LIVE AUCTION
Friday, June 28, 1 p.m.
LOTS 1-365
3
1. Regency Mahogany Rent Table, 19th c., tooled leather top, frieze drawers, turned standard, outwept legs, casters, h. 31 in., dia. 47 in.
[$1200/1800]
2. Georgian-Style Tufted Leather “Porter’s Chair”, barrel back, leather upholstery with nailhead trim, plinth storage compartment, h. 63 1/2 in., w. 33 in., d. 34 in.
[$2000/3000]
3. Fine Set of Twelve Chippendale-Style Carved Walnut Dining Chairs, mid-19th c., incl. two arms, ten sides, molded crest rail centered by Prince of Wales plumes, pierced carved splat, scrolled arms, shell carved seat rail, cabriole legs, paw feet, armchair h. 43 1/4 in., w. 26 in., d. 22 1/4 in., side chair h. 41 1/4 in., w. 22 1/2 in., d. 19 1/4 in. [$7000/10000]
Provenance: M.S. Rau Antiques New Orleans, LA ,1996
4. Regency Brass Inlaid Rosewood Games Table, 19th c., in the manner of George Oakley, London, molded foldover top, inlaid brass frieze, square molded stepped standard, plinth base, outswept legs, brass paw feet, casters, h. 28 3/4 in., w. (closed) 17 3/4 in., w. (open) 33 1/2 in., d. 36 in.
[$1000/1500]
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5. Queen Anne-Style String Inlaid Walnut Chest on Stand, 19th c., upper case with molded cornice, canted fluted corners, two short drawers over three long drawers, molded waist, three drawers below, scalloped molded skirt, bulbous turned supports, shaped stretcher, bun feet, h. 68 in., w. 39 1/2 in., d. 21 1/2 in. [$1000/1500]
6. Pair of Georgian-Style Mahogany Nightstands, molded top, four graduated drawers, plinth base, h. 32 in., w. 14 in., d. 14 in.
[$1000/1500]
7. Georgian-Style Inlaid Burl Walnut Slant Front Desk, 19th c., fitted interior, two bead molded drawers flanked lopers, above three bead molded drawers, bracket feet, h. 39 in. w. 28 1/2 in., d. (closed) 16 1/2 in., d. (open) 28 in. [$700/900]
8. French Provincial-Style Carved Mixed Woods Extension Dining Table, 19th c., drop leaves, three extension leaves, square tapered legs, cup casters, h. 28 1/2 in., w. 53 3/4 in., d. (closed) 29 1/4 in., d. (open) 48 1/4 in., d. (full extension) 109 3/4 in. [$1200/1800]
9. Georgian Mahogany Partners Desk, 19th c., tooled leather top, one side with three frieze drawers over banks of drawers, plinth base, casters, h. 30 3/4 in., w. 66 in., d. 41 in. [$700/1000]
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10. Georgian Tortoiseshell Tea Caddy, 19th c., cylinderform, hinged lid, lidded compartment, h. 5 in., dia. 4 5/8 in. [$1000/1500]
11. George III Tortoiseshell Tea Caddy, 19th c., octagonal-form, interior with single lidded compartment, h. 4 1/4 in., w. 4 3/4 in., d. 3 3/4 in. [$1000/1500]
12. Georgian Tortoiseshell and Bone Tea Caddy, 19th c., harlequinpattern, single lidded compartment, h. 4 5/8 in. w. 3 3/4 in., d. 3 3/4 in.
[$1000/1500]
13. George III Tortoiseshell Tea Caddy, 19th c., hinged lid with pushbutton clasp, lidded compartment, h. 4 1/2 in., w. 4 1/4 in., d. 3 in.
[$800/1200]
14. Georgian Tortoiseshell Tea Caddy, 19th c., with an overlay design of a bird and scrolls, interior with two lidded compartments, h. 4 3/4 in., w. 7 3/4 in., d. 4 3/4 in. [$800/1200]
15. Georgian Tortoiseshell Tea Caddy, 19th c., pagoda-form, interior with two lidded compartments, ball feet, h. 5 3/4 in., w. 6 5/8 in., d. 4 1/2 in.
[$800/1200]
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16. English Brass-Mounted Mahogany Stock Certificate Table-Top Cabinet, 19th c., mirrored doors, over six drawers, brass cartouches with engraved labels for stocks and letters, bracket feet, h. 32 in., w. 19 in., d. 13 in.
[$800/1200]
18. Victorian Taxidermy Group of Exotic Birds and Animals, animals incl. a loris (possibly red slender), snake, northern palm squirrel, and seahorse; twelve birds incl. four hummingbirds, blue-gray tanager, yellow oriole, tri-colored munia, velvet-fronted nuthatch, cuckoo, parrot, and others, under a glass dome (cracked), wood base, h. 17 in. dia. 14 in. [$1000/1500]
17. English Ebony and Burlwood Cave a 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]
19. Tim Cotterill (British, b. 1950), five enameled bronze frogs, incl. “Ladies
“Leapfrog”, “Midas Touch”, “Stretch”, and “Zorro”, each signed, stamped and numbered, tallest
[$1000/1500]
7
First”,
h. 8 in. (5 pcs.)
20. Antique Louis XV-Style Bronze-Mounted Kingwood Parquetry Three Door Vitrine, early 20th c., molded finialed cornice with center bronze mount, three molded glazed doors, fluted tapered legs, h. 101 in., w. 79 in., d. 24 in.
[$2000/3000]
21. Louis XV-Style Gilt Bronze-Mounted Inlaid Kingwood Bureau Plat, early 20th c., made or retailed by Haentges Freres, Paris, labeled inside drawer, tooled leather top, frieze drawers, bronze molded cabriole legs, bronze paw feet, h. 30 in., w. 63 in., d. 33 1/2 in.
[$1000/1500]
22. Venetian Rococo-Style Parcel Gilt and Painted Console, late 19th c., molded marble top, molded frieze drawer, C scroll corners, cabriole legs, scrolled toes, h. 36 1/4 in., w. 54 in., d. 23 in.
[$1000/1500]
23. French Tulipwood Parquetry Tric-Trac Table, 19th c., foldover swivel top, frieze drawer with fitted gaming surface, brass cup feet, h. 30 in., w. (closed) 22 1/4 in., w. (open) 45 in., d. 35 in.
[$700/1000]
24. Pair of Louis XV-Style Carved Beechwood Fauteuils, 19th c., molded crest rail, padded back and seat, scrolled arms, conforming seat rail, cabriole legs, scrolled toes, h. 34 in., w. 25 in., d. 22 in.
[$700/1000]
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25. French Provincial-Style Carved Fruitwood Buffet, 19th c., plank top, three frieze drawers, two paneled doors, block feet, h. 40 1/2 in., w. 58 in., d. 23 in.
[$1000/1500]
27. Pair of Louis XV-Style Carved Fauteuils, 19th c., carved molded crest rail, caned back and seat, padded scrolled arms, conforming seat rail, cabriole legs, h. 40 1/2 in., w. 28 in., d. 26 in. [$500/700]
29. Antique American Giltwood Mirror, branchwork frame, ribbon crest, with garlands and birds, h. 74 in., w. 45 in., d. 4 in.
[$800/1200]
26. French Country-Style Pine Farm Table, 21st c., plank top, plain frieze, square legs with chamfered corners, h. 30 in., w. 86 in., d. 38 1/2 in.
[$700/1000]
28. Continental Renaissance Revival Carved Oak Library Table, 19th c., molded top, frieze drawer, trestle base, paw feet, h. 33 in., w.47 in., d. 33 3/4 in.
[$700/1000]
30. Fine Monumental American Carved Giltwood Overmantel Mirror, c. 1870, in the Egyptian taste, crest surmounted by a relief-carved bust of a Pharaoh, blocked columnar sides with papyrus and anthemion carving, molded base, h. 74 in., w. 69 1/2 in., d. 12 in.
[$1500/2500]
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33. French Provincial Carved Oak Buffet a Deux Corps, 19th c., pierced carved crest, molded cornice, two paneled doors, conforming base with two doors, flared feet, h. 110 in., w. 61 in., d. 24 3/4 in.
[$1000/1500]
Provenance: Collection of Dr. Bruce Wilson, Memphis, TN.
34. Pair of Louis XV-Style Carved Walnut
crest rail, padded scrolled arms, conforming seat rail,
35. Louis XV-Style
and Kingwood
, 19th c.,
lift top with gameboard on one side and marquetry on verso, frieze drawer, square tapered legs, h. 30 1/2 in., w. 33 1/2 in., d. 19 3/4 in.
[$1000/1500]
, 19th c., carved
legs,
toes, h. 40 in., w. 29 in., d. 29 in. [$700/1000]
36. Pair of Louis XVI-Style Painted Parcel
,
rouge marble, molded top, stop fluted tapered legs, h. 34 in., w. 46 3/4 in., d. 22 1/4 in.
[$1500/2500]
10
31. Pair of Line Vautrin-Style Giltwood “Sun King” Mirrors, 20th c., dia. 29 in. [$700/1000]
32. Charles X Birdseye Maple, BronzeMounted and Ebonized Mirror, early 19th c., h. 28 1/2 in., w. 28 1/2 in. [$700/1000]
Fauteuils
molded
cabriole
scrolled
Marquetry
Tric Trac Table
molded
Gilt Consoles
inset
37. Pair of French Restauration Carved Mahogany Barrel-Back Bergères, early 19th c., rounded crest rail, scrolled terminals, foliate-carved uprights, sabre legs, h. 32 1/2 in., w. 21 in., d. 23 in. [$800/1200]
Provenance: Estate of Warren A. Goldstein, Esq., New Orleans.
39. French Provincial-Style Pine Farm Table, 21st c., plank top, plain frieze, square tapered legs, h. 30 in., w. 75 in., d. 44 in.
40. French Provincial Carved Walnut Armoire, 18th c., molded cornice, floral carved frieze, molded shaped paneled doors, molded scalloped apron, cabriole legs, belt of drawers, h. 103 in., w. 61 1/2 in., d. 25 1/4 in. [$1000/1500]
Provenance: M.S. Rau Antiques New Orleans, LA ,1996
Pair of Louis
11
[$800/1200]
38. Louis XVI-Style Creme Peinte Settee, 19th c., shaped molded crest rail, scrolled padded arms, conforming seat rail, stop fluted tapered legs, h. 35 1/2 in., w. 71 in., d. 23 in. [$800/1200]
41.
XV-Style Fruitwood Fauteuils, 20th c., molded crest rail, padded scrolled arms, conforming seat rail, stop fluted tapered legs, h. 38 1/2 in., w. 25 in., d. 25 in. [$500/700]
42. French 1st Standard Silver Hot Water Urn in the Louis XVI Taste, late 19th/20th c., domed cover with foliate bowknot finial, inverted pyriform body with foliate scroll handles and spigot, tall cabriole legs, retains burner, fluted throughout, script monogram, rosewood feet and fittings, h. 18 1/4 in., wt. 81.80 troy ozs. [$1500/2500]
43. George III Sterling Silver Teapot and Stand, Henry Chawner, London, 1795, mark used 1786-1796, ogee rectangular form with domed cover, brightwork and flat chased decoration of acorns and leaves, teapot with engraved armorial, carved fruitwood finial and handle, stand with reeded splayed feet; teapot h. 6 1/8 in., w. 10 1/2 in., stand w. 6 7/8 in., d. 4 3/4 in., total wt. 20.05 troy ozs. [$500/700]
44. Set of Six American Coin Silver Julep Cups, marked “DENVER” and engraved “Hockaday” underside, tapered form with molded rims, h. 3 7/8 in., total wt. 27.9 troy ozs. [$2000/3000]
45. Pair of Mexican Sterling Silver Three-Light Candelabra, mid-20th c., marked “GPR/HECHO EN MEXICO)/STERLING/925”, h. 12 3/4 in., total wt. 61.60 troy ozs. [$1200/1800]
47. Gorham “Mythologique” Pattern Sterling Silver Flatware Service, pat. 1894, designed by F. Antoine Heller, incl. 8 each: forks (l. 8 in.), knives (l. 9 5/8 in.), fish/salad forks (l. 7 in.), teaspoons, gumbo spoons and cocktail forks; cold meat fork (l. 8 3/4 in.) and 2 tablespoons; together with 16 knives (l. 9 3/4 in.), in Gorham “Versailles” pattern, pat. 1888, also designed by F. Antoine Heller; total wt. (weighable) 81.10 troy ozs. (67 pcs.) [$2000/3000]
Note: F. Antoine Heller’s design for Gorham’s “Mythologique” pattern flatware includes 72 different flatware pieces decorated in 24 motifs, all subjects from classical mythology. The set offered here includes dinner forks featuring “Charon ferrying souls to Hades”, knives “Vertumnus Spring”, fish/salad forks “Oedipus and the Sphinx”, teaspoons “Penelope and Ulysses”, gumbo spoons “Nessus carrying off Dejanira”, cocktail forks “Childhood of Bacchus” and tablespoons and cold meat fork “Vulcan presenting thunderbolts to Jupiter”. Ref. “Gorham Manufacturing Company, Mythologique Flatware Design Samples”, www.risdmuseum. org, Accessed June 4, 2024; Carpenter, Charles H. Jr., Gorham Silver: 1831-1981, p. 127.
