. The title refers to the edition size of the smaller models—with this one, numbered “0,” presumedly the first of the maquettes to have been made—as well as the number of steel elements of which there are also four. The suspended, shiny tubes are mesmerizing, seemingly gravity-defying, and Snelson’s careful control of his media showcases the structure itself while also exploring its relationship to the space it occupies.

Ref.: Bostic, Connie and Kenneth Snelson. “Kenneth Snelson Interviewed by Connie Bostic.” Black Mountain Museum Arts Center. July 22, 2008. blackmountaincollege.org. Accessed Oct. 26, 2022.

591. Guy Edward Grey-Smith (Australian, 1916-1981), “Rocks”, 1962, oil on masonite, signed and dated lower right, “Vincent Price Collection, Sears, Roebuck and Co.” labels with title, artist and “NO 52522” on backing paper, handwritten labels with title and artist and inscribed en verso, 24 in. x 36 in., framed.

[$12000/18000]

Note: Born in 1916 in the western Australian wheatbelt, Guy Edward Grey-Smith joined the Royal Australian Air Force in 1936. Shortly after getting married in 1939, he was stationed in France during the onset of World War II when his plane was shot down, and he was captured as a prisoner of war. His wife Helen Grey-Smith, a designer and textile artist, sent him art materials while he was in captivity. During this time his interest in art sparked, and after developing his creative voice through art therapy treatment during post-war rehabilitation, he enrolled in Chelsea School of Art in 1945 where he studied painting and pottery until he returned with Helen to Australia in early 1948. Following their homecoming, the couple had two children while Guy honed his focus on getting his and Helen’s art careers off the ground. They organized exhibitions and garnered enthusiastic supporters of his work throughout the 1950s. Meanwhile he developed a passion for artist labor rights, leading him to organize similarly disaffected Australian artists and eventually found the Western Australian branch of the Contemporary Art Society in 1966. It was also around this time that Grey-Smith discovered the work of Nicolas de Stael, the influence of which is apparent in the lot on offer here entitled “Rocks” with its thick, confident slabs of complimentary colors. Its near complete abstraction of the terrain provides a view into the shift from figurative art to Abstract Expressionism. This piece was originally part of The Vincent Price Collection, founded by famed actor and art collector Vincent Price in collaboration with Sears. Starting in 1962, Price was given “carte blanche” by Sears to source all the artwork being offered in the collection. The program’s aim was to make owning original artwork financially accessible to everyday Americans, and Price’s search lead him to find contemporary artist such as Grey-Smith who were relatively unknown to American audiences. Price evidently saw the skill in his body of work as several of his paintings were included in this collection.

Ref.: Davis, Annette. Guy Grey-Smith: Guy Grey-Smith’s Landscapes of Western Australia. Perth: Edith Cowan University, 1996.

592. Allan D’Arcangelo (American/ New York, 1930-1998), “Golden Field with Tree”, 1966, pastel on paper mounted to board, pencil-signed and dated “66” mid-left, handwritten label with artist and date “65” on backing paper, dia. 6 in., framed.

[$800/1200]

[$8000/12000]

Exh.: “Odd Nerdrum: The Drawings”, New Orleans Museum of Art, July 30 - Oct 30, 1994 and listed in accompanying catalogue; “Perception of Self”, Forum Gallery, New York, NY, Oct. 4 - Nov. 12, 2012.

Note: Neal Auction would like to thank Laura Povinelli, Collections Manager and Rights & Reproductions Coordinator, New Orleans Museum of Art for her assistance in the cataloguing of this lot.

Note: “Nerdrum’s pictures rehumanize the dehumanized avant-garde figure and argue for the psychological and moral significance of painting.” ~Donald Kuspit

In 1998, Odd Nerdrum announced that he was now following his newly minted “Kitsch” philosophy of art. Critics were understandably perplexed as scholar Jordan Walker pointed out, his work “does not necessarily fit the common conception of Kitsch – the world of snow globes and collective figurines and saccharine paintings for decorative purposes.” Nerdrum’s version came from a much older source: Aristotle’s discussion of the intellectual virtues of Episteme (knowledge) and Techne (craft), the theoretical and the practical thought processes and how we apply them to daily life from Nicomachean Ethics. Specifically, Nerdrum views modern art as having too heavy an emphasis on concept and not enough on craftmanship. His proposed solution was to return to the traditional methods practiced by great masters such as Caravaggio and Rembrandt, which he referred to as “High Kitsch” or “…craft over concept, emotional experience over intellectualism and sincerity over irony.”

The work on offer here was created fifteen years prior to Nerdrum’s announcement, but the foundations of his Kitsch philosophy are patently visible. “Self Portrait” pays debt to Rembrandt and his process, with the artist presenting himself in similar garb and ensconced in feature-defining shadows, while emphasizing the importance of draftsmanship and using the simple materials of charcoal and paper. In the 1980s, such a piece would serve as an interesting delineation from the popular style of art being produced at the time. One can see why he was referred to as a “Modern Classicist,” not only for his imitation of the techniques of the masters but for his uncanny ability to create a mood equal to, if not surpassing, the greats themselves.

Ref.: Walker, Jordan. “The Kitsch Masterpiece: Odd Nerdrum and the Problem of the New Old Master.” Scholar Works at Georgia State University. May 14, 2021. www.scholarworks. gsu.edu. Accessed Oct. 25, 2022; Kuspit, Donald. “Odd Nerdrum.” Art Forum. Dec. 1997. www.artforum.com. Accessed Oct. 25, 2022.

