OF BUILDING COLLECTIONS
Neal Auction Company was founded June 7, 1984 by the late John R. Neal, noted collector and authority on 19th century American decorative arts.
From the beginning, Neal Auction Company has had a core focus on the history and material culture of the Lower Mississippi River Valley, which has led to our discovery of rare examples of furniture, paintings and decorative arts of the region, many of which are now in important institutional and private collections.
Our history includes legendary onsite auctions of important historic collections, notably the Sisters of Mercy Convent, Vicksburg, MS in 1984, and Houmas House Plantation, Darrow, LA in 2003, as well as block-buster sales of private collections such as the estate of author and tastemaker Julia Evans Reed in 2021.
Over the past forty years, we have enjoyed a frontrow seat to the ever-evolving market trends in taste and collecting, as we assist in dispersing estates and introducing the objects to new collections.
Today’s savvy collectors particularly respond to the eco-conscious aspect of recycling objects via auction. They recognize that they are seeking out unique objects with a history, not “cookie-cutter” mass-produced “disposable” goods.
As we enter our 5th decade, Neal Auction Company continues to be family-owned and locally managed, serving our New Orleans and regional community. We are proud to be one of Magazine Street’s landmark businesses, having debuted at 4139 Magazine then subsequently relocating to our 4038 Magazine address in 1990.
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4 LIVE AUCTION
Friday, April 19, 11 a.m.
LOTS 1-591
1. Georgian Carved Mahogany Partners Desk, 19th c., molded top with tooled leather writing surface, two frieze drawers, three-drawer pedestals, plinth base, h. 30 1/2 in., w. 49 1/2 in., d. 36 in. [$1500/2500]
2. Regency Brass Inlaid Mahogany Pedestal Sideboard, 19th c., scrolled backsplash, bowfront frieze with fitted drawers, each cupboard with cellarette drawer, paw feet. [$1200/1800]
3. Regency Rosewood Ladies Writing Table, 19th c., two tier superstructure, molded top, frieze drawer, turned tapered legs, h. 49 1/2 in., w. 30 1/4 in., d. 17 1/4 in. [$500/700]
5. Georgian-Style Satinwood Inlaid Mahogany Dining Table, 20th c., two leaves, reeded edge, turned pedestals with reeded sabre legs, casters, h. 29 in., w. 64 1/2 in., w. (with leaves) 104 1/2 in., d. 47 in. [$1000/1500]
6. Set of Ten Regency-Style Carved Mahogany Dining Chairs, 20th c., tablet crest rail, reeded swag back, reeded tapered legs, h. 35 in., w. 19 1/2 in., d. 19 in. [$1000/1500]
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4. Victorian Carved Rosewood Breakfront Credenza, 19th c., molded marble top, grillework doors, plinth base, h. 37 in., w. 72 in., d. 20 in. [$700/1000]
7. Georgian Satinwood Inlaid Mahogany Bowfront Chest of Drawers, 19th c., banded top, two short over two long drawers, “French” bracket feet, h. 33 in., w. 39 3/4 in., d. 20 1/2 in. [$1000/1500]
8. Georgian Inlaid Oak Bookcase Cabinet, 19th c., molded cornice, molded glazed doors, two drawers over two paneled doors, turned feet, h. 89 1/2 in., w. 43 in., d. 18 1/2 in. [$800/1200]
9. William and Mary Carved Oak Dressing Table, 18th and later c., molded top, molded frieze drawer, bentwood molded shaped apron, turned supports, X-form stretcher surmounted by finial, turned feet, h. 33 in., w. 32 1/2 in., d. 21 1/4 in. [$700/1000]
Provenance: The Stanley Weiss Collection.
11. Georgian Red Tortoiseshell Tea Caddy, 19th c., dome top, interior with lidded compartment, h. 4 3/4 in., w. 4 1/8 in., d. 2 3/4 in. [$800/1200]
12. Late Georgian Tortoiseshell Tea Caddy, 19th c., octagonal form, front with pressed design of a Gothic architectural facade, interior with lidded compartment, compressed ball feet, h. 4 5/8 in., w. 4 3/4 in., d. 3 5/8 in. [$800/1200]
13. George III Green Tortoiseshell Tea
Caddy, 19th c., pyramidal top, front with lion medallion, interior with lidded compartment, h. 5 3/4 in., w. 4 5/8 in., d. 3 5/8 in. [$800/1200]
14. Georgian Tortoiseshell Tea
Caddy, 19th c., octagonal interior with two lidded compartments, ball feet, h. 5 in., w. 7 3/4 in., d. 4 1/8 in. [$800/1200]
10. Georgian Tortoiseshell Sewing Box, fitted interior, h. 5 in., w. 12 in., d. 7 1/2 in. [$700/1000]
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15. English Ebony and Burlwood Cave à Liqueur, c. 1900, removable tray holding four gilt-banded decanters with thirteen cordials, h. 10 1/2 in., w. 13 1/4 in., d. 10 1/4 in. [$600/900]
16. English Carved Walnut Vitrine on Bracket, early 20th c., pagoda form, foliate design, vitrine (lacking one foot), h. 33 in., w. 19 in., d. 11 in., conforming wall bracket, overall h. 43 in. [$500/700]
17. Pair of Large Georgian Carved Limestone Lions, late 18th c., opposing stance, plinth bases, h. 40 in., w. 21 in., d. 23 in. [$5000/7000]
Provenance: The back gardens of Annesdale Mansion, Memphis, TN. Ill.: Brandau, Roberta Seawell. History of Homes and Gardens of Tennessee, Nashville, Parthenon Press, 1936 (1964), pg. 326
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Provenance: Michael W. Murphy,
Provenance: Neal Auction, Apr. 21, 2012, lot 382.
Ill.: Hitchens, Robert. From the Near East: Dalmatia, Greece
Constantinople. London: Hodder
Stoughton, 1913, p. 228.
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21. 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. [$1000/1500]
El Dorado, AR.
22. Roswell Morse Shurtleff (American/New Hampshire, 1838-1915), “Late Afternoon”, oil on canvas, signed lower left, 20 in. x 25 1/8 in., framed with artist and title plaque, overall 27 in. x 32 in. x 1 3/4 in. [$1500/2500]
23. Jules Vallee Guerin (American, 1866-1946), “The Mosque of Santa Sophia”, c. 1913, oil and mixed media on linen laid on board, signed lower right, 30 in. x 20 in., framed, overall 41 1/2 in. x 30 1/2 in. x 1 1/8 in.; together with Hitchens, Robert and Jules Guerin. The Holy Land. New York: Century Co., 1910. (2 pcs.) [$1000/2000]
and
and
19. George Bacon Wood, Jr. (American/Pennsylvania, 1832-1910), “River Cottage Landscape with Boater”, 1884, oil on canvas, signed and dated lower right, inscribed with artist and date on stretcher and reverse of frame, 14 1/2 in. x 21 3/4 in., framed, overall 18 3/8 in. x 25 5/8 in. x 1 1/4 in. [$2000/3000]
20. Aloysius O’Kelly (Irish/New York, 1851-1928), “Harbor”, oil on panel, signed lower right, 8 7/8 in. x 12 3/4 in., framed, overall 10 1/4 in. x 14 1/4 in. x 5/8 in. [$2000/3000]
18. Attributed to Frances Flora “Fanny” Bond Palmer (British/American, 1812-1876), “View of West Point”, oil on canvas, unsigned, 24 in. x 32 1/4 in., framed, overall 31 in. x 39 3/8 in. x 2 1/2 in. [$2000/3000]
26. John Newton Howitt (American/New York, 1885-1958), “Landscape”, oil on canvas, signed lower left, 35 in. x 50 in., framed with artist and title plaque, overall 41 7/8 in. x 56 3/4 in. x 1 1/2 in. [$600/800]
24. Mathias Joseph Alten (German/Michigan, 1871-1938), “Sunset over the Water”, oil on board, signed lower right, 13 5/8 in. x 16 1/8 in., framed, overall 17 7/8 in. x 22 1/2 in. x 1 in. [$2000/3000]
25. LeConte Stewart (American/ Utah, 1891-1990), “From Pelican Bay, Jackson Lake, Teton Natl. Park, Wyoming”, 1961, oil on paperboard, signed and inscribed lower left, titled twice and dated twice en verso, 8 in. x 10 in., framed, overall 10 1/8 in. x 12 1/8 in. x 3/4 in. [$1000/1500]
27. Olaf Carl Wieghorst (Danish/American, 1899-1988), “Cowboy”, 1931, oil on canvas, signed and dated lower right, 16 in. x 24 in., unframed. [$4000/6000]
28. Ernest Marius Wilson (Swedish/ American, 1885-1969), “Mission San Carlos Borromeo de Carmelo (The Carmel Mission, Carmel, CA)”, 1967, oil on panel, signed and dated lower right, signed, titled and inscribed en verso, 23 5/8 in. x 38 7/8 in., framed, overall 32 1/2 in. x 47 3/4 in. x 1 1/2 in. [$400/600]
Provenance: Neal Auction, Jun. 25, 2022, lot 544.
29. George Albert Thompson (American/Connecticut, 18681938), “Mystic Docks”, oil on panel, signed lower left, signed and titled en verso, 11 7/8 in. x 15 7/8 in., framed, overall 16 5/8 in. x 20 5/8 in. x 1 5/8 in. [$400/600]
30. McClelland Barclay (American, 1891-1943), “Portrait of a Glamorous Woman”, oil on canvas, signed lower left, 35 in. x 23 1/4 in., framed, overall 39 5/8 in. x 27 7/8 in. x 2 in. [$3000/5000]
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31. Donald Purdy (American/Connecticut, 1924-2016), “Young Woman”, 1961, oil on masonite, signed and dated lower left, 40 in. x 30 in., framed, overall 42 in. x 32 in. x 1 1/4 in. [$600/800]
Note: Donald Purdy was a self-taught artist whose varied body of works was influenced by many artistic movements and genres including French Impressionism, Post-Impressionism, and the Barbizon School. In 1949, he earned a degree in psychology from the University of Connecticut followed by a master’s degree from Boston University in 1950. During his time in Boston, he got a job with an art gallery where he learned how to frame artwork. It was at the gallery where he would develop an appreciation for art and realize that a career in painting was a viable option. His canvases are characterized by bold colors and lush, expressive brushwork. He has exhibited extensively worldwide and was honored with numerous awards including a Gold Medal from the Allied Artists.
33. Attributed to Joseph Christian Leyendecker (German/ New York, 1874-1951), “Angel”, oil on canvas, signed lower right, 27 1/4 in. x 12 in., framed, overall 30 1/4 in. x 14 3/4 in. x 2 1/2 in. [$7000/10000]
34. Fredrick “Fred” “Rick” Thomas Reichman (American/ California, 1925-2005), “Butterflies of Uxmal”, oil on canvas, signed and titled on stretcher, 36 7/8 in. x 31 in., framed, overall 41 5/8 in. x 35 3/4 in. x 1 1/4 in. [$700/1000]
32. Arthur Sarnoff (American/New York, 19122000), “New Addition to the Family”, gouache on Bainbridge board, signed twice lower left (once under mat), 32 1/4 in. x 27 3/4 in., framed, overall 36 in. x 32 in. x 1 in. [$600/800]
35. Richard MacDonald (American/ California, b. 1946), “Three Graces”, 1999, patinated bronze on marble base, signed, dated and numbered “53/90” on self-base, h. 45 1/2 in., w. 28 in., d. 15 in., painted metal pedestal, overall h. 80 1/2 in.; accompanied by a copy of a certificate of authenticity from the artist. [$10000/15000]
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36. Richard Osterweil (American/ New York, b. 1953), “ManetYoung Lady in 1866”, oil on canvas, unsigned, inscribed “Manet” en verso, 24 in. x 18 in., framed, overall 25 3/4 in. x 20 in. x 1 1/4 in. [$1000/1500]
37. Richard Osterweil (American/New York, b. 1953), “Self-Portrait in Gallery with Nan”, 1993, oil on canvas, initialed and dated lower left, “The House of Heydenryk, New York, NY” label on reverse of frame, 36 1/8 in. x 26 1/8 in., framed, overall 42 1/2 in. x 32 1/2 in. x 2 in. [$1200/1800]
Provenance: Acquired from the artist.
38. Richard Osterweil (American/New York, b. 1953), “Bronzino - Boy with a Statue”, oil on tiles laid on panel, initialed lower right, 52 1/4 in. x 38 1/4 in., framed, overall 53 1/2 in. x 39 1/4 in. x 1 1/2 in. [$1000/1500]
Exh.: “Deconstruction/Reconstruction: Tile Paintings”, SK417 Fine Art Gallery, New York, NY, May 6-31, 2003.
39. William Saroyan (American/California, 1908-1981), “Fresno Friday April 10 1970 8 p.m. #1”, 1970, watercolor on paper, signed lower left, titled and dated lower center, 22 in. x 33 7/8 in., framed, overall 27 1/8 in. x 39 in. x 2 3/4 in. [$800/1200]
Provenance: Property of the Mobile Museum of Art, Mobile, AL, sold to benefit their Collections, Care and Acquisitions Fund; Neal Auction, Dec. 9, 2021, lot 225.
40. 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, overall 29 1/4 in. x 24 in. x 1 1/2 in. [$1000/1500]
Provenance: Gift of the artist’s son, Hosea Baskin; Private Collection.
41. 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. [$1000/1500]
Provenance: Carolyn Hill Gallery, New York, Apr. 11, 1991.
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42. 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]
43. Georgian Inlaid Mahogany Secretary Bookcase, 19th c., dentil molded cornice, molded and paneled glazed doors, fall-front writing drawer with fitted interior, two paneled doors below, fitted with drawers, h. 81 1/2 in., w. 48 1/2 in., d. 23 in. [$1500/2500]
44. Victorian Carved Rosewood Etagere/Music Stand, 19th c., superstructure with spindle gallery, four graduated shelves with scrolled supports, over open music shelf, turned spindle support, frieze drawer, brass cup casters, h. 63 in., w. 38 in., d. 16 in. [$1500/2500]
45. Regency Carved Mahogany Tilt-Top Center Table, 19th c., segmented flame veneer top, molded apron, tapered standard, bead molded incurvate plinth, scrolled feet, casters, h. 29 1/4 in., dia. 53 3/4 in. [$2500/3500]
46. 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 in. [$700/1000]
Provenance: Estate of W. Wayne Lake, New Orleans, LA.
47. English Brass-Mounted Mahogany Campaign Chest, 19th c., in two parts, fall-front writing drawer with fitted interior, three drawers, bracket feet, h. 40 1/2 in., w. 48 in., d. 21 1/2 in. [$2000/3000]
48. Pair of English Mahogany Pedestal Nightstands, 19th c. and later, molded top, four drawers, plinth base, h. 27 1/2 in., w. 17 in., d. 20 in. [$1200/1800]
49. Georgian Mahogany Tall Chest, 19th c., molded cornice, eight graduated drawers, bracket feet, h. 60 1/2 in., w. 35 in., d. 18 1/2 in. [$1000/1500]
50. English Hepplewhite Inlaid Carved Mahogany Bachelor’s Chest, 19th c., pullout dressing slide, three drawers, shaped skirt, splay feet, h. 31 in., w. 35 in., d. 20 1/2 in. [$800/1200]
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51. American Classical-Style Mirror in the Gothic Taste, h. 66 3/4 in., w. 32 1/2 in. [$700/1000]
52. Large American Giltwood Overmantel Mirror, c. 1856, labeled “Annesley & Williamson, Albany, NY” verso, with massive crest decorated with pineapple, grapes and melons, h. 68 in., w. 67 in., d. 6 in. [$800/1200]
Provenance: Annesdale Mansion, Memphis, TN.
53. American Carved Giltwood Mirror, early 19th c., surmounted by spread wing eagle, gadrooned and foliate border, h. 38 in., w. 24 in., d. 8 1/2 in. [$400/600]
Provenance: Annesdale Mansion, Memphis, TN.
54. Louis XVI-Style Carved Giltwood Trumeau Mirror, 19th c., reserve painted with a courting couple, flanked by cherubs, h. 88 in., w. 44 in., d. 4 in. [$700/1000]
55. Neoclassical-Style Parcel Gris Peinte Mirror, triangular pediment, h. 77 1/2 in., w. 50 in., d. 3 3/4 in. [$700/1000]
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56. French Parcel-Gilt Verte Peinte Mirror, upper panel centered by cherub blowing a horn astride a ram, flanked by fluted columns, h. 69 1/4 in., w. 41 1/2 in. [$500/700]
57. Neoclassical-Style Parcel Gilt and Verte Peinte Mirror, arched mirror plate, flanked by fluted pilasters, h. 69 in., w. 61 in., d. 7 in. [$700/900]
58. Regency Giltwood Overmantel Mirror, coved cornice mounted with spherules, mythological frieze on verte ground, flanked by Corinthian pilasters, tripartite mirror plate, h. 37 in., w. 51 1/4 in. [$700/1000]
59. Neoclassical-Style Mahogany and Parcel Gilt Mirror, urn and swag crest, divided mirror plate, h. 64 in., w. 32 in. [$400/600]
60. Continental Carved Giltwood and Argenté Mirror, late 19th c., grape, grapeleaf and vine crest surround, h. 68 in., w. 31 in. [$700/1000]
Descended in the family of Robert Campbell Brinkley, (1816--1878), Memphis railroad baron and builder of the original Peabody Hotel.
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61. Louis XVI-Style Carved Giltwood Oval Mirror, 19th c., scroll and foliate design, h. 65 in., w. 74 in., d. 10 in. [$800/1000]
Provenance: Annesdale Mansion, Memphis, TN.
62. Continental Brass Dressing Mirror, late 19th c., labeled “Norblin & Co.”, Warsaw, cartouche crest, beveled mirror plate, easel stand, h. 27 in., w. 15 in. [$300/500]
Provenance: Annie Overton Brinkley’s mirror; her initials/monogram is in the cartouche, Annesdale Mansion, Memphis, TN
63. Georgian Carved Mahogany and Parcel Gilt Mirror, early 19th c., h. 48 in., w. 26 in. [$300/500]
64. Joe Louis Light (American/Tennessee, 1934-2005), “Man with Bird”, 2002, oil on panel, signed lower right, dated lower left, 24 in. x 17 in., framed, overall 24 1/2 in. x 17 5/8 in. x 1 1/2 in. [$300/500]
65. Woodie Long (American, 1942-2009), “Picking Cotton”, paint on paper, signed lower left, pencil-signed, personalized and pencil sketch on mat lower right, 20 in. x 13 in., framed, overall 26 1/8 in. x 19 1/8 in. x 1 3/8 in. [$400/600]
66. William Hemmerling (American/Louisiana, 1943-2009), “Ask, Seek, Knock”, paint on wood slats, signed lower right, 72 in. x 36 in., unframed. [$4000/6000]
Provenance: Acquired from the artist.
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69.
67.
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Clementine Hunter (American/ Louisiana, 1886-1988), “Man with Cane”, oil on masonite, monogrammed lower right, “Rue Cou Cou, Baton Rouge, LA” label on backing paper, 11 7/8 in. x 8 5/8 in., framed, overall 15 in. x 11 3/4 in. x 1 1/2 in. Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead. [$2000/3000]
68. Clementine Hunter (American/Louisiana, 1886-1988), “Hauling Cotton”, oil on board, monogrammed lower right, “Gilley’s Gallery, Baton Rouge, LA” label on backing paper, 8 7/8 in. x 16 in., framed, overall 11 3/4 in. x 18 3/4 in. x 1 in. Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead. [$2500/3500]
Clementine Hunter (American/Louisiana, 1886-1988), “Picking Flowers”, oil on canvas, monogrammed lower right, 22 in. x 28 in., framed, overall 24 1/8 in. x 30 1/8 in. x 3/4 in. Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead. [$3000/5000]
70. Clementine Hunter (American/Louisiana, 1886-1988), “Melrose Plantation”, oil on canvas board, monogrammed mid-right, “Cassell Gallery, New Orleans, LA” label on backing paper, 22 in. x 28 in., framed, overall 24 1/8 in. x 30 1/8 in. x 3/4 in. Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead. [$3000/5000]
71. Clementine Hunter (American/ Louisiana, 1886-1988), “Zinnias”, oil on board, monogrammed lower center, 23 3/4 in. x 15 7/8 in., framed, overall 27 5/8 in. x 19 3/8 in. x 3/4 in. Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead. [$5000/7000]
72. Theora Hamblett (American/ Mississippi, 1895-1977), “Children’s Playground”, 1955, oil on masonite, signed and dated lower right, “Morris Gallery, New York” label with artist and title en verso, 18 in. x 31 3/4 in., framed, overall 18 3/4 in. x 32 1/2 in. x 1 3/8 in. [$30000/50000]
Provenance: Morris Gallery, New York, NY.
Note: Renowned for her self-taught painting style, Theora Hamblett became one of Mississippi’s most celebrated and distinguished artists. Hamblett began her professional career later in life at the age of fifty-five, eschewing the abstract style popular at the time in favor of subjects more personal. Over the ensuing twenty-two years, she developed an extraordinary oeuvre that is as unique as it is powerful. Many of
Hamblett’s paintings concentrated on her childhood memories, especially of the chicken farm in Paris, Mississippi where she spent her childhood. In nearly all her landscape paintings, she included animals or people, with the belief that those additions gave life to the scenes. She also painted many landscapes that featured children playing games to evoke a sense of nostalgia.
After an accident which broke her hip and required surgery in 1954, Hamblett began to paint her dreams and visions, many with religious themes and elements. The same year, New York gallery owner and famous collector, Betty Parsons, discovered Hamblett’s work and subsequently one of her paintings was included in a 1955 show of new acquisitions at the Museum of Modern Art. Hamblett’s paintings have two main hallmarks that set them apart – pattern and color. Almost obsessively flat areas of color off-set by the equally flat subjects are in dramatic contrast to her distinctive and highly patterned trees. The effect of the foliage evokes movement, as each leaf is individually painted resulting in layers of color. Hamblett was a lifelong resident of Lafayette County in Mississippi, and upon her death in 1977, she willed most of her collection of paintings to the University of Mississippi, making them rare to the market today. The significant painting offered here entitled “Children’s Playground” from 1955 is a masterful example of Hamblett’s intricate brushwork and saturated palette - highly reminiscent of her 1952 painting “Path and Pasture” which holds the auction record for her work. In “Children’s Playground,” Hamblett’s figures balance precariously on a large, felled tree, with boys and girls perched on the exposed stump and fallen trunk. The immense scale of the tree and exquisite technicolor sky embody childhood fantasy, and this painting, more so than any other canvas by the artist that has been offered at auction, poignantly captures the vibrant, imaginative magic of children immersed in play.
73. Charles Woodward Hutson (American/South Carolina, 1840-1936, active Louisiana, 1908-1936), “Houses Beyond the Bridge”, watercolor on paper, initialed lower right, label with artist and title on backing paper, 10 in. x 14 in., framed, overall 16 in. x 20 in. x 1 1/4 in. [$800/1200]
74. Charles Woodward Hutson (American/South Carolina, 18401936, active Louisiana, 1908-1936), “Thirsty Oak”, oil on board, initialed lower right, titled en verso, 18 in. x 23 7/8 in., framed, overall 20 1/2 in. x 26 1/2 in. x 1 in. [$1000/1500]
75. Charles Woodward Hutson (American/ South Carolina, 1840-1936, active Louisiana, 1908-1936), “Bright Yellow House”, pastel on board, initialed lower right, label with artist and title on backing paper, 15 3/8 in. x 8 7/8 in., framed, overall 20 7/8 in. x 13 7/8 in. x 7/8 in. [$800/1200]
76. Charles Woodward Hutson (American/South Carolina, 18401936, active Louisiana, 1908-1936), “Stand of Pine Trees”, pastel on board, initialed lower right, 12 1/2 in. x 9 in., framed, overall 16 1/4 in. x 13 in. x 7/8 in. [$800/1200]
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77.
78. Charles Woodward Hutson (American/South Carolina, 1840-1936, active Louisiana, 1908-1936), “Pine Trees by a Lake”, pastel on board, initialed lower right, 14 in. x 6 5/8 in., framed, overall 14 3/4 in. x 7 1/4 in. x 1 5/8 in. [$800/1200]
79. Ethel Hutson (American/Louisiana, 1872-1951), “A Black-Gum Tree in the Fall”, pastel on paper laid on board, unsigned, “Farish Art Store Inc., New Orleans” label and “Arts and Crafts Club Members’ Show 1931” typed label on backing paper, 14 3/16 in. x 11 1/8 in., framed, overall 15 1/4 in. x 12 1/4 in. x 3/4 in. [$800/1200]
80. Henry Bridgewater (American/ Louisiana, 1925-2001), “Jesse James Lamp”, wood and mixed media, unsigned, titled and heavily inscribed on self-base, h. 35 in., w. 8 1/2 in., d. 20 in. [$400/600]
82.
Provenance: Collection of Charles and Susan
81. Charles
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
83.
Provenance: Collection of Charles and Susan
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Gillam, Sr. (American/Louisiana, b. 1945), “Church”, oil on panel, signed lower right, 14 in. x 66 5/8 in., unframed. [$500/700]
Charles Gillam, Sr. (American/ Louisiana, b. 1945), “James Black, Legendary Drummer”, oil on carved panel, signed lower right and en verso, 20 in. x 15 3/8 in., unframed. [$500/700]
Gillam, New Orleans, LA.
Charles Gillam, Sr. (American/ Louisiana, b. 1945), “Perched Eagle”, painted concrete found eagle lawn ornament, unsigned, h. 23 in., w. 13 1/2 in., d. 9 in., concrete pedestal, overall h. 49 1/4 in. [$400/600]
Gillam, New Orleans, LA.
Charles Woodward Hutson (American/South Carolina, 1840-1936, active Louisiana, 1908-1936), “Sunset on a Bayou”, pastel on board, initialed lower right, 7 in. x 11 1/4 in., framed, overall 12 3/8 in. x 15 in. x 3/4 in. [$600/800]
85. American Rococo Carved Rosewood Oval Center Table, 19th c., New York, inset marble top, gadrooned molding, shaped scrolled frieze, acanthus carved scrolled stretched legs, casters, h. 28 1/2 in., w. 36 1/2 in., d. 29 in. [$700/1000]
86. American Rococo Carved Rosewood Dressing Table, 19th c., attr. to Charles Baudouine, New York, pierced carved crest, arched mirror, scrolled supports, two short drawers, frieze drawer, conforming apron, cabriole legs, h. 75 in., w. 43 1/4 in., d. 22 1/4 in. [$1000/1500]
87. American Rococo Carved Rosewood Secretary Bookcase, 19th c., possibly Thomas Brooks, scrolled crest, turned finials, molded cornice, arched glazed doors, fallfront lid with fitted interior, frieze drawer, shaped apron, cabriole legs, h. 89 in., w. 37 1/2 in., d. 18 1/2 in. [$2500/3500]
84. American Rococo Carved and Laminated Rosewood Sofa, c. 18501860, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Tuthill King”, reticulated scrolled grape and vine crest, surmounted by floral clusters, molded arms, serpentine seat rail, cabriole legs, casters, h. 45 1/2 in., w. 84 in., d. 32 in. [$8000/12000]
Provenance: The Columbian Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.
