Premier Collections: Art & Interiors Auction- September 7 & 8, 2023 by Neal Auction

Premier Collections: Art & Interiors September 7 & 8, 2023

PREMIER COLLECTIONS: ART & INTERIORS

September 7 & 8, 2023

Featuring:

Fine Art and Decorative Objects from the Estate of Nadine Carter Russell, Baton Rouge, LA

Fine and Decorative Arts and Furniture from an El Dorado, AR Collection

Select Property from Historic Poplar Grove, Port Allen, LA

Thursday, September 7, 2023

begins at 1:00 p.m., lots 1-241

Friday, September 8, 2023

begins at 1:00 p.m., lots 242-485

Bidding available on these online auction sites:

nealauction.com

EXHIBITION

Opens Monday, August 28, 10 a.m. to 5 p.m.

Closed Monday, September 4 in observance of Labor Day

September 2, 10 a.m. to 5 p.m.

EVENING

Tuesday, September 5, 5-7 p.m.

SPECIAL SATURDAY EXHIBITION

PREVIEW

FINE ART AND DECORATIVE OBJECTS FROM THE ESTATE OF

NADINE CARTER RUSSELL, (1943-2022) BATON ROUGE, LA

Nadine Carter Russell was a longtime philanthropist and community activist in Baton Rouge. She was raised in New York City and attended Grace Church School, where her mother was the librarian. Nadine earned an art history degree from Louisiana State University in 1967 which led to a lifelong dedication to the arts. She served as the director of the Gallier House in New Orleans, a city she considered her second home, and upon her return to Baton Rouge, she dedicated her talents to many organizations, especially her alma mater. Nadine was an avid supporter of the LSU Museum of Art and College of Art & Design, where a chair was established in her name by her late aunt Paula G. Manship in 1998.

The Manship family is widely known as the “first family of Baton Rouge media,” owning WBRZ and being ardent supporters of the Manship School of Mass Communication at LSU. The Manship family patriarch, Charles Manship Sr., purchased Baton Rouge’s first daily newspaper, the State-Times, in 1909. He launched the Morning Advocate, sister publication to the State-Times, sixteen years later in 1925. Charles Manship Jr. assumed the helm when his father died in 1947. Charles died in 1994 after serving sixty years in the business he loved. Charles Jr., and his wife Paula, never failed to share their wealth, wisdom and energy to help make Baton Rouge a better place for all its citizens. Paula was a major donor to numerous departments and programs at LSU, including the LSU Museum of Art, School of Music, College of Art and Design, College of Arts & Sciences, Rural Life Museum, AgCenter and School of Veterinary Medicine. She established the Atchafalaya Swamp and Otter Pond exhibit at the Baton Rouge Zoo and funded the planting of 300 trees to redevelop green spaces in downtown Baton Rouge through Baton Rouge Green, among many other initiatives. Nadine continued in this familial spirit of philanthropy by supporting numerous community organizations and charities in her lifetime.

Along with Paula, Nadine belonged to the Decorator’s Club and the Modern Reviewers. She was passionate about travel, undertaking many trips abroad and accompanying LSU students to China through the “Summer of China” program. She was the consummate hostess, ensuring each guest feel like the guest of honor whether at a small soiree or gala. By friends she was described as an: “intelligent, warm and generous lady and her irreplaceable presence will be missed…extremely creative, a comfort to have around and always ready to share a fun time.”

POPLAR GROVE

PORT ALLEN, LA

Neal Auction Company is pleased to present a few select pieces from the collection of historic Poplar Grove, Port Allen, LA..

The distinctive structure was originally built as the Bankers’ Pavilion at the World’s Industrial and Cotton Centennial Exposition of 1884. Designed by noted New Orleans architect, Thomas Sully, it features such exotic details as a pagoda-inspired roofline, stained glass window panels, dragon brackets and an abacus frieze on the gallery. After the fair closed the building was moved upriver by barge to Poplar Grove Plantation where it has housed generations of the Wilkinson family.

Notable among the pieces offered is lot 291, a New York rosewood, parcel ebonized, marquetry and bronze-mounted parlor cabinet in the style of Pottier & Stymus.

LIVE AUCTION

Thursday, September 7, 1 p.m.

LOTS 1-241

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA;

(1943-2022),

Provenance: Charles (1908-1994) and Paula (1912-2006)

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

1. George III Sterling Silver Reticulated Oval Tray, John Crouch and Thomas Hannam, London, c. 1791, reeded border, reticulated scroll feet, l. 17 5/8 in., d. 12 5/8 in., wt. 50.80 troy ozs. [$1200/1800] by descent to their niece Nadine Carter Russell Baton Rouge, LA. 2. George II Sterling Silver Basting Spoon, Jeremiah King, London, 1741, act. 1740-1748, upturned typt handle, l. 13 1/2 in., wt. 5.50 troy ozs. [$150/250] Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA. 3. Victorian Sterling Silver Salver, London, 1866, Daniel and Charles Houle, serpentine edge with gadrooned border, ball and claw feet, dia. 16 1/2 in., wt. 59.85 troy ozs. [$1500/2500] 4. International Sterling Silver Circular Dish, molded border, dia. 14 in., wt. 31.85 troy ozs. [$600/900] 5. Set of Twelve International Sterling Silver Bread Plates, pattern H413, molded borders, dia. 6 in., wt. 29.10 troy ozs. [$500/700] 6. Tiffany and Co. Makers Sterling Silver Footed Bowl, pattern no. 23682, abstract floriform design, h. 4 in., dia. 9 3/8 in., wt. 16.65 troy ozs. [$400/600]

Pitcher’, removable silver strainer, hallmarked John Grinsell & Sons, Birmingham, 1940, for retailer Tiffany & Co., h. 7 1/2 in., wt. 2.20 troy ozs. [$200/300]

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (19432022), Baton Rouge, LA. Note: Grinsell & Sons mark reg. 1905.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022),

Provenance: Charles (1908-1994) and Paula (1912-2006)

Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (19432022), Baton Rouge, LA.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Note: Gerardo Lopez was considered a maestro silversmith in Taxco. Billie Hougart. The Little Book of Mexican Silver Trade and

, p. 95.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

9. Mappin and Webb Sterling Silver Water Pitcher, Sheffield, 1895, mark reg. 1892, jug form, molded handle with Aesthetic Movement terminal, h. 7 7/8 in., wt. 32.50 troy ozs. [$800/1200] Baton Rouge, LA. 10. Mexican Sterling Silver Water Pitcher, Gerardo Lopez, Taxco, eagle 25 mark, c. 1950, h. 11 1/4 in., wt. 30.95 troy ozs. [$600/900] Hallmarks 11. P. Lopez Mexican Sterling Silver Footed Center Bowl, eagle 1 mark, undulating bowl on spreading foot, h. 7 1/4 in., w. 15 1/2 in., wt. 40.50 troy ozs. [$800/1200] Manship, 12. Maciel, Mexico City, Sterling Silver Lobed Bowl, act. 1930-1970, h. 2 7/8 in., dia. 11 3/4 in., wt. 24.50 troy ozs. [$400/600] 7. Tiffany and Co., England Sterling Silver and Crystal Cocktail 8. Tiffany and Co. Sterling Mounted Cut Glass Cocktail Pitcher, mid-20th c., h. 8 1/2 in. [$150/250] 13. Mexican Silverplate Water Pitcher with Parrot Handle, in the style of Los Castillo, unmarked, h. 13 7/8 in. [$200/300] 14. Mexican Silverplate Cream Pitcher with Inlaid Cockatoo Handle, in the style of Los Castillo, unmarked, h. 7 3/8 in. [$150/250]

15.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

, c. 1978, originally designed c. 1940 by James “Mac” Anderson, brown and green glaze, h. 5 5/8 in., dia. 7 in. [$400/600]

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance: Acquired from the artist; Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Exh.: “Playschool”, Glassell Gallery, Baton Rouge, LA, Apr. 22-27, 2014.

Note: Jimmie Nord is a contemporary sculptor from a small town in Northern California. Though he now works out of his home studio in Bonney Lake, Washington, Nord spent time in Baton Rouge earning his MFA from Louisiana State University in 2014. His sculptures are inspired by the “magic” of hidden infrastructure in construction. His work in the U.S. Forest Service also informs his sculptures. The monumental piece offered here was included in the artist’s thesis exhibition, Playschool, at Glassell Gallery in Baton Rouge. The crossbeams and materials evoke imagery of construction while the arrangement and primary colors add a sense of nostalgia for an elementary school playground.

Cast Iron Garden Figure of a Greyhound, 20th c., remnants of black paint, h. 20 in., w. 48 in., d. 11 in. [$500/700] 16. Continental Silvered and Gilt Bronze Nautilus Shell Centerpiece, 19th c., modelled as a putto and two swans upon a mirrored lake, with rocky surround, the shell resting upon cattails, h. 9 1/2 in., w. 8 in. [$800/1200] 18. Jimmie Nord (American, 20th c.), “Inshired”, 2014, steel, wood, cast aluminum, wire, paint and stone, unsigned, h. 111 in., w. 57 in., d. 26 in. [$2000/3000] 17. Shearwater Art Pottery Cast “Fish” Bowl

Provenance: A Night in

Provenance: Estate of

21. Sean Moore (American, 20th c.), “Pair of Yellow Candelabra”, welded reclaimed steel and machine parts, both unsigned, h. 75 1/2 in., w. 30 in., d. 19 in. to h. 77 1/2 in., w. 32 in., d. 17 in. [$1000/1500] Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA. 22. Clementine Hunter (American/ Louisiana, 1886-1988), “Zinnias”, oil on masonite, unsigned, copy of “Sanchez Auction, New Orleans, LA, Melrose Plantation Auction” invoice in backing, 8 in. x 6 1/2 in., framed, overall 8 5/8 in. x 7 1/4 in. x 1 3/8 in. [$1200/1800] Nadine Carter Russell (1943-2022), Baton Rouge, LA. Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead. 20. Sean Moore (American, 20th c.), “Hollow Grind Blue”, welded reclaimed steel and machine parts, unsigned, h. 88 in., w. 32 in., d. 26 in. [$600/800] the Garden Sculpture Auction, LSU School of Art, 2001, lot 24; Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA. 19. Craig Durand (American, 20th c.), “Red, Blue, Yellow”, painted steel, unsigned, h. 66 1/2 in., w. 20 in., d. 27 in. [$800/1200] Provenance: A Night in the Garden Sculpture Auction, LSU School of Art, 2001, lot 13; Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

23. Caroline Wogan Durieux (American/ Louisiana, 1896-1989), “Untitled: Two Ladies in Mardi Gras Hats”, 1939, watercolor and mixed media on paper, pencil-signed and dated lower right, sight 15 1/4 in. x 13 in., framed, overall 25 1/4 in. x 22 1/4 in. x 1 in. [$1500/2500]

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Exh.: “Caroline Durieux: A Radioactive Wit”, LSU Museum of Art, Baton Rouge, LA, Aug. 22 - Nov. 7, 2010.

24. Caroline Wogan Durieux (American/ Louisiana, 1896-1989), “Young Sarai”, color lithograph, pencil-signed, titled, numbered “5/20” and inscribed lower margin, 20 3/8 in. x 15 1/2 in., framed, overall 33 in. x 27 1/2 in. x 1 1/2 in. [$300/500]

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

25. Frank Hayden (American/ Louisiana, 1934-1988), “Jacob Wrestling”, carved and stained pinewood on marble base, unsigned, inscribed “God Is” and “Is God” on sides of base, h. 25 in., w. 20 1/2 in., d. 5 in. [$6000/8000]

Provenance: Dr. Gary Noel Ross; Paula Manship (1912-2006), Baton Rouge, LA; by descent to her niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Note: Frank Hayden studied at Xavier University and under the great Croatian artist Ivan Meštrović at the University of Notre Dame. 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. Internationally renowned and beloved locally, 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 is located on university campuses, in houses of worship and as part of numerous public and private collections. Religious motifs are prominent in Hayden’s work, and he depicted 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. The figurative elements are stylized to the point of abstraction, exemplifying the tenets of simplicity of form. The contrasting media of stone and wood echo the tension of the subject even as they are seamlessly melded together. With “Jacob Wrestling,” Hayden illustrates a story in the life of Jacob, detailed in Genesis, where separated from all others and from his own worldly possessions, he grapples throughout the night for what is truly important. Following an exhausting struggle with God that leaves him crippled, Jacob ceases fighting, realizing that he could not proceed without God and ultimately receives his blessing. The story is one of faith, redemption from sin, fulfillment of one’s purpose and sacrifice—universal themes across all religions and time periods.

Ref.: Green, Don M. “The Legend of Frank Hayden.” Views from Southern University. Sept. 9, 2017. www.viewsfromsu. com; “Frank Hayden.” Frank Hayden Foundation. www.frankhaydenfoundation.org. Accessed July 17, 2023.

[$10000/15000]

Provenance: Dr. Gary Noel Ross; Paula Manship (1912-2006), Baton Rouge, LA; by descent to her niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

26. Frank Hayden (American/ Louisiana, 1934-1988), “Committee”, carved laminated pinewood, signed on base, h. 54 1/4 in., w. 19 1/4 in., d. 9 1/2 in.

27. George Frederick Castleden (British/Louisiana, 1861-1945), “Hyacinths”, 1936, oil on canvas, signed and dated lower left, titled en verso, 36 in. x 80 in., framed, overall 45 1/2 in. x 89 1/4 in. x 2 in. [$20000/30000]

Provenance: Taylor Clark Gallery, Baton Rouge, LA; Paula Manship (1912-2006), Baton Rouge, LA; by descent to her niece Nadine Carter Russell (1943-2022), Baton Rouge, LA. Note: Born in Canterbury, England, George Frederick Castleden studied under Thomas Sidney Cooper and at the South Kensington School of Art. The artist’s first travels to Canada in 1888 sparked a love of North America, and around 1903, he left England to become an itinerant landscape painter in the United States and Canada. Castleden first visited New Orleans in 1911, returning between 1917 to 1920 to open a studio at 622 St. Peter Street. He also maintained a daily gallery in the courtyard of the Cabildo during the period that became known as the French Quarter Renaissance. Castleden was an active member of the Arts and Crafts Club and a charter member of the New Orleans Art League founded in 1927.

Between 1934 and 1936, Castleden worked on a commission for Frank Evans, owner of the D.H. Holmes Department Store on Canal Street. He, along with fellow artist Mazie Howell, created a series of murals shaped to fit the transoms and niches of the store’s famous restaurant, largely focused in subject on the plantations, bayous and fishing camps of South Louisiana. Seven of those panels now reside in the collection of the Louisiana State Museum. In “Hyacinths” of 1936 offered here, Castleden depicts an atmospheric landscape in monumental proportion, the largest and most impressive canvas by the artist offered at auction to date. Ref.: Kheel, Claudia. “George Castleden.” 64 Parishes. Aug. 30, 2013. www.64parishes.org. Accessed July 17, 2023.

28. Paul Howard Manship (American, 1885-1966), “Centaur” 1919 and “Eros and Psyche”, 1937, 2 bronze plaques, each signed and dated lower center, dia. 5 in. and 5 3/4 in., framed together, overall 11 1/2 in. x 18 1/4 in. x 2 1/4 in. [$1500/2500] Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA. Note: Paul Manship knew he wanted to be an artist at the tender age of fifteen and after discovering he was color blind, abandoned painting for what would be an extremely successful career in sculpting. Manship received a degree from the Art Students League in New York and earned a three-year scholarship to study in Rome. His time in Italy would be key to his artistic formation. His Roman teachers exposed him to the classical arts of ancient Greece and Rome, while the museums of Europe brought the decorative arts of India and Mesopotamia to his attention. Manship took these influences and began to merge them with the modernist ideas of the time, although foregoing full abstraction and some of the more “radical” ideas of artists of the period. The result was a new and fresh art that had firm foundations in classicism and realism but stylized with modern touches and depth of meaning beyond mere representation.

In referring to his art Manship states: “…and although I approve generally of normally correct proportions, what matters is the spirit which the artist puts into his creation—the vitality, the rhythm, the emotional effect.” Critics of Manship’s work of the time occasionally referred to it as more “conservative” as compared to that of his peers, inferring only certain collectors would be interested, but this fear would prove to be unfounded, as he is now cited as one of the precursors to the Art Deco movement, influencing countless artists and illustrators, not the least of which was his assistant Gaston Lachaise. Upon his return from Italy, Manship was an instant success, with numerous landmark commissions around New York City such as: “Prometheus” in Rockefeller Center Plaza, the bronze gates of both the Bronx and Central Park zoos and the centerpiece sculptures of the 1939 New York World’s Fair, “Time and Fates Sundial” and “Moods of Time,” to name just a few.

Likely gifts of the artist to his cousin Charles Manship of Baton Rouge, the small bronze plaques and other items on offer here showcase Manship’s interests in mythology and the challenge of capturing movement in sculpture. These small, delightful works emphasize the care he took in forming a rigid material into a dynamic, rhythmic composition. They provide a window into his approach and intent for larger works: “…[to] express movement in my figures. It’s a fascinating problem which I’m always trying to solve.” His preoccupation with movement also can be seen in the book compiled by Paul Vitry, curator of sculpture for the Louvre at the time, displaying public and private works around Europe, as well as a beautiful photograph taken by New York photographer Ward De Witt of Manship lovingly admiring his sculpture of 1929 which today resides in the Smithsonian American Art Museum - “Portrait of the Artist’s Daughter, Sarah Janet Manship.” The critics of his day have been proven wrong, with Manship’s work not being merely of interest to “conservative” collectors but featuring in most major museums around the world and inspiring countless artists with his effortless ability to blend traditional and modern aesthetics. Ref.: “Paul Manship Biography.” Smithsonian American Art Museum. www.americanart.si.edu. Accessed July 27, 2023.

29. Vitry, Paul, Paul Manship Sculpteur Americain, Paris, Editions de la Gazette des Beaux-Arts, 1927, with 80 plates, signed and personalized by Paul Manship; together with Ward De Witt (American/ New York, d. 1937), “Paul Manship”, c. 1930 negative creation date, 1935 print date, gelatin silver print, “De Witt Ward, New York” artist stamp and stamped print date en verso, signed, dated and personalized by Paul Manship and “Paul Manship” stamp en verso, 9 1/8 in. x 7 in., unframed. [$500/700]

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

30. Paul Howard Manship (American, 1885-1966), “Archangel”, cast bronze, signed on side of wing, h. 2 1/2 in., w. 3 in., d. 1/4 in., mounted on marble plaque, overall h. 3 1/2 in., w. 3 1/2 in., d. 1 in. [$700/1000]

Provenance: Dr. Gary Noel Ross; Paula Manship (1912-2006), Baton Rouge, LA; by descent to her niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Note: Armin Scheler was born in 1901 in Germany and attended the State Art School and the State Academy of Fine Arts in Munich, Germany. Following his studies, he moved to the United States where he worked in New York as a designer. He opened his own sculpture studio in 1936 in Rochelle, New York where he did freelance work as a sculptor. Scheler joined the Louisiana State University art faculty in 1942 and taught for nearly three decades. His public work includes architectural friezes for the Government Printing Office in Washington, D.C. and the Federal Building in New Orleans. His work has been exhibited worldwide including the Paris Exposition in 1937 and the Whitney Museum of American Art in 1940 and 1952. Contrary to Scheler’s public works, the lots offered here are abstract, with concrete bases and fluid bronze forms. The bronzes mimic stalagmites reaching skyward, while the negative spaces of the bases allow the works to feel simultaneously substantial and light.

31. Armin Alfred Scheler (German/Louisiana, b. 1901), “Bird Form #2”, bronze, monogrammed on the self-base, h. 32 in., w. 16 in. d. 15 in., cast concrete base, overall h. 67 in. [$1000/1500] Provenance: Dr. Gary Noel Ross; Paula Manship (1912-2006), Baton Rouge, LA; by descent to her niece Nadine Carter Russell (1943-2022), Baton Rouge, LA. 32. Armin Alfred Scheler (German/Louisiana, b. 1901), “Abstract Form”, bronze, unsigned, h. 30 in., w. 15 in., d. 15 1/2 in., cast concrete base, overall h. 64 in. [$1000/1500]

33. Gino Hollander (American, 1924-2015), “Standing Figures” and “Profile Portrait”, 1965, 2 mixed medias on paper, each signed lower left, one dated lower left, one with “Taylor Clark, Baton Rouge” label on backing paper, 5 1/4 in. x 7 1/8 in. and 7 3/4 in. x 4 in., both framed, overall 12 1/2 in. x 13 in. x 1 in. and 14 1/8 in. x 9 7/8 in. x 1 1/4 in. [$200/300]

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

34. Kiyoshi Saito (Japanese, 1907-1997), “Steady Gaze”, 1962, woodcut, signed and stamped lower left, titled, dated and numbered “85/200” lower margin, “Ferdinand Roten Galleries, Baltimore, MD” label on backing, 20 3/4 in. x 15 in., framed; overall 29 in. x 22 1/2 in. x 1 1/2 in.; accompanied by a copy of the original receipt. (2 pcs.) [$600/800]

Provenance: Ferdinand Roten Galleries, Inc., Baltimore, MD, 1967; Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

[$500/700]

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

[$300/500]

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton

LA.

37. Chinese Eggshell Porcelain Bowl, mid-20th c., decorated with a continuous landscape and calligraphy, base with Jingdezhen Zhi mark, h. 2 1/2 in., dia. 7 1/4 in. [$50/100] Rouge, 35. Sin-Ying Ho (Chinese/New York, 20th c.), “Bottle Vase”, porcelain, rim with part Yongzheng mark, base marked, h. 14 1/2 in. 36. Two Chinese Export Famille Rose Porcelain Bowls, 19th/early 20th c., larger decorated with alternating figural and bird-and-flower panels in “Rose Medallion” pattern, h. 4 3/4 in., dia. 11 3/4 in.; smaller with cabbage leaves beneath a floral border, h. 3 1/4 in., dia. 8 1/4 in

[$500/700]

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

[$400/600]

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance:

1/2 in., w. 18 1/4 in., d. 8 in. [$100/200]

Provenance:

42. Japanese Satsuma Pottery Teapot, Meiji Period (1868-1912), hexagonal body painted with landscape vignettes, loop handle and spout with chrysanthemums, h. 7 3/4 in., w. 5 in., d. 3 5/8 in. [$100/150] Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA. 43. Chinese Export-Style Famille Rose Porcelain Charger, 20th c., painted with alternating figural and bird-and-flower scenes, base with “Made in China” mark, h. 2 3/4 in., dia. 15 3/4 in., presented on large wood stand, overall h. 23 Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA. 41. Chinese Wucai or Famille Verte Porcelain Bottle Vase, bulbous body decorated with playful Buddhist lions, tall neck with lotus scrolls on a gilt ground, base with apocryphal Kangxi mark, h. 17 1/4 in. [$400/600] Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA. 39. Chinese Iron Red and Gilt Porcelain Bottle Vase, bulbous body painted with alternating Buddhist lion and bird-and-flower panels, tall next and shoulder with floral, geometric, leaf-tip, and ruyi bands, base with apocryphal Kangxi mark, h. 17 3/8 in. 40. Pair of Chinese Shiwan Glazed Pottery Figures, modeled as male and female performers, h. 16 in., mounted as lamps, h. (incl. socket) 25 in. [$800/1200] Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA. 38. Chinese Export Famille Rose Porcelain Punch Bowl, 19th c., decorated with figrual scenes beneath a bird-and-flower band at the rim, h. 5 1/2 in., dia. 13 1/4 in.

