Louisiana Purchase Auction™ - November 15, 16 & 17, 2023 by Neal Auction

Louisiana Purchase Auction

November 15, 16 & 17, 2023

LOUISIANA PURCHASE AUCTION November 15, 16 & 17, 2023 Featuring: Select Objects from the Estate of W. Wayne Lake, New Orleans, LA

Collection of Michael W. Murphy, El Dorado, AR Additional property from the Estate of Caroline P. Ireland

Wednesday, November 15, 2023 begins at 1:00 p.m., lots 1-157

Thursday, November 16, 2023 begins at 1:00 p.m., lots 158-454

Friday, November 17, 2023 begins at 1:00 p.m., lots 455-764

Bidding available on these online auction sites:

nealauction.com

EXHIBITION

Beginning Monday, November 6, 10 a.m. to 5 p.m.

SPECIAL SATURDAY EXHIBITION November 11, 10 a.m. to 5 p.m.

EVENING PREVIEW

Tuesday, November 14, 5-7 p.m.

Neal Auction Company Auctioneers of Antiques & Fine Art

4038 Magazine Street, New Orleans, LA. 70115

| 504.899.5329

LA Auc. Lic., Neal Auction Co. #AB-107 | Leckert #1514

ESTATE OF WAYNE LAKE As Neal Auction enters its fortieth year of building collections, there is perhaps no better collection to represent than that of loyal patron and friend of the gallery, Dr. Wesley Wayne Lake, Jr. Dr. Lake faithfully attended auctions from the company’s earliest days on Magazine Street and amassed a tremendous collection of regional and American art, furniture and decorative objects. Dr. Lake was a native of Pass Christian, MS and lived in Uptown New Orleans for most of his adult life. A graduate of The Hill School in Pottstown, PA and Princeton University, he received his Doctor of Medicine from Tulane Medical School in 1963 and served as Captain in the U.S. Air Force Reserve from 1964 to1966. Dr. Lake practiced Internal Medicine and Allergy and Immunology in New Orleans for forty-six years and held professorships at Tulane University and Louisiana State University. He was a member of the Boston Club of New Orleans and New Orleans Lawn Tennis Club, enjoyed renovating historic properties in the city and was a connoisseur of art, antiques and wine. Neal Auction is honored to present select objects from the Estate of Dr. Lake.

CAROLINE O’LEARY IRELAND A larger than life personality, she modeled for Christian Dior, was painted by Andy Warhol, and was both a gourmet cook and an accomplished deep sea fisherman. Appropriately, her favorite expression was “shoot for the moon, even if you miss you will land among the stars.” Caroline met Captain Mike O’Leary when she was modeling in New York in the late 1940’s. Soon after they married in New Orleans and began their life together at the St. Charles Hotel, where Mike was vice-president and general manager. He served as President of the New Orleans Hotel Association and the Louisiana Hotel Men’s Association. He was a founder of the Quarterbacks’s Club and a member of the Knights of Columbus. Caroline and Mike’s only child passed away at the age of three and Captain O’Leary passed away shortly after. Although her early life was beset by tragedy, she bravely picked up the pieces and took on the world. She found happiness again when she married Charles Ireland, Director and Chairman of the Board of Vulcan Materials Company. Though she left New Orleans to live in Alabama and Florida she maintained life long friendships in New Orleans and always carried New Orleans in her heart. Nationally known for her philanthropic activities, Mrs. Ireland’s focus was educational institutions and museums. She served on the boards of the New Orleans Museum of Art and the Birmingham Museum of Art . In 2006, she donated her collection of Faberge miniature eggs to NOMA. She was President of the Caroline P. and Charles W. Ireland Foundation, which established the Caroline P. and Charles W. Ireland Endowment for Scholarly Distinction, Distinguished Visiting Scholar Award and International Students Fund at the University of Alabama.

LIVE AUCTION Wednesday, November 15, 1 p.m. LOTS 1-157

2. American Federal Inlaid Cherrywood Candlestand, 1800-1810, rectangular top over single drawer, tapered legs inlaid with bellflowers and stringing, spade feet; wooden peg construction, h. 29 1/74 in., w. 16 in., d. 14 3/4 in. [$700/1000] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

1. American Classical Figured Mahogany Pembroke Table, c. 1810-1825, New York, molded shaped drop leaves, single drawer with opposing blind drawer, skirt with acorn pendants, baluster turned standard connecting molded sabre legs, brass capped paw feet, casters, h. 29 in., w. 38 in., w. (open) 30 in. [$700/1000] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

3. Joseph Gaylord Gessford (American/New York, 18661942), “President Abraham Lincoln”, late 19th/early 20th c., photogravure, “Gessford, 373 Fifth Ave, New York, NY” embossed lower right, after the original by Mathew Brady (American/New York, c. 1822-1896), inscribed “Made from life by M. B. Brady” en verso, sheet 13 3/4 in. x 10 7/8 in., framed, overall 16 1/2 in. x 13 1/2 in. x 1 in. [$100/200] Provenance: Neal Auction Company, May 20, 2006, lot 885; Estate of W. Wayne Lake, New Orleans, LA.

4. Charles Wellington Boyle (American/Louisiana, 1861-1925), “Cows in a Pasture”, oil on panel, signed lower left, inscribed en verso, 15 in. x 21 in., framed, overall 21 1/2 in. x 27 5/8 in. x 2 1/2 in. [$2500/3500] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

5. Charles Wellington Boyle (American/Louisiana, 1861-1925), “Bayou Lafitte, La.”, oil on board, signed lower right, titled and inscribed en verso, 10 in. x 12 in., framed, overall 13 3/4 in. x 15 3/4 in. x 1 1/4 in. [$3000/5000]

6. Alexander John Drysdale (American/Louisiana, 1870-1934), “Autumnal Bayou Scene”, 1914, oil wash on board, signed and dated lower left, 15 1/4 in. x 19 7/8 in., framed, overall 20 in. x 24 1/2 in. x 1 1/2 in. [$1500/2500]

Provenance: Estate of W. Wayne Lake, New Orleans, LA.

Provenance: Neal Auction Company, Dec. 6, 1997, lot 1234; Estate of W. Wayne Lake, New Orleans, LA. 5

7. Morris Henry Hobbs (American/ Louisiana, 1892-1967), “Autumn Landscape”, 1925, oil on canvas board, signed and dated lower left, “Devoe Studio” label en verso, “Jean Bragg Gallery of Southern Art, New Orleans” label on backing paper, 18 in. x 23 3/4 in., framed, overall 24 1/2 in. x 30 in. x 1 1/2 in. [$1000/1500] Provenance: Estate of W. Wayne Lake, New Orleans, LA. 8. Charles Whitfield Richards (American/Louisiana, 1906-1992), “Portrait of a Smiling Woman”, oil on canvas board, signed upper left, 16 in. x 19 3/4 in., framed, overall 18 1/8 in. x 22 1/8 in. x 1 3/4 in. [$200/400] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

9. Gideon Townsend Stanton (American/Louisiana, 1885-1964), “Portrait Head and Fruit”, oil on canvas board, signed lower left, signed, titled and inscribed en verso, 20 in. x 16 in., framed, overall 22 1/4 in. x 18 1/4 in. x 1 in. [$600/800]

10. Gideon Townsend Stanton (American/Louisiana, 1885-1964), “Beau with Hat”, oil on canvas, unsigned, handwritten label with artist and title on backing paper, 20 in. x 15 in., framed, overall 23 3/4 in. x 19 in. x 1 1/4 in. [$400/600]

Provenance: Estate of W. Wayne Lake, New Orleans, LA.

11. Knute Heldner (Swedish/Louisiana, 1877-1952), “Couple”, oil on canvas, signed lower left, 18 in. x 14 in., framed, overall 20 1/2 in. x 16 1/2 in. x 1 3/4 in. [$600/800] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

12. Knute Heldner (Swedish/Louisiana, 1877-1952), “Wooded Landscape Overlooking a Pond”, oil on canvas, signed lower right, 21 in. x 25 1/4 in., framed, overall 25 5/8 in. x 30 in. x 2 3/4 in. [$2000/3000] Provenance: Estate of W. Wayne Lake, New Orleans, LA. 6

13. Lacey Stinson (American/Louisiana, b. 1951), “Desert Landscape”, oil on canvas, signed lower right, 24 in. x 36 in., framed, overall 30 in. x 42 in. x 1 1/2 in. [$400/600] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

14. John Kamas (American, 1927-2010), “Nude Figure with Cross”, oil on board, signed lower center, signed and inscribed en verso, “Arthur’s 3005 Gallery, New Orleans” label and “Gallery Circle Theatre, New Orleans” label with artist biography on backing paper, 38 in. x 25 3/4 in., framed, overall 40 in. x 27 3/4 in. x 1 in. [$300/500] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

15. John Kamas (American, 1927-2010), “Abstract Composition in Red, Green, Blue and Yellow”, oil and mixed media on masonite, unsigned, 50 1/2 in. x 38 5/8 in., unframed. [$200/300] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

16.

John Kamas (American, 19272010), “Figures and Faces”, oil on canvas, unsigned, 35 3/4 in. x 48 in., unframed. [$200/300] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

17. Antique Queen Anne-Style Carved Walnut Highboy, 19th c., molded top, two short drawers over three long drawers, lower case with long drawer over two short, cabriole legs, pad feet, h. 59 1/2 in., w. 39 in., d. 21 1/2 in. [$800/1200] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

18.

Louis XV Carved Fruitwood Slant Front Desk, 18th c., shaped hinged lid, stepped fitted interior, two short drawers and central faux drawer, single long drawer below, cabriole legs, h. 40 1/4 in., w. 39 in., d. 22 1/4 in. [$500/700] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

19. Antique Regency Mahogany and Brass Wine Cooler, 19th c., spindled tapered frame containing a brass bucket, brass carrying handle, tripod supports, incurvate triangular plinth base, blocked feet, h. 22 1/2 in., dia. 13 in. [$150/250]

20. Rare Victorian Carved and FauxGrained Rosewood Music Stand, 19th c., stenciled in drawer Mitchell & Rammelsberg, molded top with handles, scrolling supports, drawer, castors, h. 39 1/2 in., w. 27 in., d. 16 in. [$700/1000]

New Orleans, LA.

Provenance: Estate of W. Wayne Lake, New Orleans, LA.

Provenance: Estate of W. Wayne Lake,

21. Pair of Antique English Cast Brass Candlesticks, square bases, h. 11 1/2 in. [$100/200] Provenance: Ex-Collection of Jessie Poesch, New Orleans; Estate of W. Wayne Lake, New Orleans, LA.

22. American School, 1841, “Portrait of a Woman”, oil on canvas, signed “Dumoulan” and dated on stretcher, 18 in. x 15 in., framed, overall 23 in. x 19 3/4 in. x 2 in. [$300/500] Provenance: Neal Auction Company, Feb. 8, 2003, lot 1046; Estate of W. Wayne Lake, New Orleans, LA.

23. After Henry Mosler (American, 1841-1920), “The Lost Cause”, oil on canvas, unsigned, 21 1/2 in. x 31 1/4 in., framed, overall 25 in. x 34 3/4 in. x 2 in. [$300/500] Provenance: Neal Auction Company, Sept. 12, 2020, lot 915; Estate of W. Wayne Lake, New Orleans, LA.

24. Everett B. D. Julio (British/ Louisiana, 1843-1879, active New Orleans, 1870-1878), “Portrait of a Bearded Man in a Turban”, 1875, oil on canvas, signed and dated lower right, pencil-inscribed on stretcher, 24 in. x 19 3/4 in., framed, overall 32 in. x 28 1/2 in. x 3 in. [$1200/1800] Provenance: Descended in a Louisiana and New England family; Neal Auction Company, Nov. 22, 2015, lot 827; Estate of W. Wayne Lake, New Orleans, LA.

25. Eurilda Loomis France (American, 1865-1931), “Singing in the Choir”, oil on canvas, signed upper right, 24 1/2 in. x 18 1/4 in., framed, overall 28 in. x 22 in. x 1 in. [$700/1000] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

26. Madeline Rachel Holmes Wells (Indian/British, 1879-1959), “Midsummer Day: An Inland Sea”, oil on canvas, signed lower right, handwritten label with artist and title and partial label on reverse of frame, label with artist and title and “Royal Institute Galleries, Piccadilly, London” label with artist and title on stretcher, 48 1/4 in. x 72 1/4 in., framed, overall 54 1/2 in. x 78 1/4 in. x 2 in. [$2000/3000] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

27. Alvin Howard Schwartz (American, 1916-2000), “Artist’s Model”, 1938, oil on canvas, signed and dated lower left, inscribed and provenance information attached to stretcher, 46 1/2 in. x 27 3/4 in., framed, overall 47 5/8 in. x 28 3/4 in. x 2 in. [$700/1000]

28. Catherine Harley Grant (American/Pennsylvania, 1897-1954), “Portrait of a Girl”, oil on canvas, signed lower right, handwritten label with artist on stretcher, 30 1/4 in. x 25 1/4 in., framed, overall 34 3/4 in. x 29 3/4 in. x 1 3/4 in. [$300/500]

Provenance: Neal Auction Company, Dec. 9, 1994, lot 191; Estate of W. Wayne Lake, New Orleans, LA.

Provenance: Estate of W. Wayne Lake, New Orleans, LA.

Exh.: Baltimore Museum of Art, c. 1940.

29. American Rococo Carved Mahogany Washstand, 19th c., marble top, frieze drawer, paneled doors, plinth base, disc feet, Note: Missing backsplash, h. 31 1/2 in., w. 35 in., d. 18 in. [$250/350] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

30. American Rococo Carved Mahogany Half Tester Bed, 19th c., New Orleans, serpentine bead molded tester, cluster column posts, volute scrolled paneled headboard centered with cabochon crest, shaped rails, mosquito net extensions, h. 118 1/2 in., l. 72 in., w. 64 in. Note: as is condition, missing tester arms. [$700/1000] Provenance: Estate of W. Wayne Lake, New Orleans, LA. 9

31. Large American or English Carved Mahogany Wing Chair, 19th c., rectangular back, scrolled arms, vasiform arm supports, fitted lift seat, ring-turned tapered legs, casters, h. 44 in., w. 28 1/2 in., d. 28 in. [$300/500] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

32. Antique American Chippendale Carved Mahogany Lowboy, 18th c. and later, long drawer over fan-carved drawer flanked by two short drawers, cabriole legs, pad feet, h. 36 in., w. 39 1/2 in., d. 21 1/2 in. [$250/350] Provenance: Estate of W. Wayne Lake,

New Orleans, LA.

33. American Federal Carved Mahogany Chest of Drawers, 19th c., two short drawers over three long drawers, bracket feet, h. 40 1/2 in., w. 44 1/4 in., d. 22 in. [$1000/1500] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

34. American Federal Walnut DropLeaf Dining Table, 19th c., square legs, h. 29 in., w. (closed) 42 in., w. (open) 62 in., d. 20 1/2 in. [$300/500] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

35. American Late Federal Walnut Chest, early 19th c., Mid-Atlantic, two short drawers over graduated drawers, turned tapered legs, h. 46 in., w. 38 1/2 in., d. 20 1/2 in. [$1000/1500] Provenance: Estate of W. Wayne Lake, New Orleans, LA. 36. Bronze Figure of “Diana of Gabii”, after the antique now conserved in the Palais du Louvre, Paris, h. 31 1/2 in., w. 8 3/4 in., d. 8 1/2 in. [$700/1000] Provenance: Neal Auction Company, July 13, 2013, lot 386; Estate of W. Wayne Lake, New Orleans, LA.

37. Bronze Figural Group of “Chien et Chat”, after Pierre Louis Rouillard, signature inscribed on self-base, h. 8 in., w. 9 1/4 in., d. 4 1/4 in. [$400/600] Provenance: Estate of W. Wayne Lake, New Orleans, LA. 10

38. American Southern Pine Traveler’s Trunk, 19th c., dome top, iron strap hinges, h. 30 in., w. 49 in., d. 22 in. [$250/350] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

39. Southern Pine and Cypress School House Desk, 19th c., lift top, square tapered legs, h. 29 3/4 in., w. 53 in., d. 26 in. [$300/500] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

40. Southern Pine Blanket Chest, 19th c., hinged top, molded base, turned feet, h. 24 in., w. 47 in., d. 23 1/2 in. [$300/500] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

42. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Golden Rod”, watercolor on paper, unsigned, estate stamp lower right, titled en verso, “Taylor Clark, Baton Rouge, LA” label on backing paper, 8 3/8 in. x 11 in., framed, overall 21 1/2 in. x 24 in. x 1 3/4 in. [$8000/12000]

41. Louisiana Cypress Work Table, early 18th c., overhanging top, deep frieze drawer, square tapered legs, h. 28 1/2 in., w. 45 1/2 in., d. 38 1/2 in. [$1000/1500]

Provenance: Estate of W. Wayne Lake, New Orleans, LA.

43. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Trees”, watercolor and graphite on paper, unsigned, estate stamp lower right, titled en verso, “Studio 8, New Orleans, LA” label with artist and title on backing paper, 8 1/2 in. x 11 in., framed, overall 15 3/4 in. x 18 1/4 in. x 3/4 in. [$7000/10000] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

Provenance: Estate of W. Wayne Lake, New Orleans, LA.

44. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Trees & Dunes, Horn Island”, watercolor and graphite on paper, unsigned, estate stamp lower right, titled en verso, “Taylor Clark, Baton Rouge, LA” label on backing paper, 11 in. x 8 1/2 in., framed, overall 18 1/4 in. x 14 1/2 in. x 3/4 in. [$7000/10000] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

45. Walter Inglis Anderson (American/Mississippi, 19031965), “Fishing”, ink on paper, unsigned, estate stamp lower right, “Taylor Clark, Baton Rouge, LA” label on backing paper, 7 7/8 in. x 10 1/2 in., framed, overall 21 in. x 24 in. x 1 in. [$800/1200] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

47. Angela Gregory (American/ Louisiana, 1903-1990), “Goose”, bronze, signed and inscribed “1©” and “SC” on self-base, h. 7 in., w. 7 in., d. 3 3/4 in. [$1000/1500] Provenance: Neal Auction Company, Nov. 21, 2015, lot 318; Estate of W. Wayne Lake, New Orleans, LA.

46. Shearwater Pottery Figure of a Lion, designed by Walter Anderson, shoal glaze, h. 5 1/2 in., w. 14 in., d. 5 in. [$700/1000] Provenance: Neal Auction Company, Sept. 14, 2018, lot 274; Estate of W. Wayne Lake, New Orleans, LA.

48. Attributed to Angela Gregory (American/ Louisiana, 1903-1990), “Woman Seated with Flowers (After Vincent Van Gogh)”, double-sided oil on panel, unsigned, 16 in. x 12 in., unframed. [$800/1200] Provenance: Neal Auction Company, Nov. 18, 2022, lot 347; Estate of W. Wayne Lake, New Orleans, LA. 49. William Norman Arnold (American/Louisiana, 1907-2006), “Moonlit Landscape”, 1996, oil on board, signed and dated lower right, signed, dated and inscribed en verso, “Taylor Clark, Baton Rouge, LA” label on backing paper, 12 in. x 16 in., framed, overall 17 1/2 in. x 21 1/2 in. x 1 1/4 in. [$500/700] Provenance: Estate of W. Wayne Lake, New Orleans, LA. 50. Marie Atkinson Hull (American/ Mississippi, 1890-1980), “Moonlit Houses”, oil on canvas board, signed lower left, 14 1/8 in. x 17 in., framed, overall 16 1/4 in. x 20 1/8 in. x 1 1/4 in. [$3000/5000] Provenance: Neal Auction Company, Oct. 6, 2007, lot 353; Estate of W. Wayne Lake, New Orleans, LA.

51. Marie Atkinson Hull (American/Mississippi, 18901980), “Mountainous Landscape with River”, watercolor on paper, signed lower left, “Bryant Galleries, Jackson and New Orleans” label on backing paper, 8 7/8 in. x 11 7/8 in., framed, overall 17 1/2 in. x 20 in. x 1 in. [$1000/1500] Provenance: Neal Auction Company, Nov. 11, 2020, lot 726; Estate of W. Wayne Lake, New Orleans, LA.

52. John Kamas (American, 1927-2010), “Tropical Landscape with Abstracted Figures and Birds”, oil on panel, unsigned, 23 3/4 in. x 48 in., unframed. [$200/300] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

53. John Kamas (American, 1927-2010), “Figures on Red Background”, oil on board collage, signed lower center, 25 3/4 in. x 37 1/2 in., framed, overall 28 1/2 in. x 40 1/4 in. x 2 in. [$200/300] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

54. Eliot Candee Clark (American, 1883-1980), “West Virginia”, 1980, oil on canvas, signed, dated and inscribed “For M.C.” lower right, “Eliot Clark (289) Estate” stamp and inscription and “The Marbella Gallery, Inc., New York” label with title on stretcher, 25 3/4 in. x 26 1/8 in., framed, overall 29 1/2 in. x 29 1/2 in. x 2 in. [$1200/1800] Provenance: Neal Auction Company, Nov. 20, 2010, lot 394; Estate of W. Wayne Lake, New Orleans, LA.

56. Lacey Stinson (American/ Louisiana, b. 1951), “Pine Trees, Dry Prong, LA”, 2001, oil on canvas, signed lower left, signed, titled and dated en verso, “Taylor Clark, Baton Rouge, LA” label on backing paper, 23 3/4 in. x 29 3/4 in., framed, overall 31 1/2 in. x 37 1/2 in. x 2 in. [$400/600]

55. Lacey Stinson (American/Louisiana, b. 1951), “Landscape with Tilled Fields and Pond”, 2000, oil on canvas, signed and dated lower left, “Taylor Clark, Baton Rouge” label on backing paper, 18 in. x 24 in., framed, overall 21 1/2 in. x 27 1/2 in. x 1 in. [$400/600]

Provenance: Estate of W. Wayne Lake, New

Provenance: Estate of W. Wayne Lake, New Orleans, LA.

Orleans, LA.

57. Charles Whitfield Richards (American/Louisiana, 19061992), “Standing Nude with Tree”, 1971, oil on canvas laid on board, signed and dated lower center, 16 3/4 in. x 13 1/4 in., framed, overall 19 in. x 16 in. x 2 in. [$500/700] Provenance: Neal Auction Company, June 8, 2002, lot 708; Estate of W. Wayne Lake, New Orleans, LA.

58. Don Wright (American/ Louisiana, 1938-2007), “Seated Nude”, 2000, pastel on paper, signed and dated lower left, 40 in. x 32 in., framed, overall 48 in. x 39 in. x 1 in. [$600/800] Provenance: Estate of W. Wayne Lake, New Orleans, LA. 13

59. Noel Rockmore (American/ Louisiana, 1928-1995), “Slumped Figure” and “Standing Figure”, 1964, 2 oils and mixed media on masonite, signed and dated upper and lower right, each 20 in. x 8 in., framed alike, both overall 24 in. x 12 1/4 in. x 1 in. (2 pcs.) [$300/500] Provenance: Estate of W. Wayne Lake, New Orleans, LA. 60. Noel Rockmore (American/ Louisiana, 1928-1995), “For Charles (Richards)”, 1981, charcoal on paper, signed, dated and personalized lower right, 14 in. x 11 in., framed, overall 21 1/4 in. x 16 1/2 in. x 1 in. [$500/800] Provenance: Neal Auction Company, Nov. 18, 2022, lot 108; Estate of W. Wayne Lake, New Orleans, LA.

61. Charles Whitfield Richards (American/Louisiana, 1906-1992), “Seated Nude”, oil on canvas, signed upper left, 20 1/8 in. x 16 1/8 in., framed, overall 26 1/2 in. x 22 3/4 in. x 1 1/2 in. [$250/350]

62. Charles Henry Reinike (American/Louisiana, 19061983), “Abstract Composition in Blue and Green”, watercolor on board, signed lower right, 15 5/8 in. x 24 3/4 in., framed, overall 18 1/4 in. x 27 1/2 in. x 1 1/2 in. [$600/800] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

Provenance: Estate of W. Wayne Lake, New Orleans, LA.

63. Lacey Stinson (American/Louisiana, b. 1951), “Red Peach Tree”, 1992, oil on canvas, signed lower right, signed, titled, dated and inscribed en verso, 23 7/8 in. x 29 7/8 in., framed, overall 25 in. x 31 in. x 1 3/4 in. [$500/700] Provenance: Estate of W. Wayne Lake, New Orleans, LA. 14

64. Lacey Stinson (American/Louisiana, b. 1951), “Row of Pecan Trees, Monroe, LA”, 1988, oil on canvas, signed lower left, signed, titled, dated and inscribed en verso, 14 in. x 19 7/8 in., framed, overall 15 3/8 in. x 21 3/4 in. x 1 1/2 in. [$200/300] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

65. Bill Binnings (American/ Louisiana, 20th c.), “Movement from 5th Position”, bronze, signed on self-base, unique cast, h. 25 3/4 in., w. 21 in., d. 15 in., granite base, overall h. 33 3/4 in. Note: Loose on base. [$300/500] Provenance: Acquired from the artist, c. 1980s; Neal Auction Company, Sept. 12, 2020, lot 835; Estate of W. Wayne Lake, New Orleans, LA. 66. Henry Casselli (American/Louisiana, b. 1946), “Landscape”, watercolor on paper, signed lower right, signed, titled and inscribed en verso, label with artist and title and “Springville Museum of Art 50th Annual National Exhibit” label with artist and title on backing board, sight 9 1/2 in. x 12 1/4 in., framed, overall 18 1/4 in. x 20 1/4 in. x 7/8 in. [$400/600] Provenance: Estate of W. Wayne Lake, New Orleans, LA. 67. Leonard Flettrich (American/ Louisiana, 1916-1970), “Untitled: Flambeau”, oil and mixed media on panel, signed lower left, 22 1/2 in. x 11 3/8 in., framed, overall 29 3/4 in. x 18 3/8 in. x 1 1/4 in. [$400/600] Provenance: Neal Auction Company, Feb. 6, 2021, lot 544; Estate of W. Wayne Lake, New Orleans, LA.

68. Carol Leake (American/ Louisiana, 20th c.), “Standing Nude”, watercolor and graphite on paper, signed lower left, 15 in. x 11 in., framed, overall 23 1/4 in. x 18 1/2 in. x 1 1/4 in. [$400/600] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

69. John Kamas (American, 1927-2010), “Study of Woman’s Head”, “Two Nude Females” and “Nude Figure”, 3 mixed medias on paper, 2 signed lower right, 13 1/2 in. x 8 in. to 13 7/8 in. x 11 in., each framed, overall 21 in. x 14 in. x 1 in. to 21 1/2 in. x 17 3/4 in. x 1 1/8 in. (3 pcs.) [$200/300] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

70. John Kamas (American, 1927-2010), “Two Figures”, graphite on paper, signed lower left, sight 13 in. x 10 1/4 in.; “Standing Figure”, ink and watercolor on paper, signed lower right, sight 10 1/2 in. x 7 3/4 in.; and “Figure with Birds”, watercolor on paper, signed lower right, sight 7 3/4 in. x 10 1/4 in., each framed, overall 18 in. x 15 1/4 in. x 1 in. to 19 1/4 in. x 21 1/4 in. x 1 3/4 in. (3 pcs.) [$150/250] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

71. Xavier de Callatay (Belgian/Louisiana, 1932-1999), “Mariea”, 1957, ink on paper, signed and dated lower right, “Dr. James W. Nelson Collection, Gonzales, LA” label with artist and title on backing paper, sight 15 in. x 11 in.; AND “Portrait of a Woman”, 1957, pastel on paper, signed and dated lower left, sight 15 in. x 11 in., both framed, overall 23 1/4 in. x 19 1/4 in. x 1 in. and 23 1/2 in. x 20 in. x 1 in. (2 pcs.) [$300/500] Provenance: Neal Auction Company, Nov. 21, 2020, lot 776; Estate of W. Wayne Lake, New Orleans, LA.

72. Erwin Binder (American, 19341993), “Drunken Woman: a Paraphrase of the Borghese Faun”, 1976, bronze, signed, dated and numbered “10 - 19” on self-base, h. 7 1/2 in., w. 6 in., d. 5 1/2 in., black stone base, overall h. 9 in. [$600/800]

Provenance: Neal Auction Company, June 9, 2007, lot 534; Estate of W. Wayne Lake, New Orleans, LA.

73. Romanian Tabriz Runner, Romania, contemporary, 2 ft. 6 in. x 10 ft., torn area, minor moth damage [$100/150] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

74. Sivas Carpet, Central Anatolia, mid-20th c., 6 ft. x 9 ft. 6 in. fraying to selvedges, small restoration to one side. [$500/700]

75. Hamadan Runner, Northwest Iran, contemporary, 2 ft. 11 in. x 15 ft. 11 in. [$300/500]

Provenance: Estate of W. Wayne Lake, New Orleans, LA.

76. New Orleans Coin Silver Meat Platter, Hyde & Goodrich, act. 1828-1861, marked on underside of rim “HYDE & GOODRICH” in arc, and “NEW ORLEANS” in corresponding arc, oval with gadroon border, flat chased well (rubbed), suppressed ball feet, 16 1/4 in. x 12 3/8 in., wt. 35.55 troy ozs. [$800/1200] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

77. New Orleans Vintage Motif Sterling Silver Repousse Footed Centerbowl, ret. T. Hausmann & Son, 1890-1893, no. 120, h. 5 in., dia. 12 1/4 in., wt. 28.20 troy ozs. [$600/900] Provenance: Estate of W. Wayne Lake, New Orleans, LA. 78. American Fiddlethread Coin Silver Soup Ladle, by Theodore Evans & Co., New York, wc. 1855-63, retailed by Miller & W...man., upcurved handle with curved shoulder, l. 12 7/8 in., wt. 6.95 troy ozs. [$100/200] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

79. American Coin Silver Fish Slice in the Aesthetic Taste, Albert Coles, New York, act 1835-1875, ret. M.W. Galt & Bro., Washington, DC, act. 1847-1871, flat-chased reticulated blade, ropetwist and bright-cut handle, l. 11 3/4 in., wt. 3.60 troy ozs., in fitted leather case marked for the retailer. [$100/200] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

81. Tiffany & Co. Silverplate Wine Cooler, with flared lip and paneled body, monogrammed, h. 9 1/4 in., dia. 9 1/2 in. [$100/200] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

80. Gorham “Chippendale” Sterling Silver Salver, no. 42612, date mark for 1965, dia. 12 in., wt. 26.20 troy ozs. [$500/700] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

82. Continental Hammered .800 Silver Fruit Bowl, Korner & Proll, Berlin, late 19th/early 20th c., serpentine rolled rim, h. 3 3/8 in., dia. 8 5/8 in., wt. 17.55 troy ozs. [$300/500] Provenance: Estate of W. Wayne Lake, New Orleans, LA. 17

Fine Wine & Spirits Neal Auction would like to thank Liz Dowdy Mitchell, Advanced Sommelier, Head of Wine at Vinovest and John Mitchell, Food & Beverage Director at the Windsor Court Hotel for their assistance with cataloguing.

83. Domaine René Engel Vosne-Romanée 2001, 3 bottles, 750 ml; each label has very light scuffs and marks. (3 bottles) [$800/1200] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

85. Maison Louis-Jadot Chambertin-Clos de Bèze Grand Cru 2008, 3 bottles, 750 ml.; one label has scratches and scuffs; 2 back labels have signatures; each capsule has light scratches and scuffs. (3 bottles) [$300/400] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

84. Domaine Faiveley Échézeaux Grand Cru 2012, 6 bottles, 750 ml.; 1 label has light tear and very light scuffs, 1 label signed; each capsule has varying amounts of clear tape remnants. (6 bottles) [$700/1000] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

86. Rhône Red Mixed Lot, Domaine Auguste Clape Cornas 1993, 1 bottle, 750ml, Domaine Jean-Louis Chave Hermitage 1994, 1 bottle, 750ml, Domaine de la Veille Julienne Châteauneuf-du-Pape Reservé 1995, 1 bottle, 750ml, Domaine Henri Bonneau Châteauneuf-du-Pape Cuvée Marie Beurrier 2003, 1 bottle, 750ml.; Clape label has scuffs, 1 small tear and light wrinkling; Chave label has scuffs, light wrinkling, light dirt and very light marks; Julienne label has scuffs, light marks and 1 small tear; wax capsule has cracks; Bonneau label has scuffs; top label has stains and scuffs. (4 bottles). [$500/600] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

87. 1st Growth Bordeaux Mixed Lot, Château Cheval Blanc Saint-Émilion 1er Grand Cru Classé 1986 and Château Lafitte Rothschild Pauillac 1er Cru Classé 1987, 2 bottles, 750 ml.; Cheval fill level to neck; label has scuffs, surface dirt and small area of light pink staining ; Rothschild fill level base of neck; label has scuffs, small tears and light surface dirt. (2 bottles) [$700/800] Provenance: Estate of W. Wayne Lake, New Orleans, LA. 88. Château d’Yquem Mixed Lot, Sauternes 1984, 1996, 1999, 3 bottles, 750ml. and Blanc “Y” 2002, 1 bottle, 750 ml.; ‘84 fill level top shoulder; label has stains, scuffs light dirt and signed; capsule has dirt, nicks and tears; ‘96 fill level base of neck; label has light scuffs and signed; ‘99 fill level base of neck; label has scuffs, light marks and signed; “Y” fill level base of neck; label has stains, marks, scuffs, surface dirt and two areas of pink discoloration. (4 bottles) [$700/1000] Provenance: Estate of W. Wayne Lake, New Orleans, LA. 89. Barbeito Bual Reserva Velha Madeira 1953, 1 bottle, 750ml.; label has light scuffs and light dirt; back label has light scuffs and light dirt; chipping and loss on wax capsule. [$300/400] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

90. D’Oliveiras Mixed Lot, Boal Reserva Madeira 1968, 1 bottle, 750ml. and Malvasia Madeira 1989, 1 bottle, 750 ml.; ‘68 has light dirt; capsule has very light stains; ‘89 has light dirt; back label has light scuffs. (2 bottles) [$300/400] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

91. D’Oliveiras Boal Reserva Madeira 1922, 1 bottle, 750ml.; light surface dirt; back label has scuffs and surface dirt; top label has light scuffs; capsule has chips and losses and brittle. [$300/400] Provenance: Estate of W. Wayne Lake, New Orleans, LA.