88. American Rococo Carved and Laminated Rosewood Settee, 19th c., attr. to J. & J.W. Meeks, in the pattern commonly referred to as “Hawkins”, anthemion-carved crests above pierced floral and fruit clusters, padded arms, cabriole legs, later casters, h. 50 in., w. 65 in., d. 32 in. [$2000/3000]
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89. American Rococo Carved Rosewood Etagere Console, 19th c., attr. to Alexander Roux, New York, carved crest, two shelves with scrolled finial supports, molded wood top, conforming frieze, cabriole legs, stretcher centered by cabochon medallion, h. 69 in., w. 62 in., d. 21 in. Note: later wood top. [$2000/3000]
90. American Rococo Carved Rosewood Dressing Chest, 19th c., possibly shop of Prudent Mallard, New Orleans, scrolled and floral crest, mirrored etagere superstructure, molded marble top with turreted corners, four drawers, turned feet, casters, h. 91 in., w. 49 1/2 in., d. 22 1/4 in. [$1000/1500]
91. American Late Classical Mahogany Center Table, 19th c., probably Baltimore or New York, reeded black marble top, frieze drawer, acanthus carved standard, incurvate triangular plinth base, paw feet, casters, note: drawer is later, h. 28 3/4 in., w. 33 in., d. 33 in. [$2500/3500]
Provenance: Annesdale Mansion, Memphis, TN.
92. American Classical Flame Mahogany Desk, 19th c., New York, molded top, frieze drawer over two paneled doors, fitted drawer interior, slide out writing surface over two paneled doors, fitted drawer interior, paw feet, secret drawer underneath, h. 60 3/4 in., w. 39 1/2 in., d. 23 5/8 in. [$2000/3000]
93. French 1st Standard (.950 Fine) Silver Gilt Dresser Set, Pierre Kotowski, early 20th c., incl. hand mirror, 3 hair brushes, 2 clothes brushes, 4 cut and etched glass bottles, 2 circular jars and 2 oblong jars, the silver gilt mounts with rocaille chasing, gilt tooled embossed leather fitted case. [$5000/7000]
21
94. Victorian Sterling Silver Gilt Sugar Sifter Ladle, Chawner & Co. (George William Adams), London, 1856, handle cast with maiden, engraved crest, l. 6 1/2 in.; together with American sterling silver cheese scoop, J.B. & S.M. Knowles “Pomona” pattern, l. 8 7/8 in., total wt. 5.55 troy ozs. [$200/300]
96. American Aesthetic Movement Sterling Silver “Lilypad” Card Stand, Whiting, c. 1875, no. 344, matte surface, h. 5 1/2 in., w. 9 1/2 in., wt. 10.25 troy ozs. [$700/1000]
99. Good Group of American Aesthetic Movement
Sterling Silver Flatware, incl. hammered pie server and 11 matching ice cream spoons, c. 1880, Wood & Hughes, New York, act. 1845-1899, ret. A.B. Griswold & Co., New Orleans, act. 1865-1906, period en suite monograms, blade and bowls with gilt wash, server l. 10 1/4 in., spoon l. 5 3/4 in.; berry spoon with foliate engraving and gilt wash bowl, J.E. Caldwell & Co., Philadelphia, c. 1880, monogrammed, l. 10 in.; 6 Dominick & Haff pastry forks in ball top twist design, l. 5 1/4 in.; together with Watrous “Althea” serving fork, monogrammed, l. 7 1/8 in.; total wt. 16.80 troy ozs. [$500/700]
95. French Neoclassical-Style 1st Standard (.950 Fine) Silver Gilt Bachelor Coffee Pot, Henri Lapeyre, act. 1895-1923, 49 rue Meslay, Paris, successor to Pierre Gavard, h. 6 3/4 in., wt. 12 troy ozs. [$500/700]
97. Fine American Aesthetic Movement
Hammered Sterling Silver and Mixed Metal Salad
Serving Fork and Spoon, Whiting, c. 1880, marked “7/Whiting trademark/ STERLING”, handles with applied lobsters and copper leaf, applied and engraved silver grasses and leaves, gilt wash tines and bowl, period script monogram on reverse, l. 11 7/8 and 12 3/8 in., respectively, wt. 10.20 troy ozs. [$700/1000]
98. Gorham Aesthetic Movement
Hammered Sterling Silver and Mixed Metals Salad Serving Spoon, “Antique
Hammered and Applied” pattern, pat. 1880, period script monogram, l. 8 7/8 in. [$300/500]
100. Mexican Sterling Silver Footed Circular Tray in the Spanish Colonial Taste, Maciel, Mexico City, act. c. 1930-1970, circular silver shape, border alternating chased flower and leaf panels on textured ground with polished panels, flower and leaf feet, dia. 17 3/8 in., wt. 50.55 troy ozs. [$800/1200]
22
101. Set of Eight Mexican Sterling Silver Champagne or Dessert Coupes in the Spanish Colonial Taste, Gerardo Lopez, Taxco, Eagle 26 mark, 1950-1955, h. 4 1/2 in., w. 3 7/8 in., total wt. 52.80 troy ozs. [$700/1000]
103. Modernist Sterling Silver Compote, bears marks of Georg Jensen, h. 6 3/4 in., dia. 9 1/2 in., wt. 29 troy ozs. [$700/900]
105. Franco Lapini “Carciofi” Silverplate Tureen, marked “Franco Lapini/Made in Italy”, active Florence from 1963, finial and handle of artichoke stalks and leaves, hammered surface, h. 10 3/4 in., w. 17 1/2 in., d. 13 1/2 in. [$600/900]
107. Six Tiffany & Co. Makers Sterling Silver Cocktail Coupes, 1907-1947, pattern introduced 1915, h. 4 1/8 in., total wt. 22.65 troy ozs., no monograms. [$700/1000]
102. Nine Georg Jensen Sterling Silver Gilt and Enamel Commemorative Spoons, designed by Rigmor Andersen and Annelise Bjorner with motifs from Danish wild flora, incl. 3 1974 and 1 each 19751980, each l. 5 7/8 in., retaining original Georg Jensen boxes and brochures for 1974 (2), 1979 and 1980, total wt. 13 troy ozs. [$300/500]
104. Tiffany & Co. Makers Modernist Sterling Silver Footed Centerbowl, 1947-1955, navette form with scrolled handles, flared foot, h. 4 3/8 in., w. 16 in., wt. 27.55 troy ozs. [$800/1200]
106. Franco Lapini “Pineapple” Silverplate and Cut Glass Centerpiece, marked “Franco Lapini/ ITALY”, active Florence from 1963, hinged cover, h. 15 1/4 in. [$500/750]
108. Set of Six American Sterling Silver Water Goblets, International, no. P664, monogram “A”, h. 6 5/8 in.; together with Kirk sterling water goblet, no. 207, monogram “S”, h. 6 3/4 in.; total wt. 39 troy ozs. [$700/1000]
23
109. Gorham Sterling Silver Water Pitcher, “Puritan” pattern 182, mid-20th c., monogram “A”, h. 8 7/8 in., wt. 20.40 troy ozs., note some dents. [$300/500]
110. Gorham Colonial Revival Sterling Silver Coffee Service, incl. coffee pot (h. 9 1/2 in.), covered sugar and creamer, each oval vasiform body with reeding, date mark for 1890, wt. 54.15 troy ozs. [$1200/1500]
111. American Sterling Silver Coffee and Tea Service, Durgin, Concord, NH, act. 1853-1931, pat. 1882, early 20th c., ret. The Ford Co., incl. coffee pot (h. 10 1/4 in.), teapot, sugar, creamer and waste bowl, wt. 88 troy ozs. [$2000/3000]
113. American Sterling Silver Revere Bowl, Frank M. Whiting, A956, h. 3 7/8 in., dia. 7 1/2 in., wt. 18.60 troy ozs. [$400/600]
112. American Sterling Silver Sugar and Creamer, ret. The Bailey, Banks & Biddle Company, Philadelphia, trademark of Frank W. Smith, Gardner MA, early 20th c., footed vase forms with bright-cut engraving, creamer h. 5 in., total wt. 9.20 troy ozs. [$250/350]
114. Set of Four American Colonial Revival Sterling Silver Gilt Candlesticks, Howard & Co., New York, act. 1885-1915, each hexagonal paneled standards with baluster-form candlecup, removable beaded bobeche, beaded borders, spreading foot with script monogram, h. 9 3/4 in., total wt. 56.35 troy ozs. [$1800/2400]
115. Fine Gorham Sterling Silver Coffee and Tea Service in the Louis XVI Taste, ret. J.E. Caldwell & Co., Philadelphia, early 20th c., incl. kettle-on-stand with burner (h. 13 1/2 in. to top of handle), coffee pot (h. 12 in.), teapot, covered sugar, creamer, waste bowl and tray; marked with Gorham trademark/RKO/ STERLING/ J.E. Caldwell & Co., tray marked with Gorham trademark,/RKP/STERLING and J.E. Caldwell & Co./925/STERLING/1000/PHILADELPHIA, burner marked with Gorham trademark/STERLING/P/patented 1915 and with Gorham date mark for 1919, tray with script monogram “LRK”, total wt. 382.75 troy ozs. [$8000/12000]
24
117. Tiffany & Co. Makers “English King” Pattern Sterling Silver Flatware Service for Twelve Persons, pat. 1885, incl. 12 each: forks (l. 6 3/4 in.), knives (l. 9 1/4 in.), salad forks, cream soup spoons, and 24 teaspoons, total wt. (weighable) 117.35 troy ozs. (73 pcs.) [$5000/7000]
119. George I-Style Britannia Standard (.958 Fine) Silver Coffee and Tea Service, Robert Frederick Fox, London, 1919, incl. coffee pot (h. 8 7/8 in.), teapot, hot milk jug and creamer, total wt. 88.95 troy ozs. [$2000/3000]
121. George III Neoclassical Sterling Silver Teapot, George (II) Smith & Thomas Hayter, London, 1799, mark reg. 1792, shaped oval with bright-cut engraving, h. 7 in., wt. 15 troy ozs. [$500/700]
116. Gorham “Strasbourg” Pattern Sterling Silver Flatware Service, pat. 1897, associated, incl. 7 forks (l. 7 5/8 in.), 5 forks (l. 7 1/2 in.), 7 knives (l. 9 5/8 in.), 7 knives (l. 9 1/4 in.), 9 salad forks, 7 cream soup spoons, 12 teaspoons, 7 demitasse spoons, 8 butter knives (fh), 1 cocktail fork, 3 tablespoons, sugar shell, gravy ladle, tomato server, bonbon spoon, lemon fork and cake knife (hh), total wt. (weighable) 80.40 troy ozs. (79 pcs.) [$800/1200]
118. Set of Twelve Antique English Silver Dinner Knives, 19th c., engraved crest, carbon steel blades, l. 11 in. [$200/300]
120. Old Sheffield Plate Wine Cooler, early 19th c., campagna form with gadroon, shell and scroll borders, loop handles and lobed lower body, rubbed armorial, removable collar and liner, retains traces of folded edge, inset silver shield and tinned back, h. 9 3/4 in., w. 10 in., note resilvered. [$500/700]
122. Gorham Coin Silver Sauce
Tureen and Cover, c. 1860, oval, domed cover surmounted by figure of a doe, bead and guilloche border, lion mask and ring handles, spreading pedestal on suppressed ball feet, h. 6 1/4 in., w. 7 3/8 in., wt. 18.30 troy ozs. [$500/700]
25
123. American Sterling Silver Toast Rack, Theodore B. Starr, New York, act. 1877-1924, winged handle, serpentine dividers, pierced base, bracketed paw feet, h. 6 1/4 in., w. 7 in., d. 3 1/2 in., wt. 9.85 troy ozs. [$250/350]
124. Fine American Sterling Silver Tazza, Dominick & Haff, New York, 1906, reticulated collar and spreading foot of floral scrollwork with clusters of fruit, concave well with flat-chased floral scrolls, h. 5 1/4 in., dia. 11 1/4 in., wt. 33.60 troy ozs. [$600/900]
125. American Sterling Silver Circular Dish, Meriden Brittania, no. 839, reticulated border of robust scrolls, dia. 13 3/4 in., wt. 41.25 troy ozs. [$800/1200]
126. Good Baltimore Sterling Silver Repousse Footed Bowl, Jenkins & Jenkins, 1907-1919, successors to Jacobi & Jenkins, tower mark, floral repousse on stippled ground, h. 6 1/4 in., dia. 8 1/2 in., wt. 23.45 troy ozs. [$500/700]
127. Gorham Sterling Silver Rose Motif Compote, no. 4597P, undulating rim with reticulated treillage, h. 4 3/8 in., dia. 9 3/4 in., wt. 18 troy ozs. [$400/600]
128. Good Group of American Sterling Silver Serving Pieces, incl. Alvin lobed bowl, no. 2565-1, with reticulated scroll rim, h. 2 1/2 in., dia. 10 1/2 in.; Gorham tazza, no. 3090, reticulated scroll border with putti and birds, rocaille scroll base and feet, h. 2 3/8 in., dia. 9 1/4 in.; and Middletown circular tray no. 27, with flat chased neoclassical border, dia. 12 in.; monogrammed, total wt. 42.35 troy ozs. [$800/1200]
129. American Classical Parcel Gilt and Carved Mahogany Games Table, c. 1830, labeled “S & J. Rawson, Jr./ No. 68, Broad Street, Providence.”, foldover swivel top, gilt stenciled frieze, stop-fluted acanthus carved standard, scrolled acanthus paw feet, h. 29 1/2 in., w. 36 1/4 in., d. 36 1/4 in. [$1500/2500]
26
130. American Heavily Carved Mahogany Parlor Suite, late 19th/early 20th c., attr. S. Karpen & Bros (1880-1951), Chicago, IL, incl. settee, two armchairs, two side chairs, crest rail with women and dragons, scrolled arms, paw feet, settee h. 41 in., w. 49 1/2 in., d. 24 in., armchair h. 40 in., w. 26 1/4 in., d. 24 in., side chair h. 39 in., w. 26 in., d. 24 in. (5 pcs.) [$2000/3000]
131. American Renaissance Carved Oak China Cabinet, late 19th/20th c., possibly R.J. Horner, New York, elaborate carved crest, D-case, acanthus carved terms, paw feet, h. 83 1/8 in., w. 54 1/2 in., d. 20 1/2 in. [$1000/1500]
132. American Renaissance Carved Giltwood Pietra Dura Center Table, 19th c., New York, top labeled Giovanni Ugolini, Florence, inlaid with various hardstones including malachite and lapis lazuli, depicting the Doves of Pliny surrounded floral border, molded edge, acanthus carved standard, scrolled legs each with different grotesque mask, h. 22 3/4 in., w. 34 1/2 in., d. 26 1/2 in. [$2500/3500]
133. Fine American Renaissance Inlaid, Gilt and Ebonized Games Table, mid-19th c., attr. Pottier & Stymus, New York, marquetry signed by Joseph Cremer, Paris, stamped 2288 on drawer runner, molded floral inlaid foldover top, molded frieze, drawer with maple fitted interior, turned fluted tapered, h. 29 in., w. 36 1/2 in., d. 18 in. [$5000/7000]
27
134.
135.
136.
28
137. Sheraton Revival Paint-Decorated Satinwood Dresser, 19th c., molded central mirror flanked by marble top pedestals, each with fall-front compartments over 6 drawers, molded base, turned feet, h. 101 in., w. 84 1/2 in., d. 16 1/2 in. [$1000/1500]
Fine Three-Piece American Aesthetic Birdseye Maple Faux Bamboo Bedroom Suite, 19th c., possibly R. J. Horner, New York, incl. bedstead, armoire and nightstand, bed h. 57 in., l. 75 in., w. 53 in.; armoire h. 89 in., w. 40 1/2 in., d. 18 in.; nightstand h. 33in., w. 16 in., d. 16 in. [$2000/3000]
American Victorian Marquetry and Parcel Gilt Rosewood Parlor Cabinet, 19th c., New York, molded leather inset top, frieze drawer, molded inlaid trophy paneled door, h. 37 in., w. 26 in., d. 17 1/2 in. [$500/700]
Faux Bamboo and Mirrored Hallstand, 19th c., mirror flanked by molded paneled sections, each with hat hooks over umbrella holders, wells below, molded plinth base, turned feet, h. 83 1/2 in., w. 81 in., d. 13 in. [$700/1000]
144. Handel Reverse-Painted Desk Lamp , early 20th c., shade signed “HANDEL” and with design number “6572”, sand-finished and “chipped” glass painted with landscape, on bronzed-metal base, h. 14 1/4 in., w. 10 1/2 in., d. 6 1/4 in. [$500/700]
138. American Gothic Carved Walnut Sideboard, late 19th c., pedimented mirrored superstructure with spherule decoration flanked by two candle shelves, marble top, two frieze drawers, slatted doors, h. 86 1/2 in., w. 59 3/4 in., d. 23 in. [$600/900]
139. Handel Bronze Floor Lamp with Steuben Aurene Glass Shade, early 20th c., harp-form base, h. 56 1/2 in., Steuben shade, with intarsia applied border, remnants of aluminum ink stamp, dia. 10 in. [$1200/1800]
140. Handel Bronze Floor Lamp with Steuben Aurene Glass Shade, early 20th c., harp-form base, with fabric label, h. 56 1/2 in., Steuben shade with intarsia applied border, aluminum ink stamp rubbed off, dia. 10 in. [$1200/1800]
141. Pittsburgh Reverse Painted Winter Landscape Table Lamp, c. 1920, h. 20 1/2 in., dia. 14 in. [$700/1000]
145. American Handel Stained Glass Table Lamp, early 20th c., bronze base marked “HANDEL”, leaded glass shade with yellow flowers, unmarked, h. 22 1/2 in., dia. 16 in. [$600/900]
142. Pairpoint Puffy “Papillon” Boudoir Lamp, early 20th c., shade marked “The Pairpoint Corp.”, with illegible patent date, fully marked on base, h. 13 1/2 in., dia. 9 1/2 in. [$1200/1800]
146. American Stained Glass Table Lamp, shade marked “KEELING - WALFD CT.”, polychrome painted ceramic base, h. 27 in., dia. 21 in. [$700/1000]
143. Pairpoint Puffy Boudoir Lamp, early 20th c., shade marked “The Pairpoint Corp” and “Patented July 9, 1907”, figural base fully marked, h. 14 3/4 in., dia. 9 1/4 in. [$700/1000]
147. Moe Bridges ReversePainted Table Lamp, early 20th c., patinated metal base fully marked, h. 26 in., dia. 17 in. [$600/900]
29
148. 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]
149. Pair of French Bronze Three Light Sconces, 20th c., ribbon-hung, foliate arms, h. 32 in., w. 15 in., d. 9 in. [$700/1000]
150. Louis XVI-Style Painted Metal Fifteen-Light Chandelier, scroll arms, prism hung, h. 53 in., dia. 36 in. [$1000/1500]
Provenance: Removed from Belle Meade Country Club, Nashville, TN, 1930s
151. Louis XVI-Style Six-Light Chandelier, prism hung, electrified, h. 41 in., dia. 23 in. [$500/700]
Provenance: Annesdale Mansion, Memphis, TN.
152. Pair of Bronze Bouillotte Lamps, 20th c., three lights, dish base, electrified, h. 30 in., dia. 16 in. [$400/600]
154. Galle Cameo Art Glass Desk Lamp, early 20th c., raised signature, “bronzed” base, foliate design, h. 13 in., w. 9 1/2 in., d. 10 in. [$700/1000]
153. Continental Painted Metal Floor Lamp, tripartite griffin base, flared shade, h. 68 in., dia. 14 in. [$500/700]
155. Regency-Style Cut Crystal Twelve Light Chandelier, with twelve candlearms, fitted with nine electric lights, h. 47 in., dia. 34 in. [$1000/1500]
Provenance: Annesdale Mansion, Memphis, TN.
30
159. Monumental French Provincial-Style Refectory Table, 20th c., top with inlaid metal Fleur de Lis in corners, reeded edge, balusterturned supports, trestle base, scrolled feet,
31
156. Large Georgian Carved Giltwood Jardiniere, 19th c., molded edge, blindcut paneled frieze centered scrolled carving, gadrooned skirt, acanthus carved cabriole legs, ball and claw feet, h. 18 in., w. 66 in., d. 17 in. [$2000/3000]
157. George III-Style Chinoiserie Parcel Gilt Lacquer Secretary Desk, broken arch crest surmounted by finials, paneled doors and slant front desk, vermillion fitted interior, reverse breakfront base, h. 94 1/2 in., w. 50 in., d. 22 in. [$6000/8000]
158. Louis XV-Style Parcel Gilt and Painted Settee, 20th c., possibly Amy Howard, foliate crest rail, nailhead upholstery, padded arms, conforming seat rail, cabriole legs, scrolled toes, h. 42 in., w. 85 in., d. 43 1/2 in. [$1000/2000]
160. Set of Twelve Queen Anne-Style Carved Mahogany Dining Chairs, 19th c., incl. 10 sides and 2 arms, shaped splat, drop in seat, cabriole legs, turned H-form stretcher, pad feet, h. 41 in., w. 22 in., d. 20 1/2 in. [$1200/1800]
h.30 in. l. 159 in. d. 60 in. [$2500/3500]
161. French Provincial-Style Carved Walnut Buffet à Deux Corps, 19th c. and later, molded broken arch cornice, glazed doors, two drawers over glazed doors, scrolled bracket feet, h. 112 in., w. 53 in., d. 19 in. [$2000/3000]
162. Set of Four Louis XV-Style Walnut Side Chairs, 19th c., carved crest rail, caned backs and seats, conforming seat rail, C-scrolled knees, cabriole legs, h. 36 1/2 in., w. 21 3/4 in., d. 17 in. [$400/600]
163. French Restauration Carved Walnut Commode, 19th c., molded top, two frieze drawers, molded paneled doors, plinth base, h. 37 in., w. 51 in., d. 20 1/2 in. [$800/1200]
164. Pair of Louis XV-Style Carved Walnut Beds, 20th c., scrolled padded headboard, molded rails, acanthus carved corners on foot board, cabriole legs, h. 42 1/2 in., w. 79 1/4 in., d. 42 1/2 in. [$700/1000]
165. Pair of Continental Carved Walnut “Throne” Armchairs, 19th c., pierced carved floral padded back centered by face with M above, scrolled arms, molded seat rail, scrolled acanthus carved supports, stretcher centered with M, hoof feet, h. 64 in., w. 24 in., d. 21 in. [$800/1200]
Provenance: Memphis, TN railroad baron Robert Campbell Brinkley
166. French Provincial Carved Walnut Corner Cabinet, 18th c., molded cornice, geometric paneled door, h. 79 in., w. 39 1/2 in., d. 20 1/2 in. [$800/1200]
Provenance: Estate of Mumm Champagne, Reims, France
32
167. Set of Six Steuben Glass “Flared Teardrop” Candlesticks, marked, model #8302, designed by Donald Pollard, h. 5 in., dia. 5 in. [$500/700]
169. Pair of Steuben Glass ‘Basket-Shaped’ Bowls, signed, model #8079, designed 1957 by Donald Pollard, h. 5 in., w. 11 1/4 in. and 11 3/8 in., d. 9 1/4 in. [$400/600]
171. Rare Steuben Glass ‘Iris’ Bowl, signed, model #8247, designed 1970 by Katherine De Sousa, h. 5 3/4 in., w. 8 3/4 in. c. 7 3/4 in., incl. original felt dust bag and Steuben box, box h. 12 1/2 in., w. 12 1/4 in., d. 12 1/4 in. [$400/600]
168. Pair of Steuben Glass Snail-Scroll Olive Dishes, etched marks, model #7857, designed 1939 by John Dreves, h. 3 1/8 in. to 3 1/4 in., w. 5 3/4 in., d. 5 in. [$300/500]
170. Pair of Steuben Glass ‘Trillium’ Bowls, signed, model #8089, designed 1958 by Donald Pollard, h. 4 3/4 in. and 4 7/8 in., w. 9 7/8 in., d. 9 7/8 in. and 9 3/4 in. [$400/600]
174. Durand Art Glass Vase, signed, h 6 1/8 in., dia. 5 1/2 in. [$400/600]
172. Pair of Steuben Glass ‘Lyre’ Vases, signed, model #8113, designed 1962 by Lloyd Atkins, h. 7 5/8 in. and 7 15/16 in. [$300/500]
173. Forty Baccarat Crystal Glassware, incl. 4 brandy, 10 shot, 6 red wine, 6 white wine, 6 flutes, and 8 double old fashion, tallest 9 1/2 in. [$500/700]
175. Lalique “Bacchantes” Glass Vase, signed “Lalique France”, h. 9 3/4 in., dia. 8 1/4 in. [$1000/1500]
33
176.
178.
177.
179.
Vase, marked “L.C.
184.
34
Lalique Glass “Primeveres” Lidded Box, marked “R. Lalique” in block letters, h. 4 in., dia. 6 1/4 in. [$400/600]
Tiffany Studios Favrile Glass Trumpet Vase, marked “L.C. Tiffany Favrile, 2196 H”, leaf and vine design, h. 13 1/2 in., dia. 6 3/4 in. [$1200/1800]
Tiffany Studios Favrile Glass Centerpiece with Flower Frog, both marked “L.C. Tiffany Favrile 5835”, lily pad design, h. incl. frog 3 3/4 in., dia. 10 1/4 in. [$1200/1800]
Tiffany Favrile”, leaf and vine design, h. 9 1/8 in., dia. 4 3/8 in. [$1000/1500]
Large Galle Cameo Glass “Dragonfly” Vase, raised signature, h. 25 in. [$5000/7000]
182. Tiffany Studios Bronze and Slag Glass Jewelry Box, in the “Grape Vine” pattern, stamped “TIFFANY STUDIOS/ NEW YORK/ 830”, h. 3 1/8 in., w. 9 3/8 in., d. 6 1/2 in. [$1500/2500]
183. Tiffany Favrile Glass Bud Vase, marked “L.C.T. Favrile, 1606”, h. 10 in. [$700/1000]
Eight American Favrile Glass Shades, incl. four by Quetzal, with ribbed design, fitter dia. 2 1/8 in.; and four others, fitter dia. 2 1/8 in. [$400/600]
181. Tiffany Studios Favrile Glass Toothpick Holder, marked “L.C.T. Favrile”, h. 2 in. [$150/200]
189. Neoclassical-Style Bronze Gueridon, 20th c., molded marble top, tripod base, X-form stretchers, paw feet, h. 27 1/2 in. Dia. 16 in. [$400/600]
185. Antique Louis XV-Style Gilt and Painted Bedstead, 19th c. and later, molded scrolled crest rail centered scrolled carvings, double molded paneled arched headboard, molded scrolled rails, paneled molded double foot board, scrolled feet, h. 68 1/4 in., w. 88 in., d. 83 1/2 in. Note: king size bed made from two smaller beds. [$2000/3000]
186. Withdrawn
187. Directoire Brass-Mounted Inlaid Mahogany Ladies Dressing Table, 19th c., molded lift-top with mirror, three frieze drawers, turned tapered legs, casters, h. 29 1/2 in., w. 32 in., d. 20 in. [$300/500]
Provenance: Collection of Dr. Bruce Wilson, Memphis, TN.