46. Set of Sixteen Mexican Sterling Silver Water Goblets, mid-20th c., Juventino Lopez Reyes, h. 6 7/8 in.; total wt. 100.90 troy ozs. [$1200/1800]
48. Whiting “Lily” Pattern Sterling Silver Flatware Service, pat. 1902, incl. 12 each: forks (l. 7 5/8 in.), knives (l. 9 3/4 in.) and fruit spoons; 8 forks (l. 6 7/8 in.), 22 salad forks and 2 tablespoons, monogrammed; together with 2 Wallace “Rose Point” forks (l. 7 1/4 in.); total wt. (weighable) 86.95 troy ozs. (62 pcs.) [$2000/3000]
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49. American Sterling Silver Flatware Service, Dominick & Haff, “Pointed Antique”, pat. 1895, incl. 10 forks (l. 7 1/4 in.), 12 knives (l. 8 3/4 in.), 11 salad forks, 12 cream soup spoons, 22 teaspoons, 11 butter knives (fh), cake/pie server (hh), and macaroni server (hh), monogrammed; together with Community silverplate pie server; total wt. (weighable) 75.90 troy ozs. (81 pcs.) [$1000/1500]
51. Tiffany & Co. Makers Sterling Silver Picture Frame with Easel Back, pattern introduced 1910, hammered surface, 10 in. x 7 1/2 in. [$300/500]
50. International Sterling Silver Flatware Service, “Joan of Arc” pattern, pat. 1940, incl. 12 forks (l. 7 3/8 in.), 12 knives (l. 9 1/4 in.), 19 salad forks, 12 dessert spoons, 24 teaspoons, 9 iced teaspoons, 10 cocktail forks, 8 demitasse spoons, 2 cold meat forks, 4 tablespoons, 2 pierced tablespoons, tomato server, master butter knife and pickle fork, total wt. (weighable) 117 troy ozs. (117 pcs.); together with 2 coin silver tablespoons, prob. 18th c., 2 Kirk sauce ladles, Edward C. Moore for Tiffany “Italian” pattern berry spoon, Reed & Barton “Burgundy” cream ladle and Towle “Rambler Rose” sugar shell, wt. 12.05 troy ozs. (7 pcs.) (124 pcs. Total) [$1800/2400]
52. Set of Sixteen Gorham Sterling Silver Water Goblets, pattern 272, engraved with dates from 1959 to 1966; h. 6 5/8 in., total wt. 91.45 troy ozs.
[$1200/1800]
53. Set of Ten American Sterling Silver Water Goblets, M. Fred Hirsch, pattern 25, h. 6 3/4 in., total wt. 40.70 troy ozs. [$800/1200]
54. Associated Set of Eleven American Sterling Silver Water Goblets, mid-20th c., incl. 6 Kirk, no. 4108, monogrammed “M”, h. 6 in.; and 5 Gorham, no. 272, no monogram, h. 6 1/2 in.; total wt. 56 troy ozs.
[$800/1200]
55. Marble Figure of a Seated Woman, after Pietro Magni, cast signature and date “Pietro Magni 1873” proper right, h. 21 in., w. 10 1/2 in., d. 11 in., carved giltwood base, overall h. 23 in. [$1000/2000]
13
56. Continental School, 19th c., “Madonna and Child”, oil on canvas board, unsigned, “Townley Galleries, Austin, TX” label on backing paper, 38 1/2 in. x 29 in., framed, overall 49 3/8 in. x 39 7/8 in. x 4 3/4 in. [$1000/1500]
58. Jean-Baptiste Monnoyer (French, 1634-1699), “A Still Life of Summer Flowers and Fruit on a Table”, oil on canvas, unsigned, 21 1/2 in. x 26 1/2 in., framed, overall 31 1/4 in. x 36 1/4 in. x 2 3/4 in.; together with 1974 Sotheby’s auction catalogue and paperwork. (2 pcs.) [$8000/12000]
Provenance: “Old Master Paintings”, Sotheby’s, London, July 24, 1974, lot 69.
Note: Born in Lille and educated in Antwerp, Jean-Baptiste Monnoyer achieved great success with the still life paintings which were his primary focus. He worked with the Gobelins and Beauvais tapestry workshops, where he produced cartoons of fruit and flowers for the tapestry-weavers, and later served as a decorator for Charles Le Brun at the Château de Marly and the Grand Dauphin’s residence, the Château de Meudon. He was received at the Académie Royale de Peinture et de Sculpture in 1665 and had four flower paintings in the Salon of 1673. Monnoyer left France for England in 1690 to work on painting decorations for Montagu House, Bloomsbury, London, where he produced over fifty panels of fruit and flowers. Monnoyer’s work is well represented in notable museum and gallery collections worldwide.
57. Eugen Jettel (Austrian, 1845-1901), “French Countryside”, oil on panel, signed and inscribed “Paris” en verso, sight 27 in. x 43 1/4 in., framed, overall 34 1/4 in. x 50 in. x 2 in. [$2000/4000]
Provenance: A Mississippi Delta Estate.
59. Otto Werner Henning von Kameke (German, 1826-1899), “Landscape with Figure along a Path”, oil on canvas board, signed lower right, 7 in. x 10 15/16 in., framed, overall 10 in. x 14 in. x 1 3/8 in. [$800/1200]
60. After Auguste Rodin (French, 1840-1917), “Bronze Age”, bronze, signature inscribed on self-base, h. 40 in., w. 14 in., d. 13 in. [$1500/2500]
14
61. Edward August Wenzel (German/Austrian, 1895-1971), “Jesus Calming the Storm on the Sea of Galilee”, oil on canvas, signed lower right, handwritten label with artist and inscribed in German en verso, 45 1/8 in. x 77 1/2 in., framed with artist plaque, overall 65 5/8 in. x 83 in. x 2 5/8 in [$800/1200]
62. Pierre Le Faguays (French, 1892-1962), “Helmsman”, bronze, signed, stamped and inscribed “218” on self-base, h. 17 in., w. 27 5/8 in., d. 11 1/2 in. [$800/1200]
63. Delphin Enjolras (French, 18571945), “In the Boudoir”, oil on canvas, signed lower left, 2 “Kurt E. Schon, LTD., New Orleans, LA” labels, one with artist and title, on stretcher, 28 7/8 in. x 21 1/2 in., framed, overall 37 1/4 in. x 29 3/4 in. x 2 1/8 in. [$2000/3000]
15
64. Jean Jules Henry Geoffroy (French, 1853-1924), “Trois enfants lisante”, 1897, watercolor on paper laid on board, signed, titled and dated lower right, “Kurt E. Schon, LDT., New Orleans, LA” label with artist and title on backing paper, “P. Contet, Paris, France” stamp en verso, 23 1/4 in. x 18 1/2 in., framed, overall 30 3/4 in. x 26 1/8 in. x 2 1/8 in. [$700/1000]
65. Anton Nicolaas Marie Karssen (Dutch, 1945-2019), “Mother and Pups”, oil on canvas, signed lower left, 15 3/4 in. x 23 3/8 in., framed, overall 22 1/4 in. x 30 in. x 2 1/4 in. [$1200/1800]
Provenance: Neal Auction, Jun. 16, 2023, lot 463
66. Jean Brusselmans (Belgian, 1884-1953), “Man Working in a Field”, oil on canvas, signed lower left, 18 1/4 in. x 15 in., framed, overall 21 1/4 in. x 18 in. x 1 3/4 in.
[$2000/3000]
67. Jacques Martin-Ferrières (French, 1893-1972),
“Le Port à Collioures [sic]”, oil on canvas, signed lower right, “Le Monde Galleries, New York” label with artist and title and “Le Monde Galleries” stamp on stretcher, “G. Delfino, Cadres D’Art, Nice” label on reverse of frame, 24 1/4 in. x 20 in., framed, overall 32 3/4 in. x 28 3/8 in. x 2 in.
[$4000/6000]
Provenance: Neal Auction, Sept. 12, 2015, lot 27.
16
68. George III-Style Inlaid Thuya and Satinwood Ladies Double Writing Slope on Stand, 19th c., double hinged top, fitted interior, floral paint decoration, frieze drawer, square tapered stretchered legs, spade feet, h. 32 in., w. 15 1/2 in., d. 25 in.
[$800/1200]
69. Adam-Style Satinwood Painted Salon Chair, early 20th c., curved crest rail, splat with portrait medallion and floral swags, caned back and seat, square tapered legs, spade foot, h. 36 1/2 in., w. 21 in., d. 18 1/2 in.
[$500/700]
70. Sheraton Revival Paint-Decorated Satinwood Dresser, 19th c., molded central mirror flanked by marble top pedestals, each fall-front compartment with 6 drawers, molded base, turned feet, h. 101 in., w. 84 1/2 in., d. 16 1/2 in. [$800/1200]
71. George III-Style Satinwood Painted Occasional Table, 19th c., segmented top centering portrait medallion, molded top, frieze drawer, square tapered legs, X-form stretcher, h. 29 in., w. 22 in., d. 18 in.
[$800/1200]
72. Edwardian Painted and Inlaid Satinwood Carlton House Desk, late 19th c., galleried fitted superstructure, painted with portrait medallions and floral swags, tooled leather writing surface, three frieze drawers, square tapered legs, casters, h. 38 1/2 in., w. 41 3/4 in., d. 24 in. [$2000/3000]
73. George III-Style Inlaid Satinwood and Mahogany Games Table, late 19th c., molded foldover top, shell inlaid frieze, canted corners, baize playing surface, square tapered legs, h. 29 1/2 in., w. (closed) 17 1/4 in., w. (open) 34 1/2 in., d. 41 1/4 in. [$800/1200]
17
74. Antique Venetian RococoStyle Giltwood and Painted Sedan Chair, 19th c., shell centered crests, glazed windows and door, hand-painted floral motif panels, C-scrolled feet, h. 71 3/4 in., w. 34 in., d. 33 in. [$2000/3000]
Pair of Baltic-Style Parcel Gilt Carved Mahogany Consoles, late 19th/early 20th c., molded inset marble top, frieze drawer, shaped supports, plinth base, turned feet, h. 42 in., w. 42 1/8 in., d. 21 1/2 in. [$1500/2500]
18
75.
76. Large Berlin KPM Porcelain Plaque of “Madonna della Seggiola, with impressed scepter, “KPM, and model “4087”, dia. 13 1/2 in., ornate giltwood frame, h. 19 1/2 in., w. 19 1/2 in., d. 2 1/2 in. [$800/1200]
77. KPM Porcelain Plaque of a Gypsy Woman with Tambourine, impressed marks en verso, impressed “330 200”, h. 13 in., w. 7 3/4 in., ornate carved giltwood frame, h. 19 1/4 in., w. 14 1/4 in., d. 2 in. [$800/1200]
78. De Porcelyne Fles Tile of a Pelican Feeding Its Young, c. 1900, in white and beige cuenca on dark indigo ground, mounted on board with amber border tiles, probable mark hidden by board, 13 1/2 in. x 5 1/4 in.
[$500/700]
Provenance: Craftsman Auction, Lambertville, NJ, Sept. 20, 2003; Neal Auction, New Orleans, Nov. 17, 2023
79. Two Richard Joyce for Pilkington Lustre Vases, early 20th c., marked and signed “Joyce”, polychrome lustre glaze, one with running ibexes; the other with a mounted rider and hunting dog chasing a stag, h. 7 3/4 in., dia. 6 1/8 in.