92. Pappy Van Winkle’s Family Reserve 20 Years Old Bourbon, bottled by Old Rip Van Winkle Distillery, Frankfort, Kentucky, alc. 45.2%, 90.4 proof with original red presentation bag [$1200/1800]

93. Van Winkle Special Reserve 12 Years Old Bourbon, Lot “B”, bottled by Old Rip Van Winkle Distillery, Frankfort, Kentucky, alc. 45.2%, 90.4 proof. [$700/1000]

94. Domaine Henri Boillot BâtardMontrachet Grand Cru 2012, unopened original wooden case, 6 bottles, 750ml. [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR.

95. Domaine Henri Boillot Chambertin Grand Cru 2012, unopened original wood case, 6 bottles, 750ml. [$800/1200] Provenance: Michael W. Murphy, El Dorado, AR.

96. Joseph Drouhin Marquis de Laguiche Montrachet 2005, unopened original wood case, 6 bottles, 750ml. [$1500/2500] Provenance: Michael W. Murphy, El Dorado, AR.

97. Joeph Drouhin Marquis de Laguiche Montrachet 2006, unopened original wood case, 6 bottles, 750ml. [$2000/3000] Provenance: Michael W. Murphy, El Dorado, AR.

98. Joseph Drouhin GriottesChambertin Grand Cru 2010, unopened original wood case, 6 bottles, 750ml. [$1000/1500] Provenance: Michael W. Murphy, El Dorado, AR.

99. Joseph Drouhin CortonCharlemagne 2011, unopened original wood case, 6 bottles 750ml. [$800/1200] Provenance: Michael W. Murphy, El Dorado, AR.

100. Joseph Drouhin ChambertinClos de Bèze Grand Cru 2011, unopened original case, 6 bottles, 750ml. [$800/1200] Provenance: Michael W. Murphy, El Dorado, AR.

101. Joseph Drouhin ChambertinClos de Bèze Grand Cru 2011, unopened original case, 6 bottles, 750ml. [$800/1200] Provenance: Michael W. Murphy, El Dorado, AR.

102. Bouchard Père & Fils Chambertin-Clos de Bèze Grand Cru 2011, unopened original wood case, 12 bottles, 750ml. [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR.

103. Bouchard Père & Fils Chambertin-Clos de Bèze Grand Cru 2011, unopened original wood case, 12 bottles, 750ml. [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR.

104. Bouchard Père & Fils ChevalierMontrachet Grand Cru 2011, original wood case without lid, 4 bottles, 750ml. [$600/800] Provenance: Michael W. Murphy, El Dorado, AR.

105. Domaine Georges Mugneret-Gibourg Ruchottes-Chambertin Grand Cru 2009, original case, 5 bottles, 750ml. [$2000/3000] Provenance: Michael W. Murphy, El Dorado, AR.

106. Domaine Georges Mugneret-Gibourg Échézeaux Grand Cru 2009, original case, 7 bottles, 750ml. [$2500/3500] Provenance: Michael W. Murphy, El Dorado, AR. 21

107. Maison Louis Jadot Chambertin-Clos de Bèze Grand Cru 2011, unopened original wood case, 6 bottles, 750ml. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

108. Maison Louis Jadot Montrachet Grand Cru 2011, unopened original wood case, 6 bottles, 750ml. [$3000/5000] Provenance: Michael W. Murphy, El Dorado, AR.

109. Domaine Henri Boillot BâtardMontrachet Grand Cru 2012, unopened original wood case, 6 bottles, 750ml. [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR.

110. Domaine Henri Boillot BâtardMontrachet Grand Cru 2012, unopened original wood case, 6 bottles, 750ml. [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR.

111. Domaine Henri Boillot Bienvenue BâtardMontrachet Grand Cru 2012, unopened original wood case, 6 bottles, 750ml. [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR.

113. Domaine Jacques-Frédéric Mugnier Musigny Grand Cru 2008, unopened original wood case, 6 bottles, 750ml. [$8000/12000] Provenance: Michael W. Murphy, El Dorado, AR. 22

112. Domaine Jacqcues-Frédéric Mugnier Bonnes-Mares Grand Cru 2008, unopened original wood case, 6 bottles, 750ml. [$3000/4000] Provenance: Michael W. Murphy, El Dorado, AR.

114. Domaine Jacques-Frédéric Mugnier Chambolle-Musigny Les Amoureuses 1er Cru 2008, unopened original wood case, 6 botttles, 750ml. [$7000/10000] Provenance: Michael W. Murphy, El Dorado, AR.

115. Domanine Jacques-Frédéric Mugnier Musigny 2008, unopened original wood case, 6 bottles, 750ml. [$8000/12000] Provenance: Michael W. Murphy, El Dorado, AR.

117. Domaine Perrot-Minot Mazoyères-Chambertin Grand Cru 2011, original case, 12 bottles, 750ml. [$1500/2500] Provenance: Michael W. Murphy, El Dorado, AR.

116. Joseph Drouhin Marquis de Laguiche Montachet Grand Cru 2006, unopened original wood case, 6 bottles, 750ml. [$2000/3000] Provenance: Michael W. Murphy, El Dorado, AR.

118. Domaine Armand Rousseau Chambertin-Clos de Bèze Grand Cru 2011, original unopened case, 6 bottles, 750ml. [$7000/10000] Provenance: Michael W. Murphy, El Dorado, AR.

119. Domaine Dominique Mugneret Romanée-Saint-Vivant Grand Cru 2011, unopened original case, 12 bottles, 750ml. [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR.

120. Domaine Comte Georges de Vogüé Bonnes-Mares Grand Cru 2007, unopened original wood case, 6 bottles, 750ml. [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR.

121. Domaine Leflaive PulignyMontrachet Les Pucelles 1er Cru 2011, unopened original wood case, 6 bottles, 750ml. [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR.

122. Joseph Drouhin Marquis de Laguiche Montrachet Grand Cru 2010, unopened original wood case, 6 bottles, 750ml. [$2500/3500] Provenance: Michael W. Murphy, El Dorado, AR. 23

129. Joseph Drouhin ChambertinClos de Bèze Grand Cru 2011, unopened original case, 6 bottles, 750ml. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR 24

123. Joseph Drouhin ChambertinClos de Bèze Grand Cru 2011, unopened original wood case, 6 bottles, 750ml. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

124. Domaine Sylvain Cathiard & Fils Vosne-Romanée Aux Malconsorts 1er Cru 2012, unopened original case, 6 bottles, 750ml. [$2500/3500] Provenance: Michael W. Murphy, El Dorado, AR.

125. Domanine Sylvain Cathaird & Fils Vosne-Romanée Aux Malconsorts 1er Cru 2012, unopened original case, 6 bottles, 750ml. [$2500/3500] Provenance: Michael W. Murphy, El Dorado, AR.

126. Joseph Douhin Marquis de Laguiche Montrachet Grand Cru 2012, original unopened wood case, 6 bottles, 750ml. [$1500/2500] Provenance: Michael W. Murphy, El Dorado, AR.

127 Joseph Drouhin BâtardMontrachet Grand Cru 2010, original case, 4 bottles, 750ml. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

128. Joseph Drouhin Échézeaux Grand Cru 2010, unopened original case, 6 bottles, 750ml. [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR.

130. Domaine Roger Belland Criots-Bâtard-Montrachet Grand Cru 2010, original case, 12 bottles, 750ml. [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR.

131. Domaine Roger-Joseph Belland Criots-Bâtard-Montrachet Grand Cru 2010, unopened original case, 12 bottles, 750ml. [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR.

132. Joseph Drouhin Chambertin-Clos de Bèze Grand Cru 2011, unopened original case, 6 bottles, 750ml. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

133. Maison Louis Jadot Chambertin-Clos de Bèze Grand Cru 2011, unopened original wood case, 6 bottles, 750ml. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

134. Louis Jadot ChevalierMontrachet Les Demoiselles Grand Cru 2011, unopened original wood case, 6 bottles, 750ml. [$800/1200] Provenance: Michael W. Murphy, El Dorado, AR. 135. Domaine Leflaive Puligny-Montrachet Clavoillon 1er Cru 2011, original wood case, 3 bottles, 750ml. [$600/800] Provenance: Michael W. Murphy, El Dorado, AR.

137. Joseph Drouhin Marquis de Laguiche Montrachet 2010, 1 bottle, 1500ml.; label has very light wrinkling. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

136. Maison Louis Jadot Musigny Grand Cru 2011, original wood case, 3 bottles, 750ml. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

139. Maison Louis Jadot Montrachet Grand Cru 2011, 3 bottles, 750ml; 1 with torn and scratched label; each back label with dirt and damp staining; 1 with lightly corroded capsule. (3 bottles) [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR.

138. Domaine René Engle Clos-Vougeot 1998, 1 bottle, 750ml.; label has very light scuffing. [$1000/1500] Provenance: Michael W. Murphy, El Dorado, AR.

140. Domaine Vincent Girardin Chevalier-Montrachet Grand Cru 2001, 7 bottles, 750ml.; 2 with damp stained and tattered labels, 4 with lightly scuffed labels; each with stained, torn, damp stained and dirt on back label. (7 bottles) [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR. 25

141. Domaine Faiveley Confrérie de Tastevin Clos de Vougeot Grand Cru 1991, 12 bottles, 750ml.; 1 label with light scuffs, 2 with remnants of tissue; 1 capsule with nick. (12 bottles) [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

142. Domaine Faiveley Mixed Lot, Charmes-Chambertin Grand Cru 1988, 2 bottles, 750ml.; Latricières-Chambertin Grand Cru 1997, 6 bottles, 750ml.; Charmes each fill level at 3 cm., 1 label light stains and light wrinkling, 1 label light scuffs; Latricieres 1 back label with damp stains, 1 top label with stains and scuffs. (8 bottles) [$600/800] Provenance: Michael W. Murphy, El Dorado, AR.

143. Château André Ziltener Mixed Lot, Charmes-Chambertin Grand Cru 1996, 4 bottles, 750ml.; Bonnes-Mares Grand Cru 1996, 8 bottles, 750ml.; Chambertin Clos-de-Bèze Grand Cru 1996, 4 bottles 750ml.; Échézeaux Grand Cru 1997, 3 bottles, 750ml.; Charmes 3 labels with damp stains, 1 with light scuffs; Bonne Mares 4 scuffed labels, 1 label damp stains and torn, 2 labels with light dirt; 1 top label with stains; 2 capsules stained, 2 capsules with light scuffs; Beze 2 lables with light scuffs, 1 label with wrinkling Echezeaux 1 label with damp stains and dirt, 1 with wrinkling; 1 top label with scuffs. (19 bottles). [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

144. Domaine des Comtes Lafon Mixed Lot, Meursault-Charmes 1er Cru 2008, 3 bottles, 750 ml.; Meursault-Gouttes d’Or 1er Cru 2011, 3 bottles 750ml.; Charmes 2 labels very light wrinkling; Gouttes 1 label lightly scuffed with associated tear; 1 label with very small stain. (6 bottles) [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

145. Corton-Charlemagne Mixed Lot, Maison Louis Latour Corton-Charlemagne 1990, 1 bottle, 750ml.; Domaine Paul Pernot Corton-Charlemagne Grand Cru 1990, 2 bottles, 750ml.; Domaine Follin-Arbelet Corton-Charlemagne Grand Cru 1998, 3 bottles, 750ml; Maison Louis Jadot Corton-Charlemagne Grand Cru 2000, 2 bottles, 750ml.; Latour label lightly scuffed; Follin has 2 labels with stains, scuffs and marks; 2 back lables with stains, scuffs, marks and tears. (8 bottles) [$600/800] Provenance: Michael W. Murphy, El Dorado, AR.

146. White Burgundy Mixed Lot, Domaine Albert Morey Bâtard-Montrachet Grand Cru 1994, 2 bottles, 750ml.; Domaine Etienne Sauzet Puligny-Montrachet La Garenne 1er Cru 1994, 2 bottles, 750ml.; Domaine François Jobard Meursault En LaBarre 1994, 1 bottle, 750ml.; Domaine Pierre Morey Meursault Perrières 1er Cru 1997, 6 bottles, 750ml.; Maison Louis Jadot Meursault Perrières 1er Cru 1999, 5 bottles, 750ml.; Albert each label and top label has light scuffs; each capsule has light stains and scuffs; 1 has light nicks; Sauzet each label has light scuffs, each capsule has light nicks, scratches, stains and light wrinkling; Jobard label has light wrinkling and light scuffs; capsule has light scuffs; Pierre each label has very light wrinkling and light scuffs; each capsule has light wrinkling, scuffs and stains; Jadot 1 label has small tear; 3 back labels have light scuff; each capsule have light scuffs. (16 bottles). [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

147. Red Burgundy Mixed Lot, Domaine Chandon de Briailles Corton-Bressandes Grand Cru 1983, 2 bottles, 750ml.; Domaine Potinet-Ampeau Volnay-Clos de Chênes Premier Cru 1990, 1 bottle, 750ml., Domaine Follin-Arbelet Corton Bressandes Grand Cru 1998, 5 bottles, 750 ml., Vincent Girardin Latricières-Chambertin Grand Cru 2000, 2 bottles, 750ml.; Vincent Girardin Mazis-Chambertin Grand Cru 2000, 1 bottle, 750ml.; Domaine Jean Grivot Clos de Vougeot Grand Cru 2005, 1 bottle, 750ml.; Chandon 1 fill level at 3 cm, 1 at 2.5 cm; each label and top label with light scuffs and light wrinkling; each capsule with light stains, very small nicks and scratches; Potinet label has very light scuffs and very light wrinkling; Follin all labels and back labels with light dirt, scuffs, stains and light wrinkling; all capsules with light scratches; Girardin Latricieres 1 bottle has dirt and pigment; label has stains, dirt, damp stains and scuffs; capsule has stains and scuffs, other bottle label with light scuffs and dirt; back label with dirt stains and scuffs, Girardin Mazis label with light scuffs and dirt; capsule with light scuffs; Givrot in generally good condition. (12 bottles). [$800/900] Provenance: Michael W. Murphy, El Dorado, AR.

148. Château Mouton Rothschild Pauillac 1er Cru Classé 1976, 1 bottle, 750ml.; fill level low shoulder; label has light scuffs and marks; cork is depressed; 1 nick on capsule. [$200/300] Provenance: Michael W. Murphy, El Dorado, AR.

149. Château Pétrus Pomerol 1978, 1 bottle, 750ml.; fill level to top shoulder; label and capsule have light dirt. [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR.

150. Château Cheval Blanc SaintÉmilion 1er Grand Cru Classé 1976, 3 bottles, 750ml; each fill level to high shoulder; 2 with very small label wrinkles; each with very light scratches on capsules and 1 with small capsule tear. (3 bottles) [$800/1200] Provenance: Michael W. Murphy, El Dorado, AR.

152. California Wines Mixed Lot, Silver Oak North Coast Cabernet Sauvignon 1973, 1 bottle, 750ml.; Jordan Cabernet Sauvignon 1976, 4 bottles, 750ml.; Jordan Cabernet Sauvignon 1985, 2 bottles, 750ml.; Opus One 1983, 2 bottles, 750ml.; Silver Oak fill level top shoulder ; label tattered with wrinkles and scuffs; back label damp stained with tears and dirt; capsule oxidation, corrosion and scratches; Jordan ‘76 2 fill levels base of neck, 1 top shoulder and 1 high shoulder; each label light wrinkling; 1with nicked capsule with associated very light leakage; Jordan ‘85 each fill level top shoulder; each label with light wrinkling; Opus One each fill level base of neck; each label with very light scuffing. (9 bottles) [$800/1200] Provenance: Michael W. Murphy, El Dorado, AR.

154. Dom Ruinart Brut Rosé 1981, 1 bottle, 1500ml.; label has scuffs, scratches and light wrinkling; top label has scuffs, scratches and light wrinkling; capsule has light scratches. [$400/500] Provenance: Michael W. Murphy, El Dorado, AR.

156. Champagne Salon Le Mesnil Grand Cru 1997, unopened original wood case, 6 bottles, 750ml. [$4000/6000] Provenance: Michael W. Murphy, El Dorado, AR. 28

151. Château Figeac Saint-Émilion Premier Grand Cru Classé 1966, 3 bottles, 750ml.; each fill level to shoulder; labels with light dirt, 1 with small tear and 1 beginning to peel along left side; each with lightly scratched capsules and lower portion of capsules removed displaying small portion of the cork. (3 bottles) [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

153. Philipponnat Clos des Goisses 1991, unopened original wood case, 6 bottles, 750ml. [$1200/1500] Provenance: Michael W. Murphy, El Dorado, AR.

155. Champagne Salon Le Mesnil Grand Cru 1997, unopened original wood case, 6 bottles, 750ml. [$4000/6000] Provenance: Michael W. Murphy, El Dorado, AR.

157. Maison Louis Jadot ChevalierMontrachet Les Demoiselles Grand Cru 2011, unopened original wood case, 6 bottles, 750ml. [$800/1200] Provenance: Michael W. Murphy, El Dorado, AR.

LIVE AUCTION Thursday, November 16, 1 p.m. LOTS 158-454

159. Emilia Castillo Hammered Sterling Silver Sugar Spoon, TO-85, l. 5 5/8 in., wt. 2.45 troy ozs.; with Neiman Marcus dust bag. [$200/300] Provenance: The Estate of Caroline P. Ireland.

158. Los Castillo Silverplate and Inlaid Pitcher, Taxco, Reg. TA-01, design 207, bird handle, h. 4 3/4 in. [$200/300] Provenance: The Estate of Caroline P. Ireland.

160. Emilia Castillo “Frog and Lilypad” Hammered Silverplate Wine Coaster, TO-85, dia. 4 3/4 in. [$200/300] Provenance: The Estate of Caroline P. Ireland.

161. Emilia Castillo Hammered Silverplate and Inlaid Serving Bowl, TO-85, scrolled handles, ball feet, h. 4 in., w. 16 1/2 in. [$300/500] Provenance: The Estate of Caroline P. Ireland.

162. Emilia Castillo “Blackbird” Hammered Silverplate and Onyx Sugar, Creamer, Jam Pot and Spoon, TO-85, creamer h. 5 7/8 in., with Neiman Marcus dust bags. [$300/500] Provenance: The Estate of Caroline P. Ireland.

164. Emilia Castillo “Toucan” Hammered Silverplate and Inlaid Pitcher, TO-85, h. 5 3/4 in. [$200/300] Provenance: The Estate of Caroline P. Ireland.

163. Emilia Castillo “Blackbird” Hammered Silverplate and Onyx Inlaid Wine Coaster, TO-85, verdigris leaves, w. 7 3/4 in. [$200/300] Provenance: The Estate of Caroline P. Ireland.

164A. International La Paglia-Designed Sterling Silver Tea Tray, no. 106c, l. 24 1/2 in., w. 15 in., wt. 108.35 troy ozs. [$2000/3000] Note: Sicilian-born Alphonse La Paglia (1907-1953) studied silversmithing with Georg Jensen in Denmark. He designed for Frederik Lunning’s Georg Jensen USA in the early 1940s. In 1952 La Paglia began a working relationship with International Silver Company creating modern Danish designs for holloware such as this tea tray. Provenance: The Estate of Caroline P. Ireland.

165. Mexican Silverplate and Inlaid Water Pitcher, marked “Villasanda/ Plateado/Cobre/Taxco”, handle surmounted by whimsical bird, hammered surface, some small losses to silvering, h. 12 1/4 in. [$300/500] Provenance: Michael W. Murphy, El Dorado, AR.

165A. Mexican Sterling Silver Tray, Jose Marmolejo, Mexico City, Eagle 32 mark, molded rim, 21 in. x 16 1/2 in., wt. 63.50 troy ozs. [$700/1000]

166. Gorham Sterling Silver Shell Dish, no. 40617, 9 1/4 in. x 9 1/4 in., wt. 17.70 troy ozs. [$300/500] Provenance: The Estate of Caroline P. Ireland.

167. Two Gorham Sterling Silver Bread Trays, incl. no. 3365, date mark for 1893, l. 13 1/2 in.; and no. 4240, date mark for 1896, l. 12 1/2 in.; total wt. 27.75 troy ozs. [$400/600] Provenance: Michael W. Murphy, El Dorado, AR.

168. Gorham “Chantilly Grand” Pattern Sterling Silver Oval Platter, no. A583, date mark for 1914, l. 18 in., wt. 35.90 troy ozs. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

169. American Sterling Silver Gravyboat and Undertray in the Neoclassical Taste, c. 1900, Frank M. Whiting, North Attleboro, MA, act. 18781940, no. 5805, l. 7 1/2 in., wt. 14 troy ozs. [$250/350] Provenance: Michael W. Murphy, El Dorado, AR.

171. Good American Sterling Silver Asparagus Dish, Mauser Mfg. Co., New York NY, act. 1892-1904, oblong with robustly cast reticulated floral border, floral bracketed scroll feet, h. 2 3/4 in., w. 14 3/4 in., d. 10 7/8 in., wt. 29.85 troy ozs. Note: missing mazarine. [$600/900] Provenance: Michael W. Murphy, El Dorado, AR. 170. Pair of Gorham Sterling Silver Columnar Candlesticks, no. 281, date mark for 1894, each with removable bobeche, fluted shaft, incurvate base, weighted, h. 10 in. [$300/500] Provenance: Michael W. Murphy, El Dorado, AR.

172. Tiffany “Winthrop” Pattern Sterling Silver Asparagus Tongs, pat. 1909, designer Albert A. Southwick, l. 7 3/4 in., wt. 6.35 troy ozs. [$250/350] Provenance: Michael W. Murphy, El Dorado, AR.

173. American Sterling Silver Coffee and Tea Service, mid-20th c., Redlich, New York, NY, act. 1895-1946, model no. 8160, incl. coffee pot, teapot, covered sugar, creamer, waste bowl, coffee pot h. 11 7/8 in., total wt. 104.65 troy ozs. (5 pcs.) [$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.

174. Kirk Sterling Silver Repousse Salver, c. 1896-1924, marked “S KIRK & SON Co” and “925/1000”, floral repousse border on stippled ground, well flat chased with scrolls, ball and claw feet, dia. 12 1/4 in., wt. 24.75 troy ozs. [$600/900] Provenance: Michael W. Murphy, El Dorado, AR.

175. Reed & Barton “Bradford” Pattern Sterling Silver Coffee and Tea Service, mid-20th c., incl. coffee pot (h. 11 1/2 in.), teapot, covered sugar and creamer; together with pair of sterling baluster form salt and pepper casters, h. 5 1/4 in., total wt. 114 troy ozs. (6 pcs.) [$2000/3000] 32

176. William Michael Harnett (American, 1848-1892), “Fruit and Asparagus”, 1875, oil on canvas, signed and dated lower left, “Coe Kerr Gallery, New York, NY”, “Kennedy Galleries, New York, NY”, “Meredith Long & Co., Houston, TX” and “Adelson Galleries Inc., New York, NY” labels with artist, title and date attached to backing board, “F.J. Ulrich, New York, NY” label and inscribed on stretcher, 18 in. x 24 in., framed, overall 29 1/2 in. x 35 1/4 in. x 3 1/2 in.; accompanied by a copy of a letter by William H. Gerdts, Professor of Art History at City University Graduate School in New York analyzing the painting. (2 pcs.) [$50000/80000] Provenance: Jess Pavey, Birmingham, Michigan, by 1969; Knoedler & Co., New York, NY; Kennedy Galleries, New York, NY; Coe Kerr Gallery, New York, NY; Meredith Long & Company, Houston, TX; Adelson Galleries, New York, NY; Private Collection, 1979; The Estate of Caroline P. Ireland. Ill.: Frankenstein, Alfred V. After the Hunt: William Harnett and Other American Still Life Painters, 1870-1900. Berkeley: University of California Press, 1975, p. 165. Exh.: National Academy of Design, New York, NY, 1875; National Gallery of Art, Washington D.C.; Whitney Museum of American Art, New York, NY; University Art Museum, Berkeley, CA; Palace of the Legion of Honor, San Francisco, CA; The Reality of Appearance: The Trompe L’Oeil Tradition in American Painting, Detroit Institute of Arts, Detroit, MI, Mar. – Oct. 1970, and listed in the accompanying catalogue no. 20, pp. 15, 58-59. Note: William Michael Harnett was born in Ireland in 1848 and immigrated to Philadelphia with his parents when he was an infant. While he is primarily known for his meticulously rendered trompe l’oeil paintings, he started his artistic career as an engraver and eventually enrolled in the Antiques class at the Pennsylvania Academy of Fine Arts. He later took classes at Cooper Union and the National Academy of Design in New York. Between 1874 and 1876, Harnett switched his preferred medium to oil on canvas and executed a small group—only four of this scale are known—of stunningly detailed still lifes of fruit, including the important lot offered here entitled “Fruit and Asparagus.” This rare group of still lifes serves as a fascinating precursor to his celebrated trompe l’oeil compositions. “Fruit and Asparagus” is a skilled display of texture and color with hyperrealistic renderings that clearly lay the groundwork for his later paintings. The pebbled, round bodies of the oranges noticeably contrast with the smooth ceramic vase and rough,

hairy coconut. The crisp pages of the newspaper lend depth to a relatively shallow plane and add a layer of dimensionality that is described in great detail in a letter from William H. Gerdts: “Deceptive illusionism is the key to Harnett’s painting as it was not to the previous generations. And to heighten that, Harnett had introduced the newspaper which stretched beyond the edge of the marble table, that is, beyond the picture plane and seemingly out into the space of the viewer. His mastery of the nature of newspaper and the illusion of printing on it… are qualities he will repeat over and over again in the future and which will be taken up by his myriad of followers but it is found here for the first time.” Ref.: “William Michael Harnett”. National Gallery of Art. www.nga.gov. Accessed Oct. 5, 2023.

177. Norton Bush (American, 1834-1894), “Chinese Pavilions on Beach, San Francisco”, 1893, oil on canvas, signed lower right, signed, titled, dated and inscribed “San Francisco Art Association” en verso, 9 in. x 16 in., framed, overall 14 3/4 in. x 21 3/4 in. x 2 1/2 in. [$3000/5000] Provenance: Michael W. Murphy, El Dorado, AR.

178. Elihu Vedder (American/New York, 1836-1923), “Desert Landscape”, 1899, charcoal on paper, signed and dated lower right, partial sketch and inscribed under mat, inscribed en verso, 2 handwritten labels from previous matting on backing paper, 12 3/4 in. x 8 1/8 in.; and “Looking South from Zowyeh”, 1899, charcoal and graphite on paper, signed twice, upper right and lower right, dated upper right, inscribed lower right, titled center, inscribed en verso, 3 labels from previous matting on backing paper, 8 1/4 in. x 12 7/8 in., framed alike, overall 13 3/4 in. x 18 1/2 in. x 1 in. and 14 3/4 in. x 13 3/4 in. x 3/4 in. (2 pcs.) [$600/800] Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (19432022), Baton Rouge, LA.

179. Jane Peterson (American/Illinois, 1876-1965), “The Doge’s Palace”, 1938, gouache on paper, signed lower right, signed, dated and personalized en verso, “Savageau’s, Denver, CO” label with artist and title on backing paper, 16 in. x 12 in., framed, overall 22 1/2 in. x 17 1/2 in. x 1 in. [$4000/6000] Provenance: Michael W. Murphy, El Dorado, AR.

180. American School, 20th c., “Still Life with Vase of Tulips”, 1933, watercolor on paper mounted to board, signed “AH Grill” and dated lower left, 16 3/8 in. x 11 1/4 in., framed, overall 24 1/4 in. x 19 3/4 in. x 3/4 in. [$800/1200]

181. Milne Ramsey (American, 1847-1915), “Pasture Land”, oil on panel, signed lower right, inscribed en verso, “Chapellier Galleries Inc., New York, NY” label with artist and title and “Coe Kerr Gallery Inc., New York, NY” label on backing board, 4 3/4 in. x 7 1/2 in., framed, overall 7 5/8 in. x 10 1/2 in. x 1 3/8 in. [$400/600] Provenance: The Estate of Caroline P. Ireland. 182. Milne Ramsey (American, 1847-1915), “Old Willows”, oil on panel, unsigned, “Chapellier Galleries Inc., New York, NY” label with artist and title en verso, 3 1/2 in. x 6 1/4 in., framed, overall 6 1/8 in. x 8 3/4 in. x 1 3/8 in. [$400/600] Provenance: The Estate of Caroline P. Ireland.

183. Charles Herbert Woodbury (American/Massachusetts, 1864-1940), “Shadows on the Sand”, 1906, oil on canvas, initialed and dated lower side, titled, label with title and artist and handwritten label inscribed “Property of David O. Woodbury” on stretcher, “Coe Kerr Gallery, New York, NY” label on reverse of frame, 17 in. x 21 in., framed, overall 25 1/4 in. x 29 1/4 in. x 3 1/2 in.; accompanied by paperwork from Vose Galleries and Coe Kerr Gallery. (2 pcs.) [$6000/8000] Provenance: Estate of the artist; Vose Galleries, Boston, MA; Coe Kerr Gallery Inc., New York, NY; Estate of Caroline P. Ireland

Note: Charles Woodbury was a prolific painter born and raised in Lynn, Massachusetts. While studying as a mechanical engineering student at MIT, he began exhibiting his paintings at the Boston Art Club. For six months Woodbury studied painting at the Academie Julian in Paris. After he returned to New England, he founded the Ogunquit Art Association in Ogunquit, Maine where he became one of the most sought-after art teachers. He was president of the Boston Watercolor Society and became a member of the National Academy of Design in New York in 1907. His plein air paintings capture the natural beauty of the New England coast where he painted in “verbs, not nouns.” The lot offered here showcases one of Woodbury’s often visited subjects: women relaxing on the coast. In it, the serene beach goers gaze at their gentle shadows, letting the sand fall through their fingers. Woodbury depicts the scene with a delicate hand, using an impressionist palette to explore the play of light and darkness on the shore. Ref.: Vose, Abbott and Robert C. Vose III. Charles H. Woodbury N.A. 1864-1940. Boston: Vose Galleries, 1978. 35

184. Jules Francois Pages (American/California, 1833-1910), “Still Life”, oil on canvas board, signed lower left, “Morin & Janet, Paris” stamp en verso, 8 1/2 in. x 6 1/4 in., framed, overall 12 in. x 9 1/2 in. x 1 1/2 in. [$1000/1500]

185. Franz Rohrbeck (German/American, 1852-1919), “Study for Jerusalem Cyclorama”, oil on canvas, signed lower right, 30 1/4 in. x 25 1/4 in., framed, overall 36 in. x 31 in. x 2 1/2 in. [$1500/2500]

186. Attributed to Franklin De Haven (American, 1856-1934), “Wooded Landscape”, oil on board, unsigned, inscribed en verso, 14 in. x 10 1/4 in., framed, overall 15 1/2 in. x 11 7/8 in. x 1 in. [$800/1200]

187. Peter Lanz Hohnstedt (American, 1871-1957), “Mountain Landscape”, oil on board, signed lower right, 11 7/8 in. x 15 3/4 in., framed, overall 18 1/2 in. x 22 1/2 in. x 1 3/8 in. [$800/1200]

188. Harry Leith-Ross (Mauritian/American, 1886-1973), “Ice on Pidcock Creek”, oil on canvas board, signed lower left, typed gallery label with artist and title on backing board, 7 1/2 in. x 9 7/8 in., framed, overall 10 3/4 in. x 12 1/2 in. x 1 in. [$3000/5000]

189. Imero Gobbato (American/Maine, 1923-2010), “Sailboats”, oil on panel, signed upper right, inscribed “#6” en verso, 24 in. x 36 in., framed, overall 31 3/4 in. x 43 3/4 in. x 2 in. [$6000/8000] Note: Imero Gobbato was born in Italy in 1923. When he was fifteen, Gobbato began studying art at the Liceo Artistico in Milan, then transferred to the Istituto d’Arte in Venice where he earned his Maestro d’Arte in 1942. Shortly thereafter Gobbato would lose friends and his family home in World Ward II. After the war, Imero and his brother, Armando, traveled around South America looking for employment. Gobbato then returned to Italy and boarded a boat en route to New York City where he met his future wife, Josette Ardouin. Together they moved thirty-one times in fourteen years around the United States and Italy. In 1964, the couple settled in Camden Harbor, Maine where Gobbato established Two Harbors Studio and focused on his artistic practice. Though his primary passion was painting, he was also interested in printmaking, wood carving, illustrating children’s books, boat design, and playing his violin. In the lot offered here, Gobbato illustrates a quiet docking scene. The water shimmers and shines through the cast shadows of the sailboats as the reflection of each vessel speckles the blue marina with warmth and color. Ref.: “Imero Gobbato.” Imero Gobbato. www.imerogobbato.com. Accessed October 9, 2023

190. Elizabeth Thompson (American/New York, 1954-2023), “Entry Sully Hotel”, 1983, acrylic on canvas, unsigned, “Andrew Crispo Gallery, New York, NY” label with artist, title and date on stretcher, 58 in. x 44 in., framed, overall 59 1/2 in. x 49 3/4 in. x 1 3/4 in. [$1000/1500] Provenance: Michael W. Murphy, El Dorado, AR.