188. French Neoclassical-Style Giltwood Bench, carved molded seat rail, cabriole legs, hoof feet, h. 20 1/2 in., w. 36 in., d. 16 1/2 in. [$300/500]
190. Antique Louis XVI-Style Giltwood Fauteuil, 19th c., carved molded crest rail centered floral carving, scrolled padded arms, silk and velvet upholstery, conforming seat rail, fluted tapered legs, h. 40 1/4 in., w. 26 in., d. 23 3/4 in. [$500/700]
191. Regence-Style Carved and Painted Canape a Oreilles, 20th c., molded crest rail, shaped padded wings, conforming seat rail, cabriole legs, h. 41 1/2 in., w. 67 in., d. 24 1/2 in. [$800/1200]
35
192. Brass-Mounted Glass Tray on Stand Coffee Table, scalloped brass edge, turned ringed supports, stretchered, h. 16 1/2 in., w. 42 in., d. 42 in. [$500/700]
194. Antique Italian Rococo Gris Peinte and Rouge Marble Console, 19th c., molded serpentine marble top, leaf carved frieze, mask carved corners, cabriole legs, scrolled toes, h. 34 in., w. 71 1/2 in., d. 29 1/2 in. [$2000/3000]
Provenance: Estate of Mary Jane Lyle, Louisville, MS.
196.
193.
36
197. Fine E.F. Caldwell, Attributed Carved Onyx, Gilt and Patinated Bronze and Tole Peinte Floor Lamp, early 20th c., figural carvings, female term legs, mounted with tole peinte flowers, h. 72 in. [$1200/1800]
198. Two Louis Sullivan Designed Cast Iron Guaranty Building Balusters, c. 1896, scroll and foliate design, h. 33 in., w. 10 1/2 in. [$700/1000]
French Cast Iron and Marble Pastry Table, 19th c. and later, gothicized skirt, scrolled legs, brassmounted stretcher, h. 37 1/2 in., w. 45 in., d. 24 in. [$1200/1800]
Venetian-Style Parcel Gilt and Painted Corner Cabinet, 19th/early 20th c., molded floral crest, mirrored doors above pair of paneled doors, bracket feet, h. 75 in., w. 33 1/2 in., d. 17 1/2 in. [$700/1000]
195. Pair of Regence-Style Gilt and Painted Fauteuils, 19th c., carved foliate crest rail, scrolled padded arms, conforming seat rail, cabriole legs, scrolled toes, h. 40 in., w. 28 1/2 in., d. 19 1/2 in. [$700/1000]
37
199. Antique Cast Iron Figural Door Knocker, grotesque mask-form, h. 14 1/2 in., w. 8 in. [$200/300]
200. American Art Deco Hall Lantern, early 20th c., bronze crownform frame, “skyscraper” glass shade, h. 25 in., dia. 10 in. [$500/700]
Provenance: Annesdale Mansion, Memphis, TN.
201. Fowler Ceramic Phrenology Head, 20th c., h. 18 1/4 in., w. 8 1/4 in., d. 8 1/2 in. [$300/500]
202. Pair of French Gilt Bronze Figural Chenets Mounted as Lamps, 19th c., cherub and scroll design, wood bases, h. (to socket) 18 in., w. 15 in., d. 7 in. [$700/900]
203. Pair of Continental Bronze Three-Light Sconces, grotesque mask backplate, foliate arms, h. 17 in., w. 19 in., d. 13 in. [$800/1200]
204. Bronze Figure of a Tiger, after Bayre, h. 30 in., w. 76 in., d. 10 in. [$2500/3500]
Provenance: Annesdale Mansion, Memphis,
205 Pair of Large French Bronze Eight-Light Candelabra, base marked “F. BARBEDIENNE”, foliate design, h. 35 in., dia. 18 in. [$700/1000]
Provenance: Annesdale Mansion, Memphis, TN.
38
209. Pair of Monumental Continental Patinated Bronze ThreeLight Figural Gasolier Sconces, c. 1850, winged putti, scroll arms, flame-form shades, electrified, h. 45 in., w. 21 in., d. 21 in. [$3000/5000]
TN
210. Louis XVI-Style Bronze Fire Screen, scroll and foliate border, centered by flaming urn, h. 35 in., w. 32 in., d. 7 in. [$300/500]
207. Pair of French Carved Giltwood Torchères, c. 1900, scroll and foliate design, h. 54 3/4 in., top dia. 9 1/2 in. [$600/900]
206 Giltwood Jardiniere and Pair of Silvered Carved Wood Prickets, jardiniere with removable tin liner, h. 9 1/2 in., w. 30 in., d. 14 in., prickets h. 23 in. (3 pcs.) [$200/300]
208. Continental Four-Panel Oil on Canvas Folding Screen, 19th c., nailhead trim, painted with foliage and birds, h. 78 in., w. 88 in., d. 1 1/2 in. [$400/600]
212. Louis XV-Style Bronze-Mounted Kingwood Cartonnier, bombe form, drawer fronts, covered with tooled leather, h. 25 1/2 in., w. 22 in., d. 8 1/4 in. [$500/700]
214. Antique French Opaline and Bronze Nesting Boxes, egg-form boxes with hinged lids, h. 9 in., dia. 6 1/4 in. [$700/1000]
216. American Gilt Metal Rooster Weathervane, 20th c., h. with arrow 26 in., w. 48 in., d. 4 1/4 in. [$600/900]
211. Large Italian Faience Tile Celestial Map Wall Mural, 20th c., Rome, Italy, signed on tile “TANAGRA/ROMA”, central Andreas Cellarius-style zodiac map, on an amber ground, embellished with raised gilt stars, 160 tiles, h. 72 in. x 117 in., Note: several tiles cracked. [$700/1000]
213. Two Grand Tour Patinated Bronze Warwick Urns, late 19th c., larger (h. 5 3/8 in.) with parcel gilt. (2 pcs.) [$400/600]
215. Pair of Continental Porcelain-Mounted Bronze TwoLight Figural Candelabra, 19th c., central allegorical figures, foliate design, h. 12 1/2 in., w. 11 in., d. 6 1/2 in. [$700/1000]
217. Pair of American Cast Iron Garden Figures of Recumbent Lions, 19th c., after Antonio Canova, plinth bases, h. 13 in., l. 27 in., w. 13 in. [$1000/1500]
Provenance: The Stanley Weiss Collection
39
218. Marc Chagall (French/ Russian, 1887-1985), “La Paon se Plaignant á Junon”, plate 1927-1930, printed prior to 1952, published 1952, etching, signed in plate lower left, pencil-inscribed with title lower margin, label with artist, title and date on backing paper, from Jean de La Fontaine: Fables, published by Tériade, Paris, printed by Maurice Potin, Paris, sheet 15 1/4 in. x 11 7/8 in., framed, overall 21 5/8 in. x 18 5/8 in. x 1 in. [$600/800]
220. Gene Kloss (American/ New Mexico, 1903-1996), “Tribal Memory II”, intaglio, pencil-signed, titled and numbered “1/15” lower margin, handwritten and typed labels on backing paper, 14 7/8 in. x 9 7/8 in., framed, overall 20 3/8 in. x 18 1/4 in. x 1/2 in. [$600/800]
222. O. Winston “Ogle” Link (American, 1914-2001), “Hotshot Eastbound, Laeger, West Virginia”, negative creation date 1956, print date 1988, gelatin silver print, pencil-signed, dated, negative notation “NW 1103”, additional printing notations and copyright stamp with negative notation en verso, image 15 1/2 in. x 19 5/8 in., sheet slightly larger, unframed. [$4000/6000]
224. After Collins C. Diboll (American/ Louisiana, 1904-1987), “The How, When and Where of Discriminating and Enjoyable Drinks”, 1931, poster, signed and inscribed “A Vôtre Santé” lower margin, printed and signed in plate by Douglass V. Freret (American/Louisiana, 1904-1973), published by Diboll and Gelpi, New Orleans, letter to Diboll from Harold Foster, instructions on chart use with title and “Casell Gallery, New Orleans, LA” label on backing paper, sheet 16 in. x 21 in., framed, overall 21 1/8 in. x 26 1/8 in. x 3/4 in. [$500/700]
219. 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. [$800/1200]
Provenance: Michael W. Murphy, El Dorado, AR.
221. Paul Cadmus (American/ New York, 1904-1999), “Aspects of Suburban Life: Polo Spill”, 1938, etching, pencil-signed, titled and numbered “60/75” lower margin, label with artist, title and edition on backing paper, 6 1/2 in. x 9 in., framed, overall 16 1/4 in. x 17 1/2 in. x 1 in. [$1000/1500]
223. Jacques Hnizdovsky (Ukrainian/ American, 1915-1985), “The Cat”, 1968, woodcut on washi paper laid on board, pencil-signed, titled, dated and inscribed “trial proof” lower margin, sheet 13 7/8 in. x 12 in., framed, overall 18 1/4 in. x 16 1/4 in. x 1 in. [$600/800]
Ill.: Tahir, Abe M., Jr. Hnizdovsky: Woodcuts, 1944-1975, A Catalogue Raisonné. Gretna: Pelican Publishing Company, 1976, pl. 82.
40
41
226. Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997), “Four for the CAC”, 1980, serigraph, pencil-signed, titled, dated and numbered “15/350” lower margin, “Arches 88 France” watermark visible, from CAC Collectors Club Edition, “Cassell Gallery, New Orleans, LA” label on backing board, sheet 20 in. x 25 1/2 in., framed, overall 24 1/4 in. x 28 1/4 in. x 1 1/2 in. [$500/800]
227. Ida Rittenberg Kohlmeyer (American/ Louisiana, 1912-1997), “For the Grecian Gala”, 1980/1981, offset color lithograph, signed and dated in plate lower right, pencil-signed, titled, dated, numbered “200/350” and inscribed lower margin, sight 15 1/2 in. x 15 1/2 in., framed, overall 26 3/8 in. x 24 1/2 in. x 1 5/8 in. [$500/800]
228. Francisco Zùñiga (Costa Rican/Mexican, 1912-1998), “El Umbral”, 1974, lithograph and silkscreen on handmade amate paper, signed and dated lower right, numbered “1/47” lower left, sheet 16 1/2 in. x 24 in., framed, overall 22 3/8 in. x 29 5/8 in. x 5/8 in. [$700/1000]
229. Francisco Zùñiga (Costa Rican/Mexican, 1912-1998), “Mujer Sentado con Rebozo”, 1974, lithograph, signed and dated lower right, numbered “57/83” lower left, “Kyron” blind stamp visible, sheet 27 1/4 in. x 19 in., framed, overall 45 in. x 36 in. x 2 in. [$600/800]
225. Robert Gordy (American/Louisiana, 1933-1986), “Untitled”, silkscreen, pencil-signed and numbered “140/300” lower margin, 26 1/2 in. x 22 in., unframed. [$400/600]
230. Rufino Tamayo (Mexican, 1899-1991), “Figura de Pie”, 1977, mixografia on handmade paper laid on board, pencil-signed lower right, numbered “P de A IV/X” lower left, sheet 27 1/4 in. x 19 3/4 in., framed, overall 29 3/8 in. x 22 in. x 2 in. [$2000/3000]
231. Rufino Tamayo (Mexican, 1899-1991), “Hombre en Blanco”, 1976, mixografia on paper mounted to board, pencil-signed lower right, numbered “52/140” lower left, printed by Taller de Grafica Mexicana, Mexico City, published Transworld Art, New York, “Transworld Art” and “[M]” blind stamps visible lower left, sheet 29 3/4 in x 22 in., framed, overall 44 1/2 in. x 36 in. x 2 3/4 in. [$1200/1800]
232. Carol Summers (American/New York, 1925-2016), “Big Sur”, color woodcut on paper, pencil-signed upper left, titled and numbered “56/75” center, “Property of SK&F U.S. Philadelphia” inventory label on backing paper, 36 1/2 in. x 37 1/4 in., framed, overall 37 15/16 in. x 38 1/2 in. x 1 in. [$600/800]
Note: Carol Summers was born in Kingston, New York to artists Theresa and Ivan Summers. He was raised in Woodstock and received a Bachelor of Arts degree from Bard College in 1951, studying with Stefen Hirsch and Louis Schanker while also taking classes with Arnold Blanch in the Art Students League. He is primarily known as a printmaker and invented a unique method in the 1950s called the “Carol Summers Technique” that involves fully saturating large blocks of wood in colorful inks and arranging them in a pattern on paper such that the ink bleeds through en verso resulting in abstract, hazy fields of diffused colors which as Serena Davis of The Telegraph describes, “give beautiful, blurry, shapes to the other side. The results are simple, decorative and uniquely vibrant,” as is superbly exemplified in the lot offered here.
In addition to being an artist, Summers had a career as a teacher, serving as an instructor at the Brooklyn Museum School, Hunter College, Columbia University, and Pratt Graphics Center. His pieces can be found in the permanent collections of many institutions including the Brooklyn Museum, MoMA, Art Institute of Chicago, and National Gallery of Art in Washington, D.C.
Ref.: Davies, Serena. “Under a grand: Carol Summers”. The Telegraph. Feb. 24, 2018, www.telegraph.co.uk. Accessed: Mar. 26, 2024.
Sketchbook #1”, 2003 and “Pages from a Sketchbook #4”, 2005, 2 drypoints, each pencil-signed and numbered “29/60” and “6/50” respectively lower margin, each with “Lana” and ram’s
9 1/2
in. x 1 in.
x 1 in.,
pcs.) [$1000/1500]
Piersol, Daniel.
42
233. Robert Kipniss (American/New York, b. 1931), “Composition, Upstate”, 2000, mezzotint, pencil-signed and inscribed “artist proof” lower margin, folding fan blind stamp visible; together with “Pages from a
head watermark visible, one with “CCP” blind stamp visible, 7 in. x
in. to 9 3/8 in. x 10 3/8 in., framed alike, overall 17 3/8
to 19 5/8 in. x 19 7/8 in.
accompanied by
Seen in Solitude: Robert Kipniss Prints from the James F. White Collection. Singapore: Imago Group for the New Orleans Museum of Art, 2005. (4
234. After Andy Warhol (American, 1928-1987), “Flowers”, 1964, offset lithograph invitation mailer, unsigned, “Leo Castelli Andy Warhol 21 Nov - 17 Dec” printed en verso, with folds, as issued, 21 3/4 in. x 21 3/4 in., framed, overall 32 in. x 32 in. x 2 1/4 in. [$500/700]
235. After Andy Warhol (American, 1928-1987), “S&H Green Stamps”, 1965, offset lithograph invitation, unsigned, printed by Eugene Feldman, published by “Institute of Contemporary Art, Philadelphia, PA”, edition of 6000, with folds, as issued, 22 1/2 in. x 22 1/4 in., framed, overall 31 3/4 in. x 34 3/4 in. x 1 1/8 in. [$500/700]
Ill.: Feldman, Frayda and Jorg Schellmann. Andy Warhol Prints: A Catalogue Raisonne 1962-1987. New York: D.A.P./Distributed Art Publishers, Inc., 1997, II.9, p. 57.
43
239. George Rodrigue (American/Louisiana, 1944-2013), “Mardi Gras Dogs”, 1993, silkscreen, signed lower right, edition of 190, sheet 24 in. x 30 in., unframed. [$2000/3000]
Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Harry N. Abrams, Inc., 2008, p. 88.
237. George Rodrigue (American/Louisiana, 1944-2013), “Walking Across Texas: Yellow”, 1999, silkscreen, signed lower left, inscribed “P.P. 4/5” lower right, 20 1/4 in. x 33 1/8 in., framed, overall 30 3/4 in. x 43 1/2 in. x 2 in. [$2500/3500]
Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Harry N. Abrams, Inc., 2008, p. 117.
238. George Rodrigue (American/Louisiana, 1944-2013), “Mardi Gras Dog”, 1992, silkscreen, signed and numbered “178/225” lower left, sheet 26 in. x 31 in., unframed. [$2000/3000]
Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints:A Catalogue Raisonné 1970-2007. New York: Harry N. Abrams, Inc., 2008, p. 57.
236. George Rodrigue (American/Louisiana, 1944-2013), “Blue Dogs and Cajuns on the River”, 2011, silkscreen, pencil-signed, numbered “45/450” and “George Rodrigue” stamp lower margin, sheet 28 in. x 40 in., matted and glazed with Plexiglas, overall 32 3/4 in. x 44 11/16 in. x 1/2 in. [$2500/3500]
Time: White”, 1997, silkscreen, pencil-
mid-left,
“Artist Proof”
edition of 120 plus artist proofs, 30 1/2 in. x 19 3/8 in., framed, overall 38 1/8 in. x 28 3/8 in. x 1 1/4 in. [$2000/3000]
Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2017. New York: Harry N. Abrams, Inc., 2008, p. 151.
Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné, 1970-2007. New York:
N. Abrams, Inc., 2008, p. 211.
44
245. Sandra Russell Clark (American/Louisiana, b. 1949), “Villandry, France”, 1986/1987, hand-colored gelatin silver print from infrared film, signed lower right, titled lower left, from the Gardens of Reflection series, sheet 19 3/4 in. x 13 1/2 in., matted, overall 23 in. x 16 1/2 in. [$700/1000]
246. I.A. Martin (American/Louisiana, 1878-1952) or Carroll Martin (American/Louisiana, 1904-1989), “Shadows-on-the-Teche”, 2 gelatin silver prints, unsigned, each with “Martin New Iberia” blind stamp lower right, each 16 in. x 20 in., framed alike, each overall 17 in. x 21 in. x 3/4 in. (2 pcs.) [$500/700]
243. Peter Lik (Australian, b. 1959), “Endless Dream”, 2017, silver halide print, signed and numbered “271/450” lower right, artist authenticity card with signature, date, stamp and hologram on backing, sight 18 3/4 in. x 58 1/4 in., framed, overall 35 in. x 74 3/8 in. x 2 in. [$2000/3000]
244. Sandra Russell Clark (American/Louisiana, b. 1949), “Villa, Italy”, 1986/1987, hand-colored gelatin silver print from infrared film, signed lower right, signed, titled and numbered “6/50” en verso, from the Gardens of Reflection series, sheet 16 in. x 20 in., unframed. [$700/1000]
242. George Rodrigue (American/ Louisiana, 1944-2013), “Home on the Moon”, 1991, lithograph, signed lower right, edition of 1000, 10 5/8 in. x 22 in., framed, overall 19 1/4 in. x 30 1/2 in. x 3/4 in. [$1000/1500]
Harry
241. George Rodrigue (American/Louisiana, 1944-2013), “Red, White and Blues”, 1993, silkscreen, signed lower left, numbered “45/100” lower right, 23 1/2 in. x 34 in., framed, overall 30 1/8 in. x 40 3/4 in. x 7/8 in. [$2000/3000]
Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Harry N. Abrams, Inc., 2008, p. 89.
240. George Rodrigue (American/ Louisiana, 1944-2013), “Carnival
signed
inscribed
mid-right,
247. French Art Nouveau-Style Inlaid Mahogany Dining Table, 20th c., two leaves, shaped molded top, scrolled conforming apron, reeded scroll supports, trestle stretcher, acanthus carved scrolled legs, h. 31 in., w. (closed) 64 1/2 in., w. (open) 103 in., d. 44 3/4 in. [$1000/1500]
248.
Carved
45
249. Pair of Louis XV-Style Fauteuils, early 20th c., molded foliate crest rail, scrolled padded arms, conforming seat rail, cabriole legs, h. 39 3/4 in. W. 28 1/2 in. d. 23 1/4 in. [$800/1200]
250. Antique Louis XVI-Style Giltwood Canape, 19th c., carved crest rail centered floral carving, scrolled arms, cut velvet upholstery, conforming seat rail, fluted tapered legs, h. 39 1/2 in., w. 59 1/4 in., d. 26 1/2 in. [$1200/1800]
251. Regence-Style Gilt and Crème Peinte Console, 20th c., later molded marble top, foliate carved frieze centering shell, cabriole legs, molded stretcher surmounted by floral basket finial, acanthus carved feet, h. 37 in., w. 60 in., d. 14 in. [$1500/2500]
252. Continental Carved Pine Coffer on Stand, late 18th c., molded hinged top, front paneled with arched carvings, three drawers in base, bracket feet, h. 35 1/4 in., w. 59 1/2 in., d. 26 in. [$700/1000]
Louis XV-Style
Walnut Bergere, 20th c., molded crest rail, padded scrolled arms, molded seat rail, cabriole legs, h. 39 1/2 in., w. 28 3/4 in., d. 26 1/2 in. [$150/250]
46
261. Persian Hamadan Carpet, stylized floral design, 3 ft. 5 in. x 13 ft. 6 in. [$1500/2000]
262. Sultanbad Carpet, beige ground, repeating rosette design, 6 ft. 2 in. x 14 ft. 8 in. [$2400/2800]
263. Antique Indian Agra Carpet, blue ground, red border, floral design, 6 ft. 2 in. x 8 ft. 11 in. [$1400/1800]
255. Fine Antique Bakshaish Carpet, 7 ft. x 19 ft. 7 in. [$10000/15000]
256. Antique Persian Carpet, brown and blue ground, foliate design, 9 ft. x 12 ft. 2 in. [$1800/2500]
257. Heriz Carpet, salmon ground, central medallion, 8 ft. x 10 ft. 2 in. [$800/1200]
258. Antique Tabriz Carpet, red and blue ground, central floral vase design, 12 ft. 8 in. x 17 ft. 6 in. [$1800/2500]
259. Fine Palace Size Antique Serapi Carpet, central medallion, red and blue ground, floral design, 12 ft. 10 in. x 21 ft. 4 in. [$4000/6000]
260. Persian Qashqai Carpet, pictorial field, floral border, 4 ft. 4 in. x 12 ft. [$1000/1500]
253. Oushak Carpet, foliate design, 9 ft. 9 in. x 14 ft. 6 in. [$700/1000]
254. Antique Saraband Carpet, repeating design, 6 ft. x 12 ft. 9 in. [$600/800]
47
264. Tabriz Carpet, overall floral design, 7 ft. 10 in. x 10 ft. [$1800/2400]
265. Nepalese Carpet, black and yellow, 8 ft. x 10 ft. 2 in. [$1000/1500]
266. Sultanbad Carpet, dark and light blue ground, foliate design, 10 ft. x 12 ft. 11 in. [$2800/3000]
267. Persian Kerman Carpet, red ground, central medallion, 9 ft. 10 in. x 14 ft. [$1400/1800]
269. Persian Serapi Carpet, dark salmon ground, floral design, 12 ft. 10 in. x 5 ft. 6 in. [$5000/7000]
270. Persian Carpet, central medallion, blue and red ground, 9 ft. 8 in. x 14 ft. [$700/1000]
271. Persian Carpet, tree design, 7 ft. x 10 ft. 8 in. [$400/600]
268. Aubusson-Style Tapestry, depicting a chateau in a sylvain landscape, 8 ft. 3 in. x 8 ft. 11 in. [$2000/3000]
272. Edwardian Inlaid and
276.
274.
273.
275. Regency Mahogany Demilune
277.
48
Antique Louis XV/XVI-Style Painted and Parcel Gilt Canapé en Corbeille, 19th c., laurel-carved serpentine crest rail with central bouquet, reeded seat rail, scrolled feet, h. 39 1/4 in., w. 69 in., d. 32 in. [$1000/1500]
William and Mary Inlaid and Oyster Veneered Walnut Dressing Chest, late 17th/early 18th and later c., banded molded lift-top, three drawers, cabriole legs, pad feet, h. 35 1/2 in., w. 35 in., d. 25 1/2 in. [$1000/1500]
French Restauration Rosewood Bookcase, 19th c., arched molded cornice, molded glazed doors, two drawers, bracket feet, h. 92 in., w. 60 1/2 in., d. 20 in. [$800/1200]
Hunt Table, early 19th c., possibly Gillows, top with removable center, drop leaves, reeded tapered legs, cup casters, h. 28 1/2 in., w. 72 in., d. 42 in. [$1000/1500]
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. [$700/1000]
Banded Satinwood and Mahogany Dumbwaiter, 19th/early 20th c., labeled “Albert Barker, 5 Bond Street, London”, two lift tops raised interior with glass handled tray, slide out tray, tapered square supports, stretched shelf, casters, h. 30 in., w. (closed) 22 in., w. (open) 43 in., d. 22 1/2 in. [$800/1200]
278. Queen Anne-Style Carved Mahogany Lowboy
279. Empire-Style Parcel Gilt and Painted Console, 20th c., molded marble top, fluted frieze, stop fluted tapered supports, X-form stretcher surmounted finial, acanthus carved feet, h. 35 1/2 in., w. 52 1/4 in., d. 22 in. [$1000/1500]
Provenance: Michael W. Murphy, El Dorado, AR.
282. Ten Meissen Polychrome and
281. Meissen Gilt Decorated Porcelain Dish, blue crossed swords marks, other impressed and incised marks, openwork rims, leafy vine motif, l. 14 in., w. 9 in. [$200/300]
Provenance: Collection of Dr. Bruce Wilson, Memphis, TN.
283. Thirteen Meissen Polychrome and Gilt Floral Porcelain Dinner Plates, blue crossed swords mark, various impressed numbers, basketweave borders, scalloped gilt rims, dia. 9 3/4 in. [$1000/1500]
284. Two Dresden Porcelain Figural Groups, marked, incl. musical ladies, h. 7 in.; and painter with lady, h. 7 in. [$400/600]
49
, 19th c., molded top, three drawers, centered shell carving, cabriole legs, pad feet, h. 30 1/2 in., w. 31 in., d. 17 in. [$500/750]
Gilt Floral Porcelain Salad Plates, blue crossed swords mark, various impressed numbers, scalloped gilt rims, basketweave border, dia. 7 5/8 in. [$500/700]
280. Dutch Marquetry Fruitwood Dressing Cabinet, 19th c., foldout top, slide out mirror, cabinet door over drawer, plinth base, h. (closed) 34 1/4 in., h. (open) 56 in., w. (closed) 21 in., w. (open) 39 in., d. 20 3/4 in. [$400/600]
285. Dresden Polychrome and Gilt Porcelain Figural Group, marked, modeled as amorous nobility drinking champagne, h. 10 1/2 in. [$400/600]
286. Dresden Polychrome and Gilt Porcelain Figural Group, marked, modeled as musicians and dancing nobility, h. 10 in. [$400/600]
287.