[$1500/2500]
80. Attributed to Frederick Hurten Rhead for Wardle Ceramic Vase, c. 1900, stamped “WARDLE/ENGLAND”, squeeze-bag design, h. 16 1/4 in., dia. 7 3/4 in. [$500/700]
81. Two Majolica Elephant Pedestals or Garden Seats, h. 22 1/4 in. and 21 in.
[$800/1200]
82. Large English Majolica Conservatory or Garden Seat, c. 1880, probably Brown, Westhead & Moore, Baroque grotto design motif, h 21 in., dia. 18 in. [$1000/1500]
19
83. Pair of American Cast Iron “Twig” Pattern Garden Benches, late 19th c., labeled “MFG BY/ THE KRAMER BROS/ FDY CO/DAYTON O”, reticulated back, arms, seat and legs composed of naturalistic boughs, h. 31 in., w. 38 in., d. 22 in. [$2500/3500]
Provenance: Stanley Wise Collection
84. Pair of American Cast-Iron Garden Benches, 19th c., one marked “HINDERERS IRON WKS/NO.LA”, in the pattern known as “Passion Flower”, originally designed by the Coalbrookdale Co., h. 33 in., w. 42 in., d. 32 in. [$1000/1500]
85. Pair of Monumental American Cast Iron Garden Urns, c. 1900, one marked “M.A. SWEENEY & BROS/ JEFFERSONVILLE/IND”, scalloped bowl, on tripartite dolphin and acanthus scroll supports, incurvate plinth bases, h. 48 in., dia. 46 in. [$3000/5000]
Provenance: Collection of Dr. Bruce Wilson, Memphis, TN.
86. Pair of Large Bronze Garden Figures of Cranes, tallest h. 72 in. [$600/900]
87. Neoclassical-Style Bronze Figural Garden Jardiniere, pierced basket, over figures, raised base, paw feet, h. 36 1/2 in., dia. 20 in. [$500/700]
88. Antique Empire-Style Copper Garden Jardiniere, vessel mounted with rams heads and swags, hoof feet, h. 26 in., dia. 25 in. [$500/700]
89. After Mathurin Moreau (French, 1822-1912) Bronze Garden Fountain, “A La Fontaine”, maiden cupping her hands to catch water for her bird friends, h. 51 in., w. 22 in., d. 23 in. [$800/1200]
90. American Cast Iron Garden Figure on Pedestal, draped figure, on tall pedestal, h. 75 in., w. 19 in., d. 19 in. [$800/1200]
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91. Continental Baroque Carved Oak Pedestal, 19th c., tripod base, centered armorial carvings, scroll legs, paw feet, h. 23 1/2 in., d. 42 in.
[$700/1000]
92. Continental Baroque-Style Carved Oak Settee, 19th c., needlework upholstery with nailhead trim, arched back, padded wings, acanthus carved arms, twist turned supports and stretchers, h. 47 1/2 in., w. 51 in., d. 31 in.
[$800/1200]
93. Continental Renaissance Revival Carved Walnut Library Table, 19th c., molded top, carved frieze, baluster supports, molded trestle base, acanthus carved feet, h. 32 1/2 in., w. 48 1/4 in., d. 32 in.
[$1000/1500]
94. Regence-Style Carved Walnut Fauteuil à Oreilles, 19th c., upholstery with nailhead trim, arched crest rail, padded wings, scrolled arms, scalloped molded seat rail, X-form stretcher, cabriole legs, scrolled toes, h. 42 in., w. 30 in., d. 30 in.
[$700/1000]
95. Antique Renaissance RevivalStyle Carved Oak Buffet a Deux Corps, 19th c., molded cornice, reverse glass painted glazed doors, flanked by barber twist poles, griffin supports, two drawers, two paneled doors, turned feet, h. 99 in., w. 55 in., d. 26 in.
[$700/1000]
96. Louis XVI-Style Painted and Parcel Gilt Canape à Oreilles, 20th c., molded crest rail, nailhead trim upholstery, padded wings, scrolled padded arms, conforming seat rail, stop fluted tapered legs, h. 39 1/2 in., w. 52 3/4 in., d. 32 1/2 in.
[$700/1000]
21
97. Grand Tour Model of the Luxor Obelisk, 19th c., marble base, h. 14 3/4 in., w. 4 5/8 in., d. 4 5/8 in. [$300/500]
98. Near Pair of Grand Tour Bronze Oil Lamps, 19th c., Greco-Roman form, handles ending in horsehead terms, larger h. 4 in., w. 5 1/2 in., d. 3 1/8 in.
[$400/600]
100. Italian Grand Tour-Style Bronze Jardiniere or Athenienne, 20th c., after the original unearthed at Pompeii, round vessel, on winged sphinxes, joined by foliate scrolls, h. 29 in., dia. 24 in. [$1500/2500]
101. Fine Louis XVI-Style Carved Marble Fireplace Surround, 19th c., carved with shell, scroll, and foliate designs, h. 45 in., w. 69 1/2 in., d. 18 1/2 in.; opening h. 34 1/2 in., w. 49 in., d. 15 in.
[$5000/7000]
Provenance: Annesdale Mansion, Memphis, TN.
99. Ancient Greek Ceramic Fragment of Alexander, c. 917 BCE/83 AD, h. 11 1/2 in., w. 7 in., d. 4 1/4 in., wood stand, overall 15 in.; accompanied by Daybreak Nuclear and Medical Systems Inc. report on Thermoluminescence Authenticity Tests, dated 6/17/83. (2 pcs) [$1000/1500]
102. Pair of Venetian Carved Giltwood and Painted Reliquaries, 18th c., heavily carved with scroll and foliate design, dolphin-head feet, h. 36 1/4 in., w. 30 in., d. 15 in.
[$800/1200]
103. Art Nouveau-Style Patinated Bronze Figural Floor Lamp Table, cast in the form of an egret amongst water plants, table top in the form of a lily pad, fitted with two lights, h. 64 in., w. 24 in., d. 17 in.
[$700/1000]
104. Pair of Continental Bronze Figural Lamps, figure of Atlas standard, figure h. 13 in., h. (to socket) 26 in. [$300/500]
22
105. Continental Bronze-Mounted Onyx Centerpiece, basin centered by a winged goddess, h. 24 in., dia. 11 1/4 in. [$500/700]
107. Viennese Cold Painted Bronze Boudoir Lamp, early 20th c., marked “AUSTRIA”, figure under a palm tree, single light, h. 11 in., w. 6 41/2 in., d. 4 1/2 in. [$600/900]
106. Continental Gilt Bronze Champleve Enamel and Ruby Glass Six-Light Chandelier, 19th c., attributed to Barbedienne, in the Moorish taste, foliate arms, accented with diamond pendants and spherules, h. 27 in., dia. 17 in. [$1800/2500]
109. After Peter Behrens (German, 1868-1940) “Flying Lady” Lamp, contemporary, spurious signature, nautilus-form slag glass shade, over female standard, naturalistic base, h. 30 in., w. 19 in., d. 24 in. [$700/1000]
108. Large Continental Giltwood Twelve-Light Chandelier, fluted and foliate design, h. 53 in., dia. 45 in. [$1500/2500]
23
110. Regency-Style Hall Lantern, frosted glass, cut with star designs, h. 24 in., dia. 11 3/4 in. [$400/600]
111. Regency-Style Hall Lantern, green, bell-form glass, griffin head chain supports, h. 21 in., dia. 10 3/4 in. [$400/600]
112. Regency-Style Glass Hall Lantern, bell-form, etched foliate design, h. 24 in., dia. 12 in. [$500/700]
113. Enoch Wood Perry Jr. (American, 1831-1915), “Women Weaving - The Wicker Workers”, oil on canvas, signed lower left, 34 1/2 in. x 54 in., period frame, overall 45 1/2 in. x 59 1/8 in. x 4 in. [$10000/20000]
Provenance: Bocage Antebellum Home, Darrow, LA.
Note: Enoch Wood Perry, Jr. was born in Boston in 1831 and spent his formative adolescent and young adulthood years in New Orleans where his family moved in 1848. He was determined to become an artist and earned enough money to travel to Europe to study at the Düsseldorf Academy in Germany and Thomas Couture’s atelier in France. Upon moving back to the United States, Perry first opened a studio in Philadelphia before returning to New Orleans on the eve of the Civil War and opening a studio. Perry began traveling throughout the United States, perhaps most notably to Hawaii where he painted landscapes, portraits of wealthy landowners and Hawaiian royalty. Perry is nationally recognized for his genre scenes and portraits of prominent Americans.
In the nineteenth century, American glass factories produced millions of bottles and provided a major industry for female and child labor. This work provided cash for families
114. American School, 19th c., “Meeting by the River”, oil on canvas, unsigned, 17 1/8 in. x 23 3/8 in., framed, overall 19 5/8 in. x 26 5/8 in. x 3/4 in. [$600/800]
that were struggling as the industrial revolution caused social and economic change. In the monumental canvas offered here entitled “Women Weaving – The Wicker Workers,” women and children are depicted warmly lit by the sun pouring in through the window while casually weaving willow or seagrass around glass jugs, the largest of which are called “demijohns.” In the center, carefully illuminated and anchoring the composition, a woman in red and white plaid is seemingly lost in tranquil revery. Eyes unfocused and a placid expression on her face, she sits idly with an unfinished bottle in her lap. Close inspection reveals other details within each anonymous figure, portrait-like in their distinct mannerisms and frozen expressions. There is the young boy to the right who is absorbed by his weaving— practically a genre scene of its own; the woman by the window in blue stripes who is distracted by the view outside; and the foreman in the shadowed doorframe whose voyeuristic, intrusive gaze mirrors that of the viewer. Perry’s ability to render impeccable details and sensitive expressions shines in this remarkable American genre scene.
Ref.: Rumrill, Alan F. “Working from Home.” Historical Society of Cheshire County. May 2020. https://hsccnh.org. Accessed June 3, 2024.
115. Thomas Waterman Wood (American/Vermont, 1823-1903), “Portrait of Catherine Norton Nicholas Brunne (1830-1894) of Baltimore”, 1856, oil on canvas, signed and dated lower left, artist and date inscribed on stretcher, handwritten label with artist, sitter and date en verso, 30 1/2 in. x 25 1/2 in., framed, overall 40 in. x 35 in. x 5 1/4 in.
[$1500/2500]
24
116. Eugene Alonzo Poole (American/Pennsylvania, 1841-1912), “Ducks and Geese in a River”, 1900, oil on canvas, signed and dated lower right, 12 in. x 20 in., framed with artist plaque, overall 23 in. x 31 in. x 3 in. [$800/1200]
118. Alfred Howland (American, 1838-1909), “Portrait of a Lady”, oil on panel, signed lower right, “William E. Koch Mobile Art Center and Gallery, Mobile, AL” label with title and artist and artist information from “Fielding Dictionary of American Painters” en verso, 14 in. x 9 in., framed with artist and title plaque, overall 21 1/2 in. x 16 3/8 in. x 2 1/4 in.
[$600/800]
117. Cassilly Adams (American, 1843-1921), “Gold Mining”, oil on canvas, signed lower right, 14 in. x 10 in., framed, overall 22 1/4 in. x 18 1/4 in. x 3 1/2 in. [$1200/1800]
119. Dale Bessire (American/Ohio, 1892-1974), “Autumnal Landscape of a Mountain Valley”, oil on canvas, signed lower right, 20 in. x 24 in., framed, overall 24 1/4 in. x 28 1/4 in. x 2 in. [$1200/1800]
120. Robert Ward Van Boskerck (American/New Jersey, 18551932), “Wooded Landscape”, oil on canvas, signed lower right, “Doyle, New York” label on reverse of frame, 12 in. x 14 1/8 in., framed with artist plaque, overall 19 1/2 in. x 22 1/2 in. x 4 in. [$1000/1500]
Provenance: “American Furniture, Decorative Arts & Paintings”, Doyle, New York, NY, Oct. 1, 2014, lot 31.
121. James Jeffery Grant (American/Illinois, 1883-1960), “Market Place”, oil on canvas laid on masonite, unsigned, “Chicago Galleries Association, Chicago, IL” label with artist and title en verso, 16 5/8 in. x 13 in., framed, overall 20 in. x 16 3/8 in. x 1 in. [$1000/1500]
25
122. Charles Warren Eaton (American/New York, 18571937), “Pine Trees”, oil on canvas, signed lower left, 16 in. x 11 7/8 in., framed, overall 20 5/8 in. x 16 3/4 in. x 1 in. [$1000/1500]
Provenance: “American & European Fine Art”, Shannon’s Fine Art Auctioneers, Milford, CT, Oct. 24, 2013, lot 18.