594. Carlos José Ledda (Argentinian, b. 1932), “Adagio II” and “El Pórtico” 2004, 2 oils on canvas, each signed and dated lower right or left, both signed twice, titled, dated and inscribed en verso, 11 3/4 in. x 9 1/4 in. and 15 3/4 in. x 11 7/8 in., framed. (2 pcs.) [$800/1200]

593. Odd Nerdrum (Norwegian, b. 1944), “Self-Portrait”, 1983, charcoal on paper, signed mid-left, “Martina Hamilton Gallery, New York, NY” label with artist, title and date, “New Orleans Museum of Art” label and exhibition label with artist, title and date and 2 “Forum Gallery, New York, NY” labels one with artist, title and date the other with exhibition information on backing board, handwritten label with artist and title attached to hanging wire, sight 28 in. x 23 1/2 in., framed.

595. Three Antique Adam-Style Carved Mahogany Side Chairs, each square back with foliate tapered splats, needlepoint upholstery, nailhead trim, tapered legs, spade feet, h. 34 1/2 in., w. 20 1/2 in., d. 21 1/2 in. [$300/500]

596. 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]

597. George III-Style Carved Mahogany Console Table, shaped top with guilloche edge, conforming fluted and rosette blocked frieze centered by a ram’s head panel, bellflower tapered legs, spade feet. [$500/700]

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

600. George III Mahogany Chest of Drawers, early 19th c., top with reeded edge, four graduated drawers, splayed legs, h. 35 in., w. 36 1/2 in., d. 17 3/4 in. [$700/1000]

599. Eight Antique Chippendale-Style 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]

601. Eight Chippendale-Style Carved Walnut Dining Chairs, incl. two armchairs and six side chairs, serpentine crest rail, reticulated splat, cabriole legs, ball and claw feet, armchair h. 21 1/4 in., w. 28 1/4 in., d. 26 in., side h. 39 in., w. 21 in., d. 21 1/2 in. [$800/1200]

602. George III Inlaid Satinwood Wardrobe, early 19th c., shaped crest surmounted by urn finials, paneled doors, two deep drawers, shaped bracket feet, h. 93 1/2 in., w. 58 in., d. 27 in. [$2500/3500]

603. George III Inlaid Burl Walnut Chest of Drawers, late 18th c., banded top with chamfered corners, fluted stiles, three short drawers over three long drawers, French bracket feet, h. 37 3/4 in., w. 37 1/2 in., d. 17 3/4 in. [$1000/1500]

604. Fine George III Mahogany Secretary Chest-on-Chest, late 18th c., dentilated cornice, two short drawers over three long drawers, chamfered fluted stiles, lower case with fitted fallfront drawer, two lower drawers, ogee bracket feet, h. 78 1/2 in., w. 43 3/4 in., d. 23 1/4 in. [$1500/2500]

605. Georgian Mahogany Kneehole Desk, 18th c. and later, molded top, kneehole configuration of drawers, recessed cupboard, molded base, shaped bracket feet, h. 32 in., w. 32 1/2 in., d. 19 1/2 in. [$500/700]

606. George III Inlaid Mahogany Bowfront Sideboard, early 19th c., banded top, case fitted with a drawer flanked by cupboard door and deep drawer, square tapered legs, spade feet, h. 37 in., w. 55 in., d. 24 in.

[$2000/3000]

607. George III Mahogany Inlaid Serpentine Chest, late 18th c., four graduated drawers, shaped bracket feet, h. 38 1/4 in., w. 42 1/2 in., d. 23 in. [$800/1200]

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL

608. Georgian-Style Inlaid Mahogany Server, 20th c., figured backsplash, frieze drawers, incurvate stretcher shelf, tapered legs, spade feet, h. 37 3/4 in., w. 21 in., d. 45 in. [$600/900]

611. George III Inlaid Mahogany Demilune Games Table, early 19th c., banded edge and segmented veneer fold-over top, blocked frieze, ring-turned legs, h. 29 in., w. 36 in., d. 18 in. [$500/700]

609. George III Carved Mahogany Sofa, c. 1780-1785, serpentine crest rail and arms, fluted square tapered legs with rosette block feet, h. 36 1/2 in., w. 68 in., d. 33 in. [$800/1200]

610. George III Mahogany Chest-on-Chest, early 19th c., chamfered cornice, conforming upper case with fluted stiles, two short drawers over three long drawers, lower case with three graduated drawers, base with bracket feet, h. 67 1/2 in., w. 42 1/4 in., d. 22 in. [$1000/1500]

612. George III Inlaid Mahogany Dining Table, early 19th c., demilune ends, blocked frieze, paneled legs, incl. three leaves, h. 30 1/2 in., w. 107 in., d. 48 in. [$1000/1500]

613. Large Antique George III-Style Inlaid Mahogany Sideboard, serpentine top, conforming case with center drawer flanked by cabinet doors, tapered legs, spade feet, conch shell pulls, h. 36 3/4 in., w. 73 in., d. 24 in. [$700/1000]

614.

616. Georgian III Inlaid Mahogany Dressing Mirror, early 19th c., finialed supports, reeded surround, serpentine case with three drawers, bracket feet, h. 19 in., w. 18 in., d. 8 3/4 in. [$400/600]

615. Six George

Chairs, 18th c., incl. one armchair and five side chairs, acanthine crest

slatted

straight legs, H-stretcher, armchair h. 36 1/2 in., w. 24 in., d. 19 1/2 in.; side chair h. 36 1/2 in., w. 21 in., d. 16 1/2 in. [$600/900]

Four George III Carved Walnut Dining Chairs in the Chippendale Taste, 18th c., shell carved crest rail, reticulated splat, H-stretcher, straight legs. [$500/700]

III Carved Walnut Dining

rail,

splat,

621. Robert Malcolm Rucker (American/ Louisiana, 1932-2001), “Old House Facing French Market, New Orleans”, watercolor on paper, signed lower right, 22 1/8 in. x 15 1/4 in., framed; together with Louisiana State University exhibition catalogue. (2 pcs.) [$1500/2500]

Exh.: “Louisiana Artists: From the Collection of Dr. and Mrs. James W. Nelson”, Union Building Gallery, Louisiana State University, Baton Rouge, LA, July 15, 1968, and listed in the accompanying catalogue.