Provenance:

Provenance: Estate of Nadine

(1943-2022), Baton Rouge, LA.

Provenance:

47. Chinese Yixing Pottery Covered Teapot by Zhou Dingfang (b. 1965), modeled in imitation of bamboo, rear body sealed and inscribed, interior of lid sealed, h. 6 3/4 in., w. 8 1/2 in., d. 4 1/8 in. [$800/1200] Estate of Nadine Carter Russell (19432022), Baton Rouge, LA. 49. Pair of Chinese Export Turquoise Glazed Porcelain Figures of Birds, modeled in opposing image standing on pierced rockwork ledges, h. 14 3/4 in. and 15 1/4 in., w. 8 3/4 in., d. 5 in. [$500/700] Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA. 45. Chinese Shiwan Glazed Pottery Buddhist Lion, 19th/20th c., overall mottled blue and brown glaze, bisque eyes, teeth and tongue, base inscribed, h. 11 1/4 in., w. 11 in., d. 4 3/4 in. [$200/300] Carter Russell 46. Chinese Scholar’s Rock, naturally-formed reddish brown stone with numerous crags and crevices, h. 27 1/2 in., mounted in bronze cloud scroll trip stand on stone plinth, overall h. 41 in., w. 17 1/2 in., d. 17 1/2 in. [$1000/1500] Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA. 44. Chinese Turquoise Blue Glazed Porcelain Baluster Vase, probably 19th c., overall crackle blue glaze thinning to white around the rims, h. 17 5/8 in., now mounted as a lamp, h. (incl. socket) 26 1/4 in. [$400/600] Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA. 48. Chinese Yixing Pottery Teapot by Zhou Dingfang (b. 1965), modeled in imitation of a patchwork leather sack, rear of handle sealed and inscribed, base sealed and inscribed, h. 7 1/4 in., w. 8 7/8 in., d. 6 1/4 in. Note: lacking lid [$800/1200] Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance: Acquired The Collection of Rufus Napoleon Garrett, El Dorado, AR, Morton’s Auction, July, 1974, lot 213.

52. Napoleon III-Style Gilt Bronze and Porcelain-Mounted Ebonized Center Table, late 19th/20th c., center transfer printed porcelain plaque surrounded by 18 oval transfer printed porcelain plaques, h. 32 in., dia. 30 in. [$3000/5000] 53. Continental Inlaid Mixed Woods Tilt-Top Table,19th c., extensively inlaid top centered with a bird, turned and inlaid standard, scrolling tripod base, h. 28 1/4 in., w. 25 3/4 in., d. 25 1/4 in. [$500/700] 54. Pair of Regence-Style Pewter Inlaid Caskets on Stands, Borghese finish, h. 47 in., w. 25 in., d. 18 in. [$3000/5000] 50. Pair of Italian Rococo-Style Giltwood and Faux Malachite Consoles, 20th c., shaped tops, gilt foliate supports, incurvate plinth base, h. 33 1/2 in., w. 54 in., d. 22 in. [$3000/5000] 55. Pair of Regence-Style Bronze-Mounted Marquetry and Kingwood Side Tables, shaped apron, cabriole legs, h. 30 in., w. 14 1/2 in., d. 14 1/2 in. [$500/700] 51. Pair of NeoclassicalStyle Faux Marble and Painted Oval Stands, 20th c., three faux marbled tiers, turned supports, h. 33 in., w. 21 in., d. 15 3/8 in. [$700/1000]

57. Sixteen Meissen Polychrome and Gilt Porcelain Floral Dinner Plates, blue crossed swords mark, basketweave borders, scalloped gilt rims, dia. 9 3/4 in. [$1000/1500] 58. Twelve Meissen Polychrome and Gilt Floral Porcelain Luncheon Plates, blue crossed swords mark, various impressed numbers, scalloped gilt rims, basketweave borders, dia. 7 5/8 in. [$600/900] 61. Ten Meissen Polychrome and Gilt Floral Porcelain Luncheon Plates, blue crossed swords mark, various impressed numbers, scalloped gilt rims, basketweave borders, dia. 7 5/8 in. [$300/500] 62. Fourteen Meissen Polychrome and Gilt Floral Porcelain Dinner Plates, blue crossed swords mark, various impressed numbers, basketweave borders, scalloped gilt rims, dia. 9 3/4 in. [$1000/1500] 59. Six Meissen Polychrome and Gilt Floral Porcelain Soup Plates, blue crossed swords mark, various impressed numbers, scallop gilt rims, basketweave borders, dia. 8 3/4 in. [$400/600] 60. Three Meissen Polychrome and Gilt Floral Porcelain Platters, blue crossed swords mark, various inscribed/impressed numbers, basketweave borders, scalloped gilt rims, incl. one pair, l. 11 3/4 in., w. 8 1/4 and other l. 15 in., w. 11 1/4 in. [$800/1200] 56. Baroque-Style Carved Giltwood Center Table, chinoiserie coromandel top, heavily festooned skirt, carved and blocked legs with medial stretcher, toupie feet, h. 35 in., dia. 39 1/2 in. [$3000/5000]

63.

64. Six Meissen Polychrome and Gilt Floral Porcelain Coffee Cups and Saucers, blue crossed swords mark, various impressed/inscribed numbers, dia. 5 3/4 in. [$200/300] 65. Six Meissen Polychrome and Gilt Floral Porcelain Coffee Cups and Saucers, blue crossed swords mark, various impressed/inscribed numbers, dia. 5 3/4 in. [$200/300] 66. Pair of Meissen Polychrome and Gilt Porcelain Reticulated Floral Compotes, blue crossed swords marks, h. 6 3/4 in., dia. 8 3/4 in. [$800/1200] 67. Twelve Meissen Polychrome and Gilt Porcelain Plates, blue crossed swords mark, various inscribed/impressed numbers, reserved with fruit and flowers, reticulated rims decorated with gilt and blue flower, dia. 8 3/4 in. [$1200/1800] 68. Twenty-Three Meissen Polychrome and Gilt Floral Porcelain Dessert Plates, blue crossed swords, marks, various inscribed/impressed numbers, reticulated gilt scalloped rims, dia. 8 1/8 in. [$800/1200] 69. Eighteen Meissen Polychrome and Gilt Floral Porcelain Plates, blue crossed swords mark, various inscribed/impressed numbers, reticulated gilt scalloped rims, dia. 5 3/4 in. [$400/600] 70. Meissen Polychrome and Gilt Floral Porcelain Covered Sugar Bowl and Basin, blue crossed swords marks, covered sugar h. 4 1/4 in., dia. 4 1/2 in.; basin dia. 6 5/8 in. (2 pcs.) [$300/500] Six Meissen Polychrome and Gilt Floral Porcelain Cups and Saucers, blue crossed swords mark, various inscribed/impressed numbers, gilt rims, dia. 4 1/4 in.; together with 8 Meissen polychrome and gilt floral porcelain dessert plates, marked, dia. 5 3/4 in. (14 pcs.) [$300/500]

71. Meissen Polychrome and Gilt Floral Porcelain Sauce Boat with Undertray, blue crossed swords mark, impressed “33”, two handles, gilt rims, h. 3 3/4 in., w. 10 1/2 in., d. 6 1/2 in. [$300/500]

72. Limoges Porcelain Partial Dinner Service, incl. 10 salad plates (9 in.), 8 bowls, 10 bread plates (7 1/4 in.), 4 graduated platters, sauceboat with underplate, mustard pot, 4 covered dishes, footed bowl, fish server, 12 butter dishes, and a compote, 66 pcs. [$1000/1500]

74. Paris Porcelain Dinner Service, 19th c., blue green rims and gilt accents, incl. 17 plates, dia. 7 1/4 in.; 13 plates, dia. 8 1/8 in.; 12 dishes, dia. 9 3/8 in.; 5 plates, dia. 9 1/4 in.; 2 platters, larger l. 14 1/2 in., w. 10 3/4 in.; pair of oval dishes, l. 11 in.; pair of oval bowls, l. 9 7/8 in.; pair of single handled scallop rim dishes, l. 11 in.; pair of covered tureens, h. 7 in., w. 11 1/2 in.; sauce boat with underplate, h. 5 1/4 in., l. 10 in.; covered butter with insert, h. 4 1/2 in., dia. 6 1/2 in.; 5 cups, h. 3 in. and 6 saucers, dia. 6 1/4 in.; 2 cups, h. 2 5/8 in. and 9 saucers, dia. 5 5/8 in.; 1 cup, h. 2 1/2 in., and 10 saucers, dia. 5 1/8 in.; together with associated Paris porcelain partial dessert service, incl. double handled cake plate, dia. 10 1/2 in.; cover sugar, h. 7 in.; open creamer, h. 5 1/2 in.; and 2 cups, h. 2 1/2 in. (approx. 97 pcs.) [$1000/1500]

75. Theodore Deck (1823-1891) Paris Faience Plate, c. 1859-1891, marked on reverse, dia. 11 7/8 in., foot rim drilled for hanging. [$700/1000] 76. Monumental Antique Majolica Urn on Pedestal Stand, bases marked, cobalt ground, decorated putti, Classical figures and harvest motifs, ornate figural handles; urn h. 20 1/2 in., stand h. 32 1/2 in. Note: old repairs [$500/700] 73. Antique Dresden Polychrome and Gilt Porcelain Platter, marked in blue, impressed numbers, scalloped gilt rim, floral reserves, l. 15 1/4 in., w. 10 1/2 in. [$300/500]

Provenance:

77. Pablo Picasso (Spanish, 1881-1973), “Femme au Chapeau Fleuri”, 1964, earthenware plaque decorated in engobe, impressed “MADOURA PLEIN FEU EMPREINTE ORIGINALE DE PICASSO”, and incised 43/100, 13 in. x 10 in. [$8000/12000] Ref.: Georges Ramie, Ceramica di Picasso, Rome, 1974, p. 254; Alain Ramie, Picasso: Catalogue of the Edited Ceramic Works 1947-1971, Vallauris, 1988, no. 521, p. 260 78. Antique French Provincial Two-Part Mixed Woods Document Cabinet, upper case with arched cornice, cartouche-paneled doors, fluted stiles, deep lower case with paneled doors, interior fitted with document drawers, h. 93 in., w. 65 in., d. 39 in. [$1000/1500] 79. Pair of French Neoclassical Bronze-Mounted Mahogany Demilune Tall Commodes, early 19th c., galleried inset marble top, upper case with tambour door and fitted interior, lower case with shelf interior, tapered legs, brass cuffs, h. 43 3/4 in., w. 24 1/2 in., d. 12 1/2 in. [$3000/5000] Parc Monceau Antiques, Atlanta, GA.

81. French Empire Bronze-Mounted Mahogany Secretaire a Abattant, 19th c. and later elements, fall front, fitted interior, cabinet base flanked by columns, h. 57 1/2 in., w. 35 1/2 in., d. 18 1/2 in. [$700/900] 82. French Empire-Style Bronze-Mounted Mahogany and Parquetry Center Table, pierced gallery, bronze classical maiden supports, plinth base with finial, h. 31 in., dia. 35 1/2 in. [$2000/4000] 83. French Empire-Style Parcel Gilt and Specimen Marble Table, 20th c., gameboard marble top, chamfered standard adorned by dolphins, incurvate triangular plinth base, h. 29 1/2 in., dia. 36 in. [$1000/2000] 80. French Restauration Carved Rosewood Bookcase, 19th c., molded cornice, two glazed and paneled doors with ripple molding, shelf interior, plinth base, h. 87 in., w. 55 1/2 in., d. 16 1/2 in. [$1200/1800]

84. Pair of French Neoclassical-Style Crème Peinte and Parcel Gilt Consoles, marble top, pierced Greek key frieze, scrolled legs, stretcher surmounted by large urn, h. 33 in., w. 50 1/2 in., d. 22 in. [$1000/2000] 85. Large Pair of Shell Encrusted Ornaments on Stands, cone shaped shells, painted wood turned bases [$500/700] 86. Pair of Regence Carved Giltwood Fauteuils a la Reine, 19th c., arched crest, foliate carved arms, h. 48 in., w. 26 1/2 in., d. 29 in. [$800/1200] 87. French Neoclassical-Style Carved Giltwood Console Table, 19th c., marble top, blind carved frieze, foliate swags, tapered stretchered legs, h. 32 in., w. 33 1/2 in., d. 18 1/2 in. [$1000/1500] 88. Louis XV-Style Carved Walnut Settee, 20th c., foliate crest rail, conforming seat rail, scrolled legs with whorl feet, h. 42 in., w. 66 in., d. 31 1/2 in. [$700/1000]

93. William Keith (Scottish/American, 1838-1911), “Wooded Landscape”, oil on canvas laid on board, signed and inscribed lower right, 11 3/4 in. x 23 3/4 in., framed, overall 15 5/8 in. x 27 1/2 in. x 1 1/2 in. [$600/800] 94. John Nichols Haapahen (American/ Massachusetts, 1891-1968), “Monhegan Island, ME”, oil on canvas, signed lower right, artist biography attached to stretcher, 20 1/8 in. x 24 1/8 in., framed with artist and title plaque, overall 24 3/4 in. x 28 3/4 in. x 1 1/2 in. [$600/800] 89. Charles Alfred Meurer (German/ American, 1865-1955), “Trompe l’Oeil with Coins, Matches and Pipe”, oil on masonite, initialed and inscribed en verso, 15 1/4 in. x 18 5/8 in., framed, overall 20 in. x 23 1/8 in. x 1 1/2 in. [$1500/2500] 90. Dox Thrash (American/ Pennsylvania, 1893-1965), “Coal Breaker”, carborundum mezzotint and etching, unsigned, 9 3/4 in. x 6 7/8 in., unframed. [$800/1200] 91. Eliza Barchus (American/ Oregon, 1857-1959), “Sunset on Mt. Hood”, oil on canvas, signed lower right, 14 1/4 in. x 20 in., framed, overall 18 in. x 24 in. x 2 in. [$1200/1800] 92. Sigurd Skou (Norwegian/ American, 1875-1929), “Ornament Celtique”, oil on canvas, signed lower left, signed, titled and artist label en verso, 20 in. x 18 in., framed, overall 25 in. x 23 in. x 1 1/8 in. [$800/1200]

Provenance:

99. George Henry Harlow (British, 1787-1819), “Lady Grenville (17721864)”, oil on canvas, unsigned, “Galerie Sedelmeyer, Paris” wax stamp and remnants of label on stretcher, artist and title plaque from previous framing attached to reverse of frame, 30 in. x 25 in., framed, overall 36 3/8 in. x 31 1/2 in. x 1 3/4 in. [$1500/2500] Galerie Sedelmeyer, Paris. 100. British School, 19th c., “Surgeon Commander George Vance Scovell, Royal Navy”, oil on canvas, unsigned, “Humphrey Brothers, Stanley Street Depositories, Southsea” label with sitter, “Curtiss & Sons, LTD.” label inscribed with sitter, handwritten label inscribed with sitter and “Curtiss Storage”, “British Antiques Exporters, LTD., Sussex” label and partial label on stretcher, 36 in. x 28 1/4 in., framed. [$800/1200] 95. Edward Parker Hayden (American/Massachusetts, 1858-1922), “Gathered Leaves in an Autumn Landscape”, 1904, oil on canvas, signed and dated lower left, 20 in. x 30 in., framed, overall 25 3/8 in. x 35 3/4 in. x 1 3/4 in. [$800/1200] 96. Gustave Adolph Wiegand (German/American, 1870-1957), “Golden Days”, oil on canvas, signed lower right, signed and titled on stretcher, 25 in. x 30 in., framed with artist plaque, overall 32 3/4 in. x 37 3/4 in. x 3 1/8 in. [$800/1200] 97. Colin Campbell Cooper (American, 1856-1937), “Street in Laren, Holland by Hilversum”, watercolor and gouache on paper mounted to board, signed lower left, titled on reverse of mount, 15 in. x 22 in., unframed. [$1500/2500] 98. George W. Drew (American/New York, 1875-1968), “Afternoon Ronda, Spain”, oil on canvas, signed lower left, handwritten label with artist and title on stretcher, “Hayes Storage, INC., New York” label on stretcher, “Findlay Galleries, Chicago” label on backing board and “Findlay Galleries, Chicago” stamp on reverse of backing board, 24 1/4 in. x 36 1/8 in., framed, overall 30 1/4 in. x 42 1/4 in. x 3 1/4 in. [$600/800]

105. French School, 19th c., “Portrait of Princess Sophie of France”, oil miniature, signed “Nattier” lower right, sight 3 1/4 in. x 2 3/4 in., faux tortoiseshell case, overall 5 3/8 in. x 3 3/4 in. x 1/2 in. [$600/900] 101. William Rowland (British, 20th c.), “Steeplechase Horse Racing”, 4 oils on canvas, signed lower right or left, each 8 in. x 14 in., framed alike, each overall 12 3/8 in. x 18 1/2 in. x 2 1/2 in. (4 pcs.) [$1200/1800] 102. Edward Lloyd of Ellesmere (British, 1818-1901), “Best Friends”, 1891, oil on canvas, signed, dated and inscribed “Salop” lower right, “...Davey Pictures, 1801, Manchester” partial label on reverse of frame, 25 in. x 30 in., framed, overall 30 in. x 35 in. x 1 1/2 in. [$2000/3000] 103. William Frank Calderon (British, 1865-1943), “Flutter the Bulldog”, 1891, oil on panel, signed and dated lower right, titled lower center, artist biography attached en verso, 11 3/4 in. x 16 in., framed, overall 17 3/8 in. x 21 1/2 in. x 2 1/2 in. [$700/1000] 104. Johann Georg Busyaeger (American/Pennsylvania, 1774-1843), “Fraktur Baptism Certificate”, 1805, watercolor on paper, signed and dated lower center, 7 3/4 in. x 12 3/4 in., framed, overall 10 3/8 in. x 15 3/8 in. x 1 3/4 in. [$1500/2500]

106. Carved Alabaster Figure of the Birth of Venus, indistinctly signed on self-base, h. 20 in., w. 13 in., d. 12 in., marble base, overall h. 56 in. [$800/1200] 107. Jules Cheret (French, 18361932), “Benzo-Moteur”, 1900, color lithograph, signed and dated in plate, printed by Imprimerie Chaix, Paris, sight 47 in. x 33 5/8 in., framed, overall 51 1/2 in. x 38 1/8 in. x 1 1/8 in. [$1000/1500] 108. Jules Cheret (French, 1836-1932), “Eldorado”, 1894, color lithograph, signed and dated in plate, supplement of Le Courrier Francais, printed by Imprimerie Chaix, Paris, sight 21 1/2 in. x 14 in., framed, overall 28 in. x 20 3/4 in. x 1 1/4 in. [$800/1200] 109. Jules Cheret (French, 1836-1932), “Palais de Glace”, 1894, color lithograph, signed and dated in plate, supplement of Le Courrier Francais, printed by Imprimerie Chaix, Paris, sight 22 1/2 in. x 14 5/8 in., framed, overall 29 3/4 in. x 21 3/4 in. x 1 1/2 in. [$800/1200] 110. Jules Cheret (French, 1836-1932), “Pantomimes Lumineuses”, 1886 and “Theatre de l’Opera/Carnaval 1892”, 1896, 2 color lithographs, one signed and dated in plate, one signed in plate, both from Les Affiches Illustrees, editor G. Bondet, Paris, each with embossed and signed “Yaneff International Fine Art” labels with artist and title on backing paper, sights 10 1/2 in. x 7 3/4 in. and 9 1/2 in. x 7 in., framed alike, each overall 21 1/8 in. x 17 1/8 in. x 1 1/2 in. (2 pcs.) [$500/700]

112. Continental

19th

of Marguerite”, oil on canvas, unsigned, “M.F. Haas & Son, Brooklyn, NY” framer label on reverse of frame, 34 1/8 in. x 27 1/8 in., framed, overall 41 1/2 in. x 43 1/4 in. x 2 1/8 in. [$1000/1500]

Provenance: Private Collection, Poland.

114. Claude-Louis Desrais (French, 1746-1816), “Marshal General Jean-de-Dieu Soult”, pen and ink and wash on paper, signed and titled lower center, inscribed “par Desrais” en verso, “Henry Stephen Harvey, Palm Beach, Fl” label on backing paper, 12 3/8 in. x 8 3/4 in., framed, 17 1/8 in. x 14 in. x 1 in. [$1000/1500] 115. Karl Kaufmann (Austrian, 1843-1902), “View of Venice”, oil on canvas, signed “C. Carlo” lower left, titled on stretcher, 14 3/4 in. x 23 in., framed, overall 18 1/4 in. x 26 5/8 in. x 1 1/4 in. [$800/1200] 111. Continental School, 19th c., “The King’s Court”, oil on canvas, unsigned, 25 1/4 in. x 30 in., framed, overall 32 3/4 in. x 38 in. x 2 3/4 in. [$700/1000] School, c., “Portrait 113. Continental School, 18th/19th c., “View of City of Constantinople”, oil on canvas, unsigned, titled lower edge, handwritten labels on stretcher and reverse of frame, 21 3/4 in. x 37 in., framed, overall 25 1/4 in. x 40 1/4 in. x 1 3/4 in. [$1000/1500]

Provenance:

116. Ernesto Strigelly (German, 19th c.), “Moonlit Winter Night”, 1883, oil on canvas, signed and dated lower right, “P. Roedler Picture Frames, New York” label on reverse of frame, 22 in. x 36 in., framed, overall 36 in. x 50 in. x 5 1/2 in. [$2000/3000] 117. Continental School, 19th c., “Portrait of a Gentleman Seated on a Red Chair”, oil on panel, unsigned, 28 in. x 21 3/4 in., framed, overall 33 1/2 in. x 26 7/8 in. x 2 3/8 in. [$700/1000] 118. Continental School, 19th c., “Still Lifes of Flowers in Landscape with Distant Capriccio”, 2 oils on canvas, both unsigned, each 31 1/2 in. x 39 5/8 in., framed alike, overall 38 in. x 46 in. x 2 in. to 38 1/2 in. x 46 1/4 in. x 2 in. (2 pcs.) [$600/800] Poplar Grove, Port Allen, LA.