191. Sigurd Skou (Norwegian/ American, 1875-1929), “At the Opera”, oil on canvas, signed lower right, 28 7/8 in. x 26 7/8 in., framed, overall 36 in. x 34 in. x 2 in. [$800/1200] 37

192. Richard Schmid (American/ Illinois, 1934-2021), “[Chicago] Expressway #2”, oil on canvas, signed lower right, titled en verso, 18 in. x 24 in., framed, overall 25 1/4 in. x 31 in. x 2 1/2 in. [$3000/5000]

193. Everett Raymond Kinstler (American/New York, 1926-2019), “Untitled: The Garden”, 1943, oil on canvas board, signed and dated lower right, 18 in. x 14 in., framed, overall 23 3/4 in. x 19 1/2 in. x 1 in. [$800/1200]

194. Gordon Brown (American/ Colorado, b. 1962), “Hillside Color”, oil on panel, signed lower left, “Breckenridge Gallery, CO” labels with artist and title en verso, 14 in. x 24 in., framed, overall 20 1/2 in. x 30 1/2 in. x 2 in. [$800/1200]

195. Scott L. Christensen (American, b. 1962), “Winter Landscape”, oil on canvas board, signed lower right and en verso, 9 in. x 12 in., framed, 14 3/4 in. x 17 7/8 in. x 1 3/8 in. [$1000/1500]

196. Scott L. Christensen (American, b. 1962), “Rolling Hills”, oil on canvas board, signed lower center and en verso, 12 in. x 16 in., framed, overall 17 7/8 in. x 21 7/8 in. x 1 3/8 in. [$1200/1800]

197. Scott L. Christensen (American, b. 1962), “England Greens”, oil on canvas board, signed lower right, signed and titled en verso, 7 in. x 8 in., framed, overall 9 1/4 in. x 10 1/4 in. x 1 in. [$800/1200] 38

198. American Federal-Style Inlaid Mahogany Serpentine Sideboard, 20th c., made by Moser Furniture, Lynchburg, VA., shaped top over long drawer and doublecupboard doors flanked by single drawer over cupboard, cupboard doors with fan inlaid corners, tapered legs, h. 38 3/4 in., w. 72 in., d. 26 in. [$700/1000]

199. American Federal Inlaid Mahogany Butler’s Desk, 19th c., probably New York,fall-front escritoire drawer, above three graduated drawers, French feet, h. 46 1/4 in., w. 49 1/2 in., d. 22 in. [$1000/1500] Provenance: Michael W. Murphy, El Dorado, AR.

200. Pair of Contemporary Roosevelt Club Chairs, 21st c., made by The Uttermost Company, Rocky Mount, VA, leather upholstery, nailhead trim, turned feet, h. 32 in., w. 27 in., d. 33 in. [$1000/1500]

201. American Mahogany and Oak Dresser, 19th c., canted molded cornice, three plate shelves, lower case with five drawers, paneled cabinet doors, bracket feet, h. 88 in., w. 65 in., d. 18 1/4 in. [$800/1200]

202. Regency-Style Inlaid Mahogany Three Pedestal Dining Table, 20th c., labeled Baker Furniture, banded top, turned pedestals, sabre legs, brass cuffs, casters, 5 leaves, h. 29 1/2 in., w. 91 1/4 d. 48 in., leaf w. 17 1/2 in. [$1000/1500] Provenance: Michael W. Murphy, El Dorado, AR.

203. Pair of Gilt Brass Horsehead Towel Rings, h. 4 in., w. 3 1/4 in., ring dia. 2 1/2 in. [$300/500] Provenance: The Estate of Caroline P. Ireland.

204. Bronze Figure of a Dog, 20th c., with plaque engraved “PETER/ AGE 12 1941”, with 1932 Canine Exposition medal, h. 5 1/4 in., w. 6 in., 3 in. [$100/150] Provenance: The Estate of Caroline P. Ireland.

205. Bronze Figure of a Gorilla, 20th c., engraved “LOET”, 227/2500, h. 4 3/4 in., w. 5 in., d. 2 1/2 in. [$75/150] Provenance: The Estate of Caroline P. Ireland.

207. American Cast Iron Indigo Pot, 19th c., h. 14 in., dia. 22 in. [$400/600]

206. American Cast Iron School House Bell, late 19th c., cast signature on yoke “The G.S. BELL CO. HILLSBOROUGH, O.”, h. 10 in., dia. 16 in., stand marked “Crystal Metal, 1886”, Note: lacking clapper. [$500/700] Provenance: The Estate of Caroline P. Ireland.

208. Symphonion Mahogany Disc Music Box, c. 1900, New York, serial #14855, with ten 13 1/2 in. dia. discs, h. 10 1/2 in., w. 18 1/2 in., d. 16 3/4 in. [$600/900]

Provenance: The Estate of Caroline P. Ireland.

209. [Georgia O’Keeffe Book and Folio], Georgia O’Keeffe, New York, Viking Press, a Studio Book, 1976, #35 of 175 copies for sale, signed, cloth, cloth clam-shell box, with additional loose portfolio of 16 color plates, 17 1/2 in. x 13 in. [$400/600] Provenance: The Estate of Caroline P. Ireland. 40

210. Albert and Elsa Einstein Autographs, card signed “Elsa Einstein/Chicago 14, ?” and “A. Einstein”, 3 1/2 in. x 5 1/2 in., framed with a lithograph photo of the couple from a 1932 visit to California, framed [$700/1000]

211. SkyHawk Long Range Binoculars, 21st c., Model 9600, 100mm objective, two pairs of lenses (25x and 40x), complete with tripod, wheeled dolly, aluminum hard case, lens cleaner, and manual. [$500/700] Provenance: Michael W. Murphy, El Dorado, AR.

212. Cricket Forge Steel “Dragonfly” Bench, 21st c., marked, cut steel, with protective zinc coating, h. 40 in., w. 60 in., d. 30 in. [$800/1200] Provenance: Michael W. Murphy, El Dorado, AR. 213. American Cast Iron Indigo Pot, h. 17 in., dia. 29 1/2 in. [$500/700]

214. Antique Bronze Garden Figure of a Standing Greyhound, 20th c., h. 26 in., w. 31 in., d. 7 in. [$600/900] 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.

215. French School, 19th c., “Portrait of a Lady with Flowered Veil”, watercolor miniature, unsigned, 2 in. x 2 in., framed, overall 4 3/8 in. x 4 3/8 in. x 3/8 in. [$250/350] 41

216. Etienne Constant Carlin (French, 1808-1869, active Louisiana, 1850-1855), “Marie Louise Marthe de Blanc”, 1852, oil on canvas, signed and dated mid-left, photograph of label inscribed “To be returned to / Ms. Alc. De Blanc / Martinville, LA” attached to backing board, 36 in. x 28 3/4 in., framed with artist and title plaque, overall 43 in. x 36 in. x 3 in. [$5000/8000] Ill.: Cable, George W. Strange True Stories of Louisiana (Illustrated Edition). Dodo Press, 2006, cover. Note: Neal Auction would like to thank R. Paul Fitch for his assistance with the cataloguing of these lots. Artist, Etienne Constant Carlin traveled from his ancestral home in Clermont, France arriving in New York City on July 4, 1850. He stayed only a short time in New York before traveling to Southern Louisiana, surprisingly bypassing New Orleans to settle in Bayou Teche, the home of Carlin patron, prosperous sugar planter and state senator Gabriel Laclaire Fuselier. Carlin had frequent commissions and painted numerous portraits of the Fuselier and Frère families among other prominent members of the “Foreign French” community, so called to differentiate themselves from the French-Canadian Cajuns that also populated the Bayou Teche region. Carlin lived and painted portraits of wealthy patrons in the area from 1850 to 1855. His extant portraits speak to his position as a much sought-after artist of original portraiture but additionally as an artist commissioned to copy portraits that were made by his contemporaries and predecessors. Marie Louise Marthe de Blanc was born in Natchitoches in 1777 to Commandant Louis-Charles de Blanc and Elizabeth D’Erneville. De Blanc was a Commandant of the Post of Natchitoches, a post his father held before him. He served as Captain of the Second Company of Natchitoches and fought under General Galvez in the American Revolution. 42

Although it is uncertain when, De Blanc moved his family from northwest Louisiana to the Attakapas country in the southwest area of Louisiana and served as the Commandant of the Post des Attakapas. Carlin painted the portraits of Marie Louise Marthe de Blanc and Commandant de Blanc in the 1850s after de Blanc had passed (1826) and Marie Louise Marthe was an elderly woman. The style of portraiture is altogether unlike that of Carlin and closer to the style of portraits painted by José Francisco Xavier de Salazar y Mendoza, foremost painter in Spanish Colonial Louisiana from 1785-1802. A period more consistent with the age of sitters Commandant Louis-Charles de Blanc and his daughter Marie Louise Marthe de Blanc in their Carlin copy portraits. It is likely, based on the years the works were completed, that Carlin was commissioned to paint the copy portraits in approximately 1852 and then commissioned to draw the pastel portrait of the young Corrine Mathilde Antoinette de Blanc great-granddaughter of Commandant de Blanc in 1855 when the sitter was five years of age. Ref.: R. Paul Fitch, III and Claudia Kheel. “Etienne Constant Carlin (1808-1869) Le Peinture de la Petit Paris en Louisiane : 1850-1855). May 27, 2015.

217. Etienne Constant Carlin (French, 1808-1869, active Louisiana, 1850-1855), “Commandant Louis-Charles de Blanc (1753-1826)”, oil on canvas, unsigned, 16 in. x 12 3/8 in., framed with artist and title plaque, overall 21 5/8 in. x 17 3/4 in. x 2 3/4 in. [$2000/3000]

218. Etienne Constant Carlin (French, 1808-1869, active Louisiana, 1850-1855), “Corinne Mathilde Antoinette de Blanc”, 1855, pastel on paper mounted to stretcher, signed, titled and dated upper left, 16 in. x 12 in., framed with artist and title plaque, overall 20 3/4 in. x 16 3/4 in. x 2 3/8 in. [$1000/1500]

219. Richard Clague, Jr. (French/Louisiana, 1821-1873), “Street Scene at the Commons”, watercolor on paper laid on board, signed lower left, “New Orleans Museum of Art” exhibition label with title on backing, sight 8 3/4 in. x 10 3/4 in., framed with faded artist plaque, overall 21 3/4 in. x 1 9 1/2 in. x 1 in. [$10000/15000] Provenance: Mrs. Theodore Dennery, New Orleans, LA; thence by descent in the family. Exh.: “Richard Clague Retrospective”, New Orleans Museum of Art, New Orleans, LA, Nov. 17 - Dec. 30, 1974. Note: Born in Paris in 1821, Richard Clague’s childhood and youth was divided between France and New Orleans, the home of his French Creole mother. He established a near permanent studio in the city in 1857 and had focused primarily on landscape painting by the early 1860s. The watercolor offered here is one of only a few surviving examples by the artist and was included in the seminal Richard Clague exhibition at the New Orleans Museum of Art of 1974, alongside a stylistically similar watercolor of “Treme Market” dated 1863. Although “Street Scene at the Commons” is not dated, the works were likely completed around the same time. The exact location portrayed in Clague’s watercolor appears to be the corner of Canal and Treme in a neighborhood that was at the time referenced as “The Commons.” The houses, buildings and view of Clague’s street scene are a near identical match to those in the pencil drawing by Alfred Rudolph Waud captioned “Cor. [sic] of Canal and Treme - N Common” (1965.90.316.2) as well as the wood engraving “Corner of Canal & Treme St.” (1974.25.11.46) delineated by Waud and engraved by Samuel S. Kilburn, Jr. for a newspaper series called “Sketches of the Flood in New Orleans.” Both of these works on paper are in The Historic New Orleans Collection, with the latter illustrated in Rouhlac Toledano and Mary Louise Christovich’s New Orleans Architecture Volume VI: Faubourg Treme and the Bayou Road. Two other known watercolors by Clague of city scenes are “Rose Nicaud’s Coffee Stand at the French Market” in the collection of the Louisiana State Museum and “Halfway House” held in a private collection. Clague rarely depicted urban architecture and seems to have found watercolor his preferred medium for doing so. The future founder of the Louisiana landscape painting tradition could not resist the allure of the New Orleans streets that have captivated so many artists over the centuries. The diagonal composition, fine line work and soft, blended shading display Clague’s French academic training, while the inclusion of figures and lone dog in the street add life to the scene. This exceptionally rare work by Clague offers a unique viewpoint into one of Louisiana’s most influential artists. Ref.: Christovich, Mary Louise and Roulhac Toledano. New Orleans Architecture Volume VI: Faubourg Treme and the Bayou Road. Gretna, LA: Pelican Publishing Company, 1980, pp. 63-64. Toledano, Roulhac. Richard Clague: 1821-1873. New Orleans: New Orleans Museum of Art, 1974, p. 37. 1965.90.316.2, The L. Kemper and Leila Moore Williams Founders Collection, The Historic New Orleans Collection, New Orleans, LA. 1974.25.11.46, Permanent Collection, The Historic New Orleans Collection, New Orleans, LA. 44

220. New Orleans School, mid-19th c., “Portrait of a Young Gentleman, thought to be a New Orleans Free Man of Color”, oil on canvas, unsigned, 8 3/4 in. x 6 3/4 in., period frame. [$10000/15000] Provenance: New Orleans Auction Galleries, Jan. 21, 2001, lot 1127. Exh.: “In Search of Julien Hudson: Free Artist of Color in Pre-Civil War New Orleans”, The Historic New Orleans Collection, New Orleans, LA, Jan. 20 - Apr. 20, 2011; Gibbes Museum of Art, Charleston, SC, July 22 - Oct. 16, 2011; Worcester Art Museum, Worcester, MA, Dec. 10, 2011 - Mar. 11, 2012; and illustrated in the accompanying catalogue, fig. 67, p. 90. Note: The small painting offered here is a fascinating window into nineteenthcentury depictions of race and the clues they present to scholars working in this important field today. Previously described at auction as “Circle of Julien Hudson and Jules Lion,” the portrait of a young gentleman, thought to be a New Orleans free man of color, is likely not attributable to either artist due to clear stylistic differences. This fact does not make him any less interesting, however, as the work was included in The Historic New Orleans Collection exhibition “In Search of Julien Hudson: Free Artist of Color in Pre-Civil War New Orleans” in 2011. The rarity of the depiction makes it an important part of the study of both artists of color and their subjects in New Orleans in the nineteenth century.

221. Joseph Jefferson (American/ Louisiana, 1829-1905), “Peaceful Valley”, 1894, oil on canvas, signed and dated lower left, 20 3/8 in. x 30 1/4 in., framed with artist and title plaque, overall 33 in. x 43 in. x 4 3/8 in. [$4000/6000]

222. Alexandre Alaux (French/Louisiana, 1851-1932), “Husband” and “Wife”, 2 oils on canvas, each signed mid-right, both with “W.E. Seebold” stamp en verso, each 30 in. x 25 in., framed alike, each overall 37 5/8 in. x 32 5/8 in. x 2 1/8 in. (2 pcs.) [$400/600]

223. Georgine Campbell (American/Louisiana, 1861-1931), “Fishing Camps along the Bayou”, oil on canvas, signed lower right, 10 1/8 in. x 16 1/4 in., framed, overall 18 1/2 in. x 24 1/2 in. x 3 1/4 in. [$1000/1500] 45

224. Alexander John Drysdale (American/Louisiana, 1870-1934), “Live Oaks along a Louisiana Bayou”, oil wash on board, signed lower right, 6 in. x 20 in., framed, overall 8 1/2 in. x 22 1/4 in. x 1 1/2 in. [$1000/1500]

225. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou Landscape with Tall Cypress Trees”, 1917, oil wash on board, pencil-signed and dated lower right, 30 in. x 20 in., framed, overall 42 in. x 31 3/4 in. x 1 3/4 in. [$3000/5000]

226. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou with Live Oak Tree”, 1931, oil wash on board, signed and dated lower right, 20 in. x 30 in., framed, overall 21 1/8 in. x 31 1/4 in. x 1 1/2 in. [$2500/3500]

227. Alexander John Drysdale (American/Louisiana, 1870-1934), “Bayou Scene with Tall Cypress”, 1916, oil wash on board, signed and dated lower right, inscribed en verso, 30 1/2 in. x 10 1/4 in., framed, overall 42 1/2 in. x 22 in. x 1 1/4 in. [$2000/3000]

228. Alexander John Drysdale (American/ Louisiana, 1870-1934), “Early Morning in a Cypress Swamp”, 1909, watercolor on paper, signed and dated lower left, signed, titled and inscribed en verso, 9 1/8 in. x 12 1/8 in., framed, overall 23 in. x 25 1/2 in. x 2 1/2 in. [$1200/1800] Provenance: Neal Auction Company, Nov. 19, 2011, lot 846. 46

229. Alexander John Drysdale (American/Louisiana, 1870-1934), “Moonlight on the Louisiana Bayou”, 1912, oil on canvas, signed and dated lower left, 18 in. x 24 in., framed, overall 22 in. x 28 in. x 2 in. [$4000/6000]

230. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou Scene with Two Live Oaks and Waterlilies”, 1914, oil wash on board, signed and dated lower right, “Jean Bragg Gallery, New Orleans, LA” label on backing paper, sight 19 3/8 in. x 30 3/8 in., framed, overall 25 1/4 in. x 36 3/8 in. x 1 1/2 in. [$2000/3000]

Provenance: Neal Auction Company, Sept. 9, 2017, lot 300A.

231. Alexander John Drysdale (American/Louisiana, 1870-1934), “Beach Scene”, 1916, oil wash on board, signed and dated lower right, 10 in. x 20 in., framed, overall 12 5/8 in. x 22 5/8 in. x 1 in. [$2500/3500]

232. Alexander John Drysdale (American/Louisiana, 1870-1934), “Beach Scene”, 1916, oil wash on board, signed and dated lower right, 10 in. x 20 in., framed, overall 12 3/4 in. x 22 3/4 in. x 1 3/8 in. [$2500/3500]

233. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou Scene with Extensive Moss”, oil wash on board, signed lower right, illegibly inscribed en verso, 6 in. x 20 in., framed, 7 1/2 in. x 21 5/8 in. x 3/4 in. [$1200/1800]

234. Alexander John Drysdale (American/Louisiana, 1870-1934), “Moonlit Bayou”, oil wash on board, signed lower left, pencil-inscribed en verso, 20 in. x 30 in., framed. [$1500/2500]

235. Ruby Viavant (American/Louisiana, 1904-1925), “Nature Morte: Cedar Waxwing”, 1923, watercolor on paper laid on board, signed and dated lower left, 15 1/2 in. x 10 1/2 in., framed, overall 17 1/8 in. x 12 in. x 1 in. [$2000/3000]

236. Louis Grube (German/ American, 1812-1902), “Still Life of Peaches and Pears”, 1846, oil on canvas, signed and dated mid-right, “Prepared by Edward Dechaux, New York” canvas stamp en verso, 16 in. x 20 in., framed, overall 24 1/2 in. x 28 1/2 in. x 3 in. [$600/800]

238. Hamilton Hamilton (American, 1847-1928) after Winslow Homer (British/American, 1836-1910), “Fog Warning”, c. 1887, etching on board, pencil-signed by both artists lower margin, signed in plate by both artists, dated in plate, 20 1/4 in. x 31 7/8 in., matted, overall 34 in. x 45 5/8 in. [$800/1200] 237. Frank Anderson (American/New York, 1844-1891), “House along a Path”, 1869, oil on canvas, initialed and dated lower right, 14 in. x 20 1/4 in., framed, overall 17 5/8 in. x 23 3/4 in. x 1 3/4 in. [$1500/2500] 48

Provenance: Property deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

239. John James Audubon (American, 1785-1851), “Ivory-billed Woodpecker”, Plate 66, hand-colored aquatint with engraving, from The Birds of America, Havell edition, “J.Whatman 1830” watermark visible, sheet 38 1/2 in. x 26 in., unframed. [$10000/15000] Note: The last widely accepted ivory bill sighting was in 1944, in a Louisiana swamp. Although there have been numerous reports of sightings, no photographs have come to light. The federal government is close to classifying the ivory bill as officially extinct.

240. John James Audubon (American, 1785-1851), The Birds of America, Abbeville edition, 1985, folio, 4 “doubleelephant” volumes (26 1/2 in. x 39 1/2 in.) with 435 plates, accompanied by the 7 text volumes (including W. Fries The Double Elephant Folio), each in original gilt-decorated green leather bindings. [$5000/7000] Note: The Abbeville Edition was published in collaboration with the National Audubon Society to commemorate Audubon’s birth 200 years earlier. The edition of 350 was printed using up to 18 colors for each plate on acid-free dyed paper, watermarked with the insignia and names of the Audubon Society and Abbeville Press. 241. John James Audubon (American, 1785-1851), “Orchard Oriole”, Plate 42, hand-colored engraving with aquatint, from The Birds of America, Havell edition, “J.Whatman 1830” watermark visible, sheet 38 5/8 in. x 26 1/4 in., framed, overall 45 1/4 in. x 32 3/4 in. x 2 in. [$1500/2500]

242. John James Audubon (American, 1785-1851), “Rough-Legged Falcon”, Plate 422, hand-colored aquatint with engraving on paper laid on board, from Birds of America, Havell edition, “J. Whatman 1838” watermark visible, “Kennedy Galleries, Inc., New York, NY” label on backing board, sheet 39 in. x 25 1/2 in., framed, overall 46 1/2 in. x 24 3/4 in. x 1 in. [$500/700]

243. John James Audubon (American, 1785-1851), “Broad-Winged Hawk”, Plate 91, hand-colored aquatint with engraving on paper laid on heavy paper, from Birds of America, Havell edition, “J. Whatman 1830” watermark visible, “Kennedy Galleries, Inc., New York, NY” label on backing board, sheet 37 1/4 in. x 25 5/8 in., framed, overall 46 4/8 in. x 34 3/4 in. x 1 in. [$500/700]

244. John James Audubon (American, 1785-1851), “Stanley Hawk”, Plate 36, hand-colored aquatint with engraving on paper laid on board, from Birds of America, Havell edition, “J. Whatman” watermark visible, “Kennedy Galleries, Inc., New York, NY” label on backing board, sheet 38 7/8 in. x 25 1/2 in., framed, overall 46 in. x 34 3/4 in. x 1 1/4 in. [$500/700]

245. John James Audubon (American, 1785-1851), “Black Warrior”, Plate 86, hand-colored aquatint with engraving, from Birds of America, Havell edition, “J. Whatman 1830” watermark visible, “Kennedy Galleries, Inc., New York, NY” label on backing board, sheet 37 1/2 in. x 25 1/4 in., framed, overall 46 1/2 in. x 34 3/4 in. x 1 in. [$500/700] 246. John James Audubon (American, 1785-1851), “Summer or Wood Duck”, Plate 391, chromolithograph, from The Birds of America, Bien edition, sheet 40 in. x 27 in., framed, overall 50 in. x 37 in. x 1 1/2 in. [$700/1000]

247. After John James Audubon (American, 1785-1851), “Wild Turkey, Male”, Plate 1, 1971, lithograph, from The Birds of America, Amsterdam edition, sight 39 in. x 26 in., framed, overall 43 in. x 30 in. x 3/4 in. [$500/700]

248. After John James Audubon (American, 1785-1851), “Wild Turkey, Female”, Plate 5, 1971, lithograph, from The Birds of America, Amsterdam edition, sight 26 in. x 39 in., framed, overall 30 in. x 43 in. x 3/4 in. [$500/700]

249. After John James Audubon (American, 1785-1851), “American Flamingo”, Plate 431, 1971, lithograph, from The Birds of America, Amsterdam edition, sight 39 in. x 26 in., framed, overall 42 in. x 29 in. x 1 3/4 in. [$500/700]

250. After John James Audubon (American, 1785-1851), “Roseate Spoonbill”, Plate 321, 1971, lithograph, from The Birds of America, Amsterdam edition, sight 26 in. x 39 in., framed, overall 29 in. x 42 in. x 1 1/4 in. [$500/700]

251. After John James Audubon (American, 17851851), “Brown Pelican”, Plate 251, 1971, lithograph, from The Birds of America, Amsterdam edition, sight 26 in. x 39 in., framed, overall 30 1/4 in. x 43 1/4 in. x 3/4 in. [$500/700]

252. Mark Catesby (British, 1683-1749), “Bill of the Flamingo with Gorgonian”, Plate 74, hand-colored etching, monogrammed in plate, from The Natural History of Carolina, Florida and the Bahama Islands, London, 14 in. x 10 in., framed, overall 23 3/4 in. x 19 1/2 in. x 2 in. [$400/600] Provenance: The Estate of Caroline P. Ireland.

253. Pair of Antique Queen Anne-Style Carved Walnut Side Chairs, 19th c., shaped splat, molded conforming seat rail with centered shell carving, scrolled shell knees, cabriole legs, pad feet, h. 42 1/2 in., w. 22 in., d. 20 in. [$600/800] Provenance: Michael W. Murphy, El Dorado, AR.

254. Antique Chinese Chippendale-Style Carved Mahogany Console, 19th c., molded top, blind carved fretwork frieze and legs, open fret brackets, h. 31 1/4 in., w. 48 1/4 in., d. 274 1/2 in. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

256. Pair of Antique English Carved Walnut Wing Chairs, 19th c., arched back with shaped wings, outswept arms, scalloped seat rail centered shell carving, ball and claw feet, h. 47 1/2 in., w. 33 1/2 in., d. 34 1/2 in. [$2000/3000]

255. Pair of Chinese Chippendale-Style Ebonized Stools, 20th c., white leather upholstery, blind carved fretwork legs, h. 22 in., w. 18 in., d. 18 in. [$500/700]

257. Set of Twelve Queen Anne Carved Walnut Dining Chairs, 19th c., incl. two armchairs and ten side chairs, shell carved crest rail, vasiform splat, shell knees, cabriole legs, ball and claw feet, armchair h. 41 in., w. 24 1/2 in., d. 22 in., side h. 41 1/2 in., w. 22 1/2 in., d. 21 1/2 in. [$3000/5000] Provenance: Michael W. Murphy, El Dorado, AR.

258. Four Queen Anne-Style Carved Walnut Side Chairs, 19th c., shaped splat, molded seat rail, shell carved knees, cabriole legs, h. 38 in., w. 23 1/2 in., d. 17 1/2 in. [$800/1200] Provenance: Michael W. Murphy, El Dorado, AR.

259. Pair of Queen Anne-Style Carved Burl Walnut Side Chairs, 19th c., molded crest rail, cane back, shaped splat, seat rail centered by shell carving, shell carved knees on stretchered cabriole legs, ball and claw feet, h. 41 1/2 in., w. 22 in., d. 23 in. [$800/1200] 51

260. Pair of Georgian-Style Mahogany Covered Urns, flutecarved, h. 27 3/4 in., dia. 10 1/2 in. [$600/900] Provenance: Michael W. Murphy, El Dorado, AR. 261. Anglo-Indian Carved Sandalwood Sewing Box, 19th c., carved with intricate flora and fauna designs, paw feet, fitted interior, with sewing implements, h. 5 in., w. 13 1/4 in., d. 9 in. [$400/600] Provenance: Michael W. Murphy, El Dorado, AR.

262. George III Turned Fruitwood Pear-Form Tea Caddy, 19th c., hinged lid, void interior, h. with stem 7 1/4 in. [$700/1000]

263. George III Turned Fruitwood Apple-Form Tea Caddy, 19th c., hinged lid, void interior, h. 4 1/4 in. [$700/1000]

264. George III Turned and Carved Fruitwood Melon-Form Tea Caddy, 19th c., void interior, h. incl. stem 5 1/4 in., dia. 4 1/4 in. [$700/1000]

265. George III Inlaid Mahogany Tea Caddy, 19th c., shell and urn inlay, canted corners, interior with two lidded compartments, h. 5 in., w. 7 1/2 in., d. 4 1/8 in. [$800/1200]

266. Georgian Mother-of-Pearl Tea Caddy, 19th c., pagoda lid, interior with two lidded compartments, h. 5 1/2 in., w. 8 in. d. 5 in. [$800/1200]

269. George III Tortoiseshell Tea Caddy, 19th c., octagonal form, lidded compartment, h. 5 in., w. 4 1/2 in., d. 4 in. [$800/1200] 52

270. Georgian Tortoiseshell Tea Caddy, 19th c., oval form, lidded compartment, h. 4 in., w. 4 3/4 in., d. 2 7/8 in. [$800/1200]

267. Georgian Tortoiseshell Tea Caddy, 19th c., octagonal form, lidded compartment, h. 4 3/4 in., w. 6 in., d. 3 in. [$800/1000]

268. Georgian Tortoiseshell Tea Caddy, 19th c., unusual cylindrical form, lidded compartment, h. 4 3/4 in., dia. 4 1/8 in. [$800/1200]

271. George III Tortoiseshell Tea Caddy, 19th c., octagonal form, pushbutton lid, lidded compartment, h. 4 in., w. 4 1/4 in., d. 4 1/4 in. [$800/1200]

272. Georgian Tortoiseshell Tea Caddy, 19th c., lozenge form, lidded compartment, h. 4 1/8 in., w. 4 1/2 in., d. 2 7/8 in. [$800/1200]

273. George III Tortoiseshell Tea Caddy, 19th c., interior with single lidded compartment, h. 4 1/2 in., w. 3 1/2 in., d. 3 in. [$800/1200]

274. George III Tortoiseshell Tea Caddy, 19th c., octagonal lozenge form, interior with two lidded compartments, h. 5 1/4 in., w. 6 1/4 in., d. 3 5/8 in. [$1000/1500]

275. Antique English Brass Footman, scroll and heart skirt, h. 12 in., w. 17 1/2 in., d. 17 in. [$150/250 Provenance: The Estate of Caroline P. Ireland.

276. Collection of Vintage Doilies, incl. 12 “E. Braun & Co.” cotton finger bowl roundels with scrollwork applique borders, dia. 6 1/4 in., “E. Braun & Co. / Madison Avenue, New York” box, w. 8 1/4 in., d. 8 1/4 in.; 11 linen with hem-stitched roundels and lace borders,, dia. 5 1/4 in.; 4 linen with cross-hatched centers and reticulated borders, dia. 6 5/8 in.; 1 with floral embroidered center and floral lace borders, w. 7 3/4 in.; and 2 rectangular lace examples, 11 in. x 15 1/2 in. and 8 1/2 in. x 12 1/2 in. (30 pcs.) [$200/300]

277. William Hamilton (British, 1751-1801), “Portrait of Mrs. Sarah Kembel Siddons (Welsh, 1755-1831)”, 1793, charcoal and sanguine on paper, signed and dated lower right, “National Portrait Exhibition, 1868” label with artist and title and “Arthur Tooth & Sons, LTD., Old Masters & Modern Paintings, London” label with artist and title on backing board, 21 in. x 14 3/8 in., framed, overall 30 1/4 in. x 23 1/8 in. x 1 in. [$500/700] Provenance: The Collection of Mr. & Mrs. John Whitehead, England; The Collection of the Duchess of Rutland, Wales; Michael W. Murphy, El Dorado, AR. Exh.: “National Portraits”, The South Kensington Museum (now Victoria and Albert Museum), London, 1868 and listed in the accompanying catalogue as No. 97.

278. Attributed to Hendrick Kellner (German, 16271703), “Trompe l’Oeil”, oil on canvas, signed in center, 23 1/4 in. x 18 1/4 in., framed, overall 28 1/4 in. x 23 1/4 in. x 2 in. [$1200/1800]

279. Benjamin West (American/British, 1738-1820), “Figure Studies”, ink on paper, unsigned, pencil-inscribed “Benj West” en verso, “Covent Garden Gallery Limited, St. James’s” stamp and “Gander & White Shipping LTD., London” label on backing board, 12 1/2 in. x 8 in., framed, overall 22 1/4 in. x 17 1/2 in. x 1 1/2 in. [$800/1200] Provenance: Michael W. Murphy, El Dorado, AR. 53

280. Benjamin West (American/British, 1738-1820), “Seated Women”, sanguine and graphite on paper, unsigned, partial sketch en verso, inscribed “6315 Black” en verso and on reverse of mat, “Bernard Black Gallery, New York, NY” label with artist, title and exhibition information on back glass, 4 3/4 in. x 8 1/2 in., double-sided frame, overall 9 3/4 in. x 13 3/8 in. x 1 in. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

281. Alan Maley (British, 1931-1995), “Street Scene”, oil on canvas, signed lower right, signed and inscribed en verso, 24 in. x 36 in., framed, overall 29 1/2 in. x 41 1/2 in. x 2 3/4 in. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

282. Alan Maley (British, 1931-1995), “Evening in the Snow”, oil on canvas, signed lower left, signed and inscribed “no. 191” en verso, 24 in. x 36 in., framed, overall 30 in. x 42 in. x 1 3/4 in. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

283. Harrington Mann (Scottish/New York, 18641937), “Portrait of a Young Girl”, 1923, oil on canvas, signed and dated lower right, “Hoddick’s Fine Art Store, Buffalo, NY” label on reverse of stretcher, 21 in. x 19 in., framed, overall 24 3/4 in. x 22 1/2 in. x 1 1/2 in. [$2500/3500]

284. Edmond De Pratere (Belgian, 1826-1888), “Horses and Cattle in a Clearing”, oil on canvas, signed lower right, 45 1/2 in. x 73 in., framed, overall 53 1/4 in. x 80 5/8 in. x 2 1/4 in. [$3000/5000]

285. Eugen Jettel (Austrian, 1845-1901), “French Countryside”, oil on panel, signed and inscribed “Paris” en verso, sight 27 in. x 43 1/4 in., framed, overall 34 1/4 in. x 50 in. x 2 in. [$4000/6000] Provenance: A Mississippi Delta Estate.

287. Joseph Navlet (French, 1821-1889), “Camille Desmoulins au Palais-Royal”, watercolor on paper, signed lower right, 12 1/8 in. x 30 5/8 in., framed with artist and title plaque, overall 26 1/2 in. x 44 7/8 in. x 2 in. [$700/1000] Provenance: Christie’s, New York, Rockefeller Center, Oct. 28, 1987, lot 250.

286. Jean Charles Cazin (French, 1841-1901), “Eventide”, oil on canvas, signed lower right, “Paul Foinet Van Dyck” canvas stamp en verso, 18 1/2 in. x 15 1/4 in., framed, 23 5/8 in. x 20 7/8 in. x 2 1/2 in. [$800/1200] Provenance: A Mississippi Delta Estate.

288. Pierre Boncompain (French, b. 1938), “Bouquet Champêtre”, oil on canvas, signed lower right, handwritten label with title on reverse of frame, 36 1/4 in. x 28 3/4 in., framed, overall 45 in. x 37 1/2 in. x 3 in. [$1500/2500] Provenance: Michael W. Murphy, El Dorado, AR.