617. Robert Malcolm Rucker (American/Louisiana, 1932-2001), “Steamboat Natchez”, watercolor on paper, signed lower right, handwritten label with artist attached to backing paper, 11 in. x 15 in., framed. [$400/600]

618. Robert Malcolm Rucker (American/Louisiana, 1932-2001), “At Rest”, oil on canvas, signed lower left, titled on stretcher, 24 in. x 30 in., framed. [$1500/2500]

Provenance: Acquired from the artist.

619. Robert Malcolm Rucker (American/ Louisiana, 1932-2001), “Steamer ‘City of Savannah’”, oil on canvas, signed lower right, titled on stretcher, 18 in. x 24 in., framed. [$1000/1500]

620. Robert Malcolm Rucker (American/Louisiana, 1932-2001), “Audubon Park”, watercolor on paper, signed lower left, 23 1/2 in. x 36 in., framed. [$3000/5000]

Provenance: Acquired from the artist.

622. Robert Malcolm Rucker (American/Louisiana, 1932-2001), “Toledano Street”, mixed media on paper, signed lower right, 32 1/8 in. x 40 1/2 in., framed. [$3000/5000]

Provenance: Acquired from the artist.

Exh.: Hilderbrand Gallery, New Orleans, LA, 1995.

623. Robert Malcolm Rucker (American/ Louisiana, 1932-2001), “Foo Dog”, acrylic and watercolor on paper, signed lower right, 30 in. x 36 in., framed. [$2000/3000]

Provenance: Acquired from the artist. Exh.: Hilderbrand Gallery, New Orleans, LA, 1995.

624. Robert Malcolm Rucker (American/ Louisiana, 1932-2001), “Afton Villa”, watercolor on paper, signed lower right, titled en verso, typed label with artist attached en verso, 13 7/8 in. x 17 5/8 in., framed. [$400/600]

625. Alvyk Boyd Cruise (American/Louisiana, 1909-1988), “Lilies and Magnolias by the Artist’s Window”, watercolor on paper, signed mid-right, 31 in. x 19 3/4 in., framed. [$1000/1500]

626. Emmitt Thames (American/Mississippi, b. 1933), “Summer Morning”, 1977, watercolor on paper, signed lower right, signed, titled, dated and artist stamp en verso, 22 1/2 in. x 14 7/8 in., framed. [$300/500]

627. Attributed to Roger Tory Peterson (American/New York, 1908-1996), “Birds of Swamps and Marshes Plate 4: American Egret, Red-Winged Black Bird, Black Crowned Heron, Mallard Duck, Great Blue Heron, Swamp Sparrow and Sora Rail”, gouache and watercolor on masonite, unsigned, pencil-titled lower center, bird names around all edges under mat, partial label on reverse of frame, 11 3/4 in. x 10 in., framed. [$1500/2500]

629. Steele Burden (American/Louisiana, 1900-1995), “Adam and Eve” and “Jesus”, 1991, 2 crackle glazed ceramic plaques, one initialed and one signed, dated and personalized on reverse, dia. 7 in. and dia. 7 1/4 in. (2 pcs.) [$300/500]

632. Cal Gaspard (American/ Louisiana, b. 1934), “Farmhouse with Chickens”, oil on canvas, signed lower right, 20 in. x 30 in., framed. [$1000/1500]

628. Will Hinds (American/Louisiana, 19362015), “Horse Drawn Buggy”, mixed media on board, signed lower right, 15 1/4 in. x 19 1/4 in., framed. [$700/1000]

630. Steele Burden (American/ Louisiana, 1900-1995), “Adam and Eve” and “Did You Ever Look For ‘Em??”, 2 crackle glazed ceramics, both initialed on base, one titled under base, h. 2 3/4 in., w. 4 7/8 in., d. 4 in. and h. 3 in., w. 5 in., d. 4 in. (2 pcs.) [$300/500]

631. Steele Burden (American/Louisiana, 1900-1995), “Music Lesson”, 1991, “St. Peter” and “The Second Line”, 3 crackle glazed ceramics, each initialed, signed and titled, one dated, h. 2 1/2 in., w. 6 1/4 in., d. 4 in. to h. 4 1/2 in., w. 8 1/2 in., d. 4 1/2 in. (3 pcs.) [$400/600]

633. Cal Gaspard (American/ Louisiana, b. 1934), “Ducks over a Marsh”, 1970, oil on canvas, signed and dated lower right, 20 in. x 16 in., framed. [$800/1200]

636. Chestee Harrington (American/Louisiana, b. 1941), “Louisiana Folk Home”, polychrome clay, signed and numbered “10/100” on self-base, h. 9 1/2 in., w. 6 in., d. 6 in. [$1000/1500]

634.

639.

1/4 in. x 21 1/2 in., framed. [$700/1000]

Provenance:

635. Rhoda Brady Stokes (American/Mississippi, 1902-1988), “Grosse Tete Bayou”, 1965, oil on masonite, signed and dated lower right, titled lower center, 24 in. x 18 in., framed. [$500/800]

637. Chestee Harrington

(American/Louisiana, b. 1941), “Madonna of the Cottonfields”, polychrome clay, signed and numbered “5/100” on self-base, h. 6 in., w. 7 in., d. 6 3/8 in., wood base, overall h. 7 1/2 in. [$800/1200]

638. Chestee Harrington (American/Louisiana, b. 1941), “Joseph of the Cotton Fields”, polychrome clay, signed and numbered “15/100” on self-base, h. 10 in., w. 6 1/2 in., d. 5 1/2 in., wood base, overall h. 11 in. [$800/1200]

Ivan Messenger (American/California, 1895-1983), “Wash Day”, oil on canvas, signed lower left, 29 1/4 in. x 37 in., framed with artist and title plaque. [$800/1200]

640. Marcella Rodange Comes (American, 1905-2000), “Family Preparing Geese”, oil on masonite, signed lower right, 30 in. x 39 3/4 in., framed. [$600/800]

Rhoda Brady Stokes (American/Mississippi, 1902-1988), “Acres of Gold”, 1957, oil on masonite, signed and dated lower right, titled lower center, typed label with artist and title and 2 handwritten labels one with artist the other with provenance on backing paper, 17

Collection of Gay and Mike Williams; Estate of Actress Pat Snow, Baton Rouge, LA.