123. Jacques Martin-Ferrieres (French, 1845-1924), “Sur la Plage”, 1931, oil on canvas, signed and dated lower left, 32 in. x 45 5/8 in., framed, overall 39 in. x 53 in. x 2 in. [$4000/6000] 122. Yolande Ardissone (French, b. 1927), “Vieux Passage”, oil on canvas, signed lower right, titled and numbered on stretcher, artist name and “Wally Findlay Galleries” label on reverse of frame, “Wally Findlay Galleries” label and numbered on backing board, 10 3/4 in. x 14 in., framed, overall 18 1/2 in. x 21 1/2 in. x 2 1/4 in. [$600/800] 119. Large Marble Figural Group of Woman and Child on the Seashore, h. 68 1/2 in. [$1500/2500] 120. Continental School, 18th c., “Madonna, Christ Child and Infant St. John the Baptist”, oil on panel, unsigned, 40 in. x 30 in., unframed. [$2000/3000] 121. After Titian (Italian, c. 1485-1576), “Danaë”, oil on canvas, unsigned, 29 3/4 in. x 39 1/4 in., framed, overall 37 1/2 in. x 47 in. x 3 in. [$1500/2500]

125. Louis XV-Style Bronze-Mounted Marquetry and Mahogany Bureau Plat, urn and foliate inlaid top, three frieze drawers, cabriole legs, h. 32 in., w. 74 in., d. 35 1/2 in. [$1000/2000] 126. Pair of Louis XV-Style Bronze-Mounted Mahogany and Vernis Martin Cabinets, marble tops, single door, cabriole legs, h. 42 1/2 in., w. 38 1/2 in., d. 18 in. [$4000/8000] 124. Louis XV-Style Gilt Bronze Three-Tier Desserte, shaped marble tops, acanthine scrolled supports, paw feet, h. 41 in., w. 37 in., d. 24 in. [$800/1200] 128. Louis XV-Style Carved Mahogany Console, shaped marble top, two side frieze drawers, fluted tapered supports, h. 30 in., w. 36 in., d. 23 1/2 in. [$600/900] 127. Pair of Louis XVI-Style Carved and Parcel Gilt Benches, nailhead trim, pierced apron, foliate scroll legs, finialed stretcher, h. 24 in., w. 18 1/2 in., d. 18 1/2 in. [$1000/2000]

131. Pair of Louis XV-Style Carved Giltwood Settees, reticulated floral crest, scrolled crest rail, serpentine seat rail, cabriole legs, scrolled toes, h. 39 in., w. 62 1/2 in., d. 29 in. [$1000/2000] 132. Louis XVI-Style Creme Peinte and Gilt Bergère, 19th c., molded back, padded arms, spiral supports, fluted tapered legs., h. 36 1/4 in., w. 25 1/2 in., d. 27 in. [$600/900] 130. Louis XV-Style Bronze-Mounted Marquetry and Kingwood Table, 19th c., segmented molded top, frieze drawer, stretched shelf, cabriole legs, h. 36 in., w. 84 in., d. 32 in. [$800/1200] 129. Pair of Louis XV-Style Bronze-Mounted Marquetry and Mahogany Gueridons, foliate molded top, cabriole legs, h. 30 in., dia. 28 1/2 in. [$700/900] 134. Pair of Louis XVI-Style BronzeMounted Mahogany Gueridons, marble top, fluted tapered legs, h. 30 in., dia. 33 in. [$2000/3000] 133. Pair of Louis XV-Style Carved and Gris Peinte Fauteuils, early 19th c., serpentine floral crest rail, caned back and seat, scrolled arms, cabriole legs., h. 35 in., w. 25 in., d. 23 1/2 in. [$700/1000]

139. Pair of Georgian Sheffield Plate Sauce Tureens, c. 1800, oval with gadroon borders, cornucopia loop handles, acanthus bracketed paw feet, h. 6 1/4 in., w. 9 in., surface probably “sponged”. [$300/500] 140. Pair of Regency-Style Silverplate Candlesticks, Ellis Barker, early 20th c., menorah mark, lyre-form standard, urn-form candle cups, removable bobeches, h. 12 in. [$300/500] 137. Pair of Georgian Sheffield Plate Three-Light Candelabra, A. Goodman & Co., c. 1800, trumpet mark, removable candlearms with urn-form candle cups, trumpetshaped standard, reeded decoration throughout, h. 19 1/4 in. [$500/700] 138. Pair of Antique English Silverplate Wine Coolers, T. & J. Creswick, Sheffield, 19th c., foliate decoration, fitted removable liner, loop handles, tinned interior, h. 10 ¼ in. [$700/1000] Provenance: Acquired The Collection of Rufus Napoleon Garrett, El Dorado, AR, Onsite Auction, July, 1974, lot 440. 135. Italian .800 Silver Fruit and Vegetable Centerpiece, marks rubbed, with cabbage tureen, cabbage leaves, tomatoes and lemons, h. 6 1/4 in., w. 18 1/4 in., wt. 57.25 troy ozs. [$1500/2500] 136. Good George III-Style Sterling Silver Footed Punchbowl, Elkington & Co., Ltd., Birmingham, 1894, squared handles with acanthus decoration, bowl with spiral fluted lower body, pedestal foot with spiral fluted decoration, h. 12 in., w. 18 1/2 in., d. 12 7/8 in., wt. 86.15 troy ozs. [$3000/5000] 141. Edwardian Sterling Silver Sauceboat in the Georgian Taste, Goldsmiths and Silversmiths Co., London, 1902, gadroon border, foliate scroll handle, shell and scroll pad feet, h. 5 1/8 in., w. 7 5/8 in., wt. 13.60 troy ozs. [$300/400] 142. Four Victorian Sterling Silver Master Salts, London, 1874, 3 by Edward Ker Reid, 1 by Richards & Brown (Edward Charles Brown), circular with gadroon border, floral chasing, shell and scroll pad feet, h. 1 7/8 in., dia. 3 1/4 in. [$300/500]

74.65 troy ozs. [$2000/3000]

144. Good Group of George III Sterling Silver Tablespoons, incl. a pair by Elizabeth Tookey, London, date marks rubbed, bright-cut engraving; one probably William Fearn, London, 1773, monogram and inscription 1776; and one William & Patrick Cunningham, Edinburgh, 1815, with motto and crest “Fortis in Arduis” (Brave in Difficulties); each approx. 8 1/2 in.; total wt. 7.80 troy ozs. [$200/300]

146. Extensive Reed & Barton

“Francis I” Pattern Sterling Silver Flatware Service, pat. 1907, incl. 29 forks (l. 7 1/4 in.), 10 forks (l. 7 3/4 in.), 31 knives (l. 9 1/8 in.), 10 knives (l. 9 5/8 in.), 43 salad forks, 10 gumbo spoons, 6 cream soup spoons, 10 cocktail forks, 44 teaspoons, 8 iced tea spoons and 10 butter knives (fh); total wt. (weighable) 241.50 troy ozs., in fitted wood case. (204 pcs.) [$4000/6000]

145. Dominick & Haff “Mazarin” Pattern Sterling Silver Flatware Service, pat. 1892, incl. 4 dinner forks (l. 7 3/4 in.), 16 luncheon forks (l. 7 in.), 9 dessert forks, 1 strawberry fork, 2 oyster/ cocktail forks, 14 knives (l. 8 1/2 in., hh), 1 butter knife (fh), 20 teaspoons (l. 5 3/4 in.), 8 five o’clock teaspoons (l. 5 3/8 in.), 2 teaspoons (l. 6 in.), 1 dessert spoon, 2 ice cream spoons, 2 salad serving forks and spoons, 4 tablespoons, cold meat fork (l. 8 1/2 in.), almond spoon, berry spoon, jam spoon, jelly knife, gravy ladle, 2 cream ladles (scalloped edge), 2 cream ladles (plain), master butter knife and 2 master salt spoons; total; total wt. (weighable) 104.95 troy ozs. (101 pcs.) [$1500/2500]

147. Gorham “King Edward” Pattern Sterling Silver Flatware Service, pat. 1936, incl. 19 forks (l. 7 1/2 in.), 16 knives (l. 9 1/2 in.), 6 knives (l. 8 7/8 in.), 24 salad forks (l. 6 1/4 in.), 5 salad forks (l. 6 3/4 in), 13 dessert spoons, 30 teaspoons, 7 iced tea spoons, 11 cocktail forks, 11 butter knives (hh), 4 tablespoons, 2 cream ladles, and carving knife and fork; total wt. (weighable) 147.90 troy ozs., in fitted wood case. (150 pcs.) [$2000/3000]

148. Kirk “Repousse” Pattern Sterling Silver Flatware Service, pattern introduced 1828, incl. 14 each: forks (l. 7 1/4 in.), knives (l. 8 7/8 in.), salad forks and butter knives (fh), and 28 teaspoons, 3 tablespoons, pierced tablespoon, carving knife and fork (l. 11 1/8 in and 9 1/2 in.), gravy ladle, sugar shell, jam spoon, pickle fork and small bowl (dia. 5 in.); together with Towle condiment spoon; total wt. (weighable) 97.45 troy ozs. (96 pcs.) [$2000/3000]

Provenance: Acquired The Collection of Rufus Napoleon Garrett, El Dorado, AR, Onsite Auction, July, 1974, lot 463.

151. Mexican Sterling Silver Charger, Maciel, Mexico City, act. 1930-1970, chased with pomegranates, pears, pineapples and berries, dia. 18 1/4 in., wt. 56.75 troy ozs. [$800/1200] 149. Monumental Sterling Silver Footed Centerbowl, Theodore B. Starr Inc, New York, NY, act. 1877-1924, everted reticulated rim, chased throughout with strapwork, foliage and flowers, h. 9 in., dia. 18 in., wt. 147.65 troy ozs. [$3000/5000] 150. Good American Sterling Silver Ewer, Lebkuecher & Co., Newark, NJ, act. 1896-1918, chased with acanthus and flowers, period script monogram, h. 14 1/2 in., wt. 27.50 troy ozs. [$700/900] 143. Pair of George III Sterling Silver Meat Dishes, maker WC, London, 1761 and 1765, silver shape with gadroon border and engraved crest with motto “Honi Soit Qui Mal Y Pense/Mutare Vel Timere Sperno”, l. 16 in., combined wt.

152. Pair of Antique Italian Rococo-Style Giltwood Armchairs, pierced rocaille crest, heart-shaped padded back, scrolled arms, conforming apron, cabriole legs, h. 48 in., w. 30 in., d. 25 in. [$800/1200] 153. Pair of Italian Neoclassical-Style Gris Peinte and Parcel Gilt Consoles, inset marble tops, trophy frieze, h. 36 in., w. 48 in., d. 19 1/2 in. [$2500/3500] 154. Italian Renaissance-Style Carved Mahogany Veneered Center Table, 20th c., segmented and scalloped top, conforming skirt with turned drops, flared chamfered stem, h. 31 1/2 in., dia. 43 1/2 in. [$600/900] 155. Antique Swedish Burl Birch Tilt-Top Table, 19th c., square top, turned standard, tripod cabriole legs, pad foot, h. 29 in., w. 35 in., d. 35 in. [$600/900] 156. Venetian Rococo-Style Gilt and Paint-Decorated Credenza, 19th c. and later, conforming marble top, two drawers over two cabinet doors, plinth base, h. 37 1/2 in., w. 99 3/4 in., d. 25 1/2 in. [$2500/3500] 157. Italian Rococo-Style Giltwood and Painted Console, 18th c., later paint, frieze drawer, scrolled supports, stretcher surmounted foliate carving, h. 33 3/4 in., w. 42 in., d. 22 3/4 in. [$1000/1500] 158. Swedish Neoclassical-Style Gilt and Painted Chest of Drawers, 21st c., dentil molded top, four graduated drawers, h. 38 1/4 in., w. 35 1/2 in., d. 17 1/2 in. [$700/1000]

163. Maitland Smith Shell Encrusted Coffer, labeled, brass shell-form knop and feet, h. 13 1/4 in., w. 12 in., d. 9 in. [$500/700] 164. Twelve Dutch Brass and Copper Teapots, various forms, largest h. 14 in., w. 9 1/2 in., d. 12 in. [$700/900] 161. Phillips Pure Cane Sugar Store Container, 19th c., Louisiana, wood, hand-wrought hardware, void interior, h. 18 in., w. 20 in., d. 13 in. [$300/500] 162. Five Antique Carved Duck Decoys, longest l. 16 in. [$400/600] 160. John Challis Walnut Harpsichord, 57 keys, single reverse-colored keyboard, three pedals, pierced strap hinges, h. 33 in. (61 in. open), w. 36 in., d. 69 in. [$1500/2500] 165. Pair of Large Continental Malachite Obelisks, typical form, h. 29 in., w. 6 1/2 in., d. 6 1/2 in. [$1000/2000] 166. Pair of Louis XV-Style Bronze Four-Light Candelabra, after a model by Caffieri, h. 20 in., dia. 12 in. [$800/1200] 159. Dutch Biedermeier Fruitwood Dressing Cabinet,19th c., lift top with inset mirror, foldout compartment, tambour door over two doors, square legs, h. 33 1/2 in., w. 24 3/4 in., d. 16 3/4 in. [$500/700]

169. Pair of Neoclassical-Style Bronze Urns, by Theodore Alexander, rouge marble bases, h. 28 1/4 in., dia. 15 3/4 in. [$700/1000] 170. Pair of Large Carved Wood Sphinxes, mid-20th c., surface retains areas of old rouge paint, h. 33 in., w. 18 1/2 in., d. 46 1/2 in. [$1000/2000] 167. Decorative Suit of Armor, leather and metal, wood base, with separate sword, h. 73 in., w. 28 in., d. 16 1/2 in. [$600/900] 168. Large Pair of Minton-Style Majolica Figural Brackets, shaped shelf, over cherub, with scroll and fruit design, h. 22 3/4 in., w. 21 in., d. 11 in. [$800/1200] 171. Georgian Tortoiseshell Tea Caddy, 19th c., pyramid lid, silver cartouches engraved “Miss Mais” and with a monogram, single lidded compartment, h. 5 3/4 in., w. 4 3/8 in., d. 3 in. [$800/1200] 172. George III Tortoiseshell Tea Caddy, 19th c., octagonal lozenge form, monogramed cartouche, single lidded compartment, h. 4 1/2 in., w. 5 5/8 in., d. 3 1/4 in. [$1000/1500] 173. Georgian Tortoiseshell Tea Caddy, 19th c., domed lid, monogramed cartouche, single lidded compartment, h. 4 3/4 in., w. 4 5/8 in., d. 3 in. [$800/1200] 174. Georgian Tortoiseshell Tea Caddy, 19th c., oval form, interior with single lidded compartment, h. 4 1/4 in., w. 5 1/2 in., d. 3 in. [$800/1200]

Provenance:

175. T.C. Brown-Westhead, Moore & Co. Majolica Garden Seat, 18621904, impressed mark, drum-form body, mottled green, brown, and yellow glaze, fretwork border, raised bosses, h. 18 1/2 in., dia. 16 in. [$400/600] Neal Auction, Nov. 2013, lot 348. 176. Pair of Neoclassical-Style Bronze-Mounted Cut Crystal Urns, paw feet, h. 20 1/2 in., dia. 9 1/2 in. [$800/1200] 181. Empire-Style Mahogany Dining or Center Table, early 20th c., manner of Thomas Hope, circular top with brass and ebonized banding and inlaid ebonized stars, pylon pedestal on winged paw feet, h. 30 in., dia. 72 in. [$1200/1800] 177. Pair of Moorish Bone and Mother-ofPearl Inlaid Octagonal Tabourets, inset molded tops, conforming paneled bases, arched supports, h. 28 1/2 in., dia. 19 1/2 in. [$1000/2000] 178. Pair of Moorish Inlaid and Carved Hardwood Tabourets,20th c., geometric motif top, arched brackets, spindle galleried stretcher shelf, h. 27 1/2 in., w. 23 1/2 in., d. 23 1/2 in. [$1000/2000] 179. Biedermeier Fruitwood and Parcel Ebonized Secretary Desk,19th c., fall front writing drawer with fitted interior, over three drawers, block feet, h. 46 1/8 in., w. 43 5/8 in., d. 19 1/2 in. [$700/1000] 180. Empire-Style Parcel Gilt Fruitwood Center Table, circular black marble top, blocked frieze, Egyptian term supports, medial stretcher with falcon on acroteria, paw feet, h. 32 in., dia. 36 3/4 in. [$800/1200]

185. Pair of Regency-Style Giltwood Two-Light Sconces, centered by porcelain medallions, h. 30 1/2 in., w. 18 in., d. 7 in. [$500/700] 186. Pair of Art Deco Carved Alabaster UrnForm Lamps, early 20th c., h. 9 in., dia. 6 ¼ in. [$400/600] 187. Continental Patinated Metal and Cut-Glass Six-Light Chandelier, beaded elements, hung with clear and amber glass prisms, electrified, h. 31 in., dia. 21 in. [$600/900] 188. Pair of Louis XVI-Style Silvered Bronze Six-Light Sconces, shield-form backplate, foliate arms, prism hung, electrified, h. 16 in., w. 18 in., d. 14 in. [$600/900] 182. Monumental Louis XVI-Style Gilt Bronze Lantern, scrolled supports, hexagonal cage mounted with rams heads, fitted with engraved glass panels, h. 53 in., dia. 28 in. [$1500/2500] 183. Four Empire-Style Bronze Two-Light Sconces, torch-form standard, foliate arms, h. 21 1/2 in., w. 15 in., d. 8 in. [$2000/4000] 184. Pair of French Bagues-Style Rock Crystal and Gilt Metal TwoLight Sconces, bird and torch-form standard, h. 24 in., w. 17 in., d. 6 in. [$1000/2000] 190. Pair of French Gilt Metal Six-Light Candelabra, now mounted as lamps, cherub standard, wood base, candelabra h. 22 in., h. to socket 33 in. [$500/700] 189. Pair of French Bronze Five-Light Candelabra, late 19th c., foliate arms, cherub and scroll bases, h. 28 in., w. 16 in., d. 12 in. [$500/700]

Provenance:

193. Queen Anne Carved Walnut Octagonal Drop-Leaf Table, 19th c., frieze drawer, cabriole legs, pad feet, h. 28 3/4 in., w. 44 1/2 in., d. 46 in. [$700/1000] 194. George III Inlaid Walnut and Oak Chest of Drawers, early 19th c., banded drawers, two drawers over three long drawers, bracket feet, h. 36 in., w. 37 in., d. 20 1/4 in. [$1000/1500] 195. Set of Four Queen Anne-Style Carved Mahogany Armchairs,20th c., leather padded backs and seats with nailhead trim, cabriole legs, pad feet, h. 38 1/2 in., w. 23 1/2 in., d. 24 1/2 in. [$700/1000] 196. Fine George III-Style Double Banded Inlaid Mahogany Three Pedestal Dining Table,19th c., 2 leaves, reeded edge top, turned standard, reeded sabre legs, cuff casters, h. 28 3/4 in., l. (with leaves) 165 1/2 in.) l. (without leaves) 118 1/2 in., w. 53 1/2 in. [$2500/3500] 191. Georgian-Style Carved Mahogany Tester Bed, 20th c., fluted posts carved with rice motif, h. 100 in., w. 54 1/2 in., d. 75 1/2 in. [$1000/1500] Henry Stern 192. Georgian-Style Carved Mahogany Chest-on-Chest, 19th c., molded crest with chamfered corners, conforming upper case with reeded stiles, two short drawers over three long drawers, lower case with three drawers, bracket feet, h. 72 in., w. 44 in., d. 21 5/8 in. [$800/1200]

199. George III Mahogany and Fruitwood Sideboard, 20th c., bowfront marble top, conforming case with two cutlery drawers, flanked by two banks of drawers, banded and with burled veneers, bellflower inlaid tapering square legs, spade feet, h. 36 in., w. 7 1/2 in., d. 25 in. [$700/1000] 197. Four George III-Style Carved Walnut Roundabout Chairs,20th c., upholstered crest rail, pierced splat, h. 32 in., w. 26 3/4 in., d. 23 in. [$800/1200] 198. George III Mahogany Slant-Front Desk, early 19th c., fall-front lid, fitted interior, four graduated drawers, bracket feet, h. 42 1/4 in., w. 36 in., d. 18 1/2 in. [$500/700] 201. Fine Queen Anne/George I Carved and Burl Walnut Side Chair, 18th c., shell carved crest rail, scrolled splat, shell carved seat rail and knees, cabriole legs, ball and claw feet, h. 39 1/2 in., w. 22 1/2 in., d. 20 in. [$1000/1500] 202. Georgian Mahogany Chest of Drawers, two short over three long drawers, molded top with inlaid banding, cockbeaded drawers with brass bail handles and escutcheons, shaped bracket feet, h. 43 1/8 in., w. 43 3/8 in., d. 23 3/8 in. [$500/700] 203. George I-Style Inlaid Walnut Kneehole Desk, 19th c., molded top, three frieze drawers, three drawers flanking recessed cupboard, turn feet, h. 32 in., w. 43 in., d. 22 1/2 in. [$1000/1500] 204. George III Mahogany Chest of Drawers, 19th c., molded top, two short drawers over three graduated drawers, bracket feet, h. 39 1/2 in., w. 41 1/2 in., d. 21 1/2 in. [$500/700] 200. George III Ebonized and Chinoiserie Gilt-Decorated Bookcase, 18th c., molded cornice, two doors, two short drawers over two long drawers, disk feet, h. 92 in., w. 58 in., d. 21 1/2 in. [$2000/4000]