289. Henri-Jean Guillaume Martin (French, 1860-1943), “Barques dans le Port Collioure”, c. 1920, oil on canvas, signed lower right, “Guarisco Gallery, Washington D.C.” label with artist, title, date and provenance on backing paper, 23 5/8 in. x 28 3/4 in., framed, overall 29 1/2 in. x 34 1/2 in. x 2 in. [$60000/80000] Provenance: Guarisco Gallery, Washington, D.C.; Michael W. Murphy, El Dorado, AR. Note: This lot has been confirmed by Marie-Anne Destrebecq-Martin and will be included in the forthcoming catalogue raisonne. Henri-Jean Guillaume Martin was born in Toulouse in 1860. In 1879, he moved to Paris to study at the Ecole des Beaux-Arts where he trained under the tutelage of Jean-Paul Laurens. He experienced early acclaim for his work, exhibiting at the Salon des Artistes Franҫais starting in 1880 and winning a medal in 1883. He also won a scholarship to study in Italy, which would mark his transition into a new loose and more lyrical style. In 1889, he started experimenting with pointillism, and his shift into the Neo and Post-Impressionist styles would define his mid-to-late oeuvre. In the painting entitled “Barques dans le Port Collioure” on offer here, Martin layers stippled darts of paint to create a composition that is rich in color and dimension. The striking, white diagonal sail of the boat cuts through the blue plane and leads the eye from the upper center of the painting towards the bottom half where a neat row of vibrant boats line the shore. The composition is framed by a shaded stone wall on the left and an angled ledge in the foreground flanking the blue boat in the basin. Martin’s cropping of the scene lends a sense of poetic intimacy to the view, and one can almost hear the soft lapping of the water and feel the intense brightness of the sun. Ref.: “Henri Jean Guillaume Martin”. Waterhouse & Dodd. www.waterhousedodd.com. Accessed Oct. 6, 2023. 56

290. Adrien Hamon (French, 1875-1963), “Marine Scene”, oil on canvas, signed lower right, obscured inscription en verso, 18 in. x 22 in., framed, overall 26 1/4 in. x 30 1/2 in. x 2 1/2 in. [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR.

291. Henri de Toulouse-Lautrec (French, 1864-1901), “May Milton”, 1895, color lithograph on wove paper, linen backed, edition II/II (WittrockP17B), monogrammed and dated in plate lower left, sheet 31 1/2 in. x 24 3/8 in., framed, overall 40 in. x 32 in. x 1 1/4 in. [$6000/8000] Provenance: Sotheby’s, New York, NY, May 13, 1988, lot 00486.

292. Marc Clauzade (French, b. 1957), “Le Georges V”, oil on canvas, signed lower right, titled mid-left and en verso, sight 28 1/2 in. x 28 1/2 in., framed, overall 41 1/4 in. x 41 1/4 in. x 4 in. [$1500/2500] Provenance: Michael W. Murphy, El Dorado, AR. 293. Francoise Gilot (French, 1921-2023), “Blue Bouquet”, 1964, gouache on paper, signed lower right, “David B. Findlay Galleries, New York, NY”, “Vincent Mann Gallery, New Orleans” and handwritten label with artist, title and date on backing paper, 29 1/2 in. x 22 1/2 in., framed, overall 38 3/4 in. x 31 3/4 in. x 1 1/4 in. [$4000/6000] Provenance: Vincent Mann Gallery, New Orleans, LA.

294. Yolande Ardissone (French, b. 1927), “Le Golfe du Morbihan”, oil on canvas, signed lower left, titled on stretcher, inscribed with artist on reverse of frame, “Wally Findlay Galleries” labels on backing board and reverse of frame, 9 5/8 in. x 13 1/8 in., framed, overall 17 1/4 in. x 20 3/4 in. x 2 in. [$600/800] Provenance: Michael W. Murphy, El Dorado, AR.

295. Louis Icart (French, 1888-1950), “Coursing II”, 1929, etching and aquatint on paper laid on board, signed lower right, windmill blindstamp lower left, artist copyright with date in plate upper left, 15 3/8 in. x 25 1/4 in., framed, overall 26 1/2 in. x 35 1/2 in. x 1 in. [$500/700] 57

296. Alberto Giacometti (Swiss, 1901-1966), “La Mére de l’Artiste Lisant Sous Lampe à Stampa 1”, 1963, lithograph on paper laid on board, pencil-signed lower right, numbered “19/75” lower left, “BFK Rives” watermark visible, sheet 26 in. x 19 3/4 in., framed, overall 32 in. x 2 in. x 1 in. [$2000/3000] Provenance: Michael W. Murphy, El Dorado, AR.

298. Fine Peter Scherpenzeel Studio Tiffany-Style Table Lamp, shade engraved “Peter Scherpenzeel Studio ‘97 Amsterdam”, Jacob’s Ladder form bronze base with spurious mark “TIFFANY STUDIOS/NEW YORK”, h. 30 in., dia. 23 in. [$1000/1500]

300. Pair of Decorative Painted Plaster Floor Lamps, Mimi London, CA., barley twist form, h. (to socket) 59 in. [$400/600] Provenance: The Estate of Caroline P. Ireland.

297. Lalique Crystal “Soleil” Plafonnier (Chandelier), designed in 1926, signed “R. LALIQUE”, frosted ceiling cap, incised flowers with raised centers, original silk suspension cords, fitted with original two-light fixture, h. 20 in., dia. 12 in. [$1200/1800]

299. American Rococo Gilt Brass Four-Light Gasolier, c.1860, gascocks marked “Cornelius and Baker, Philadelphia”, scroll and foliate design, h. 45 in., dia. 38 in. [$1000/1500]

301. Louis XV-Style Patinated and Gilt Bronze Nine-Light Chandelier, with rock crystal prisms, h. 35 in., dia. 35 1/2 in. [$1500/2500]

302. Pair of French Bronze Chenets Mounted as Lamps, 19th c., silk shades, h. 25 1/2 in., w. 16 in., d. 13 in. [$700/900]

303. Pair of French Art Deco-Style Bronze TwoLight Wall Sconces, h. 13 1/2 in., w. 14 1/2 in., d. 5 1/2 in. [$800/900]

304. Pair of Empire-Style Gilt and Patinated Bronze Four-Light Figural Candelabra, 19th c, tall marble pedestal bases, h. 30 1/2 in., w. 10 1/2 in., d. 11 in. [$1500/2500]

306. Pair of Continental Polychrome Ceramic Two-Light Figural Sconces, 19th c., modeled as pheasants hanging from a branch, over a game pouch, swing-arm candle arms, h. 16 1/2 in., w. 11 in., d. 3 in. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR

305. Art Nouveau-Style Patinated Bronze Figural Lamp of “Melodie with Lyre”, after Albert Ernest Carrier-Belleuse, h. 30 1/4 in., w. 20 in., d. 12 in., base with artist plaque, overall h. 33 in. [$800/1200]

307. Pair of Italian Murano Glass and Gilt Metal Three-Light Sconces, 20th c., spherical and fruit-form drops, h. 27 in., w. 16 in., d. 10 in. [$800/1200] Provenance: Michael W. Murphy, El Dorado, AR.

309. Antique Georgian-Style Mahogany Breakfront Bookcase, stepped cornice, geometric glazed doors, paneled lower cabinet doors flanked by pedestals with three drawers, h. 87 1/2 in., w. 81 1/2 in., d. 18 in. [$3000/5000]

308. Antique Continental and Gilt Patinated Bronze Six-Light Figural Chandelier, bulldog masks, issuing scroll arms, candle nozzles held by monkeys, h. 23 in., dia. 17 1/2 in. [$600/900] Provenance: The Estate of Caroline P. Ireland.

310. George II Burl Walnut Desk and Bookcase, 19th c., stepped cornice, mirrored doors with pin hinges, fitted candleslides, crossbanded slant front with fitted interior, graduated drawers, bracket feet, h. 85 in., w. 41 in., d. 24 in. [$2500/3500]

311. Georgian Carved Mahogany and Brass-Mounted Lady’s Writing Desk, 19th c., tooled leather top, kneehole configuration of drawers, trestle base, casters, h. 29 1/2 in., w. 40 1/4 in., d. 26 in. [$1200/1800] 59

312. Irish George II Carved Walnut Tilt-Top Tea Table, 18th c., lobed top carved with Prince of Wales plumes centering an armorial, turned standard, acanthus carved knees, ball and claw feet, h. 26 3/4 in., dia. 23 1/2 in. [$1000/1500] Provenance: Michael W. Murphy, El Dorado, AR.

313. George III Inlaid Mahogany Secretary Bookcase, 19th c., molded cornice, lancet-carved frieze, glazed doors, fall-front writing drawer with fitted interior, over three drawers, bracket feet, h. 92 3/4 in., w. 46 1/2 in., d. 22 1/2 in. [$1000/1500] Provenance: Michael W. Murphy, El Dorado, AR.

314. Antique William and MaryStyle Inlaid Walnut Chest of Drawers, 19th c., banded and molded top, two short drawers above three drawers, bun feet, h. 36 in., w. 38 in., d. 22 1/2 in. [$1000/1500] Provenance: Michael W. Murphy, El Dorado, AR.

315. Georgian-Style Carved Mahogany Drop-Leaf Partners Desk, 19th c., tooled leather top, pedestals with cabinet doors, fitted shelf interior, plinth base, h. 29 1/4 in., w. (open) 69 in., w. (closed) 54 in., d. 35 1/2 in. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

317. Set of Eight Georgian-Style Carved Mahogany Dining Chairs, 20th c., incl. two armchairs and six side chairs, pierced carved splat, square legs, H-stretcher, armchair h. 38 3/4 in., w. 25 1/4 in., d. 18 1/2 in., side chair h. 38 3/4 in., w. 22 in., d. 17 3/4 in. [$700/1000] 60

316. Georgian-Style Inlaid Mahogany Two Pedestal Dining Table, 20th c., turned standards, sabre legs, brass paw cuffs, casters, h. 29 in., w. (closed) 70 in., w. (open) 110 in., d. 42 in. [$800/1200]

318. Georgian-Style Satinwood Inlaid Mahogany Dining Table, 20th c., two leaves, reeded edge, turned stem, fluted sabre legs, casters, h. 29 in., w. 64 1/2 in., w. (with leaves) 104 1/2 in., d. 47 in. [$1200/1800]

319. Georgian Inlaid Walnut Campaign Desk, 19th c., removable slant front top, pullout top holders above two paneled doors, h. 43 3/4 in., w. 31 1/2 in., d. 14 1/2 in. [$1000/1500] 320. Georgian-Style Carved Inlaid Burl Walnut Two Pedestal Dining Table, 20th c., attr. to Scarborough House Furniture, England, two leaves, turned stem, C-scrolled legs, h. 29 1/2 in., w. 78 in., w. (with leaves) 126 in., d. 48 1/2 in. [$2000/3000]

321. Fine Set of Twelve Georgian Burl Walnut Dining Chairs, 19th c., scrolled center crest rail, scrolled arms, shaped seat rail, shell carved knees, cabriole legs, h. 41 in., w. 27 in., d. 23 in. [$3000/5000] 322. George III Mahogany Bachelor’s Chest, 18th c., molded top, dressing slide, two short over three graduated drawers, bracket feet, h. 34 in., w. 37 1/2 in., d. 20 in. [$1000/1500]

323. Georgian Satinwood Inlaid Mahogany Bowfront Chest of Drawers, 19th c., banded top, two short over two long drawers, bracket feet, h. 33 in., w. 39 3/4 in., d. 20 1/2 in. [$1000/1500] 324. Georgian Inlaid Mahogany Secretary Bookcase, 19th c., dentil molded cornice, molded and paneled inset glass doors, slide out with fitted interior, two cabinet doors, h. 81 1/2 in., w. 48 1/2 in., d. 23 in. [$2000/3000]

325. Georgian Carved Mahogany Writing Table, 19th c., tooled leather surface, molded edge, two frieze drawers both sides, carved tapered legs, casters, h. 32 1/4 in., w. 65 1/2 in., d. 42 in. [$1200/1800] 61

326. Louis XV-Style Carved Giltwood Mirror, urn crest, h. 68 in., w. 35 in. [$600/900]

327. Regence-Style Giltwood Mirror, 19th c., floral basket crest, h. 92 1/2 in., w. 57 in. [$1000/2000]

328. Italian Shell, Rock Crystal and Coral Mounted Mirror, h. 31 in., w. 28 in., d. 5 in. [$700/900]

329. Continental Carved and Parcel Giltwood Mirror, scrolled and foliate crest, flanked by eagles, h. 55 1/2 in., w. 67 in., d. 13 1/2 in. [$800/1200]

330. Italian Rococo-Style Giltwood Mirror, scroll crest, divided mirror plate, h. 60 in., w. 30 1/2 in., d. 4 in. [$600/900] Provenance: Michael W. Murphy, El Dorado, AR.

331. Antique Louis XV-Style Giltwood Cushion Mirror, scroll and cabochon border, h. 43 in., w. 29 1/2 in., d. 1 1/2 in. [$600/900]

332. Connecticut Queen Anne Carved Cherrywood Highboy, c. 1750, bonnet top with broken arch cornice, turned finials, fan-carved drawers, scalloped apron, cabriole legs, pad feet, dovetailed case, pine secondary wood, h. 86 in., w. 38 1/2 in., d. 21 1/2 in. [$8000/12000] Provenance: Kenneth E. Tuttle Antiques, Gardiner, ME, 2005. Note: In the 1730s, Boston cabinetmakers applied Queen Anne design features like the broken-arch cornice and cabriole legs to the flat-top William & Mary-style high chest. This distinctively American design became popular with cabinetmakers throughout New England. The fine example offered here, constructed of cherrywood, includes features such as pad feet, fan carvings, a dovetailed case, and drop-finials that are hallmarks of this quintessential New England form. Ref.: “Chest of Drawers.” The Metropolitan Museum of Art. metmuseum.org/art/collection/search/4278. Accessed October 27, 2022.; “High Chest.” Historic New England. historicnewengland.org/ explore/collections-access/gusn/172354/. Accessed October 27, 2022.

333. Fine Philadelphia Chippendale Carved Cherrywood Tripod Tea Table, c. 1760-1780, dished top above birdcage, turned standard, arched legs, ball and claw feet, h. 29 1/2 in., dia. 35 in. Note: small loss at base of standard. [$8000/12000] 334. Rare New England William and Mary Walnut Highboy, early 18th c., likely New Haven or Boston, stepped cornice, bolection frieze drawer, upper case with five drawers, lower case with three drawers, shaped apron, trumpet-turned legs, serpentine stretcher, bulbous feet, oak and white pine secondary woods, h. 67 in., w. 40 1/2 in., w. 21 3/4 in. [$5000/8000] Provenance: Antiquarians Grace and Elliot Snyder, South Egremont, MA, 2011. Note: Bolection frieze drawer base includes pencil inscription “the Property of Hannah Jones, came from England in the year 1662.” 63

335. Rare and Important American Chippendale Mahogany China Table, Eastern Virginia, Tidewater Region, 1760-1775, possibly workshop of Anthony Hay (Williamsburg, c. 1700-1775), white pine secondary wood (by microanalysis), reticulated gallery, rectangular flame figured one panel top, bead molded frieze, pierced brackets, four Marlborough legs, each with ogee molded panel with distinctive wave terminal and chamfered inner edge, gutta feet, h. 29 in., w. 31 1/2 in., d. 20 1/4 in. [$50000/100000]

Note: Virginia scholar Wallace Gussler describes “six notable china tables” from the workshop of Anthony Hay (Williamsburg, 1700-1775) in his seminal 1989 article “The Tea Tables of Eastern Virginia.” The lot offered here is an important discovery of a seventh Hay table in this group which includes a table owned by George Washington at Mount Vernon and a table descended in the Lewis and Byrd families now at the National Museum in Washington. The elegant and restrained style of this rare china table is indicative of the late colonial southern coast cabinetmakers like Anthony Hay. A rare surviving item from the region and period, this table displays distinctive designs on its gallery, brackets, legs and feet as well as retention of much of its old surface. Variations on the distinctive leg design on this lot are seen on three other tables attributed to the Hay workshop. An Anthony Hay urn stand from the DuPont collection at Winterthur (acc. 1952.0063) has brackets, straight legs with ogee panel and guttae feet very similar for those seen here. Interestingly, the Winterthur table lacks the original gallery, and the gallery on the table offered here provides scholars a notion of gallery form. A 1775 pembroke table from the Janet Kimbrough collection has four chamfered corners on each leg similar to the interior chamfered corners on this table and similar guttae feet. Additionally, a marble top sideboard table attributed to Hay with frieze, legs and feet like those on the previous examples was sold by Neal Auction Company as lot 667 on February 19, 2005 and now displayed in the dining room at George Mason’s home, Gunston Hall, Lorton, Virginia. Lastly, the form and many carved details on this table suggest inspiration from Chippendale’s Director (3rd Edition, 1762), the publication most used by master American cabinetmakers. Plate No XXXIV illustrating a China Table and No XXXVI a Sideboard Table are particularly instructive. Fallon & Wilkinson stratification analysis report indicating intact very old surface and conservation report by Chris Swan available on request. Ref.: Wallace Gussler. “The Tea Tables of Eastern Virginia,” Magazine Antiques. May 1989, pp. 1242-1245; Urn stand – Truths of the Trade: Slavery and the Winterthur Collection ; Furniture - Stand (Urn stand) - Search the Collection - Winterthur Museum ; Inside Gunston Hall - George Mason’s Gunston Hall; The gentleman and cabinet-maker’s director (si.edu)

A side by side comparison with the Anthony Hay Urn Stand table at Winterthur Museum.

View Anthony Hay Table at Winterthur

337. Three Antique French Glazed Terracotta Confit Jars, yellow glaze, loop handles, tallest h. 13 1/2 in., dia. 10 in. [$500/700] Provenance: Michael W. Murphy, El Dorado, AR.

336. Napoleon III Silvered Bronze Jardiniere, late 19th c., in the Rococo taste, with removable liner, h. 7 1/4 in., w. 23 1/4 in., d. 11 3/4 in. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

338. Antique French Rosewood and Marquetry Cave a Liqueur, floral and avian decoration, lift-out tray with decanters and cordials, h. 10 in., w. 11 1/2 in., d. 11 1/2 in. [$600/900] Provenance: Michael W. Murphy, El Dorado, AR.

339. Louis XVI-Style Gilt Bronze Six-Light Candelabra, foliate arms, h. 22 1/2 in., dia. 14 in. [$600/900] Provenance: The Estate of Caroline P. Ireland.

340. Two Silver-Mounted Clam Shells, complete shells, with silver hinges, h. 6 1/2 in., w. 10 in., d. 8 in. [$300/500] Provenance: The Estate of Caroline P. Ireland.

341. Louis XV-Style Carved Walnut Jardiniere, 20th c., oval form, removable copper liner, h. 28 1/4 in., w. 21 in., d. 15 1/2 in. [$200/300] Provenance: The Estate of Caroline P. Ireland.

343. Pair of Italian Carved Marble Parrot Bookends, 20th c., h. 5 1/4 in., w. 4 1/2 in., d. 2 3/4 in. [$300/500] Provenance: The Estate of Caroline P. Ireland.

342. Antique French Singing Bird Automaton, c. 1900, key-wind mechanism, bird moves and sings, h. 11 in., dia. 5 3/4 in. [$600/900] Provenance: The Estate of Caroline P. Ireland.

344. Neoclassical-Style Silvered Bronze Urn, cherub handles, h. 31 in., w. 29 in., d. 21 in. [$500/700]

345. Napoleon III Inlaid and Ebonized Parlor Cabinet, late 19th c., shaped top, conforming case with chinoiserie decoration, paneled doors flanked by double column supports and ogee glazed panel cabinet doors, blocked base, h. 43 1/2 in., w. 75 in., d. 18 in. [$1800/2500]

346. Pair of Baltic Empire-Style Bronze-Mounted Mahogany Demilune Consoles, 19th c., apron mounted with portrait medallion, tapered legs, h. 28 in., w. 51 in., d. 20 1/2 in. [$600/900]

347. Louis Philippe Carved Mahogany Center Table, 19th c. and later, circular dished marble top, turned support, paw feet, h. 28 1/2 in., dia. 42 in. [$600/900]

348. Louis Philippe Fruitwood Commode, 19th c., marble top, blind frieze drawer, three graduated drawers, plinth base, shaped block feet, h. 35 1/2 in., w. 53 in., d. 23 in. [$800/1200] 349. Pair of French Green and White Enameled Pedestals, 20th c., inset marble tops, standard with Classical figures, h. 39 1/2 in., w. 15 1/2 in., d. 15 1/2 in. [$2000/4000] 350. French Empire-Style BronzeMounted Mahogany Etagere/Server, 19th c., molded two tiered superstructure, two frieze drawers over molded doors, flanking half columns, paw feet, h. 65 in., w. 58 in., d. 24 in. [$1000/2000]

351. French Directoire BrassMounted Carved Mahogany Commode, 19th c., marble top, three drawers, fluted columns, tapered legs, brass cups, h. 35 in., w. 46 1/2 in., d. 20 1/2 in. [$1000/1500]

352. Dutch Inlaid Burl Walnut Tilt Top Center Table, 19th c., segmented top with star inlay, turned standard, tripod base, acanthus carved legs, scrolled toes. h. 28 1/2 in., d. 50 1/2 in. [$2500/3500] Provenance: Michael W. Murphy, El Dorado, AR.

353. French Directoire Marquetry Demilune Cabinet, 19th c., marble top, two drawers above cabinet doors, tapered legs. h. 39 in. x w. 47 in., d. 23 in. [$1000/1500] Provenance: Michael W. Murphy, El Dorado, AR.

354. Pair of Anglo-Indian Inlaid Fruitwood Low Tables, 20th c., round top with geometric design. h. 21 in., d. 39 1/2 in. [$800/1200] Provenance: Michael W. Murphy, El Dorado, AR.

356. Persian Carpet, cream ground, floral design, signed, 7 ft. 11 in. x 10 ft. 11 in. [$700/1000] 68

357. Heriz Carpet, red ground, floral design, 6 ft. 8 in. x 10 ft. [$700/1000]

355. Antique French Cast Iron and Marble Baker’s Table, 19th c., gothicized skirt, scrolled legs, brass mounted stretcher, casters, h. 34 in., w. 33 3/4 in., d. 22 1/2 in. [$1200/1800]

358. Peshawar Serapi Carpet, red, white and blue ground, 9 ft. 8 in. x 14 ft. [$1000/1500]

359. Persian Carpet, red ground, blue border, stylized floral design, 8 ft. 7 in. x 13 ft. [$1000/1500]

360. Tabriz Carpet, red ground, blue border, 9 ft. 6 in. x 13 ft. 8 in. [$1000/1500]

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

362. Antique Sarouk Carpet, pink ground, floral design, 4 ft. x 11 ft. 3 in. [$400/600] Provenance: The Estate of Caroline P. Ireland.

363. Antique Kashan Carpet, golden field and floral decorations, signed central cartouche, 10 ft. 4 in. x 14 ft. 6 in. [$1000/1500] Provenance: The Estate of Caroline P. Ireland.

366. Persian Shiraz Carpet, red and cream ground, central medallion, 4 ft. 8 in. x 6 ft. [$800/1200]

367. Romanian Kilim, Romania, 8 ft. 9 in. x 13 ft. [$400/600]

370. Persian Mahal Carpet, red ground, floral design, 9 ft. 2 in. x 13 ft. 4 in. [$2500/3500]

371. Persian Tabriz Carpet, cream ground, vining floral design, 8 ft. 5 in. X 9 ft. 11 in. [$1500/2000]

364. Persian Karaja Runner, red ground, repeating medallions, 2 ft. 4 in. x 13 ft. 4 in. [$900/1200]

365. Persian Ardabil Carpet, red ground, repeating medallions, 2 ft. 3 in. x 11 ft. 3. In. [$900/1200]

368. Persian Hamadan Carpet, red ground, floral design, 4 ft. 7 in. x 8 ft. 8 in. [$1400/1800]

369. Persian Carpet, grid design, running deer border, 9 ft. 8 in. x 12 ft. 5 in. [$2500/3500]

372. Tabriz Carpet, mauve ground, stylized floral ground, 6 ft. 5 in. x 10 ft. 1 in. [$1500/2000]

373. Aubusson-Style Tapestry, depicting a sylvain landscape, 3 ft. 11 in. x 4 ft. 10 in. [$350/450]

374. Dale Chihuly (American, b. 1941) Winter White Persian Set with Ebony Lip Wraps, seven pieces, engraved signature “Chihuly” and date (illegible) to one element, largest element h. 11 1/2 in., w. 21 in., d. 14 in. [$5000/7000] Provenance: Chihuly Gallery, Bellagio, Las Vegas, 2013

375. Dale Chihuly (American, b. 1941) Large Cobalt Macchia, 1982, engraved signature and date, h. 7 3/4 in., w. 15 in., d. 11 in. [$3000/5000] Provenance: Michael W. Murphy, El Dorado, AR.

376. Toots Zynsky (American, b. 1951), fused and thermoformed glass vessel, remnants of applied “2” to underside, h. 5 in., dia. 9 1/2 in. [$1500/2500] Provenance: The Estate of Caroline P. Ireland.

377. Steuben Glass “Excalibur” Paperweight and Letter Opener, designed in 1963 by James Houston, sterling sword, 18 kt. gold handle wrap, fully marked, h. 8 in., w. 6 in., d. 3 1/4 in. [$500/700] Provenance: The Estate of Caroline P. Ireland.

378. Steuben Glass “Marine Life”, signed, h. 5 in., w. 9 1/2in., d. 1 3/4 in. [$400/600] Provenance: Michael W. Murphy, El Dorado, AR.

379. Steuben Glass “Cathedral”, designed by George Thompson in 1955, from the Artist’s Exhibition, cast, cut and engraved on walnut base, h. 16 in. [$1000/1500] Provenance: Michael W. Murphy, El Dorado, AR.

380. Large Steuben Crystal “Sea Turtle”, artist signed, h. 2 1/2 in., w. 8 in., d. 8 3/4 in., presented on its granite base, with original box and bag [$500/700] Provenance: Michael W. Murphy, El Dorado, AR.

381. Baccarat Crystal “Objectif” Vase, marked, in original fitted box, h. 9 3/4 in., dia. 8 1/2 in. [$500/700] Provenance: Michael W. Murphy, El Dorado, AR.

383. Pair of Baccarat Crystal Two-Light Candelabra, etched mark, h. 7 1/2 in., w. 8 1/4 in., d. 2 3/4 in. [$700/1000]

385. Moser Contemporary Art Glass Crystal “Fan” Vase, signed, in original fitted box, h. 9 in. w. 11 3/4 in., d. 5 3/4 in. [$300/500] Provenance: Michael W. Murphy, El Dorado, AR.

382. Baccarat Crystal “Diva” Vase, marked, in original box (but lacking foam interior), h. 4 1/2 in., 7 1/4 in., d. 17 in. [$300/500] Provenance: Michael W. Murphy, El Dorado, AR.

384. Moser Contemporary Art Glass “City” Crystal Vase, signed, blue and green, with original fitted box, h. 14 in., w. 6 1/4 in., d. 6 1/4 in. [$500/700] Provenance: Michael W. Murphy, El Dorado, AR.

386. Contemporary Amethyst Encrusted Glass Centerpiece Bowl, 20th c., h. 7 in., dia. 14 in. [$400/600] Provenance: Michael W. Murphy, El Dorado, AR.

387. Pair of Large American Cut Glass Sweetmeat Covered Compotes, 19th c., facet-form, h. 18 1/4 in., dia. 7 1/2 in. [$400/600] Provenance: Michael W. Murphy, El Dorado, AR.

388. Attributed to Daum Glass and Iron Vase, 20th c., unsigned, h. 9 in., dia. 9 in. [$600/900] Provenance: Deco Deluxe, New York, NY, 2001 71

389. Platinum, Sapphire and Diamond Ring, set with pear-shaped blue sapphire, approx. 1.69 cts., 11 round brilliant cut diamonds, totaling approx. .63 ct., and 32 baguette diamonds, totaling approx. 3.05 cts. [$4000/6000]

391. Platinum and Diamond Bow Brooch, set with center Old European cut diamond, approx. 1.80 ct., K color, SI-1 clarity; 6 round brilliant cut diamond, each approx. .36 ct.; 6 baguette diamonds, each approx. .54 ct.; and numerous other diamonds, total diamond wt. 11.31 cts. [$15000/20000]

393. 14 kt. White Gold and South Sea Pearl Necklace, strand of 35 near round/drop shape white pearls, 10.00-13 mm, finished with plunger bead clasp, l. 18 in.; AIGL report. [$1200/1800]

394. 14 kt. White Gold and Tahitian Pearl Necklace, 35 near round and oval dark gray pearls, 11.0013.58 mm, finished with plunger bead clasp, l. 19 in.; GIA report. [$800/1200]

396. Platinum and Diamond Ring, center round brilliant cut diamond, wt. approx. 0.59 ct., approx. 5.14 x 5.13 x 3.45 mm; flanked by 2 round single cut diamonds, total wt. approx. 0.04 ct., G-H color, VS-SI clarity; size 7.25; GAL report. [$800/1200]

390. Art Deco-Style 18 kt. White Gold, Diamond and Sapphire Ring, center round brilliant cut diamond, wt. approx. 1.00 ct.; mounted with 18 round brilliant cut diamonds, total wt. approx. 0.36 ct.; accented by 2 bezel set bullet shape blue sapphires, total wt. approx. 0.24 ct.; size 5.75 ; Accompanied by Ramsey’s Diamond Jewelers Appraisal report. [$2000/3000]

392. Pair of 18 kt. White Gold, South Sea Pearl, Sapphire and Diamond Dangle Earrings, 2 round white cultured pearls, 11.00 mm; set with 18 round brilliant cut diamonds, total w.t approx. 0.86 ct., G-H color, VS2-SI1 clarity; and 14 round modified brilliant cut blue sapphires, total wt. approx. 1.70 cts.; l. 2 in.; AIGL report. [$1800/2500]

395. Platinum, South Sea Pearl and Diamond Ring, center near round white cultured pearl, 12.9713.28 mm; floral bezel set with 164 round brilliant cut diamonds, total wt. approx. 1.85 cts.; size 7; GGA and GIA reports. [$4000/6000]

397. Pair of 14 kt. White Gold and Diamond Stud Earrings, 2 prong set round brilliant cut diamonds, total wt. approx. 2.00 cts., G-H color, I1-I2 clarity; GGA report. [$3000/5000]

399. 14 kt. White Gold and Graduated Diamond Necklace, set with 137 graduated round brilliant cut diamonds, total wt. approx. 14.45 cts., 4.70 x 2.00 mm; l. 17 in.; GGA report. [$10000/15000]

398. 14 kt. White Gold and Diamond Tennis Bracelet, set with 40 round brilliant cut diamonds, total wt. approx. 11.55 cts., G-H color, SI1-I1 clarity; l. 7 in.; GGA report. [$8000/12000]

400. Antique 14 kt. White Gold and Diamond Solitaire Ring, center Old European cut diamond, wt. approx. 2.70 cts., color J-K, clarity SI1-SI2, size 8.25.; overall wt. 2.01 dwts. [$15000/25000] Provenance: Carone Jewelry, Royal St., New Orleans, c. 2010.