288. Volkstedt Polychrome and Gilt Porcelain Figural Group, marked, modeled as a noble family with musicians, h. 8 1/2 in. [$400/600]
289.
290.
291.
292.
50
Sitzendorf Polychrome and Gilt Porcelain Figural Group, marked, modeled and courting couples toasting in revelry, h. 10 in. [$400/600]
Pair of Chinese Export Blue and White Porcelain Platters, l. 16 in., w. 13 in. [$500/700]
Pair of Bronze-Mounted Chinese Oxblood Porcelain Vases Mounted as Lamps, porcelain bottle form with overall sang de boeuf glaze, h. 12 1/4 in., bronze base h. (incl. socket) 18 1/2 in., fabric shades overall h. (incl. finial) 28 in. [$300/500]
George Jones Majolica “Bamboo” Vase, c. 1880, England, marked, h. 8 1/2 in. [$500/700]
Large Chinese Decorative Fishbowl, decorated with gilt and imitation of lacquerware, giltwood stand, h. 41 in., dia. 27 in. [$800/1000]
294. American Federal Mahogany Chest of Drawers, 19th c., probably Salem, MA, top with turreted corners, four drawers, ringed stiles and legs, h. 38 1/2 in., w. 43 in., d. 21 in. [$1200/1800]
295. American Late Classical Mahogany Secretary Bookcase, mid-19th c., flared cornice, glazed doors with fretwork, fall-front with fitted interior, foldout writing surface, three drawers, shaped apron, bracket feet, h. 87 1/2 in., w. 46 1/4 in., d. 22 in. [$1000/1500]
296. American Late Classical Carved Mahogany Pier Table, 19th c., New York, banded top, mirror back, scrolled supports, shaped plinth, scrolled feet, h. 35 1/2 in., w. 38 in., d. 20 in. [$500/700]
297. American Rococo Carved Rosewood and Faux Grained Desk, 19th c., crest with carved floral urn, slant front lid, fitted interior, frieze drawer, cabriole legs, h. 55 1/2 in., w. 38 in., d. 20 1/2 in. [$700/1000]
293. Pair of American Late Classical Carved Mahogany Slipper Settees, mid-19th c., serpentine back, inset serpentine seat, bracket feet, h. 25 1/2 in., w. 41 in., d. 19 1/2 in. [$600/900]
298. American Federal-Style Birdseye Maple and Mahogany Work Table, 19th c., two short drawers over two long drawers, twist carved tapered legs, h. 27 1/2 in., w. 21 in., d. 15 1/4 in. [$700/1000]
51
299. American Victorian Gilt and Painted Games Table, early 20th c., possibly Charles A. Baudouine, New York, foldover top, shaped and conforming frieze, cabriole legs, h. 30 1/4 in., w. 27 1/2 in., d. 13 3/4 in. [$800/1200]
303. Continental Carved Marble Male Torso, self-base, h. 33 in., w. 17 in., d. 15 in. [$700/1000]
Provenance: Collection of Dr. Bruce Wilson, Memphis, TN.
300. American Southern Inlaid Mahogany Blanket Chest, 19th c., lift top, dovetail case, two drawers, bracket feet, h. 29 in., w. 52 in., d. 22 in. [$700/1000]
301. Johann Christoph Storer (German, 1620-1671), “The Adoration of the Magi”, 1668, oil on canvas, signed and dated lower center, 3 “Christie’s” labels and 2 “Christie’s 15 June 99 sale 8215 lot 128” labels on stretcher, 98 7/8 in. x 63 1/8 in., framed, overall 105 1/2 in. x 70 in. x 1 1/2 in. [$4000/6000]
Ref.: Appuhn-Radtke, Sibylle. Visuelle Medien im Dienst der Gesellschaft Jesu. Johann Cristoph Storer (1620-1671) als Maler der Katholischen Reform. Regensburg: Schnell & Steiner, 2000.
302. Carved Marble Figural Group of “The Rape of Proserpina”, after Gian Lorenzo Bernini, h. 38 1/2 in., w. 14 in., d. 11 in. [$800/1200]
Provenance: “European Fine Living”, Bonhams, London, UK, Nov. 12, 2020, lot 448; Collection of Dr. Bruce Wilson, Memphis, TN.
304. Barbizon School, c. 1865, “Forêt de Fountainebleau”, oil on canvas, unsigned, incised “Fountainebleau” lower left, handwritten label with title and circa date on stretcher, “Deforge et Carpentier” canvas stamp en verso, 15 in. x 18 1/4 in., framed, overall 21 3/8 in. x 26 in. x 2 in. [$800/1200]
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305. Joseph Antoine Bouvard (French, 1840-1920), “VeniceGrand Canal”, oil on canvas, signed lower left, 15 1/4 in. x 21 5/8 in., framed, overall 23 1/8 in. x 28 3/4 in. x 2 5/8 in. [$1800/2500]
306. Paul Lucien Maze (French, 1887-1979), “Winter Day in the Park”, oil on canvas laid on board, signed lower right, 11 3/4 in. x 15 7/8
309. Romain de Tirtoff “Erté” (Russian/French, 1892-1990), “Le Mississippi Cavalier”, 1923, gouache on paper, signed lower right, inscribed “Les Fleuves A11734 Le Mississipi [sic] Cavalier” en verso, from costume designs for Folies Bergère production “Les Fleuves”, certificate of authenticity and artist biography from “Le Bocage Vert Gallery, Lafayette, LA” with artist, title and date on backing paper, 14 5/8 in. x 10 5/8 in., framed, overall 24 7/8 in. x 20 1/4 in. x 1 3/8 in. [$700/1000]
311. Romain de Tirtoff “Erté” (Russian/French. 1892-1990), “Woman in Hat and Wrap”, 1985, etched glass luminaire, etched signature and incised number “22/99” lower right, date and manufacturer information lower left, produced by Crystal Haze, Inc., glass insert h. 12 7/8 in., w. 7 in., d. 1/4 in., illuminated base, overall h. 15 1/2 in., w. 8 5/8 in., d. 4 1/2 in. [$300/500]
310. Romain de Tirtoff “Erté” (Russian/French, 1892-1990), “Mystère”, 1983, etched glass luminaire, etched signature and incised number “57/250” lower right, date, manufacturer information and inscribed on lower edge, produced by Crystal Haze, Inc., glass insert h. 17 in., w. 12 1/8 in., d. 5/8 in., illuminated base, overall h. 22 in., w. 18 3/4 in., d. 4 1/4 in. [$500/700]
312. Romain de Tirtoff “Erté” (Russian/French, 1892-1990), “Number Five”, 1980, serigraph, pencil-signed and inscribed “épreuve d’artist” lower margin, from The Numerals Suite, “BFK Rives” watermark visible, sheet 25 1/2 in. x 19 3/4 in., framed, overall 34 in. x 25 in. x 1 1/4 in. [$300/500]
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in., framed, overall 15 in. x 19 1/8 in. x 1 in. [$800/1200]
307. Edmond Marie Petitjean (French, 1844-1925), “Bord de Rivière”, oil on canvas, signed lower left, “Vincent Mann, New Orleans, LA” label with artist and partial title “Bord de Riv....” on stretcher, 44 1/4 in. x 60 1/4 in., framed, overall 50 1/2 in. x 66 3/4 in. x 1 7/8 in. [$3000/5000]
308. Edmond Marie Petitjean (French, 1844-1925), “Le Port des Sables d’Olonne”, oil on canvas, signed lower right, handwritten label with artist and title and partial label on stretcher, 18 1/4 in. x 25 3/4 in., framed, overall 27 3/4 in. x 35 1/2 in. x 3 in. [$700/1000]
313. Marcel Vertes (Hungarian/American/French, 1895-1961), “Three Putti”, oil on canvas, signed lower left, “Munn Picture Frames, Los Angeles, CA” label on reverse of frame, 31 in. x 25 in., Munn gilt frame, overall 38 1/4 in. x 32 1/4 in. x 2 3/8 in. [$1500/2500]
Note: Hungarian-born Marcel Vertès was a French costume designer and illustrator who won two Academy Awards for Best Art Direction and Best Costume Designer for his work on the 1952 film Moulin Rouge which starred Zsa Zsa Gabor. He studied art at the Academie Julian in Paris and fully immersed himself in the Parisian art scene. Vertès is also famous for painting the legendary murals in the Café Carlyle in the Carlyle Hotel and in the Peacock Alley in the Waldorf Astoria Hotel in New York.
314. Continental School, 20th c., “Putto with Bouquet”, cast iron, unsigned, h. 41 1/2 in., w. 16 in., d. 16 in. [$700/1000]
Provenance: Eldridge Wright Estate, Adams Street, Memphis, TN
315. Manner of William Hogarth (British, 1697-1764), “Genre
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Scene”, oil on panel, unsigned, typed label with artist en verso, 15 in. x 11 1/4 in., framed, overall 18 1/2 in. x 14 3/4 in. x 1 3/8 in. [$1000/1500]
316. William Hamel (Dutch, 1860-1924), “Countryside Landscape”, oil on canvas, signed lower right, artist label on stretcher, artist biography en verso, “Gremalde Haus, Germany” label with artist on reverse of frame, 42 in. x 66 in., framed, overall 47 7/8 in. x 72 in. x 1 1/2 in. [$800/1200]
317. Francesca Stuart Sindici (Spanish/Italian, 1858-c.1929), “Trooping the Colours”, oil on panel, signed lower right, 22 in. x 18 in., framed, overall 27 1/4 in. x 23 in. x 1 1/4 in. [$700/1000]
319. Antique Map of New Orleans, “Plan of New Orleans the Capital of Louisiana”, 1761, by Benning, engraved map from the London Magazine, 7 1/2 in. x 9 1/2 in., framed. [$200/300]
321. Homann Heirs, Johann Baptist, Grosser Atlas uber die Ganze Welt...Nicolai Copernici und Tychonis Brahe..., Nurnberg, Homann Heirs, 1737, title page in black and red, with polar projection map by Ebersperger; the elaborate frontispiece engraved by Michael Rossler, showing Atlas and Hercules, original leather (21 in. x 12 1/4 in.), with 110 double-page maps, some dating as late as 1751, original color, manuscript table of contents pasted to rear endpaper. [$8000/12000]
Provenance: Old World Auctions, Henrico, VA, Feb. 12, 2020, lot 743
323. Buache, Phillipe after DeLisle, “Carte de la Louisiane et du Cours du Mississipi...”, 1745, engraved map with original color in outline, after the renowned map from 1715, sight 19 in. x 25 in. [$700/1000]
318. [Leather Bindings], The Works of William Makepeace Thackeray, London, Smith, Elder & Co., 1883-1886, 26 vols., 4to, 3/4 red leather, gilt lettering, top edge gilt. [$600/900]
Provenance: Collection of Dr. Bruce Wilson, Memphis, TN.
320. [New Orleans Exposition Map], “The World’s Industrial and Cotton Centennial Exposition, New Orleans, LA...Plan No. 2 Map of the City of New Orleans showing location of exposition grounds and all approaches thereto by land & water”, 1884, Southern Litho. Co., New Orleans, with 13 insets or vignettes, accompanied by the original cloth-covered boards, lettered in gilt, with later coloring, 27 in. x 36 3/4 in., framed. [$600/900]
Note: The Industrial and Cotton Centennial Exhibition offered New Orleans a chance to demonstrate to the world how its businesses and infrastructure had been revitalized by Reconstruction. The fair, however, suffered from debt and fraud and was not financially successful. Held on present day Audubon Park, the fair’s main exhibition building enclosed 33 acres and was the largest roofed structure in the United States up to this point. Ref.: neworleanshistorical.org
322. Homann, Johann Baptist, “Regni Mexicani seu Novae Hispaniae Ludovicianae, N. Angliae, Carolinae, Virginiae, et Pensylvaniae nec non Insularum Archipelagi Mexicani in America Septentrionali Accurata Tabula”, c. 1720, hand-colored engraved map, with vignettes of ships and trade with native inhabitants, 18 3/4 in. x 22 1/2 in., framed. [$500/700]
324. Georgian 12-Inch Terrestrial Globe, London, G. & J. Cary, 1825, the cartouche reading, in part, “From the best Authorities extant Exhibiting the late Discoveries towards the NORTH POLE”, brass meridian ring, ebonized stand with horizon band naming the zodiac signs and month of the year, the globe showing present-day Alaska as Russian America, h. 17 1/2 in., dia. 17 in. [$700/1000]
Provenance: From the estate of Charles Amie, Barret Place, Shreveport the former home of Louisiana Lieutenant-Governor Thomas Charles Barret (1912-1916).
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325. Pedro Friedeberg (Mexican, b. 1936), “Hand Clock”, paint, gilt wood and metal, signed on inside of clock, h. 21 in., w. 12 1/4 in., d. 6 in. [$1500/2500]
326. Ismael Guardado (Mexican, b. 1942), “Espesos Interiores”, 1983, pastel and mixed media on paper, signed and dated lower right, titled, dated and inscribed en verso, 29 in. x 23 in., framed, overall 3 1/4 in. x 27 1/4 in. x 1 in. [$700/1000]
Provenance: Carmen Llewellyn Gallery, New Orleans, LA, c. 1984.
327. Roy Thomas Galbraith (American/Wisconsin, b. 1960), “Neon Composition”, neon and mixed media, signed on underside, h. 49 in., w. 4 in., d. 3 1/2 in. [$2000/3000]
330. Tore
331.
Provenance: Galerie Simonne Stern, New Orleans, c. 1970.
332. Askar Yessenbayev (Kazakh, b. 1959), “Ancient Warrior”, bronze, unsigned, h. 13 1/2 in., w. 2 1/4 in., d. 4 1/4 in., wood base, overall h. 25 1/2 in. [$400/600]
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329. Jorge Villegas (Argentinian/Arkansas, 20th c.), “Tower of Babel and Other Buildings to Reach Heaven”, 1983, oil on canvas, signed and dated lower left, label with title on backing board, 24 in. x 18 in., framed, overall 24 1/4 in. x 18 1/4 in. x 1 3/8 in. [$600/800]
Wallin (American/ Louisiana, 20th c.), “Untitled”, 1990, oil on canvas, signed and dated lower right, “Blue Horse Studio, New Orleans” label on backing paper, 48 in. x 72 in., framed, overall 29 1/4 in. x 73 1/4 in. x 2 1/2 in. [$1000/1500]
Robert Gordy (American/ Louisiana, 1933-1986), “Color-Form Study (Overlapping)”, 1969, marker on paper, signed and dated upper left, “Galerie Simonne Stern, New Orleans, LA” label with artist, title and date on backing board, 16 3/4 in. x 16 3/4 in., framed, overall 22 1/4 in. x 22 1/4 in. x 1 in. [$600/800]
328. Tony Mose (American/Louisiana, b. 1968), “Abstract Composition”, 2003, oil on canvas, signed and dated lower right, 24 in. x 35 3/4 in., framed, overall 25 5/8 in. x 37 5/8 in. x 1 3/4 in. [$1200/1800]
335.
336. Ida Rittenberg
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333. George Valentine Dureau (American/Louisiana, 1930-2014), “Untitled: In the Window”, 1969, oil on canvas, signed and dated lower center, 21 1/4 in. x 20 in., framed, overall 22 in. x 29 3/4 in. x 2 in. [$1200/1800]
334. George Valentine Dureau (American/Louisiana, 1930-2014), “Wingding and Me”, 1976, oil wash and graphite on paper mounted to board, signed lower center, label with artist, title and date on backing paper, 18 in. x 22 in., framed, overall 26 3/4 in. x 30 in. x 5/8 in. [$1000/1500]
George Valentine Dureau (American/Louisiana, 1930-2014), “Pulcinella”, 2007, oil on gallerywrapped canvas, signed lower right, signed, titled, dated and inscribed en verso, 59 7/8 in. x 47 7/8 in., unframed. [$8000/12000]
Kohlmeyer (American/Louisiana, 1912-1997), “Untitled: Abstract”, 1976, graphite and charcoal on paper, signed and dated lower left, 23 1/16 in. x 11 3/4 in., framed, overall 32 1/8 in. x 21 1/4 in. x 3/4 in. [$1500/2500]
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337. Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997), “Figure Studies”, 2 graphites on paper, signed lower left or lower right, 7 5/8 in. x 5 1/4 in. and 11 in. x 8 1/4 in., framed, overall 11 5/8 in. x 10 in. x 1/2 in. and 15 7/8 in. x 12 7/8 in. x 1/2 in. [$1000/1500]
338. Henry Casselli (American/Louisiana, b. 1946), “Beggar”, charcoal on paper, signed and titled lower right, partial sketch and inscribed en verso, “Cassell Gallery, New Orleans, LA” label on backing board, 20 3/8 in. x 14 3/16 in., framed, overall 28 1/4 in. x 21 1/4 in. x 1 in. [$700/1000]
339. George Bauer Dunbar (American/Louisiana, b. 1927), “Palm Grove”, 1959, mixed media on paper, signed and dated upper right, sight 15 7/8 in. x 21 11/16 in., framed, overall 26 3/16 in. x 31 3/16 in. x 3/4 in. [$1000/1500]
340. George Bauer Dunbar (American/Louisiana, b. 1927), “Untitled: Torso”, 1991, blue and black clay on panel, signed lower right, “Galerie Simonne Stern, New Orleans” label with artist and date en verso, 21 3/4 in. x 22 1/4 in., framed, overall 21 3/4 in. x 22 1/4 in. x 2 1/2 in. [$5000/8000]
341. Lin Emery (American/Louisiana, 1926-2021), “Maquette”, 1992, ink and board on cardboard, signed and dated lower right, sight 27 3/4 in. x 21 5/8 in., framed, 30 in. x 24 in. x 2 1/4 in. [$600/800]
Provenance: Estate of Lin Emery, New Orleans, LA.
342. Gene Koss (American/ Louisiana, b. 1947), “Vase”, 1982, glass, signed and dated on base, h. 6 1/2 in., dia. 5 in. [$700/1000]
Provenance: Windsor Fine Art, New Orleans, LA.
Note: Jose Basso’s vast canvases dotted with quiet buildings and sparse horizons emanate a sense of meditative calm. Born in Chile in 1949, Basso graduated with a Fine Arts degree from the University of Chile and has been teaching art and exhibiting his works since 1975. His paintings strike the balance between the minimal and complex. While reverberating with color, his compositions of isolated homesteads are remarkably subdued. Informed by the proto-renaissance works of Giotto and futurist works of Carlo Carrà, Basso reflects on the importance of houses depicted throughout art history stating, “The house symbolizes the maternal uterus, the motherland, the mother earth…the nurturing abode.” This comparison of the home to the maternal provides a deeper context for his depictions. In this lot, the sprawling land and sky give the buildings room to breathe, yet the warm light illuminating the structures quells any sense of aloneness. As Basso notes, “I want to make a kind of art that means something and it means something when it affects and seduces us, when it speaks from within its own silence.”
Ref.: “Jose Basso”. Windsor Fine Art. www.windsorfineart.com. Accessed Mar. 25, 2024 “Jose Basso”. CK Contemporary. www. ckcontemporary.com. Accessed Mar. 25, 2024. “Jose Basso”. Galerie d’Orsay. www.galerie-dorsay.com. Accessed Mar. 25, 2024.
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345. David Harouni (Iranian/ Louisiana, b. 1962), “Untitled: Two Kings”, 2 oils on paper, each signed “H” lower left, 16 3/4 in. x 17 in. and 22 in. x 12 in., framed together, overall 50 1/4 in. x 24 3/8 in. x 1 1/4 in. [$1000/1500]
344. David Harouni (Iranian/ Louisiana, b. 1962), “Untitled: The Queen”, oil on canvas, signed lower right, 36 in. x 36 in., framed, overall 41 1/8 in. x 41 1/8 in. x 2 in. [$4000/6000]
343. Jose Basso (Chilean, b. 1949), “Cielo con Estrellas II”, 2023, oil on canvas, signed lower right, 40 in. x 60 in., framed, overall 42 in. x 62 in. x 2 in.; accompanied by a copy of a certificate of authenticity from Windsor Fine Art. (2 pcs.) [$20000/30000]
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349. David Harouni (Iranian/Louisiana, b. 1962), “Untitled: Blue Face”, oil on stretched linen napkin, signed lower right, 18 in. x 14 1/2 in., framed, overall 22 in. x 18 in. x 3/4 in. [$1500/2500]
346. David Harouni (Iranian/Louisiana, b. 1962), “Untitled: Horizontal Faces”, oil on canvas, signed lower left, 36 in. x 60 in., framed, overall 39 1/2 in. x 63 1/2 in. x 2 in. [$3000/5000]
347. David Harouni (Iranian/Louisiana, b. 1962), “Untitled: Face with Blue and Red Streaks”, oil on stretched linen napkin, signed lower right, 18 1/4 in. x 15 3/4 in., framed, overall 22 in. x 18 in. x 3/4 in. [$1500/2500]
348. David Harouni (Iranian/Louisiana, b. 1962), “Untitled: Face with Blue Streak”, oil on stretched linen napkin, signed lower right, 18 in. x 15 1/4 in., framed, overall 22 in. x 18 in. x 3/4 in. [$1500/2500]
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350. David Harouni (Iranian/Louisiana, b. 1962), “Untitled: Face Egg”, oil on wood, signed, h. 7 in., dia. 4 1/2 in. [$500/800]
351. David Harouni (Iranian/ Louisiana, b. 1962), “Untitled: Multi-Faces”, oil on canvas, signed lower left, 48 in. x 48 in., framed, overall 52 3/4 in. x 52 1/8 in. x 2 1/2 in. [$4000/6000]
352. David Harouni (Iranian/ Louisiana, b. 1962), “Giselle”, “Gustave” and “Corin”, 3 oils on masonite, 2 signed lower left, one signed lower right, each titled on reverse of frame, each 20 in. x 7 in., framed alike, each overall 23 in. x 10 in. x 1 in. (3 pcs.) [$1200/1800]
353. David Harouni (Iranian/ Louisiana, b. 1962), “Untitled: Boy with Bird”, oil on canvas, signed lower left, 60 in. x 48 in., framed, overall 65 in. x 53 in. x 1 3/4 in. [$1000/1500]
354. David Harouni (Iranian/Louisiana, b. 1962), “Untitled: Single Face with Lips”, oil on canvas, signed lower right, 60 in. x 48 in., framed, overall 67 1/8 in. x 55 1/2 in. x 2 1/8 in. [$3000/5000]
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355. James Michalopoulos (American/Louisiana, b. 1951), “Sepulchre’s Promise”, oil on canvas, signed “Mitchell” lower left, titled and inscribed on stretcher, 30 in. x 40 in., unframed. [$5000/7000]
356. James Michalopoulos (American/Louisiana, b. 1951), “Second Sorely”, 1992, oil on canvas, signed “Mitchell” lower left, signed “Mitchell” and dated en verso, titled on stretcher, 36 in. x 24 in., unframed. [$5000/7000]
357. James Michalopoulos (American/Louisiana, b. 1951), “Magma Potent”, oil on canvas, signed “Mitchell” lower left, artist label with title on backing paper, 24 in. x 30 in., framed, overall 26 3/8 in. x 32 3/8 in. x 1 1/2 in. [$3000/5000]
358. James Michalopoulos (American/ Louisiana, b. 1951), “Run by Veronique”, 1992, oil on canvas, initialed lower left, signed “Mitchell”, dated and inscribed en verso, titled and inscribed on stretcher, 24 in. x 36 in., unframed. [$5000/7000]
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361. Frank Fleming (American/ Alabama, 1940-2018), “Still Life of Fruit and Vegetables Positioned on a Leaf”, 14 bronzes, 12 signed, overall h. 5 in., w. 25 in., d. 15 in. (14 pcs.) [$3000/5000]
360. Frank Fleming (American/ Alabama, 1940-2018), “Turtle with Parasol, Lizard and Frog”, bronze, signed on underside, h. 19 in., w. 8 in., d. 15 in. [$5000/8000]
359. James Michalopoulos (American/Louisiana, b. 1951), “Rockatutu”, 1992, oil on canvas, signed “Mitchell” lower left, signed “Mitchell”, dated and inscribed en verso, titled and inscribed on stretcher, 36 in. x 24 in., unframed. [$5000/7000]
. Birmingham: Oxmoor House Inc., 1976. (2 pcs.) [$20000/30000]
Provenance: Acquired from the artist; Roland Begneaud, Lafayette, LA; Everson Museum of Art, Syracuse, NY, 1976; Jean Bragg Antiques, New Orleans, LA, 1992.
Ill.: Rodrigue, George. The Cajuns of George Rodrigue. Birmingham: Oxmoor House Inc., 1976, p. 106.
Note: By the mid-1970s, Rodrigue had built a solid reputation for his scenes of Cajun folklife, resulting in an expanded clientele and book opportunity with Oxmoor House, publisher of Southern Living Magazine in 1976. The large format book, The Cajuns of George Rodrigue, featured carefully selected (by the artist) images of his recent paintings, including “The Rope from Corine Street / Swing in Opelousas” offered here. Each image was accompanied by Rodrigue’s descriptions in both English and French. The important volume was chosen by The National Endowment for the Arts and Rosalynn Carter as an Official White House Gift of State during the Carter administration. The paintings included in the book are the artist’s best early canvases and represent a seminal period in Rodrigue’s career.
Often based on 1920s-30s period photographs from his mother’s album, Rodrigue’s Cajun paintings reflect his interpretation of a fading era and his own heritage with a contemporary and unique approach. His timeless figures inhabit a landscape unmistakably familiar and beloved by the artist. The two sources of light in “The Rope from Corine Street / Swing in Opelousas,” the girl on the swing and the sunlight beneath the trees, serve to highlight the often-shadowed landscape of Acadiana and allow Rodrigue’s Cajuns to shine from within with the hope of a displaced people.
In Rodrigue’s own words: “I suspend the girl from the tree to create the illusion that the Cajun is a ghost who really never touches the ground nor the sky. This rope represents the movement in time, the movement in a culture, movement which brings changes.”
Ref.: Rodrigue, George. The Cajuns of George Rodrigue. Birmingham, AL: Oxmoor House, Inc., 1976.