641. Royce Roberts (American/Texas, 1928-2016), “Dunleith”, oil on canvas, signed lower right, titled twice on stretcher, 24 in. x 30 in., framed. [$2000/3000]

Note: Titled on stretcher as noted. Painting depicts Bocage, Darrow, LA.

643. Bruce Bordelon (American/Louisiana, b. 1940), “Gulf of Mexico”, 2013, oil on canvas, signed and dated lower left, signed and artist stamp en verso, titled and dated on stretcher, 24 in. x 30 in., framed. [$800/1200]

644. Thelma Lynn Simmons (American/ Louisiana, 1934-2022), “Carnival”, 2010, oil on canvas, signed lower right, signed twice and dated en verso, 50 1/2 in. x 38 in., framed. [$600/800]

645. Don Wright (American/Louisiana, 1938-2007), “Night on Night”, 2002, oil on canvas, signed, titled and dated lower left, 60 1/8 in. x 47 3/4 in., unframed. [$3000/5000]

646. Don Wright (American/Louisiana, 19382007), “Beach Scene”, 1983, oil on canvas, signed and dated lower left, 24 in. x 30 1/8 in., framed. [$800/1200]

647. Don Wright (American/Louisiana, 1938-2007), “Portrait of a Young Girl” and “Portrait of a Young Boy”, 1989, 2 charcoal and pastels on paper, one signed and dated lower right, 13 3/8 in. x 10 3/4 in. and 12 in. x 9 1/4 in., unframed. (2 pcs.) [$600/800]

648. Don Wright (American/ Louisiana, 1938-2007), “The Smoker”, charcoal on paper, signed and titled lower left, partial sketches en verso, 18 in. x 11 7/8 in., unframed. [$300/500]

642. Bruce Bordelon (American/Louisiana, b. 1940), “Bright Lights on Canal Street”, oil on canvas board, signed and titled en verso, 16 in. x 20 in., framed. [$600/800]

649. Don Wright (American/Louisiana, 1938-2007), “Portrait of a Bearded Man in Striped Shirt” and “Portrait of a Bearded Man”, 2 charcoals on paper, pencil-signed lower right or left, 9 in. x 9 in. and 11 1/4 in. x 9 in., unframed. (2 pcs.) [$400/600]

650. Nicholas Richard Brewer (American/Minnesota, 1857-1949), “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. [$600/800]

651. Xavier de Callatay (Belgian/Louisiana, 1932-1999), “Untitled: Boat at the Dock”, “Porto Ercole”, “Untitled: Small Boat”, “Porto Ercole” and “Bagnara Calabra”, 1960, 4 watercolors and one ink on paper, 2 monogrammed, titled and dated lower right, 2 monogrammed and dated lower right, one monogrammed, titled and dated lower left, 2 with “C.M. Fabriano” watermark visible, 9 in. x 11 1/2 in. to 10 in. x 14 in., unframed. (5 pcs.) [$400/600]

652. Xavier de Callatay (Belgian/Louisiana, 1932-1999), “Marie & Antonio”, “Untitled: Mother & Child”, “Domenica & Saberio”, “Francesco & Vincenzo” and “Giovanna & Maria”, 1960, 5 inks on paper, 4 monogrammed, titled and dated lower right, one monogrammed and dated lower right, 2 with partial sketches en verso, 4 with “C.M. Fabriano” watermark visible, 10 in. x 9 in. to 10 1/2 in. x 12 1/2 in., unframed. (5 pcs.) [$300/500]

653. Frank Hayden (American/Louisiana, 1934-1988), “Samson in the Temple”, carved wood, signed, h. 16 1/2 in., w. 11 3/4 in., d. 15 1/4 in., acrylic pedestal, overall h. 48 3/4 in. (2 pcs.)

[$5000/8000]

Note: Baton Rouge-based artist Frank Hayden studied at Xavier University and under the great Croatian artist Ivan Meštrović at the University of Notre Dame, from whom he learned the importance of finding the emotion in his work. He became one of Louisiana’s preeminent sculptors, perhaps best known for his many public commissions. Hayden’s style combined elements of European modernism and African tribal art, all while staying rooted in the human figure. The artist’s early Catholic education in Memphis had a deep effect on him, and his faith played a key role in his art both in terms of subject and philosophy. Hayden served as a professor of art at Southern University in Baton Rouge for twenty-seven years, and he was an integral part of the city’s art community. His work can be found throughout the area in university campuses and houses of worship.

Although religious motifs are prominent in his work, Hayden also addressed the Civil Rights movement and aspects of social justice. The confluence of these themes is perhaps at the heart of Hayden’s best work, as he depicts both the individual search for betterment through faith and the societal search for enlightenment and unity. The lot offered here displays the simplistic yet refined forms of the talented artist and focuses on one of the most wellknown characters of the Bible, Samson. The grain of the wood, angular lines of the faces and expressionistic carving of the symbolic hair provide a sense of motion and add a compelling narrative to sculpture. By presenting this specific Biblical account, Hayden illustrates a story of faith, redemption from sin, fulfillment of one’s purpose and sacrifice – universal themes across all religions and time periods.