401. 18 kt. White Gold and Diamond Ring, center emerald cut diamond, wt. approx. 4.07 cts., H color, I1 clarity; flanked by 2 trapezoid step cut diamonds, total wt. approx. 1.01 cts., I color, VVS2-VS2 clarity; size 6.25; SGL report. [$25000/35000]

403. Pair of 14 kt. Yellow, White and Rose Gold and Yellow Diamond, Pink Diamond and Diamond Dangle Earrings, geometric design set with 6 prong set triangle, oval and princess cut fancy yellow diamonds, total wt. approx. 1.17 cts.; 60 prong set round brilliant cut fancy yellow diamonds, total wt. 0.76 ct.; 90 round brilliant cut pink diamonds, total wt. approx. 0.56 ct.; and 112 round brilliant cut diamonds, total w.t approx. 0.68 ct.; l. 2 in.’ AIGL report. [$3000/5000]

402. 14 kt. Yellow, White and Rose Gold and Diamond Ring, three bands set with 3 round brilliant cut diamonds, total wt. 1.68 cts., G-T color, SI1-I2 clarity; finished with 57 round brilliant cut diamonds, total wt. approx. 1.22 cts., F-G color, VS1-SI1 clarity; size 6.75; AIGL report. [$3000/5000]

405. Rare Pair of 18 kt. White Gold and Yellow Diamond Earrings, two center prong-set pear-shaped yellow diamonds, total wt. approx. 10.59 cts., natural fancy light yellow color, SI1/2 clarity; interior bezels with 72 round brilliant cut fancy yellow diamonds; exterior bezels and links with numerous round brilliant and marquise-cut diamonds, total wt. approx. (incl. interior bezels) 2.18 cts., F-G color, VS/SI clarity; l. 1 5/8 in.; IAS report. [$50000/70000]

404. 18 kt. White Gold, Diamond and Pink Diamond Ring, center colorless round brilliant cut diamond, wt. approx. 1.26 cts., G color, SI1 clarity; stylized floral setting with numerous round brilliant cut colorless and fancy light pink diamonds, total wt. approx. 1.47 cts.; size 7; GGA report. [$4000/6000]

406. Oscar Friedman 18 kt. Yellow Gold and Diamond Ring, center bezel set round brilliant cut diamond, wt. approx. 2.03 cts., I color, I1 clarity; size 6.75; AIGL report. [$3000/5000]

407. 14 kt. Yellow Gold and Diamond Earrings, 2 center round brilliant cut diamonds, total wt. approx. 2.11 cts., J-K color, I1-I2 clarity. [$1500/2500] 408. 14 kt. Yellow Gold and Diamond Necklace, mounted with 60 bezel set round brilliant cut diamonds, total wt. approx. 4.56 cts., F-G color, SI1-I1 clarity; l. 6 3/4 in.; GGA report. [$3000/5000]

409. 14 kt. Yellow and White Gold, Emerald and Diamond Brooch, 2 octagonal square faceted cut emeralds, total wt. approx. 3.84 cts.; mounted with 36 Old European cut diamonds, total wt. approx. 3.50 cts., F-G color, VVS2-SI1 clarity; l. 1 3/4 in., w. 1 1/4 in.; GGA report. [$3000/5000]

410. 18 kt. Yellow Gold, Emerald and Diamond Necklace, mounted with 50 graduated oval brilliant faceted cut emeralds, total wt. approx. 45.05 cts.; linked by 204 round brilliant cut diamonds, total wt. approx. 2.18 cts.; l. 17 3/4 in.; GGA report. [$15000/25000]

411. 18 kt. Yellow Gold, Emerald, Diamond and Enamel Bracelet, set with 12 oval brilliant faceted cut emeralds, total wt. approx. 13.72 cts.; bezels with 204 round brilliant cut diamonds, total wt. approx. 4.51 cts., G-H color, SI1-I1 clarity; l. 7 1/4 in.; GGA report. [$8000/12000]

413. Platinum, Emerald and Diamond Ring, center prong set mixed cut emerald, wt. approx. 3.33 cts.; mounted with 188 round brilliant and baguette cut diamonds, total wt. approx. 2.62 cts., F-G color, VS1-SI1 clarity; size 6.75; GGA and GIA reports. [$4000/6000]

412. Platinum, Emerald and Diamond Earrings, set with 8 pear shape emeralds, total wt. approx. 12.50 cts.; and numerous baguette cut diamonds, total wt. approx. 2.00 cts., G-H color, SI1 clarity; l. 1 1/2 in.; IAS report. [$6000/8000]

414. Platinum, Emerald and Diamond Pendant on Chain, center oval brilliant faceted cut emerald, wt. approx. 5.59 cts.; double bezel and bail set with 67 round brilliant cut diamonds, total wt. approx. 1.25 cts., G-H color, SI2I1 clarity; pendant l. 1 5/8 in.; chain l. 17 1/2 in.; GGA and GIA reports. [$4000/6000]

415. Pair of Oscar Friedman 18 kt. White Gold, Emerald and Diamond Earrings, 2 rectangular mixed cut emeralds, total wt. approx. 4.78 cts.; double bezel set with 108 round brilliant cut diamonds, total wt. approx. 1.04 cts., G-H color, VS2-SI1 clarity; AIGL report. [$3000/5000]

417. Oscar Friedman Platinum, Emerald and Diamond Ring, center bezel set octagonal step cut emerald, 11.77 x 9.28 x 6.99 mm, wt. approx. 5.81 cts.; accented by 10 baguette cut diamonds, total wt. approx. 0.29 ct., F color, VS1-VS2 clarity; size 6.75; AIGL and GIA reports. [$5000/7000]

418. 18 kt. White Gold, Emerald and Diamond Ring, center octagonal step cut emerald, 15.40 x 12.57 x 10.01 mm, wt. approx. 14.75 cts.; flanked by 2 cadillac cut diamonds, total wt. approx. 0.76 cts., G color, VS1 clarity; size 5.5 [$20000/30000]

420. Platinum, Emerald and Diamond Ring, set with octagonal step cut emerald, wt. approx. 2.00 cts.; and numerous round brilliant and baguette cut diamonds; size 6.75; GIA report [$2800/3500]

422. Platinum, Sapphire and Diamond Ring, center oval mixed cut blue sapphire, wt. approx. 1.69 cts.; bezel set with numerous baguette and round brilliant cut diamonds; size 6; GIA report. [$1500/2500]

416. 18 kt. White Gold, Emerald and Diamond Ring, center prong set pear mixed cut emerald, wt. approx. 3.94 cts.; bezel and band set with 38 round brilliant cut diamonds, total wt. approx. 0.53 cts.; size 6.5; AIGL report. [$4000/6000]

419. 14 kt. White Gold, Emerald and Diamond Bangle Bracelet, center prong set oval mixed cut emerald, wt. approx. 4.43 cts.; set with 44 prong set round brilliant cut diamonds, total wt. approx. 0.68 ct., F-H color, I1-I2 clarity; hinged opening; inner circ. 7 1/4 in.; AIG report. [$3000/5000]

421. Platinum, Diamond and Emerald “Toi et Moi” Ring, central round brilliant cut diamond, wt. approx. 3.02 ct., G color, SI2 clarity; and octagonal square faceted cut emerald, wt. approx. 1.94 ct.; band set with 4 baguette cut diamonds, total wt. approx. 0.55 ct., F-G color, VVS2 clarity; size 7.75; GGA report. [$10000/20000]

423. Oscar Friedman Platinum, Sapphire and Diamond Ring, center cushion mixed cut blue sapphire, wt. approx. 1.20 cts.; double halo and band set with 96 round diamonds, total wt. approx. 0.40 ct.; size 6; AIGL report. [$1500/2500]

424. Platinum, Sapphire and Diamond Bracelet, set with 19 oval mixed cut blue sapphires, total wt. approx. 12.62 cts.; bezels set with 368 round brilliant cut diamonds, total wt. approx. 3.32 cts., G-H color, SI1-I1 clarity; l. 7 1/2 in. [$4000/6000] 75

425. 18 kt. White Gold, Ruby and Diamond Ring, center oval cut ruby, wt. approx. 2.10 cts.; floral bezel set with 46 channel set baguette cut diamonds, total wt. approx. 1.00 cts., G color, VS1 clarity; size 6; SGL report. [$2000/3000]

426. Platinum, Ruby and Diamond Ring, center oval brilliant faceted cut ruby, wt. approx. 0.80 ct.; set with 46 round and baguette cut diamonds, total wt. approx. 0.70 ct., G-H color, VS2-SI1 clarity; size 6; GGA report. [$1000/2000]

427. Platinum, Burmese Ruby and Diamond Ring, center oval mixed cut ruby, wt. approx. 2.25 cts.; set with 102 round brilliant cut diamonds, total wt. approx. 1.24 cts., F-G color, VS2-SI1 clarity; size 6.75; AIGL and GIA reports. [$2000/3000]

428. 18 kt. White Gold, Pink Sapphire and Diamond Ring, center oval mixed cut purplish pink Kashmir sapphire, wt. approx. 0.72 ct.; halo and band set with 32 round brilliant cut diamonds, total wt. approx. 0.77 ct., F-G color, VS1-VS2 clarity; size 7; GGA and GIA reports. [$1500/2500]

429. Platinum, Burmese Ruby and Diamond Dangle Earrings, 2 pear brilliant faceted cut rubies, total wt. approx. 3.28 cts.; mounted with 94 round brilliant cut diamonds, total wt. approx. 0.82 ct., F-G color, VS1-VS2 clarity; l. 1 in.; GGA report. [$1800/2500] 430. 18 kt. Yellow Gold, Ruby and Diamond Bracelet, mounted with 135 prong-set round cut rubies and 14 prong-set baguette cut rubies, total wt. approx. 13.92 cts.; accented with 34 prong set tapered baguette cut diamonds, total wt. approx. 1.61 cts., H color, SI2 clarity; l. 7 1/4 in.; SGL report. [$5000/7000]

431. 18 kt. Yellow Gold, Ruby and Diamond Necklace, mounted with 35 graduated marquise mixed cut rubies, total wt. approx. 23.53 cts.; linked by 35 round brilliant cut diamonds, total wt. approx. 4.83 cts., H-I color, VS1-SI1 clarity; l. 17 in.; AIGL report. [$7000/9000]

432. 14 kt. White Gold, Aquamarine and Sapphire Ring, center bezel set emerald cut aquamarine, wt. approx. 3.52 cts.; bezel with numerous blue sapphires, total wt. approx. 2.35 cts.; size 6.75; IAS report [$800/1200] 76

433. Art Deco-Style Oscar Friedman Platinum, Aquamarine, Sapphire and Diamond Pendant on Chain, center cushion modified brilliant cut sapphire, wt. approx. 34.41 cts.; set with numerous round brilliant cut diamonds and numerous blue sapphires; pendant l. 2 in.; chain l. 18 in.; GIA report. [$7000/9000]

434. Platinum, Sapphire and Diamond Ring, center fancy color change sapphire, wt. approx. 5.28 cts.; bezel with 35 baguette cut diamonds, total wt. approx. 0.77 ct., F-G color, VS1-VS2 clarity; size 5; GGA and GIA reports. [$3000/5000]

436. 14 kt. White Gold, Spinel and Diamond Ring, center oval brilliant faceted cut spinel, wt. approx. 3.47 cts.; bezel and shoulders set with 44 round brilliant cut diamonds, total wt. approx. 1.01 cts.; size 6.75; GGA and GIA reports. [$1500/2500]

438. 14 kt. White Gold, Tanzanite and Diamond Ring, center prong set oval mixed cut tanzanite, wt. approx. 3.98 cts.; inner bezel with 14 prong set round brilliant cut diamonds, total wt. approx. 0.78 ct.; outer bezel set with 16 prong set round cut tanzanites, total wt. approx. 1.65 cts. ; size 7; AIG report. [$1500/2500]

440. Platinum, Tanzanite and Diamond Ring, center prong set oval cut tanzanite, wt. approx. 3.29 cts.; bezel and shoulders set with numerous round brilliant cut diamonds, total w.t approx. 0.74 ct.; size 6.75; IAS report. [$1800/2500]

435. 14 kt. Yellow Gold, Opal, Yellow Sapphire, Diamond and Enamel Ring, center oval cabochon opal, wt. approx. 10.68 cts.; accented by 4 marquise faceted cut yellow sapphires, total wt. approx. 1.31 cts.; bezel and band set with 56 round brilliant cut diamonds, total wt. approx. 0.59 cts.; size 7.25; GGA rep. [$1500/2500]

437. 14 kt. White Gold, Spinel and Diamond Bracelet, set with 13 oval mixed cut spinel, total wt. approx. 21.98 cts.; and 52 round brilliant cut diamonds, total wt. approx. 2.62 cts.; l. 7.25 in.; GGA report. [$2500/3500]

439. Platinum, Tanzanite and Diamond Pendant on Chain, center triangular mixed cut tanzanite, wt. approx. 8.04 cts.; double bezel set with 75 round brilliant cut diamonds, total wt. approx. 1.28 cts.; pendant l. 1 1/4 in.; GGA and GIA reports. [$5000/7000]

441. 14 kt. Rose Gold, Morganite and Diamond Pendant on Chain, center cushion mixed cut morganite, wt. approx. 48.93 cts.; mounted with 56 round brilliant cut diamonds, total wt. approx. 1.36 cts., G-H color, SI1-I1 clarity; pendant l. 2 in.; GGA report. [$5000/7000] 77

442. Chinese Export Blue and White Armorial Porcelain Service, 18th/19th c., incl. 18 plates, dia. 9 3/4 in.; 12 bowls, dia. 9 5/8 in.; and 2 platters, l. 14 1/2 in. and 16 1/2 in. (32 pcs.) [$500/700] Provenance: Michael W. Murphy, El Dorado, AR.

443. Large and Decorative Pair of Chinese Blue and White Porcelain Covered Jars, large knop finials, domed covers and baluster bodies painted with phoenix birds amid lotus scrolls, h. 22 in., elaborately carved giltwood stands with waisted round tops pierced floral and garland frieze, scroll legs, finialed stretcher, overall h. 61 in. [$2000/3000]

445. Decorative Pair of Chinese “Sang de Boeuf” Porcelain Hu-Form Jars, pearform bodies with deer head handles, overall copper red glaze, h. 17 in., w. 15 in., d. 13 in. [$800/1200]

447. Large Chinese Celadon Porcelain Bowl, probably Ming Dynasty (1368-1644), exterior carved with a cloud band above flower scrolls, interior with basketweave roundel encircled by crashing waves, base burnt orange, h. 5 1/8 in., dia. 12 1/8 in., wood stand, overall h. 6 3/4 in. [$1000/1500] 78

444. Large and Decorative Chinese Red Lacquer Flora-Form Covered Box, cover with central prunus and wave roundel encircled by radiating landscape scenes, apocryphal Qianlong mark, h. 5 1/2 in., dia. 21 1/2 in. [$800/1200]

446. Large Chinese Celadon Green Porcelain Vase, 20th c., compressed baluster body with twisted rope concentric bands and incised vertical basketry, the shoulder with an applied green and brown crab, h. 10 1/4 in., w. 13 1/2 in., d. 12 3/4 in. [$200/300]

448. Two Pairs of Chinese Amber, White and Celadon Crackle Glazed Porcelain Vases, larger with everted foliate rims, applied qilong, and brown relief-bands, bases with apocryphal Chenghua marks, one with “Tom Hayes & Associates” shipping label, h. 13 3/8 in.; smaller with brown glazed lingzhi rims, lions mask handles and brown relief bands, bases with apocryphal Chenghua marks, h. 11 3/8 in. [$700/900] Provenance: Tom Hayes, Atlanta, GA

450. Chinese ‘Blanc de Chine’ Porcelain Figure of Guanyin, modeled seated on a rockwork base holding a ruyi scepter and leaning on a low table supported by one curved leg with a monster mask head and claw foot terminal, wearing long draping robes, a bead necklace and knotted hair centered by a cloud-form tiara, back with impressed He Chaozong seal mark, h. 16 in., w. 9 1/2 in., d. 7 1/4 in. [$1000/1500]

449. Large Chinese ‘Blanc de Chine’ Porcelain Figure of Guanyin, modeled standing on a lotus petal and blossom embellished circular base holding a double stem lotus blossom and leaf wearing long robes, a bead and tassel necklace with hair tied high in a chignon centered by a diadem featuring Amitabha, h. 24 1/4 in., w. 7 3/4 in. [$500/700]

451. Chinese ‘Blanc de Chine’ Porcelain Figure of Guanyin, modeled seated before a furled lotus leaf mandorla on a base of crashing waves with lotus pods, flowers, and leaves, holding a ruyi scepter and wearing loose open robes revealing a beaded necklace, the hair tied up and held with a diadem featuring Amitabha, back with illegible impressed marks enclosed by a double gourd and a square, h. 17 1/2 in., w. 9 1/4 in., d. 10 1/4 in. [$2500/3500]

452. Chinese ‘Blanc de Chine’ Porcelain Figure of Guanyin, modeled seated in ‘royal ease’ holding a scroll in one hand, wearing long robes and a beaded floral necklace, the hair tied high and held at the top by a ruyi pin and embellished at the base with an offset cloud-form tiara, back with illegible impressed mark within a square, h. 8 3/4 in., w. 5 1/4 in., d. 5 1/2 in. [$500/700]

453. Chinese Hardstone Embellished Lacquer Wall Panel, interlacing oval panels, embellished with floral vases and antiques, h. 34 in., w. 46 1/2 in. [$700/900]

454. Three Decorative Chinese Hardstone Embellished Lacquer Wall Panels, decorated with ‘antiques’ on a yellowish orange ground, molded red lacquer surrounds, each h. 41 1/2 in., w. 15 in. [$800/1200]

Session Three LIVE AUCTION Friday, November 17, 1 p.m. lots 455-764

455. Chestee Harrington (American/Louisiana, b. 1941), “The Talking Tree”, 2019, oil on carved wood, incised signature lower left, titled and dated en verso, 18 1/2 in. x 26 3/8 in., unframed. [$800/1200]

457. Clementine Hunter (American/Louisiana, 1886-1988), “Mule Drawn Cart”, oil on canvas board, monogrammed lower right, 14 in. x 18 in., framed, overall 17 3/4 in. x 21 3/4 in. x 3/4 in. [$2000/3000] Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

456. Chestee Harrington (American/Louisiana, b. 1941), “On the Path Home”, 1982, oil on carved wood, incised signature and date lower left, 11 7/8 in. x 24 in., framed, overall 17 5/8 in. x 29 5/8 in. x 2 in. [$800/1200]

458. Clementine Hunter (American/Louisiana, 1886-1988), “Angel”, oil on canvas board, monogrammed lower right, inscribed “Angel” and “T. Whitehead” en verso, 8 in. x 10 in., framed, 10 3/4 in. x 12 3/4 in. x 1 in. [$2000/3000]

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

Provenance: Michael W. Murphy, El Dorado, AR.

459. Clementine Hunter (American/Louisiana, 1886-1988), “Nativity”, oil on board, monogrammed lower right, partial sketch en verso, 17 7/8 in. x 23 3/4 in., framed, overall 21 in. x 27 in. x 1 in. [$5000/7000]

460. Clementine Hunter (American/Louisiana, 1886-1988), “Baptism”, oil on board, monogrammed lower right, 16 in. x 24 in., framed, overall 18 1/4 in. x 26 1/8 in. x 1 1/2 in. [$5000/7000]

Provenance: Michael W. Murphy, El Dorado, AR.

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

461. Clementine Hunter (American/Louisiana, 1886-1988), “Wake”, oil on board, monogrammed lower right, partial sketch and inscribed en verso, 16 in. x 20 in., framed, overall 19 1/4 in. x 23 1/4 in. x 1 1/4 in. [$4000/6000] Provenance: Estate of Richard Wilson, Jackson, MS. Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

462. Clementine Hunter (American/Louisiana, 1886-1988), “Zinnias”, oil on canvas board, monogrammed lower left, inscribed “Brittain” and “1984” en verso, 16 in. x 12 in., framed, overall 19 1/4 in. x 15 1/4 in. x 1 in. [$2000/3000] Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead. Provenance: Michael W. Murphy, El Dorado, AR.

463. Clementine Hunter (American/Louisiana, 1886-1988), “Cookout”, oil on canvas board, monogrammed lower right, partial sketch en verso, 18 in. x 24 in., framed, overall 22 in. x 28 in. x 1 in. [$4000/6000] Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

Provenance: Michael W. Murphy, El Dorado, AR.

464. Clementine Hunter (American/Louisiana, 1886-1988), “Hauling Cotton”, oil on board, monogrammed lower right, “Taylor Clark, Baton Rouge” label on backing paper, 16 in. x 24 in., framed, overall 17 1/2 in. x 25 1/2 in. x 1/2 in. [$4000/6000] Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

465. Clementine Hunter (American/Louisiana, 1886-1988), “Pecan Picking”, oil on canvas board, monogrammed mid-right, 16 in. x 20 in., framed, overall 18 1/2 in. x 22 1/2 in. x 1 in. [$3000/5000] Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

Provenance: Michael W. Murphy, El Dorado, AR.

467. Purvis Young (American/Florida, 1943-2010), “Untitled: Four Panel Assemblage on Board”, paint on board, signed on first, second and fourth panels, 16 1/2 in. x 51 1/2 in., unframed; accompanied by a copy of a certificate of authenticity from the Purvis Young Foundation. (2 pcs.) [$2000/3000] 466. Purvis Young (American/Florida, 1943-2010), “Untitled: Blue, Brown and Yellow Stars with Burgundy Figures on Pink Background”, paint on plywood, signed upper center, 26 in. x 48 in., unframed; accompanied by a copy of a certificate of authenticity from the Purvis Young Foundation. (2 pcs.) [$2000/3000]

468. American Gothic Marble Pedestal, c. 1840, Philadelphia, variegated marble, carved base, h. 32 in., w. 18 1/4 in., d. 18 1/4 in. [$600/900]

469. Italian Rococo-Style Gilt and Painted Bed, 20th c., gilt foliate swag molded headboard, shaped rails, cabriole legs, h. 83 in., l. 87 1/2 in., w. 87 1/2 in. [$700/1000]

470. American Renaissance Bronze-Mounted, Inlaid and Ebonized Parlor Cabinet, c. 1870, attr. to Pottier and Stymus, New York, or Thomas Godey, Baltimore, sarcophagus top, center door with bronze plaque, incurvate sides with inlaid panels, conforming plinth base, h. 45 in., w. 52 in., d. 18 in. [$1000/2000]

471. American Gothic Revival Carved Rosewood Bedstead, 19th c., probably New York, arched paneled headboard with crocketed crest, incurvate finialed posts, conforming rails, h. 94 1/2 in., l. 84 in., w. 64 in. [$2000/3000] Provenance: Hemlock, Hall, Beersheba Springs, TN. Ill.: Dorian, Donna, At Home in Tennessee: Classical Historic Interiors, p. 194. 83

472. Monumental American Renaissance Carved and Burled Walnut Breakfront Bookcase, mid-19th c., attr. to Thomas Brooks, New York, molded cornice centered by triangular pediment, six glass doors above six paneled doors, plinth base. h. 103 in. x w. 139 1/2 in., d. 23 in. [$4000/6000]

473. American Classical Carved Mahogany Games Table, early 19th c., Philadelphia, foldover top, conforming molded frieze, acanthine baluster form standard, rectangular plinth, acanthine saber legs, brass dolphin feet with casters, h. 29 1/2 in., w. 36 in., d. 17 3/4 in. [$1000/1500] 474. American Classical-Style Carved Mahogany Tester Bed, 20th c., flared tester, posts with acanthus and foliate lobed carving, paneled headboard, h. 93 1/2 in., l. 77 in., w. 54 in. [$1200/1800]

475. American Late Classical Carved Mahogany Single Door Armoire, 19th c., New Orleans, flared cornice, bead moldings, mirrored door, plinth drawer, h. 96 in., w. 58 in., d. 27 1/2 in. [$700/1000] Provenance: Albania Plantation, Jeanerette, LA onsite auction 2004.

476. Late Victorian Inlaid Mahogany Cylinder Desk, late 19th c., stamped “Edwards & Roberts London”, inlaid tambour cylinder lid, fitted interior with slideout surface, three frieze drawers over two pedestal cabinets, h. 43 3/4 in., w. 50 3/4 in., d. 24 in. [$2000/3000] Note: Restored by Ruppert Kohlmaier, New Orleans. 84

477. Pair of Jacobean Carved Walnut Armchairs, 19th c., leather upholstery with nailhead trim, scrolled arms with acanthus and lion carvings, barley twist supports and stretcher, h. 46 in., w. 26 in., d. 32 in. [$800/1200]

479. French Renaissance Revival Marble and Porcelain Mantel Clock, 19th c., striking bell movement, inset porcelain plaques with cobalt ground and white and gilt designs, h. 21 1/2 in., w. 13 1/2 in., d. 8 1/2 in. [$800/1200]

481. Jaeger Le Coultre Atmos Clock, original box, unused, h. 9 in., w. 8 1/4 in., d. 6 1/4 in. [$400/600] Provenance: The Estate of Caroline P. Ireland.

483. Biedermeier Mixed Woods Center Table, 19th c. and later, frieze drawer, stretcher shelf, cabriole legs, turned feet, h. 29 1/2 in., dia. 32 3/4 in. [$700/900] Provenance: The Estate of Caroline P. Ireland.

478. Napoleon III Gilt and Patinated Bronze Three-Piece Figural Clock Garniture, 19th c., clock surmounted with family, flanked by maidens holding five-light candelabra, clock h. 22 1/2 in., w. 25 in., d. 6 1/2 in., candelabra h. 26 in., w. 14 in., d. 6 1/2 in. [$3000/5000]

480. Empire-Style Gilt Bronze Figural Mantel Clock, depicting Jacques-Louis David’s Oath of the Horatii, fronted by relief, on paw feet, visible escapement, h. 19 in., w. 21 in., d. 8 in. [$1000/2000]

482. Biedermeier Inlaid Fruitwood Work Table, 19th c., inlaid banded top, frieze drawer with fitted interior, scroll legs, stretcher shelf, h. 31 in., w. 24 in., d. 17 1/2 in. [$500/700]

484. Italian Neoclassical Carved Giltwood Console Table, 19th c., marble top, anthemion frieze, rosette blocked corners, foliate fluted legs, toupie feet, h. 37 in., w. 60 1/2 in., d. 29 1/2 in. [$2000/4000] 85

485. Antique Italian Neoclassical Burl Walnut Secretaire, stepped hinged top, fall-front writing drawer with fitted interior, over four drawers, conforming bracketed base, h. 49 in., w. 66 in., d. 27 1/2 in. [$1000/2000]

486. Monumental Continental RenaissanceStyle Carved Oak and Pine Breakfront Bookcase, 20th c., molded cornice, frieze with Satyr mask above two glazed doors, scrolled side brackets, lower case having four drawers over paneled molded cabinet doors, plinth base, h. 123 1/2 in., w. 119 in., d. 25 in. [$2500/3500]

487. Pair of French Neoclassical-Style Bronze Gueridons, inset circular micromosaic top, reeded skirt, lion supports, X-form stretcher, paw feet, h. 27 in., dia. 14 in. [$1800/2500] 488. Napoleon III-Style Boullework, Ebonized and Bronze-Mounted Vitrine Table, 20th c., lift top, sabots, cabriole legs, h. 30 in., w. 28 3/4 in., d. 19 in. [$400/600] Provenance: The Estate of Caroline P. Ireland.

489. Napoleon III Bronze-Mounted, Ebonized and Boullework Parlor Cabinet, late 19th c., shaped top with egg and dart edge, arched glazed panel doors, stiles mounted with mythological masks, conforming plinth base, h. 44 in., w. 74 1/2 in., d. 20 1/4 in. [$4000/6000] 86

490. Antique French Paint Decorated Five-Part Screen, still life decoration on canvas, h. 76 in., overall w. 125 in. [$700/1000] Provenance: The Estate of Caroline P. Ireland.

491. Pair of Continental Neoclassical-Style Carved and Painted Bookcases, 19th c. and later, molded cornice, fluted columns, three shelves, faux cabinet doors, plinth base. h. 97 1/2 in. x w. 45 in., d. 11 in. [$800/1200] Provenance: The Estate of Caroline P. Ireland. 492. French Provincial Carved Walnut Armoire, 19th c., molded cornice, paneled frieze centering carving, paneled doors, shelf interior, cabriole legs, h. 94 in., w. 63 in., d. 26 in. [$1000/1500]

493. Pair of French Neoclassical-Style Creme Peinte Curule Benches, 20th c., shaped concave seat, X-form supports, scrolled feet, h. 20 1/2 in., w. 20 1/2 in., d. 14 in. [$500/700] Provenance: The Estate of Caroline P. Ireland.

495. French Provincial Directoire Carved Oak Side Table, 19th c., molded top, frieze drawer, turned tapered legs, h. 26 1/2 in., w. 29 in., d. 22 1/4 in. [$400/600]

497. French Provincial Carved Oak Chest of Drawers, 19th c., molded top, three drawers, fluted tapered feet, h. 31 in., w. 46 1/2 in., d. 25 in. [$1000/1500] Provenance: Michael W. Murphy, El Dorado, AR.

494. French Provincial Paint Decorated Commode, 18th/19th c., faux marbre top, serpentine front, two short drawers over two long drawers, scalloped skirt, h. 34 in., w. 55 1/2 in., d. 27 in. [$600/900] Provenance: The Estate of Caroline P. Ireland.

496. French Provincial Carved Fruitwood Draw Leaf Table, 19th c., scalloped skirt with one drawer, cabriole legs, h. 31 in., w. 65 in., d. 34 1/4 in. [$700/1000]

498. French Provincial Carved Burl Walnut and Oak Buffet, 20th c., molded top, three drawers over three paneled doors, shaped and molded apron, shaped feet, h. 40 1/2 in., w. 79 in., d. 21 3/4 in. [$1000/1500] Provenance: Michael W. Murphy, El Dorado, AR. 87

500. Pablo Picasso (Spanish, 18811973), “Visage au Nez Noir” (Ramie 609), 1969, white earthenware clay, decorated in engobes, engraved with knife under partial brushed glaze, gray patina, incised “Edition Picasso 191/200 Madoura R. 138”, stamped “Edition Picasso” and “Madoura P lein Feu”, h. 13 1/4 in., dia. [$25000/35000] Provenance: Michael W. Murphy, El Dorado, AR. Ref: Ramie, Alain. Picasso Catalogue of the Edited Ceramic Works 1947-1971, Madoura, #609

499. Pablo Picasso (Spanish, 1881-1973), “Visage” (Ramie 611), white earthenware clay, decoration in engobes, engraved by knife under partial brushed glaze with gray patina, incised “Edition Picasso, 382/500, R-145”, stamped “Edition Picasso” and Madoura Plein Feu”, h. 12 1/4 in. [$3000/5000] Provenance: Michael W. Murphy, El Dorado, AR. Ref.: Ramie, Alain. Picasso Catalogue of the Edited Ceramic Works 1947-1971, Madoura, #611.

501. Berlin (K.P.M.) Blanc de Chine Porcelain Covered Potpourri Vase, blue KPM mark, rose floral finial, h. 11 1/2 in. [$200/300]

502. Dresden Schneeballen Porcelain Covered Urn, marked, rose blossom final, h. 11 in. [$500/700]

503. Dresden Porcelain Figure of a Nodding Pagoda, late 19th/early 20th c., in the Meissen style, marked, h. 10 1/2 in. [$700/900]

505. Majolica Faience Jardinière, marked, scrolled snake handles, fish form feet, body decorated with pastoral scenes, h. 7 1/2 in., w. 15 1/2 in., d. 10 1/2 in. [$200/300] Provenance: Michael W. Murphy, El Dorado, AR.

507. Pair of De Porceleyne Fles Tiles, c. 1900, decorated in polychrome cuenca with facing peacocks perched atop a white brick wall, mounted on boards with amber border tiles possible mark hidden by boards, 13 1/2 in. x 5 1/4 in. [$500/700] Provenance: Craftsman Auction, Lambertville, NJ, September 20, 2003, lot 315 88

504. Large Minton-Style Majolica Urn, faux malachite motif, serpentine handles with figural terminals, h. 23 in. [$300/500] Provenance: Michael W. Murphy, El Dorado, AR.

506. Italian Majolica Garden Seat, modeled as blue, white and yellow patterned cushions with tassels, h. 18 1/4 in., w. 16 in., d. 16 in. [$300/500] Provenance: Michael W. Murphy, El Dorado, AR.

508. De Porceleyne Fles Tile of a Pelican Feeding Its Young, c. 1900, in white and beige cuenca on dark indigo ground, mounted on board with amber border tiles, possible mark hidden by boards, 13 1/2 in. x 5 1/4 in. [$700/1000] Provenance: Craftsman Auction, Lambertville, NJ, September 20, 2003, lot 321

509. Fine Johann Von Schwarz Oval Plaque, 20th c., mounted as a tray, decorated in cuenca with a brown deer in a mountainous landscape in greens, ambers, and purple, against a setting sun, two-handled tray with pierced frame, h. 12 in., w. 18 3/4 in., d. 2 1/2 in. [$1200/1800] Provenance: Craftsman Auction, Lambertville, NJ, September 20, 2003, lot 312 510. Pair of Sevres-Style Gilt Bronze-Mounted Porcelain Covered Urns, marked, fluted form, polychrome floral motif, magenta ground, h. 29 in., w. 13 1/2 in., d. 9 in. [$800/1200] 512. Royal Vienna Gilt Decorated Cobalt and Polychrome Porcelain Covered Urn, marked, reserved with Classical figures and putto in garden, lion’s head handles, h. 34 in. [$300/500] Provenance: Michael W. Murphy, El Dorado, AR.

514. Capodimonte Porcelain Centerpiece Bowl, marked, winged maiden form handles, reserved with Bacchanalian revelers, h. 5 in., dia. 11 1/2 in.; and matching underplate, dia. 13 1/2 in. (2 pcs.) [$400/600] Provenance: Michael W. Murphy, El Dorado, AR.

513. Set of Twelve Capodimonte Armorial Porcelain Plates, marked, reserved with various royal crests, rims with scenes of Bacchanalian revelry, dia. 10 in. [$500/700] Provenance: Michael W. Murphy, El Dorado, AR.

515. Large Capodimonte Polychrome and Gilt Porcelain Covered Tureen and Underplate, marked, inscribed “Fatto a Capodimonte 1818”, decorated with Bacchanalian revelry scenes, underplate reserved with armorial crest, h. 16 1/2 in., w. 22 in., d. 13 in. [$500/700] Provenance: Michael W. Murphy, El Dorado, AR.

517. Group of Anna Weatherly Porcelain Table Wares, marked, incl. “Ivy Garland” plate, cup and saucer; and 3 butterfly handle tea cups with saucers,h. 3 in. dia. 5 1/2 in.; and plate, dia. 10 7/8 in. (9 pcs.) [$300/500] Provenance: Michael W. Murphy, El Dorado, AR.

511. Pair of Sevres-Style BronzeMounted Cobalt and Polychrome Porcelain Urns, 19th c., signed, reserved with courting couples and pastoral scenes, h. 21 3/4 in. [$400/600] Provenance: Michael W. Murphy, El Dorado, AR.

516. Mottahedeh “Fruit of the Sea” Pattern Porcelain Dinner Ware, made in Portugal, inc. 8 rim soup bowls, dia. 8 1/2 in., 8 plates, dia. 10 in., and a tureen with underplate. (17 pcs.) [$250/350] Provenance: The Estate of Caroline P. Ireland.

518. Eight Royal Copenhagen “Flora Danica” Porcelain Fruit Plates, c. 1953, reticulated dentil borders and central botanical paintings, marked with green Royal Copenhagen logos, underglaze blue waves, pattern no. 420, shape no. 3554, and initials, dia. 9 in. (8 pcs.) [$1500/2500] 89

519. Eight Royal Copenhagen “Flora Danica” Porcelain Dinner Plates, 1980-84, dentil borders with central botanical paintings, marked with green Royal Copenhagen logos, underglaze blue waves, pattern no. 20, shape no. 3549, and initials, dia. 10 in. (8 pcs.) [$1500/2500] Provenance: The Estate of Caroline P. Ireland. 520. Gianni Versace for Rosenthal Porcelain “Voyage de Marco Polo” Table Service, marked, incl. 2 platters, l. 13 3/8 in.; 6 plates, l. 5 1/2 in.; 2 plates, l. 10 3/4 in..; and plate, w. 13 8 1/2 in.; together with Gianni Versace for Rosenthal Porcelain “Les Tresor’s de la Mer” plate, dia. 7 1/4 in.; all with original Gianni Versace boxes.(12 pcs.) [$500/700]

521. Four Royal Worcester Porcelain Wares, c. 1890, incl. two pitchers, a creamer and vase, in the Aesthetic taste, tallest h. 13 1/2 in. [$600/900]

522. Royal Worcester Floral Porcelain Dessert Service, marked, turquoise and gilt rims, incl. 9 plates, dia. 9 1/4 in.; and tazza, h. 4 /8 in. (10 pcs.) [$400/600] Provenance: Michael W. Murphy, El Dorado, AR.