213. Aubusson Carpet, nature scene with cream and blue borders, 6 ft. 6 in. x 5 ft. 7 in. [$1500/2000] 214. Aubusson Carpet, central nature scene with cream and blue borders, 8 ft. 8 in. x 5 ft. 10 in. [$1800/2400] 209. Antique Persian Rug, red ground with cream border, blue, red and cream floral designs throughout, 8 ft. 11 in. x 12 ft. 8 in. [$1000/1500] 210. Agra Runner, beige ground with red floral accents throughout, 3 ft. 1 in. x 11 ft. 9 in. [$1000/1200] 211. Turkish Sivas Carpet, cream ground with floral patterns in geometric form, red and pink borders with geometric designs, 9 ft. 4 in. x 13 ft. 4 in. [$2000/3000] 212. Heriz Carpet, central medallion design with cream and olive ground, grey and olive border, floral design, 6 ft. 6 in. x 9 ft. 9 in. [$1400/1800] 207. Bakhitiari Carpet, panel design with central tree design, filler elements, animals and flowers throughout, 7 ft. 11 in. x 11 ft. 7 in. [$1000/1500] 208. Persian Carpet, blue, red, and cream ground, central medallion, geometric design throughout, 5 ft. 10 in. x. 9 ft. 7 in. [$400/600] 206 Persian Carpet, red ground, overall foliate design, 8 ft. x 11 ft. 11 in. [$700/1000] 205 Shirvan Long Rug, red ground, cream border, repeating geometric designs, 3 ft. 10 in. x 13 ft. 1 in. [$600/900] 215. Persian Esfahan Carpet, floral herati medallion and corner design, cream ground and borders with blue and red borders, 10 ft. x 16 ft. 3 in. [$2500/3500]

216. Persian Heriz Carpet, coral and cream ground, geometric central medallion design, 6 ft. 2 in. x 6 ft. 11 in. [$1500/2000] 217. Sultanbad Carpet, cream and olive ground, floral design throughout, 10 ft. x 14 ft. 3 in. [$2500/3000] 218. Sarouk Carpet, blue ground with floral herati design, cream and red borders, 12 ft. 1 in. x 14 ft. 4 in. [$5000/7000] 219. Tabriz Carpet, coral ground with floral designs, cream and black borders, 10 ft. 1 in. x 13 ft. 11 in. [$4000/5000] 221. Queen Anne-Style Carved Walnut Triple Back Settee, 19th c., vasiform splats with scroll top rail, shaped arms, shell carved cabriole legs, ball and claw feet, h. 40 1/2 in., w. 60 in., d. 22 in. [$600/900] 222. Jacobean-Style Carved Oak Buffet, 19th c., molded top, frieze drawers centering cherub masks, honeycomb carved doors, figural stiles, plinth base, h. 38 in., w. 59 1/2 in., d. 24 5/8 in. [$600/900] Provenance: Poplar Grove, Port Allen, LA 223. Pair of Queen Anne-Style Burl Walnut Armchairs,19th c., volute crest rail, padded back and seat, scrolled arms, shell knees, cabriole legs, h. 41 in., w. 26 1/2 in., d. 22 in. [$1000/1500] 220. English Queen Anne-Style Carved Oak Welsh Dresser,18th c., molded cornice with spurred apron, plate shelves flanked by cabinets, base with three drawers, scalloped skirt, cabriole legs [$1000/1500]

224. Pair of English Patinated Bronze Pedestals, rampant lion standard, marble tops, h. 49 1/2 in., dia. 19 1/2 in. [$1000/2000] 229. Antique Neoclassical-Style Carved Mahogany Mirror, pedimented crest, beveled mirror plate. h. 50 in., w. 32 1/2 in., d. 3 3/4 in. [$700/1000] 230. Continental Carved Giltwood Sunburst Mirror, dia. 19 in. [$500/700] 227. Set of Eight English Chippendale-Style Carved Mahogany Dining Chairs, 19th c., pierced splat, foliate knees, cabriole legs, ball and claw feet, h. 40 1/4 in., w. 22 1/2 in., d. 23 in. [$800/1200] 228. William IV-Style Parcel Gilt Mahogany Games Table, 19th c., foldover top, faceted standard, X-form plinth, lotus carved scrolled feet, h. 28 1/2 in., w. 36 in., d. 18 in. [$500/700] 225. William IV-Style Carved Mahogany Tray Top Table, removable gallery tray, gadrooned molding, tapered standard, shaped plinth, suppressed bun feet, h. 31 1/2 in., w. 43 1/2 in., d. 22 in. [$800/1200] 226. Pair of William IV-Style Parcel Gilt Mahogany Side Tables, inset specimen marble tops, beaded molded edge, turned standard, incurvate triangular base, scrolled claw feet, h. 29 in., dia. 25 1/2 in. [$2000/4000]

Provenance: Acquired The

231. French Gilt and Painted Overmantel Mirror, h. 59 1/4 in., w. 44 1/2 in., d. 2 1/4 in. [$500/700] 232. Italian Rococo-Style Carved Giltwood Mirror, scroll and foliate design, h. 59 in., w. 32 in., d. 2 1/2 in. [$800/1200] 233. Georgian-Style Giltwood Mirror, scroll and foliate design, h. 55 1/2 in., w. 27 1/2 in., d. 2 in. [$400/600] 234. Fine English Regency Carved Mahogany Two Pedestal Dining Table, 19th c., reeded edge top, turned standard, fluted sabre legs, brass paw feet, casters, h. 30 in., l. 67 in., l. (with leaves) 108 in., w. 48 1/2 in. [$2500/3500] 235. Hepplewhite Mahogany Bowfront Chest of Drawers, 19th c., shaped reeded top, two short drawers over three long drawers, “French” bracket feet, h. 40 1/2 in., w. 42 1/4 in., d. 21 3/4 in. [$500/700] 236. Pair of George III-Style Satinwood Inlaid Mahogany Demilune Consoles,19th c., square tapered legs, spade feet, h. 30 1/2 in., w. 46 in., d. 22 1/2 in. [$1000/1500] Collection of Rufus Napoleon Garrett, El Dorado, AR, Onsite Auction, July, 1974, lot 341.

237. English Regency Carved Mahogany Sidelock Gentleman’s Chest,19th c., seven drawers, swing lock right side, plinth base, turned feet [$500/700] 238. Regency Carved Mahogany Etagere Console, early 19th c., four-tiered superstructure with turned supports, flared turned legs, h. 69 1/2 in., w. 48 in., d. 15 in. [$1000/1500] 241. Egyptian Revival Three-Piece Clock Garniture, black marble, dial and movement signed “James Gardner/ Greenock”, h. 10 1/4 in., w. 14 1/4 in., d. 6 1/2 in., with conforming bronze and marble tazzas, h. 9 in. [$600/900] Provenance: Poplar Grove, Port Allen, LA 239. Pair of Chippendale-Style Carved Mahogany Wingchairs, 20th c., arched back with shaped wings, scrolled arms, loose cushions, damask upholstery, hairy paw feet, h. 42 1/4 in., w. 36 in., d. 29 in. [$1500/2500] 240. Regency Mahogany Chiffonier, early 19th c., two tier superstructure, two drawers over paneled door cabinet, turned feet, h. 37 3/4 in., w. 33 1/2 in., d. 14 in. Note: Condition. [$700/1000]

Session Two LIVE AUCTION

Friday, September 8, 1 p.m.

lots 242-485

Oak Dining

, late 19th c., incl. 2 Savonarola-style armchairs, curule x-form supports, h. 37 in., w. 23 1/2 in., d. 19 1/8 in.; and 6 side chairs, h. 34 5/8 in., w. 18 in., d. 19 1/4 in. Note: repairs to 1 armchair [$700/1000]

96 1/4 in., w. 44 1/4 in., d. 21 1/4 in. [$800/1200]

245. American Classical Carved Mahogany Drop-Leaf Table,19th c., Philadelphia, acanthus-carved standard, incurvate plinth, paw feet, casters, h. 30 in., w. 57 in., d. 40 in. [$500/700] 246. Set of Six American Classical Carved Mahogany Gondola Chairs,19th c., molded crest, vasiform splat, slip seats, saber legs, h. 33 in., w. 18 in., d. 18 in. [$700/1000] 247. American Federal-Style Carved Mahogany Day Bed, 20th c., benchmade, outswept returns, turned and tapered legs, h. 28 in., l. 88 in., d. 32 in. [$800/1200] 242. Set of Eight Antique English Carved Chairs 243. American Classical Carved Mahogany Sofa, early 19th c., possibly Anthony Quervelle, Philadelphia, scrolled crest with central tablet, out-scrolled arms, paw feet with anthemion petal brackets. [$1000/1500] 244. American Late Classical Carved Mahogany Single Door Armoire,19th c., probably Prudent Mallard, New Orleans, ogee cornice, single mirrored door, molded and beaded surround, plinth drawer, bracket feet, h.

251. Ulrich W. Fisher (American/Texas, 1887-1970), “Sunset Seascape”, oil on canvas, signed lower left, 28 in. x 42 in., framed, overall 32 3/8 in. x 46 3/8 in. x 1 3/4 in. [$800/1200] 252. Irma Sompayrac Willard (American/Louisiana, 1897-1991, act. Newcomb College 1916-1920), “Natchitoches Home”, 1955, watercolor and mixed media on paper, signed and dated lower right, 12 in. x 18 in., framed, overall 18 1/8 in. x 22 in. x 1 in. [$1000/1500] 249. Maurice Grosser (American/Alabama, 1903-1986), “Plum Orchard, California”, 1945, oil on canvas, signed and dated lower right, titled on stretcher, 16 1/8 in. x 22 1/4 in., framed, overall 19 5/8 in. x 25 7/8 in. x 2 1/2 in. [$1000/1500] 250. Edward Gustav Eisenlohr (American/Texas, 1872-1961), “Five Mile Creek”, oil on canvas, signed lower right, artist label with title on backing board, 16 in. x 20 in., framed, overall 24 1/8 in. x 28 in. x 2 in. [$1500/2500] 248. American School, 20th c., “Ford Diptych”, 2 oils on canvas, one signed “Maddox” lower right, 28 in. x 40 in. to 37 ¼ in. x 40 in., one unframed, one artist framed. (2 pcs.) [$600/800] 253. Robert Malcolm Rucker (American/Louisiana, 1932-2001), “Mail Boat Comin’”, oil on canvas, signed lower right, handwritten label with artist and title on stretcher, 24 in. x 36 in., framed, overall 31 1/2 in. x 43 5/8 in. x 3 1/4 in. [$1000/1500]

256. Laura Bodebender (American/Louisiana, 1900-1991), “Story Hour”, 1936, oil on panel, signed and dated upper left, “Montgomery Museum of Fine Arts” label with artist and title en verso, 18 3/4 in. x 14 3/4 in., framed, overall 27 1/4 in. x 23 1/4 in. x 1 3/4 in. [$600/800] 257. Harvey Sherman Harris (American/Louisiana, 1915-1999), “Lion’s Head”, 1977, oil on canvas, signed lower right, faintly titled, dated and inscribed on stretcher, 30 1/4 in. x 28 1/8 in., framed, overall 30 3/4 in. x 28 3/4 in. x 1 3/4 in. [$700/1000] 258. Harvey Sherman Harris (American/ Louisiana, 1915-1999), “Clowns”, 1985, pen and ink on paper, signed and dated lower right, 12 3/8 in. x 10 1/2 in., framed, overall 15 1/8 in. x 12 1/4 in. x 1 1/4 in. [$300/500] 259. Harvey Sherman Harris (American/ Louisiana, 1915-1999), “Night Cat”, 1952, oil on canvas, signed lower right, titled, dated and inscribed on stretcher, 10 in. x 30 1/4 in., framed, overall 10 5/8 in. x 30 7/8 in. x 1 1/2 in. [$400/600] 254. Robert Malcolm Rucker (American/Louisiana, 1932-2001), “Bayou Landscape”, graphite and watercolor on paper, signed lower right, 6 in. x 8 1/2 in., framed, overall 9 7/8 in. x 12 7/8 in. x 1 1/4 in. [$300/500] 255. Amos Lee Armstrong (American/Louisiana, 1899-1969), “Cross Lake, Shreveport, Autumn”, oil on canvas board, signed lower right, titled, inscribed and artist biography attached en verso, 16 in. x 20 in., framed, overall 19 7/8 in. x 23 7/8 in. x 1 in. [$500/700]

Bayou Country)”, oil on canvas board, signed lower left, signed and titled en verso, 16 in. x 20 in., framed, overall 22 1/8 in. x 26 1/8 in. x 1 1/2 in. [$1000/1500]

262.

b. 1941),

Cabin”, 1972, oil on carved wood, incised signature and date lower left, inscribed with artist, title, date and artist biography attached en verso, 7 in. x 9 7/8 in., framed, overall 13 7/8 in. x 16 7/8 in. x 2 1/2 in. [$600/800]

x 7 5/8

overall 15 1/2 in. x 13 in. x 1 1/2 in. [$600/800]

5/8 in. x 2 1/8

1/16 in. and 11 7/8 in. x 15 1/4 in., unframed. (2 pcs.) [$400/600]

265. Chestee Harrington (American/Louisiana, b. 1941), “Bayou Cabin”, oil on carved wood, incised signature lower left, inscribed en verso, 10 in. x 8 in., unframed. [$600/800] 266. Knute Heldner (Swedish/Louisiana, 1877-1952), “Saint Augustine, FLA” and “Seascape”, 2 watercolors on paper, one signed and titled en verso, one signed lower right, 10 1/8 in. x 13 261. Colette Pope Heldner (American/Louisiana, 1902-1990), “Swamp Idyl (Louisiana Chestee Harrington (American/Louisiana, “Rural 263. Chestee Harrington (American/Louisiana, b. 1941), “Quiet Cabin”, oil on carved wood, incised signature lower left, 9 3/4 in. in., framed, 264. Chestee Harrington (American/ Louisiana, b. 1941), “Evergreen Plantation, Edgard, La., Old River Road”, 1973, oil on carved wood, incised signature and date lower left, titled en verso, 8 7/8 in. x 11 in., framed, overall 12 3/4 in. x 14 in. [$600/800] 260. William Carl Groh, III (American/Louisiana, b. 1955), “Home at Dusk”, oil on masonite, signed lower right, 12 in. x 16 in., framed, overall 15 3/4 in. x 19 3/4 in. x 1 1/4 in. [$800/1200]

39 1/8 in. x 45 1/8 in. x 2 in. [$15000/25000]

Note: Albert Ernest “Beanie” Backus was a painter born in Fort Pierce, Florida in 1906. Though largely self-taught, he took summer classes at the Parsons School of Design in New York City from 1924 to 1925. Before selling his landscapes, he made money through commercial sign painting. His lifelong passions for plants and wildlife allowed him to render Florida seascapes with impeccable detail. Though Backus was not one of the famed

Florida Highwaymen, they were influenced by his work. His skill in depicting the Florida landscape is on display in the lot offered here entitled “Windy Days.” The bend of the tree trunks and fluttering fronds come alive under the Florida sun as the viewer can almost smell the sea air and feel the warm breeze. Ref.: “A. E. Backus.” The Highwaymen. www.floridahighwaymenpaintings.com. Accessed July 26, 2023; “A. E. ‘Bean’ Backus.” Florida Arts & Culture. https://dos.myflorida.com. Accessed July 26, 2023.

Provenance:

268. James McConnell “Mac” Anderson (American/Mississippi, 1907-1998), “Blue Heron”, 1992, oil on masonite, signed and dated lower right, 16 in. x 23 1/4 in., framed, overall 17 7/8 in. x 25 5/8 in. x 1/2 in. [$1000/1500] Jean Bragg Gallery, New Orleans, LA. 267. Albert Ernest “Beanie” Backus (American/Florida, 1906-1990), “Windy Day”, oil on canvas, signed lower right, signed, titled and inscribed en verso, 30 in. x 36 in., framed, overall

[$3000/5000]

Provenance: Neal Auction Company, May 20, 2018, lot 918.

on paper, signed and dated lower right, portion of previous backing inscribed with artist en verso, 22 1/2 in. x 28 1/2 in., framed, overall 25 3/4 in. x 31 3/4 in. x 1 1/8 in.; accompanied by 2 handwritten letters from the artist to friend and artist Ola McNeil Davidson. (3 pcs.) [$3000/5000]

Provenance: Ola McNeil Davidson (1884-1976); Private Collection, TX.

and Purple Plums, The Garden”, c. 1960, mixed media on paper, pencil-signed lower right, titled en verso, “Alan Barnes Fine Paintings, Santa Fe, NM” label en verso, “Dutch Art Gallery” label and label with artist, title, date and artist information on backing paper, 11 in. x 14 5/8 in., framed, overall 19 1/4 in. x 22 in. x 3/4 in. [$500/800]

269. James McConnell “Mac” Anderson (American/Mississippi, 1907-1998), “Market”, 1991, oil on masonite, signed and dated lower right, 24 in. x 48 in., framed, overall 26 7/8 in. x 51 in. x 1 in. 270. Will Henry Stevens (American/Louisiana, 1881-1949), “Untitled: Abstract Landscape”, 1936, pastel 271. Hazel Guggenheim McKinley (American/Louisiana, 1903-1995), “Plush Peaches

Exh.: “Felix Kelly: A Romantic Realist”, The R.W. Norton Art Gallery, Shreveport, LA, Apr. 16 - May 14, 1972.

Note: Born in New Zealand in 1914, Felix Runcie Kelly moved to London in 1935 and never returned to the place of his birth. In England, Kelly became a graphic artist at an advertising agency until the outbreak of World War II, when he enlisted in the Royal Air Force. Following the war, his artistic focus shifted to book and magazine illustration and painting. Kelly was heavily influenced by the Surrealists early in his painting career, and this impact can be seen in many of his works of the 1940s. Kelly regularly received commissions to paint portraits of grand houses and estates, and he often included small surrealist aspects to add an otherworldly appearance to the subjects. However, Kelly recognized that his commissions were more popular when depicting a home in a romantic and nostalgic manner rather than a surreal one, and he shifted his painting style to accommodate the preference of his patrons, wealthy homeowners from the United States and Great Britian. An exhibit at The R. W. Norton Art Gallery in Shreveport, Louisiana in 1972 included the considerable canvas offered here and was entitled “Felix Kelly: A Romantic Realist,” further alluding to the romantic yet realistic style for which Kelly became most known. “3604 Spring Hill Avenue” of Mobile, Alabama is a masterwork of the artist’s southern scenes with a classic mossdraped oak, inviting lawn chairs and abundant foliage.

Provenance:

273. Noel Rockmore (American/Louisiana, 1928-1995), “Native Girl”, 1956, oil on canvas, signed “N.Davis” and dated lower right, titled on stretcher, “Harry Salpeter Gallery, Inc., New York” label with artist “Noel Davis” and title en verso, 14 in. x 11 in., framed, overall 18 in. x 15 in . x 1/2 in. [$600/800] Estate of Angela Gross Folk, Bernardsville, NJ. 274. Noel Rockmore (American/Louisiana, 1928-1995), “Street Scene”, 1966, oil on masonite, signed and dated lower right, artist information label attached en verso, 20 in. x 39 3/4 in., unframed. [$800/1200] Collection of Sandra Zahn-Oreck (1940-2021). 272. Felix Runcie Kelly (British, 1914-1994), “3604 Spring Hill Avenue”, 1967, oil on masonite, signed and dated lower right, signed and inscribed en verso, “Kennedy Galleries, New York, NY” and “The R.W. Norton Art Gallery, Shreveport, LA” labels en verso, 36 in. x 54 in., framed, overall 43 1/4 in. x 64 1/4 in. x 2 3/4 in. [$10000/15000]

x 31 7/8 in. x 1 3/4 in.

Provenance: Acquired from a New Jersey Estate, 1995.

1 4 1/4 in. x 29 3/8 in. x 1 1/8 in.

Note:

Note: This

has been

Note: This lot has been authenticated by renowned

281. Clementine Hunter (American/Louisiana, 1886-1988), “Watermelon”, oil on canvas board, monogrammed lower right, 10 in. x 14 in., framed, overall 13 1/2 in. x 17 1/2 in. x 1 1/2 in. [$2500/3500] Clementine Hunter expert Tom Whitehead. 279. Clementine Hunter (American/Louisiana, 1886-1988), “Zinnias”, oil on canvas board, monogrammed lower right, 20 in. x 10 in., framed, overall 20 3/4 in. x 10 3/4 in. x 3/4 in. [$4000/6000] lot authenticated renowned Clementine Hunter expert Tom Whitehead. 280. Clementine Hunter (American/Louisiana, 1886-1988), “Zinnias”, oil on glass bottle, monogrammed, h. 11 in., w. 6 in., d. 4 1/4 in. [$800/1200] This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead. 275. Jacques-Enguerrand Gourgue (Haitian, 19301996), “Tobacco Picker”, oil on masonite, signed lower right, 20 in. x 24 in., framed, overall 27 1/2 in. [$1200/1800] 276. Joe Wrenn (American/Mississippi, 20th c.), “Church”, mixed media with gravel on panel, initialed “R-L-W” mid-left, partial sketch en verso, 14 1/8 in. x 28 in., framed, overall [$600/800] 277. Helen Pickle (American/Mississippi, 1914-2022), “Still Life of Flowers”, acrylic on glass, signed lower right, 10 in. x 10 in., framed, overall 11 1/2 in. x 11 1/2 in. x 3/4 in.; and “Christmas Eve”, acrylic on masonite, signed lower right, 7 1/8 in. x 7 3/4 in., framed, overall 9 3/4 x 10 in. x 3/4 in. [$600/800] 278. Jimmy Lee Sudduth (American/Alabama, 1910-2007), “Cow”, mud and paint on panel, signed lower right, 24 in. x 48 1/4 in., unframed. [$1000/1500]

Note:

Note: This lot has been authenticated by renowned

Note:

has

Note: This lot has been authenticated by

Note: This lot has been authenticated by renowned

285. Clementine Hunter (American/Louisiana, 1886-1988), “Pecan Picking”, oil on canvas board, monogrammed mid-right, 14 in. x 18 in., framed, overall 15 7/8 in. x 19 7/8 in. x 1 1/4 in. [$5000/8000] Clementine Hunter expert Tom Whitehead. 286. Clementine Hunter (American/Louisiana, 1886-1988), “Flower Garden”, oil on board, monogrammed lower right, 16 in. x 23 3/4 in., framed, overall 17 3/4 in. x 25 3/4 in. x 1 1/2 in. [$4000/6000] renowned Clementine Hunter expert Tom Whitehead. 284. Clementine Hunter (American/Louisiana, 1886-1988), “Picking and Hauling Cotton”, oil on sheetrock, monogrammed lower right, 16 in. x 24 in., framed, overall 17 5/8 in. x 25 7/8 in. x 1 1/4 in. [$4000/6000] Clementine Hunter expert Tom Whitehead. 282. Clementine Hunter (American/Louisiana, 1886-1988), “Wash Day”, oil on canvas board, monogrammed lower right, 16 in. x 20 in., framed, overall 22 3/4 in. x 26 3/4 in. x 2 in. [$4000/6000] This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead. 283. Clementine Hunter (American/Louisiana, 1886-1988), “Three Wise Men”, oil on canvas board, monogrammed lower right, “Lowe Picture Framing Co., New Orleans, LA” stamp on backing paper, 10 in. x 20 in., framed, overall 11 3/4 in. x 21 1/2 in. x 1 in. [$3000/5000] This lot been authenticated by renowned Clementine Hunter expert Tom Whitehead.