656. William Toye (American/Louisiana, 1931-2018), “Jessie Brown’s, 223 N. Basin Street”, oil on canvas board, signed lower right, signed, titled and inscribed en verso, 30 in. x 24 in., framed. [$800/1200]

Note: Infamous self-taught artist, William Toye, was most well-known for being the forger of hundreds of Clementine Hunter fakes that led to a well-publicized scandal and prompted a successful FBI investigation. He and his wife, Beryl, were convicted of creating and selling the works to unsuspecting collectors. The Toye fakes were known as the most sophisticated and accurate of the Hunter forgeries entering the market, likely due to his ill-used inherent artistic talent. Hunter was allegedly not the only artist Toye copied, and he prided himself on his ability to replicate Claude Monet paintings, telling John Ed Bradley in an article for Garden & Gun Magazine: “Nobody does Monet better than me… if he were still alive and we both did a water lily painting, tell me the difference.” William and Beryl Toye eventually plead guilty to fraud in 2011.

Before being known nationwide as one of the most notorious forgers in American art history, Toye created several original paintings for the 1968 “Storyville, New Orleans” exhibition at the Howard-Tilton Memorial Library. His paintings featured bordellos and other buildings that were prominent in the red-light district before its closing in 1917, along with rare documents, photographs and a detailed to-scale model of Mahogany Hall (also created by Toye). The exhibition coincided with the publication of Al Rose’s book of the same title, and the two paintings on offer here, “Lulu White’s Mahogany Hall, 235 N. Basin Street” and “Jessie’ Brown’s, 223 N. Basin Street”, were included. While many of Toye’s works have come to auction over the years, most have carried the signature of other more famous artists. These paintings, however, are rare and honest creations of the eccentric and deceitful rogue artist.

A year after the exhibition The Times-Picayune would report that Toye’s apartment was burgled and many of his original works were destroyed -- “slashed with a sharp instrument” -- including his Storyville paintings and several canvases depicting the history of political corruption of the New Orleans city government. According to the Garden & Gun article, Toye claimed “the burglary was a vendetta by politicians who didn’t like how he’d portrayed them,” and he received a settlement of around $25,000 from his insurance company for the destroyed works. Evidence of the alleged attack can be seen on “Lulu White’s Mahogany Hall,” which still features the slash marks and damage.

Ref.: Bradley, John Ed. “The Talented Mr. Toye.” Garden & Gun. April/May 2010. www. gardenandgun.com. Accessed Oct. 20, 2022; Robertson, Campbell. “For a Longtime Forger, Adding One Last Touch.” The New York Times. June 7, 2011. www.nytimes. com. Accessed Oct. 20, 2022; “44 Paintings are Destroyed.” The Times-Picayune. Sept. 3, 1969; “Exhibit Based on Storyville.” The

Times-Picayune¬. May 9, 1968.

654. Chi Chen (Chinese/American, 1912-2005), “Old Absinthe House, New Orleans”, 1950, watercolor on paper, signed, dated and artist stamp lower left, titled en verso, “The Charleston Renaissance Gallery” and “Dr. James W. Nelson Collection” labels with artist, title and date on backing paper, 10 in. x 11 1/2 in., framed. [$500/700]

655. Rolland Harve Golden (American/Louisiana, 1931-2019), “Lafitte’s Blacksmith Shop”, 1960, watercolor on paper, signed and dated lower right, 22 3/4 in. x 30 in., framed. [$1000/1500]

657. William Toye (American/Louisiana, 19312018), “Lulu White’s Mahogany Hall, 235 N. Basin Street”, oil on canvas board, signed lower right, 39 5/8 in. x 20 in., framed. [$800/1200]

658. Hazel Guggenheim McKinley (American/ Louisiana, 1903-1995), “Tropical Landscape”, oil on canvas, signed, titled and inscribed en verso, pencilsigned on stretcher, 20 1/8 in. x 24 1/8 in., framed.

[$600/800]

659.

660.

661. Ray George Ellis (American/ Pennsylvania, 1921-2013), “Lunch at McGarvey’s (Annapolis, Maryland)”, 1982, oil on canvas, signed lower right, penciltitled and typed label with artist and title on stretcher, “Lambremont Art Care, New Orleans, LA” label on reverse of frame, 20 in. x 23 7/8 in ., framed with artist and title plaque. [$3000/5000] Ill.: Ellis, Ray and Walter Cronkite. South by Southeast. Birmingham: Oxmoor House, Inc., 1983, pl. 9.

Samuel “Koch” Kochmeister (Polish/American, 1887-1963), “Bridge and Gazebo in Park”, 1945, oil on canvas, signed and dated lower right, 22 in. x 30 in., framed. [$3000/5000]

Dorothy Morang (American, 1906-1994), “Abstract Composition”, 1971, collage on paper, signed and dated lower left, 22 1/2 in. x 15 3/8 in., framed. [$1200/1800]

664. Sidney Edward Dickinson (American, 1890-1980), “The Silk Drape”, 1925, oil on canvas, signed and dated lower left, “The Charleston Renaissance Gallery” label with artist, title and date attached to backing board, 62 in. x 46 1/4 in., framed. [$10000/15000]

Note: Sidney Dickinson was born in Connecticut in 1890. His father was a minister, and the family moved frequently in his childhood, spending time in New York, North Dakota and Alabama. Sketching and drawing from a young age, Dickinson began his formal studies at the Art Students League of New York in 1910 under William Merritt Chase and George Bridgman, and his artistic prowess continued to flourish as he attended classes at the National Academy for Design with Douglas Volk. For fifty years, Dickinson exhibited his work nationally, winning numerous prizes. He developed a skill for portraiture which would continue throughout his career and is displayed in the work offered here.