523. Set of Sixteen Royal Worcester Porcelain “Diana” Plates, marked, cobalt blue bands, gilt rims, dia. 10 5/8 in. [$300/500] Provenance: Michael W. Murphy, El Dorado, AR.

524. Crown Derby Imari Porcelain Table Service, marked, incl. 12 plates, dia. 9 3/4 in.; 12 soup plates, dia. 10 in.; 3 platters, l. (largest) 15 in.; 3 dishes, dia. 5 1/2 in.; covered dish, h. 4 in.; together with Mason’s Ironstone pitcher, h. 4 3/4 in. (31 pcs.) [$500/700] Provenance: Michael W. Murphy, El Dorado, AR.

525. Extensive Spode Porcelain “Tumbledown Dick” Dessert Service, 19th c., marked “SPODE” and “3716” with various impressed marks, incl. 87 plates, dia. 8 in.; 19 shell form dishes, l. 9 1/4 in., w. 8 in.; 13 reticulated rim plates, dia. 9 3/4 in., 12 scalloped rim plates, dia. 8 3/4 in.; 10 dishes, w. 7 3/8 in.; 9 reticulated baskets, dia. 9 1/4 in.; 6 covered sauce tureens with 6 underplates, h. 5 in., w. 10 in.; 3 sieved ladles, l. 6 in.; 1 tureen with underplate, h. 3 in., w. 10 in.; 5 pitchers, h. (tallest) 6 3/4 in.; 4 footed bowls, h. 5 1/4 in.; 2 dishes, l. 11 3/4 in., w. 7 1/4 in.; 2 dishes, l. 11 in., w. 7 1/2 in.; covered centerpiece, h. 12 in.; centerpiece with reticulated cover, h. 12 1/2 in.; vase, h. 8 in.; and urn form dish, h. 8 in. (approx. 183 pcs.) [$1500/2500] Provenance: Michael W. Murphy, El Dorado, AR. 90

526. Pair of Louis XV-Style Bronze-Mounted Kingwood Gueridons, inset white marble tops, arched stretchers, tapered legs, sabots, h. 30 in., dia. 21 in. [$500/700] 527. Pair of Louis XVI-Style Carved Giltwood Tables, inset chinoiserie tops, acanthus frieze, floral swags, turned and tapered supports, shaped stretcher surmounted by floral urn, foliate feet, h. 26 1/2 in., w. 23 1/2 in., d. 23 1/2 in. [$800/1200]

528. Louis XV/XVI-Style Bronze-Mounted Parquetry and Kingwood Vitrine Cabinet, breakfront form with marble top, center panel door flanked two glazed doors, cabriole legs, sabots, h. 53 in., w. 51 in., d. 15 1/2 in. [$1500/2500]

529. Louis XV-Style Bronze-Mounted Marquetry and Kingwood Cabinet, marble top, foliate inlaid panel doors, cabriole legs, bronze paw feet, h. 36 in., w. 40 in., d. 17 in. [$700/900]

530. Pair of Louis XV-Style Carved Walnut Corner Bergères, arched back with floral crest, padded arms, cabriole legs, scroll toes, h. 28 in., w. 32 in., d. 21 in. [$500/700]

531. Louis XV-Style BronzeMounted and Faux Tortoiseshell Ladies Writing Desk, 19th c., inset tooled leather writing surface, two frieze drawers, cabriole legs, h. 30 1/2 in., w. 51 in., d. 30 in. [$600/900]

532. Louis XVI-Style Porcelain and Bronze-Mounted Mahogany Dressing Table, oval mirror flanked by candleholders and winged putti, frieze drawer, fluted tapered supports, stretcher surmounted by a bust, toupie feet, h. 73 in., w. 45 1/2 in., d. 20 1/2 in. [$1500/2500]

533. Pair of Louis XVI-Style Painted and Parcel Gilt Demilune Consoles and Mirrors, each console with inset molded stone top, foliate festooned apron, fluted tapered legs, stretcher surmounted by handled urn, mirror with rocaille crest and maiden bust, console h. 35 1/2 in., w. 27 1/2 in., d. 16 1/2 in., mirror h. 70 1/2 in., w. 21 in. [$2000/3000] 534. Louis XV-Style BronzeMounted Kingwood Parquetry and Mahogany Commode, 19th c., molded shaped marble top, two drawers, cabriole legs, sabots, h. 32 1/2 in., w. 37 1/2 in., d. 21 in. [$700/900]

535. Louis XVI Carved Giltwood Demilune Console Table, 19th c., marble top, guilloche frieze with swags, fluted tapered legs, urn finialed stretcher, h. 35 in. w. 57 in., d. 24 3/4 in. [$1000/1500]

536. Louis XV-Style Bronze-Mounted and Ebonized Bureau Plat, 20th c., tooled bronze molded top, shaped frieze with three drawers, cabriole legs, sabots. h. 30 in. x w. 61 in., d. 34 in. [$700/1000] Provenance: The Estate of Caroline P. Ireland.

537. Louis XVI-Style Carved Walnut Canapé, 20th c., molded seat rail, cabriole legs, scrolled toes, h. 33 1/2 in., w. 76 1/2 in., d. 33 in. [$700/1000] Provenance: The Estate of Caroline P. Ireland. 92

538. Louis XV-Style Creme Peinte Bergere, 19th/20th c., molded seat rail, padded arms, cabriole legs, h. 34 1/2 in., w. 35 1/2 in., d. 33 in. [$500/700] Provenance: The Estate of Caroline P. Ireland.

539. Louis XV Carved Fruitwood Armoire, 18th c., later interior with 4 shelves, molded arched cornice, cartouche-paneled doors, scalloped skirt, cabriole legs, h. 91 1/2 in., w. 61 1/2 in., d. 23 3/8 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.

540. Louis XV Inlaid Walnut Poudreuse, 19th c., banded hinged top, fitted interior with mirror, slide above drawer, cabriole legs, h. 30 3/4 in., w. 25 3/4 in., d. 20 in. [$400/600] Provenance: Michael W. Murphy, El Dorado, AR.

541. Napoleon III Rouge Marble and Bronze-Mounted Urn, late 19th c., floral finial, ram’s head handles, h. 26 in., w. 13 1/2 in., d. 9 in. [$800/1200]

543. Pair of Italian Grand Tour-Style Specimen Marble Obelisks, stepped base, h. 36 in., w. 7 1/2 in., d. 7 1/2 in. [$1000/2000]

545. Pair of Continental Carved Rock Crystal Shell-Form Dishes, h. 2 in., w. 11 in., d. 8 in. [$1000/2000]

542. French Carved Limestone Figure of a Lion, 18th c., recumbent figure, plinth base, h. 16 1/2 in., w. 12 1/2 in., d. 25 1/2 in. [$1500/2500]

544. Pair of Carrara Marble Plaques, classical figures, faux marbre frames, h. 16 1/2 in., w. 14 1/2 in. [$1200/1800]

546. Pair of Continental Wrought Iron and Parcel Gilt Lanterns, fitted with floral-etched glass panels, h. 52 in., w. 24 in., d. 24 in. [$800/1200]

547. Continental Bronze Armor Breastplate after the Antique, presented on armature, h. 28 1/2 in., w. 14 in., d. 9 in. [$800/1200] 548. Pair of French Empire Gilt and Patinated Bronze Chenets, 19th c., sphinx motif, h. 11 1/2 in., w. 12 in., d. 5 in. [$800/1200]

549. Four Italian Carved Marble Portrait Plaques, iron frames, h. 16 in., w. 12 1/2 in. [$1500/2500]

550. Pair of Napoleon III Gilt Bronze and Marble SixLight Candelabra, 19th c., raised on giltwood pedestals, h. 67 1/2 in., dia. 15 in. [$3000/5000]

551. Large Silvered Filigree and Gemstone-Mounted Coffer, foliate design, encrusted with rubies and emeralds, h. 13 in., w. 17 in., d. 13 in. [$2000/3000]

552. Pair of Italian Marble Figural Architectural Fragments, 19th c., putti on scrolls, h. 28 in., w. 23 in., d. 6 in. [$800/1200]

553. French Bronze and Crystal Three-Piece Garniture, incl. centerbowl and pair of vases, Greek key and garland handles, centerbowl h. 12 in., w. 19 in., d. 13 in., vases h. 21 in., w. 16 in., d. 7 1/2 in. [$600/800] 94

554. Antique Bronze Urn on Stand, cast with masks encircled by a frieze of Classical figures, scrolled stand, h. 64 in., dia. 24 in. [$1000/2000]

556. Antique Scottish Carved Mahogany Chest-on-Chest, 19th c., flared cornice, 2 over 3 graduated drawers flanked by barley twist molding, 3 drawer base flanked by twist molding, turned feet, h. 88 3/4 in., w. 54 1/4 in., d. 24 3/4 in. [$400/600]

555. Pair of English Chinoiserie Painted and Gilt Side Chairs, 19th c., shell centered crest rail, shaped splat with cane back, conforming cane seat, shell carved knees, ball and claw feet, h. 41 1/2 in., w. 22 in., d. 22 1/2 in. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

557. Irish George II-Style Carved and Painted Side Table, 20th c., molded top, rococo carved skirt centered by floral basket, shell carved knees, cabriole legs. h. 30 1/2 in. x w. 48 in., d. 24 in. [$700/1000] Provenance: The Estate of Caroline P. Ireland.

558. Queen Anne-Style Carved Oak Welsh Dresser, 18th c., molded cornice with scalloped frieze, plate racks flanked by cabinets, three drawers, cabriole legs, h. 79 1/2 in., w. 60 1/4 in., d. 20 in. [$1000/1500]

559. Directoire-Style Painted Iron and Slate Top Dining Table, octagonal top, conforming frieze, tapered spindled legs, flat bar feet, h. 29 5/8 in., w. 50 in., d. 49 1/2 in. [$700/1000]

560. Pair of French Provincial Gilt and Painted Chests of Drawers, molded marble top, four drawers, gilt feet, h. 31 1/4 in., w. 40 1/4 in., d. 19 1/2 in. [$2000/3000]

561. French Provincial Carved Oak Buffet a Deux Corps, 18th c., arched cornice, frieze carved basket and vining, scrolled cartouche doors, molded apron, h. 96 1/2 in., w. 66 in., d. 21 in. [$1000/2000] 95

562. Robert Wadsworth Grafton (American, 1876-1936, active Louisiana, 1916-1920), “Reflections of Luggar’s Landing, New Basin Canal”, 1918, oil on canvas board, signed and dated lower right, artist name inscribed en verso, 16 in. x 20 in., framed, overall 23 3/4 in. x 27 7/8 in. x 3 1/4 in. [$12000/18000] Provenance: Neal Auction Company, Jan. 30, 2010, lot 324. Note: In the early twentieth century, American Impressionism started flourishing in the Midwest, centered in Indianapolis and South Indiana’s Brown County art colony (which had ties to Chicago). Inspired and encouraged by the artists T.C. Steele, William Forsyth and John Ottis Adams—collectively known as the Hoosier Group—the next generation of artists were motivated to paint landscapes of the world around them. Robert Grafton and his friend and fellow Indiana artist, Louis Oscar Griffith, often visited New Orleans where they were captivated by the historic buildings and waterways that made up the city as well as the lively art community which was largely centered in the French Quarter. In the painting offered here, Grafton used thick, lush brushwork to beautifully render the reflections of the boats in the water of the New Basin Canal. Luggers were small single sail wooden boats used regionally to bring seafood (mainly oysters) from the coast to the city, and they were extremely important to the economy of New Orleans during the 1914 to 1920 period in which Grafton painted. As shipping and refrigeration technology evolved, the canal became less and less important, and by 1950 it was completely filled in to create the Lafitte Corridor, Pontchartrain Express Way and West End Boulevard. Grafton’s painting captures the vibrancy and color of a very particular time in the city’s history.

563. Harry Armstrong Nolan (American/Louisiana, 1891-1929), “French Market”, oil on board, signed lower right, 9 7/8 in. x 11 7/8 in., framed, overall 17 in. x 20 1/4 in. x 2 in. [$1200/1800]

564. Ellsworth Woodward (American/Louisiana, 1861-1939), “Tesuque”, watercolor on paper laid on board, signed lower right, titled under mat edge, 16 1/4 in. x 12 1/2 in., framed, 22 7/8 in. x 18 5/8 in. x 1 in. [$2000/3000] 96

565. Morris Henry Hobbs (American/Louisiana, 1892-1967), “Green Door”, 1938, watercolor on paper, signed and dated lower left, inscribed “New Orleans” lower right, “Jean Bragg Gallery, New Orleans” label with artist and title and “Holmes Art Gallery, New Orleans” label on backing paper, 13 7/8 in. x 9 7/8 in., framed, overall 25 1/8 in. x 19 1/2 in. x 1/2 in. [$700/1000] 566. Alberta Kinsey (American/ Louisiana, 1875-1952), “French Quarter Courtyard”, oil on canvas board, signed lower left, 15 in. x 16 7/8 in., framed, overall 17 3/4 in. x 19 1/2 in. x 1 1/4 in. [$1200/1800]

567. Louisiana School, early 20th c., “In Vieux Carre, New Orleans”, oil on canvas, pencil-signed “Mary Sneed” lower right, pencil-titled on stretcher, illegibly inscribed on reverse of frame, 22 in. x 24 in., framed, overall 29 7/8 in. x 32 1/8 in. x 3 in. [$2000/3000] 568. Colette Pope Heldner (American/Louisiana, 19021990), “Old Spanish Courtyard”, oil on canvas board, signed lower right, titled and inscribed on backing board, sight 6 in. x 4 in., framed, overall 11 in. x 8 5/8 in. x 2 in. [$800/1200] 569. Colette Pope Heldner (American/Louisiana, 1902-1990), “Pirate’s Alley”, oil on canvas board, signed lower left, titled and inscribed on backing board, sight 6 in. x 4 in., framed, overall 11 in. x 8 5/8 in. x 2 in. [$800/1200] 570. Colette Pope Heldner (American/Louisiana, 1902-1990), “Old Street, Rue St. Etienne du Mont (Quartier Latin), Paris”, 1929-31, oil on canvas, signed, inscribed and dated lower left, signed, titled and dated en verso, 24 in. x 30 in., framed, overall 28 1/2 in. x 34 1/2 in. x 2 1/4 in. [$1200/1800]

571. Colette Pope Heldner (American/Louisiana, 1902-1990), “The Sabbath (Louisiana Bayou Country)”, oil on canvas, signed lower left, signed and titled en verso, 36 in. x 30 in., unframed. [$1000/1500]

572. Colette Pope Heldner (American/Louisiana, 19021990), “Swamp Idyll (Louisiana Bayou Country)”, oil on canvas board, signed lower left, signed, titled and inscribed “Victor” en verso, 20 in. x 16 in., framed, overall 20 1/4 in. x 16 1/4 in. x 7/8 in. [$800/1200] 97

573. Mamie G. Zuber (American/ Texas, 20th c.), “The Road to Yesterday”, 1958, oil on canvas board, signed and dated lower right, signed, titled, inscribed and exhibition label with artist and title en verso, “The Rush Company, Dallas” label on backing paper, 12 in. x 16 in., framed, overall 17 1/2 in. x 20 1/2 in. x 1 in. [$400/600]

574. Georges Schreiber (Belgian/American, 19041977), “Cotton Pickers, Louisiana”, 1939, watercolor on paper, signed, dated and inscribed “Louisiana” lower left, 21 3/4 in. x 30 in., framed, overall 32 1/8 in. x 39 3/4 in. x 1 in. [$3000/5000]

575. William Ousley (American/Louisiana, 1866-1953), “West Fork of Calcasieu River, LA. No. 412, Autumn”, 1930, oil on canvas, signed lower right, titled lower center, signed, titled, dated and inscribed en verso, 19 1/8 in. x 34 in., framed, overall 22 3/4 in. x 37 1/4 in. x 1 1/2 in. [$1000/1500] 576. William Ousley (American/Louisiana, 1866-1953), “Bluebonnets”, 1931, oil on canvas, signed lower right, signed and dated en verso, provenance information attached to stretcher, 17 1/8 in. x 31 7/8 in., framed, 19 1/2 in. x 34 1/2 in. x 1 in. [$1000/1500] Provenance: Neal Auction Company, Oct. 11, 2002, lot 457.

577. Anna Louise Thorne (American, 1866-1965), “Blue Eyes”, oil on canvas, signed lower right, partial handwritten label with title on reverse of frame, 35 in. x 27 1/4 in., framed, overall 39 1/2 in. x 32 in. x 1 1/4 in. [$6000/8000] Provenance: Neal Auction Company, Oct. 4, 2003, lot 557. 578. Anne Catherine Kuck (American/Georgia, 1885-1965), “Summertime Visit”, oil on canvas, signed lower right, 22 1/8 in. x 24 in., framed, overall 26 1/4 in. x 30 1/4 in. x 1 1/2 in. [$5000/8000] Note: Born and raised in Savannah, Anne Catherine “A.C.” Kuck displayed artistic promise from a young age. She studied for eight years at the Sorbonne and traveled Europe for an additional two years before returning home to Georgia. While Kuck became known for her portraits and still lifes within the active arts community of Savannah, her paintings are rare to the market today. The vibrant genre scene offered here is perhaps one of her best-known works – a testament to her skill in expressionist brushwork, color and composition. 579. Walter Whitcomb Thompson (American/Florida, 1882-1948), “Bloody Marsh and the Little White Bridge, Saint Simons Island, Georgia”, 1939, oil on board, signed lower right, signed, titled and dated en verso, 11 7/8 in. x 15 7/8 in., framed, overall 15 1/2 in. x 19 1/2 in. x 1 1/4 in. [$1200/1800] 98

580. Albert Ernest “Beanie” Backus (American/Florida, 1906-1990), “Florida Landscape”, oil on board, signed lower right, 12 in. x 9 in., framed, overall 15 1/8 in. x 12 3/8 in. x 1 in. [$4000/6000]

581. Paul Turner Sargent (American, 1880-1946), “Florida”, 1928, oil on panel, signed and dated lower right, signed, titled and dated en verso, 11 in. x 9 in., framed, overall 14 5/8 in. x 12 5/8 in. x 1 1/4 in. [$700/1000]

582. Marie Atkinson Hull (American/Mississippi, 18901980), “Florida Palms”, watercolor and graphite on paper, unsigned, 12 in. x 8 7/8 in., matted, overall 17 7/8 in. x 13 7/8 in. [$1200/1800] Provenance: Descended in the family of the artist.

583. 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.) [$500/700] Provenance: Descended in the family of the artist.

584. Walter Inglis Anderson (American/Mississippi, 1903-1965), “GreenWinged Teal”, watercolor and graphite on paper, unsigned, estate stamp lower right, titled and inscribed “1188-B” en verso, “Eddie’s Frame Shop, Ocean Springs, MS” label on backing paper, 8 3/8 in. x 11 in., framed, overall 16 1/4 in. x 18 7/8 in. x 1 in. [$8000/12000]

585. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Green Herons”, watercolor and graphite on paper, unsigned, estate stamp lower right, titled and inscribed “257B” en verso, certificate of authenticity from the Estate of Walter Anderson attached to backing board, 8 1/2 in. x 11 in., framed, overall 12 in. x 15 5/8 in. x 1 in. [$10000/15000] 99

587. Walter Inglis Anderson (American/Mississippi, 19031965), “Stokesias and Wood Lily”, hand-colored linocut on wallpaper, unsigned, “Eddie’s Frame Shop, Ocean Springs, MS” stamp on backing paper, sheet 19 1/8 in. x 12 3/4 in., framed, overall 25 1/8 in. x 19 1/8 in. x 1 3/8 in. [$1000/1500]

586. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Ibises”, linocut on paper, unsigned, 20 1/2 in. x 55 1/2 in., unframed. [$1500/2500]

588. John McCrady (American/Louisiana, 1911-1968), “Carnival in New Orleans”, lithograph, pencilsigned lower right, titled lower left, initialed “JMC” in plate lower right, 8 3/4 in. x 12 1/4 in., matted, overall 16 in. x 20 in. [$400/600]

590. Louisiana State Fair Wool Felt Pennant, 20th c., 17 in. x 55 1/2 in. [$100/200]

589. John McCrady (American/Louisiana, 19111968), “The Robert E. Lee and the Natchez”, lithograph, pencilsigned lower right, titled lower left, 9 3/4 in. x 14 1/2 in., matted, overall 16 in. x 20 in. [$400/600]

591. Pair of Acadian Cypress Oars, l. 103 in. [$200/300] Provenance: Found in Pierre Part, LA.

593. Antique Acadian Homespun Blanket, woven cotton, constructed with two panels, 69 in. x 80 in. [$300/400]

594. Antique Acadian Homespun Blanket, woven cotton, constructed with two panels, with blue, yellow, and white stripes, 72 in. x 80 in. [$1000/1500]

596. Acadian Carved Cypress Child’s Chair, 19th c., slat back, stretched hide seat, h. 20 1/2 in., w. 13 in., d. 12 in. [$200/300] 597. Acadian Carved Cypress Child’s Highchair, 19th c., slat back, turned arms, stretched hide seat, h. 33 in., w. 14 1/2 in., d. 11 in. [$350/450] 100

Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 73.

592. Two Antique Louisiana Cypress Ironing Boards, larger l. 79 in., w. 12 in. [$300/500]

595. Antique Acadian Homespun Blanket, woven cotton, constructed with two panels, with white stripes, 72 in. x 75 in. [$600/800]

598. Acadian Carved Cypress Child’s Rocking Chair, late 19th c., slat back, stretched hide seat, h. 22 1/2 in., w. 17 in., d. 20 1/2 in. [$250/350]

599. Louisiana Federal Carved Mahogany Armoire, early 19th c., stepped cornice, conforming case, flush panel doors, pressed brass escutcheons, interior with original belt of drawers, turned legs, brass ball feet, h. 97 in., w. 72 in., d. 27 in. [$3000/5000]

600. Louisiana Classical Carved Mahogany Tester Bed, early 19th c., flared and stepped cornice, tapered and blocked posts, paneled headboard with tubular crest, fitted with conforming rails. [$2500/3500]

601. Acadian Miniature Cypress and Pine Garde Manger, 19th c., canted cornice, mesh doors, two drawers over two paneled doors, bracket feet, h. 35 1/2 in., w. 19 1/4 in., d. 12 1/2 in. [$500/700] 601A. Louisiana/Acadian Gros Rouge Cypress Dry Sink Cabinet, 19th c., molded back on top, paneled doors, bracket feet, h. 34 1/4 in., w. 30 3/4 in., d. 19 1/2 in. [$1200/1800]

602. Acadian Cypress Pie Safe, 19th c., single door, fitted interior shelves, h. 34 1/4 in., w. 24 in., d. 16 1/2 in. [$500/700]

603. American Classical Mahogany Armoire, early 19th c., Louisiana or New York, molded cornice, flush paneled doors with reeded center, fishe hinges and shaped escutcheons, divided interior featuring fitted shelves and drawer within the right partition, beehive turned legs, brass ball feet, h. 82 1/2 in., w. 52 1/2 in., d. 22 in. [$3000/5000] Provenance: Dr. Crozat’s Collection, Houmas House, Neal Auction May 17, 2003, Lot #609. Ex-collection of Whitney Plantation Museum, Wallace, LA.

604. Dr. George Crozat’s Restauration Carved Mahogany Chaise, 19th c., molded seat rail, conforming seat, sabre legs, h. 31 1/4 in., w. 19 1/2 in., d. 21 in. [$500/700] Provenance: Houmas House, Dr. Crozat Collection, Neal Auction, May 17, 2003, lot 418.

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605. Rare Creole or West Indies Mahogany Petite Armoire, early 19th c., cove-molded cornice, veneered frieze with reeded banding, flush paneled doors with reeded center stile, scalloped skirt, cabriole legs, hoof feet, interior retaining original shelves and belt of drawers, h. 55 1/4 in., w. 43 in., d. 15 1/2 in. [$4000/6000] Note: The use of flush panels for the doors and the distinctive “hoof” feet of this armoire exhibit the influence of French cabinetmaking transmitted through the Caribbean into North America. A mahogany armoire and a buffet by Haitian/ Philadelphia cabinetmakers Jean Baptiste Laurent and Charles Domballe in the Girard collection share these “island” features. An armoire for the Ursuline Convent with elements similar to those seen in this example is also illustrated in Jessie Poesch, Early Furniture of Louisiana, Louisiana State Museum, p. 41, pl. 9. Ref.: For Laurent Domballe examples see The Stephen Girard Collection, fig 33-34. Another excellent resource is Holden. “Echoes of an Island Past: Flush Panel Armoires in Saint-Domingue and Louisiana,” Southern Quarterly (Spring 2007).

606. West Indies Carved Mahogany Drop-Leaf Dining Table,19th c., turned tapered legs, casters, one extension leaf. [$1000/1500]

607. Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997), “Romantic Triple Decker”, 1973, silkscreen and collage on paper, pencilsigned, titled, dated and numbered “26/75” lower margin, printed by Landfall Press, Chicago, blind stamp visible, sheet 24 in. x 27 1/2 in., framed, overall 31 5/8 in. x 35 5/8 in. x 1 in. [$600/800]

608. Ida Rittenberg Kohlmeyer (American/ Louisiana, 1912-1997), “Quartered”, 1981, serigraph, pencil-signed, titled, dated and numbered “102/135” lower margin, blind stamp lower left, “Arthur Roger Gallery, New Orleans, LA” label with artist, title, date and edition number on backing paper, 35 in. x 38 in., framed, overall 41 in. x 42 1/4 in. x 7/8 in. [$1000/1500]

609. James Michalopoulos (American/Louisiana, b. 1951), “Fish Swish”, lithograph, pencil-signed lower right, pencil-numbered “738/900” lower left, 33 1/2 in. x 25 7/8 in., unframed. [$600/800] 102

611. George Rodrigue (American/ Louisiana, 1944-2013), “Sweet Like You”, 2000, silkscreen, signed lower left, numbered “27/150” lower right, 20 in. x 15 1/2 in., unframed. [$700/1000]

610. George Rodrigue (American/Louisiana, 1944-2013), “Truly Rudy”, 2000, silkscreen, signed lower left, numbered “39/350” lower right, 20 1/4 in. x 15 1/2 in., unframed. [$700/1000]

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

Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 19702007. New York: Harry N. Abrams, Inc., 2008, p. 179.

612. George Rodrigue (American/ Louisiana, 1944-2013), “Violet Moonshine”, 1996, silkscreen, signed and numbered “51/75” lower left, artist stamp with date en verso, 10 1/2 in. x 9 in., framed, overall 20 1/8 in. x 18 3/4 in. x 1 1/4 in. [$800/1200] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 19702007. New York: Harry N. Abrams, Inc., 2008, p. 137.

613. George Rodrigue (American/ Louisiana, 1944-2013), “Paper Moon”, 1996, silkscreen laid on foamcore, signed lower left, edition of 75 plus artist proofs, 10 1/2 in. x 9 in., framed, overall 16 1/2 in. x 15 in. x 1 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. 137.

614. George Rodrigue (American/ Louisiana, 1944-2013), “Bayou Baby”, 1992, silkscreen laid on foamcore, signed lower left, numbered “77/90” lower right, 10 3/4 in. x 15 3/4 in., framed, overall 16 7/8 in. x 21 1/8 in. x 1 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. 62.

615. George Rodrigue (American/ Louisiana, 1944-2013), “A Bouquet of Rose”, 2010, lithograph, unsigned, pencil-numbered “35/350” lower left, 33 in. x 25 1/4 in., unframed. [$600/800]

616. George Rodrigue (American/ Louisiana, 1944-2013), “St. Peter’s College”, 1984, poster, signed, dated, numbered “15/750”, inscribed and signed remarque lower margin, signed in plate, sheet 25 in. x 25 in., framed, overall 32 1/8 in. x 31 1/8 in. x 1 in. [$600/800] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Harry N. Abrams, Inc., 2008, p. 33.

617. George Rodrigue (American/Louisiana, 1944-2013), “Aioli Dinner”, 1974, lithographic poster, signed in plate, signed lower left margin, print by Delta Graphics, 18 1/2 in. x 26 3/4 in., framed, overall 26 1/2 in. x 35 in. x 1 1/2 in. [$700/1000] 103

618. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Native Shrimpman”, 1934, gelatin silver print mounted to board, signed and dated lower left, 10 in. x 8 in., unframed. [$800/1200] Ill.: Vetter, Cyril E. Fonville Winans’ Louisiana: Politics, People and Places. Baton Rouge: Louisiana State University Press, 1985, p. 94.

619. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Lookout Tower”, 1934, gelatin silver print, signed and dated lower right, 10 in. x 8 in., unframed. [$700/1000] Ill.: Vetter, Cyril E. Fonville Winans’ Louisiana: Politics, People and Places. Baton Rouge: Louisiana State University Press, 1985, p. 106.

620. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Tonging, Grand Isle”, 1938, gelatin silver print, signed and dated lower right, inscribed en verso, 8 in. x 10 in., unframed. [$800/1200] Ill.: Vetter, Cyril E. Fonville Winans’ Louisiana: Politics, People and Places. Baton Rouge: Louisiana State University Press, 1985, p. 95.

621. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Making a Living”, 1940, gelatin silver print, signed and dated lower right, 8 in. x 10 in., unframed. [$800/1200] Ill.: Vetter, Cyril E. Fonville Winans’ Louisiana: Politics, People and Places. Baton Rouge: Louisiana State University Press, 1985, p. 83.

622. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Ten Cents a Dozen”, 1939, gelatin silver print laid on board, pencil-signed and dated lower left, titled, inscribed “Tony Kristovich” and estate numbers “009A/G/31/50” en verso, 15 7/8 in. x 19 3/4 in., framed, overall 25 1/4 in. x 28 in . x 1 3/4 in. [$2000/3000] Ill.: Vetter, Cyril E. Fonville Winans’ Louisiana: Politics, People and Places. Baton Rouge: Louisiana State University Press, 1995, p. 86.

623. Theodore “Fonville” Winans (American/ Louisiana, 1911-1992), “Louisiana Oysterman”, 1939, gelatin silver print, signed and dated lower right, 11 5/8 in. x 10 7/8 in., framed, overall 21 in. x 19 in. x 2 in. [$1000/1500]

624. Clarence John Laughlin (American/Louisiana, 1905-1985), “Figment of Desire”, negative creation date 1941, print date 1979, gelatin silver print laid on board, signed, titled and dated on mount, initialed, titled, print date, inscribed and artist stamp on reverse of mount, 13 7/8 in. x 10 7/8 in., framed, overall 20 1/4 in. x 16 1/4 in. x 3/4 in. [$1000/1500]

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625. Clarence John Laughlin (American/Louisiana, 1905-1985), “We Are Alone”, negative creation date 1940, print date 1978, gelatin silver print mounted to board, signed, titled and dated on mount, initialed, titled, print date and artist stamps on reverse of mount, 13 5/8 in. x 10 5/8 in., matted, overall 20 in. x 16 in. [$1500/2500] Ill.: Hunt, W.M. The Unseen Eye: Photographs from the Unconscious. New York: Aperture, 2011, p. 149.