Provenance:

287. Important American Rococo Carved and Laminated Rosewood Sofa, c. 1850-1860, New York, attr. to the “bird-pattern maker”, reticulated grapevine crest rail, triple-arched tufted back, molded arms, serpentine floral seat rail, cabriole legs, casters, h. 44 in., w. 83 1/2 in., d. 35 in. [$8000/12000] The Schoenberger Collection, 1812 Palmer Avenue, New Orleans. 288. Fine American Late Classical Rosewood Tester Bed, mid-19th c., molded tester with chamfered corners, cluster column posts, triple arched paneled headboard, paneled rails, conforming feet, casters, h. 121 1/2 in., l. 76 1/2 in., w. 65 in. [$5000/7000] The Schoenberger Collection, 1812 Palmer Avenue, New Orleans. 289. American Renaissance Carved Oak Parlor Suite, late 19th c., attr. to R.J. Horner, New York, settee, armchair, rocker, foliate and dragon crest rail, scrolling winged lion arms, paw feet, chair h. 39 in., w. 23 in., d. 41 in.; sofa h. 39 1/2 in., w. 57 in., d. 35 in. [$2500/3500]

Provenance:

290.

c., possibly “Stanton Hall

Henry Siever,

Texas including two arm and six side chairs, crocketed crest, rope-twist carved stiles, pierced carved legs, armchair h. 60 in., w. 29 1/2 in., d. 21 in., side chair h. 56 in., w. 21 in., d. 18 1/2 in. [$8000/12000]

56 1/2 in., d. 20 in. [$800/1200]

Provenance: Poplar Grove, Port Allen, LA

293. Lieutenant John Ross, “Course of the Mississippi, from the Balise to Fort Chartres; Taken on an Expedition to the Illinois, in the latter end of the Year 1765...”, London, printed by Robert Sayer, 1775, copper-plate engraved map with hand-coloring in outline, sight 45 1/2 in. x 17 in., framed. [$700/1000] 292. American Renaissance Ebonized and Gilt-Incised Pedestal, late 19th c., poss. Kilian Bros., Philadelphia., h. 32 in., w. 15 in., d. 15 in. [$500/700] Poplar Grove, Port Allen, LA 291. Renaissance Revival Rosewood, Parcel Ebonized, Marquetry and Bronze and Porcelain-Mounted Parlor Cabinet, c. 1865-1870, New York, in the style of Pottier and Stymus, carved and gilt-incised crest centered with bronze plaque, shaped case with central door mounted with porcelain plaques, grisaille on bleu celeste ground, flanked by bronze busts on tapered colonnettes, conforming plinth base, cabinet interior faced in satinwood, h. 56 in., w. Eight American Gothic Revival Carved White Oak Dining Chairs mid-19th Maker” John San Antonio, 294. [Mitchell Atlas], Mitchell’s New General Atlas, containing maps of the various countries of the world, plans of cities..., Philadelphia, S. Augustus Mitchell, Jr., 1867, folio (15 1/2 in. x 12 3/4 in.), 58 hand-colored lithographed maps, publisher’s brown half leather with gilt-lettered cloth boards [$400/600]

Signed and with Autograph Note,

Definitive Edition,

68 of 1,024 sets signed “SL Clemens/Mark Twain”, signed by Twain’s biographer and friend Albert Bigelow Paine, also bound with an autograph note to publisher “GW” (Gabriel Wells), dated Aug. 2/98, requesting some envelopes and commenting on some pictures in “the Stevenson Scotch Sunday poem”, signed “Yours Sincerely, SLC”, 34 vols. (of 37), octavo, red half morocco, gilt titles and tooling in

299. Coleridge, Samuel Taylor, The Rime of the Ancient Mariner, Edinburgh, Alexander Hill and London, Ackermann & Co. 1837, first illustrated edition, folio (20 3/8 in. x 13 1/4 in.), 3/4 leather with gilt title piece, with 25 etchings by David Scott (Scottish, 1806- 1849) [$500/700] 300. [Queen Elizabeth], Creighton, Rev. Mandell, Queen Elizabeth, London, Paris & Edinburgh, Brossard, Valadon & Co., 1896, folio (12 1/2 in. x 9 3/4 in.), 3/4 leather, gilt lettering, top edge gilt, hand-colored frontispiece, 23 plates after paintings and miniatures. [$300/500] 297. Smith, Adam, An Inquiry into the Nature and Causes of the Wealth of Nations, London, J. Maynard and F. Zinke, 1811, 3 vols., 8vo, full calf, gilt lettering [$300/500] 298. [Chinese Export Porcelain Reference Books], Howard, David and John Ayers, China for the West, Chinese Porcelain and other Decorative Arts for Export illustrated from the Mottahedeh Collection, Sotheby Parke Bernet, London and New York, 1978, forward by Nelson Rockefeller, 2 vols., hardback, with dust jackets and slipcase, 103 color and 700 b/w illustrations. [$200/300] 301. Huey Long Political Posters, two lithographs, “Carrying on the Work of Huey P. Long and OK Allen”, sight 26 1/4 in. x 20 1/4 in., framed; and “The Long Ticket”, sight 28 1/4 in. x 22 1/4 in. (2 pcs.) [$1000/1500] 302. Huey P. Long Gubernatorial Pinback Button, lithograph, made for the 1924 or 1928 governor’s race, dia. 3/4 inch [$700/1000] 295. Mark Twain Writings Twain, Mark, The Writings of Mark Twain, New York, Gabriel Wells, 1922-23, The number compartments, top edge gilt, others untrimmed. [$3000/5000] 296. Fine Set of the Aldine Poets, London, William Pickering, 1830-1853, printed by Charles Whittingham, 53 volumes, 8vo, full calf, gilt lettering, tooling, and anchor and dolphin device, top edge gilt [$500/700] 303. Woodrow Wilson Political Poster, “Americans! The Supreme Test of the Nation has Come!”, 1918, poster, printed by Allied Printing, Colombus, Ohio, sight 41 7/8 in. x 27 5/8 in., framed, overall 45 in. x 30 3/4 in. x 1 in. [$400/600]

309. Newcomb College Art Pottery Bowl, 1915, designed by Anne Frances Simpson, buff clay body with semi-matte glaze, date code HK 42, h. 2 7/8 in., dia. 8 1/4 in. [$800/1200] 310. Newcomb College Art Pottery Bowl, 1915, designed by Sadie Irvine, buff clay body with semimatte glaze, potter’s mark for Joseph Meyer, date code HG 68, h. 3 in., dia. 9 in., Note: restoration [$300/500] 307. Newcomb College Art Pottery Vase, 1925, jasmine design by Anna Frances Simpson, potter’s mark of Joseph Meyer, date code OZ 95, h. 8 1/2 in., dia. 4 1/2 in. [$400/600] 308. Newcomb College Art Pottery Vase, 1928, designed by Henrietta Davidson Bailey, floral design, mark for potter Joseph Meyer and date code QX 10, h. 5 1/4 in., dia. 4 1/4 in., Note restorations [$300/500] 304. Shearwater Art Pottery Plate, c. 1950, “Duck and Wave “ design, decorated by Walter Inglis Anderson, jiggered by Peter Anderson, dia. 8 3/4 in. [$2000/3000] 305. Newcomb College Art Pottery Vase, 1912, designed by Mazie Teresa Ryan, potter’s mark for Joseph Meyer, date code FA 36, h. 10 in., dia. 4 3/8 in., Note: restoration [$300/500] 306. Newcomb College Art Pottery Vase, 1933, abstract design by Sadie Irvine, potter’s mark of Kenneth Smith, date code UM 71, h. 11 5/8 in., dia. 4 3/4 in., Note: restoration [$600/900]

311. John James Audubon (American, 1785-1851), “Red-Headed Duck”, plate 396, hand-colored aquatint with engraving, from Birds of America, Havell edition, “J. Whatman 1856” watermark visible, sheet 25 3/4 in. x 38 1/4 in., framed, overall 40 1/2 in. x 44 1/4 in. x 1 1/2 in. [$2000/3000] 312. John James Audubon (American, 17851851), “Wild Turkey”, Plate I, 1971, lithograph, from Birds of America, Amsterdam edition, “G. Schut & Zonin” watermark visible, sheet 39 7/8 in. x 26 1/2 in., framed, overall 47 3/4 in. x 36 in. x 1 1/4 in. [$600/800] 313. Robin Laws (American/Wyoming, b. 1946), “The Swat Team”, 2003, bronze with gray patina, signed, dated, and numbered “14/30” on reverse, h. 17 in., w. 18 in., d. 10 in., stone base, overall h. 19 1/4 in. [$600/800] 314. Walter Horton (American/ Colorado, 1953-2010), “End of the Salmon Run”, cold-painted bronze, signed and numbered “26/100” on self-base, h. 8 in., w. 10 in., d. 9, artist and title plaque on rotating wood base, overall h. 9 3/4 in. [$800/1200] 315. McKenney, Thomas and Hall, James, History of the Indian Tribes of North America, with Biographical Sketches and Anecdotes..., Philadelphia, Rice & Hart, 1858, 3 vols., octavo, publisher’s blind-stamped moroccco, all edges gilt, with 120 hand-colored lithographic plates after Karl Bodmer, Charles Bird King, James Otto Lewis, P. Rindisbacher, and R.M. Sully, printed and colored by J.T. Bowen. [$2000/3000] 316. Linda Rankin (American/ Tennessee, 20th c.), “Gaited Head”, 1980, bronze, signature inscribed, dated and numbered “6/10” on reverse, h. 14 3/4 in., w. 5 in., d. 12 1/2 in., marble base, overall h. 17 1/4 in. [$600/800]

317. Julius Hoening (German/Louisiana, 1835-1904), “Portrait of a Gentleman”, 1874 and “Portrait of a Lady”, 1875, 2 oils on canvas, each signed and dated lower left, one with “W.E. Seebold, New Orleans” stamp en verso, each 27 in. x 22 in., framed alike, each overall 37 1/2 in. x 32 1/2 in. x 5 1/2 in. (2 pcs.) [$1200/1800] 318. Robert Wadsworth Grafton (American, 1876-1936, active Louisiana, 1916-1920), “Young Woman before a Mirror in a Blue Silk Robe”, 1916, oil on canvas laid on panel, signed and dated lower left, partial sketch en verso, 30 in. x 25 1/2 in., framed, overall 36 1/4 in. x 31 5/8 in. x 2 1/4 in. [$2000/4000] 319. Marie Madeleine Seebold Molinary (American/Louisiana, 1866-1948), “French Market”, oil on board, signed and inscribed “N.O.” lower left, 5 3/4 in. x 10 in., framed, overall 6 5/8 in. x 10 3/4 in. x 1 in. [$2000/3000] 320. Nicola Marschall (Prussian/ Alabama, 1829-1917), “Portrait of James Patrick (1808-1886)”, pastel on board, unsigned, inscribed and sitter biographical information attached on backing paper, 24 1/4 in. x 20 in. (oval), framed, overall 29 1/2 in. x 25 1/2 in. x 1 1/2 in. [$700/1000]

Morning Fishing”, oil on canvas, signed lower right, 12 1/4 in. x 20 1/2 in., framed with artist plaque, overall 19 3/4 in. x 27 7/8 in. x 2

Note: Charles Giroux’s compositional style and color palette are considered unique among his contemporaries in Louisiana landscape painting. His works are distinguished by their romantic hues, smooth brushwork, luminous skies and powerful recession of composition. The special qualities of his canvases were recognized in an October 23, 1885 Daily Picayune article: “The work is remarkably well finished. The same careful study and painstaking care that characterizes all Mr. Giroux’s works is apparent in every line and shadow.” The same article noted the artist’s fascination with creating landscapes with an extensive use of vanishing perspective. In the lot offered here, the contrasting areas of light and dark present a transcendental calm and serenity that bespeaks the genteel Southern life of the inhabitants of Giroux’s paintings. Recent conservation of the tranquil scene led to the exciting discovery of a previously overpainted figure fishing along the shoreline near the shade of the oak trees, adding further narrative to this charming panorama.

Note: Active in the 1870s and 1880s, Harold Rudolph was praised for his landscapes and portraits by New Orleans newspapers shortly after his arrival in 1873. Following the death of his brother-in-law and partner in portrait painting in 1877, Rudolph focused primarily on scenes of the Louisiana countryside, although relatively few of his landscapes exist today. The work offered here is a particularly rare scene from Rudolph depicting a working farmyard under the shadow of a classic moss-draped oak. As the workers take a brief respite, the implements of daily farm life surround them in carefully composed detail. The pastoral beauty of Louisiana’s landscape is relegated to the background, while the genre scene is moved to the foreground.

321. Charles Giroux (French/Louisiana, 1928-1885), “Early 1/2 in. [$12000/18000] 322. Harold Rudolph (American/Louisiana, 18501884), “Barnyard”, oil on canvas, signed lower left, 10 1/8 in. x 16 1/8 in., framed, overall 14 in. x 20 in. x 2 in. [$6000/8000]

325. Alexander John Drysdale (American/Louisiana, 1870-1934), “Moonlit Bayou with Lily Pads”, 1909, oil on academy board, signed and dated lower right, dated and inscribed en verso, 10 1/2 in. x 17 3/8 in., framed, overall 16 in. x 22 3/4 in. x 3/4 in. [$4000/6000] 326. Alexander John Drysdale (American/Louisiana, 1870-1934), “Willow Trees in the Marshes - Morning”, 1914, oil wash on academy board, signed and dated lower left, pencil-signed and titled en verso, 12 in. x 18 in., framed, overall 18 1/4 in. x 24 1/2 in. x 2 in. [$2000/3000] Provenance: Didier Inc., New Orleans; D. Benjamin Kleinpeter, Sr. Collection, Baton Rouge; Neal Auction Company, June 26, 2015, lot 436. 327. Alexander John Drysdale (American/Louisiana, 1870-1934), “Bayou Scene with Live Oak”, oil wash on board, signed lower left, 9 3/4 in. x 20 in., framed, overall 15 3/8 in. x 25 1/4 in. x 1 1/4 in. [$1200/1800] 323. Alexander John Drysdale (American/Louisiana, 1870-1934), “Bayou Landscape with Live Oak and Waterlilies”, oil wash on board, signed lower right, 24 in. x 34 in., framed, overall 29 in. x 39 in. x 1 1/4 in. [$2500/3500] 324. Alexander John Drysdale (American/Louisiana, 1870-1934), “Morning Sunlight in the Lafourche Country”, 1916, oil wash on board, signed and dated lower left, signed, titled and inscribed en verso, 6 3/4 in. x 20 1/8 in., framed, overall 10 1/4 in. x 23 3/4 in. x 1 in. [$1500/2500]

328. 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, overall 23 3/4 in. x 28 7/8 in. x 2 in. [$5000/7000] 329. Alexander John Drysdale (American/Louisiana, 1870-1934), “Bayou Scene with Oak Tree and Waterlilies”, 1931, oil wash on board, signed and dated lower right, sight 9 1/8 in. x 19 1/8 in., framed, overall 17 in. x 27 in. x 1 1/4 in. [$1500/2500] 330. Alexander John Drysdale (American/Louisiana, 1870-1934), “MossDraped Oak with Pirogue”, 1914, oil wash on academy board, signed and dated lower right, 15 1/2 in. x 19 1/4 in., framed, overall 18 in. x 22 in. x 1 in. [$2000/3000] Provenance: Neal Auction Company, Nov. 21, 2014, lot 654. 331. Alexander John Drysdale (American/Louisiana, 1870-1934), “Blue Sunset on the Bayou”, 1914, oil wash on board, signed and dated lower left, 6 in. x 17 3/8 in., framed, overall 10 1/4 in. x 21 in. x 5/8 in. [$1200/1800] 332. Emily Hamilton Huger (American/ Louisiana, 1881-1946, active Newcomb College, 1897-1902), “Landscape with Live Oak”, 1946, oil on canvas, dated and inscribed “Painted by / Emily Hamilton Huger / by / Marianne H. Huger” en verso, 14 in. x 18 in., framed, overall 19 1/2 in. x 23 1/2 in. x 1 1/4 in. [$1000/1500]

[$2000/3000]

Provenance: Descended in the family of the artist.

Provenance:

337. Marie Atkinson Hull (American/Mississippi, 1890-1980), “Beach Bathers”, watercolor on paper, unsigned, 9 in. x 12 in., matted, overall 12 in. x 16 in. [$800/1200 Provenance: Descended in the family of the artist. 338. Marie Atkinson Hull (American/Mississippi, 1890-1980), “Fairies and Children”, 6 inks on paper, each signed, each 5 3/4 in. x 8 1/8 in., unframed. (6 pcs.) [$1500/2500] Descended in the family of the artist. 339. Marie Christine Westfeldt Reid (American, 19th c.), “Brulatour Courtyard, New Orleans”, oil on canvas board, signed lower left, 10 in. x 8 in., framed, overall 11 1/2 in. x 9 1/2 in. x 1 in. [$1000/1500] 340. Mildred Nungester Wolfe (American/Mississippi, 1912-2009), “Tree with Squirrel”, watercolor on paper, pencil-signed lower left, 24 in. x 18 in., framed, overall 28 3/4 in. x 22 3/4 in. x 3 in. [$700/1000] 335. Marie Atkinson Hull (American/Mississippi, 1890-1980), “Late Sun”, oil on canvas board, signed lower right, signed, titled and inscribed en verso, 6 in. x 8 in., framed, overall 11 in. x 12 7/8 in. x 2 in. [$1000/1500] 336. Marie Atkinson Hull (American/Mississippi, 18901980), “Study of Magnolia in Vase”, double-sided graphite on paper, unsigned, 20 3/4 in. x 16 3/4 in., matted, overall 24 in. x 18 in. [$500/800] Descended in the family of the artist. 341. Morris Henry Hobbs (American/Louisiana, 1892-1967), “Blue Tugboat on the Mississippi, New Orleans” and “Boats and Dock on the Mississippi, New Orleans”, 1938, 2 watercolors on paper mounted to board, both signed, dated and inscribed “New Orleans” lower right, “Pickwick Galleries, Winnetka, IL” labels on backing paper, 8 7/8 in. x 11 7/8 in. and 9 7/8 in. x 13 7/8 in., framed alike, overall 16 in. x 19 in. x 1 in. and 17 in. x 21 in. x 3/4 in. (2 pcs.) [$1000/1500] 333. Marie Atkinson Hull (American/ Mississippi, 1890-1980), “Courtyard with Palm”, 1925, oil on board, signed lower left, signed, illegibly titled, dated and inscribed en verso, 12 in. x 16 in., framed, overall 17 1/2 in. x 21 1/2 in. x 1 3/4 in. 334. Marie Atkinson Hull (American/Mississippi, 1890-1980), “Cabin”, watercolor on paper laid on board, faintly signed lower left, 13 7/8 in. x 14 1/4 in., framed, overall 18 in. x 20 1/4 in. x 1 1/2 in. [$1000/1500]

343. Weeks Hall (American/ Louisiana, 1895-1958), “Seated Nude”, oil on canvas, unsigned, inscribed en verso, 24 in. x 20 in., framed, overall 26 in. x 22 1/4 in. x 1 1/4 in. [$6000/8000] 344. Clarence Millet (American/Louisiana, 1897-1959), “The Basin”, 1936, oil on canvas, signed lower right, signed, titled and dated en verso, 25 in. x 30 in., Newcomb-Macklin frame, overall 30 1/2 in. x 35 1/2 in. x 2 in. [$15000/25000] 342. Ellsworth Woodward (American/Louisiana, 1861-1939), “Rural Landscape”, watercolor on board, initialed lower left, inscribed en verso, 7 5/8 in. x 10 3/4 in., framed, overall 14 1/2 in. x 17 5/8 in. x 1 in. [$1000/1500]

345. Clarence Millet (American/Louisiana, 1897-1959), “Mississippi Mist”, oil on canvas, signed lower right, signed, titled and label with title on stretcher, 25 in. x 30 in., framed, overall 31 in. x 35 7/8 in. x 1 3/4 in. [$7000/10000] 346. Louis Edward Jones (American/Tennessee, 1878-1958), “Among the Hills, Gatlinburg, Tenn.”, 1938, oil on board, signed and dated lower left, signed, titled and dated en verso, 11 3/4 in. x 15 7/8 in., framed, overall 15 1/4 in. x 19 1/4 in. x 1 in. [$1200/1500] 347. Louis Edward Jones (American/Tennessee, 1878-1958), “In the Smokies”, 1938, oil on board, signed and dated lower left, signed, titled, dated and inscribed en verso, 11 3/4 in. x 15 3/4 in., framed, overall 15 1/4 in. x 19 1/4 in. x 1 3/8 in. [$1000/2000] 348. John Augustus Walker (American/Alabama, 1901-1967), “Sailboat”, 1942, oil on canvas, signed and dated lower left, 20 in. x 28 in., framed, overall 26 1/2 in. x 34 3/4 in. x 1 1/2 in. [$800/1200]

350. Regency-Style Satinwood Inlaid Mahogany Dining Table, 20th c., two leaves, double pedestal, satinwood banded, turned standard, acanthus sabre legs, casters, h. 29 1/4 in., w. (with leaves) 118 in., w. (without leaves) 80 1/2 in., d. 48 in. [$1200/1800] 351. Ten Queen Anne-Style Carved Mahogany Dining Chairs, benchmade signed Art Welling, Greenville, South Carolina, incl. eight armchairs, six side chairs, vasiform splat, cabriole legs, pad feet, armchair h. 40 1/2 in., w. 23 1/2 in., d. 23 in., side h. 40 1/2 in., w. 23 1/2 in., d. 23 in. [$800/1200] 352. Regency-Style Tooled Leather Oval Partners Desk, labeled Maitland-Smith, tooled leather on entire surface, nine drawers each side, plinth base, h. 29 1/2 in., w. 70 1/2 in., d. 45 in. [$1000/1500] 353. Regency-Style Tooled Leather Serpentine Credenza, labeled MaitlandSmith, four graduated drawers flanked by book spines, plinth base, h. 32 in., w. 60 in., d. 16 1/2 in. [$700/1000] 354. American Sheraton-Style Mahogany Extension Dining Table, 19th c., two leaves, turned and tapered legs, casters, h. 28 3/4 in., w. 44 in., d. 48 in. [$800/1200] 349. Set of Ten American Chippendale-Style Carved Mahogany Dining Chairs, 20th c., New Orleans, benchmade, incl. two arms and 8 sides, acanthus crest rail, pierced splat, shell centered seat rail, cabriole legs, ball and claw feet, armchair h. 38 1/2 in., w. 24 in., d. 20 in.; side chair h. 38 1/2 in., w. 21 in., d. 20 in. [$2000/3000]

355. Bob Ross (American/Florida, 1942-1995), “The Northern Lights”, c. 1970, mixed media on velvet laid on mining pan, signed lower right, gold seal from Bob Ross Inc. on reverse, dia. 10 1/4 in., overall dia. 16 3/4 in., d. 2 3/4 in; accompanied by a copy of a certificate of authenticity from Bob Ross Incorporated. (2 pcs.)