124. Arthur Diehl (British/American, 1870-1929), “On the Docks”, oil on canvas, signed lower right, 11 in. x 14 in., framed, overall 14 1/2 in. x 17 1/2 in. x 1 in. [$1000/1500]
123. Louis Michel Eilshemius (American/New Jersey, 1864-1941), “Figures Dancing in Landscape”, c. 1910, oil on panel, signed lower right, “Chapellier Gallery Paintings of Quality Since 1916, New York, NY” label with artist and title and “Signature Galleries, Chicago, IL” label with artist, title and date on backing board, handwritten “Signature Galleries Chicago” label with artist, title and date on reverse of frame, 24 3/4 in. x 30 in., framed, overall 30 1/4 in. x 35 1/2 in. x 2 in. [$2000/3000]
125. After Ludwig Hans Fischer (Austrian, 1848-1915), “Im Hof Eines Serails”, enhanced giclée on stretched canvas, signed and dated in plate, “Reproductions Troubetzkoy, Paris” inscribed en verso, “Reproductions Troubetzkoy, Paris” stamp on reverse of frame, printed and published by Troubetzkoy Galerie, Paris, 31 1/2 in. x 39 1/2 in., framed, overall 45 in. x 53 in. x 2 1/2 in. [$1000/1500]
Suite of Eight British Shakespeare Engravings, after various
127 After Augustus Charles Pugin (British, 1762-1832), “Funeral Procession of Admiral Lord Nelson from the Admiralty to St Paul’s Cathedral”, 4 hand-colored engravings, each unsigned, engraved by M. Merigot, sights 12 7/8 in. x 17 5/8 in., framed alike, each overall 22 in. x 26 in. x 1 in. (4 pcs.) [$700/1000]
26
126.
British painters, each unsigned, published by J. & J. Boydell, sights 17 1/4 in. x 23 1/4 in., framed alike, each overall 26 1/2 in. x 31 1/8 in. x 2 in. (8 pcs.) [$800/1200]
128. Pierre-Joseph Redouté (French, 1759-1840), “Alstæmeria Pelegrina”, “Amaryllis Undulata”, “Alstæmeria Ligtu” and “Amaryllis Humilus”, 1804-1816, 4 hand-colored stipple engravings, from Les Lilacées, printed by Didot, Paris, published by Redouté for Empress Josephine, Paris, sights 20 in. x 13 1/4 in., framed alike, each overall 23 3/4 in. x 21 5/8 in. x 1 in. (4 pcs.) [$600/800]
129. John James Audubon (American, 1785-1851), The Quadrupeds of North America by John James Audubon and the Rev. John Bachman, published by V.G. Audubon, New York, 1854, three volumes, octavo, with 155 lithograph plates after J.J. & J.W. Audubon, printed and hand-colored by J.T. Bowen and Nagel & Weingaertner, gilt-lettered and tooled full leather (spines refreshed) [$4000/6000]
130. John James Audubon (American, 1785-1851), “Common American Swan”, Plate 411, hand-colored engraving with aquatint, from The Birds of America, Havel edition, “J.Whatman” watermark, sheet 25 3/4 in. x 38 1/2 in., float-mounted and framed, overall 37 1/2 in. x 50 1/8 in. x 1 3/4 in. [$60000/90000]
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131. John James Audubon (American, 1785-1851), “Ruffed Grouse”, Plate 293, chromolithograph, from The Birds of America, Bien edition, sight 25 3/4 in. x 38 in., framed, overall 25 3/4 in. x 43 3/4 in. x 3/4 in. [$500/700]
132. John James Audubon (American, 1785-1851), “Pinnated Grouse”, Plate 296, chromolithograph, from The Birds of America, Bien edition, sight 25 1/2 in. x 36 1/8 in., framed, overall 32 in. x 43 1/2 in. x 3/4 in. [$500/700]
133. John James Audubon (American, 1785-1851), “Great White Heron”, Plate 368, chromolithograph, from The Birds of America, Bien edition, sight 24 1/2 in. x 36 3/4 in., framed, overall 32 in. x 44 in. x 3/4 in.
[$700/1000]
134. Rare Mississippi Secession Broadside, An Ordinance to dissolve the Union between the State of Mississippi, and other States, united with her, under the compact, entitled the Constitution of the United States of America, 1861, New Orleans, lithograph, printed “Facsimile” and “Autographed by J. Manouvrier & Co., N. Orls”, lower margin; with facsimile signatures of convention president Willian Barrys and the members of the convention, 28 in. x 21 1/2 in., framed.
[$5000/7000]
Note: Only two other copies are known of this broadside; one in the Library of Congress, the other in the Gilder Lehrman Collection, New York
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135. Mary Kirk Kelly (American/ Alabama, 1918-2013), incl. ceramic watermelon and wedge, each signed, taller 8 1/4 in. (2 pcs.) [$300/500]
136. Mary Kirk Kelly (American/Alabama, 1918-2013), incl. ceramic pumpkin, cantaloupe with blossoms, and a small watermelon, all signed, tallest 10 1/2 in. (3 pcs.) [$300/500]
137. Mary Kirk Kelly (American/Alabama, 1918-2013), incl. 2 leaf platters (larger l. 13 1/2 in.); 5 leaf plates; and 3 lettuce leaf bud vases (tallest 9 1/2 in.), all signed. (10 pcs.) [$300/500]
138. Mary Kirk Kelly (American/Alabama, 1918-2013), incl. 2 ceramic sugar cane stalks, 5 carrots, 3 asparagus stalks, 2 green onions, 2 small corn cobs, and 3 snap peas, all signed, largest l. 15 in. (17 pcs.) [$300/500]
139. Mary Kirk Kelly (American/Alabama, 1918-2013), incl, 13 pea pods, 6 mushrooms, and others, all signed, all life size. (30 pcs.) [$300/500]
140. Mary Kirk Kelly (American/ Alabama, 1918-2013), “Rabbit and Lettuce”, ceramic, signed and dated 1988, h. 3 in., w. 3 in., d. 3 1/2 in. [$200/300]
141. Wilburs Chocolate Buds Store Display, 19th c., Philadelphia, enameled label, h. 12 3/4 in., dia. 5 1/2 in. [$300/500]
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142. Tiffany Studios Bronze Lion Paperweight, early 20th c., stamped to underside “TIFFANY STUDIOS/ NEW YORK/ 932”, h. 1 3/4 in., w. 1 1/2 in., l. 5 in., walnut slab base. [$300/500]
144. Pair of American Federal Inlaid Mahogany Games Tables, 19th c., New England, probably Massachusetts, fold-over top, inlaid frieze, square tapered legs, h. 29 in., w. 34 1/2 in., d. (closed) 16 1/4 in., w. (open) 32 1/2 in.
[$1200/1800]
146. Rare Chippendale Pennsylvania Drop-Leaf Dining Table, late 18th c., Chester Township, PA, oval drop leaves, shell and bellflower carved knees, cabriole legs, ball and claw feet, h. 27 1/2 in., w. 40 1/2 in., w. (closed) 13 in., d. (open) 41 in. [$800/1200]
Provenance: Personal Collection of Margaret Schiffer
143. Two Tiffany Studios Bronze Figures of Native Americans, stamped “TIFFANY STUDIOS/ NEW YORK”, tallest h. 6 1/2 in. [$300/500]
145. Delaware Valley Chippendale Walnut Sofa, 19th c., arched back, flared arms, stretchered legs, h. 34 1/2 in., w. 80 in., d. 28 in. [$800/1200]
Provenance: The Collection of Margaret Schiffer, noted collector of American Furniture and author of Furniture and its Makers of Chester County, Pennsylvania.
147. Fine American Federal Inlaid Mahogany Sideboard, early 19th c., probably Maryland or Virginia, barber pole inlaid kidney shaped top, conforming case, drawer over urn inlaid doors flanked by curved doors, square tapered legs, h. 39 in., w. 64 in., d. 24 in. [$3000/5000]
Provenance: Estate of Albert Coker, Mobile, AL
30
149. American Classical Mahogany Armoire, early 19th c., Louisiana or New York, molded cornice, flush paneled doors with reeded center, fishe hinges and shaped escutcheons, divided interior with fitted shelves and drawer within right partition, beehive turned legs, brass ball feet, h. 82 1/2 in., w. 52 1/2 in., d. 22 in.
[$2500/3500]
Provenance: Whitney Plantation Museum, Wallace, LA
148. Fine Set of Fourteen Sheraton-Style Carved Mahogany Dining Chairs, 19th c., molded crest rail, pierced carved splat with urn topped with Prince of Wales Feathers, square reeded tapered legs, spade feet, h. 36 in., w. 22 in., d. 18 in.
[$3000/5000]
150. American Classical Carved Mahogany Full Tester Bed, 19th c., stepped flared tester, octagonal molded posts, scrolled paneled headboard, conforming rails, h. 102 1/2 in., l. 78 in., w. 60 1/2 in.
[$1000/1500]
151. 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.)
[$1200/1800]
31
153. Twenty-Seven Pieces of Baccarat Crystal “Vega” Stemware incl. 15 colored hock/ Rhine; 7 large clear wine, and 5 other clear, tallest 9 in., 27 pcs., Note: the 15 colored glasses with original boxes. [$500/700]
152. Baccarat Gilt BronzeMounted Ruby Glass Cachepot, c. 1890, marked on bronze mount, lobed form, bird and foliate design, scroll feet, h. 6 1/2 in., dia. 7 1/2 in. [$1000/1500]
155. Twenty-Four Pieces of Baccarat Crystal “Mercure” Stemware, incl. 12 water goblets (h. 6 1/2 in.), 6 flutes, 4 medium wine, and 2 small wine. (24 pcs.) [$500/700]
157. Forty-Seven Pieces of Baccarat Crystal “Messina” Stemware, incl. 14 flutes (8 1/2 in.), 11 large wine (h. 7 1/2 in.), 10 medium wine, 11 small wine, and one shot. (47 pcs.) [$700/1000]
32
154. Fifteen Baccarat Crystal Tumblers, h. 5 1/2 in. [$300/500]
156. Twenty-Two Baccarat Crystal “Harcourt” Double Old Fashioned Glasses, h. 4 1/4 in., dia. 4 in. [$700/1000]
158. Charles Woodward Hutson (American/South Carolina, 1840-1936, active Louisiana, 1908-1936), “Sunset Behind Trees”, pastel on board, initialed lower right, “...st Art Association February 1936” original exhibition label with artist and title on backing paper, 5 3/8 in. x 8 3/8 in., framed, overall 11 3/8 in. x 14 1/2 in. x 5/8 in. [$500/700]
159. Charles Woodward Hutson (American/South Carolina, 1840-1936, active Louisiana, 1908-1936), “Riverbank Landscape”, pastel on board, initialed lower right, 9 in. x 13 1/2 in., framed, overall 13 3/4 in. x 17 5/8 in. x 5/8 in. [$800/1200]
160. Charles Woodward Hutson (American/South Carolina, 1840-1936, active Louisiana, 1908-1936), “Yellow Trees along a River”, watercolor on paper, initialed lower right, 10 in. x 14 in., framed, overall 11 1/8 in. x 15 3/16 in. x 1 in. [$1000/1500]
161. Charles Woodward Hutson (American/ South Carolina, 1840-1936, active Louisiana, 1908-1936), “Tree-lined Path”, pastel on board, initialed lower right, 10 1/4 in. x 7 5/8 in., framed, overall 17 in. x 13 7/8 in. x 7/8 in. [$700/1000]
162. Clementine Hunter (American/ Louisiana, 1886-1988), “Cotton Picking”, oil on board, monogrammed lower right, “Taylor Clark, Baton Rouge, LA” label and artist information on backing paper, 15 7/8 in. x 23 3/4 in., framed, overall 19 1/4 in. x 27 1/8 in. x 1 3/8 in.
[$4000/6000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
33
163. Lonnie B. Holley (American/Alabama, b. 1950), “Watermelon Keeper”, 1994, paint on canvas, signed and dated lower right, signed and titled on stretcher, 24 in. x 18 in., unframed.