626. Sandra Russell Clark (American/ Louisiana, b. 1949), “Rosedown, La” and “Avery Island, La”, 2 hand-colored gelatin silver prints from infrared film, each signed lower right, signed, titled and numbered “4/50” and “2/50” en verso, sheets 16 in. x 20 in. and 20 in. x 16 in., unframed. (2 pcs.) [$1200/1800]

627. Sandra Russell Clark (American/ Louisiana, b. 1949), “Louisiana Dreamscapes”, c. 1980s, 2 hand-colored gelatin silver prints from infrared film, each signed lower right, signed and titled en verso, from the Dreamscape series, sheets 16 in. x 20 in. and 20 in. x 16 in., unframed. (2 pcs.) [$1200/1800]

628. Sandra Russell Clark (American/ Louisiana, b. 1949), “Louisiana Dreamscapes”, c. 1980s, 2 hand-colored gelatin silver prints from infrared film, each signed lower right, signed and titled en verso, from the Dreamscape series, sheets 16 in. x 20 in. and 20 in. x 16 in., unframed. (2 pcs.) [$1200/1800]

629. Political Poster, lithograph, “The Long Ticket - Carry on for Huey & O.K.”, printed by Franklin Printing Co., Inc., sight 29 3/4 in. x 22 3/4 in., framed, overall 31 1/4 in. x 24 1/4 in. x 3/4 in. [$600/800]

630. Huey Long Political Poster, lithograph, “Carry on the Work of Huey P. Long and O.K. Allen”, printed by Franklin Printing, Co., Inc., sight 27 1/2 in. x 21 1/2 in., framed, overall 31 in. x 25 in. x 1 in. [$600/800]

631. Group of Six Huey Long Related Items, “50 Years After... Commemorating the Extraordinary Life & Times of Huey Long”, poster, unsigned; “Accident and Deception: The Huey Long Shooting”, book cover art poster, signed “Logan” lower left and in plate, signed by author and numbered “33/370” lower right; Funeral Memorial Program, unsigned; “Longs Honeymooning in Hot Springs, Arkansas”, photograph, “De Luxe Studio, Hot Springs, AR” stamp and inscribed en verso, 8 in. x 10 in. to 29 in. x 21 in., each framed, overall 13 3/4 in. x 16 3/4 in. x 1/2 in. to 27 in. x 21 in. x 7/8 in.; together with “Make Louisiana the First State”, map laid on panel, 18 in. x 18 in. x 1/4 in.; and “Share Our Wealth Society”, pinback button in presentation box, dia. 3/4 in, overall 6 1/4 in. x 5 1/4 in. x 1 in. (6 pcs.) [$250/350]

632. Huey Long Campaign for Senator “Every Man a King” Pinback Button, dia. 5/8 in. [$100/150]

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633. “Louisiana’s Two Greatest Monuments Conceived and Built by the Late U.S. Senator Huey P. Long”, color lithograph on textured paper laid on board, 16 in. x 20 1/8 in., framed, overall 21 1/4 in. x 25 1/4 in. x 1 1/2 in. [$300/500]

635. Collection of Political Ephemera Related to Earl K. Long (1895-1960), incl. “Clean Up the Mess! Vote the Best!”, poster, 22 in. x 14 in., unframed; “Earl K. Long, Governor Inauguration”, 1948, felt pennant, 8 1/4 in. x 22 1/2 in., unframed; 2 photographs of Long, one autographed and dedicated by Long, sights 12 1/2 in. x 9 3/4 in. to 13 7/8 in. x 11 in., both framed; reproduction photograph of Blaze Starr, sight 9 1/2 in. x 7 1/2 in., framed; “For Governor Earl K. Long”, campaign poster, sight 16 3/4 in. x 10 5/8 in.; “Come and Hear in Person”, 2 newspaper advertisements, sights 11 in. x 5 1/2 in. and 17 5/8 in. x 5 5/8 in., both framed; “Earl Kemp Long Centennial, 1895-1995”, commemorative poster, designed by Michael Wynne, numbered “61/200”, sight 23 5/8 in. x 17 1/2 in., framed, overall 10 3/4 in. x 8 3/4 in. x 1/2 in. to 25 1/8 in. x 19 1/8 in. x 3/4 in. (9 pcs.) [$300/500]

634. The Saturday Evening Post, poster advertisement for “Huey’s Heirs” by F. Raymond Daniell, 1938, 27 3/4 in. x 39 3/4 in., framed, overall 29 1/2 in. x 41 3/8 in. x 1 in. [$500/700]

636. Group of Three Edwin Edwards Political Signs, “Edwards Governor”, poster, autographed lower right, printed by Allied Printing, sight 21 7/8 in. x 13 7/8 in., framed, overall 24 in. x 16 in. x 1 1/4 in.; “14th Annual Memorial Day”, 1975, poster attached to panel, unframed, overall 18 in. x 14 in.; and “Edwards Governor”, paint on masonite, 12 in. x 24 1/8 in., unframed. (3 pcs.) [$150/250]

637. Collection of Louisiana Political Ephemera, 5 campaign posters for “W. Fox McKeithen”, “Billy Tauzin”, “Buddy Roemer”, “Paul Hardy” and “Dave Treen”, sights 19 1/2 in. x 14 1/4 in. to 21 3/4 in. x 13 1/2 in., each framed; “Sam Jones”, 1940/1944, assembled campaign poster framed with campaign pin, inscribed and dated twice, sight 16 1/2 in. x 10 1/8 in., framed; “A Century of Foster: Governors of the State of Louisiana”, 1996, poster, designed by Michael D. Wynne, autographed by Foster, sight 23 5/8 in. x 17 1/2 in., each framed, overall 18 1/8 in. x 12 3/8 in. x 5/8 in. to 25 1/4 in. x 19 1/4 in. x 3/4 in.; “Speedy O. Long, Governor”, print on masonite, 16 in. x 24 in., unframed; “Democratic Victory Dinner”, 1960, program, 10 in. x 8 in., unframed. (9 pcs.) [$300/500] 638. Unveiling of the McDonogh Monument Button, New Orleans, 1898, 1898, lithographed by Whitehead & Hoag, Newark, NJ, verso with portrait of noted philanthropist John McDonogh (1779-1850), top edge with opening for cord, dia. 2 1/8 in. [$100/150]

639. Political Broadside, “Re-elect Dudley J. LeBlanc, Senator”, lithograph, printed by Allied Printing, New Orleans, LA, 23 in. x 14 1/2 in., framed, overall 24 5/8 in. x 16 1/8 in. x 1 in.; together with Dudley J. LeBlanc Gubernatorial Pinback Button, dia. 3/4 in. (2 pcs.) [$600/800] 106

640. Dudley LeBlanc “Hadacol” Gold-Filled Mini Advertisement Bottle, 1940s, 1/5 10 kt. gold-filled, highly detailed facsimile of an 8 oz. bottle, h. 2 1/2 in., original box. [$100/150] Note: Dudley LeBlanc, four-time Louisiana state senator, started a company selling this patent medicine. Extremely successful, the “medicine” contained 12% alcohol and made LeBlanc a millionaire. Reputedly, LeBlanc gave these special bottles to VIP customers and friends.

643. Abraham Lincoln 1860 Presidential Campaign Ferrotype, portrait of beardless Lincoln on one side, his running mate Hannibal on the other, with raised text, dia. 1 inch. [$400/600]

642. Four Theodore and Franklin Roosevelt Political Pinback Buttons, the two largest dia. 1 1/4 in. [$200/300] 641. Twenty-Eight Political Pinback Buttons, from Taft to Bush, largest dia. 3 in. [$400/600]

645. Teco Art Pottery Buttress Vase, 20th c., impressed mark, green matte glaze, h. 7 3/8 in., dia. 3 in. [$700/1000]

644. Pair of Rutherford B. Hayes White House Pattern Oyster Plates, c. 1880, Haviland & Co., Limoges, France, designed by Theodore Russell Davis, fully marked, underside of rim with an American eagle, dia. 8 3/4 in.; together with another Haviland, Limoges oyster plate, dia. 8 3/4 in. (3 pcs.) [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR. Ill.: Klapthor, Margaret Brown. Official White House China 1789 to the Present, New York, Barry Foundation/Harry Abrams, 1999, pg. 103

646. Newcomb College Art Pottery Vase, 1930, decorated by Henrietta Davidson Bailey, stylized floral design in matte glaze, Newcomb cypher, decorator’s mark, registry number SS47, h. 5 1/2 in., dia. 2 7/8 in. [$700/1000]

647. Newcomb College Art Pottery Vase, c. 1935, design by Aurelia Coralie Arbo, moon and moss design in matte glaze, Newcomb cypher, decorator’s mark “AA”, potter’s mark “J”, registration mark “Z 64”, h. 7 in., dia. 4 in. [$800/1200]

648. George Ohr Art Pottery Bisque Vase, 1905, squat bulbous form with in-body twist, base hand-signed “[illegible] from / N.O. Street / G E Ohr / 1905”, h. 2 1/2 in., dia. 4 in. [$400/600]

649. Shearwater Pottery Goblet, c. 1950s, decorated by Walter Anderson with incised and glazed ducks flying above waves, cobalt blue, black and white glaze, impressed mark, h. 4 1/2 in. [$800/1200]

650. North Dakota School of Mines Pottery Vase, 1930s, Grand Forks, ND, designed by Margaret Cable in “Covered Wagon” design, impressed marks, NDSM stamp, h. 6 in., dia. 7 1/4 in. [$800/1200] 107

651. Archibald Knox for Liberty Stoneware Jardiniere, one-piece, squat vessel with knot-pattern design, fluted column, speckled gray matte glaze, h. 32 1/2 in., dia. 14 in [$1200/1800] Provenance: Craftsman Auction, Lambertville, NJ, September 20, 2003, lot 63A 652. William IV Burl Walnut Bookcase, 19th c., molded cornice, three glazed doors, above three molded paneled doors, plinth base, h. 84 in., w. 75 1/2 in., d. 23 in. [$1200/1800] Provenance: Michael W. Murphy, El Dorado, AR.

653. Regency Mahogany Chest of Drawers, 19th c., molded top, two short drawers above three graduated drawers, bracket feet, h. 41 in., w. 42 1/4 in., d. 21 1/2 in. [$800/1200] Provenance: Michael W. Murphy, El Dorado, AR.

654. Regency Carved Mahogany Canterbury, 19th c., divided two sections, one drawer, casters, h. 21 in., w. 22 in., d. 17 in. [$150/250] Provenance: The Estate of Caroline P. Ireland.

655. French Tapestry and Giltwood Three-Panel Screen in the Regence Style, 19th c., center panel h. 75 1/2 in., w. 29 in., side panels, h. 71 in., w. 19 in., overall w. 67 in. [$1500/2500]

656. Regency-Style Inlaid Mahogany Oval Partners Desk, 20th c., labeled Maitland-Smith, tooled leather writing surface, three frieze drawers on both sides, pedestals with cabinet doors on one side and two drawers on other, plinth base, h. 29 1/2 in., w. 70 in., d. 45 in. [$1500/2500]

657. English Empire-Style Inlaid Carved Mahogany Center Table, 20th c., gadrooned edge, tripart base, scrolled feet, h. 30 in., dia. 60 in. [$800/1200] 108

658. Pair of RegenceStyle Bronze-Mounted Marble Pedestals, molded top, beaded tapered square standard, plinth base, h. 50 1/2 in., w. 16 1/2 in., d. 16 1/2 in. [$1500/2500]

659. French Regence Carved Giltwood Bench, 19th c., X-stretched cabriole legs, scrolled toes, h. 22 1/2 in., w. 42 in., d. 21 1/2 in. [$400/600]

660. Dorothy Muriel Gillespie (American, 1920-2012), “Untitled: Ribbons”, enamel on aluminum, signed, h. 12 1/2 in., w. 16 in., d. 16 in., acrylic base, overall h. 13 in.; accompanied by a copy of a receipt from Sue Lapin Art For Museums, Beverly Hills, CA, Jun. 3, 1985. (2 pcs.) [$1200/1800] Provenance: The Estate of Caroline P. Ireland.

661. Dorothy Muriel Gillespie (American, 1920-2012), “Royal Wedding Emblem”, enamel on aluminum wall sculpture, signed and numbered “11/100” lower center, signed, titled and inscribed on reverse, h. 23 in., w. 15 in., d. 10 in.; accompanied by a copy of a receipt from Sue Lapin Art For Museums, Beverly Hills, CA, Jun. 3, 1985. (2 pcs.) [$1500/2500] Provenance: The Estate of Caroline P. Ireland.

662. Dorothy Muriel Gillespie (American, 1920-2012), “Untitled: Ribbon Form”, enamel on aluminum, signed, h. 17 in., w. 5 in., d. 3 1/2 in., acrylic base, overall h. 17 1/2 in.; accompanied by a copy of a receipt from Sue Lapin Art For Museums, Beverly Hills, CA, Jun. 3, 1985. (2 pcs.) [$300/500] Provenance: The Estate of Caroline P. Ireland.

663. William Tolliver (American/Louisiana, 1951-2000), “Landscape”, oil and pastel on paper, signed lower right, 10 3/4 in. x 15 3/4 in., framed, overall 14 1/2 in. x 19 3/4 in. x 1 1/4 in. [$1500/2500] Provenance: Neal Auction Company, Jan. 31, 2015, lot 943; Michael W. Murphy, El Dorado, AR.

664. Alan Flattmann (American/Louisiana, b. 1946), “New Orleans Riverscape”, 2004, pastel on board, signed lower left, signed and dated en verso, 20 in. x 30 in., framed, overall 29 1/2 in. x 39 1/2 in. x 1 1/4 in. [$500/800]

665. Robert Malcolm Rucker (American/Louisiana, 1932-2001), “Foo Dog”, 1995, acrylic and watercolor on paper, signed lower right, dated lower left, 30 1/2 in. x 36 1/2 in., framed, 41 in. x 46 in. x 2 1/2 in. [$2000/3000] Provenance: Acquired from the artist. Exh.: Hildebrand Gallery, New Orleans, LA, 1995.

666. Robert Malcolm Rucker (American/Louisiana, 1932-2001), “Afton Villa”, watercolor on paper mounted to stretcher, signed lower right, titled en verso, typed label with artist and title attached en verso, 14 in. x 17 3/4 in., framed, overall 18 3/8 in. x 21 7/8 in. x 2 in. [$400/600] 109

668. William Norman Arnold (American/Louisiana, 19072006), “Cabin in the Louisiana Swamp”, oil on masonite, unsigned, inscribed “#237” en verso, 24 1/4 in. x 36 in., framed, overall 29 5/8 in. x 41 1/2 in. x 1 1/4 in. [$500/800]

667. Robert Malcolm Rucker (American/Louisiana, 1932-2001), “Steamboat on the Mississippi”, oil on canvas, signed lower left, 24 in. x 30 in., framed, overall 32 1/4 in. x 38 1/4 in. x 2 1/4 in. [$800/1200]

669. Earl Hebert (American/ Louisiana, 1942-2006), “Boucherie Scene”, 1995, oil on canvas, signed and dated lower right, 18 in. x 24 in., framed, overall 20 1/2 in. x 26 1/2 in. x 1 1/2 in. [$2500/3500]

670. Rise Delmar Ochsner (American/Louisiana, b. 1944), “Phyllis S. Dennery”, 1988, acrylic on canvas, signed and dated lower left, 48 in. x 36 in., framed, overall 50 3/4 in. x 38 1/2 in. x 1 1/2 in. [$700/1000] Note: Rise Delmar Ochsner was born and raised in New York City where her mother was an artist. She graduated from Columbia University and Tulane Medical School in New Orleans, where she practiced as an ophthalmologist for almost twenty years before retiring. She had discovered her own love of art while at Columbia and continued to paint through medical school and beyond. Ochsner earned commissions to paint Mick Jagger for a poster for his New Orleans tour stop, a portrait of Queen Noor of Jordan, Carol Burnett’s cat and fifty famous chefs for the Mondavi Winery. She relocated to Santa Barbara in 1995 to be a full-time artist, however, missing medicine, she returned to the practice in 2007. After nineteen years away, Delmar Ochsner moved back to New Orleans where she lives today saying: “I came back for the hugs…from my patients and my friends, and I’m delighted to be here again.” Her works have been featured in numerous exhibitions locally and nationally. In addition to rock stars and royalty, Delmar Ochsner captured many influential and prominent New Orleanians, such as the portrait offered here of Phyllis Sugarman Dennery. Originally from New York City, Phyllis married Moise Dennery in 1941, and once settled in his hometown of New Orleans, she became an active volunteer in civic and religious projects, including the founding and development of WYES-TV. Perhaps her longest-lasting contribution was a section of federal law bearing her name, the Dennery Amendment, to the Telecommunications Act of 1978, which set a monetary value on the time volunteer workers contribute to public stations and let the stations count that as “income” in applying for federal matching money. She also founded La Fete, an annual series of summertime activities, and compiled two cookbooks, Dining In – New Orleans and a sequel, featuring recipes from New Orleans restaurants. Delmar Ochsner’s loose and lush style in her depiction of Dennery is complemented by the scale and colorful boldness that typifies her work and perfectly suits this remarkable sitter. Ref.: Pope, John. Getting Off at Elysian Field: Obituaries from the New Orleans Times-Picayune. Jackson: University Press of Mississippi, 2015; “Rise Delmar Ochsner.” Rise Delmar Ochsner. www.riseochsner. com. Accessed Oct. 3, 2023.

671. Bunny Matthews (American/Louisiana, 1951-2021), “Vic and Nat’ly”, 1984, 3 inks on paper, one with collage, each signed and dated lower right, 11 in. x 13 7/8 in. to 15 1/2 in. x 14 in., unframed. [$1000/1500] 110

672. Bunny Matthews (American/Louisiana, 1951-2021), “Yield Not to Temptation”, 1983, “Blind Date”, 1985, “Too Many Fish in the Sea”, 1986 and “The Deep End”, 1985, 4 ink, color pencil and graphites on paper, each signed and dated lower right and titled lower left, 12 7/8 in. x 18 7/8 in. to 16 1/2 in. x 14 in., unframed. (4 pcs.) [$1000/1500]

673. Harvey Sherman Harris (American/Louisiana, 1915-1999), “Woman and Cat 1”, oil and mixed media on canvas, signed lower right, titled en verso, 42 1/2 in. x 68 1/2 in., framed, overall 43 3/4 in. x 69 1/2 in. x 1 1/2 in. [$1200/1800]

674. Andrew LaMar Hopkins (American/ Louisiana, b. 1977), “New Orleans Voodoo Queen Marie Laveau #2”, 2017, acrylic on canvas board, signed and dated mid-right, signed, titled and dated en verso, 16 in. x 12 in., framed, overall 20 1/2 in. x 16 1/4 in. x 1 1/4 in. [$6000/8000]

675. Andrew LaMar Hopkins (American/Louisiana, b. 1977), “Gullah Sweetgrass Basket Making”, 2023, acrylic on canvas board, signed and dated lower right, signed twice, titled and dated en verso, 12 in. x 16 in., framed, overall 15 1/4 in. x 19 1/4 in. x 2 1/2 in. [$6000/8000]

676. Andrew LaMar Hopkins (American/Louisiana, b. 1977), “Mourning”, 2012, acrylic on canvas board, signed and dated lower right, signed, titled, dated and artist card en verso, 9 in. x 12 in., framed, overall 11 1/2 in. x 14 1/2 in. x 1 1/4 in. [$5000/7000] 111

677. Andrew LaMar Hopkins (American/Louisiana, b. 1977), “Baltimore Solitaire”, 2009, acrylic on canvas board, signed and dated lower right, signed, titled and dated en verso, 14 in. x 18 in., framed, overall 16 1/8 in. x 20 1/8 in. x 3/4 in. [$8000/12000] 678. Simon Gunning (American/Louisiana, b. 1956), “Ships in the Mississippi III”, 2003, oil on panel, signed lower right, “Arthur Roger Gallery, New Orleans, LA” label with title and date en verso, 18 in. x 18 in., framed, 22 3/4 in. x 22 3/4 in. x 1 in. [$5000/7000]

679. Melissa Bonin (American/ Louisiana, b. 1960), “Braided River”, 2012, oil on gallery-wrapped linen, signed lower right, titled and dated en verso, pencil-signed on stretcher, 24 in. x 48 in., unframed. [$7000/10000]

680. Ashley Longshore (American/ Louisiana, b. 1975), “Swarming Butterflies”, 2014, acrylic, resin and mixed media on gallery-wrapped canvas, signed lower left, 23 3/4 in. x 24 in., unframed. [$3000/5000]

681. Bo Bartlett (American/Georgia, b. 1955), “Parents”, giclee on paper, pencil-signed and numbered “1/250” lower margin, 18 in. x 20 1/4 in., framed, overall 25 1/2 in. x 27 3/4 in. x 3/4 in. [$600/800]

682. Pedro Friedeberg (Mexican, b. 1936), “Hand and Foot Table”, carved wood with red lacquer, signed on foot, h. 22 1/4 in., dia. 26 1/2 in. [$5000/7000] Provenance: The Estate of Caroline P. Ireland.

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683. Pedro Friedeberg (Mexican, b. 1936), “Double Hand Foot Stool”, carved wood and giltwood sculpture, signed under foot, h. 12 1/2 in., w. 14 in., d. 13 in.; accompanied by a copy of an invoice and receipt from Galerie Simonne Stern. (3 pcs.) [$4000/6000] Provenance: Galerie Simonne Stern, New Orleans, LA, 1994; Estate of Caroline P. Ireland.

684. Pedro Friedeberg (Mexican, b. 1936), “Double Hand Chair” and “Group of Hand and Foot Chairs”, 4 carved giltwood sculptures, each signed on underside, h. 3 5/8 in., w. 7 in., d. 6 1/8 in. to h. 5 1/2 in., w. 3 1/4 in., d. 4 in.; accompanied by a copy of an invoice and receipt from Galerie Simonne Stern. (6 pcs.) [$1800/2500] Provenance: Galerie Simonne Stern, New Orleans, LA, 1994; Estate of Caroline P. Ireland.

685. Pedro Friedeberg (Mexican, b. 1936), “Angel Clock”, gilt and painted wood with mixed media, signed on underside of proper left foot, h. 14 3/4 in., w. 7 1/2 in., d. 9 in.; accompanied by a copy of an invoice and receipt from Galerie Simone Stern. (3 pcs.) [$3000/5000] Provenance: Galerie Simonne Stern, New Orleans, LA. 1994; Estate of Caroline P. Ireland.

686. George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, gold leaf on black clay, signed lower center, 20 in. x 17 1/4 in., framed, overall 21 in. x 18 1/4 in. x 2 in. [$4000/6000]

688. George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, silver and gold leaf on red and white clay, signed lower center, 9 1/8 in. x 7 5/8 in., unframed. [$1000/1500] Provenance: The Estate of Caroline P. Ireland.

687. George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, gold leaf on red and black clay, signed lower right, 13 3/4 in. x 12 in., unframed. [$3000/5000]

689. George Bauer Dunbar (American/Louisiana, b. 1927), “Marionettes”, 1976, gold and palladium leaf on red clay, signed and dated bottom right, dated on base, h. 6 in., w. 9 1/4 in., d. 1 7/8 in. [$1200/1800] Provenance: The Estate of Caroline P. Ireland.

690. Hunt Slonem (American/ Louisiana, b. 1951), “Pat”, 2016, oil on panel, signed, titled, dated and inscribed en verso, 10 in. x 8 in., framed, overall 11 3/4 in. x 13 7/8 in. x 2 1/4 in. [$4000/6000]

691. Hunt Slonem (American/ Louisiana, b. 1951), “Rabbit O”, 2009, oil on canvas, signed, titled and dated en verso, 10 in. x 8 in., framed, overall 13 3/4 in. x 12 3/4 in. x 3 1/2 in. [$4000/6000] 113

692. Hunt Slonem (American/ Louisiana, b. 1951), “Fantasia”, 2021, oil and diamond dust on board, signed, titled, dated and inscribed en verso, 10 in. x 8 in., framed, overall 11 1/2 in. x 9 1/2 in. x 1 in. [$4000/6000]

693. Hunt Slonem (American/Louisiana, b. 1951), “Blue Bunny”, 2018, oil on panel, signed, dated and inscribed en verso, 16 in. x 12 in., framed, overall 17 1/2 in. x 13 1/2 in. x 1/2 in. [$5000/7000]

694. Hunt Slonem (American/Louisiana, b. 1951), “Still Life with Birds and Flowers”, 1983, oil on canvas, signed and dated en verso, signed and artist card on stretcher, 32 in. x 26 in., framed, overall 32 1/2 in. x 26 1/2 in. x 1 in. [$4000/6000] 695. Hunt Slonem (American/Louisiana, b. 1951), “Valentino”, 1996, oil on canvas, signed, titled and dated en verso, 27 1/4 in. x 13 3/4 in., framed, overall 30 in. x 16 3/4 in. x 2 in. [$2500/3500]

696. Richard Jolley (American/ Tennessee, b. 1952), “Swaying Figure”, 1990, glass, signed, titled and dated on underside, h. 15 3/4 in., w. 6 in., d. 7 in.; accompanied by a copy of a receipt from Arthur Roger Gallery. (2 pcs.) [$1500/2500] Provenance: Arthur Roger Gallery, New Orleans, LA, 1995; Estate of Caroline P. Ireland.

697. Richard Jolley (American/ Tennessee, b. 1952), “Reclining Nude”, 1987, glass, signed, titled and dated on underside, h. 5 3/4 in., w. 9 in., d. 13 1/8 in.; accompanied by a copy of a receipt from Authur Roger Gallery. (2 pcs.) [$1500/2500] Provenance: Arthur Roger Gallery, New Orleans, LA, 1995; Estate of Caroline P. Ireland. 114

698. David Harouni (Iranian/Louisiana, b. 1962), “Untitled: Face with Crown”, oil on gallery-wrapped canvas, signed lower right, 48 in. x 48 in., unframed. [$4000/6000]

699. George Valentine Dureau (American/Louisiana, 1930-2014), “Three Figures”, watercolor on paper, signed lower right, 29 in. x 23 in., framed, overall 36 1/2 in. x 32 in. x 1 1/2 in. [$1200/1800]

700. George Valentine Dureau (American/Louisiana, 1930-2014), “The Wrestlers”, charcoal on paper, signed lower center, 35 in. x 23 in., framed, overall 39 1/2 in. x 32 1/4 in. x 2 in. [$400/600] 702. Lin Emery (American/Louisiana, 1926-2021), “Untitled”, polished aluminum kinetic sculpture, unsigned, h. 6 3/4 in. [$4000/6000]

704. Elemore Morgan, Jr. (American/Louisiana, 1931-2008), “Louisiana Landscape”, 1990, acrylic on shaped masonite, signed and dated en verso, 3 5/8 in. x 9 1/4 in., unframed with acrylic easel. (2 pcs.) [$1200/1800]

706. Caroline Wogan Durieux (American/Louisiana, 1896-1989), “Less is Better”, ink on board laid on heavy board, signed upper right, titled lower left, “Taylor Clark Gallery, Baton Rouge” label on backing paper, 9 5/8 in. x 9 in., framed, overall 14 1/4 in. x 13 1/2 in. x 1/2 in. [$700/1000]

701. George Valentine Dureau (American/Louisiana, 1930-2014), “Nude Male Figure”, 1972, charcoal on paper, signed and dated lower center, 34 7/8 in. x 23 in., framed, overall 46 in. x 35 5/8 in. x 1 3/4 in. [$400/600]

703. Lin Emery (American/ Louisiana, 1926-2021), “Maquette”, mixed media kinetic sculpture mounted to panel, unsigned, framed, overall 17 in. x 21 1/4 in. x 7 3/4 in. [$600/800] Provenance: Estate of Lin Emery, New Orleans, LA.

705. Louisiana School, 20th c., “Night Blooming Cereus”, oil on canvas laid on panel, unsigned, 39 in. x 28 1/4 in., framed, overall 39 3/4 in. x 29 in. x 1 1/8 in. [$1000/1500]

707. 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 1/8 in. x 12 3/8 in., framed, overall 21 5/8 in. x 17 5/8 in. x 1 1/4 in. [$1200/1800] 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. 115

708. Frank Fleming (American/Alabama, 19402018), “Tortoise and Hare Table”, verdigris twig-form base with patinated bronze animals, fitted with a glass top, signed on underside of tortoises, h. 21 1/4 in., w. 36 in., d. 18 in. [$10000/15000]

710. Frank Fleming (American/ Alabama, 1940-2018), “Lily and Vase”, 2000, glazed and unglazed ceramic, signed on lily stem, inscribed “Holder” and dated on underside of vase, h. 15 in., w. 7 1/2 in., d. 3 1/2 in. (2 pcs.) [$1000/1500]

711. Paul Nelson (American, 20th c.), “Twig Candlesticks”, 13 ceramics, each signed on self-base, h. 10 1/2 in., w. 5 in., d. 5 in. to h. 15 1/2 in., w. 6 in., d. 6 in. (13 pcs.) [$700/1000] Provenance: The Estate of Caroline P. Ireland.

712. Dean Lamont Mitchell (American, b. 1957), “In the Country”, 2007, watercolor on board, signed and dated lower right, handwritten label with artist and title on backing paper, 10 3/4 in. x 8 7/8 in., framed, overall 21 in. x 19 in. x 1 in. [$1800/2500] Provenance: Bryant Gallery, New Orleans.

714. Rufino Tamayo (Mexican, 1899-1991), “Indian Woman”, ink and watercolor on paper, signed lower right, inscribed with artist on backing board, 6 5/8 in. x 4 1/8 in., framed, overall 12 1/2 in. x 10 1/2 in. x 2 1/4 in; accompanied by a copy of a receipt from Frank J. Oehlschlaeger Gallery, Chicago, IL, Feb. 12, 1960. (2 pcs.) [$2000/3000] Provenance: Oehlschlaeger Gallery, Chicago, IL.; Estate of Caroline P. Ireland. 116

709. Frank Fleming (American/ Alabama, 1940-2018), “Appleman Triumphantly Lifting a Fig”, unglazed ceramic, signed on proper right foot, h. 11 in., w. 5 in., d. 3 1/2 in. [$1000/1500]

713. Russell Hamilton (American/New Mexico, 19502014), “Layers”, 1984, monotype and pastel on handmade paper, signed and dated lower right, titled en verso, 31 in. x 40 1/4 in., unframed. [$400/600] Provenance: Michael W. Murphy, El Dorado, AR.

715. Peter Cox (American, 19422017), “Monti”, oil on canvas, signed lower right, 38 in. x 30 in., framed, overall 39 3/8 in. x 31 1/2 in. x 2 1/4 in. [$2000/3000] Provenance: Carolyn Hill Gallery, New York, Apr. 11, 1991.

716. Leonard Baskin (American/ New Jersey, 1922-2000), “Sibyl”, 1996, watercolor on paper, signed lower right, dated lower left, 21 1/4 in. x 16 in., framed, 29 1/4 in. x 24 in. x 1 1/2 in. [$2000/3000] Provenance: Gift of the artist’s son, Hosea Baskin; Private Collection.

717. Cynthia Sparrenberger (American, 20th c.), “While No One Is Watching”, 1994, bronze, signed, dated and numbered “7/25” on self-base, h. 23 in., w. 17 in., d. 9 in., wood base with artist and title plaque, overall h. 25 in. [$600/800]

718. Robert Refvem (American, b. 1933), “Backwater Blue”, 1989, bronze, signed, dated and numbered “18/25” on self-base, h. 33 in., w. 11 in., d. 29 in., bronze base, overall h. 34 1/2 in. [$400/600] 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.

Provenance: Michael W. Murphy, El Dorado, AR.

720. New Orleans Coin Silver “Couvert” of “Uniplat” Forks and Spoons, Jean-Noel Delarue (b. Bacalans, Bourdeaux, 1776, d. New Orleans, 1842), act. New Orleans, 1802-1842, marked “Delarue” in elongated oval flanked by bees in octagonal cartouches, incl. 4 table forks and 4 tablespoons, monogrammed “A.V.”, fork l. approx. 7 7/8 in., spoons l. approx. 8 1/4 in., wt. 16.65 troy ozs. (8 pcs.) [$4000/5000]

719. Pair of Neoclassical French 1st Standard Silver Sauceboats and Undertrays, Paris, 1798-1809, with engraved presentation “Judah Touro/TO/R.D. Shepherd/Jan. 6th 1854”, handle with foliate terminal, reeded borders, sauceboat h. 6 7/8 in., w. 7 1/8 in., undertray 10 3/4 in. x 5 5/8 in., total wt. 45.30 troy ozs. [$3000/5000] Provenance: By Repute, Descended in the Family of Rezin Davis Shepherd (1784-1865) Note: Rezin Davis Shepherd (1784-1865), a native of Shepherdstown, Virginia (after 1863, West Virginia), was a longtime friend and business associate of the noted New Orleans philanthropist, Judah P. Touro (b. Newport 1775, d. New Orleans Jan.18, 1854). Shepherd saved Touro’s life at the Battle of New Orleans. Touro was severely wounded while carrying ammunition for the militia, and was left to die. Shepherd took him to his home in New Orleans for medical care and nursed him back to health.Shepherd was one of the four executors of Touro’s estate and universal legatee of the residuary estate. The presentation inscription is dated January 6, 1854, the date of execution of Judah Touro’s will. Ref.: Korn, Bertram Wallace. The Early Jews of New Orleans., pp. 84-90 and 291.

721. Group of French 1st Standard Silver “Uniplat” Flatware, incl. table fork and tablespoon, marked “G. Juge”, l. 8 1/8 in. and 8 1/4 in.; and tablespoon marked for Henin & Cie, 77 rue des Archives, Paris, successor of Henin & Vivier, act. from 1896, l. 8 1/4 in.; combined wt. 7.95 troy oz. (3 pcs.) [$200/300]

722. Associated New Orleans Fiddle Thread Coin Silver Flatware Service, 19th c., various makers, incl.: 10 Adolphe Himmel for Hyde & Goodrich table forks (l. 8 1/8 in.); 6 Wood & Hughes for A.B. Griswold table forks (l. 8 1/8 in.); 5 Wood & Hughes for H.P Buckley table forks (l. 8 1/8 in.); 9 Hyde & Goodrich luncheon or dessert forks (l. 6 7/8 in.); 6 T.E. Thompson, Houston & Galveston, TX luncheon or dessert forks (l. 6 7/8 in.); 6 Hyde & Goodrich tablespoons (l. 8 ½ in.); 5 Wood & Hughes for H.P. Buckley tablespoons (l. 8 ¼ in.); 6 Wood & Hughes for A.B. Griswold tablespoons (l. 8 ½ in.); 6 Adolphe Himmel teaspoons (l. 6 in.); 3 H.P. Buckley (1 Wood & Hughes and 1 Hebbard) teaspoons (l. 6 in.); 10 French 1st Standard teaspoons (l. 6 in.); E.A Tyler mustard spoon H.P. Buckley (1 Wood & Hughes and 1 Hebbard) teaspoons (l. 6 in.); 10 French 1st Standard teaspoons (l. 6 in.); E.A Tyler mustard spoon H.P. Buckley master butter. Gelston & Treadwell (NY) butter knife; total wt. 105.40 troy ozs.; together with Christofle/Thouret silverplate table fork, Christofle/Alfenide silverplate teaspoon and unidentified antique silverplate teaspoon. (78 pcs.) [$2500/3500]

723. Associated Set of Twelve Antique American Mother-of-Pearl Handled Dinner Knives, with sterling silver ferrules, most with blades marked Landers, Frary & Clark, l. 9 in. to 9 1/4 in.; together with 1 English example with sterling ferrule, blade marked Harrison Bros. & Howson; and 1 silverplated butter knife. [$100/200] 117

724. Kentucky Coin Silver Julep Cup, Henry Hudson and Jacob Dolfinger, Louisville, KY, c. 1855-1858, incised mark “Hudson and Dolfinger Louisville”, “T.E.C. Burney 1870 scratched on bottom, h. 3 5/8 in., wt. 4.95 troy ozs. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR. Ref.: Boultinghouse, Marquis. Silversmiths, Jewelers, Clocks and Watch Makers of Kentucky, 1785-1900. p. 160

725. Kentucky Coin Silver Julep Cup, Richard Ewing Smith, Louisville, wc. 1821-39, marked “R.E. SMITH” in rectangle, h. 3 3/8 in., wt. 4.80 troy ozs. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR. Ref.: Boultinghouse, Marquis. Silversmiths, Jewelers, Clock and Watch Makers of Kentucky, 1785-1900. p. 252

726. Kentucky Coin Silver Julep Cup, Henry Hudson (1816-1888), Louisville, c. 1845-1855, incised mark “H.Hudson” and “Louisville”, h. 3 13/16 in., wt. 5.10 troy ozs. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

727. Kentucky Coin Silver Julep Cup, George W. McDannold, act. c. 1840, Mt. Sterling, Winchester and Covington, KY; marked “McDANNOLD”, h. 3 5/8 in., wt. 5.20 troy ozs. [$700/1000] Provenance: Michael W. Murphy, El Dorado, AR.