[$6000/8000]

Note: “We don’t make mistakes, we just have happy accidents.” – Bob Ross Beloved television host, Robert “Bob” Norman Ross was born in Daytona, Florida in 1942. He joined the Air Force in 1960 and was first stationed in Florida before being transferred to an airbase in Alaska. In Anchorage, Ross took his first painting class, and he supplemented his income by bartending as well as selling his paintings done on gold prospecting pans, such as the work offered here.

Ross’ foray into the arts developed into a lifelong passion which led to the celebrated cult favorite program, “The Joy of Painting.” With the nurturing guidance of its softspoken, iconic host, countless fans of the show felt inspired to pick up a paintbrush for the first time to try their hand at Ross’ wet-on-wet technique, dubbed “alla prima.” Ross’ encouraging and calm air proved addictive, and the show continues to be beloved years after his passing in 1995.

Note: Neal Auction would like to thank Annette Kowalski, Founder, Bob Ross Incorporated for her invaluable assistance in the cataloguing of this lot.

357. Cora Kelley Ward (American/Louisiana, 1920-1989), “Accord”, 1980, acrylic on canvas, signed, titled and dated en verso, 32 in. x 48 in., unframed. [$2000/3000] 358. Cora Kelley Ward (American/ Louisiana, 1920-1989), “Untitled: Blue Abstract”, acrylic on canvas, unsigned, 32 in. x 57 in., unframed. [$1800/2500] 356. Richard Johnson (American/Louisiana, b. 1942), “Coastal Visit”, 1984, acrylic and mixed media on board, initialed and dated lower right, titled center, “Galerie Simmone Stern, New Orleans” label with artist, title and date on backing board, sight 30 in. x 36 in., framed, overall 31 in. x 37 1/8 in. x 1 1/2 in. [$700/1000]

359. Phil Sandusky (American/ Louisiana, b. 1957), “House at Robert and Perrier”, 2011, oil on canvas, signed and dated lower left, “Cole Pratt Gallery, New Orleans” label with artist, title and inventory number on stretcher, 15 in. x 30 in., framed, overall 16 3/4 in. x 31 3/4 in. x 1 7/8 in. [$700/1000]

Note: Phil Sandusky is a plein air artist who has lived and worked in New Orleans since 1984. Sandusky was born in Lakeland, Florida and attended Jacksonville University to study physics. His post-grad work as an engineer brought him to the Gulf of Mexico, where he worked as an engineer and artist until 1992 when he made the choice to commit to artmaking full time. The city inspired him: “I fell in love with its eclectic old architecture in all stages of repair, its lush tropical foliage, its dense atmosphere, and not least of all its

rich culture.” Sandusky’s background in science greatly informs his artistic practice. He studies visual processes that contribute to his impressionistic style saying: “It’s the pinnacle of the art form that best reconciles how we see with art. It’s the ultimate of human visual perception…I like to seize that moment in my mind and paint it.” His goal in painting is not to perfectly render scenes to mimic a photograph. Instead, he aims to synthesize how our human lived experiences affect how we view the world. This technique is beautifully displayed in the canvas offered here.

The tranquil uptown street corner features a pink Victorian style house with dark green shutters. Cars line the streets on either side, framing the view to the home. In the center is the composition’s only figure, a person stopped while walking a dog. The rich pink of the house cuts into the deep blue sky, feathered with trees and telephone poles, adding a familiar homeyness to the work.

Ref.: “About the Artist.” Phil Sandusky. www.philsandusky.com. Accessed July 24, 2023.

Note: Dr. Bob is a beloved self-taught folk artist in New Orleans. Originally from Kansas, Dr. Bob has spent most of his life in Louisiana, where his family moved in the mid-1960s for his father’s job at the Michoud NASA Assembly Facility. Always interested in the arts, Dr. Bob got his start in building picture frames and eventually set up his own studio in the Bywater neighborhood in 1990 where he is still located today. First, he carved sculptures out of wood, but then, he says, “I ran out of wood, so I just started messing around with paint.” His environmental and cultural surroundings greatly informed the direction of his work, with alligators being a prominent motif. His emblematic catchphrase “Be Nice or Leave” is a recurring theme and the message permeates his oeuvre, full of whimsy and a bright child-like joy. The significant work offered here exemplifies this whimsicality with its smattering of polka dots and grinning gator. The gargantuan mixed media panel perfectly illustrates Dr. Bob’s unique artistic voice from the iconic subject matter to the artist’s enhanced frame studded in old Barq’s bottlecaps, another signature of the artist.

Ref.: “About Bob.” Dr. Bob Art. drbobart.net. Accessed July 24, 2023.

362. Robert “Dr. Bob” Shaffer (American/Louisiana, b. 1952), “I’m a Snapper”, mixed media sculpture, unsigned, h. 14 1/2 in., w. 28 1/2 in., d. 54 in. [$3000/5000] 360. Peterson Moon “Peter” Yokum (American/Louisiana, b. 1949), “King Oliver’s Creole Jazz Band”, 2013, oil on canvas, signed lower right, signed, dated and inscribed en verso, 60 in. x 84 1/2 in., unframed. [$3000/5000] 361. Robert “Dr. Bob” Shaffer (American/ Louisiana, b. 1952), “Monumental Alligator”, mixed media on panel, signed lower right, 46 3/8 in. x 95 1/4 in., artist frame, overall 48 in. x 95 3/4 in. x 2 1/4 in. [$10000/15000]

Provenance: Acquired from the artist; Roland Begneaud Family Collection, Lafayette, LA.

Note: In 2001, George Rodrigue painted intensely following the completion of his important collaborations with Xerox, Neiman Marcus, Absolut and New Orleans Jazz Fest. Creating only for himself, Rodrigue embraced abstraction with hard edges, patterns, flat planes of color and shapes. He approached each new canvas as a puzzle to solve, with every element of the composition serving as a different piece to fit together around the most important shape of all—the one of his own invention— the Blue Dog. With this series of paintings, Rodrigue made abundantly clear what he had always known—that he was “an abstract artist, that is, who happens to paint something we recognize.”

In “Big Stop Sign” from 2002 offered here, Rodrigue stops the viewer in their tracks with saturated, primary colors, and shapes defined by those colors, that highlight the Blue Dog and connect it to the canvas. The static image is enlivened by the highly contrasting hues, vibrating with energy and further solidifying the Blue Dog as a graphic icon as equally familiar as the ubiquitous stop sign.

Ref.:

363. George Rodrigue (American/Louisiana, 1944-2013), “Big Stop Sign”, 2002, acrylic on gallery-wrapped canvas, signed lower left, signed, titled and dated en verso, 40 in. x 40 in., unframed. [$40000/60000] Rodrigue, Wendy. “Blue Dog: The Abstract Paintings, 2001-2003.” Musings of an Artist’s Wife Life & Legacy Foundation & Art Tour. www.legacyarttour.org. Accessed July 17, 2023.

Note: One of George Rodrigue’s most captivating and memorable early works, “Doc Moses, Cajun Traiteur,” depicts a unique and fascinating element of Cajun life. A traiteur is a traditional Cajun faith healer with an inherited gift for healing, and traiteur is the Cajun French word for “treater.” Some traiteurs treat any ailment, while others specialize. In Louisiana, Cajuns, Creoles and Native Americans all participate in some form of traditional healing. The Cajun traiteurs date back 250 years when the rich cultures of the people inhabiting South Louisiana – the early French Roman Catholic settlers, the Acadian refugees from Canada and the Native Americans – mingled together. Eventually, some of the healing traditions of the French-speaking African American community were incorporated as well. Most traiteurs consider their healing abilities a gift from God, and their practice often combines Catholic prayer with ritual or medicinal remedies.

In Rodrigue’s canvas, Doc Moses heals an earache by touching his patient’s ears and making a circle around them to ward off evil spirits. Like most of his early paintings, the subject was inspired by Rodrigue’s upbringing in Acadiana. He witnessed many healings by his aunt, Tant Git, who would lick her thumb, trace three small crosses with it on the injury and whisper secret words from her prayer book. According to Wendy Rodrigue:

“George also knew of a woman in New Iberia famous for treating warts. She concentrated on one wart a day and could even work over the telephone if you described to her the exact location of the growth. However, the power did not work across water, and so if you lived on the other side of the Bayou Teche, you had to cross the bridge (or take a pirogue) to the opposite bank to make your call.”

364. George Rodrigue (American/ Louisiana, 1944-2013), “Doc Moses, Cajun Traiteur”, 1974, oil on canvas, signed lower left, signed, titled, inscribed and artist stamps on stretcher, label with title and date on reverse of frame, 48 in. x 35 3/4 in., framed with artist plaque, overall 55 5/8 in. x 43 3/4 in. x 2 in. [$30000/50000]

Provenance: Acquired from the artist; Roland Begneaud Family Collection, Lafayette, LA. Ill.: Rodrigue, George. The Cajuns of George Rodrigue. Birmingham: Oxmoor House Inc., 1976, p. 38; Freundlich, Lawrence S. George Rodrigue: A Cajun Artist. New York: Penguin Studio, 1996, title page and p. 92; Perrin, Mary B., and Beverly C. Fuselier. Healing Traditions of South Louisiana: Prayers, Plants, and Poultices. Opelousas: Andrepont, 2022, cover.

Exh.: “Blue Dog: The Art of George Rodrigue”, Dixon Gallery and Gardens Museum, Memphis, TN, July 29 – Oct. 14, 2007; “Rodrigue’s Louisiana: Forty Years of Cajuns, Blue Dogs, and Beyond Katrina”, New Orleans Museum of Art, New Orleans, LA, Mar. 1 – June 8, 2008; “George Rodrigue: Cajuns and Blue Dogs / Paintings from Louisiana Family Collections 1971-2008”, Louisiana State Museum Wedell Williams Aviation and Cypress Sawmill Museum, Patterson, LA, July 17 – Nov. 29, 2008; “Blue Dogs and Cajuns on the River”, Louisiana State University Museum of Art, Baton Rouge, LA, July 23 – Sept. 18, 2011; “Blue Dogs in Texas”, Amarillo Museum of Art, Amarillo, TX, Aug. 10 - Oct. 14, 2012.

By the mid-1970s, Rodrigue had built a solid reputation for his scenes of Cajun folklife, resulting in an expanded clientele and book opportunity with Oxmoor House, publisher of Southern Living Magazine in 1976. The large format book, The Cajuns of George Rodrigue, featured images of his best paintings of the time, including this one, with Rodrigue’s detailed descriptions in both English and French. These paintings follow in the footsteps of his first figurative painting, “Aioli Dinner” of 1971, now on view at the Ogden Museum of Southern Art. Each scene includes the artist’s distinctive oaks alongside figures and narrative elements. In “Doc Moses, Cajun Traiteur,” Rodrigue’s figures inhabit his shadowy landscape and glow within the tilted white circle that both draws in and repels the viewer. While many of his Cajun series paintings have a haunting quality, none are quite as mysterious and riveting as this one.

Rodrigue captured the folklore and culture of the Cajuns at a time when it was slipping away and evolving into something new. So often, the beautiful and unique aspects of a society are lost to time through this process. Rodrigue found a way through his distinctive graphic language to preserve and protect these stories. His early canvases, such as this one, are simultaneously personal, historical and modern.

Ref.: Perrin, Mary Broussard and Beverly Constantine Fuselier. Healing Traditions of South Louisiana: Prayers, Plants, and Poultices. Opelousas, LA: Andrepont Publishing, LLC, 2022; Rodrigue, George. The Cajuns of George Rodrigue. Birmingham, AL: Oxmoor House, Inc., 1976; Rodrigue, Wendy. “The Traiteur.” Musings of an Artist’s Wife. Life & Legacy Foundation & Art Tour. www.legacyarttour.org. Accessed July 24, 2023.

Ill.:

367. Andrew LaMar Hopkins (American/Louisiana, b. 1977), “Back from the French Market”, 2015, acrylic on canvas board, signed and dated lower right, signed, titled, dated and artist card en verso, 16 in. x 20 in., framed, overall 17 1/8 in. x 21 1/8 in. x 1 5/8 in. [$12000/18000]

Note: Andrew LaMar Hopkins’ engaging portrayals of daily life in 19th century Creole New Orleans have stunned and captivated the art world. His colorful canvases are resplendent with fine-tuned details of the wares, objects, furniture and fine art included in his lush interiors. Hopkins’ wealth of knowledge of this fascinating era translates to faithful depictions of his subjects and their surroundings, and the resulting works serve as vibrant celebrations of New Orleans history and culture. In the work on offer here, “the painting centers around two kitchen servants arriving back from the French Market. During the 19th century before refrigeration, Creoles bought fresh food daily. That food was prepared and consumed the same day. For over 200 years, the historic French Market has been an enduring symbol of pride and progress for the people of New Orleans. While the Market has existed on the same site since 1791.”

Ref.: Hopkins, Andrew LaMar. “Back from the French Market.” Andrew Hopkins Art. May 8, 2016. www.andrewhopkinsart.blogspot.com. Accessed July 19, 2023.

365. George Rodrigue (American/Louisiana, 1944-2013), “Washington Blue Dog”, 1993, lithograph, signed lower left with extensive remarque, signed in plate, remarqued edition of 100, 16 in. x 22 in., framed, overall 27 in. x 32 in. x 1 3/8 in. [$1200/1800] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Harry N. Abrams, Inc., 2008. p. 213. 366. George Rodrigue (American/Louisiana, 1944-2013), Complete Suite of Three New Orleans Jazz and Heritage Festival Posters with remarques, incl. “Louis Armstrong”, 1995, numbered “366/500” lower right; “Pete Fountain”, 1996, numbered “394/750” lower right; “Al Hirt”, 2000, numbered “301/750” lower right, each signed lower left margin and in plate, each 33 in. x 20 in., framed alike, each overall 42 1/4 in. x 26 1/4 in. x 1 in. (3 pcs.) [$3000/5000] Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Harry N. Abrams, Inc., 2008, pp. 219-221. 368. Andrew LaMar Hopkins (American/Louisiana, b. 1977), “Marie Laveau the Voodoo Queen”, 2013, acrylic on canvas board, signed and dated lower right, signed, titled and dated en verso, 11 in. x 14 in., framed, overall 13 1/8 in. x 16 1/8 in. x 1 in. [$6000/8000]

Provenance:

369. Henri Hecht Maik (French, 1922-1993), “Dans les Nuages”, 1974, oil on canvas, signed and dated lower right, signed, titled and inscribed “1702” en verso, inscribed “WF B.H. exh. 55809” on stretcher, “Wally Findlay Galleries, Palm Beach, Chicago” label and numbered “55809” on backing board, 36 1/4 in. x 28 5/8 in., framed with artist plaque, overall 44 1/8 in. x 36 3/4 in. x 2 1/4 in. [$6000/8000] +

Note: Born in Paris in 1922, Henri Hecht Maik was the son of an illustrator and engraver. In 1940, Maik enlisted in the French Navy as a medical corpsman. He was eventually captured and imprisoned in the Maritime Hospital in Brest until his release in 1942. Awaiting the liberation of France in 1944, Maik worked as a lumberman in Normandy. Following the war, he returned to Paris where he became an actor in film and theater. While he began painting in only 1956, Maik soon became a successful artist, and by 1960, he was featured in his first one-man show in Paris. Maik’s work caught the eye of gallery owner Wally Findlay who introduced the artist to American audiences in 1964 with an exhibition at the Wally Findlay Galleries in Palm Beach, Florida. Several successful exhibitions followed at Wally Findlay Galleries in New York, Chicago, Palm Beach, Beverly Hills and Paris. According to inscribed notes on the stretcher of the work offered here, it was displayed in the Wally Findlay Galleries of Beverly Hills.

Maik had a unique and simplistic style that utilized bright colors and childlike figures of animals and people to create worlds with unity among all species. Although his work is reminiscent of naïve art, Maik instead preferred to designate himself as a primitive painter. In this painting, four tigers frolic within a lush, flowering landscape with multicolor trees framing two of the tigers, paw to paw, with one lifted among the clouds. All four tigers stare at the viewer as if questioning the additional presence within their saturated and fanciful landscape.

Ref.: “Henry Maik.” Findlay Galleries. www.findlaygalleries.com. Accessed July 25, 2023.

371. Melissa Bonin (American/Louisiana, b. 1960), “A Rare White Dove”, 2016, oil on gallery-wrapped canvas, signed lower right, signed, titled, dated and inscribed en verso, 30 in. x 48 in., unframed. [$7000/10000] 372. Melissa Bonin (American/Louisiana, b. 1960), “Marsh Song IV (with Moondrops)” from “La Poesie” Series, 2023, oil on gallerywrapped canvas, signed lower left, signed, titled and dated en verso, 24 in. x 36 in., unframed. [$4000/6000] 370. Elemore Morgan, Jr. (American/Louisiana, 1931-2008), “Cloud Form”, 1997, acrylic on shaped masonite, signed, titled, dated and inscribed on stretcher, 13 3/4 in. x 16 1/2 in., unframed. [$4000/6000] Dr. Robert L. Trahan (1933-2010), Lafayette, LA; thence by descent; Neal Auction Company, June 26, 2015, lot 270.

x 21 in., framed, overall 24 7/8 in. x 22 in. x 1 3/4 in. [$15000/25000]

373. Hunt Slonem (American/Louisiana, b. 1951), “Lories”, 2010, oil on panel, signed, titled, dated and inscribed en verso, 9 7/8 in. x 8 in., framed, overall 13 5/8 in. x 11 7/8 in. x 1 1/2 in. [$3000/5000] 374. Hunt Slonem (American/Louisiana, b. 1951), “Hutch”, 2013, oil on panel, signed, titled, dated and “Serge Sorokko Gallery, San Francisco, CA”, label with artist, title and date en verso, 30 in. x 26 in., original frame, overall 40 in. x 36 1/8 in. x 2 in.

[$6000/8000]

375. Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997), “Synthesis S”, 1982, oil and mixed media on canvas, signed and dated lower right, “The Elaine Horwitch Galleries, Scottsdale, Santa Fe” label with artist and title, “Orr’s Gallery, San Diego, CA” label and artist label with title on stretcher, 24 in. 376. Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997), “Romantic Triple Decker”, 1973, silkscreen and collage on paper, pencil-signed, titled, dated and numbered “37/75” lower margin, printed by Landfall Press, Chicago, sheet 24 in. x 27 1/2 in., framed, overall 28 1/4 in. x 32 1/2 in. x 1 in. [$1000/1500]

Provenance:

Note: In 1956, Ida Kohlmeyer traveled to Provincetown, Massachusetts to complete a three-month workshop with famed Abstract Expressionist, Hans Hofmann. This period ignited a major turning point in her approach to painting. Inspired by Hofmann’s advice that painting should be an “invention and not an imitation,” she began to approach her work in a more impulsive and physical way. Her new methodology shifted her focus to the process, rather than the outcome, of making art, and thus 1956 marked the beginning of her evolution from figurative painting to Abstract Expressionism.

The painting offered here entitled “Ships at Sea” was painted the same year she studied under Hofmann, and his influence is evident in the dense clusters of thick, colorful brushstrokes that anchor the composition. The title indicates a recognizable subject, while the execution remains purely abstracted with glimpses of possible masts punctuating the larger planes of color.

377. Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997), “Ships at Sea”, 1956, oil on canvas, signed and dated lower right, signed and titled en verso, 15 in. x 33 in., framed, overall 19 in. x 37 in. x 1 in.; together with copies of correspondence from the artist’s studio. (2 pcs.) [$7000/10000] Orleans Gallery, New Orleans, LA; Collection of Rena Dewey, Memphis, TN; Private Collection, Memphis, TN. Exh.: Brooks Art Gallery, Memphis, TN, 1970s. 378. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), “Still Life”, silkscreen on board, pencil-signed, titled and numbered “9/26” lower margin, sheet 9 in. x 14 3/4 in., framed, overall 9 7/8 in. x 15 3/4 in. x 7/8 in.; together with copies of correspondence from the artist’s studio. (2 pcs.) [$400/600] Orleans Gallery, New Orleans, LA. 381. Shearly Grode (American/Louisiana, 19252003), “Boat and Lighthouse”, mixed media on paper mounted to board, unsigned, artist and title on backing board, 15 1/2 in. x 11 5/8 in., framed, overall 19 1/8 in. x 21 1/8 in. x 1 in. [$150/250] 379. Shearly Grode (American/ Louisiana, 1925-2003), “Second French Quarter House”, 1951, casein on board, signed and dated lower right, “Art Association of New Orleans” exhibition label with artist and title on backing paper, 33 in. x 24 in., framed, overall 37 1/4 in. x 28 1/4 in. x 2 in. [$500/700] 380. Shearly Grode (American/ Louisiana, 1925-2003), “Two Birds”, 1951, casein on board, signed lower right, titled on backing board, 24 in. x 13 1/2 in., framed, overall 28 1/4 in. x 17 5/8 in. x 3/4 in.; together with a copy of the handwritten invoice from “Three Thirty One Gallery, New Orleans, LA”. (2 pcs.) [$300/500] Three Thirty One Gallery, New Orleans, LA, 1956.