As is typical for the artist, the background is a vast and inky space with a stark contrast between light and dark that directs the viewer’s gaze to the glowing skin tone of the figure. Rather than a specific portrait, one is given the sense that the artist is treating his model as an additional element of a still life, with each component serving as an exemplar of his talent in capturing realistic texture and color. Dickinson’s reputation for portraiture led to commissions of several notable figures in art and government, including his cousin and fellow painter Edwin Dickinson, Raphael Soyer, sculptor Robert Aitken, and Thomas E. Kilby, governor of Alabama from 1919 to 1923. While expertly rendered, the stately portraits of gentleman are visually less compelling than the lovely female form depicted on the monumental canvas here – clearly an opportunity for the

to shine.

Ref.: “Sidney E. Dickinson (1890-1980).” The Charleston Renaissance Gallery. www.fineartsouth.com. Accessed Oct. 25, 2022.

artist’s mastery

662. LeRoy Neiman (American, 1921-2012), “Seated Nude on Louis XV Chair”, 1964, mixed media on board, pencil-signed and dated lower right, titled and inscribed en verso, 8 in. x 6 in., unframed. [$1500/2500]

663. Arnold Bray (Russian/California, 1892-1972), “Nude in Bed”, oil on canvas board, signed lower right, artist information label en verso, 12 in. x 15 3/8 in., framed. [$600/800]

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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:

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.”

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.

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.

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.

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

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

AUCTION BIDDING AND SALE

1. The auctioneer shall have absolute discretion in determining the highest and best bid on each lot. The auctioneer may decide that any original bid is not commensurate with the value of the lot offered, or that any advance thereafter is not of sufficient amount, and the auctioneer may reject or refuse to recognize that bid or advance.

2. At the fall of the auctioneer’s hammer, the bidder acknowledged by the auctioneer, whether in person or absentee, thereupon assumes the obligation to pay for the offered lot, and shall pay the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs.

3. Title to the offered lot shall pass to the bidder acknowledged by the auctioneer upon payment of the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs. The buyer thereupon assumes full risk, obligation, and responsibility for the lot.

4. At any time before the sale of a lot, Neal Auction Company reserves the right to withdraw the lot or any part of the lot, to combine lots, or to separate items within a lot.

5. No lots will be released before the end of the auction.

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

7. Virtually all lots offered have been subject to use over a considerable period of time. No mention of cracks, scratches, chips, tears, breaks, weaknesses, or any damages or wear will be included in oral, written, or electronic statements or descriptions in the catalogue, website, correspondence, advertising, or literature. Condition reports may be provided upon request, but condition reports may not mention all cracks, scratches, chips, defects, hazards, tears, breaks, weaknesses, or other damages or wear. Neal Auction Company makes no representations or warranties as to the accuracy or completeness of any information or description in a condition report or elsewhere, whether oral, written, electronic, or online. Neal Auction Company reserves the right to decline to provide a condition report for any specific lot, at its sole discretion.

8. Neither high nor low estimates in a catalogue, website, advertising, correspondence, literature, or elsewhere should be relied on as a representation, prediction, appraisal, guarantee, or warranty that a particular lot will sell for a particular price or that a particular lot has a particular value.

9. Neal Auction Company has absolute discretion to admit a bidder to the auction premises, to expel a bidder from the auction premises, or to refuse a bidder from participating in the auction.

10. Neal Auction Company and its auctioneers shall not be liable, obligated, or responsible for failure to recognize or execute any bids for any reason whatsoever, or for no reason. Bidders and buyers WAIVE and RELEASE any rights to damages, and equitable, declaratory, and injunctive relief arising out of the failure or rejection of any bid, or any errors or omissions relating to the bidding process.

11. Interfering with the auction in any way is prohibited.

12. Bid rigging is strictly prohibited. Any agreement, understanding, or arrangement not to bid against another or otherwise to dampen the bidding is unlawful. The auctioneer reserves the right to bid on behalf of the consignor for the protection of the consignor if this illegal activity by two or more bidders is detected, disclosed, alleged, or suspected.

13. Canvassing or solicitating on the auction premises is prohibited.

14. The auctioneer has the sole discretion as to the increments of bidding, the recognition of any bid, the acceptance of the final bid, and resolving any disputes among bidders.

15. Neal Auction Company represents the consignors only and is not acting as agent or representative of bidders or buyers. The payment of the buyer’s premium by the buyer does not indicate a dual agency relationship. Neal Auction Company is to be paid a fee or commission by the consignor pursuant to a separate written agreement between the consignor and Neal Auction Company. The consignor is the seller of the lot sold. Neal Auction Company is the consignment agent or representative, not the seller.

16. The successful bidder is obligated to pay the purchase price in full unless Neal Auction Company has consented in writing at the time of the bidder’s registration that the bidder is acting as an agent on behalf of an identified person and that said principal is obligated to pay the purchase price in full. Neal Auction Company reserves the right to require an advance deposit for such bids.

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

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

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

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

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

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

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

24. Neal Auction Company reserves the right to describe or to make photographic, video, or audio recordings of the auction, or any part thereof, and to publish such descriptions, photographs and/or recordings.

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

ABSENTEE/TELEPHONE/ONLINE BIDS

1. All absentee bids and/or telephone bids must be received by Neal Auction Company by 5 p.m. Central Time the Thursday prior to the auction.

2. All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at the discretion of Neal Auction Company. Each lot must have a minimum low estimate of $500 for telephone bidding. Absentee bids are accepted for any lots regardless of estimate, at the discretion of Neal Auction Company.

3. Neal Auction Company intends to endeavor to protect the confidentiality of absentee/telephone bids. In the event that the identity of absentee/telephone bidders or buyers or of the amounts of absentee/ telephone bids is disclosed, Neal Auction Company shall not be liable, obligated, or responsible for such disclosure, and each bidder and buyer WAIVES and RELEASES Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any claims arising out of such disclosure.