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362. George Rodrigue (American/Louisiana, 1944-2013), “The Rope from Corine Street (Swing in Opelousas)”, oil on canvas, signed lower left, signed, titled and 3 “George Rodrigue” stamps on stretcher, “George Rodrigue Gallery, Lafayette, LA” label, 2 “Everson Museum” labels, one typed with artist, title and provenance and “Arvest Galleries American and European Works of Art, Boston MA” label on reverse of frame, inscribed with provenance on backing board, 24 in. x 28 1/4 in., original frame, overall 29 3/4 in. x 33 5/8 in. x 1 5/8 in.; together with Rodrigue, George. The Cajuns of George Rodrigue
363. Hunt Slonem (American/ Louisiana, b. 1951), “Aquamarine”, 2020, oil on panel, signed, titled and dated en verso, 12 in. x 9 in., framed, 13 5/8 in. x 10 3/4 in. x 3/4 in. [$4000/6000]
364. Hunt Slonem (American/ Louisiana, b. 1951), “Touch Up”, 2023, oil on panel, signed, titled and dated en verso, 10 in. x 8 in., framed, overall 14 1/8 in. x 12 1/8 in. x 2 1/4 in. [$4000/6000]
365. Hunt Slonem (American/Louisiana, b. 1951), “Hornbills & Hyacinths”, 1991, oil on canvas, signed, titled and dated en verso, 72 in. x 84 in., framed, overall 79 in. x 90 5/8 in. x 2 1/8 in. [$15000/25000]
366. Hunt Slonem (American/Louisiana, b. 1951), “Young Maharaja (Rudy Valentino)”, 1998/2001, oil on canvas, signed, titled and dated en verso, 74 1/4 in. x 101 1/4 in., unframed. [$10000/15000]
Ill.: Nahas, Dominique. The Worlds of Hunt Slonem
New York: The Vendome Press, 2011, p. 223.
Note: Hunt Slonem began an ongoing painting series devoted to Rudolph Valentino and his circle, including wife and costume designer Natacha Rambova, in the 1990s. Valentino was an internationally famous film actor during the early 1920s, starring in many silent movies. Slonem was inspired by the actor and his dramatic scenes (many known only from film stills) and incorporated them into his paintings, including the one in monumental proportion from the The Young Rajah of 1922 offered here. The film was based on the book Amos Judd by John Ames Mitchell and is best remembered for its elaborate and suggestive costumes that were designed by Rambova for Valentino. Considered a lost film, the surviving footage was re-discovered and restored by Turner Classic Movies in 2005, shortly after the creation of this colorful and expressive homage by Slonem.
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Exh.: “Creole New Orleans, Honey!: The Art of Andrew LaMar Hopkins”, Louisiana State Museum, New Orleans, LA, Nov. 22, 2022 - Sept. 30, 2023, and illustrated in the accompanying catalogue, p. 37.
Note: Andrew LaMar Hopkins, who graces the cover of the April/May issue of Garden & Gun, has been the subject of numerous articles and accolades including in The New York Times, Artforum, Architectural Digest and The Wall Street Journal. The artist’s first New York solo exhibition took place at the Venus Over Manhattan gallery in October of 2020, and he has since had several solo shows, including his Creole New Orleans, Honey! The Art of Andrew LaMar Hopkins exhibition at the Louisiana State Museum.
Hopkins’ inspirations are his own Creole heritage and his passion for antiques. Drawing on his knowledge as an antiquarian, Hopkins’ interiors contain accurate historical depictions of period appropriate furniture, decorative objects and costume combined with underlying complex concepts of race, class and southern American history.
Hopkins describes the painting offered here as such: “Madame Boudousquie [1815-1898] was a soprano, prima donna in Antebellum New Orleans. A 1830’s portrait of her hangs in the left corner of my painting. She married, [in] May 29, 1858, impresario Charles Boudousquié of New Orleans. Charles Boudousquie was the head of a stock company and later manager and commissioner of the French Opera House on Bourbon Street. The French Opera house is depicted over the armoire. The French Opera House’s construction began in 1859 on the corner of Bourbon and Toulouse Streets. It took 233 days and $118,500 to build. Construction workers used bonfires to illuminate the construction site in the evenings, allowing the structures rapid construction. Madame Boudousquie lived in a 1824 Creole cottage known as the Cousin Cottage, which
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is still standing in Faubourg Tremé which is my neighborhood.”
368. Andrew LaMar Hopkins (American/Louisiana, b. 1977), “Garden Pavilion Dandy”, 2021, acrylic on canvas board, signed and dated lower right, signed twice, titled, dated and inscribed en verso, 12 in. x 9 in., framed, overall 16 3/4 in. x 13 7/8 in. x 1 3/4 in. [$3000/5000]
367. Andrew LaMar Hopkins (American/Louisiana, b. 1977), “Madame Boudousquie Wake”, 2021, acrylic on canvas board, signed and dated lower right, signed, titled and dated en verso, 16 in. x 20 in., framed, overall 32 1/2 in. x 35 1/2 in. x 4 1/8 in.; together with Hopkins, Andrew LaMar. Creole New Orleans, Honey!. Altona, Canada: Friesens Corporation for The Louisiana Museum Foundation, New Orleans, LA, 2022. (2 pcs.) [$10000/15000]
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371. Eddie “Jack” Jordan (American/ Louisiana, 1925-1999), “They Crucified the Black Man...Also”, 1991, pastel on masonite, signed and dated lower right, inscribed with artist on reverse of frame, 3 handwritten labels one with artist and title on backing paper, 48 in. x 24 in., framed, overall 53 1/2 in. x 29 3/4 in. x 2 in. [$1000/1500]
372. Eddie “Jack” Jordan (American/Louisiana, 1925-1999), “Day in the Country”, double-sided oil on canvas, unsigned, 24 1/4 in. x 36 in., framed, overall 29 5/8 in. x 41 3/4 in. x 2 1/2 in. [$800/1200] Provenance: Acquired from the artist.
369. Andrew LaMar Hopkins (American/ Louisiana, b. 1977), “Alexis de Tocqueville in Creole New Orleans”, 2023, acrylic on board, initialed and dated mid-right, signed twice, titled and dated en verso, 3 5/8 in. x 2 3/4 in., framed, overall 6 7/8 in. x 5 in. x 5/8 in. [$1000/1500]
370. Andrew LaMar Hopkins (American/ Louisiana, b. 1977), “Free Man of Color Artist Joshua Johnson”, 2022, acrylic on board, initialed and dated mid-right, signed, titled and dated en verso, 3 5/8 in. x 2 1/2 in., framed, overall 6 7/8 in. x 5 in. x 5/8 in. [$1000/1500]
Ref: Ramie, Alain.
374.
Provenance: Craftsman Auction, Lambertville, NJ, September 20, 2003, lot 63A
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373. Pablo Picasso (Spanish, 1881-1973), “Hibou”, painted and glazed white ceramic pitcher, 1954, from the edition of 500, inscribed “Edition Picasso Madoura”, and with the Edition Picasso and Madoura Plein Feu pottery stamps on underside, h. 9 3/4 in. [$5000/7000]
Picasso Catalogue of the Edited Ceramic Works 1947-1971, Madoura, #253
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. [$600/900]
377. Mary Kirk Kelly (American/Alabama, 1918-2013), 13 ceramic cabbage leaf drinkware, incl. 3 tea cups, 5 cups, and 5 tumblers, tallest 2 7/8 in., all signed. [$300/500]
378. Mary Kirk Kelly (American/Alabama, 1918-2013), large group of ceramic fruit, peanuts, and mushrooms, incl. lidded pear (h. 4 6/8 in.), figs, dates, and citrus, all signed. (approx. 66 pcs.) [$400/600]
379. Mary Kirk Kelly (American/ Alabama, 1918-2013), group of ceramic vegetables, incl. lidded pumpkin (h. 5 in.), lidded squash, gourd ladle, asparagus, and others, all signed. (17 pcs.) [$500/700]
375. Mary Kirk Kelly (American/Alabama, 1918-2013), 4 ceramic eggplants, incl. two lidded boxes, and two others, each signed, tallest 5 1/2 in., Note: tallest repaired. [$300/500]
376. Mark Kirk Kelly (American/Alabama, 1918-2013), 12 ceramic cabbage leaf pieces, incl. a plate (dia. 9 in.) and 11 bowls (dia. 7 in.), all signed. [$300/500]
380. George Ohr Art Pottery Vase, stamped “G.E. OHR/ BILOXI, MISS”, dimpled form, in mottled brown, green and yellow glaze, rim loss, h. 5 in., dia. 5 3/8 in. [$700/1000]
381. Shearwater Art Pottery
“Androcles & Lion” Bookend, 1930, designed by Walter Inglis Anderson, antique green glaze, h. 5 1/2 in., w. 4 1/8 in., d. 2 3/4 in. [$700/1000]
382. Newcomb College Art Pottery Candlestick, nd (no date), with Newcomb cypher, h. 6 in. [$400/600]
383. Newcomb College Art
Pottery Vase, 1931, decorated by Sadie Irvine, in a Moon and Moss design, with Newcomb cypher, decorator’s mark, Jonathan Hunt potter’s mark, shape number 149, and registration number SZ-26, h. 6 1/2 in., dia. 4 1/2 in. [$1500/2500]
384. Newcomb College Art Pottery Vase, 1932, decorated by Sadie Irvine, in a Moon and Moss design, with Newcomb cypher, decorator’s mark, Jonathan Hunt potter’s mark, and registration number TW-28, h. 3 1/2 in., dia. 4 1/4 in. [$1000/1500]
385. Newcomb College Art
Pottery Vase, nd, with Newcomb cypher, and Joseph Meyer’s potter’s mark, dimpled form in green glaze, h. 2 5/8 in., dia. 3 1/8 in. [$250/350]
386. Newcomb College Art Pottery
High Glaze Mug, 1903, decorated by May Louise Dunn, in a stylized ivy design, with Newcomb cypher, decorator’s mark, Joseph Meyer potter’s mark, “Q” for buff clay, registration number EE-46, and a partial paper label, h. 4 1/8 in. [$1200/1800]
387. Newcomb College Art
Pottery Vase, 1924, decorated by Sadie Irvine, in a matte glaze floral design, with Newcomb cypher, decorator’s mark, and registration number OA-69, h. 6 in., Note: hairline cracks. [$400/600]
70
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388. Columbus Jackson Becham Stoneware Jug, late 19th/early 20th c., Crawford County, GA, stamped “CJB” on handle, alkaline glaze. [$700/1000]
389. Mottahedeh Chinese Export-Style Porcelain Platters, incl. one bowl, dia. 8 in.; 3 small platters, 9 1/2 in. x 10 1/2 in.; and 2 large platters, 14 in. x 16 in. (6 pcs.) [$400/600]
390. Pair of Roseville Ceramic Jardinieres on Stands, marked, blue ground, white flowers, h. 31 in., dia. 14 in., with conforming two-handled vase, h. 15 1/2 in., w. 10 in., d. 7 1/2 in. [$700/1000]
391. Moorcroft Art Pottery “Pomegranate” Vase, base fully marked, h. 8 1/4 in., dia. 4 5/8 in. [$800/1200]
392. James L. Kendrick III (American/Louisiana, 1946-2013), “Lafitte’s Blacksmith Shop”, oil on canvas, signed lower right, 16 in. x 20 in., framed, overall 23 in. x 27 in. x 2 in. [$700/1000]
393. James L. Kendrick III (American/ Louisiana, 1946-2013), “Cafe Du Monde”, 1977, oil on canvas, signed and dated lower right, 11 in. x 14 in., framed, overall 18 1/4 in. x 21 1/2 in. x 1 1/2 in. [$600/800]
394. Rolland Harve Golden (American/Louisiana, 1931-2019), “Goldstar Parents 1864”, 1972, mixed media on paper, signed and dated lower right, 16 5/8 in. x 13 5/8 in., framed, overall 25 3/8 in. x 19 3/4 in. x 1 1/2 in. [$400/600]
395. Noel Rockmore (American/Louisiana, 1928-1995), “Gypsy Lou”, 1973, oil on canvas, signed, titled and dated upper right, 36 in. x 24 in., framed, overall 44 1/8 in. x 32 1/8 in. x 2 1/4 in. [$2000/3000]
396. Robert Malcolm Rucker (American/Louisiana, 1932-2001), “Spring Landscape”, oil on canvas, signed lower right, artist biography on stretcher, 18 in. x 24 in., framed, overall 24 3/4 in. x 30 3/4 in. x 1 7/8 in. [$800/1200]
397. S.S. Fisher (American/ Louisiana, 20th c.), “Bayou Landscape”, 1975, oil on canvas, signed and dated lower right, 16 in. x 20 in., framed, overall 21 7/8 in. x 26 in. x 1 in. [$600/800]
398. Chestee Harrington (American/Louisiana, b. 1941), “Chapron on the Teche”, 1980, oil on carved wood, signed and dated lower left, titled en verso, “Texcuco Plantation” label on backing paper, 12 3/4 in. x 15 5/8 in., framed, overall 17 7/8 in. x 20 5/8 in. x 2 1/2 in. [$500/700]
399. Chestee Harrington (American/Louisiana, b. 1941), “Landscape with Cabin and Live Oak”, oil on carved wood, signed lower left, 7 1/8 in. x 11 1/8 in., framed, overall 12 1/8 in. x 16 1/8 in. x 2 3/8 in. [$500/700]
400. Chestee Harrington (American/Louisiana, b. 1941), “Cabin with Chickens”, oil on carved wood, signed lower right, 11 3/8 in. x 12 5/8 in., unframed. [$300/500]
72
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401. Emmitt Thames (American/Mississippi, b. 1933), “Omega Gold”, gouache and watercolor on paper, signed lower right, 21 3/4 in. x 29 1/2 in., framed, overall 34 1/2 in. x 42 1/8 in. x 2 in. [$400/600]
Provenance: Brown’s Framing & Fine Arts, Inc., Jackson, MS, Oct. 5, 1987.
402. Emmitt Thames (American/Mississippi, b. 1933), “Hauling in the Nets”, watercolor on paper, signed lower right, sight 10 3/4 in. x 14 3/4 in., framed, overall 19 1/2 in. x 23 3/8 in. x 1 3/4 in. [$400/600]
403. Will Henry Stevens (American/Louisiana, 1881-1949), “Bayou Barataria, Louisiana”, oil on board, signed lower left, titled and inscribed en verso, 22 in. x 26 in., framed, overall 28 1/8 in. x 32 1/8 in. x 1 5/8 in. [$7000/10000]
Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 90.
74
405. Walter Inglis Anderson (American/Mississippi, 1903-1965), “The Excited Duck”, watercolor and graphite on paper, unsigned, estate stamp lower right, “Chilton’s Inc., Mobile, AL” label on backing paper, 11 in. x 8 1/2 in., framed, overall 15 3/4 in. x 12 3/4 in. x 7/8 in. [$10000/15000]
406. After Walter Inglis Anderson (American/Mississippi, 1903-1965), “Alligator”, hand-colored silkscreen, printed by Carolyn Anderson, colored by Mary Annette Anderson, inscribed with title and colorist and “Designs by Walter Anderson” stamp with printer en verso, sheet 23 5/8 in. x 53 7/8 in., framed, overall 31 5/8 in. x 59 1/4 in. x 1 1/2 in. [$700/1000]
407. Walter Inglis Anderson (American/Mississippi, 1903-1965), “The Frog Prince #1”, woodblock on paper, unsigned, sight 78 in. x 20 1/2 in., framed, overall 80 1/2 in. x 22 1/2 in. x 1 in. [$1500/2500]
404. Karl Wolfe (American/Mississippi, 1904-1984), “Sally B. Dam”, 1940, watercolor on paper, signed, titled, dated and inscribed “D.A.C. (Dixie Art Colony)” lower left, 14 7/8 in. x 21 in., framed, overall 19 5/8 in. x 25 5/8 in. x 1 in. [$700/1000]
411.
Provenance: Rago Auction, Lambertville, NJ, Jun. 9, 2013, lot 792.
412.
75
Modern Contemporary Composition and Wood Tree Form Console, 20th c., in the manner of Serge Roche, (French 1898-1988), marble top, palm and root carving, h. 32 in., w. 33 in., d. 15 1/4 in. [$800/1200]
408. Don Wright (American/Louisiana, 1938-2007), “Horses in a Field with Distant Cabin”, 1999, oil on canvas, signed and dated lower left, 24 in. x 36 in., framed, overall 27 1/2 in. x 39 1/2 in. x 1 3/4 in. [$1800/2500]
409. Don Wright (American/Louisiana, 1938-2007), “Sandy Dunes”, 2003, oil on panel, signed and dated lower left, 9 in. x 12 in., framed, 12 5/8 in. x 15 3/4 in. x 2 in. [$800/1200]
410. Durett Stokes (American/ Florida, 1881-1967), “Florida Landscapes”, 7 oils on masonite, one signed, each inscribed en verso, 5 in. x 4 in. to 5 3/8 in. x 4 1/8 in., each framed, each overall 6 1/2 in. x 5 5/16 in. x 1 in. (7 pcs.) [$1000/1500]
Italian Onyx Desk, 1970s, unmarked, h. 29 1/2 in., w. 67 in., d. 31 1/2 in. [$800/1200]
Provenance:
76
417. Louisiana Federal Carved Cherry Armoire, early 19th c., stepped cornice, conforming case, paneled doors, belt of drawers, turned acorn legs, h. 87 in., w. 59 1/2 in., d. 23 in. [$1500/2500]
416. Southern Carved Walnut Secretary Bookcase, 19th c., molded cornice, glazed doors, fall-front lid, frieze drawer, turned legs, h. 80 3/4 in., w. 38 1/2 in., d. 23 1/2 in. [$700/1000]
414. Grosfeld House Walnut and Tooled Leather Extension Dining Table, 1940s, USA, unmarked, with one 18 in. leaf, h. 28 in., w. 60 in., d. 42 in., w. with leaf 78 in. [$500/700]
Rago Auction, Lambertville, NJ, Jun. 17, 2012, lot 1062.
415. Pair of Benchmade Mahogany Half Tester Beds, by David Pruett, 1979, Natchez, MS, rectangular tester, faceted posts, shaped headboard, molded rails, h. 89 in., l. 75 1/2 in., w. 39 in. [$800/1200]
413. Contemporary Four Seat Leather Sofa, by Bradington-Young, Hickory, NC, removable cushions, padded arms, block feet. [$700/1000]
418.
419.
421. Chitimacha Double-Weave
Lidded Basket, natural and dyed river cane, with “alligator entrails” and “worm track” design, h. 8 in., w. 6 1/2 in., d. 6 1/2 in. [$1200/1800]
425. Chitimacha Double-Weave
Lidded Trinket Basket, natural and dyed river cane, h. 3 in., w. 1 3/4 in., d. 1 3/4 in. [$300/500]
422. Chitimacha Double-Weave
Lidded Basket, natural and dyed river cane, with “alligator entrails” and “worm track” design, h. 7 in., w. 5 1/2 in., d. 5 1/2 in. [$1000/1500]
426. Chitimacha
429. Three Chitimacha Single Weave Hanging Baskets, natural and dyed river cane, incl. one elbow, one triangular, and another, largest h. 13 1/2 in., w. 11 1/2 in., d. 4 in. [$600/900]
430. Chitimacha Single Weave Rattle, l. 11 in., dia. 2 1/2 in. [$200/300]
420.
423. Chitimacha Double-Weave
Lidded Basket, natural and dyed river cane, with “Teche” and “worm track” design, h. 5 in., w. 3 in., d. 3 in. [$400/600]
427.
424. Chitimacha Double-Weave
Lidded Basket, natural and dyed river cane, with “Teche” and “worm track” design, h. 6 in., w. 4 1/4 in., d. 4 1/4 in. [$500/700]
428. Three Small Chitimacha Single Weave Hanging Baskets, natural and dyed river cane, incl. two triangular and one elbow, tallest h. 7 in. [$300/500]
431. Charles Bird King (American/Rhode Island, 1785-1862), “Shau-Hau-Napo-Tinia, An Ioway Chief” and “Tshusick, An Ojibway Woman”, 2 hand-colored lithographs, from History of the Indian Tribes of North America, printed by J.T. Bowen, Philadelphia, published by E.C. Biddle, Philadelphia and F.W. Greenough, Philadelphia, both for McKenney and Hall, each with original text on backing paper, sights 17 in. x 13 in., framed alike, each overall 26 1/4 in. x 21 1/4 in. x 7/8 in. (2 pcs.) [$700/1000]
77
Single Weave Tray Basket, natural and dyed river cane, h. 1 in., w. 4 1/4 in., d. 4 1/4 in. [$200/300]
Chitimacha Single Weave Open Basket, natural and dyed river cane, h. 3 in., dia. 5 in. [$400/600]
Acadian Cotton “Paillasse” Corn Shuck Mattress Cover, with two openings, 52 in. x 78 in. [$600/900]
Acadian Homespun Striped Cotton Blanket, two-panel construction, 74 in. x 74 in. [$600/900]
Acadian Homespun Cotton Blanket, two-panel construction, 74 in. x 79 in. [$400/600]
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435. John James Audubon (American, 1785-1851), “Blue Grosbeak”, Plate 122, handcolored aquatint with engraving, from The Birds of America, Havell edition, “J.Whatman 1834” watermark visible, sheet 37 1/2 in. x 25 1/4 in., framed, overall 44 3/8 in. x 36 3/8 in. x 2 1/8 in. [$2000/3000]
436. John Woodhouse Audubon (American, 1812-1862), “The Cougar (Female & Young)”, Plate 97, hand-colored lithograph, from The Viviparous Quadrupeds of North America, Bowen edition, sheet 21 1/2 in. x 27 1/2 in., framed, overall 29 1/2 in. x 35 1/4 in. x 1 in. [$800/1200]
437. John Woodhouse Audubon (American, 1812-1862), “Dusky Squirrel”, Plate 117, hand-colored lithograph, from The Viviparous Quadrupeds of North America, Bowen edition, sheet 27 1/4 in. x 21 1/8 in., framed, overall 35 1/2 in. x 29 1/2 in. x 1 1/8 in. [$400/600]
438. John James Audubon (American, 1785-1851), “Common American Deer (Fawn)”, Plate 81, hand-colored lithograph, from The Viviparous Quadrupeds of North America, Bowen edition, “Taylor Clark, Baton Rouge, LA” label on backing paper, sheet 20 9/16 in. x 27 5/16 in., framed, overall 25 5/16 in. x 33 5/16 in. x 1 1/4 in. [$800/1200]
433. John James Audubon (American, 1785-1851), “American Redstart”, Plate 40, 1971, lithograph, from The Birds of America, Amsterdam edition, “G.Shut & Zonen Audubon” watermark visible, sheet 39 3/8 in. x 26 1/4 in., framed, overall 44 in. x 31 3/8 in. x 1 1/4 in. [$500/700]
434. John James Audubon (American, 1785-1851), “RubyThroated Humming Bird”, chromolithograph, from The Birds of America, Bien edition, sight 32 3/4 in. x 23 5/8 in., framed, overall 47 3/8 in. x 37 1/2 in. x 1 1/4 in. [$800/1200]
432. John James Audubon (American, 1785-1851), “Brown Pelican”, Plate 251, 1971, lithograph, from The Birds of America, Amsterdam edition, “G.Schut & Zonen” watermark visible, sheet 40 1/2 in. x 27 1/2 in., framed, overall 51 3/4 in. x 38 3/4 in. x 1 1/2 in. [$500/700]
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441. Alexander John Drysdale (American/Louisiana, 1870-1934), “Sunrise on the Edge of a Cypress Swamp”, 1910, oil wash on board, signed lower right, signed, titled, dated and inscribed en verso, 17 3/8 in. x 23 7/8 in., framed, overall 23 in. x 30 in. x 1 in. [$2000/3000]
442. Alexander John Drysdale (American/Louisiana, 1870-1934), “Moonlit Bayou Landscape with Live Oak”, oil wash on board, signed lower right, 19 7/8 in. x 30 3/8 in., framed, 30 7/8 in. x 40 5/8 in. x 1 in. [$2500/3500]
443. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou”, oil wash on board, signed lower left, 20 in. x 30 in., framed, overall 27 5/8 in. x 37 5/8 in. x 1 5/8 in. [$2000/3000]
444. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou with Pirogue”, oil wash on board, signed lower left, 19 3/4 in. x 29 3/4 in., framed, overall 27 1/2 in. x 37 1/2 in. x 1 1/2 in. [$2000/3000]
439. Alexander John Drysdale (American/Louisiana, 1870-1934), “Three Live Oaks on the Bank of a Bayou”, oil wash on board, signed lower right, 10 in. x 30 1/8 in., framed, overall 13 3/8 in. x 33 3/8 in. x 1 3/4 in. [$1500/2500]
440. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou with Pirogue”, oil wash on board, signed lower left, 19 1/8 in. x 28 7/8 in., framed, overall 25 1/8 in. x 35 1/8 in. x 2 1/4 in. [$2000/3000]
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451. Ellsworth Woodward (American/Louisiana, 18611939), “New England Fireplace #3”, 1885, grisaille watercolor on paper laid on board, signed and dated lower left, inscribed with title on reverse of mount, 12 3/4 in. x 20 5/8 in., framed, overall 19 3/4 in. x 27 1/4 in. x 5/8 in. [$1000/1500]
445. Louis L. Betts (American/Arkansas, 1873-1961), “Two Children Picking Flowers”, 1896, oil on canvas, signed and dated lower left, 14 in. x 18 in., framed, overall 25 1/4 in. x 29 1/4 in. x 4 1/4 in. [$800/1200]
446. Selina Elizabeth Bres (American/Louisiana, 1870-1953), “Waterlilies”, 1895, oil on canvas, initialed and dated lower left, “Bailey’s, Rochester, New York” label on reverse of frame, 10 in. x 21 1/8 in., framed, overall 13 3/4 in. x 24 1/2 in. x 1 1/8 in. [$1200/1800]
447. George David Coulon (French/Louisiana, 1822-1904), “La. Bird, the Speckled Quail / The Hermit Thrush”, oil on board, signed, titled, inscribed and handwritten label “The Hermit Thrush, Audubon” en verso, 12 1/4 in. x 9 1/4 in., framed, overall 13 3/4 in. x 10 3/4 in. x 7/8 in. [$1500/2500]
448. George Henry Clements (American/Louisiana, 1854-1935), “Rocky Shoreline with Distant Sailboats”, oil on canvas, signed lower right, 16 1/4 in. x 22 1/4 in., framed, overall 21 3/4 in. x 27 3/4 in. x 2 1/8 in. [$1500/2500]
449. George Henry Clements (American/Louisiana, 1854-1935), “Farmyard”, watercolor and graphite on paper laid on board, signed lower right, 11 1/2 in. x 15 1/4 in., framed, overall 19 in. x 22 3/8 in. x 7/8 in. [$700/1000]
450. Ellsworth Woodward (American/Louisiana, 1861-1939), “European Street Scene”, watercolor on paper laid on board, signed lower left, 21 3/16 in. x 14 in., framed, overall 23 1/2 in. x 16 1/2 in. x 1 1/4 in. [$1200/1800]
452. Morris Henry Hobbs (American/Louisiana, 1892-1967), “Hennepin Canal”, oil on board, signed lower right, “Arvey, Hodes & Mantynband, Chicago” label with artist and title en verso, handwritten label with artist on reverse of frame, “No. 43 Nicholls Collection” plaque on side of frame, 9 in. x 12 in., framed, overall 13 5/8 in. x 16 3/4 in. x 1 in. [$600/800]
453. Morris Henry Hobbs (American/ Louisiana, 1892-1967), “Foo Dog”, 1945, watercolor on paper, signed lower right, dated lower left, artist label en verso, 13 3/4 in. x 10 1/2 in., framed, overall 22 3/4 in. x 19 1/2 in. x 1 in. [$400/600]
454. Morris Henry Hobbs (American/Louisiana, 1892-1967), “Mardi Gras on Royal St., Old New Orleans”, 1940, etching, pencil-signed, titled and inscribed “Ed./100” lower margin, dated and inscribed in plate, 11 3/4 in. x 8 3/4 in., framed, overall 22 1/8 in. x 18 1/8 in. x 1 in. [$500/700]
Ill.: Isbell, Reed W. Morris Henry HobbsA Catalogue Raisonné of Etchings, Engravings & Lithographs. McLean, VA: Coffee Street Publishing, 2017, p. 142.