[$1200/1800]
164. Jimmy Lee Sudduth (American/Alabama, 1910-2007), “Two Birds”, mud, paint and graphite on panel, signed upper left, 24 in. x 24 in., unframed. [$700/1000]
165. Jimmy Lee Sudduth (American/Alabama, 19102007), “Toto with Pink Flowers”, paint on panel, signed upper right, 23 13/16 in. x 23 3/4 in., unframed. [$1200/1800]
167. Mose Tolliver (American/ Alabama, 1920-2006), “Lady in Purple”, paint on panel, signed lower center, 25 11/16 in. x 17 11/16 in., unframed. [$600/800]
166. Jimmy Lee Sudduth (American/Alabama, 19102007), “House”, mud and paint on panel, signed lower right, 23 7/8 in. x 23 3/4 in., unframed. [$1000/1500]
168. Mose Tolliver (American/ Alabama, 1920-2006), “North Africa Feeding Baby”, paint on panel, signed lower center, 32 1/4 in. x 15 3/4 in., unframed. [$600/800]
169. Mose Tolliver (American/ Alabama, 1920-2006), “Bird”, paint on shaped panel, signed lower left, 26 1/4 in. x 12 in., unframed. [$600/800]
34
170. Chris Clark (American/ Alabama, 1958-2011), “Adam and Eve”, 1996, paint on hand sewn quilt, signed and dated lower right, 35 1/2 in. x 26 3/4 in., unframed.
[$1000/1500]
171. William Hemmerling (American/Louisiana, 1943-2009), “Woman with Orange Tree”, oil on found decorative print laid on board, unsigned, 48 in. x 36 in., framed, overall 55 5/8 in. x 43 1/2 in. x 3/4 in. [$1500/2500]
Provenance: Neal Auction, Apr. 9, 2022, lot 449.
173. Earl Hébert (American/ Louisiana, 1942-2006), “Alligator Farmer”, 1990, oil on canvas, signed and dated lower right, 49 in. x 36 in., framed, overall 55 1/2 in. x 43 1/2 in. x 2 1/8 in.
[$4000/6000]
172. Earl Hébert (American/Louisiana, 1942-2006),
“Harvesting Alligator Eggs”, 1995, oil on canvas, signed and dated lower right, signed on reverse of frame, 35 7/8 in. x 48 in., original artist-enhanced frame, overall 39 in. x 51 in. x 1 1/2 in.
[$4000/6000]
Note: Before he was an artist, Earl Hébert was a successful restaurateur and owner of Lafayette’s The Beef & Ale Steakhouse and (the now legendary) Judge Roy Beans Saloon. His artistic endeavors began in the 1970s as he taught himself to paint as a hobby. In the 1980s, an event changed his outlook on art entirely. Hébert took a trip to France and encountered the works of Monet, Gaugin and Matisse. He was so inspired that he vowed to paint fifty works a year for the rest of his life, most of them inspired by Cajun folklore and daily life. By 1989, Hébert was exhibiting his art in Jackson Square and working as a full-time artist. He was quickly recognized and acknowledged as an important chronicler of Louisiana culture. Hébert took cues from the French masters he so admired, employing strong light and bright primary colors to create rambunctious and timeless compositions bursting with creativity and often humor.
174. Earl Hébert (American/ Louisiana, 1942-2006), “Crab Boil”, 1994, oil on canvas, signed and dated lower right, 36 in. x 24 in., framed, 44 1/4 in. x 32 1/4 in. x 1 1/2 in.
[$3000/5000]
35
175. Earl Hébert (American/Louisiana, 1942-2006), “Zydeco Fais-Do-Do” and “Wedding Dance”, 2 screenprints, pencil-signed and numbered “26/50 AP” and “1/59 AP” respectively lower margins, printed artist and title lower margins, each signed and titled in plate, 17 3/8 in. x 23 1/4 in. and 23 1/4 in. x 23 3/8 in., framed, overall 30 3/8 in. x 35 7/8 in. x 1 in. and 35 1/2 in. x 35 1/8 in. x 1 in. (2 pcs.) [$700/1000]
36
177. Andrew LaMar Hopkins (American/Louisiana, b. 1977), “The Creole Grande Duchess”, 2021, acrylic on canvas board, signed, dated and inscribed lower right, signed twice, titled, dated and inscribed en verso, 7 in. x 5 1/2 in., framed, overall 12 1/2 in. x 10 5/8 in. x 3 1/4 in. [$1000/1500]
176. Andrew LaMar Hopkins (American/Louisiana, b. 1977), “Toussaint L’Ouverture”, 2018, acrylic on board, initialed and dated mid-right, signed twice, titled and dated en verso, 3 1/2 in. x 2 3/4 in., framed, overall 6 3/4 in. x 5 in. x 1/2 in. [$1000/1500]
178. George III Inlaid Burl Walnut Chest-on-Chest, late 18th c., molded cornice, reeded chamfered corners, upper case with three short drawers over three long drawers, lower case with three graduated drawers, molded base, bracket feet, h. 70 1/2 in., w. 41 in., d. 21 in.
[$2500/3500]
Provenance: Estate of Albert Cocker, Mobile, AL
179. Vintage Chesterfield-Style Leather Club Chair and Ottoman, 20th c., probably Hancock and Moore, tufted nailhead upholstery, tapered legs, casters, chair h. 32 in., w. 31 in., d. 33 in., ottoman h. 16 in., w. 28 1/2 in., d. 22 in.
[$500/700]
181. Pair of Georgian-Style Mahogany Drop-Leaf Work Tables, 20th c., molded top, bead molded frieze drawer, square tapered legs, h. 29 in., w. (closed) 18 in., w. (open) 32 1/2 in., d. 15 in.
[$700/1000]
182. Georgian Inlaid and Banded Mahogany Bowfront Chest of Drawers, 19th c., four bead molded drawers, shaped skirt, flared “French” feet, h. 30 1/2 in., w. 39 in., d. 20 in. [$1000/1500]
180. Georgian Carved Mahogany Partners Desk, 19th c., bearing Royal inventory stamp, molded tooled leather top, one side with kneehole flanked by frieze of short drawers over banks of drawers, bracket feet, h. 32 in., w. 53 1/2 in., d. 39 in.
[$800/1200]
Pair of Georgian-Style Carved Walnut Library Armchairs, 19th c., leather upholstery with nailhead trim, padded arms, square stretched legs, h. 40 1/2 in., w. 33 1/2 in., d. 24 1/2 in. [$1000/1500]
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183.
184. Regency Carved Rosewood Tilt-Top Center Table, 19th c., molded frieze, fluted tapered standard, triangular plinth base, gadrooned carved bun feet, h. 29 in., dia. 48 in. [$1500/2500]
186. Tiffany Bronze and Enameled Porcelain Three-Piece Clock Garniture in the Renaissance-Revival Taste, early 20th c., striking bell movement marked “TIFFANY & CO./NEW YORK”, clock h. 18 1/4 in., w. 10 1/4 in., d. 5 in.; with conforming garnitures, h. 14 1/2 in. [$1500/2500]
188. French Provincial Walnut Tall Case Clock, 19th c., porcelain dial signed “BERTHOUD a Paris”, brass repousse surround, h. 101 in., w. 18 1/2 in., d. 12 in. [$800/1200]
Monumental
187. French Onyx and Brass Crystal Regulator Clock, early 1900s, striking gong movement by “Lemoine”, sun-form pendulum, h. 15 3/4 in., w. 12 in., d. 6 1/2 in. [$600/900]
189. After Marie Adrien Persac (French/ Louisiana, 1823-1873), “Plantations of the Lower Mississippi River from Natchez to New Orleans, 1858”, reproduced from the original “Norman’s Chart”, 1967, Pelican Publishing, Co. for Friends of the Cabildo, printed by Rand McNally and Co., sight 52 1/2 in. x 30 3/4 in., framed [$500/800]
38
185.
Mahogany Seth Thomas Train Station Clock, 19th c., painted dial (dia. 13 1/2 in.), scroll and fish-scale carved case, h. 43 in., w. 64 in., d. 6 1/2 in. [$1800/2500]
190. Marie Adrien Persac (French/Louisiana, 1823-1873), “Elm Hall, Assumption Parish”, 1859, gouache with collage on woven French-made paper laid on board laid on canvas, signed and dated lower right, titled lower left, label with house history on backing paper, 17 3/4 in. x 23 1/2 in., framed, overall 25 3/4 in. x 31 3/4 in. x 1 in. [$20000/30000]
Provenance: Ebenezer Eaton Kittredge; by descent in the family to the present owner.
Ill.: Bacot, H. Parrott, Barbara SoRelle Bacot, Sally Kittredge Reeves, John Magill and John H. Lawrence. Marie Adrien Persac: Louisiana Artist. Baton Rouge: Louisiana State University Press, 2000, pp. 40-41.
Note: The artist Marie Adrien Persac is known best for his gouache and watercolor paintings of south Louisiana plantations, often commissioned by the owners of these properties to hang in pride of place in their homes. “Elm Hall” of 1859 is one of the rare surviving known works of this genre and was included in the landmark monograph on the artist published in 2000 to accompany an exhibition held the same year at the Louisiana State University Museum of Art. Of Elm Hall’s origins the authors write:
“The builder of Elm Hall typified the well-to-do Americans who came to Bayou Lafourche in the second and third decades of the nineteenth century. Ebenezer Eaton Kittredge, M.D. (1799-1867), was a native of Walpole, New Hampshire, and was among the first of the Anglo-Americans to assemble large sugar plantations by buying the small holdings of the descendants of the original Acadian settlers.” Dr. Kittredge received medical training in New Hampshire before deciding to relocate. He settled first in Jefferson County, Mississippi about ten miles north of Natchez. He married his first wife, Martha Willis Green, there in 1820. The couple moved to Assumption Parish, Louisiana around 1828. Dr. Kittredge built a conventional style home for South Louisiana with a high basement ground level and living areas on the second story. When Martha died in 1836, the couple had six children. By 1839, Dr. Kittredge had re-married, and an additional eight children were born between 1840 and 1862. The original four-bay home had a side-hall plan; however, the house was expanded to eleven bays by 1859
when Persac depicted it. Bacot states:
“Of Persac’s known gouaches of Louisiana plantation houses, this is the lone example that goes against the fashionable color scheme of the 1850s and early 1860s, white walls with green exterior blinds. The tan walls of Elm Hall are intended to represent stone.”
Of additional interest is the inclusion of the red brick Gothic Revival church seen between the trees at the far left. The Kittredges, like most Anglo-American planters in the area, were Protestants, and in 1853, he donated a piece of Elm Hall’s land to the Protestant Episcopal Diocese of Louisiana. While Elm Hall was destroyed by fire in the early twentieth century, Christ Church, built in 1854, and its cemetery survived, now surrounded by the town of Napoleonville.
The condition of this rare work, which has been professionally conserved, can be in part attributed to the artist himself:
“Of all Persac’s gouaches, this picture has suffered the most from a combination of dampness and a glaze that Persac employed to heighten the color on dark areas of many of his paintings. The glaze causes the pigments to ‘cup’ and flake away. In 1975, the paper conservation team of R.R. Donnelly and Son in Chicago discovered while working on the LSU Museum of Art’s Persac of Hope Estate that the cupping could be relaxed and flattened through careful humidification. The flattened flakes could be readhered to the support by injecting glue from behind. The offending glaze could then be removed with distilled water.”
Persac’s painting of Elm Hall is both a portrait of a grand family home and a detailed window onto life in the Antebellum South. Owned by the Kittredge family since its creation, this lot represents an incredibly rare opportunity to acquire a unique piece of Louisiana history.
Ref.: Bacot, H. Parrott, Barbara SoRelle Bacot, Sally Kittredge Reeves, John Magill and John H. Lawrence. Marie Adrien Persac: Louisiana Artist. Baton Rouge: Louisiana State University Press, 2000, pp. 40-41.
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191. Louis Oscar Griffith (American, 1875-1956, active Louisiana, 1916-1917), “French Market”, watercolor and graphite on paper, signed lower left, partial landscape en verso, “The Rowley Gallery Frame Makers, 140 Church Street, Kensington” label on reverse of frame, 22 1/8 in. x 28 in., framed, overall 29 1/4 in. x 35 in. x 1 1/2 in. [$6000/8000]
Provenance: Eckert & Ross Fine Art, Indianapolis, IN.
Note: Throughout his career, Louis Oscar Griffith displayed a love of plein-air painting and travel. He spent the winter of 1916 to 1917 in New Orleans with fellow artist Robert Grafton, and the two found much inspiration in the architecture, waterways and people of the city. Griffith’s rare depictions of New Orleans, both prints and original works, have become among his most prized. The watercolor offered here of the French Market shows the artist’s dedication to capturing scenes of daily life and his skill with the medium. The use of bright colors, loose brushstrokes and compositional cropping perfectly encapsulate the dynamism and vibrancy of the market – traits that obviously drew the artist’s keen eye to the otherwise common scene of a fruit and vegetable vendor.