4. Neal Auction Company reserves the right, in its sole discretion, to require that any advance bids be accompanied by a security deposit.

5. Neal Auction Company shall not be liable, obligated, or responsible for any failure, design flaw, error, act, omission, or negligence of third party sites or their agents. Bidders WAIVE and RELEASE any rights to damages and equitable, declaratory, and injunctive relief and remedies arising therefrom.

6. Prior to placing any absentee, telephone, or online bid, all bidders are required to complete the applicable Registration Form prior to such bidding.

7. In the event of ambiguity, uncertainty, or discrepancy, the lot number and not the lot description on any bid will be deemed to be the lot on which the bid is made.

8. If more than one absentee bid on a particular lot is received with the same maximum bid amount, and that bid amount is the highest and best bid for the lot, the lot will be sold to the bidder whose absentee bid was accepted first by Neal Auction Company after receiving it. If a bid placed on a lot by a bidder who is physically present at the auction is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is physically present at the auction. If a bid placed on a lot by a bidder who is present at the auction (in person or by telephone) is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is present at the auction (in person or by telephone).

9. Neal Auction Company reserves the right to record any telephone bidding or conversation relating to said bidding, or any part thereof, and to publish said recordings. By participating in telephone bidding, the bidder consents to such recording and publication, notwithstanding the laws or regulations of the state or jurisdiction of the bidder.

PAYMENT

1. The successful bidder (except a successful online bidder) shall pay a buyer’s premium in the amount of 25% of the hammer price on each lot up to and including $200,000, plus 15% of the hammer price greater than $200,000. For payments made by cash, check, or wire transfer (except by online bidders) within 15 calendar days of the auction, the buyer’s premium will be discounted to 22%.

2. The successful online bidder shall pay a buyer’s premium in the amount of 28% of the hammer price on each lot. A discount for payments made by cash, check, or wire transfer is not available for purchases made by online bidders.

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

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

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

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

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

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

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

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

PACKING, MOVING, SHIPPING, AND DELIVERY

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

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

Any action of any nature brought by a bidder or buyer against Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot in any court, whether federal or state, shall be brought exclusively in Orleans Parish, Louisiana. Every bidder and buyer agrees to submit to jurisdiction and venue in federal or state court in Orleans Parish, Louisiana, waives all objections or challenges to such jurisdiction or venue, and waives any rights to jurisdiction or venue in any other forum. Any dispute between the bidder or buyer and Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot shall be governed by the law of the State of Louisiana, notwithstanding any conflicts of laws principles.

MISCELLANEOUS LEGAL PROVISIONS

If any part of these Conditions of Sale is held to be invalid, null, or unenforceable, that part shall be reformed so as to implement the intent of the parties as expressed herein, and any such holding shall not affect the remaining provisions of these Conditions of Sale, which shall remain in full force and effect, subject to reformation to implement the intent of the parties as expressed herein.

The paragraph headings contained herein are for convenience of reference only and shall not affect the meaning or interpretation of these Conditions of Sale.

All prior and contemporaneous representations, communications, and agreements, if any, between the bidder or buyer and Neal Auction Company (and any of its owners, officers, directors, representatives, insurers, agents, and employees) relating to any of the lots offered for sale or to the auction or sale are hereby superseded and merged into these Conditions of Sale, which are the entire and only contract between the bidder or buyer and Neal Auction Company relating to the subject matter herein.

Any modifications, amendments, or waivers of these Conditions of Sale must be made in a writing signed by both Neal Auction Company and the bidder or buyer.

In the event of any disputes arising out of the auction or sale of lots or these Conditions of Sale, Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated or responsible for any general, special, exemplary, incidental, or consequential damages (including but not limited to lost profits and attorneys’ fees). Every bidder and buyer WAIVES and RELEASES any rights to such damages. This LIMITATION OF LIABILITY does not, and is not intended to, enlarge or expand any rights or interests of a bidder or buyer that are restricted or limited elsewhere in these Conditions of Sale (including but not limited to the WARRANTY WAIVERS and LIABILITY LIMITATIONS set forth herein).

These Conditions of Sale constitute a binding legal contract between Neal Auction Company and each bidder or buyer. Each bidder and buyer acknowledges having read and understood these Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY. All bidders and buyers further acknowledge that they enter into these Conditions of Sale of their own free will, with full authority, and under no duress or coercion.