456. Henry Martin Gasser (American, 1909-1981),
Orleans Street
signed and inscribed “New Orleans” lower right, signed, titled and printed artist biography en verso, 15 in. x 21 7/8 in., framed, overall 22 1/8 in. x 29 1/8 in. x 2 in. [$2000/3000]
Provenance: Neal Auction, May 6, 2016, lot 641.
81
457. Henry Martin Gasser (American, 1909-1981), “Man in Rowboat”, watercolor on paper, signed lower right, sketch en verso, 16 1/2 in. x 22 in., framed, overall 22 3/8 in. x 27 7/8 in. x 2 in. [$2000/3000]
458. Marion Sims Souchon (American/Louisiana, 1870-1954), “The Shoe Box”, oil on panel, signed lower right, titled, inscribed “447” and artist label with title en verso, 28 in. x 21 7/8 in., framed, overall 33 5/8 in. x 27 5/8 in. x 1 1/2 in. [$3000/5000]
455. 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. [$1000/1500]
“New
Scene”, watercolor on board,
459. Guy Pene du Bois (American/Louisiana, 1884-1958), “Flowers”, 1943, oil on canvas, signed and dated lower right, “James Graham & Sons, New York” label with artist, title and date, 2 handwritten labels one with artist the other with title and “Shannon’s” label on stretcher, 20 in. x 16 in., framed, overall 25 in. x 21 1/2 in. x 1 1/4 in. [$4000/6000]
Provenance: Shannon’s Fine Art Auctioneers, Milford, CT, May 4, 2006, lot 242; Collection of Allison Kendrick, The Carroll-Crawford House, New Orleans; Neal Auction, Nov. 20, 2021, lot 489.
Note: A keen observer of class dynamics, Guy Pène du Bois built a successful artistic career documenting the bourgeois lives of the Parisians and Americans he encountered throughout his lifetime. Born to Louisiana writer and journalist, Henri Pène du Bois, Guy inherited his father’s enthusiasm for the French language and culture. In 1905, after spending his early career studying under Robert Henri and William Merritt Chase and alongside fellow students George Bellows and Edward Hopper, he traveled to Paris with his father where his work was exhibited in the Paris Salon for the first time that same year. Due to his father falling ill, he was forced to return to New York in 1906. There, he would go on to become an art critic for the New York Tribune and remain involved in the local art scene, even helping to organize the 1913 Armory Show, which included several of his works. Du Bois would return to Paris in 1924 for a few years to focus on painting, before settling in New York once again to teach at his own art school and the Art Students League in New York.
While he was known primarily as a satirist of social scenes, du Bois’ painting on offer here is a rare and tender still life. The pink, white and red tones of the flowers glow against the saturated blue background, and the artist’s expert and effortless brushwork is demonstrated in the shading of the vase and the petals of the flowers. Painted later in his life, this 1948 composition is a haunting example of du Bois’ mature talent. Ref.: Torchia, Robert. “Guy Pène du Bois”. National Gallery of Art. Aug. 17, 2018. www.nga.gov. Accessed: March 25, 2024.
461. Arnold E. Turtle (British/ Louisiana, 1892-1954), “Marsh Landscape”, oil on canvas laid on panel, unsigned, 16 in. x 20 in., framed, overall 19 1/4 in. x 23 1/4 in. x 1 in. [$800/1200]
462. Luis Graner y Arrufi (Spanish, 1863-1929, active Louisiana, 19141922), “Landscape with Pond”, oil on canvas, unsigned, inscribed with artist on stretcher and reverse of frame, handwritten label with artist on reverse of frame, 23 1/8 in. x 30 in., framed, overall 26 3/8 in. x 33 5/8 in. x 1 in. [$600/800]
464. Charles Whitfield Richards
1906-1992), “Landscape”, oil on canvas laid on panel, signed lower right, handwritten label with title and 2 “Artists’ Showroom, New Orleans” labels on backing paper, 10 in. x 12 in., framed, overall 13 3/4 in. x 15 7/8 in. x 1 in. [$500/700]
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463. Gideon Townsend Stanton (American/ Louisiana, 1885-1964), “Trees Reflected in Water”, oil on canvas board, signed lower right, signed and titled en verso, 15 3/4 in. x 19 1/2 in., framed, overall 19 1/2 in. x 23 1/8 in. x 1 1/4 in. [$700/1000]
(American/Louisiana,
460. Paul Schumann (German/Texas, 1876-1946), “Pulling the Nets”, oil on canvas board, signed lower right, 11 7/8 in. x 13 5/8 in., framed, overall 13 3/8 in. x 15 1/8 in. x 1 1/8 in. [$8000/12000]
465. Charles Whitfield Richards (American/Louisiana, 1906-1992), “French Quarter Street Scene”, oil on canvas laid on board, signed upper left, “Artists’ Showroom, New Orleans” label en verso, 11 in. x 14 1/4 in., framed, overall 13 in. x 16 3/8 in. x 1 1/4 in. [$600/800]
466. Charles Whitfield Richards (American/Louisiana, 1906-1992), “Japanese Magnolia”, 1980, oil on canvas, signed lower left, titled, dated, inscribed and “Artists’ Showroom, New Orleans” label on stretcher, 16 in. x 20 in., framed, overall 21 1/2 in. x 25 1/2 in. x 1 1/2 in. [$800/1200]
Fine Wine & Spirits
featuring 27 select lots of collectable, rare and sought-after vintages
467. Casanova di Neri Cerretalto Brunello di Montalcino 2007, 2 bottles, 750ml.; fill levels to neck; labels and back labels have very l ight scuffs. (2 bottles) [$300/400]
Provenance: Stored in Martin’s Wine Cellar long-term wine storage facility at Wines Unlimited, New Orleans, LA since 2012.
469. Opus One 2004, 1 bottle, 750ml.; fill level at neck; label and back label have stains, damp stains, light peeling and scuffs; capsule has scuffs, scratches and 1 pin point loss. [$200/300]
468. Conn Creek Zinfandel 1980, 2 bottles, 750ml.; each fill level to base neck, each label has discoloration, light wrinkling, light surface loss, light tears and light staining; each capsule has light dents and scratches, 1 has pin point hole on side. (2 bottles) [$200/300]
Provenance: Michael W. Murphy, El Dorado Arkansas.
470. Vintage Port Mixed Lot, Smith Woodhouse Vintage Port 1977, 4 bottles, 750ml; Dow’s Vintage Port 1985, 1 bottle, 750ml; Gould Campbell
Port 1985, 2 bottles, 750ml; J.
J.
W.
Vintage Port 1991, 1 bottle, 750ml; Fonseca Guimaraens Vintage Port 1991, 1 bottle, 750ml; Gould Campbell Bicentenary Vintage Port 1997, 1 bottle, 750ml; All labels, back labels and band labels have varying degrees of scuffs, fading, dirt, damp stains, wrinkling, peeling and loss; all metal capsules have varying degrees of wrinkling, nicks and scratches; 11 corks are slightly depressed; 1 Gould Campbell 85 has slightly extended cork. (12 bottles) [$500/600]
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Vintage
& W. Graham’s Vintage Port 1985, 2 bottles, 750ml;
&
Graham’s
471. Fonseca Vintage Port 1960, 1 bottle, 750ml.; fill level to low shoulder; label has scratches, fading, small tears, light surface dirt, and scuffs; band label is torn, has stains and discoloration; red wax capsule has large loss, embrittlement, cracks and stains ; cork has seepage; bottle has scratches, bin soil and splash mark. [$150/250]
472. Hooper’s Vintage Port 1963, 3 bottles, 750ml.; each fill level to midshoulder; each front label has light marks and scuffs, 1 has light stains; each band label has stains, light wrinkling and small tears, 1 has loss; each metal capsule has, stains, dints, scuffs, scratches, paint loss and wrinkling; 1 cork is depressed, all show signs of past seepage; each bottle has bin soil. (3 bottles) [$200/300]
473. Taylor Fladgate Vintage Port 1977, 2 bottles, 750ml.; each fill level to top shoulder; each label has scuffs, light peeling, light damp stains, light wrinkling, light surface loss, 1 has loss; 1 band label has tears, wrinkles and losses, 1 missing band label; 1 depressed cork with past seepage, 1 cork with loss in top no visible seepage; each metal capsule has nicks, scratches and paint loss, 1 has 1/4 in. x 3/4 in. loss on top with associated small losses; each bottle has bin soil, scratches and remnants of splash marks (2 bottles) [$100/200]
474. Warre’s Vintage Port 1977, 4 bottles, 750ml., each label has light wrinkling, scuffs, 1 has peeling and staining; each back label has varying amounts of stains, scratches, losses, surface loss and dirt; each metal capsule has dents, scratches and wrinkling; 3 slightly depressed corks. (4 bottles) [$250/350]
475. Taylor Fladgate Vintage Port 1977, with wood box, 12 bottles, 750ml.; all labels and band labels have varying degrees of scuffs, stains, damp stains, losses, peeling and surface dirt, 1 label is 1/4 peeled; all metal capsules have varying degrees of dents, scratches, pin hole losses and surface dirt, 2 are green the rest black; 2 slightly depressed corks, 1 slightly extended cork, 2 with light seepage; all bottles have bin soil, surface dirt and to varying degrees show past seepage. (12 bottles) [$600/700]
476. Dow’s Vintage Port 1983, with wood box, 9 bottles, 750ml.; all bottles have light bin soil; all labels and back labels have varying degrees of dirt, scuffs, small tears, fading, stains and light wrinkling; all band labels have light wrinkling, 1 stained; all metal capsules have varying degrees of wrinkling, dents and scratches; 1 cork with seepage; 6 bottles with splash marks. (9 bottles) [$400/500]
84
477.
479. Domaine Jean-Louis Chaves Mixed Lot, Domaine Jean-Louis Chaves Hermitage 2009 & 2010, 2 bottles of each, 750ml.; 1 label very light wrinkling, 1 label very light scuffs, all capsules have very light scuffs. (4 bottles) [$1000/2000]
Provenance: Stored in Martin’s Wine Cellar long-term wine storage facility at Wines Unlimited, New Orleans, LA since 2012.
Note: Neal Auction would like to thank Liz Dowdy Mitchell, Advanced Sommelier, Head of Wine at Vinovest for her assistance in cataloguing this lot.
478. Champagne Mixed Lot, Dom Pérignon Brut 1990, 1 bottle, 750ml. & Bollinger R.D. Extra Brut 1990, 1 bottle, 750ml.; Dom fill level .95cm.; label and back label have light losses, light tears, back label has light stains and light peeling; capsule has paint loss, wrinkling, tears, dents, scratches and loss on top over cage; Bollinger fill lever to .95cm., label, top label and back label have light wrinkling, light peeling, light scuffs and stains; capsule has wrinkling, paint loss scratches, dents and scuffs. (2 bottles) [$400/600]
480. Château de Beaucastel Châteauneuf-du-Pape Hommage à Jacques Perrin 2012, original unopened banded wood case, 3 bottles, 750ml. [$1000/2000]
Provenance: Stored in Martin’s Wine Cellar long-term wine storage facility at Wines Unlimited, New Orleans, LA since 2012.
Note: Neal Auction would like to thank Liz Dowdy Mitchell, Advanced Sommelier, Head of Wine at Vinovest for her assistance in cataloguing this lot.
481. Château Lafitte Rothschild Mixed Lot, 2 bottles, 1959 & 1964, 750ml.; 1959 fill level to mid-shoulder; label has heavy loss with associated peeling and discoloration; capsule has dirt, stains, scratches and scuffs; bottle has bin soil; 1964 fill level to low shoulder; half of label peeling, label has losses, discoloration, stains, wrinkling, marks and scruffs; capsule has dirt, stains, scuffs, dents, wrinkling and stains; bottle has bin soil. (2 bottles) [$1500/2500]
Note: Neal Auction would like to thank Liz Dowdy Mitchell, Advanced Sommelier, Head of Wine at Vinovest for her assistance in cataloguing this lot.
482. Château Haut-Brion Premier Grand Cru Classé 1966, 3 bottles, 750ml.; 2 fill levels to top shoulder, one to mid-shoulder; each label has varying degrees of stains, discoloration, wrinkling, scuffs, marks and light losses, 1 has 2 tears upper center; each capsule has losses, tears, dents, scratches, scuffs and paint loss, 2 have stains; 1 cork slightly depressed, each shows signs of past seepage; each bottle has bin soil. (3 bottles) [$700/1000]
Note: Neal Auction would like to thank Liz Dowdy Mitchell, Advanced Sommelier, Head of Wine at Vinovest for assistance in cataloguing this lot.
85
Fonseca Vintage Port 1985, 12 bottles, 750ml.; all labels, back labels and band labels with very light dirt and scuffs; 2 labels and one back label with light peeling; all band labels have light creases, 1 stained; all metal capsules have light nicks and scratches; 1 depressed cork with seepage. (12 bottles) [$600/700]
483. Domaine Faiveley Mixed Lot, Domaine Faiveley Clos de Vougeot Grand Cru 2009, 2 bottles, 750ml.; Domaine Faiveley Corton Clos de Corton Faiveley Monopole Grand Cru 2010, 2 bottles, 750ml.; 3 labels have light wrinkling, 1 label has very small tear; 3 top labels have very light wrinkling; each capsule has very light wrinkling, 1 has very light scuffs. (4 bottles) [$600/800]
Provenance: Stored in Martin’s Wine Cellar long-term wine storage facility at Wines Unlimited, New Orleans, LA since 2012.
484. Domaine Rèmy Boursot Le Duo de Bourgogne Chambolle-Musigny Les Chabiots 1er Cru 1998, 7 bottles, 750ml.; all labels have varying degrees of light dirt, wrinkling and light stains; each top label has varying degrees of wrinkling, 1 with small tear, 1 with light peeling; all capsules have light wrinkling and light nicks, each has light paint loss on top; all corks slightly depressed. (7 bottles) [$200/300]
Provenance: Michael W. Murphy, El Dorado AR.
485. Burgundy Mixed Lot, Domaine Dugat-Py Chambertin Grand Cru 2008, 2 bottles, 750ml.; Joseph Drouhin Girotte-Chambertin Grand Cru 2009, 2 bottles, 750ml.; Alain Burguet Chambertin Clos de Bèze 2010, 2 bottles, 750ml.; Domaine Jean Grivot Échézeaux Grand Cru 2010, 1 bottle, 750ml.; Burguet 1 label and 1 back label have light wrinkling, each capsule has very light dents and scratches; Drouhin 1 back label has light bin soil, 1 capsule has light staining; Dugat labels have scuffs, light surface losses and light marks, 1 has 1 3/4 in. x 1 1/2 in. area of repaired damage, each capsule has scratches, dents and scuffs; Grivot label has light scuffs and scratches, capsule has light dents. (7 bottles) [$1000/2000]
Provenance: Stored in Martin’s Wine Cellar long-term wine storage facility at Wines Unlimited, New Orleans, LA since 2012.
487. Domaine du Comte LigerBelair Échézeaux Grand Cru 2011, 2 bottles, 750ml.; each label has very light damp stains, very light bin soil, 1 label has very light wrinkling. (2 bottles) [$2000/3000]
Provenance: Stored in Martin’s Wine Cellar long-term wine storage facility at Wines Unlimited, New Orleans, LA since 2012.
Note: Neal Auction would like to thank Liz Dowdy Mitchell, Advanced Sommelier, Head of Wine at Vinovest for her assistance cataloguing this lot.
486. Domaine Thibault Liger-Belair Richebourg Grand Cru 2015, 3 bottles, 750ml.; each label has very light scuffs, light damp stains and light bin soil; each capsule has light dents and wrinkling. (3 bottles) [$2000/3000]
Provenance: Stored in Martin’s Wine Cellar long-term wine storage facility at Wines Unlimited, New Orleans, LA since 2012.
Note: Neal Auction would like to thank Liz Dowdy Mitchell, Advanced Sommelier, Head of Wine at Vinovest for her assistance cataloguing this lot.
488. Domaine du Comte LigerBelair La Romanée Grand Cru 2011, 2 bottles, 750ml.; each capsule has very light dents and scratches on top. (2 bottles) [$6000/7000]
Provenance: Stored in Martin’s Wine Cellar long-term wine storage facility at Wines Unlimited, New Orleans, LA since 2012.
Note: Neal Auction would like to thank Liz Dowdy Mitchell, Advanced Sommelier, Head of Wine at Vinovest for her assistance in cataloguing this lot.
86
489. Domaine du Comte LigerBelair Vosne-Romanée Les Suchots 1er Cru 2011, 2 bottles, 750ml.; each label has very light scuffs, damp stains and bin soil, 1 has very light peeling. (2 bottles) [$2500/3500]
Provenance: Stored in Martin’s Wine Cellar long-term wine storage facility at Wines Unlimited, New Orleans, LA since 2012.
Note: Neal Auction would like to thank Liz Dowdy Mitchell, Advanced Sommelier, Head of Wine at Viovest for her assistance in cataloguing this lot.
491. Domaine Jacques-Frédéric Mugnier Chambolle-Musigny Les Amoureuses 1er Cru 2011, 2 bottles, 750ml.; each top label has very light wrinkling; each capsule has very light dents on top. (2 bottles) [$2500/3500]
Provenance: Stored in Martin’s Wine Cellar long-term wine storage facility at Wines Unlimited, New Orleans, LA since 2012. Note: Neal Auction would like to thank Liz Dowdy Mitchell, Advanced Sommelier, Head of Wine at Vinovest for her assistance in cataloguing this lot.
490. Domaine Jacques-Frédéric Mugnier Musigny Grand Cru 2011, 2 bottles, 750ml.; 1 label has very light stains; 1 back label has very light stains; each top label has very light wrinkling. (2 bottles) [$2500/3500]
Provenance: Stored in Martin’s Wine Cellar long-term wine storage facility at Wines Unlimited, New Orleans, LA since 2012.
Note: Neal Auction would like to thank Liz Dowdy Mitchell, Advanced Sommelier, Head of Wine at Vinovest for her assistance cataloguing this lot.
492. Domaine Jacques-Frédéric Mugnier Bonnes-Mares Grand Cru 2011, 2 bottles, 750ml.; 1 back label has very light stains; each top label has light wrinkling; one capsule has pinpoint tear on side. (2 bottles) [$700/1000]
Provenance: Stored in Martin’s Wine Cellar long-term wine storage facility at Wines Unlimited, New Orleans, LA since 2012.
Note: Neal Auction would like to thank Liz Dowdy Mitchell, Advanced Sommelier, Head of Wine at Vinovest for her assistance in cataloguing this lot.
493. Domaine Dujac Échézeaux Grand Cru 2011, 3 bottles, 750ml.; each capsule has very light dents, scratches and wrinkling. (3 bottles) [$1000/1500]
Provenance: Stored in Martin’s Wine Cellar long-term storage facility at Wines Unlimited, New Orleans, LA since 2012. Note: Neal Auction would like to thank Liz Dowdy Mitchell, Advanced Sommelier, Head of Wine at Vinovest for her assistance in cataloguing this lot.
494. Domaine Dujac Vosne-Romanée Les Beaux Monts 1er Cru 2011, 3 bottles, 750ml.; each capsule has light dents and scratches. (3 bottles) [$1000/1500]
Provenance: Stored in Martin’s Wine Cellar long-term wine storage facility at Wines Unlimited, New Orleans, LA since 2012.
Note: Neal Auction would like to thank Liz Dowdy Mitchell, Advanced Sommelier, Head of Wine at Vinovest for her assistance in cataloguing this lot.
87
495. David Yurman
Sterling Silver, Diamond and Onyx Classic Cable Cuff Bracelet, marked, mounted with 80 pave set round brilliant cut diamonds, total wt. approx. 0.36 ct.; with original bag; with Savoie Fine Jewelry Appraisal. [$400/600]
497. Antique Japanese Mixed Metals Shagudo Button Brooch, c. 1880, dia. 1 1/4 in., 12.00 dwts. [$1000/2000]
Provenance: Keil’s Antiques, New Orleans, 2000.
499. 18 kt. Yellow Gold and Multicolor Gemstone Station Necklace, convertible design with 2 additional clasps, l. (overall) 27 in., 11.86 dwts. [$700/900]
501. Mary Kretsinger (1915-2001)
18 kt. Yellow Gold and Nephrite Jade Necklace, central removable carved jade pendant, l. 2 1/4 in.; necklace l. 17 in.; 97.00 dwts. [$1000/2000]
496. English Sterling Silver Horseshoe Locket, Birmingham, 1889, pendant l. 2 1/4 in.; with contemporary sterling silver rope chain, l. 29 in., 20.00 dwts. [$200/300]
498. Fine Russian 18 kt. Yellow Gold, Diamond and Tourmaline Spider Brooch, marks rubbed, set with cabochon tourmaline, old mine cut diamond, 2 round-cut ruby eyes, and 30 rose-cut diamonds, l. 1 3/4 in., 4.00 dwts. [$1500/2000]
500. Group of Italian 18 kt. Yellow Gold, Coral and Diamond Jewelry, incl. ring, size 3 with spacers, 6.55 dwts.; and pair of earrings, illegibly marked, l. 7/8 in., 18.96 dwts. [$600/800]
502. Mary Kretsinger (19152001) 18 kt. Yellow Gold, Gemstone and Hardstone Fish Necklace, marked, bead necklace with numerous gemstones and hardstone fish pendants, l. 25 in., 168.00 dwts. [$1000/2000]
88
503. Pair of 14 kt. Yellow Gold, Cultured Pearl and Ruby Clip Earrings, each with pearl in basketweave gold bezel set with 4 small rubies, l. 3/4 in., 7.00 dwts. [$200/300]
505. 14 kt. Yellow Gold and Double Strand Pink Pearl Necklace with Baroque Pearl Cross Pendants, approx. 170 2.00 mm. pink pearls with 14 kt. yellow gold spring ring, l. 62 in., 39.50 dwts. [$400/600]
507. Pair of 18 kt. White Gold, Diamond and Biwa Pearl Flower Petal Earrings, mounted with 10 prong set round brilliant cut diamonds, total wt. approx. 0.16 ct.; dia. 1 in. [$500/700]
509. 18 kt. Yellow Gold and Polynesian Golden South Sea Pearl Necklace, 35 pearls graduated from 10 to 14 mm., with 18 kt. yellow gold clasp, l. 19 in.; 60.00 dwts. [$1800/2500]
504. Pair of Elizabeth Gage 18 kt. Yellow Gold Carved Spiral Ear Clips, marked, dia. 3/4 in., 15.00 dwts.; with original pouch and invoice. [$1500/2500]
Provenance: Elizabeth Gage, London, 2003.
506. 18 kt. White Gold, Sapphire and Biwa Pearl Flower Petal Ring, set with 6 prong set round brilliant blue sapphires, total wt. approx. 0.30 ct.; size 6.5; with Savoie Fine Jewelry Appraisal [$400/600]
508. 18 kt. White Gold and Biwa Pearl Flower Petal Brooch, set with 38 round brilliant cut diamonds, total wt. approx. 0.27 ct.; l. 3 1/2 in. [$600/800]
510. 14 kt. Yellow Gold, Diamond and Gray South Sea Pearl Necklace, 31 graduated pearls, 12.00 to 16.00 mm.; finished with 14 kt. yellow gold and diamond clasp, l. 19 in., 77.50 dwts. [$1500/2500]
511. 14 kt. White Gold and Tahitian Pearl Necklace with Diamond and Emerald Pendant, strand of 35 graduated round pearls, 11-14 mm; 14 kt. gold central pendant with black rhodium finish set with numerous round diamonds and 7 emeralds, total wt. approx. 2.02 cts.; finished with plunger style bead clasp; l. 20 in.; AIGL report. [$2500/3500]
89
512. Pair of Yellow Gold and South Sea Pearl Dangle Earrings, oval hoops finished with 2 round natural pearls, approx. 13.30 mm; l. 1 3/4 in.; IAS report. [$600/800]
514. Pair of 14 kt. Yellow Gold, Turquoise and Diamond Dangle Earrings, 4 oval cabochon natural sleeping beauty turquoise, total wt. approx. 47.46 cts.; bezels and links set with 124 round brilliant cut diamonds, total wt. approx. 5.82 cts.; l. 2 1/4 in. [$4000/6000]
516. Oscar Friedman 14 kt. Rose Gold, Morganite and Diamond Pendant on Chain, center pear shape modified brilliant cut morganite, wt. approx. 3.42 cts.; bezel and bail set with 28 baguette and 29 round diamonds, total wt. approx. 0.56 ct.; pendant l. 1 1/4 in.; chain l. 18 in.; AIGL report. [$1000/1500]
518. Pair of Tricolor Gold and Diamond Half Hoop Earrings, mounted with 18 round brilliant cut diamonds, total wt. approx. 1.28 cts.; l. 3/4 in.; AIGL report [$1500/2500]
513. 22 kt. Yellow Gold and Enamel Peacock Bangle Bracelet, ribbed body with granulated decoration, enamel peacock terminals, removable screw clasp, plaque on inside with maker’s mark, inner circ. 1 in., 31.50 dwts. [$700/1000]
Provenance: New Orleans Auction Galleries Inc., Nov. 22-23, 2003.