192. Alexander John Drysdale (American/Louisiana, 1870-1934), “Bayou Scene with Live Oak and Cypress Trees”, oil wash on board, signed lower right, “Smith & Butterfield, Evansville, IN” label on backing paper, 6 1/2 in. x 20 in., framed, overall 12 in. x 24 5/8 in. x 3/4 in. [$1200/1800]
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1 5/8 in. [$800/1200]
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197. Gideon Townsend Stanton (American/Louisiana, 18851964), “Trees in City Park”, oil on canvas, unsigned, handwritten label with artist and title and “Made in Belgium” canvas stamp en verso, 24 1/4 in. x 20 1/8 in., framed, overall 29 1/8 in. x 29 3/16 in. x
193. Alexander John Drysdale (American/Louisiana, 1870-1934), “Bayou Landscape with Silhouette of Live Oak”, 1915, oil wash on canvas, signed and dated lower left, 16 1/8 in. x 24 1/4 in., framed, overall 21 1/2 in. x 29 3/8 in. x 2 in. [$3000/5000]
194. Alexander John Drysdale (American/Louisiana, 1870-1934), “Bayou Landscape with Live Oaks and Waterlilies”, 1917, oil wash on board, signed and dated lower left, 19 1/2 in. x 29 1/4 in., framed, overall 24 5/8 in. x 34 5/8 in. x 1 3/8 in. [$2000/3000]
195. Alexander John Drysdale (American/ Louisiana, 1870-1934), “Louisiana Bayou”, oil wash on board, signed lower left, 15 in. x 40 in., framed, overall 20 in. x 44 7/8 in. x 1 1/2 in. [$2000/3000]
196. Alexander John Drysdale (American/Louisiana, 1870-1934), “Bayou Scene with Live Oak and Cypress”, oil wash on board, signed and partial signature lower right, 18 5/8 in. x 27 1/4 in., framed, overall 24 7/8 in. x 34 7/8 in. x 1 1/8 in. [$2000/3000]
199. Colette Pope Heldner (American/Louisiana, 1902-1990), “Old Brulatour Patio, Royal St., Old French Quarter, Old New Orleans (Paris of America)”, oil on canvas, signed lower left, signed and titled en verso, “A.F. Brown Co., Shreveport, LA” label on reverse of frame, 25 in. x 30 in., framed, overall 30 1/2 in. x 35 in. x 2 in. [$800/1200]
198. Knute Heldner (Swedish/Louisiana, 1877-1952),
“Sunday Morning in the Teche”, c. 1936, oil on canvas, signed lower left, partial painting en verso, remnant labels on stretcher, 22 in. x 24 in., framed, overall 25 1/2 in. x 27 5/8 in. x 1 in.
[$6000/8000]
Note: Knute Heldner had many stops on the journey from his native Verderslöv, Sweden to New Orleans, including Boston, Duluth, Minneapolis, and Washington, D.C. He studied art at the Minneapolis School of Fine Arts (now the Minneapolis College of Art and Design), the Art Institute of Chicago, and ultimately at the Art Students League of New York. Heldner arrived in New Orleans for the first time in the winter of 1923, and captivated by the city’s charm, he and his wife, Colette, determined to make it their winter home, spending summers in Duluth. Throughout his early travels, Heldner held a variety of jobs including cabin boy, shepherd, woodland guide, dishwasher, and cook in a lumber camp. This array of employment allowed Heldner to interact with diverse groups of people and experience first-hand the hardships of the Great Depression era. Heldner later stated that “as a general rule, all artists are poor sometime in their career, but I can safely say that I was poorer than most of them when I first reached the States.” A deeply religious person, Heldner became known for his atmospheric Louisiana landscapes as well as striking genre and spiritual scenes. One of his main goals in painting was to attempt to reach people through his art and connect adversity in everyday life with a sense of divine purpose. The important work on offer here captures the sense of community and devotion of a Sunday morning churchyard within the romantic and lush Louisiana bayous.
Ref.: “Heldner, Knute (1877-1952).” The Johnson Collection. www.thejohnsoncollection.org. Accessed June 3, 2024.
200. Colette Pope Heldner (American/Louisiana, 1902-1990), “Rue de la Paix, Paris”, 1929, oil on canvas, signed and dated lower left, signed, titled and dated en verso, 25 in. x 30 in., framed, overall 31 in. x 36 in. x 1 1/2 in. [$1000/1500]
201. Charles Whitfield Richards (American/Louisiana, 1906-1992),
“St. Peter St., Jackson Square, French Quarter”, oil on canvas, signed lower center, 11 1/4 in. x 14 1/4 in., framed, overall 13 1/8 in. x 16 1/8 in. x 1 3/8 in.
[$600/800]
Provenance: Neal Auction, Sept. 10, 2017, lot 963.
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202. Charles Henry Reinike (American/Louisiana, 1906-1983), “Night Time Visit” and “Cabin in the Swamp”, 2 watercolors on paper, each signed lower right, one with “Backwoods Studio and Gallery, Saint Francisville, LA” label on backing paper, 7 3/4 in. x 10 3/8 in. and 7 3/8 in. x 11 in., framed alike, each overall 15 7/8 in. x 18 1/4 in. x 1 in. (2 pcs.) [$1000/1500]
204. Steele Burden (American/Louisiana, 19001995), “Sunday at Church”, oil on canvas, signed lower right, 9 7/8 in. x 8 1/16 in., framed, overall 10 3/8 in. x 8 3/8 in. x 7/8 in. [$1200/1800]
203. Steele Burden (American/Louisiana, 1900-1995), “Cabin on the Bayou”, oil on canvas, signed lower right, 8 1/16 in. x 9 7/8 in., framed, overall 8 3/8 in. x 10 3/8 in. x 7/8 in. [$1200/1800]
205 Walter Inglis Anderson (American/Mississippi, 1903-1965), “Rococo Rooster”, linocut on paper, unsigned, inscribed “Rooster” en verso, sheet 23 3/4 in. x 17 5/8 in., framed, overall 38 1/4 in. x 31 3/4 in. x 1 in. [$600/800]
Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 80.
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209. Heriz Carpet, salmon ground, central medallion, 8 ft. x 10 ft. 2 in. [$800/1200]
210. Small Silk Rug, 36 in. x 60 in. [$300/500]
211. Fine Sarough Carpet, rust ground, foliate design, 9 ft. 10 in. x 13 ft. 7 in. [$3500/4500]
212. Tabriz Carpet, beige ground, foliate design, 8 ft. x 9 ft. 9 in. [$1800/2200]
207. Fine Antique Bakshaish Carpet, 7 ft. x 19 ft. 7 in. [$6000/9000]
208. Antique Persian Carpet, red ground, foliate design, 11 ft. 4 in. x 20 ft. 5 in. [$1000/1500]
206 Antique Persian Carpet, vining foliate design, 11 ft. 3 in. x 20 ft. 4 in. [$800/1200]
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217. Antique Turkish Oushak Carpet, central medallion, 11 ft. 7 in. x 11 ft. 9 in. [$3500/4500]
218. Persian Mahal Runner, repeating stylized design, 2 ft. 5 in. x 13 ft. 10 in. [$1000/1500]
219. Bayman Carpet, khaki ground, foliate design, 2 ft. 7 in. x 9 ft. 9 in. [$900/1200]
215. Persian Tabriz Carpet, foliate design, 9 ft. 11 in. x 16 ft. 2 in. [$4000/6000]
216. Antique Persian Mahal Carpet, red ground, blue border, foliate design, 8 ft. 11 in. x 12 ft. 2 in. [$2500/3500]
213. Aubusson Carpet, oval medallion, 8 ft. 1 in. x 10 ft. 4 in. [$1500/2000]
214. Tabriz Carpet, black ground, foliate design, 9 ft. 1 in. x 12 ft. 3 in. [$2000/2500]
220. Elihu Vedder (American/New York, 1836-1923), “Man in Profile”, oil on canvas, unsigned, “Questroyal” label with artist and title on stretcher, 2 “Doyle New York” labels - one on reverse of frame and one on backing board, “Questroyal Myth and Reality” exhibition label on backing boar d, 11 1/2 in. x 9 1/2 in., framed, overall 13 3/8 in. x 11 5/8 in. x 2 3/8 in.
[$800/1200]
Provenance: “Doyle at Home”, Doyle Auctions, New York, NY, Mar. 31, 2020, lot 81. Exh.: “Myth and Reality: Elihu Vedder and American Painters in Italy”, Questroyal Fine Art, New York, NY, May 10 - 31, 2012.
222. Richmond Barthe (American/ Mississippi, 1901-1989), “Male Nude”, bronze, signed and incised “Modern Art Fdry NY” on self-base, h. 9 1/4 in., w. 2 3/4 in., d. 2 3/4 in.
[$6000/8000]
Provenance: Collection of Dorian M. Bennett, New Orleans, LA; Neal Auction, Sept. 11, 2020, lot 62.
225. Allan Houser (American/New Mexico, 1914-1994), “Gathering Clouds”, 1991, bronze, signed, dated and numbered “25/25” on back, “Altermann Galleries and Auctioneers, Santa Fe, NM” label with artist and title on underside, h. 8 1/4 in., w. 5 1/2 in., d. 3 3/4 in., marble base, overall h. 9 1/4 in.
[$2000/3000]
221. Elihu Vedder (American/New York, 18361923), “Woman’s Head”, oil on canvas, unsigned, “Doyle, New York, NY” and “Questroyal Fine Art LLC, New York, NY” labels with artist on reverse of frame and backing board, 13 1/8 in. x 10 in., framed, overall 18 1/2 in. x 15 3/8 in. x 1 1/2 in. [$1000/1500]
Exh.: “Myth and Reality: Elihu Vedder and American Painters in Italy”, Questroyal Fine Art, New York, NY, May 10 - 31, 2012.
223. Gary Michael Weisman (American, b. 1952), “Standing Male Figure”, bronze, signed and numbered “6/9” on self-base, h. 17 3/4 in., w. 4 in., d. 8 in., painted wood base, overall h. 21 3/8 in. [$1000/1500]
224. Richard MacDonald (American, b. 1946), “Gymnast”, 1995, bronze, signed and dated on truncation, h. 7 3/4 in., w. 5 3/4 in., d. 5 1/2 in., marble base, overall h. 13 1/2 in. [$800/1200]
226. Roc Paul (Rhodesian/ Louisiana, b. 1958), “Three Figures”, 2010, bronze, signed and dated, h. 58 in., w. 29 3/8 in., d. 29 3/8 in. [$800/1200]
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227. Leon Foster Jones (American/New Hampshire, 1871-1940), “The Trees of Warwickshire on the River Avon”, oil on canvas board, signed lower right, titled, “Artists Supply Association, London” label and 9 artist information labels en verso, 9 in. x 12 in., framed, overall 12 5/8 in. x 15 in. x 2 1/8 in. [$700/1000]
229. Henry Martin Gasser (American/New Jersey, 1909-1981), “Summer Yard”, watercolor on paper, signed lower right, signed and titled en verso, “Questroyal Fine Arts, LLC, New York, NY” label with artist and title on backing board, 14 1/2 in. x 21 1/4 in., framed, overall 21 1/8 in. x 27 3/4 in. x 2 in. [$2000/3000]
Provenance: Bonhams Skinner, Boston, MA, May 29, 2015, lot 282; Questroyal Gallery, LLC, Nov. 17, 2015
228. Hayley Lever (Australian/American, 1876-1958), “Boats”, oil on canvas laid on panel, signed lower right, signed, “National Arts Club Members Exhibition December 8-26, 1937” exhibition label with artist and title and “Christie’s 14 Mar 95 Sale 7683 lot 144” label en verso, “The House of Heydenryk, New York, NY” label on reverse of frame, “Brunk Auctions Sept 12-13 2014 lot 186” tag on hanging wire, 6 1/4 in. x 9 3/8 in., framed, overall 11 3/4 in. x 14 5/8 in. x 1 5/8 in. [$1000/1500]
Provenance: Christie’s East, New York, NY, Mar. 14, 1995, lot 144; Brunk Auctions, Asheville, NC, Sept. 12, 2014, lot 186.
230. Ray George Ellis (American/Pennsylvania, 1921-2013), “Lunch at McGarvey’s (Annapolis, Maryland)”, 1982, oil on canvas, signed lower right, pencil-titled and typed label with artist and title on stretcher, “Lambremont Art Care, New Orleans, LA” label on reverse of frame, 20 in. x 23 7/8 in., framed with artist and title plaque, overall 28 1/2 in. x 34 3/8 in. x 2 in. [$2000/3000]
Ill.: Ellis, Ray and Walter Cronkite. South by Southeast. Birmingham: Oxmoor House, Inc., 1983, pl. 9.