Ref.: Boultinghouse, Marquis. Silversmiths, Jewelers, Clock and Watch Makers of Kentucky, 1785-1900. pp. 159-160.

Ref.: Boultinghouse, Marquis. Silversmiths, Jewelers, Clock and Watch Makers of Kentucky, 1785-1900. p. 196

728. American Sterling Silver Repousse Coffee and Tea Service, ret. Hausmann’s, New Orleans, c. 1900, incl. coffee pot, teapot, sugar, creamer, waste bowl and tray, grape and grapevine motif repousse, various makers, tray by A.G. Schultz & Co., Baltimore, act. 1899-1950; creamer by Newburyport Silver Co., Keene, NH, act. 1905-1914; rest by Peter L. Krider & Co., Philadelphia, act. 1870-1903; tray also marked for retailer T. Hausmann & Sons, New Orleans, act. 1894-1906; monogrammed “EBA” for Elizabeth Borland Adams, coffee pot h. 13 in., tray 24 in. x 17 5/8 in., wt. 202.60 troy ozs. (6 pcs.) [$4000/6000] Provenance: Descended in the family of Elizabeth Borland Adams (1878-1938), New Orleans. Likely a wedding present from her marriage in 1902 to St. Clair Adams, Sr., a founder and first president of the New Orleans Bar Association, as well as founder of the prominent New Orleans law firm, Adams & Reese.

729. American Coin Silver Cup, Tifft & Whiting, North Attleboro, MA, act. 1841-1853, c. 1850, octagonal paneled form with floral and foliate repousse, molded and beaded rims, hollow scroll handle, h. 3 1/8 in., wt. 3.50 troy ozs. [$200/300]

731. Antique Irish Sterling Silver After-Dinner Coffee Service, John Smyth & Sons, Dublin, 1932, incl. side-handle coffee pot (h. 7 in.), open sugar and creamer, each with bowknot swags and scroll feet, total wt. 21.50 troy ozs. (3 pcs.) [$500/700] Provenance: The Estate of Caroline P. Ireland. 118

730. Victorian Sterling Silver Teapot, London, 1889, Walter & John Barnard, reg. 1877, act. 1877-1895; squat form with drapery swag and patera decoration, h. 6 3/8 in., wt. 17.70 troy ozs. [$500/1000] Provenance: The Estate of Caroline P. Ireland.

732. George III Sterling Silver Punch Ladle, Alexander Hewat, London, 1810, engraved crest, l. 13 in., wt. 6 troy ozs. [$200/300]

733. Victorian Sterling Silver Covered Pitcher, James Dixon & Sons, Sheffield, 1853, hinged domed cover, footed vase form with spreading foot and scroll handles, rococo chasing, h. 11 3/4 in., wt. approx. 35.60 troy ozs. [$800/1200] Provenance: Descended in the family of Gen. Euclid Borland (1844-1896), prominent New Orleans cotton factor.

734. Thirty-Six Piece Louis XVI Silver Gilt Dessert Service, JeanJacques Kirstein, Strasbourg, 1779, in original tooled leather fitted case, chamois-lined interior housing twelve knives (l. 8 in.), spoons (l. 7 3/8 in.), and forks (l. 7 in.), fiddle thread and shell pattern. total wt. (weighable) 48.20 troy ozs. [$4000/6000] Provenance: A La Vieille Russie, NY, 1975; Estate of Caroline P. Ireland.

736. French 1st Standard Silver Gilt Percolator in the Classical Taste, late 19th/early 20th c., marked for the maker (untraced), with French Export marks and for the retailer, Tiffany & Co., h. 8 7/8 in., wt. 17.10 troy ozs. [$800/1200] Provenance: The Estate of Caroline P. Ireland.

735. Set of Twelve Louis XVI Silver Gilt Spoons, 1783, Jean-Louis Imlin, Strasbourg, in fiddle thread and shell pattern, l. 5 5/8 in., total wt. 12.40 troy ozs., original tooled leather fitted case. [$1000/1500] Provenance: A La Vieille Russie, NY, 1975; Estate of Caroline P. Ireland.

737. French 1st Standard Silver Gilt Tea Service in the Classical Taste, late 19th/early 20th c., Emile Puiforcat, Paris, from 1857, for Tiffany & Co., with maker’s mark, retailer’s mark and French export mark; incl. teapot (h. 6 1/2 in.), teapot (h. 5 1/2 in.), covered sugar, creamer and waste bowl, total wt. 83.80 troy ozs. (5 pcs.) [$2000/3000]

738. French 1st Standard Silver Gilt Dessert Service for Eight, Emile Puiforcat, 18 rue Chapon, Paris, mark used from 1857, incl. 8 each dessert forks, knives and spoons, knife l. 7 7/8 in.; total wt. (weighable) 27.55 troy ozs. (24 pcs.) [$1000/1500] Provenance: The Estate of Caroline P. Ireland.

Provenance: The Estate of Caroline P. Ireland.

739. Six Louis Philippe 1st Standard Silver Gilt Teaspoons, c. 1838, Laurent Labbe, act. 1829-1852, 61 rue Quincampoix, Paris, fiddle thread and shell design, l. 5 5/8 in., wt. 5.9 troy ozs. [$200/300] Provenance: A La Vielle Russie, New York, NY; Provenance: The Estate of Caroline P. Ireland.

741. Pair of Italian GrottoStyle Gilt and Painted Shell Shaped Pedestal Tables, sea serpent stem, sea horse legs, h. 41 1/2 in., w. 19 in., d. 21 in. [$800/1200]

740. French Louis XVI-Style Silverplate and Crystal Centerpiece, frame fitted with crystal jardiniere and 4 flare vases, garland and bowknot decoration throughout, h. 8 in., w. 16 1/2 in., d. 7 1/2 in. [$700/1000] 119

742. Antique Venetian Rococo-Style Painted Bombe Commode, 19th c., shaped molded top, two drawers, shell and scroll apron, cabriole legs, h. 35 1/2 in., w. 49 in., d. 20 in. [$800/1200]

743. Pair of Italian GrottoStyle Carved Giltwood Armchairs, 20th c., shell carved back and seat, dolphin arms, scrolled oyster shell legs, h. 30 in., w. 23 in., d. 19 1/2 in. [$1000/2000]

744. Italian Renaissance-Style Carved and Ebonized Library Table, 19th c., inset marble top, scalloped frieze inset semi-precious stone, trestle base, h. 29 in., w. 34 1/2i n., d. 25 1/2 in. [$1500/2500] 745. Set of Four Italian Carved Fruitwood Side Chairs, 19th c., curved conforming splat and crest rail, cabriole legs, h. 44 in., w. 20 1/2 in., d. 20 1/2 in. [$600/900] Provenance: The Estate of Caroline P. Ireland.

746. Pair of Venetian Carved, Painted and Parcel Gilt Armchairs, 18th c., curved top rails, slat back, outswept arms, tapered legs, h. 35 1/4 in., w. 23 1/4 in., d. 23 in. [$500/700] Provenance: The Estate of Caroline P. Ireland.

747. Italian Neoclassical Mahogany Partial Ebonized Secretary, 19th c., scagliola top, tambour door opening to four drawers, fall-front with fitted interior, paneled cabinet doors, paw feet, h. 53 in., w. 48 in., d. 21 1/2 in. [$1000/2000]

748. Italian Neoclassical-Style Parquetry and Kingwood Chest of Drawers, molded shaped top, conforming case, three drawers, h. 33 1/2 in., w. 48 1/2 in., 26 1/2 in. [$800/1200] 120

749. Pair of Italian Neoclassical-Style Parquetry Bombe Nightstands, shaped top, two drawers, cabriole legs, h. 29 in., w. 24 1/2 in., d. 16 in. [$700/1000]

750. Italian Baroque-Style Carved Walnut Desk, 20th c., tooled leather top, two slides, three frieze drawers over flanking four drawer banks, molded plinth base, h. 29 1/2 in., w. 59 in., d. 32 1/2 in. [$400/600]

752. Louis XV Carved Walnut Duchesse Brisee, 19th c., shaped back with wings, padded arms, conforming seat, stretcher cabriole legs, back h. 43 1/2 in., w. 32 in., d. 39 in., bench h. 20 in., w. 30 1/2 in., d. 39 in. [$700/1000] Provenance: The Estate of Caroline P. Ireland.

751. Four Louis XVI-Style Creme Peinte Fauteuils, 19th c., molded crest rail, padded arms, fluted tapered legs, h. 35 1/2 in., w. 23 in., d. 24 1/2 in. [$500/700] Provenance: The Estate of Caroline P. Ireland.

753. French Two Panel Folding Screen, 19th c., black with gilt border, center panel with Greek god portraits, made from arched doors, h. 84 1/4 in., w. 52 in., d. 1 1/2 in. [$500/700] Provenance: The Estate of Caroline P. Ireland.

754. Monumental English Renaissance Revival Carved Mahogany Dining Suite, mid-to-late 19th c., incl. dining table, server, and twelve side chairs; dining table with serpentine top with rounded corners and a molded edge, conforming frieze, robust foliate cabriole legs surmounted by ram’s heads, casters, 4 extension leaves, h. 29 1/2 in., w. (extended) 168 in., d. 58 in.; en suite server with trophee medallion-decorated frieze centered by a coat of arms, robust cabriole leg supports surmounted by ram’s heads, shaped plinth base, h. 41 in., w. 94 in., d. 35 1/4 in.; side chairs surmounted by a cherub and lion cartouche crest, fruit and floral crest rail, acanthine padded back, seat rail centered by a winged putto, ram’s head-mounted cabriole legs, hoof feet, casters, h. 39 1/2 in., w. 22 in., d. 25 in. [$10000/15000] Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.

755. Fine Regency Carved Mahogany Console Table, 19th c., stamped “Edwards & Roberts”, arched backsplash with urn and griffin decoration, shaped top with gadrooned edge, paneled frieze with foliate swags, floral-carved scrolled supports, incurvate plinth, h. 59 in., w. 72 in., d. 25 in. [$3000/5000] 756. Regency Inlaid Mahogany and Satinwood Cellarette, 19th c., lift top, fitted interior, turned support, reeded outswept legs, casters, h. 32 1/4 in., w. 17 3/4 in., d. 15 1/2 in. [$800/1200] 121

757. Set of Eight Antique Queen Anne-Style Chinoiserie and Gilt Decorated Dining Chairs, incl. two armchairs and six side chairs, arched scrolled crest rail, vasiform splat, slip seat, cabriole legs, ball and claw feet, armchair h. 41 1/4 in., w. 23 in., d. 23 in.; side chair h. 41 1/4 in., w. 21 in., d. 21 in. [$2500/3500]

758. Irish William IV-Style Carved Mahogany Console Table, 19th c., in the manner of George Gillington, Dublin, gadrooned molded top, frieze drawer, scrolled supports, paw feet, remnants of storage label from Bath, England on back, h. 38 1/2 in., w. 59 1/2 in., d. 22 1/4 in. [$2500/3500]

759. Anglo Indian-Style Inlaid Mixed Woods Center Table, inlaid swirl top, foliate carved frieze, turned standard, avian feet, h. 30 1/2 in., dia. 48 in. [$600/900]

761. Edwardian Inlaid Mahogany Secretary Bookcase, early 20th c., scrolled crest, glazed doors, shelf interior, fall front writing drawer with fitted interior, bracket feet, h. 91 in., w. 46 in., d. 22 in. [$1000/2000]

762. American Gothic Carved Walnut Sideboard, late 19th c., pedimented mirrored superstructure with spherule decoration flanked by two shelves, marble top, two frieze drawers, slatted doors, h. 86 1/2 in., w. 59 3/4 in., d. 23 in. [$800/1200]

122

760. English Chinoiserie, Mother-of-Pearl Inlaid and Ebonized Desk on Stand, 19th c., fall front, fitted interior, shaped apron, cabriole legs, ball and claw feet, h. 47 in., w. 37 in., d. 17 1/2 in. [$800/1200]

763. American Renaissance Parcel Gilt, Marquetry and Rosewood Parlor Cabinet, c. 1870, New York, possibly Pottier and Stymus or Alexander Roux, shaped top with raised plinth, inlaid frieze, hidden drawer, door with musical trophee, conforming paneled sides with outset scrolled brackets, plinth base, h. 55 1/2 in., w. 62 in., d. 23 in. [$3000/5000]

764. Aesthetic Movement Inlaid, Ebonized and Burlwood Etagere Cabinet, mid-to-late 19th c., stamped C. Paine, attr. to Paine Furniture Company, Boston, MA, shaped backsplash, arched paneled doors flanked by shaped glass doors, bronze-mounted column supports, lower case with two shelves, turned feet, h. 59 3/4 in., w. 46 1/2 in., d. 16 in. [$800/1200] Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

UPCOMING AUCTIONS NOVEMBER 30 Estate Jewelry & Couture Auction - Online Auction DECEMBER 7 Mid-Century, Modern, Contemporary Art & Design - Online Auction JANUARY 25 & 26 Premier Collections: Fine Art & Interiors - Live Auction

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0149 - 7040

0203 - 1920

0267 - 41480

0312 - 7040

0366 - 5440

0415 - 366

0474 - 2176

0036 - 512

0094 - 3416

0150 - 610

0204 - 976

0268 - 3840

0313 - 2176

0367 - 14640

0416 - 6710

0475 - 1342

0037 - 1664

0095 - 576

0151 - 1375

0205 - 549

0269 - 2688

0314 - 768

0368 - 13420

0417 - 3200

0477 - 8960

0038 - 704

0096 - 671

0153 - 3200

0206 - 640

0270 - 10880

0315 - 3328

0369 - 28160

0418 - 2176

0478 - 8320

0039 - 448

0097 - 1280

0154 - 1024

0207 - 610

0271 - 2432

0316 - 640

0370 - 14080

0419 - 8540

0479 - 2688

0040 - 1250

0098 - 576

0155 - 384

0208 - 610

0272 - 6100

0317 - 1088

0371 - 8540

0420 - 2806

0482 - 704

0041 - 305

0099 - 1088

0156 - 4800

0210 - 1024

0273 - 366

0319 - 1586

0372 - 5120

0421 - 2440

0483 - 640

0042 - 1408

0101 - 3660

0157 - 960

0213 - 1664

0274 - 576

0320 - 640

0373 - 6710

0422 - 343

0484 - 122

0044 - 732

0102 - 1792

0158 - 1098

0214 - 1920

0275 - 1024

0321 - 14640

0374 - 24320

0423 - 5440

0045 - 608

0103 - 640

0159 - 610

0220 - 2688

0276 - 512

0322 - 6405

0375 - 26880

0424 - 896

0046 - 1280

0104 - 1280

0160 - 2048

0221 - 427

0277 - 366

0323 - 5490

0376 - 896

0425 - 1792

0050 - 5440

0105 - 512

0161 - 549

0222 - 375

0278 - 1536

0324 - 2304

0377 - 44800

0426 - 518

0051 - 1342

0106 - 976

0162 - 448

0223 - 312

0279 - 9600

0325 - 6080

0378 - 8320

0427 - 1220

0053 - 448

0107 - 1216

0163 - 488

0224 - 2048

0280 - 2048

0326 - 1792

0379 - 1220

0428 - 2440

0055 - 832

0108 - 768

0167 - 687

0227 - 549

0281 - 6400

0327 - 1408

0380 - 4880

0429 - 5795

September 7 & 8, 2023

0109 - 1280

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0057 - 1536

Auction Results

0001 - 1125

125

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

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

Each bidder and buyer agrees and acknowledges that: (a) the bidder or buyer is not relying on Neal Auction Company’s actual, perceived, or expressed skill, expertise, experience, knowledge, or judgment in deciding to purchase any lot; (b) no oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value is the cause of or reason behind the buyer’s purchase of any lot; (c) the buyer would have purchased any lot regardless of any oral, written, or electronic statement or description about attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value, made in a catalogue, website, correspondence, advertising, literature, or elsewhere; (d) Neal Auction Company did not know, nor should it have known that attribution, authenticity, authorship, character, condition, kind, period, provenance, size, quality, or expressed value is the cause or reason why the buyer decides to purchase any lot; (e) the buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; (f) Neal Auction Company did not know, nor should it have known, that any oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere would cause a pecuniary or nonpecuniary loss to any bidder or buyer; (g) the bidder or buyer has had the opportunity prior to bidding to make independent inspections of, and conduct due diligence on, all lots being offered; (h) there is no inspection or examination period after the auction bidding; (i) the bidder’s or buyer’s failure to be fully informed as to the attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value of a lot will not be grounds for any reduction of the purchase price or rescission of the sale; (j) Neal Auction Company shall not be liable, obligated, or responsible for the presence of lead-based paint or any other environmental or other hazard of any lot; (k) Neal Auction Company shall not be liable, obligated, or responsible to the buyer as to third parties who may claims rights to or interests in any lot; (l) the buyer is buying at the buyer’s sole risk and peril; (m) Neal Auction Company shall not be liable, obligated, or responsible for any errors or omissions in any oral, written or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere. Each bidder and buyer WAIVES and RELEASES any and all claims arising out of the matters expressed above. All such waivers, releases, and limitations of liability shall apply to Neal Auction Company and its owners, officers, directors, representatives, insurers, agents, and employees. 2. Fine Art. Subject to the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, with respect to authorship of works of fine art, the following phrases have the following meanings: ARTIST - In our qualified opinion, we believe the work is by the artist named.

Attributed to ARTIST - In our qualified opinion, we believe the work may be ascribed to the artist named on the basis of style and period, but our opinion is less certain than in the previous category. Signed “ARTIST” - In our qualified opinion, the signature, monogram, or other indication of authorship is a signature of the artist. School of ARTIST - In our qualified opinion, the work is of the period of the artist named, by a student or a follower of the artist, but not by the artist. Manner of ARTIST - In our qualified opinion, although the work is in the style of the artist named, it is actually of a later period. After ARTIST - In our qualified opinion, the work is a copy of a known work of the artist named.

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

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

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

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

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

126

In any dispute between Neal Auction Company and the bidder or buyer regarding authorship of a work of fine art, rescission of the sale and refund of the purchase price paid shall be the buyer’s sole recourse or remedy, if any is available. Neal Auction Company (and its owners, officers, directors, representatives, agents, insurers, and employees) shall not be liable, obligated, or responsible for any damages (including compensatory, general, incidental, consequential, exemplary, or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorneys’ fees, or any other monetary, declaratory, equitable, or injunctive relief or remedy. The buyer WAIVES and RELEASES any and all such damages, relief, and remedies. AUCTION BIDDING AND SALE 1. The auctioneer shall have absolute discretion in determining the highest and best bid on each lot. The auctioneer may decide that any original bid is not commensurate with the value of the lot offered, or that any advance thereafter is not of sufficient amount, and the auctioneer may reject or refuse to recognize that bid or advance.

2. At the fall of the auctioneer’s hammer, the bidder acknowledged by the auctioneer, whether in person or absentee, thereupon assumes the obligation to pay for the offered lot, and shall pay the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs. 3. Title to the offered lot shall pass to the bidder acknowledged by the auctioneer upon payment of the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs. The buyer thereupon assumes full risk, obligation, and responsibility for the lot.

4. At any time before the sale of a lot, Neal Auction Company reserves the right to withdraw the lot or any part of the lot, to combine lots, or to separate items within a lot. 5.

No lots will be released before the end of the auction.

6. If the buyer fails to comply with any of these Conditions of Sale, Neal Auction Company reserves the right to (a) hold such defaulting buyer liable, obligated, and responsible for the total amount due and to commence legal proceedings to recover the entire amount along with interest, reasonable attorneys’ fees, expenses, and costs; (b) charge outstanding amounts to the buyer’s credit card; (c) apply any payments to outstanding amounts chosen by Neal Auction Company notwithstanding the instructions of the buyer; (d) cancel the sale, retaining as liquidated damages any payment made by the buyer; (e) resell the lot without reserve at public auction, online-only auction, or privately on seven calendar days’ notice to the buyer; (f) enforce specific performance of the sale; (g) require a deposit in future auctions; (h) exclude the buyer from future auctions or bidding on particular lots; (i) exercise the rights and remedies of a person holding security and/or privilege over property in Neal Auction Company’s possession, whether by pledge, security interest or any other mechanism, to the full extent allowed under Louisiana law, and Neal Auction Company may hold the property of the buyer as collateral security for the buyer’s obligations; (j) and/or take such other actions allowed by law in Neal Auction Company’s sole discretion. If Neal Auction Company resells the lot, the defaulting buyer shall be liable, obligated, and responsible for the payment of any deficiency in the purchase price and any damages, including but not limited to all costs and expenses of both sales, such as, by way of example only, storage, handling, insurance, repairs, illustrations, consultations, examinations, moving, shipping, promotions, advertising, reasonable attorneys’ fees, commissions, and incidental damages. 7. Virtually all lots offered have been subject to use over a considerable period of time. No mention of cracks, scratches, chips, tears, breaks, weaknesses, or any damages or wear will be included in oral, written, or electronic statements or descriptions in the catalogue, website, correspondence, advertising, or literature. Condition reports may be provided upon request, but condition reports may not mention all cracks, scratches, chips, defects, hazards, tears, breaks, weaknesses, or other damages or wear. Neal Auction Company makes no representations or warranties as to the accuracy or completeness of any information or description in a condition report or elsewhere, whether oral, written, electronic, or online. Neal Auction Company reserves the right to decline to provide a condition report for any specific lot, at its sole discretion. 8. Neither high nor low estimates in a catalogue, website, advertising, correspondence, literature, or elsewhere should be relied on as a representation, prediction, appraisal, guarantee, or warranty that a particular lot will sell for a particular price or that a particular lot has a particular value.

9. Neal Auction Company has absolute discretion to admit a bidder to the auction premises, to expel a bidder from the auction premises, or to refuse a bidder from participating in the auction.

10. Neal Auction Company and its auctioneers shall not be liable, obligated, or responsible for failure to recognize or execute any bids for any reason whatsoever, or for no reason. Bidders and buyers WAIVE and RELEASE any rights to damages, and equitable, declaratory, and injunctive relief arising out of the failure or rejection of any bid, or any errors or omissions relating to the bidding process. 11.

Interfering with the auction in any way is prohibited.

13.

Canvassing or solicitating on the auction premises is prohibited.

12. Bid rigging is strictly prohibited. Any agreement, understanding, or arrangement not to bid against another or otherwise to dampen the bidding is unlawful. The auctioneer reserves the right to bid on behalf of the consignor for the protection of the consignor if this illegal activity by two or more bidders is detected, disclosed, alleged, or suspected. 14.

The auctioneer has the sole discretion as to the increments of bidding, the recognition of any bid, the acceptance of the final bid, and resolving any disputes among bidders.

15. Neal Auction Company represents the consignors only and is not acting as agent or representative of bidders or buyers. The payment of the buyer’s premium by the buyer does not indicate a dual agency relationship. Neal Auction Company is to be paid a fee or commission by the consignor pursuant to a separate written agreement between the consignor and Neal Auction Company. The consignor is the seller of the lot sold. Neal Auction Company is the consignment agent or representative, not the seller.

16. The successful bidder is obligated to pay the purchase price in full unless Neal Auction Company has consented in writing at the time of the bidder’s registration that the bidder is acting as an agent on behalf of an identified person and that said principal is obligated to pay the purchase price in full. Neal Auction Company reserves the right to require an advance deposit for such bids.

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

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

20.

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

19. 21.

First time bidders are required to produce a valid state-issued identification card or passport. Neal Auction Company may require a bidder or buyer at any time to produce financial, banking, or trade references and information.

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

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

25. Lots may be offered subject to a reserve, which is the confidential minimum hammer price below which the lot will not be sold, for the protection of the consignor. Such reserve will not exceed the low estimate for the lot. The auctioneer may open the bidding on any lot by placing a bid on behalf of the consignor, auctioneer, or an absentee bidder that is below the reserve. The auctioneer may continue to bid on behalf of the consignor, auctioneer, or absentee bidder up to the amount of the reserve, by placing consecutive bids or by bidding in response to other bidders. Neal Auction Company may sell a lot at a hammer price below the reserve at its discretion, subject to its agreement with the consignor. ABSENTEE/TELEPHONE/ONLINE BIDS 1. All absentee bids and/or telephone bids must be received by Neal Auction Company by 5 p.m. Central Time the Thursday prior to the auction.

2. All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at the discretion of Neal Auction Company. Each lot must have a minimum low estimate of $500 for telephone bidding. Absentee bids are accepted for any lots regardless of estimate, at the discretion of Neal Auction Company.

3. Neal Auction Company intends to endeavor to protect the confidentiality of absentee/telephone bids. In the event that the identity of absentee/telephone bidders or buyers or of the amounts of absentee/ telephone bids is disclosed, Neal Auction Company shall not be liable, obligated, or responsible for such disclosure, and each bidder and buyer WAIVES and RELEASES Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any claims arising out of such disclosure. 4. Neal Auction Company reserves the right, in its sole discretion, to require that any advance bids be accompanied by a security deposit.

5. Neal Auction Company shall not be liable, obligated, or responsible for any failure, design flaw, error, act, omission, or negligence of third party sites or their agents. Bidders WAIVE and RELEASE any rights to damages and equitable, declaratory, and injunctive relief and remedies arising therefrom. 6. Prior to placing any absentee, telephone, or online bid, all bidders are required to complete the applicable Registration Form prior to such bidding. 7. In the event of ambiguity, uncertainty, or discrepancy, the lot number and not the lot description on any bid will be deemed to be the lot on which the bid is made.

8. If more than one absentee bid on a particular lot is received with the same maximum bid amount, and that bid amount is the highest and best bid for the lot, the lot will be sold to the bidder whose absentee bid was accepted first by Neal Auction Company after receiving it. If a bid placed on a lot by a bidder who is physically present at the auction is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is physically present at the auction. If a bid placed on a lot by a bidder who is present at the auction (in person or by telephone) is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is present at the auction (in person or by telephone). 9. Neal Auction Company reserves the right to record any telephone bidding or conversation relating to said bidding, or any part thereof, and to publish said recordings. By participating in telephone bidding, the bidder consents to such recording and publication, notwithstanding the laws or regulations of the state or jurisdiction of the bidder. PAYMENT

1. The successful bidder (except a successful online bidder) shall pay a buyer’s premium in the amount of 25% of the hammer price on each lot up to and including $200,000, plus 15% of the hammer price greater than $200,000. For payments made by cash, check, or wire transfer (except by online bidders) within 15 calendar days of the auction, the buyer’s premium will be discounted to 22%.

2. The successful online bidder shall pay a buyer’s premium in the amount of 28% of the hammer price on each lot. A discount for payments made by cash, check, or wire transfer is not available for purchases made by online bidders. 3.

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

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

5. Documentation of tax exemption must be provided upon registration. Billing name and address of a bidder must agree with that on the sales tax exemption certificate. 6. Payment in full of the purchase price must be made by the successful bidder in U.S. Dollars within 15 calendar days of the auction. Interest charges of one and one-half percent per month shall apply to invoices paid after this period expires. Neal Auction Company reserves the right to require payment in full of the purchase price immediately following declaration of the successful bidder.

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.

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

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.

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

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.

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.

127

November 15,16 & 17, 2023

•

Artist Index

A Alexandre Alaux, 222 American School, 22, 180 Frank Anderson, 237 Walter Inglis Anderson, 42-45, 584-587 Yolande Ardissone, 294 William Norman Arnold, 49, 667, 668 John James Audubon, 239-246, 247251 (aft) B Ernest “Beanie” Backus, 580 Bo Bartlett, 681 Leonard Baskin, 716 Erwin Binder, 72 Bill Binnings, 65 Pierre Boncompain, 288 Melissa Bonin, 679 Charles Wellington Boyle, 4, 5 Gordon Brown, 194 Norton Bush, 177 C Xavier de Callatay, 71 Georgine Campbell, 223 Etienne Constant Carlin, 216-218 Henry Casselli, 66 Mark Catesby, 252 Jean Charles Cazin, 286 Dale Chihuly, 374, 375 Scott L. Christensen, 195-197 Richard Clague, 219 Eliot Candee Clark, 54 Sandra Russell Clark, 626-628 Marc Clauzade, 292 Peter Cox, 715 D Alexander John Drysdale, 6, 224-234 George Bauer Dunbar, 686-689 George Valentine Dureau, 699-701 Caroline Wogan Durieux, 706, 707 E Lin Emery, 702, 703 F Alan Flattmann, 664 Frank Fleming, 708-710 Leonard Flettrich, 67 Eurilda Loomis France, 25 French School, 215 Pedro Friedeberg, 682-685 G Joseph Gaylord Gessford, 3 Alberto Giacometti, 296 Dorothy Muriel Gillespie, 660-662 Francoise Gilot, 293 Imero Gobbato, 189 Robert Wadsworth Grafton, 562 Catherine Harley Grant, 28 128

Angela Gregory, 47, 48 (attr) Louis Grube, 236 Simon Gunning, 678 H Russell Hamilton, 713 William Hamilton, 277 Adrien Hamon, 290 William Michael Harnett, 176 David Harouni, 698 Chestee Harrington, 455, 456 Harvey Sherman Harris, 673 Franklin De Haven (attr), 186 Earl Hebert, 669 Colette Pope Heldner, 568-572 Knute Heldner, 11, 12 Morris Henry Hobbs, 7, 565 Peter Lanz Hohnstedt, 187 Andrew Lamar Hopkins, 674-677 Marie Atkinson Hull, 50, 51, 582, 583 Clementine Hunter, 457-465 I Louis Icart, 295 J Joseph Jefferson, 221 Eugen Jettel, 285 Richard Jolley, 696, 697 Everett B. D. Julio, 24 K John Kamas, 14-16, 52, 53, 69, 70 Hendrick Kellner (attr), 278 Alberta Kinsey, 566 Everett Raymond Kinstler, 193 Ida Rittenberg Kohlmeyer, 607, 608 Anne Catherine Kuck, 578 L Clarence John Laughlin, 624, 625 Carol Leake, 68 Harry Leith-Ross, 188 Ashley Longshore, 680 Louisiana School, 567, 705 M Alan Maley, 281, 282 Harrington Mann, 283 Henri-Jean Guillaume Martin, 289 Bunny Mattnews, 671, 672 John McCrady, 588, 589 James Michalopoulos, 609 Dean Lamont Mitchell, 712 Elemore Morgan, Jr., 704 Henry Mosler (aft), 23 N Joseph Navlet, 287 Paul Nelson, 711 New Orleans School, 220 Harry Armstrong Nolan, 563

O Georgia O’Keeffe, 209 Rise Delmar Ochsner, 670 William Ousley, 575, 576 P Jules Francois Pages, 184 Jane Peterson, 179 Pablo Picasso, 499, 500 Edmond De Pratere, 284 R Milne Ramsey, 181, 182 Robert Refvem, 718 Charles Henry Reinike, 62 Charles Whitfield Richards, 8, 57, 61 Noel Rockmore, 59, 60 George Rodrigue, 610-617 Franz Rohrbeck, 185 Pierre Louis Rouillard (aft), 37 Robert Malcolm Rucker, 665-667 S Paul Turner Sargent, 581 Richard Schmid, 192 Georges Schreiber, 574 Alvin Howard Schwartz, 27 Sigurd Skou, 191 Hunt Slonem, 690-695 Cynthia Sparrenberger, 717 Gideon Townsend Stanton, 9, 10 Lacey Stinson, 13, 55, 56, 63, 64 T Rufino Tamayo, 714 Elizabeth Thompson, 190 Walter Whitcomb Thompson, 579 Anna Louise Thorne, 577 William Tolliver, 663 Henri de Toulouse-Lautrec, 291 V Elihu Vedder, 178 Ruby Viavant, 235 W Madeline Rachel Holmes Wells, 26 Benjamin West, 279, 280 Theodore “Fonville” Winans, 618-623 Charles Hebert Woodbury, 183 Ellsworth Woodward, 564 Don Wright, 58 Y Purvis Young, 466, 467 Z Mamie G. Zuber, 573 Toots Zynsky, 376

John R. Neal (1940-2018), Founder Michelle LeBlanc Leckert, CAI President Katherine Hovas Marc Fagan Vice President Consignments Senior Vice President

CONSIGNMENTS

ADMINISTRATION Director of Administration & Finance Michelle LeBlanc Leckert, CAI Client Services / Accounts Receivables Rebekah Abernathy Database Management / Internet Auction Administrator Lisa Weisdorffer Marketing & Social Media Cameron McHarg General Manager Jason Leckert Administrative Assistant Claire Whitmore GRAPHICS Graphics Director / Catalogue Design David Roberts Photography Gerard Lewis Jason Leckert

Graphics Staff Stephanie Do Ouro Amanda Torres

Books, Maps & Natural History Prints, Modern Furniture Marc Fagan Antique Furniture & Decorative Arts Jason Leckert Silver & Decorative Arts Katherine Hovas Jewelry & Couture Cameron McHarg Fine Art Inventory Manager, Wine & Spirits Casey Foote Consignments Administrator Heather Munch AUCTION SERVICES Trust & Estates Advisor Henry G. McCall Appraisals Marc Fagan, Cameron McHarg

OPERATIONS Operations Staff Charlie Clay Scott Gan Jerry Major

Paintings, Prints & Photography, Sculpture Marney Robinson; Sophie Hirabayashi; Casey Foote; Renee Longon

Adam Trepagnier Terrell Thorne

Decorative Arts Inventory Management Charlie Clay AUCTIONEERS Michelle LeBlanc Leckert #1514 Bettine Field Carroll #1874 Marc Fagan #1935 Marney Robinson #2155 Cameron McHarg #2184

CATALOGUE CONSULTANTS Asian Arts & Special Projects Bettine Field Carroll Decorative Arts & Victoriana Ann M. Masson Jewelry - GIA Graduate Gemologist Stephen A. Moses

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