515. 14 kt. Rose Gold, Morganite, Diamond and Enamel Ring, center cushion brilliant faceted cut morganite, wt. approx. 15.02 cts.; accented by 119 round brilliant cut diamonds, total wt. approx. 1.94 cts.; and turquoise enamel; size 6.75; GGA report. [$4000/6000]
517. Pair 14 kt. Rose Gold, Morganite and Diamond Dangle Earrings, 2 center pear shape faceted cut morganites, total wt. approx. 8.77 cts.; ornate bezel and links set with 100 round brilliant cut diamonds, total wt. approx. 3.00 cts.; l. 1 3/4 in.; GGA report. [$2500/3500]
519. Three 14 kt. Tri-Color Gold and Diamond Hinged Bangle Bracelets, set with numerous round brilliant cut diamonds, total wt. approx. 11.75 cts.; inner circ. 6 1/2 in.; 27.82 dwts. [$7000/9000]
90
520. 14 kt. Tricolor Gold and Diamond Triple Strand Necklace, incl. 67 round brilliant cut diamonds, total wt. approx. 9.54 cts., G color, SI1-SI3 clarity; and 338 round brilliant brown and fancy yellow diamonds, total wt. approx. 19.84 cts.; l. 17 in.; SGL report. [$18000/25000]
521. 14 kt. White Gold and Natural Color Diamond Ring, center emerald cut fancy brown diamond, wt. exact 3.01 cts.; bezel and shoulders set with 74 round brilliant cut diamonds, total wt. approx. 0.79 ct.; size 7; AIGL report. [$5000/7000]
522. 14 kt. Yellow Gold and Diamond Man’s Ring, center round brilliant cut diamond, wt. approx. 1.01 cts.; geometric openwork bezel and shoulders set with 26 round brilliant cut diamonds, total wt. approx. 0.36 ct.; size 10; AIGL report. [$2000/3000]
523. Pair of 14 kt. Yellow Gold and Diamond Stud Earrings, 2 round brilliant cut diamonds, total wt. approx. 1.96 cts., H-I color, I1 clarity; AIGL report. [$2500/3500]
525. Pair of 14 kt. Yellow and White Gold and Fancy Color
Diamond Dangle Earrings, foliate design set with 14 pear and square mixed cut fancy brownish yellow diamonds, total wt. approx. 0.93 ct.; 38 round brilliant cut diamonds, total wt. approx. 0.19 ct.; and 144 round brilliant cut fancy yellow diamonds, total wt. 0.70 ct.; l. 1 in.; AIGL report. [$1800/2500]
524. Pair of 18 kt. Two-Tone Gold, Yellow Diamond and Diamond Asymmetric Dangle Earrings, one set with fancy intense orangeyellow marquise brilliant cut diamond, wt. approx. 0.69 ct., and pear shape diamond, wt. approx. 0.99 ct.; other set with marquise brilliant cut diamond, wt. approx. 0.58 ct., and fancy vivid orange-yellow pear modified brilliant cut diamond dangle, wt. approx. 1.28 cts.; 2.48 dwts.; 2 GIA reports. [$6000/8000]
526. Art Deco-Style 18 kt. Two-Tone Gold and Diamond Ring, center diamond wt. approx. 0.59 ct.; flanked by numerous other round diamonds and 2 tapered baguette cut diamonds; size 6.5; 4.25 dwts. [$800/1200]
91
527. 14 kt. White Gold and Diamond Pendant on Chain, foliate design set with 60 prong set round brilliant cut diamonds, total wt. approx. 0.56 ct., H-I color, SI1-I2 clarity; l. 1 3/4 in.; with Savoie Fine Jewelry Report. [$300/500]
529. 14 kt. White Gold and Diamond Fleur de Lis Pendant, set with 318 prong set single cut diamonds, total wt. approx. 1.37 cts., I-J color, VS2I1 clarity; l. 2 3/4 in.; 6.00 dwts.; with Savoie Fine Jewelry Appraisal. [$500/700]
528. Pair of 14 kt. White Gold and Diamond Dangle Earrings, foliate design mounted with 120 prong set round brilliant cut diamonds, total wt. approx. 1.13 cts., H-I color, SI1-I2 clarity, l. 1 1/2 in.; with Savoie Fine Jewelry Appraisal Report. [$500/700]
530. 14 kt. White Gold and Diamond Ring, set with numerous round diamonds, openwork bezel and shoulders; 3.48 dwts.; size 7. [$400/600]
531. 14 kt. White Gold and Diamond Band Ring, set with 7 round diamonds and numerous smaller round diamonds, 3.07 dwts.; size 6. [$400/600]
532. 14 kt. White Gold and Diamond Ring, center prong set rectangular cut diamond flanked by numerous round diamonds, 5.71 dwts; size 8.75. [$700/900]
533. Platinum and Diamond Ring, center round brilliant cut diamond, wt. approx. 1.02 ct., K color, I2 clarity; accented by 6 round single cut diamonds, total wt. approx. 0.12 ct.; size 6.75; GAL report. [$1500/2500]
534. 18 kt. White Gold and Diamond Ring, center emerald cut diamond, wt. approx. 1.10 cts.; bezel and shoulders set with numerous round diamonds, total wt. approx. 0.49 ct.; 2.40 dwts.; size 7. [$2500/3500]
92
535. 14 kt. White Gold and Diamond Ring, center emerald cut diamond, wt. approx. 2.06 cts.; 2.37 dwts.; size 6.5. [$4000/6000]
536. Platinum and Diamond Ring, 2 central round brilliant cut diamonds, total wt. approx. 2.97 cts., I-J color, I1-I2 clarity; accented with 2 Old European cut diamonds, total wt. approx. 0.12 ct.; size 7.25; GGA report. [$4000/6000]
537. Pair of Tiffany & Co. Platinum and Diamond Paloma’s Graffiti X Stud Earrings, marked, l. 3/8 in. [$800/1200]
540. Pair of 14 kt. White Gold and Diamond Dangle Earrings, stylized hoop design set with numerous graduated round diamonds, total wt. approx. 5.97 cts.; l. 1 7/8 in.; 7.33 dwts. [$3000/5000]
541. Pair of 14 kt. White Gold and Diamond Oval Hoop Earrings, set with numerous round diamonds, total wt. approx. 10.12 cts.; l. 2 in.; 11.90 dwts. [$5000/7000]
538. Pair 14 kt. White Gold and Diamond Stud Earrings, 2 round brilliant cut diamonds, total wt. approx. 2.06 cts., G color, I1 clarity; AIGL report. [$2500/3500]
539. Pair of 18 kt. White Gold and Diamond Stud Earrings, 2 center round diamonds, wt. approx. 1.03 cts. and 1.00 ct.; accented by numerous round diamonds; 1.83 dwts. [$3000/5000]
542. 14 kt. White Gold and Diamond “Heart” Lariat Necklace, central heart shape diamond, wt. approx. 1.08 cts.; mounted with numerous round diamonds, total wt. approx. 3.83 cts.; l. 16 3/4 in.; 9.81 dwts. [$4000/6000]
93
543. 14 kt. White Gold and Diamond Tennis Bracelet, set with 50 round brilliant cut diamonds, total wt. approx. 7.02 cts.; l. 7 1/4 in.; 6.42 dwts. [$3000/5000]
544. 18 kt. White Gold and Diamond Tennis Bracelet, set with 30 round brilliant cut diamonds, total wt. approx. 11.66 cts.; l. 7 in.; 10.53 dwts. [$7000/9000]
545. 14 kt. White Gold and Diamond Tennis Bracelet, mounted with 42 round brilliant cut diamonds, total wt. approx. 9.98 cts., G-I color, SI2-I2 clarity; l. 7 in.; AIGL report. [$7000/9000]
548. Omega 14 kt. Yellow Gold Ladies Wristwatch, marked 14k on case and bracelet, 17 jewels, movement marked with serial #24623921, with original case. [$1000/1500]
546. 14 kt. White Gold and Graduated Diamond Necklace, set with numerous round brilliant cut diamonds, total wt. approx. 12.08 cts.; center diamond, wt. approx. 0.64 ct.; l. 18 3/4 in.; 10.79 dwts. [$7000/9000]
547. Platinum and Graduated Diamond Necklace, mounted with 93 graduated round brilliant cut diamonds, total wt. approx. 35.59 cts., G-H color, SI1-I2 clarity, l. 17 1/2 in.; GGA report. [$40000/60000]
549. Cartier Ronde Croisiere Steel and Rose Gold Watch, ref. W2RN0005, automatic, 42mm, grey guilloche dial, sapphire crystal, calendar window, black leather strap with deployant buckle. [$4000/6000]
550. Rolex 18 kt. Gold and Diamond Ladies Oyster Perpetual Datejust Watch, c. 1981, ref. 6017, 26mm, mother-of-pearl dial, factory diamond bezel and numerals, serial #6764050, jubilee bracelet. [$7000/10000]
94
551. Platinum, Diamond and Emerald Ring, center bezel set round diamond, wt. approx. 1.50 cts.; flanked by 2 round diamonds, wt. approx. 0.55 ct. and 0.57 ct.; accented by numerous emeralds; size 7; 4.96 dwts. [$4000/6000]
552. 18 kt. White Gold, Emerald and Diamond Ring, center modified brilliant cut pear shape emerald, wt. approx. 8.35 cts.; shoulders and bezel set with numerous round brilliant cut diamonds, total wt. approx. 1.58 cts.; size 7; GIA report. [$3000/5000]
553. Platinum, Emerald and Diamond Geometric Ring, center octagonal step cut emerald, wt. approx. 2.37 cts.; band set with 14 octagonal modified brilliant cut diamonds, total wt. approx. 0.85 cts.; size 6.5; AIGL report. [$2500/3500]
554. Pair of 18 kt. White Gold, Emerald and Diamond Dangle Earrings, set with 4 brilliant cut pear shape emeralds, total wt. approx. 6.98 cts.; bezels with numerous round brilliant cut diamonds, total wt. approx. 1.28 cts.; l. 1 1/4 in.; GIA report. [$3000/5000]
555. Oscar Friedman Platinum, Emerald and Diamond Ring, center octagonal step cut emerald, wt. approx. 5.11 cts., 10.87 x 8.57 x 7.00 mm; double bezel and shoulders set with 112 round brilliant cut diamonds, total wt. approx. 1.00 cts.; size 7; AIGL and GIA reports. [$4000/6000]
556. Platinum, Emerald and Diamond Ring, center prong set octagonal step cut emerald, wt. approx. 9.93 cts., 12.67 x 11.66 x 7.95 mm; flanked by 2 tapered baguette diamonds, total wt. approx. 0.45 cts.; size 4.75; AIGL and GIA reports. [$4000/6000]
557. Platinum, Emerald and Diamond Multiband Ring, center octagonal step faceted cut emerald, wt. approx. 2.42 cts.; openwork 4 band shoulders set with 76 round brilliant cut diamonds, total wt. approx. 0.85 ct.; size 7; GGA and GIA reports. [$3000/5000]
558. 18 kt. White Gold, Colombian Emerald and Diamond Ring, center octagonal step cut emerald, wt. approx. 10.83 cts., 13.17 x 12.94 x 10.10 mm; bezel and shoulders set with 76 round brilliant cut diamonds, total wt. approx. 0.58 ct.; size 6.75; AIGL and GIA report [$8000/12000]
95
559. Art Deco-Style 18 kt. White Gold, Diamond and Emerald Ring, center round diamond, wt. approx. 1.29 cts.; openwork bezel and shoulders set with numerous emeralds and diamonds; size 7; 2.57 dwts. [$2000/3000]
561. Pair of Oscar Friedman Art Deco-Style 14 kt. Yellow Gold, Emerald, Diamond and Enamel Dangle Earrings, 2 octagonal mixed cut emeralds, total wt. approx. 1.28 cts.; bezels set with 36 round brilliant cut diamonds, total wt. approx. 0.23 ct.; l. 7/8 in.; GGA report. [$700/900]
563. Oscar Friedman Art DecoStyle 14 kt. Yellow Gold, Emerald, Diamond and Enamel Necklace, set with 21 graduated octagonal mixed cut emeralds, total wt. approx. 23.54 cts.; accented by 310 round brilliant cut diamonds, total wt. approx. 2.04 cts.; l. 17 3/4 in.; GGA report [$8000/12000]
565. 14 kt. Yellow Gold and Emerald Ring, center octagonal step faceted cut emerald, wt. approx. 2.95 cts.; size 7; GGA report. [$1200/1800]
560. Oscar Friedman Art DecoStyle 14 kt. Yellow Gold, Emerald, Diamond and Enamel Ring, center oval cut emerald, wt. approx. 0.75 ct.; bezel with numerous round brilliant cut diamonds, total wt. approx. 0.20 ct.; size 7; IAS report. [$600/800]
562. Oscar Friedman Art Deco-Style 14 kt. Yellow Gold, Emerald, Diamond and Enamel Bracelet, mounted with 9 oval mixed cut emeralds, total wt. approx. 9.18 cts.; and 170 round brilliant cut diamonds, total wt. approx. 1.33 cts.; l. 7 1/4 in.; GGA report. [$4000/6000]
564. 14 kt. Yellow Gold, Emerald and Diamond Ring, center oval mixed cut emerald, wt. approx. 1.61 cts.; bezel with 10 round brilliant cut diamonds, total wt. approx. 0.61 ct.; size 5.5; AIGL report. [$1000/1500]
566. 18 kt. Two Tone Gold Emerald and Diamond “Toi et Moi” Ring, central octagonal step faceted cut emerald, wt. approx. 5.89 cts.; set with brilliant cut heart shape diamond, wt. approx. 1.30 cts., G color, I1 clarity; size 7; GGA and GIA reports. [$5000/7000]
96
567. 18 kt. Yellow Gold, Emerald and Diamond Bracelet, set with 19 emerald cut emeralds, total wt. approx. 22.26 cts.; and 57 round diamonds, total wt. approx. 0.83 cts., J-K color, SI-I3 clarity; l. 7 in.; GAL report. [$5000/7000]
569. Platinum, 18 kt. Yellow Gold, Emerald and Diamond Ring, center oval brilliant faceted cut emerald, wt. approx. 0.68 ct.; bezel and shoulders set with 16 round brilliant cut diamonds, total wt. approx. 0.79 ct.; size 7; GGA report. [$1500/2500]
571. Platinum, Ruby and Diamond Ring, center oval mixed cut ruby, wt. approx. 2.11 cts., 9.13 x 6.30 x 3.63 mm; mounted with 80 baguette and round brilliant cut diamonds, total wt. approx. 1.41 cts., F-G color, VS1-SI1 clarity; size 7; AIGL and GIA reports. [$6000/8000]
573. 18 kt. White Gold, Diamond and Ruby Stud Earrings, 2 center round brilliant cut diamonds, wt. approx. 1.08 cts. and 1.09 cts.; double bezels with numerous rubies and diamonds; dia. 0.5 in.; 3.81 dwts. [$3000/5000]
575. Platinum, Burmese Ruby and Diamond Ring, center octagonal step faceted cut Burma ruby, wt. approx. 2.15 cts.; ornate bezel set with 66 round brilliant cut diamonds, total wt. approx. 0.38 ct.; size 7.25; GGA and GIA reports. [$2000/3000]
568. 14 kt. Yellow Gold, Emerald and Diamond Pendant on Chain, pendant set with octagonal mixed cut emerald, wt. approx. 1.73 cts.; accented by 58 round brilliant cut diamonds, total wt. approx. 1.10 cts.; pendant l. 1 1/2 in.; chain l. 18 in.; GGA report. [$1800/2500]
570. Platinum, Emerald, Ruby and Diamond Ring, center emerald cut emerald, wt. approx. 1.81 cts.; bezel with 18 square faceted cut rubies, total wt. approx. 1.23 cts.; accented by 56 round brilliant cut diamonds, total wt. approx. 0.28 ct.; size 7; GGA report. [$1200/1800]
572. Art Deco-Style 18 kt. White Gold, Diamond and Ruby Ring, center square mixed cut diamond, wt. approx. 1.49 cts.; flanked by 2 bullet cut rubies and numerous round diamonds; size 7; 3.05 dwts. [$2000/3000]
574. 18 kt. Yellow and White Gold, Ruby and Diamond Ring, set with cushion-cut ruby, approx. 4.00 cts.; and 2 emerald-cut diamonds, totaling approx. 1.08 cts.; size 9.75. 5.50 dwts.; with GIA certificate. Note: small chip to ruby. [$4500/6000]
97
576. 18 kt. Yellow and White Gold, Burmese Ruby and Diamond Ring, center oval mixed cut Burma ruby, wt. approx. 2.00 cts.; shoulders and bezel set with 74 round brilliant cut diamonds, total wt. approx. 0.82 ct.; size 7; AIGL and GIA reports. [$1500/2500]
578. 14 kt. Rose Gold, Ruby and Diamond Bracelet, mounted with 153 round rubies, total wt. approx. 15.10 cts.; accented by 50 tapered baguette cut diamonds, total wt. approx. 1.90 cts., H color, VS1-VS2 clarity; l. 7 in.; SGL report. [$6000/8000]
580. Oscar Friedman 14 kt. Yellow Gold, Opal, Pink Sapphire and Diamond Bracelet, center oval cabochon opal, wt. approx. 14.15 cts.; mounted with 34 trillion cut and 2 oval cut pink sapphires, total wt. approx. 7.65 cts.; and 475 round brilliant cut diamonds, total wt. approx. 12.18 cts.; l. 7 in. [$6000/8000]
577. Platinum, Star Ruby and Diamond Ring, center oval cabochon cut star ruby, wt. approx. 1.62 cts.; mounted with 32 pear brilliant and baguette cut diamonds, total wt. approx. 1.00 ct.; size 7; GGA report. [$1000/2000]
582. Oscar Friedman 14 kt. Yellow Gold, Multicolor Sapphire Necklace, set with 59 oval mixed cut sapphires, total wt. approx. 35.71 cts.; and 118 round brilliant cut diamonds, total wt. approx. 1.65 cts.; l. 18 1/2 in.; AIGL report. [$4000/6000]
579. 14 kt. Yellow Gold and Pink Sapphire Ring, center pear mixed cut pink sapphire, wt. approx. 1.60 cts.; shoulders and bezel mounted with 30 round brilliant cut diamonds, total wt. approx. 0.70 ct.; size 6.25; AIGL and GIA reports. [$1800/2500]
581. Oscar Friedman Platinum, Alexandrite and Diamond Ring, center oval mixed cut alexandrite, wt. approx. 1.77 cts.; double bezel and shoulders set with 68 round and baguette diamonds, total wt. approx. 0.86 cts.; size 6.75; AIGL and GIA reports. [$3000/5000]
583. 14 kt. Yellow Gold, Multicolor Sapphire and Diamond Collar Necklace, set with 177 oval mixed cut sapphires, total wt. approx. 105.82 cts.; and 144 round brilliant cut diamonds, total wt. approx. 1.43 cts.; l. 18 in.; AIGL report. [$8000/12000]
98
584. 18 kt. White Gold, Diamond and Sapphire Ring, center bezel set round diamond, wt. approx. 1.03 cts.; double halo set with numerous blue sapphires and diamonds; size 7; 3.50 dwts. [$2000/3000]
585. Oscar Friedman Platinum, Sapphire and Diamond Ring, center oval mixed cut sapphire, wt. approx. 1.47 cts.; mounted with 112 round brilliant cut diamonds, total wt. approx. 1.20 cts.; size 6.75; AIGL report. [$2500/3500]
586. 14 kt. White Gold, Tanzanite and Diamond Ring, center cushion modified brilliant cut tanzanite, wt. approx. 2.20 cts.; mounted with 52 round brilliant cut diamonds, total wt. approx. 2.08 cts.; size 6; AIGL report. [$2500/3500]
587. 18 kt. White Gold, Tanzanite and Diamond Dangle Earrings, 2 oval modified brilliant cut tanzanites and 2 pear modified brilliant cut tanzanites, total wt. approx. 16.04 cts.; bezel and links with 50 round brilliant cut diamonds, total wt. approx. 1.04 cts.; l. 1 1/4 in.; AIGL report. [$5000/7000]
588. Platinum, Spinel and Diamond Ring, center oval mixed cut spinel, wt. approx. 2.11 cts.; ornate openwork bezel mounted with 64 round brilliant cut diamonds, total wt. approx. 0.74 ct.; size 7 3/4; SGL and GIA reports. [$2000/3000]
589. Platinum, Tanzanite and Diamond Ring, center cushion cut tanzanite, wt. approx. 3.97 cts.; ornate bezel with numerous round brilliant cut diamonds, total wt. approx. 0.46 ct.; size 7; IAS report. [$2500/3500]
590. Platinum, Tanzanite and Diamond Ring, center oval brilliant faceted cut tanzanite, wt. approx. 13.84 cts.; mounted with 27 round brilliant and baguette cut diamonds, total wt. approx. 1.82 cts.; size 7.5; GGA report. [$7000/9000]
591. 14 kt. White Gold, Tanzanite and Diamond Necklace, set with 21 pear brilliant faceted cut tanzanites, total wt. approx. 60.03 cts.; linked with 21 round brilliant cut diamonds, total wt. 1.34 cts.; l. 17 1/2 in. [$12000/18000]
99
OF BUILDING COLLECTIONS
100
2024 AUCTION SCHEDULE
May 16 - UNRESERVED @ Neal Auction
May 30 - Women’s Art Live Auction
July 27 & 28 - Premier Collections Live Auction
July 18 - Mid-Century, Modern, Contemporary Art & Design
August 8 - UNRESERVED @ Neal Auction
September 19 & 20 - Premier Collections Live Auction
October 17 - UNRESERVED @ Neal Auction
November 14 & 15 - Louisiana Purchase Auction™
December 5 - UNRESERVED @ Neal Auction
December 19 - Mid-Century, Modern, Contemporary Art & Design
* Bold denotes Live Auction. Dates may be subject to change.
101 Consign With Us! nealauction.com
I understand that Neal Auction Company undertakes the execution of absentee bids as a convenience for clients failure to execute bids, or for any error in the execution of bids. I have read and agree to the “Conditions of Sale” as stated in the catalogue. I understand that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchase made by cash, check or wire transfer within 15 days of the auction, the buyer’s premium shall be discounted 3% of this 25%. No exceptions.
1. All absentee bids must be in our gallery by 5 P.M. CST the day prior to the auction.
2. In the event identical bids are submitted, the earliest bid received will take precedence.
3. A deposit must accompany all bids, A credit card number is required for securing bids.
4. All property is sold “AS IS”. No statement regarding condition of any item, whether it is made orally at the auction or any other time, or in writing in the catalogue or elsewhere, shall be deemed to be a warranty, representation or assumption of liability.
5. In the event of discrepancies, lot number and not lot description will take precedence.
102
FIRST
COMPANY: ADDRESS: CITY: PHONE: LAST NAME: EMAIL: STATE: ALT PHONE: PAYMENT METHOD CREDIT CARD CASH / CHECK / WIRE VISA / MC / AMEX / DISCOVER - REQUIRED FROM ALL BIDDERS APPROVED _______________ REGISTERED _____________ ENTERED ________________ CLERK _______________ ACCOUNT # ________________________ CONFIRMED _______________ SIGNATURE REQUIRED: DATE: ZIP: CARD NUMBER: EXP: SECURITY CODE: LOT NUMBER DESCRIPTION TELEPHONE # / BID AMOUNT
FOR INTERNAL
Confidential Absentee / Telephone Bid Form AUCTION DATE: 24-03M # fax to: 504-617-6431 - email: bids@nealauction.com Auctioneers of Antiques & Fine Art 4038 Magazine Street, New Orleans, LA 70115 504.899.5329 | WWW.NEALAUCTION.COM 24-04M
NAME:
PLEASE REVIEW THE GUIDELINES FOR BIDDING:
USE ONLY:
0158 - 2750
0159 - 812
0160 - 0000 0161 - 976
0162 - 854
0163 - 3500
0164 - 2688
0165 - 1408
0166 - 366
0167 - 3712
0168 - 2562
0169 - 2560
0170 - 732
0171 - 2560
0172 - 1187
0173 - 3712
0174 - 576
0175 - 1792
0176 - 1062
0177 - 3200
0178 - 488
0179 -
103 Auction Results • January 26, 2024 0001 - 1037 0002 - 1500 0003 - 832 0004 - 1952 0005 - 1000 0006 - 1187 0007 - 625 0008 - 1159 0009 - 687 0010 - 671 0011 - 1664 0012 - 976 0013 - 793 0014 - 5185 0015 - 7320 0016 - 812 0017 - 2440 0018 - 915 0019 - 1037 0020 - 854 0021 - 457 0022 - 366 0023 - 544 0024 - 640 0025 - 3660 0026 - 250 0027 - 335 0028 - 488 0029 - 125 0030 - 352 0031 - 1088 0032 - 1408 0033 - 750 0034 - 1342 0035 - 1037 0036 - 1500 0037 - 2562 0038 - 10370 0039 - 9760 0040 - 8540 0041 - 3200 0042 - 5120 0043 - 1220 0044 - 2318 0045 - 1708 0046 - 0000 0047 - 896 0048 - 875 0049 - 3000 0050 - 2928 0051 - 625 0052 - 1952 0053 - 1152 0054 - 97.6 0055 - 1625 0056 - 125 0057 - 1024 0058 - 250 0059 - 1159 0060 - 1342 0061 - 2250 0062 - 0000 0063 - 2048 0064 - 0000 0065 - 976 0066 - 832 0067 - 0000 0068 - 549 0069 - 11520 0070 - 518 0071 - 457 0072 - 854 0073 - 1062 0074 - 1830 0075 - 352 0076 - 768 0077 - 5440 0078 - 5440 0079 - 343 0080 - 704 0081 - 2125 0082 - 1220 0083 - 0000 0084 - 1152 0085 - 1536 0086 - 4687 0087 - 9150 0088 - 640 0089 - 0000 0090 - 531 0091 - 366 0092 - 671 0093 - 4270 0094 - 0000 0095 - 0000 0096 - 0000 0097 - 1792 0098 - 4270 0099 - 1920 0100 - 1536 0101 - 1920 0102 - 0000 0103 - 1920 0104 - 3050 0105 - 2048 0106 - 2562 0107 - 3125 0108 - 531 0109 - 625 0110 - 3750 0111 - 3328 0112 - 2688 0113 - 437 0114 - 5185 0115 - 8540 0116 - 7040 0117 - 7500 0118 - 8320 0119 - 1664 0120 - 793 0121 - 2928 0122 - 2048 0123 - 3000 0124 - 1375 0125 - 1536 0126 - 2562 0127 - 1342 0128 - 976 0129 - 4687 0130 - 793 0131 - 5760 0132 - 1024 0133 - 2500 0134 - 549 0135 - 875 0136 - 1250 0137 - 3072 0138 - 3538 0139 - 281 0140 -
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CONDITIONS OF SALE; WAIVERS OF WARRANTY; LIMITATIONS OF LIABILITY
Registering for and/or placing a bid at auction constitutes the acceptance of and agreement to these Conditions of Sale; WAIVERS OF WARRANTY; and LIMITATIONS OF LIABILITY (collectively, the “Conditions of Sale”). These Conditions of Sale are binding and enforceable on all bidders and buyers.