AAlexandre Alaux, 398

American School, 361

John James Audubon, 410-430, 436, 453-456 (aft) John Woodhouse Audubon, 431-435

B

Artist Index

•

18 & 19, 2022

John Bachmann, 458

Barry Stone Bailey, 570

Thomas Barker of Bath, 163

Peter Baumgras, 177

Hans Bellmer, 589

Albert Fitch Bellows, 175

Albert Bierstadt (mnr), 171

After Eugene Francois de Block, 161 Karl Bodmer, 443

Melissa Bonin, 552

Bruce Bordelon, 642, 643

Arnold Bray, 663

Nicholas Richard Brewer, 650 British School, 164

William Henry Buck, 395 Steele Burden, 629-631 William Burgis (aft), 457

C

Xavier de Callatay, 651, 652

Harry (Henry) Chase, 173

William Merritt Chase, 499 Chi Chen, 654

Marcella Rodange Comes, 640

Nathalie Comte, 359

Alvyk Boyd Cruise, 625 Lee Crum, 524, 525

D

Salvador Dali, 502

Allan D’Arcangelo, 592

Bruce “Dapper Bruce Lafitte” Davenport, Jr., 562

Sidney Edward Dickinson, 664

Alexander John Drysdale, 330-336

George Bauer Dunbar, 558, 559

George Valentine Dureau, 563

Caroline Wogan Durieux, 348, 515-522

E

Ray George Ellis, 661

F

Stan Farnham, 357

Georges Febres, 567

Francois Federle, 160

Roy Ferdinand, 571

Frank Fleming, 560

G

Grace T. Granger, 360

Angela Gregory (attr), 347

Guy Edward Grey-Smith, 591 Melody Guichet, 569

H

David Harouni, 585, 586

Chestee Harrington, 636-638

Frank Hayden, 653

John William Haynes, 165

Colette Pope Heldner, 328, 329 William Hemmerling, 576

George Frank Higgins, 393 Will Hinds, 628

Morris Henry Hobbs, 346 Marie Atkinson Hull, 350-354 Clementine Hunter, 260-279

I George Inness, 174

J

Antonio Nicolo Gasparo Jacobsen, 169 Paul Jacoulet, 501

John Wesley Jarvis (attr), 390 Louis Edward Jones, 358

K

Charles Bird King (aft), 445-447

Alberta Kinsey, 323, 324

Samuel “Koch” Kochmeister, 659 Ida Rittenberg Kohlmeyer, 503-506

L

Clarence John Laughlin, 530-532

Albert “Al” LaVergne, 564

Benjamin Williams Leader, 166 Carlos José Ledda, 594

Herman Leonard, 527, 528

Ashley Longshore, 561 Louisiana School, 397, 566 Milton H. Lowell, 172

M

Kayla Mahaffey, 507

Claude Marion the Younger, 159 Herbert Matter, 523

Hazel Guggenheim McKinley, 658

Ivan Messenger, 639

James Michalopoulos, 577-584

Clarence Millet, 344, 345 Dorothy Morang, 660 Alvar Suñol Munoz-Ramos, 500

N

Giuseppe Galli (aft), 498

Cal Gaspard, 632, 633

Rolland Harve Golden, 655

Maude Goodman, 167

John Gould, 448-451

Robert Wadsworth Grafton, 343

O

William Ousley, 327

P

Enoch Wood Perry Jr., 176

Roger Tory Peterson (attr), 627 Alexander Pope Jr., 452

R Charles Reinike, Jr., 326

Frank Relle, 526

Ralph A. Richards, 349

George Richmond, 162

Luca Della Robbia (aft), 493

Royce Roberts, 641

Noel Rockmore, 102-118

George Rodrigue, 508-514, 553-557

Robert Malcolm Rucker, 617-624

S

Jose Francisco Xavier de Salazar y Mendoza, 394

Holly Sarré, 575

Jo Saylors, 168 Jean Seidenberg, 568

Boris Valentinovich Shcherbakov, 157

Thelma Lynn Simmons, 644

Hunt Slonem, 550

Frank Vining Smith, 170

Kenneth D. Snelson, 590

Southern School, 391, 392

Spanish School, 158

Allison Stewart, 565

Rhoda Brady Stokes, 634, 635 Eleanor Greaves Sutherland, 356

T

Chuah Thean Teng, 587, 588 Emmitt Thames, 626

Romain de Tirtoff “Erté” (aft), 494 William Toye, 656, 657

V

Henri Valton (attr), 489

Soren Vandegaard, 609

Jean Joseph Vaudechamp, 323 Mario Villa, 246, 346, 637-639

W

Georges Washington, 156

J. Ralph Wilcox, 325

Theodore “Fonville” Winans, 533, 534

Joseph Wolf (aft), 437-442

Gustav Wolff, 178

Ellsworth Woodward, 340, 341 William Woodward, 337-339

Frank Neal, 355

LeRoy Neiman, 662

Odd Nerdrum, 593

Harry Armstrong Nolan, 342 August A. Norieri, 396

Alban E. “A. E.” Woolley, 529 Don Wright, 645-649

V

Purvis Young, 572-574

John R. Neal (1940-2018), Founder

Michelle LeBlanc Leckert, CAI President

Marc Fagan

ADMINISTRATION

Director of Administration & Finance

Michelle LeBlanc Leckert, CAI

Client Services / Accounts Receivables

Rebekah Abernathy

Database Management / Internet Auction Administrator

Lisa Weisdorffer

Bookkeeper

Katie Lasher

Marketing & Social Media

Cameron McHarg

General Manager

Jason Leckert

Administrative Assistant

Claire Whitmore

GRAPHICS

Graphics Director / Catalogue Design

David Roberts

Photography

Gerard Lewis

Jason Leckert

Graphics Staff

Stephanie Do Ouro

Sarah Rose Janko

OPERATIONS

Operations Staff

Charlie Clay

Jerry Major

Adam Trepagnier

Scott Gann

Decorative Arts Inventory Management

Charlie Clay

AUCTIONEERS

Michelle LeBlanc Leckert #1514

Bettine Field Carroll #1874

Marc Fagan #1935

Marney Robinson #2155

Katherine Hovas Senior Vice President

Vice President Consignments

CONSIGNMENTS

Furniture & Decorative Arts

Polly Rolman-Smith

Paintings, Prints & Photography

Marney Robinson; Sophie Hirabayashi; Beth Sherwood; Casey Foote; Renee Longon

Books, Maps & Natural History Prints

Marc Fagan

Silver & Decorative Arts

Katherine Hovas

General Consignments

Cameron McHarg

Consignments Administrator

Heather Munch

Fine Art Inventory Manager Casey Foote

AUCTION SERVICES

Trust & Estates Advisor Henry G. McCall

Appraisals

Marc Fagan, Cameron McHarg

CATALOGUE CONSULTANTS

Asian Arts & Special Projects

Bettine Field Carroll

Newcomb Pottery & Decorative Arts

Sally Main

Silver

Carey Mackie

Decorative Arts & Victoriana Ann M. Masson

JEWELRY

GIA Graduate Gemologist

Stephen A. Moses

GIA Graduate Gemologist

Ilana Picard