382. Lin Emery (American/Louisiana, 1926-2021), “St. Gertrude”, painted plaster, unsigned, h. 21 in., w. 5 in., d. 3 in., mounted on wood board, overall h. 30 1/2 in., w. 13 in., d. 3 3/4 in. [$2000/3000]

Note: “I have a very deep belief not in any practiced religion but in the search for unity and spiritual understanding.” – Lin Emery

In 1951, Lin Emery returned to New Orleans, where she had briefly lived in 1945, and worked as a studio assistant with Enrique Alferez. She undertook numerous commissions in plaster, clay and bronze of life-size religious figures for churches in the city and throughout the region. One such example of St. Gertrude the Great in Des Allemands, Louisiana from 1956 measures twelve feet by eight feet. The figures are classical in inspiration with modern lines and a fluidity of form that would come to define the artist. The study offered here of St. Gertrude is for an installation at St. James Major Church on Gentilly Boulevard in New Orleans. Emery completed six sculpted figures of saints mounted above the altar in the sanctuary that are still in place today.

In the evolving art world of the 1950s, Emery’s interests turned away from her figurative and religious work as she moved into abstraction and favored metal as a medium. She remained active in New Orleans the rest of her life and was an engaged member of the city’s contemporary art scene, serving as one of the founders of the Orleans Gallery in 1956 and as a co-founder of the Contemporary Arts Center of New Orleans. This rare early study is an exciting window into development of the renowned sculptor and as she herself said of her earlier sculptures: “I was looking for an essence, an interior and searching for understanding.”

Ref.:

Kemp, John R. Lin Emery. 64 Parishes. www.64parishes.org. Accessed July 24, 2023; Palmedo, Philip F. Lin Emery. Manchester: Hudson Hills, 2011. 383. John Clemmer (American/Louisiana, 1921-2014), “Loaves and Fishes”, 1961, oil with bronze and Portland cement sandcasting, signed and dated en verso, 12 5/8 in. x 12 in., unframed. [$1000/1500] 384. Forrest Harrisberger (American/Texas, b. 1928), “Merry-Go-Round”, 1976, oil on board, signed and dated lower right, 31 7/8 in. x 40 in., framed, overall 34 5/8 in. x 42 3/4 in. x 1 1/2 in. [$800/1200] 385. Bill Wiman (American/Texas, b. 1940), “Hats, Boots and Gun”, 1976, oil on canvas, signed lower left, signed, titled and dated en verso, 33 in. x 36 in., framed, overall 34 1/4 in. x 37 1/4 in. x 1 5/8 in. [$1000/1500] 386. Joseph Wilhelm (American/Louisiana, 1923-2003), “Unloading Shrimp”, oil on masonite, signed lower left, 9 in. x 12 in., framed with artist plaque, overall 17 3/8 in. x 20 3/8 in. x 1 5/8 in. [$800/1200]

Provenance:

389. Christopher Inglis Stebly (American/Mississippi, b. 1967), “Baby Bird”, 1998, watercolor and graphite on paper, pencil-signed and dated lower right, 9 in. x 12 1/2 in., framed, overall 12 7/8 in. x 14 1/2 in. x 3/4 in. [$1000/1500] 390. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Jack the Giant Killer”, hand-colored linocut on paper mounted to board, unsigned, sight 71 1/2 in. x 18 1/4 in., framed, overall 74 3/4 in. x 21 5/8 in. x 1 in. [$4000/6000] Rena Dewey, Memphis, TN. Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, pl. 98. 391. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Buck Rabbit”, woodblock print on wallpaper, unsigned, “Straight Across Match 1691 Run No. 6” printed along left edge, sheet 35 7/8 in. x 19 15/16 in., framed, overall 42 1/2 in. x 27 in. x 1 in. [$1500/2500] Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 77. 387. Sanders McNeal (American/ Mississippi, b. 1949), “Pitcher and Pears”, 1996, acrylic on masonite, signed and dated lower right, 16 in. x 10 in., framed, overall 22 5/8 in. x 16 5/8 in. x 1 3/4 in. [$700/1000] 388. Christopher Inglis Stebly (American/Mississippi, b. 1967), “Chandeleur Islands”, 1998, watercolor and graphite on paper, signed, monogrammed and dated lower right, 11 in. x 8 1/2 in., framed, overall 16 5/8 in. x 14 in. x 1 in. [$1000/1500]

397. Lalique Frosted and Clear Glass Vase, h. 9 1/2 in., dia. 8 in. [$200/400] 398. Two Blown and Etched Glass Hurricane Shades, 19th/early 20th c., cranberry pink flashed rims, h. 9 1/8 in. and 9 ½ in.; set in Italian white glazed porcelain candle stands, overall h. 14 in. and 15 1/8 in. (4 PCS) [$300/500] 393. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Tony Kristicevich with Oyster Tongs and Dog”, 1938, gelatin silver print mounted to board, signed and dated lower right, 9 3/4 in. x 7 3/4 in., unframed. [$800/1200] 394. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Educated Vegetables”, 1938, gelatin silver print mounted to board, pencilsigned and dated on mount, 7 5/8 in. x 9 3/4 in., unframed. [$800/1200] 395. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Lafitte Cemetery”, c. 1938, gelatin silver print mounted to board, signed and dated lower right, inscribed and titled on reverse of mount, 8 in. x 10 in., unframed. [$800/1200] 396. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “The Old Absinthe House”, 1938, gelatin silver print, signed and dated lower left, 10 in. x 8 in., unframed. [$800/1200] 392. Kay Holloway (American/ Mississippi, b. 1956), “Eudora Welty at Her Home”, negative creation date c. 1990s, print date 2016, gelatin silver archival print, signed and numbered “1/50” lower margin, image 16 in. x 16 in., sheet 19 in. x 19 in., framed, overall 24 3/4 in. x 24 3/4 in. x 2 in. [$400/600]

401. Italian Art Glass Vase, twist-form and lattice design, h. 18 in., d. 12 in. [$300/500] 402. Mario Villa (Nicaraguan/ Louisiana, 1953-2021) Brass and Patinated Metal Bed, pedimented headboard, columnar posts, entwined X form stretchers, h. 72 in., l. 75 3/4 in., d. 83 in. [$1500/2500] 403. Modern Contemporary Cast Aluminum “Enchanted Forest” Coffee Table, 20th c., by Michael Aram, in the form of a tree trunk slice, branch legs, h. 16 in., dia. 35 1/2 in. [$800/1200] 404. Modern Contemporary Cast Aluminum “Enchanted Forest” Floor Lamp,20th c., by Michael Aram, in the form of a tree, h. 66 in. [$300/500] 400. Emile Galle Cameo Glass Perfume Bottle, 1908-1920, floral decoration, lacking stopper, h. 6 1/2 in., w. 3 1/4 in., d. 2 in. [$300/500] 405. Modern Contemporary Cast Aluminum “Enchanted Forest” Table, 20th c., By Michael Aram, in the form of tree trunk slice top, branch legs, h. 24 1/2 in., dia. 18 in. [$300/500] 399. Emile Galle “Lake Como” Glass Vase, 1908-1920, raised signature, cased and etched glass, depicting a Lake Como scene, a balustrade and trees in the foreground, an island with buildings, the lake and mountains in the distance, h. 10 7/8 in., dia. 7 in. [$4000/6000]

410. American Cast Iron Horse-Head Hitching Post, fluted columnar body between raised leaf bands, petal-form base, h. 43 ¼ in. [$500/700] 412. Cast Stone Garden Table, pedestal base, h. 30 in., dia. 48 1/2 in. [$500/700] 407. Pair of French Cast Iron Planters on Stands, flared bases mounted with urns, h. 38 in., w. 17 in., d. 17 in. [$600/900] 408. Pair of DirectoireStyle Bronze-Mounted Mahogany Planters, lion monopod legs, removable liners, h. 33 1/2 in., dia. 23 in. [$1000/2000] 406. Bill Toma (American/California, 20th c.), “Belle de Jour”, 1999, bronze, signed, titled, dated and inscribed “AP 13” on self-base, h. 34 in., w. 11 in., d. 14 1/2 in., marble base, overall h. 38 in. [$5000/8000] 411. Pair of Cast Iron Flamingo Garden Figures, tallest h. 24 in. [$400/600] 409. Pair of American Cast Iron Campagna-Form Garden Urns, eggand-dart everted rims, lobed lower bodies, h. 24 in., dia. 19 1/2 in. [$1000/1500]

413. Philipponnat Clos des Goisses Brut Champagne 1991, 3 bottles, in wood boxes (one lacking lid). [$250/350] 414. Dom Perignon Vintage Brut Champagne, 3 bottles, each in box, 2 bottles of 2009, one of 1999. [$300/500] 415. Louis Roederer Cristal Brut Champagne 2006, one bottle, in original box. [$150/250] 416. Krug Clos D’Ambonnay Brut Blanc de Noirs Champagne 1998, four bottles, in individual wood presentation boxes, the total 1998 vintage bottling only 4799, these each individually numbered 120, 153, 2051, and 2095. [$3000/5000] 417. Krug Vintage Brut Champagne 2000, 11 bottles, each in original box, 750 ml. [$700/1000] 418. Domaine Leflaive Puligny Montrachet “Les Pucelles” Premier Cru 2011, six bottles, in box. [$700/1000] 419. Domaine Leflaive “Bienvenues” Batard Montrachet Grand Cru 2011, twelve (12) bottles, in two wood cases. [$1500/2500] 420. Domaine Leflaive “Les Combettes” Puligny Montrachet Premier Cru 2011, six bottles, in wood box. [$800/1200] 421. Domaine Leflaive “Clavoillon” Puligny Montrachet Premier Cru 2011, six bottles, in wood box. [$800/1200]

422. Sterling Silver Compact marked “39 MI”, “925” and “Cartier”, cabochon sapphire clasp, l. 3 in., w. 2 1/2 in., 5.10 troy oz.; together with silver compact, monogram “E”, dia. 2 1/2 in., 34.89 dwts. Note: unmarked, metal not tested. (2 pcs.) [$300/500]

423. Art Deco 14 kt. Yellow Gold, Diamond and Ruby Compact, marked “14K”, “CP?” and “7640”, lid set with 4 round diamonds and 5 rubies, h. 5/8 in., w. 3 1/2 in., d. 3 in.; 90.00 dwts.; with Coleman Adler fitted velvet case,. [$4000/6000]

424. 14 kt. White Gold and Tahitian Pearl Necklace, 35 graduated cultured pearls, 11.18-14.43 x 14.32 mm; plunger style bead clasp; l. 18 1/4 in.; GIA and AIGL reports. [$800/1200]

425. 14 kt. Yellow Gold and South Sea Pearl Necklace, 33 off round cultured pearls, 10-13 mm, l. 17 1/2 in.; AIGL report. [$1200/1600]

427. Platinum, Sapphire and Diamond Ring, center cushion mixed cut blue sapphire, wt. approx. 1.31 cts.; set with 48 baguette and round diamonds, total wt. approx. 0.20 ct., H-I color, VS2-SI1 clarity; size 7; AIGL report. [$1000/1500]

429. 14 kt. White Gold, Sapphire and Diamond Bracelet, set with 22 oval brilliant faceted cut blue sapphires, total wt. approx. 9.63 cts.; bezels set with 264 round brilliant cut diamonds, total wt. approx. 3.66 cts., G-H color, SI1-SI2 clarity; l. 6 3/4 in.; GGA report. [$3000/5000]

428. Platinum, Sapphire and Diamond Ring, center oval brilliant faceted cut blue sapphire, wt. approx. 2.38 ct.; bezel set with 54 round brilliant and baguette cut diamonds, total wt. approx. 1.30 cts., F-G color, VS1-VS2 clarity; size 6.5; GGA and GIA reports [$2000/3000]

430. 14 kt. White Gold, Sapphire and Diamond Necklace, set with 54 oval brilliant faceted cut blue sapphires, total wt. approx. 24.33 cts.; bezels set with 756 round brilliant cut diamonds, total wt. approx. 7.28 cts., G-H color, SI1-SI2 clarity; l. 17 in.; GGA report. [$5000/7000]

426. Tiffany & Co. 18 kt. Yellow Gold and Pearl Bracelet, marked, flower bud clasp, l. 6 3/4 in.; with original boxes. [$300/500]

431. 18 kt. White Gold and Diamond Ring, central round brilliant cut diamond, wt. approx. 0.57 ct.; accented by 43 baguette and round brilliant cut diamonds, total wt. approx. 0.72 ct., F-G color, VS1-VS2 clarity; size 6.75; AIGL report. [$2000/3000] 432. Platinum and Diamond Tennis Bracelet, set with 60 prong set round brilliant cut diamonds, total wt. approx. 5.55 cts., 2.9-3.3 mm, G-H color, I1 to I2 clarity; l. 7 3/8 in.; AIGL report. [$3500/4500] 435. Oscar Friedman 18 kt. White Gold and Diamond Ring, center cushion modified brilliant cut diamond, F color, VS1 clarity; flanked by 2 cadillac cut diamonds, total wt. approx. 0.58 ct., F color, VVS2 clarity; size 6.25; SGL and GIA reports. [$12000/18000] 433. 14 kt. White Gold and Diamond Tennis Bracelet, mounted with 48 round brilliant cut diamonds, total wt. approx. 9.05 cts., G-H color, SI1-I1 clarity; l. 7 in.; GGA report. [$6000/8000] 434. 18 kt. White Gold and Diamond Necklace, set with 151 graduated round brilliant cut diamonds, total wt. approx. 11.75 cts., G-H color, SI1-I1 clarity; l. 17 in.; GGA report. [$10000/15000] 436. Platinum and Old European Cut Diamond Ring, center Old European cut diamond, wt. approx. 1.15 cts., H color, VS2 clarity; shoulders and bezel set with 26 round single cut diamonds, total wt. approx. 0.50 ct., G-H color, VS2-SI1 clarity; size 6.25; GGA report. [$5000/7000] 437. Art Deco-Style Platinum and Diamond Solitaire Ring, set with brilliant cut diamond, wt. approx. 2.76 cts., color K-L, clarity I-1; halo with 8 small calibre cut sapphires and 12 small single cut diamonds; ring size 6.5; 2.91 dwts. [$8000/12000] 438. Art Deco Platinum and Old Mine Cut Diamond Three Stone Ring, center stone approx. 1.50 cts., flanking stones each approx. .50 ct., and 10 small single cut diamonds, color H-I, clarity SI-1/SI-2, ring size 6.75, overall wt. 3.59 dwts [$4000/6000]

mine cut diamond, wt. approx. 1.92 cts., H color, SI1 clarity; band set with 48 round brilliant and baguette cut diamonds, total wt. approx. 1.03 cts., G-H color, VS1-SI1 clarity, size 7;

H-I, clarity VS2-SI1, ring size 3.75, overall wt. 1.63 dwts. [$4000/6000]

441. Platinum and Diamond Eternity Band Ring, set with 19 marquise cut diamonds graduated from .05 ct. to .33 ct., totaling approx. 2-2.3 cts., color H-I, ring size 5, overall weight 3.25 dwts. [$2500/3500] 442. 18 kt. Yellow Gold Gucci “Icon” Ring, marked, size 5, 2.40 dwts. [$300/500] 439. 14 kt. White Gold and Old Mine Cut Diamond Solitare Ring, center prong set old GGA report. [$4000/6000] 440. 14 kt. White Gold and Diamond Solitaire Ring, set with approx. 1.3 ct. brilliant cut diamond in 4 prong setting, color 446. Retro 18 kt. Yellow Gold and Diamond “Wing” Brooch and Earrings, marked “AL” and “18K”; brooch l. 3 1/4 in., 16.60 dwts.; earrings l. 1 3/4 in., 12.41 dwts. [$800/1200] 445. Retro 14 kt. Yellow Gold and Diamond Brooch and Earrings, marked, brooch l. 1 3/4 in., 12.11 dwts.; earrings l. 1 in., 4.98 dwts. [$400/600] 443. 18 kt. Yellow Gold and Diamond Eternity Band Ring, set with 14 round brilliant cut diamonds, total wt. approx. 3.68 cts., H-I color, SI2-I1 clarity; size 5.5; GGA report. [$2500/3500] 444. Bvlgari 18 kt. Yellow Gold, Amethyst and Citrine Ring, marked, size 6, 7.00 dwts.; with original box. [$800/1200]

447. 18 kt. Yellow Gold, Emerald and Diamond Ring, center octagonal mixed cut emerald, wt. approx. 0.70 ct.; accented by 4 round brilliant cut diamonds, total wt. approx. 0.07 ct.; size 6.75; GGA report. [$1200/1800]

448. 18 kt. Yellow Gold, White Gold, Emerald and Diamond Ring, center octagonal step and faceted cut emerald, wt. approx. 1.55 cts.; bezel set with 22 round brilliant cut diamonds, total wt. approx. 0.25 ct.; size 6.75; GGA report. [$1500/2500]

450. 18

449. 14 kt. Yellow Gold, Emerald and Diamond

set with 26 oval brilliant faceted cut emeralds, total wt. approx. 8.50 cts.; linked by 26 round brilliant cut diamonds, total wt. approx. 0.24 ct., G-H color, SI1-SI2 clarity; l. 7 in.; GGA report. [$1500/2500]

Emerald and Diamond Earrings, 2 rectangular mixed cut emeralds, total wt. approx. 3.16 cts.; bezels set with 36 round brilliant cut diamonds, total wt. approx. 0.66 ct.; AIGL report. [$2000/3000]

451. Rare 18 kt. Yellow Gold, White Gold, Emerald and Diamond Ring, center octagonal step cut Russian emerald, wt. approx. 7.08 cts., 13.60 x 11.09 x 6.32 mm; flanked by 2 trapezoid cut diamonds, total wt. approx. 0.80 ct., F-G color, VVS2-VS1 clarity; size 6.75; GGA and GIA reports. [$7000/9000]

452. 18 kt. Yellow Gold, White Gold, Emerald and Diamond “Toi et Moi” Ring, set with octagonal mixed cut emerald, wt. approx. 4.39 cts., 12.16 x 8.54 x 5.52 mm; and pear brilliant cut diamond, wt. approx. 0.70 ct., G color, I1 clarity; size 7; GGA and GIA reports. [$3500/4500]

453. Vintage Platinum, Emerald and Diamond Ring, center emerald cut emerald, wt. approx. 0.80 ct.; flanked by 2 baguette cut diamonds, total wt. approx. 0.36 ct., G-H color, VS clarity; size 3; IAS report. [$1200/1800]

Bracelet, kt. Yellow Gold,

454. Antique Art Deco Platinum, Emerald and Diamond Clip/Pendant, mounted with 4 bezel set emeralds, incl. 1 emerald-cut emerald, wt. approx. 6.25 cts.; 1 pear shaped emerald, wt. approx. 2.00 cts.; and 2 pear shaped emeralds, total wt. approx. 1.50 cts.; central emerald cut diamond, wt. approx. 1.20 cts.; 1 trapezoidal diamond, wt. approx. 0.15 ct.; 10 channel set graduated tapered baguette cut diamonds, total wt. approx. 1.00 ct.; 3 bezel set graduated baguette cut diamonds, total wt. approx. 0.18 ct.; 42 single cut and full cuts diamonds, total wt. approx. 2.00 cts.; clip has safety chain and pin; approx. 13.99 dwts.; Note: lacking one diamond. [$10000/15000]

Provenance: Neal Auction Company, September 12, 2015, lot 407.

wt. approx. 1.12 cts., F-G color, VS1-SI1 clarity; finished with 52 round modified brilliant cut rubies, total wt. approx. 1.07 cts.; size 7; GIA and AIGL reports. [$5000/7000]

456. Platinum, Emerald and Diamond Ring, center prong set rectangular step cut emerald, wt. approx. 2.44 cts.; bezel and shoulders set with 30 round brilliant cut diamonds, total wt. approx. 0.65 ct., F-H color, VS2-SI2 clarity; size 6.75; AIG report [$2500/3500]

29.37 cts.; l. 17 in.; GGA report. [$5000/7000]

459. 18 kt. White Gold, Ruby and Diamond Earrings, 2 center oval mixed cut rubies, total wt. approx. 3.20 cts.; bezels set with 16 round brilliant cut diamonds, total wt. approx. 1.60 cts., G-H color, VS2-SI1 clarity; AIGL report. [$3000/5000] 458. 14 kt. White Gold, Ruby and Diamond Necklace, center round brilliant cut diamond, wt. approx. 1.01 cts., G color, I1 clarity; mounted with 62 graduated oval mixed cut rubies, total wt. approx. 457. 18 kt. White Gold, Rose Gold, Emerald, Ruby and Diamond Ring, center prong set octagonal step cut emerald, wt. approx. 6.23 cts.; stylized bezel and shoulders set with 68 round diamonds, total 455. 18 kt. White Gold and Emerald Bracelet, mounted with 44 octagonal faceted step cut emeralds, total wt. approx. 17.67 cts.; l. 7 in.; GGA report. [$5000/7000]

5.06 cts., 11.59 x 9.72 x 4.80 mm;

and shoulders set with 40 baguette

round brilliant cut diamonds, total wt. approx. 0.47 ct., G-H color, VS1-SI1 clarity; size 7.5; AIGL and GIA reports. [$2500/3500]

0.36 ct.;

8.66

4.77

461. 18 kt. White Gold, Ruby and Diamond Ring, center prong set oval mixed cut ruby, wt. approx. 0.90 ct.; shoulders set with 46 round brilliant cut diamonds, total wt. approx. 0.35 ct., G-H color, SI2-I2 clarity; size 6.25; AIGL report. [$1000/1500]

462. 18 kt. White Gold, Diamond and Ruby Ring, center prong set round brilliant cut diamond, wt. exact 0.93 ct., F color, SI2 clarity; stylized feather setting mounted with 46 bead set round brilliant cut diamonds, total wt. approx. 1.02 cts., F-G color, VS2-SI2 clarity; finished with 8 channel set trapezoid step cut rubies, total wt. approx. 0.26 ct.; size 7; AIG and IGL reports. [$2500/3500]

total wt. approx.

ct., F-G color, VS1-VS2 clarity; size 6.75; GGA and GIA report s.