1. WARRANTY WAIVERS; LIABILITY LIMITATIONS. All lots are sold “AS IS, WHERE IS” – WITH ALL FAULTS and WITH NO EXPRESS OR IMPLIED WARRANTIES. No statement or description regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, value, size, or quality of a lot, whether made orally at the auction or at any other time, in electronic messages, online, in writing, or in a catalogue, website, correspondence, advertising, literature, or elsewhere, is or shall be construed to be a guarantee, an express or implied warranty, or assumption of liability, obligation, or responsibility. The bidder or buyer WAIVES any such warranty, WAIVES any warranty of fitness for ordinary use or for any intended use, and further WAIVES any warranty against redhibitory vices and defects, whether latent, hidden, or apparent, and whether imposed by the Louisiana Civil Code or any other applicable statute, law, jurisprudence, or legal authority. The buyer further WAIVES any rights or remedies in redhibition to a return or reduction of the purchase price for any lot, including for any lot with any defect rendering the lot useless, inconvenient, or of diminished usefulness. All sales are final, without exception.
Each bidder and buyer agrees and acknowledges that: (a) the bidder or buyer is not relying on Neal Auction Company’s actual, perceived, or expressed skill, expertise, experience, knowledge, or judgment in deciding to purchase any lot; (b) no oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value is the cause of or reason behind the buyer’s purchase of any lot; (c) the buyer would have purchased any lot regardless of any oral, written, or electronic statement or description about attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value, made in a catalogue, website, correspondence, advertising, literature, or elsewhere; (d) Neal Auction Company did not know, nor should it have known that attribution, authenticity, authorship, character, condition, kind, period, provenance, size, quality, or expressed value is the cause or reason why the buyer decides to purchase any lot; (e) the buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; (f) Neal Auction Company did not know, nor should it have known, that any oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere would cause a pecuniary or nonpecuniary loss to any bidder or buyer; (g) the bidder or buyer has had the opportunity prior to bidding to make independent inspections of, and conduct due diligence on, all lots being offered; (h) there is no inspection or examination period after the auction bidding; (i) the bidder’s or buyer’s failure to be fully informed as to the attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value of a lot will not be grounds for any reduction of the purchase price or rescission of the sale; (j) Neal Auction Company shall not be liable, obligated, or responsible for the presence of lead-based paint or any other environmental or other hazard of any lot; (k) Neal Auction Company shall not be liable, obligated, or responsible to the buyer as to third parties who may claims rights to or interests in any lot; (l) the buyer is buying at the buyer’s sole risk and peril; (m) Neal Auction Company shall not be liable, obligated, or responsible for any errors or omissions in any oral, written or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere. Each bidder and buyer WAIVES and RELEASES any and all claims arising out of the matters expressed above. All such waivers, releases, and limitations of liability shall apply to Neal Auction Company and its owners, officers, directors, representatives, insurers, agents, and employees.
2. Fine Art. Subject to the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, with respect to authorship of works of fine art, the following phrases have the following meanings: ARTIST - In our qualified opinion, we believe the work is by the artist named.
Attributed to ARTIST - In our qualified opinion, we believe the work may be ascribed to the artist named on the basis of style and period, but our opinion is less certain than in the previous category.
Signed “ARTIST” - In our qualified opinion, the signature, monogram, or other indication of authorship is a signature of the artist.
School of ARTIST - In our qualified opinion, the work is of the period of the artist named, by a student or a follower of the artist, but not by the artist.
Manner of ARTIST - In our qualified opinion, although the work is in the style of the artist named, it is actually of a later period.
After ARTIST - In our qualified opinion, the work is a copy of a known work of the artist named. Bears signature “ARTIST” - In our qualified opinion, although the work bears the signature or monogram of the artist, the work most likely is not that of the artist.
3. Discretionary Rescission. Notwithstanding the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale of a work of fine art on the basis of authenticity of authorship only under the following terms, conditions, and LIMITATIONS OF LIABILITY, all of which apply, and the buyer WAIVES and RELEASES any other rights, relief or remedies:
Neal Auction Company shall not grant rescission of any lot identified by the terms “attributed to,” “signed,” “school of,” “manner of,” “after,” or “bears signature.”
Neal Auction Company shall not grant rescission of any lot unless the buyer notifies Neal Auction Company in writing within 25 calendar days from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale.
Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written document signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery.
Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the original buyer, and any rights or interests of the original buyer are not transferrable, inheritable, or assignable.
Neal Auction Company shall not grant rescission when: (a) there is a conflict of expert opinion as to the authorship; (b) expert opinion supported authorship at the time of auction, although expert opinion may have changed afterward; and (c) scientific or other tests, examinations, investigations, research, or processes that were unavailable, expensive, or impractical at the time of the auction have revealed since that time that the author, character, condition, kind, provenance, period, quality, or value Neal Auction
Company believed to be accurate at the time of sale was inaccurate. In any dispute between Neal Auction Company and the bidder or buyer regarding authorship of a work of fine art, rescission of the sale and refund of the purchase price paid shall be the buyer’s sole recourse or remedy, if any is available. Neal Auction Company (and its owners, officers, directors, representatives, agents, insurers, and employees) shall not be liable, obligated, or responsible for any damages (including compensatory, general, incidental, consequential, exemplary, or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorneys’ fees, or any other monetary, declaratory, equitable, or injunctive relief or remedy. The buyer WAIVES and RELEASES any and all such damages, relief, and remedies.
AUCTION BIDDING AND SALE
1. The auctioneer shall have absolute discretion in determining the highest and best bid on each lot. The auctioneer may decide that any original bid is not commensurate with the value of the lot offered, or that any advance thereafter is not of sufficient amount, and the auctioneer may reject or refuse to recognize that bid or advance.
2. At the fall of the auctioneer’s hammer, the bidder acknowledged by the auctioneer, whether in person or absentee, thereupon assumes the obligation to pay for the offered lot, and shall pay the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs.
3. Title to the offered lot shall pass to the bidder acknowledged by the auctioneer upon payment of the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs. The buyer thereupon assumes full risk, obligation, and responsibility for the lot.
4. At any time before the sale of a lot, Neal Auction Company reserves the right to withdraw the lot or any part of the lot, to combine lots, or to separate items within a lot.
5. No lots will be released before the end of the auction.
6. If the buyer fails to comply with any of these Conditions of Sale, Neal Auction Company reserves the right to (a) hold such defaulting buyer liable, obligated, and responsible for the total amount due and to commence legal proceedings to recover the entire amount along with interest, reasonable attorneys’ fees, expenses, and costs; (b) charge outstanding amounts to the buyer’s credit card; (c) apply any payments to outstanding amounts chosen by Neal Auction Company notwithstanding the instructions of the buyer; (d) cancel the sale, retaining as liquidated damages any payment made by the buyer; (e) resell the lot without reserve at public auction, online-only auction, or privately on seven calendar days’ notice to the buyer; (f) enforce specific performance of the sale; (g) require a deposit in future auctions; (h) exclude the buyer from future auctions or bidding on particular lots; (i) exercise the rights and remedies of a person holding security and/or privilege over property in Neal Auction Company’s possession, whether by pledge, security interest or any other mechanism, to the full extent allowed under Louisiana law, and Neal Auction Company may hold the property of the buyer as collateral security for the buyer’s obligations; (j) and/or take such other actions allowed by law in Neal Auction Company’s sole discretion. If Neal Auction Company resells the lot, the defaulting buyer shall be liable, obligated, and responsible for the payment of any deficiency in the purchase price and any damages, including but not limited to all costs and expenses of both sales, such as, by way of example only, storage, handling, insurance, repairs, illustrations, consultations, examinations, moving, shipping, promotions, advertising, reasonable attorneys’ fees, commissions, and incidental damages.
7. Virtually all lots offered have been subject to use over a considerable period of time. No mention of cracks, scratches, chips, tears, breaks, weaknesses, or any damages or wear will be included in oral, written, or electronic statements or descriptions in the catalogue, website, correspondence, advertising, or literature. Condition reports may be provided upon request, but condition reports may not mention all cracks, scratches, chips, defects, hazards, tears, breaks, weaknesses, or other damages or wear. Neal Auction Company makes no representations or warranties as to the accuracy or completeness of any information or description in a condition report or elsewhere, whether oral, written, electronic, or online. Neal Auction Company reserves the right to decline to provide a condition report for any specific lot, at its sole discretion.
8. Neither high nor low estimates in a catalogue, website, advertising, correspondence, literature, or elsewhere should be relied on as a representation, prediction, appraisal, guarantee, or warranty that a particular lot will sell for a particular price or that a particular lot has a particular value.
9. Neal Auction Company has absolute discretion to admit a bidder to the auction premises, to expel a bidder from the auction premises, or to refuse a bidder from participating in the auction.
10. Neal Auction Company and its auctioneers shall not be liable, obligated, or responsible for failure to recognize or execute any bids for any reason whatsoever, or for no reason. Bidders and buyers WAIVE and RELEASE any rights to damages, and equitable, declaratory, and injunctive relief arising out of the failure or rejection of any bid, or any errors or omissions relating to the bidding process.
11. Interfering with the auction in any way is prohibited.
12. Bid rigging is strictly prohibited. Any agreement, understanding, or arrangement not to bid against another or otherwise to dampen the bidding is unlawful. The auctioneer reserves the right to bid on behalf of the consignor for the protection of the consignor if this illegal activity by two or more bidders is detected, disclosed, alleged, or suspected.
13. Canvassing or solicitating on the auction premises is prohibited.
14. The auctioneer has the sole discretion as to the increments of bidding, the recognition of any bid, the acceptance of the final bid, and resolving any disputes among bidders.
15. Neal Auction Company represents the consignors only and is not acting as agent or representative of bidders or buyers. The payment of the buyer’s premium by the buyer does not indicate a dual agency relationship. Neal Auction Company is to be paid a fee or commission by the consignor pursuant to a separate written agreement between the consignor and Neal Auction Company. The consignor is the seller of the lot sold. Neal Auction Company is the consignment agent or representative, not the seller.
16. The successful bidder is obligated to pay the purchase price in full unless Neal Auction Company has consented in writing at the time of the bidder’s registration that the bidder is acting as an agent on behalf of an identified person and that said principal is obligated to pay the purchase price in full. Neal Auction Company reserves the right to require an advance deposit for such bids.
17. Prior to placing any bid, all bidders must complete a standard Neal Auction Company Registration Form in use at the time of the auction.
18. Dealers must provide Neal Auction Company with proper documentation prior to bidding.
19. First time bidders are required to produce a valid state-issued identification card or passport.
20. Bids are required to be made in U.S. dollars.
21. Neal Auction Company may require a bidder or buyer at any time to produce financial, banking, or trade
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VISIT NEALAUCTION.COM TO REQUEST AND VIEW CONDITION REPORTS, REGISTER TO BID LIVE ONLINE, AND SUBMIT ABSENTEE/TELEPHONE BIDS D. E. A. B. C.
references and information.
22. All bidders are required to provide credit card information (such as but not limited to the type of card, card number, name as it appears on the card, billing zip code, expiration date, and security code).
23. All bidders are required to select, and notify Neal Auction Company of, a method of payment (cash, check, wire, or credit card) in writing at the time of registration.
24. Neal Auction Company reserves the right to describe or to make photographic, video, or audio recordings of the auction, or any part thereof, and to publish such descriptions, photographs and/or recordings.
25. Lots may be offered subject to a reserve, which is the confidential minimum hammer price below which the lot will not be sold, for the protection of the consignor. Such reserve will not exceed the low estimate for the lot. The auctioneer may open the bidding on any lot by placing a bid on behalf of the consignor, auctioneer, or an absentee bidder that is below the reserve. The auctioneer may continue to bid on behalf of the consignor, auctioneer, or absentee bidder up to the amount of the reserve, by placing consecutive bids or by bidding in response to other bidders. Neal Auction Company may sell a lot at a hammer price below the reserve at its discretion, subject to its agreement with the consignor.
ABSENTEE/TELEPHONE/ONLINE BIDS
1. All absentee bids and/or telephone bids must be received by Neal Auction Company by 5 p.m. Central Time the Thursday prior to the auction.
2. All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at the discretion of Neal Auction Company. Each lot must have a minimum low estimate of $500 for telephone bidding. Absentee bids are accepted for any lots regardless of estimate, at the discretion of Neal Auction Company.
3. Neal Auction Company intends to endeavor to protect the confidentiality of absentee/telephone bids.
In the event that the identity of absentee/telephone bidders or buyers or of the amounts of absentee/ telephone bids is disclosed, Neal Auction Company shall not be liable, obligated, or responsible for such disclosure, and each bidder and buyer WAIVES and RELEASES Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any claims arising out of such disclosure.
4. Neal Auction Company reserves the right, in its sole discretion, to require that any advance bids be accompanied by a security deposit.
5. Neal Auction Company shall not be liable, obligated, or responsible for any failure, design flaw, error, act, omission, or negligence of third party sites or their agents. Bidders WAIVE and RELEASE any rights to damages and equitable, declaratory, and injunctive relief and remedies arising therefrom.
6. Prior to placing any absentee, telephone, or online bid, all bidders are required to complete the applicable Registration Form prior to such bidding.
7. In the event of ambiguity, uncertainty, or discrepancy, the lot number and not the lot description on any bid will be deemed to be the lot on which the bid is made.
8. If more than one absentee bid on a particular lot is received with the same maximum bid amount, and that bid amount is the highest and best bid for the lot, the lot will be sold to the bidder whose absentee bid was accepted first by Neal Auction Company after receiving it. If a bid placed on a lot by a bidder who is physically present at the auction is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is physically present at the auction. If a bid placed on a lot by a bidder who is present at the auction (in person or by telephone) is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is present at the auction (in person or by telephone).
9. Neal Auction Company reserves the right to record any telephone bidding or conversation relating to said bidding, or any part thereof, and to publish said recordings. By participating in telephone bidding, the bidder consents to such recording and publication, notwithstanding the laws or regulations of the state or jurisdiction of the bidder.
PAYMENT
1. The successful bidder (except a successful online bidder) shall pay a buyer’s premium in the amount of 25% of the hammer price on each lot up to and including $200,000, plus 15% of the hammer price greater than $200,000. For payments made by cash, check, or wire transfer (except by online bidders) within 15 calendar days of the auction, the buyer’s premium will be discounted to 22%.
2. The successful online bidder shall pay a buyer’s premium in the amount of 28% of the hammer price on each lot. A discount for payments made by cash, check, or wire transfer is not available for purchases made by online bidders.
3. In the event of any dispute, the Neal Auction Company sale record is conclusive.
4. Unless exempt by law, the buyer will be required to pay Louisiana and local taxes, and, if applicable, any federal luxury or other tax, on the total purchase price.
5. Documentation of tax exemption must be provided upon registration. Billing name and address of a bidder must agree with that on the sales tax exemption certificate.
6. Payment in full of the purchase price must be made by the successful bidder in U.S. Dollars within 15 calendar days of the auction. Interest charges of one and one-half percent per month shall apply to invoices paid after this period expires. Neal Auction Company reserves the right to require payment in full of the purchase price immediately following declaration of the successful bidder.
7. Payment for all jewelry purchases must be made by cash, check or wire transfer.
8. VISA, MasterCard, Discover, and American Express are accepted for payment of invoices (except jewelry) up to $25,000 per buyer.
9. Checks must be drawn on a U.S. bank. All lots shall be held by Neal Auction Company until the check clears.
10. The buyer’s signature on a registration form (or other writing with the buyer’s credit card number) gives Neal Auction Company permission to charge the buyer’s credit card the full amount of the buyer’s invoice if full payment is not received within 15 calendar days of the auction or, in Neal Auction Company’s discretion, to charge the buyer’s credit card later, with interest at the rate of one and one-half percent per month.
PACKING, MOVING, SHIPPING, AND DELIVERY
Neal Auction Company may furnish information on packers, movers, or shippers for bidders or buyers making packing, moving, shipping, and delivery arrangements, but Neal Auction Company shall not be liable, obligated, or responsible therefore, and buyers retain packers, movers, and shippers at their own risk and peril. Shipping, moving, packing, and delivery arrangements and agreements are strictly between the buyer and the shipper, mover, or packer. Neal Auction Company shall not be liable, obligated, or responsible for any damage to property, including vehicles, or for any personal injuries of buyer or any third parties involved in packing, moving, shipping, or delivery. Buyers WAIVE and RELEASE Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any and all claims relating to packing, moving, shipping, and delivery of
purchased lots, and any damage or injuries to persons or property arising therefrom.
HANDLING AND STORAGE
Unless other arrangements are made and confirmed in writing by Neal Auction Company, all lots must be removed within 15 calendar days of the auction. On the first business day following that time period, any lots remaining in the Neal Auction Company gallery may be turned over to a storage facility, at Neal Auction Company’s discretion. The buyer will be responsible for all handling and storage charges. Handling charges shall be a minimum of $50 per lot. Storage costs shall be a minimum charge of $50 per month per lot. Storage charges accrue monthly and must be paid in full before any lots purchased by the buyer are released. At its discretion, Neal Auction Company may charge the full amount of any storage and handling charges, on a periodic basis, on the buyer’s credit card, including interest at the rate of one and one-half percent per month.
All purchased lots will be handled and stored at the buyer’s sole risk and peril. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for handling or storage, or for any damage to or loss of, any lot after the sale. The buyer WAIVES and RELEASES all such claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees).
INTELLECTUAL PROPERTY RIGHTS
Neal Auction Company retains the copyright and other intellectual property rights to all photographs, video, illustrations, text, and other works in its catalogue, website, advertising, correspondence, literature, and elsewhere. Such photographs, video, illustrations, text, and other works may not be used, copied, published, exhibited, revised, or displayed without the prior written permission of Neal Auction Company.
Neal Auction Company and the consignor make no representation or warranty that the buyer of a lot will acquire any copyright or other intellectual property right or interest in the lot.
IMPORT/EXPORT
Lots made of or incorporating endangered or protected wildlife materials, irrespective of age or amount of material, may require a license or certificate authorizing export from the United States as well as relevant authorizations from the country of import. It is the responsibility of the bidder or buyer to determine and be satisfied that the requirements of any applicable laws and regulations applying to the transportation, whether international or interstate, can be met before bidding. The inability of a buyer to transport lots containing endangered or protected wildlife material is not a basis for cancellation or rescission of the sale or discount of the purchase price. Although licenses may be obtainable to export certain types of endangered species, some types may not be exported at all, and other types may not be resold in certain states in the United States. Neal Auction Company cannot assist the bidder or buyer in attempting to obtain the appropriate licenses and/or certificates, and bidders and buyers can be given no assurance that an export license or certificate can be obtained. Each bidder should verify with an attorney or qualified shipping company if uncertain as to whether a lot is subject to export/ import license and certificate requirements and any other restrictions or prohibitions on the interstate transportation or exportation from the United States. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for any oral, written, or electronic advice given or representations made by it or by any shipping company, legal counsel, or other person. Buyers WAIVE and RELEASE any and all claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) relating to such advice and representations.
MANDATORY AND EXCLUSIVE FORUM SELECTION; CHOICE OF LAW
Any action of any nature brought by a bidder or buyer against Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot in any court, whether federal or state, shall be brought exclusively in Orleans Parish, Louisiana. Every bidder and buyer agrees to submit to jurisdiction and venue in federal or state court in Orleans Parish, Louisiana, waives all objections or challenges to such jurisdiction or venue, and waives any rights to jurisdiction or venue in any other forum. Any dispute between the bidder or buyer and Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot shall be governed by the law of the State of Louisiana, notwithstanding any conflicts of laws principles.
MISCELLANEOUS LEGAL PROVISIONS
If any part of these Conditions of Sale is held to be invalid, null, or unenforceable, that part shall be reformed so as to implement the intent of the parties as expressed herein, and any such holding shall not affect the remaining provisions of these Conditions of Sale, which shall remain in full force and effect, subject to reformation to implement the intent of the parties as expressed herein.
The paragraph headings contained herein are for convenience of reference only and shall not affect the meaning or interpretation of these Conditions of Sale.
All prior and contemporaneous representations, communications, and agreements, if any, between the bidder or buyer and Neal Auction Company (and any of its owners, officers, directors, representatives, insurers, agents, and employees) relating to any of the lots offered for sale or to the auction or sale are hereby superseded and merged into these Conditions of Sale, which are the entire and only contract between the bidder or buyer and Neal Auction Company relating to the subject matter herein.
Any modifications, amendments, or waivers of these Conditions of Sale must be made in a writing signed by both Neal Auction Company and the bidder or buyer.
In the event of any disputes arising out of the auction or sale of lots or these Conditions of Sale, Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated or responsible for any general, special, exemplary, incidental, or consequential damages (including but not limited to lost profits and attorneys’ fees). Every bidder and buyer WAIVES and RELEASES any rights to such damages. This LIMITATION OF LIABILITY does not, and is not intended to, enlarge or expand any rights or interests of a bidder or buyer that are restricted or limited elsewhere in these Conditions of Sale (including but not limited to the WARRANTY WAIVERS and LIABILITY LIMITATIONS set forth herein).
These Conditions of Sale constitute a binding legal contract between Neal Auction Company and each bidder or buyer. Each bidder and buyer acknowledges having read and understood these Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY. All bidders and buyers further acknowledge that they enter into these Conditions of Sale of their own free will, with full authority, and under no duress or coercion.
105
A
Mathias Joseph Alten, 24
Walter Inglis Anderson, 405, (aft) 406, 407
John James Audubon, 432-435, 438
John Woodhouse Audubon, 436, 437
B
Barbizon School, 304
McClelland Barclay, 30
Leonard Baskin, 40
Jose Basso, 343
Gian Lorenzo Bernini (aft), 302
Louis L. Betts, 445
Joseph Antoine Bouvard, 305
Selina Elizabeth Bres, 446
Henry Bridgewater, 80
Norton Bush, 21
C
Paul Cadmus, 221
Henry Casselli, 338
Marc Chagall, 218
Sandra Russell Clark, 244, 245
George Henry Clements, 448, 449
Continental School, 314
George David Coulon, 447
Peter Cox, 41
D Collins C. Diboll (aft), 224
Alexander John Drysdale, 439-444
George Bauer Dunbar, 339, 340
George Valentine Dureau, 333-335
E
Lin Emery, 341
Romain de Tirtoff “Erte”, 309-312
F
S.S. Fisher, 397
Frank Fleming, 360, 361
Pedro Friedeberg, 325
G
Roy Thomas Galbraith, 327
Henry Martin Gasser, 456, 457
Alberto Giacometti, 219
Charles Gillam, Sr., 81-83
Rolland Harve Golden, 394
Robert Gordy, 225, 331
Luis Graner y Arrufi, 462
Ismael Guardado, 326
Jules Vallee Guerin, 23
H
Theora Hamblett, 72
William Hamel, 316
David Harouni, 344-354
Chestee Harrington, 398-400
William Hemmerling, 66
Jacques Hnizdovsky, 223
Morris Henry Hobbs, 452-454
William Hogarth (mnr), 315
Andrew LaMar Hopkins, 367-370
John Newton Howitt, 26
Clementine Hunter, 67-71
Charles Woodward Hutson, 73-78
Ethel Hutson, 79
J
Eddie “Jack” Jordan, 371, 372
K
Mary Kirk Kelly, 377-379
James L. Kendrick III, 392, 393
Charles Bird King, 431
Robert Kipniss, 233
Gene Kloss, 220
Ida Kohlmeyer, 226, 227, 336, 337
Gene Koss, 342
L
Joseph Christian Leyendecker (attr), 33
Joe Louis Light, 64
Peter Lik, 243
O. Winston “Ogle” Link, 222
Woodie Long, 65
Louisiana School, 455
M
Richard MacDonald, 35
I.A. Martin, 246
Paul Lucien Maze, 306
James Michalopoulos, 355-359
Tony Mose, 328
O
Aloysius O’Kelly, 20
Richard Osterweil, 36-38
P
Frances Flora “Fanny” Bond Palmer (attr), 18
Guy Pene du Bois, 459
Edmond Marie Petitjean, 307, 308
Pablo Picasso, 373
Donald Purdy, 31
R
Fredrick “Fred” “Rick” Thomas Reichman, 34
Charles Whitfield Richards, 464-466
Noel Rockmore, 395
George Rodrigue, 236-242, 362
Robert Malcolm Rucker, 396
S
Arthur Sarnoff, 32
William Saroyan, 39
Paul Schumann, 460
Roswell Morse Shurtleff, 22
Francesca Stuart Sindici, 317
Hunt Slonem, 366
Marion Sims Souchon, 458
Gideon Townsend Stanton, 463
Will Henry Stevens, 403
LeConte Stewart, 25
Durett Stokes, 410
Johann Christoph Storer, 301
Carol Summers, 232
T
Rufino Tamayo, 230, 231
Emmitt Thames, 401, 402
George Albert Thompson, 29
Arnold E. Turtle, 461
V
Marcel Vertes, 313
Jorge Villegas, 329
W
Tore Wallin, 330
Andy Warhol (aft), 234, 235
Olaf Carl Wieghorst, 27
Ernest Marius Wilson, 28
Karl Wolfe, 404
George Bacon Wood, Jr., 19
Ellsworth Woodward, 450, 451
Don Wright, 408, 409
Y
Askar Yessenbayev, 332
Z
Francisco Zừñiga, 228, 229
106
April 19, 2024 • Artist Index
John R. Neal (1940-2018), Founder
Michelle LeBlanc Leckert, CAI President
Katherine Hovas
Senior Vice President
ADMINISTRATION
Director of Administration & Finance
Michelle LeBlanc Leckert, CAI
Client Services / Accounts Receivables
Rebekah Abernathy
Database Management / Internet Auction Administrator
Lisa Weisdorffer
Marketing & Social Media
Cameron McHarg
General Manager
Jason Leckert
Administrative Assistant
Claire Whitmore
GRAPHICS
Graphics Director / Catalogue Design
David Roberts
Photography
Gerard Lewis
Jason Leckert
OPERATIONS
Operations Staff
Charlie Clay
Jerry Major
Graphics Staff
Stephanie Do Ouro
Amanda Torres
Adam Trepagnier
Decorative Arts Inventory Management
Charlie Clay
AUCTIONEERS
Michelle LeBlanc Leckert #1514
Bettine Field Carroll #1874
Marc Fagan #1935
Marney Robinson #2155
Cameron McHarg #2184
Marc Fagan
Vice President Consignments
CONSIGNMENTS
Paintings, Prints & Photography, Sculpture
Marney Robinson; Sophie Hirabayashi; Casey Foote; Renee Longon
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
CATALOGUE CONSULTANTS
Asian Arts & Special Projects
Bettine Field Carroll
Decorative Arts & Victoriana
Ann M. Masson
Jewelry - GIA Graduate Gemologist
Stephen A. Moses
OF BUILDING COLLECTIONS