231. Charles Henry Alston (American/New York, 19071977), “Pool Player”, watercolor, charcoal and graphite on paper, signed lower right, 9 5/8 in. x 8 1/4 in., framed, overall 14 1/8 in. x 12 1/4 in. x 1 3/4 in. [$1500/2500]
232. Robert Philipp (American/New York, 1895-1981), “Woman Reading”, pastel on paper laid on board, signed lower right, 19 in. x 25 in., framed, overall 28 1/4 in. x 33 1/4 in. x 1 1/4 in. [$600/800]
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233.Sergio Bustamante (Mexican, b. 1949), “Conejo”, copper, signed and numbered “4/100” on proper left side, h. 32 3/4 in., w. 11 in., d. 23 in. [$1000/1500]
234. Group of Three Bronze Crabs, one polychromed, unsigned, h. 5 in., w. 6 1/4 in., d. 4 in. to h. 7 in., w. 7 in., d. 7 in. (3 pcs.) [$300/500]
235. Dan Ostermiller (American/ Colorado, b. 1956), “R.B.”, 2002, bronze, signed, dated and numbered “17/20” on proper right back leg, label with artist, title and edition on underside, h. 11 in., w. 9 1/2 in., d. 10 in.; together with Nedra Matteucci Galleries appraisal, certificate of authentication and invoice. (4 pcs.) [$1000/1500]
Provenance: Nedra Matteucci Galleries, Santa Fe, NM, 2018.
236. Dan Ostermiller (American/Colorado, b. 1956), “A Friend Indeed”, 1985, bronze, signed, dated and numbered “29/30” on back of leg, h. 9 1/2 in., w. 16 in., d. 8 1/2 in. [$1800/2500]
237. Anna Vaughn Hyatt Huntington (American/Massachusetts, 1876-1973), “Three Elephants”, 1902, bronze, signed and dated on self-base, “Conner Rosenkranz” label with artist, title and date on underside, h. 9 1/4 in., w. 10 1/2 in., d. 10 1/2 in.; together with Conner Rosenkranz invoice and letter with provenance and artist information. (3 pcs.) [$10000/15000]
Provenance: Mrs. Geraldine Rockefeller Dodge, Madison, NJ; St. Hubert’s Giralda, Madison, NJ, 1990; Mr. and Mrs. David Dowdy, High Point, NC, 1990; Conner Rosenkranz, New York, NY, 2020.
Exh.: “Anna V. Hyatt Solo Exhibition”, Boston Arts Club, Boston MA, 1902.
238. Paul Wayland Bartlett (American, 1865-1925), “Crocodile”, bronze, signed and numbered “1/5” on self-base, h. 2 1/2 in., w. 12 in., d. 6 in. [$1500/2500]
239. Albert Laessle (American, 1877-1954), “Turtle and Prey”, 1907, bronze, signed “A. Laessle” (twice) on base, inscribed “ROMAN BRONZE WORKS NY”, “Graham Gallery, New York, NY” label and “Conner Rosenkranz” label with artist, title and date on underside, h. 3 1/4 in., w. 4 1/2 in., d. 3 in., rouge marble base, overall h. 3 1/4 in.; with Conner Rosenkranz artist information. (2 pcs.) [$1000/1500]
Provenance: James Graham & Sons, New York, NY, 2014; Estate of Patricia Ann Black Smyth, Santa Fe, NM; Conner Rosenkranz, New York, NY, 2021.
Exh.: “Annual Exhibition”, National Academy of Design, New York, NY, 1908; “American Bronze Sculpture”, Smith Gallery, New York, NY, 1978.
240. Donald Liardi (American/ Canada, b. 1951), “Cheval”, 1980, bronze, stamped, dated and numbered “6/100” at base, h. 18 in., w. 13 in., d. 13 in., marble base, overall h. 26 in. [$800/1200]
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241. Alberto Giacometti (Swiss, 1901-1966), “Dans L’Atelier”, 1965, etching, unsigned, from Paroles Peintes, sheet 18 in. x 13 3/4 in., framed, overall 24 5/8 in. x 17 5/8 in. x 3/4 in. [$700/1000]
242. David Alfaro Siqueiros (Mexican, 1896-1974), “Desnudo Acostado”, 1930, lithograph, pencil-signed, dated and numbered “4EE/50” lower margin, 16 in. x 21 3/4 in., framed, overall 25 1/4 in. x 30 3/4 in. x 1 5/8 in. [$800/1200]
243. David Chapin (American/New York, b. 1919), “Abstract Composition”, 2007, oil on panel, signed and dated lower center, 36 1/4 in. x 23 3/4 in., framed, overall 36 5/8 in. x 24 1/4 in. x 1 1/2 in.
[$1000/1500]
244. Steve Walker (American/Illinois, b. 1945), “Female Figures”, 2 inks on paper, each signed, one with “Gallery 86 Inc., New York, NY” label on backing paper, each 10 5/8 in. x 8 1/4 in., framed alike, each overall 17 in. x 14 in. x 3/4 in. (2 pcs.) [$700/1000]
245. Manfred Schwartz (Polish/New York, 19091970), “Sunshine”, oil on linen, signed lower right, 36 in. x 30 in., framed, overall 39 1/4 in. x 33 3/8 in. x 3/4 in.
[$800/1200]
Provenance: Collection of Jack and the late Sherril Neal, Ridgeland, MS.
246. Frank Schueler (German/ California, 1933-2020), “Phalanx”, 1993, aluminum and redwood, signed and dated twice on reverse, h. 56 1/2 in., w. 18 1/8 in., d. 7 1/8 in. [$800/1200]
Provenance: Neal Auction, Sept. 13, 2015, lot 781.
49
247. Biedermeier Walnut Circular Stool, early 19th c., Vienna, conforming seat rail, sabre legs, h. 19 in., dia. 18 in. [$700/1000]
Provenance: Ritter Antik, New York, accompanied by certificate of authenticity
248. Italian Biedermeier-Style Inlaid Ebonized Burlwood Cherry Desk, early 21st c., Annibale Colombo model M631, after model by Josef Danhauser, Vienna, curved conforming case, supersturture with fitted drawers, two frieze drawers, round supports, shaped plinth base; together with fruitwood chair, desk h. 37 1/2 in., w. 55 in., d. 29 in., chair h. 34 in., w. 19 in., d. 18 1/2 in. (2 pcs.)
[$1200/1800]
249. Near Pair of Biedermeier Giltwood, Black Walnut Circular Commodes, early 19th c., Austrian, inset sienna marble tops, frieze drawer, one with curved door, other with two doors, conforming plinth base, h. 31 1/4 in., dia. 16 1/4 in. [$1000/1500]
Provenance: Bernd Goeckler Antiques, New York
250. Rare Pair of Biedermeier Carved Walnut Stools, early 19th c., Austrian, conforming seat rail, sabre legs, h. 19 1/2 in., dia. 14 1/2 in. [$1000/1500]
Provenance: Karl Kemp & Assoc. Antiques, New York
252. Rare Biedermeier Black Walnut Parlor
Suite, 1st quarter 19th c., in the manner of Josef Danhauser, Vienna, incl. settee, two bergères, two sides, curved conforming crest rail, C-scrolled arms, square legs, block feet. settee h. 38 in., w. 59 in., d. 25 in., bergère h. 37 in., w. 27 in., d. 24 in., chair h. 36 in., w. 26 in., d. 23 in. [$5000/7000]
Provenance: Ritter Antik, New York, accompanied by certificate of authenticity
251. German Biedermeier Black Walnut Sleigh Bed, 19th c., outswept paneled sides, conforming rails, block feet, h. 38 in., l. 78 in., w. 34 in. [$700/1000]
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253. Rare Boston Chippendale Carved Birch Secretary Bookcase, c. 1770-1780, attr. to John Cogswell, inscribed on back December 27, 1804, finialed broken arch pediment, shaped paneled doors, slant front lid with fitted interior, serpentine case with four graduated drawers, ball and claw feet, h. 101 in., w. 42 in., d. 21 1/2 in.
[$5000/7000]
Provenance: H & R Sandor Inc.; Robert Goodwin, New Hope, PA purchased May 9, 1977
254. Pair of Biedermeier Carved Walnut South German Circular Stools, early 19th c., conforming seat rail, tall sabre legs, h. 18 1/2 in., dia. 11 in.
[$1000/1500]
Provenance: Ritter Antik, New York, certificate of authenticity
256. Set of Six Biedermeier Black Walnut Dining Chairs, early 19th c., in the manner of Josef Danhauser, Vienna, shaped tripart back, conforming seat rail, square tapered legs, h. 36 1/2 in., w. 18 in., d. 19 in. [$3000/5000]
258. Biedermeier Walnut Mirror, early 19th c., Austrian, cavetto molding, h. 27 in., w. 39 1/2 in., d. 2 1/2 in.
[$800/1200]
Provenance: Iliad Antiques, New York
255. Biedermeier Black Walnut Center Table, early 19th c., in the manner of Josef Danhauser, Vienna, segmented top, round standard, triangular plinth base, block feet, h. 29 in., dia. 42 1/2 in.
[$2500/3500]
257. Dutch Marquetry Fruitwood Bombe Front Chest, 19th c., floral inlaid molded top, three graduated drawers, shaped apron, flared feet, h. 34 1/4 in., w. 42 1/2 in., d. 25 1/4 in.
[$1200/1800]
259. Charles X-Style Carved Fruitwood Center Table, 19th c., dished marble top, tripod base, scrolled paw feet, h. 29 1/2 in., dia. 32 in.
[$800/1200]
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261. James Michalopoulos (American/Louisiana, b. 1951), “Pauger Sport”, 1997, oil on canvas, signed lower left, signed, dated and artist label en verso, titled and inscribed “3723” on stretcher, 28 in. x 22 in., framed, overall 29 in. x 23 in. x 3/4 in. [$4000/6000]
260. James Michalopoulos (American/Louisiana, b. 1951), “Untitled: French Quarter”, 2000, oil on canvas, signed lower left, signed and dated en verso, 48 in. x 36 in., unframed.
[$7000/10000]
262. James Michalopoulos (American/Louisiana, b. 1951), “Untitled: Building Facade”, 1990, oil on canvas, signed and dated lower left, 24 in. x 30 in., framed, overall 25 in. x 31 in. x 3/4 in.
[$3000/5000]
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263. James Michalopoulos (American/Louisiana, b. 1951), “Untitled: Single Window”, 1988, oil on canvas, signed and dated lower right, 30 in. x 24 in., framed, overall 31 in. x 35 in. x 3/4 in. [$2500/3500]
264. James Michalopoulos (American/Louisiana, b. 1951), “Homus Grecus”, 1996, oil on canvas, signed lower right, signed and dated en verso, titled and numbered “3314” on stretcher, “Enoch’s Framing & Gallery, New Orleans” label on backing paper, 28 in. x 22 in., framed, 31 1/2 in. x 25 1/2 in. x 1 3/4 in. [$5000/7000]
265. James Michalopoulos (American/Louisiana, b. 1951), “Swing Dancer”, 2000, oil on canvas, signed lower right, signed, titled, dated and numbered “4757” en verso, 29 1/4 in. x 22 in., framed, overall 31 in. x 24 in. x 1 1/4 in. [$5000/7000]
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“This early finishing school for young ladies, run just like an old French school, brought out the proper way to stand and dress. In this painting I tried to recreate a very large class of the school which Miss Arceneaux founded in the early 1900s. My feeling toward school classes is very strong. Everyone can relate to a class. Each class is different. Each class has a character of its own. I wanted to look at the people and see their mystery and try to find just what kind of class this was, where the people are now, what they are doing, and what they have done.”
– George Rodrigue, The Cajuns of George Rodrigue, 1976
266.George Rodrigue (American/Louisiana, 1944-2013), “Miss Arceneaux’s Girls School”, 1973, oil on canvas, signed and dated lower left, titled and stamped on stretcher, “George Rodrigue Gallery, Lafayette, LA” label and exhibition label with title and date on reverse of frame, 30 in. x 40 in., framed, overall 37 1/2 in. x 47 3/4 in. x 2 1/2 in. [$30000/50000]
Ill.: Rodrigue, George. The Cajuns of George Rodrigue. Birmingham: Oxmoor House Inc., 1976, p. 122.