0.82 ct.,

463. 14 kt. Yellow Gold, Diamond and Ruby Paul Ditisheim Ladies Watch, marked “14K” and “003758”, hinged cuff design, inner circ. 6 1/4 in.; 37.38 dwts. [$700/1000] 464. 18 kt. Yellow Gold, Ruby, Diamond and Enamel Ring, center pear mixed cut ruby, wt. approx. 7.55 cts.; bezel and shoulders set with 32 round brilliant cut diamonds, 0.97 ct., G-H color, SI1-SI2 clarity; black enamel accents; size 7; GGA and GIA reports. [$3000/5000] 465. 18 kt. White Gold, Rose Gold, Ruby and Diamond Ring, center cushion brilliant cut Kashmir ruby, wt. approx. 3.60 cts., 9.13 x x mm; inner halo set with 24 round brilliant cut fancy light pink diamonds, total wt. approx. outer halo and shoulders set with round brilliant cut diamonds, total wt. approx. F-G color, VS2-SI1 clarity; size 6.5; GGA and GIA reports. [$4000/6000] 466. Platinum, Kashmir Sapphire and Diamond Ring, center triangle brilliant cut purple pink sapphire, wt. approx. 1.08 cts.; double bezel and openwork shoulders set with 54 round brilliant cut diamonds, total wt. approx. 0.89 [$1800/2500] 460. Platinum, Ruby and Diamond Ring, center oval mixed cut ruby, wt. approx. bezel and

0.72 ct., F-G color, VS2-SI1 clarity; size 6.75; AIGL and GIA reports. [$2500/3500]

467. 18 kt. White Gold, Pink Sapphire and Diamond Ring, center oval mixed cut purple pink sapphire, wt. approx. 2.63 cts.; bezel and openwork shoulders set with 124 round brilliant cut diamonds, total wt. approx. 0.59 ct., G-H color, VS1-SI1 clarity; size 6.5; AIGL and GIA reports. [$2000/3000]

469. 14 kt. Yellow Gold, Multicolor Sapphire and Diamond Necklace, mounted with 57 oval brilliant faceted cut multicolor sapphires, total wt. approx. 45.80 cts.; accented with 16 round brilliant cut diamonds, total wt. approx. 2.00 cts., G-H color, VS2-SI1 clarity; l. 17 1/2 in.; GGA report. [$6000/8000]

468. 14 kt. Rose Gold, Ruby and Diamond “Snake” Ring, center bezel set marquise cut ruby, wt. approx. 0.59 ct.; 2 round brilliant cut diamonds, total wt. approx. 0.06 ct.; size 6.5; IAS report. [$600/800]

470. 14 kt. Yellow Gold, Aquamarine and Diamond Dangle Earrings, set with numerous emerald cut aquamarines, total wt. approx. 7.66 cts.; and numerous round brilliant cut diamonds, total wt. approx. 0.91 ct.; l. 2

in.; IAS report. [$1500/2500] 471. Oscar Friedman 18 kt. White Gold, Alexandrite and Diamond Ring, center oval mixed cut green alexandrite, wt. approx. 2.32 cts.; bezel and shoulders set with 48 round brilliant diamonds, total wt. approx. 472. Pair of 14 kt. Yellow Gold, Tourmaline and Diamond Drop Earrings, 2 rectangular step cut watermelon tourmaline, total wt. approx. 20.68 cts.; mounted with 118 round diamonds, total wt. approx. 1.25 cts., I-J color, VS-SI clarity; l. 1 3/4 in.; GAL report. [$2500/3500] 473. Oscar Friedman Platinum, Spinel and Diamond Ring, center oval mixed cut purple red spinel, wt. approx. 3.59 cts.; flanked by 8 rectangular step cut diamonds, total wt. approx. 0.55 ct., F color, VS2-SI1 clarity; size 6.75; AIGL and GIA reports. [$1500/2500]

3.54 cts.; bezel set with 30 round brilliant cut diamonds, total wt. approx. 0.18 ct.; size 7; GGA

cts.; bezel and shoulders set with 30 round brilliant cut diamonds, total wt. approx. 0.41 ct., G-H color, SI1-SI2 clarity; size 7; AIGL

0.85 cts., G-H color, VS2-SI1 clarity; size 6.5; AIGL report. [$2000/3000]

wt. approx. 0.93 cts., G-H color, VS2-SI1 clarity; pendant l. 1 1/4 in.; chain l. 18 in.; AIGL and GIA

1.58 cts.; ornate openwork bezel set with approx. 166 round brilliant cut diamonds, total wt. approx. 1.19 cts., F-H color, VS1-SI1 clarity; size 6.75; AIG report. [$3000/5000]

478. Platinum, Tanzanite and Diamond Ring, center octagonal step cut tanzanite, wt. approx. 8.57 cts.; shoulders and double bezel set with 74 round brilliant cut diamonds, total wt. approx. 1.86 cts., F-G color, VS1-VS2 clarity; size 6.75; GGA and GIA reports. [$5000/7000] 479. 18 kt. White Gold, Tanzanite and Diamond Ring, center modified brilliant cut tanzanite, wt. approx. 4.25 cts.; bezel and openwork shoulders set with 52 round brilliant cut diamonds, total wt. approx. 480. 18 kt. White Gold, Tanzanite, Pink Sapphire and Diamond Ring, center prong set cushion mixed cut tanzanite, wt. approx. 4.57 cts.; flanked by 2 prong set pear mixed cut pink sapphires, total wt. approx. 475. 18 kt. White Gold, Tanzanite and Diamond Ring, center cushion modified brilliant cut tanzanite, wt. approx. 2.11 report. [$1200/1800] 476. Platinum, Tanzanite and Diamond Ring, center pear faceted cut tanzanite, wt. approx. 4.13 cts.; bezel mounted with 13 round full faceted cut diamonds; GLA report (incorrect diamond wt.) [$2500/3500] 477. Oscar Friedman Platinum, Tanzanite and Diamond Pendant on Chain, center pear mixed cut tanzanite, total wt. approx. 9.26 cts.; bezel and bail set with 75 round brilliant cut diamonds, total reports. [$4000/6000] 474. Platinum, Tanzanite and Diamond Ring, center radiant brilliant faceted cut tanzanite, wt. approx. report. [$1500/2500]

79 3/4 in. x 39 1/2 in., framed, overall 81 1/2 in. x 41 in. Provenance: Manheim

New Orleans, c. 1959. [$4000/6000]

Provenance: Manheim Galleries, New Orleans, Lousiana, c. 1959.

481. Chinese Polychrome and Gilt Decorated Black Glazed Porcelain Fishbowl on Giltwood Stand, decorated in imitation of lacquerware, h. 41 in., dia. 27 in. [$1500/2500] 482. Monumental Pair of Chinese Oxblood Glazed Porcelain Vases, 20th c., overall mottled copper red glaze pooling around the footrim, h. 37 in. [$800/1200] 483. Pair of Chinese Famille Verte Porcelain Cylindrical Vases, mask-ring handles, decorated with continuous scenes of nobles and warriors in landscapes, bases with spurious Kangxi marks, h. 17 1/4 in. [$500/700] 484. Chinese Famille Rose Decorated Yellow Ground Porcelain Charger, 19th/20th c., painted with nobles and attendants in a terrace setting, ruyi border, h. 1 5/8 in., dia. 16 in [$200/400] 485. Anonymous Japanese School, probably 18th c., “Fudo Myo-o (Achalavidyaraja)”, ink, color and gold on silk, sight Galleries,

AUCTION SCHEDULE

OCT 19 - UNRESERVED @ Neal - Online Auction

NOV 9 - Estate of Angela Gross Folk Collection of Fine Silver

NOV 16 & 17 - Louisiana Purchase Auction™

DEC 7 - Mid-Century, Modern, Contemporary Art & Design Auction

JAN 25 & 26 - Premier Collections Live Auction

dates may be subject to change.

With Us!

Auction

Consign

of Antiques & Fine Art 4038 Magazine Street, New Orleans, LA 70115

504.899.5329

FIRST NAME:

ADDRESS:

23-04M #

I understand that Neal Auction Company undertakes the execution of absentee bids as a convenience for clients failure to execute bids, or for any error in the execution of bids. I have read and agree to the “Conditions of Sale” as stated in the catalogue. I understand that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchase made by cash, check or wire transfer within 15 days of the auction, the buyer’s premium shall be discounted 3% of this 25%. No exceptions.

PLEASE REVIEW THE GUIDELINES FOR BIDDING:

1. All absentee bids must be in our gallery by 5 P.M. CST the day prior to the auction.

2. In the event identical bids are submitted, the earliest bid received will take precedence.

3. A deposit must accompany all bids, A credit card number is required for securing bids.

FOR INTERNAL USE ONLY:

4. All property is sold “AS IS”. No statement regarding condition of any item, whether it is made orally at the auction or any other time, or in writing in the catalogue or elsewhere, shall be deemed to be a warranty, representation or assumption of liability.

COMPANY:

CITY: PHONE: LAST

5. In the event of discrepancies, lot number and not lot description will take precedence. EMAIL: STATE: ALT PHONE: PAYMENT METHOD CREDIT CARD CASH / CHECK / WIRE

NAME:

APPROVED _______________ REGISTERED _____________ ENTERED ________________ CLERK _______________ ACCOUNT # ________________________ CONFIRMED _______________ SIGNATURE REQUIRED: DATE: ZIP: CARD NUMBER: EXP: SECURITY CODE: LOT NUMBER DESCRIPTION TELEPHONE # / BID AMOUNT

VISA

AMEX

DISCOVER - REQUIRED FROM ALL BIDDERS

Confidential Absentee / Telephone Bid Form AUCTION DATE:

fax to: 504-617-6431 - email: bids@nealauction.com

WWW.NEALAUCTION.COM

Auctioneers

23-08M

93 Auction Results • June 15 & 16, 2023 0001 - 608 0002 - 5185 0003 - 4270 0004 - 13440 0005 - 3050 0006 - 3294 0007 - 1098 0008 - 2196 0009 - 1250 0010 - 4160 0011 - 640 0013 - 768 0014 - 812 0015 - 2304 0017 - 3840 0018 - 4160 0019 - 61 0020 - 3840 0021 - 2944 0022 - 3456 0023 - 896 0024 - 512 0025 - 1792 0026 - 832 0027 - 448 0029 - 512 0030 - 896 0031 - 704 0032 - 1464 0033 - 512 0034 - 832 0035 - 1408 0036 - 1088 0037 - 960 0038 - 854 0039 - 1280 0040 - 6100 0041 - 1830 0042 - 915 0043 - 256 0044 - 1125 0046 - 437 0047 - 704 0049 - 1220 0050 - 1586 0051 - 5440 0055 - 4480 0056 - 192 0057 - 3328 0058 - 704 0059 - 4800 0060 - 192 0061 - 256 0062 - 85400 0063 - 56320 0064 - 1159 0066 - 1920 0067 - 1664 0068 - 5760 0071 - 1280 0072 - 2048 0073 - 960 0074 - 6100 0078 - 1792 0079 - 732 0080 - 768 0083 - 732 0084 - 1216 0085 - 671 0086 - 544 0087 - 915 0088 - 384 0091 - 3200 0092 - 640 0093 - 832 0094 - 1830 0095 - 671 0096 - 2196 0097 - 1159 0099 - 704 0100 - 640 0101 - 896 0102 - 1152 0103 - 96 0105 - 1159 0106 - 2176 0107 - 3660 0108 - 976 0109 - 1280 0110 - 6080 0111 - 3840 0112 - 7680 0113 - 2688 0114 - 544 0115 - 960 0116 - 671 0117 - 854 0118 - 640 0119 - 640 0120 - 416 0122 - 288 0123 - 512 0124 - 192 0125 - 640 0128 - 8750 0129 - 5440 0130 - 5440 0131 - 7680 0132 - 9150 0133 - 1500 0134 - 7680 0135 - 10240 0136 - 384 0137 - 416 0138 - 21760 0139 - 384 0140 - 2048 0141 - 448 0142 - 704 0143 - 15360 0144 - 5440 0145 - 3050 0146 - 3328 0147 - 610 0148 - 1088 0149 - 1920 0151 - 2816 0152 - 854 0153 - 1664 0154 - 1536 0155 - 976 0156 - 500 0157 - 960 0158 - 1920 0160 - 2048 0162 - 1216 0163 - 6080 0164 - 4800 0165 - 12800 0166 - 768 0168 - 2176 0169 - 8320 0170 - 4800 0171 - 12800 0172 - 5120 0173 - 5760 0174 - 10880 0175 - 17920 0176 - 6080 0177 - 8125 0178 - 8320 0181 - 7680 0182 - 3294 0183 - 1216 0185 - 2048 0186 - 6100 0188 - 384 0189 - 2816 0191 - 896 0192 - 768 0194 - 384 0196 - 384 0198 - 1216 0199 - 1792 0200 - 9150 0201 - 1792 0202 - 1708 0203 - 768 0205 - 2562 0207 - 2176 0208 - 960 0209 - 576 0210 - 384 0211 - 416 0212 - 320 0213 - 2432 0214 - 1664 0215 - 1024 0216 - 1464 0217 - 384 0218 - 3328 0219 - 1536 0222 - 960 0223 - 1408 0225 - 6400 0227 - 1408 0228 - 3200 0229 - 1408 0230 - 1152 0231 - 896 0232 - 1280 0233 - 1464 0234 - 1586 0235 - 1024 0236 - 832 0237 - 1830 0238 - 4480 0239 - 2176 0240 - 5760 0242 - 704 0243 - 2048 0244 - 1408 0245 - 288 0246 - 448 0247 - 671 0248 - 2816 0249 - 2440 0250 - 1586 0251 - 1586 0252 - 1792 0253 - 896 0254 - 244 0255 - 1708 0256 - 896 0257 - 854 0258 - 1375 0259 - 640 0260 - 6100 0261 - 14080 0262 - 366 0263 - 704 0264 - 704 0265 - 256 0267 - 3660 0269 - 1024 0270 - 793 0272 - 854 0274 - 4880 0275 - 2196 0276 - 2440 0277 - 1037 0279 - 1088 0280 - 1152 0284 - 26840 0285 - 1280 0286 - 352 0288 - 1280 0289 - 288 0290 - 1280 0291 - 1000 0292 - 1586 0294 - 512 0295 - 1152 0296 - 750 0297 - 625 0299 - 625 0300 - 1220 0302 - 1000 0303 - 875 0304 - 512 0306 - 640 0308 - 375 0314 - 1000 0315 - 915 0316 - 2560 0318 - 1152 0320 - 1000 0321 - 1830 0325 - 500 0326 - 8320 0327 - 854 0329 - 10880 0330 - 4160 0336 - 2176 0338 - 5632 0339 - 640 0340 - 1536 0341 - 768 0342 - 1088 0344 - 384 0345 - 448 0347 - 704 0348 - 915 0349 - 1024 0350 - 8540 0354 - 896 0356 - 500 0357 - 1000 0360 - 3328 0361 - 2560 0362 - 187 0363 - 1088 0364 - 3200 0365 - 3660 0366 - 896 0368 - 13125 0374 - 2250 0375 - 1250 0378 - 2432 0379 - 500 0380 - 3840 0381 - 640 0382 - 1280 0383 - 2304 0385 - 1000 0388 - 375 0389 - 915 0390 - 384 0394 - 5760 0395 - 274 0396 - 12800 0397 - 610 0398 - 640 0400 - 1152 0401 - 2196 0402 - 1536 0404 - 3584 0410 - 160 0411 - 1586 0413 - 704 0414 - 3660 0415 - 1792 0416 - 1220 0417 - 1152 0418 - 896 0419 - 1152 0420 - 1152 0422 - 2304 0423 - 1536 0424 - 3584 0427 - 2562 0428 - 768 0429 - 2074 0430 - 768 0432 - 2432 0433 - 1024 0435 - 812 0436 - 1280 0437 - 1152 0440 - 1024 0441 - 976 0442 - 1280 0444 - 640 0445 - 512 0446 - 640 0449 - 1220 0450 - 2560 0452 - 1088 0453 - 2432 0454 - 768 0455 - 610 0457 - 5120 0458 - 2688 0459 - 2562 0461 - 1952 0463 - 1220 0465 - 576 0473 - 1408 0474 - 1088 0475 - 2048 0476 - 5440 0478 - 2688 0479 - 1708 0480 - 2196 0482 - 256 0483 - 2304 0489 - 18300 0490 - 3584 0492 - 2688 0493 - 768 0494 - 1216 0495 - 732 0496 - 3200 0497 - 832 0498 - 512 0499 - 3712 0500 - 704 0501 - 1792 0505 - 3200 0511 - 7040 0512 - 1408 0514 - 610 0516 - 3000 0518 - 3840 0521 - 2688 0522 - 896 0523 - 1152 0527 - 1152 0528 - 640 0530 - 640 0531 - 1664 0532 - 1216 0534 - 2374 0538 - 3384 0539 - 1664 0541 - 10880 0543 - 5185 0544 - 4480 0545 - 8085 0546 - 13420 0548 - 5804

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.

VISIT NEALAUCTION.COM TO REQUEST AND VIEW CONDITION REPORTS, REGISTER TO BID LIVE ONLINE, AND SUBMIT ABSENTEE/TELEPHONE BIDS

D. E. A. B. C.

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.

American School, 248

James McConnell “Mac” Anderson, 268, 269

Walter Inglis Anderson, 390, 391

Yolande Ardissone, 122

Amos Lee Armstrong, 255

John James Audubon, 311, 312

Albert Ernest “Beanie” Backus, 267

Eliza Barchus, 91

Laura Bodebender, 256

Melissa Bonin, 371, 372

British School, 100

Johann Georg Busyaeger, 104

William Frank Calderon, 103

George Frederick Castleden, 27

Jules Cheret, 107-110

John Clemmer, 383

Continental School, 111-113, 117, 118, 120

Colin Campbell Cooper, 97

Claude-Louis Desrais, 114

George W. Drew, 98

Alexander John Drysdale, 323-331

Craig Durand, 19

Caroline Wogan Durieux, 23, 24

Edward Gustav Eisenlohr, 250

Lin Emery, 382

Ulrich W. Fisher, 251

French School, 105

Charles Giroux, 321

Jacques-Enguerrand Gourgue, 275

Robert Wadsworth Grafton, 318

Shearly Grode, 379-381

William Carl Groh, III, 260

Maurice Grosser, 249

John Nichols Haapahen, 94

Weeks Hall, 343

George Henry Harlow, 99

Chestee Harrington, 262-265

Harvey Sherman Harris, 257-259

Forrest Harrisberger, 384

Edward Parker Hayden, 95

Frank Hayden, 25, 26

Colette Pope Heldner, 261

Knute Heldner, 266

Morris Henry Hobbs, 341

Julius Hoening, 317

Gino Hollander, 33

Kay Holloway, 392

Andrew Lamar Hopkins, 367, 368

Walter Horton, 314

Emily Hamilton Huger, 332

Marie Atkinson Hull, 333-338

Clementine Hunter, 22, 279-286

Japanese School, 485

Richard Johnson, 356

Louis Edward Jones, 346, 347

Karl Kaufmann, 115

William Keith, 93

Felix Runcie Kelly, 272

Ida Rittenberg Kohlmeyer, 375-378

Robin Laws, 313

Edward Lloyd of Ellesmere, 102

Henri Hecht Maik, 369

Paul Howard Manship, 28, 30

Nicola Marschall, 320

Jacques Martin-Ferrieres, 123

Hazel Guggenheim McKinley, 271

Sanders McNeal, 387

Charles Alfred Meurer, 89

Clarence Millet, 344, 345

Marie Madeleine Seebold Molinary, 319

Sean Moore, 20, 21

Elemore Morgan, Jr., 370

N Jimmie Nord, 18

Pablo Picasso, 77

Helen Pickle, 277

Linda Rankin, 316

Marie Christine Westfeldt Reid, 339

Noel Rockmore, 273, 274

George Rodrigue, 363-366

Bob Ross, 355

William Rowland, 101

Robert Malcolm Rucker, 253, 254

Harold Rudolph, 322

Kiyoshi Saito, 34

Phil Sandusky, 359

Armin Alfred Scheler, 31, 32

Robert “Dr. Bob” Shaffer, 361, 362

Sigurd Skou, 92

Hunt Slonem, 373, 374

Christopher Inglis Stelby, 388, 389

William Henry Stevens, 270

Ernesto Strigelly, 116

Jimmy Lee Sudduth, 278

Dox Thrash, 90

Titian (aft), 121

Bill Toma, 406

John Augustus Walker, 348

Cora Kelley Ward, 357, 358

Gustave Adolph Wiegand, 96

Joseph Wilhelm, 386

Irma Sompayrac Willard, 252

Bill Wiman, 385

Theodore “Fonville” Winans, 393-396

Mildred Nungester Wolfe, 340

Ellsworth Woodward, 342

Joe Wrenn, 276

Y Peterson Moon “Peter” Yokum, 360

96 September 7 & 8, 2023 • Artist Index

John R. Neal (1940-2018), Founder

Michelle LeBlanc Leckert, CAI President

Katherine Hovas

Senior Vice President

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

OPERATIONS

Operations Staff

Charlie Clay

Scott Gann

Graphics Staff

Stephanie Do Ouro

Melissa Guion

Amanda Torres

CONSIGNMENTS

Marc Fagan

Vice President Consignments

Paintings, Prints & Photography

Marney Robinson; Sophie Hirabayashi; Beth Sherwood; Casey Foote; Renee Longon

Books, Maps & Natural History Prints

Marc Fagan

Furniture & Decorative Arts

Jason Leckert

Silver & Decorative Arts

Katherine Hovas

General Consignments, Jewelry & Couture

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

Jerry Major

Adam Trepagnier

Decorative Arts Inventory Management

Charlie Clay

AUCTIONEERS

Michelle LeBlanc Leckert #1514

Bettine Field Carroll #1874

Marc Fagan #1935

Marney Robinson #2155

Cameron McHarg #A-193

JEWELRY

Silver

Carey Mackie

Decorative Arts & Victoriana

Ann M. Masson

GIA Graduate Gemologists

Stephen A. Moses