Note: In writing about the work on offer here, “Miss Arceneaux’s Girls School” of 1973, George Rodrigue revealed his fascination with class portraits and the dynamic of such groups. While each figure brings distinct elements all their own, a class exists only as a unique assemblage of people in a singular moment in time. As Wendy Rodrigue states: “Although we have our separate memories, we also exist as a unit, a group that shapes and defines a certain part within each of us.” One cannot help but draw a parallel to the Acadians – whose descendants are bound together today by the trials of their ancestors even as each person further refines and enriches the Cajun tradition.
Rodrigue’s first painting of a class was the “The Class of Marie Courregé” (sold at Neal Auction on April 13, 2019) based on a photograph of his mother’s Mount Carmel Academy graduating class of 1924 in New Iberia, LA. With “Miss Arceneaux’s Girls School,” Rodrigue was inspired by a photo from further afield - a New England yearbook image originally in a gymnasium setting. He transformed the group of students with his imagination into a Cajun tradition within the landscape of southwest Louisiana. The girls are dressed alike, reinforcing their existence as a group. The class, rather than its separate members, is the subject, although in true Rodrigue fashion, the oak tree landscape is perhaps the most important element on the canvas. As seen in the rare “in progress” photo from 1973, Rodrigue painted the landscape first around a blocked-out silhouette of the class, with the bushes behind the girls echoing their heads and locking them into the scene.
Rodrigue famously utilized recurring imagery throughout his career, particularly for motifs that were significantly meaningful or interesting to him. His class and group portrait paintings are a memorable category within his overall oeuvre and shed light on a noteworthy exploration by the artist. “Miss Arceneaux’s Girls School” is a defining work of Rodrigue’s Cajun series and a lasting testament to his imagination, heritage and artistic vision. Ref.: Rodrigue, George. The Cajuns of George Rodrigue. Birmingham: Oxmoor House, Inc., 1976; Rodrigue, Wendy. “The Class.” Musings of an Artist’s Wife. Life & Legacy Foundation & Art Tour. www.legacyarttour.org. Accessed June 4, 2024.
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268. George Rodrigue (American/Louisiana, 1944-2013), “Color Me Moss Green”, 2002, silkscreen, pencil-signed and inscribed “artist proof” lower margin, edition of 150 plus artist proofs, 12 1/2 in. x 21 in., framed, overall 23 3/4 in. x 33 1/4 in. x 3 1/4 in.
[$1500/2500]
Ill.: Rodrigue, George. Why Is Blue Dog Blue? A Tale of Colors. New York: Harry N. Abrams, Inc., 2001;Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonne 1970-2007. New York: Harry N. Abrams, Inc., 2008, p. 180.
267. George Rodrigue (American/ Louisiana, 1944-2013), “The Sun Comes Out of the Darkness”, acrylic on canvas, signed lower left, titled on stretcher, 14 in. x 11 in., framed, overall 23 3/8 in. x 20 1/4 in. x 3 3/8 in.
[$20000/30000]
269. John Tarrell Scott (American/ Louisiana, 1940-2007), “Maquette”, c. 1990, painted metal and wire, unsigned, h. 10 5/8 in., w. 13 1/8 in., d. 8 in.
[$1000/1500]
Note: Neal Auction would like to thank Ayo Scott for his assistance in cataloguing this lot.
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270. David Harouni (Iranian/Louisiana, b. 1962), “Untitled: Multiple Faces”, oil on gallery-wrapped canvas, signed lower right, 36 in. x 36 in., unframed. [$4000/6000]
272. David Harouni (Iranian/Louisiana, b. 1962), “Untitled: Face”, oil on canvas, signed lower left, 10 in. x 8 in., framed, overall 12 1/2 in. x 10 1/2 in. x 1 1/4 in. [$1000/1500]
271. David Harouni (Iranian/Louisiana, b. 1962), “Untitled: King”, oil on gallerywrapped canvas, signed lower right, 36 in. x 36 in., unframed. [$3000/5000]
273. David Harouni (Iranian/Louisiana, b. 1962), “Untitled: Multiple Faces”, oil on gallery-wrapped canvas, signed lower right, 36 in. x 60 in., unframed. [$5000/8000]
274. David Harouni (Iranian/ Louisiana, b. 1962), “Untitled: Three Women”, oil on gallerywrapped canvas, signed lower right, 48 in. x 60 in., unframed. [$4000/6000]
275. David Harouni (Iranian/Louisiana, b. 1962), “Untitled: Face”, oil on gallery-wrapped canvas, signed lower left, 20 in. x 16 in., unframed. [$1500/2500]
56
277. George Bauer Dunbar (American/ Louisiana, b. 1927), “Coin du Lestin”, gold leaf on red clay, signed lower center, 48 in. x 42 in., framed, overall 49 in. x 43 in. x 2 in.
[$20000/30000]
276. Enrique Alferez (Mexican/ Louisiana, 1901-1999), “Nude Study”, graphite on tracing paper, signed lower right, 18 5/8 in. x 23 5/8 in., framed, overall 27 3/4 in. x 32 3/4 in. x 1 1/4 in.
[$800/1200]
278. 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.
[$600/800]
279. Alan Flattmann (American/ Louisiana, b. 1946), “Arms Akimbo”, 1971, terracotta, signed and dated on reverse, h. 19 in., w. 15 1/4 in., d. 6 1/2 in., wood base, overall h. 21 1/4 in.
[$1000/1500]
57
280. Rise Delmar-Ochsner (American/Louisiana, b. 1944), “Couple Resting in a Hammock”, 1985, acrylic on canvas, signed and dated lower right, 48 in. x 72 1/4 in., unframed.
[$1000/1500]
281. Rise Delmar-Ochsner (American/Louisiana, b. 1944), “Self-Portrait”, 1993, acrylic on canvas, signed and dated mid-left, 66 3/8 in. x 41 1/4 in., framed, overall 69 3/4 in. x 44 3/4 in. x 1 1/8 in.
[$1000/1500]
Provenance:
282. William Dunlap (American/ Mississippi, b. 1944), “Spring Storm”, oil and dry pigment on paper, signed lower right, titled lower left, 14 7/8 in. x 41 3/4 in., unframed.
[$5000/7000]
58
283. Melissa Bonin (American/Louisiana, b. 1960), “Angels Tuck Their Wings at Night”, 2005, oil on gallery-wrapped canvas, signed and dated on right edge, signed, titled and dated en verso, 36 in. x 36 in., unframed. [$4000/6000]
Entre Nous, Lafayette, LA, 2005
284. Melissa Bonin (American/Louisiana, b. 1960), “On the Way Emerald City”, 2014, oil on gallery-wrapped canvas, signed lower right, signed, dated and inscribed en verso, from series Clouds Like Diamonds II, 18 in. x 18 in., unframed. [$3000/5000]
285. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Virgil, the Maid’s Son, Grand Isle, LA”, 1934, gelatin silver print, signed and dated lower left, titled lower center, 19 7/8 in. x 15 3/4 in., framed, overall 20 3/8 in. x 16 1/4 in. x 3/4 in. [$2000/3000]
Provenance: Estate of Castro Carazo (1895-1981); Private Collection.
286. Theodore “Fonville” Winans (American/ Louisiana, 1911-1992), “Dixie Belles”, 1938, gelatin silver print, signed and dated lower left, pencilnumbered “29/50” and “037A” en verso, 15 5/8 in. x 19 7/8 in., framed, overall 16 1/8 in. x 20 1/8 in. x 5/8 in. [$2500/3500]
Provenance: Estate of Castro Carazo (1895-1981); Private Collection.
Ill.: Vetter, Cyril E. Fonville Winans’ Louisiana: People and Places. Baton Rouge: Louisiana State University Press, 1995, p. 77.
287. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Native Children, Louisiana”, 1934, gelatin silver print, signed and dated lower right, pencil-numbered “25/50” and “037A” en verso, “Fonville Custom Framing & Fine Art, Baton Rouge, LA” label on backing board, 19 3/4 in. x 15 7/8 in., framed, overall 20 1/4 in. x 16 1/4 in. x 3/4 in.
[$1500/2500]
Provenance: Estate of Castro Carazo (1895-1981); Private Collection.
289. Theodore “Fonville” Winans (American/ Louisiana, 1911-1992), “St. Roch’s Chapel, New Orleans”, 1934, gelatin silver print, signed and dated lower right, titled mid-right, 19 7/8 in. x 15 7/8 in., framed, overall 20 3/8 in. x 16 3/8 in. x 3/4 in. [$1500/2500]
Provenance: Estate of Castro Carazo (1895-1981); Private Collection.
288. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Captain Tony”, 1938, gelatin silver print mounted to board, signed and dated lower right, pencil-titled and numbered “044A” on reverse of mount, 19 3/4 in. x 15 7/8 in., framed, overall 20 1/4 in. x 16 1/4 in. x 3/4 in. [$1500/2500]
Provenance: Estate of Castro Carazo (1895-1981); Private Collection.
290. Harry Morey Callahan (American, 1912-1999), “Cora Kelley Ward”, 7 gelatin silver prints mounted to board, each pencil-signed on mount, 4 1/2 in. x 3 3/4 in. to 6 3/4 in. x 5 3/8 in., unframed. (7 pcs.) [$1500/2500]
Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.
59
291. Pappy Van Winkle’s Family Reserve 20 Year, 1 bottle, 750ml, date code “B122710:54K” on back of bottle, with original presentation bag. [$1200/1800]
292. Marilyn Wines Mixed Lot, Marilyn Merlot 2003, 5 bottles 750ml.; Marilyn Merlot 2004, 2 bottles, 750ml.; Marilyn The Velvet Collection Cabernet Sauvignon 2007, 1 bottle, 750ml., with original box numbered “H188”; 2003 fill levels 1 to neck, 4 to base neck; labels and back labels have very light scuffs; 2004 fill levels to neck; labels and back labels have light scuffs; 2007 fill level to neck, label and back label have very light scuffs; capsule has very light dents and scratches. (8 bottles) [$400/500]
293. Fonseca Vintage Port 1970, 1 bottle, 1.5L., fill level base neck; label has scuffs, light scratches and light buckling; band label has light stains, wrinkling and is torn; metal capsule has wrinkling, scratches and dents; bottle has light bin soil. [$300/400]
294. Dow’s Vintage Port 1994, original unopened wood case, 12 bottles, 750 ml. [$700/1000]
295. Domaine Olivier Bernstein Mixed Lot, Chambertin Clos-de-Bèze Grand Cru 2016 & Chambertin Grand Cru 2016, 2 bottles, 750ml., fill levels to neck; 1 label has very light stain. (2 bottles) [$800/1200]
Provenance: Stored in Martin’s Wine Cellar long term storage facility at Wines Unlimited, New Orleans, LA since 2019.
296. Bordeaux Mixed Lot, Château Lagrange
Grand Cru Classé 1989, 6 bottles, 750ml., Château Franc-Mayne Grand Cru Classé 1989, 1 botttle, 750ml., Château Clos l’Église 1989, 1 bottle, 750ml.; Lagrange fill levels base neck; labels have scuffs, light marks and light losses; capsules have varying degrees of paint loss, scratches and dents, 1 has loss, stains and signs of past seepage; 2 depressed corks; Franc-Mayne fill level base neck; label and back label have scuffs, marks and light peeling; bottle has bin soil; Eglise fill level base neck; label and back label has marks, scuffs, light peeling and losses; capsule has light wrinkling. (8 bottles) [$400/500]
60
297. Château Lafite 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) [$700/1000]
Note: Neal Auction would like to thank Liz Dowdy Mitchell, Advanced Sommelier, Head of Wine at Vinovest for her assistance in cataloguing this lot.
299. Château Lafite Rothschild 1955, 1 bottle, 750ml., fill level high shoulder; label has bin soil, stains and light buckling; capsule has scratches and dents. [$600/800]
298. Château Lafite Rothschild 1952, 1 bottle, 750ml., fill level high shoulder; label has bin soil and light stains; capsule has paint loss, scratches and dents. [$500/700]
300. Château Calon-Ségur Grand Cru Classé 1989, with wood box, 7 bottles, 750ml., fill levels, 3 to base neck, 4 to high shoulder; labels have bin soil, scattered light losses along edges, 1 stained; capsules have light dirt and light scratches; 2 corks slightly depressed. (7 bottles) [$600/800]
301. Château Cos d’Estournel Grand Cru Classé 1989, with wood box, 6 bottles, 750 ml., fill levels base neck; labels have varying degrees of very light marks and scuffs; capsules have varying degrees of very light scratches and dents; bottles have very light bin soil. (6 bottles) [$800/1200]
61
302. Pelikan Fountain Pens, M800 Souveraïn, 1987/1988, stamped “W.-Germany” on cap ring, 14k gold EF nib stamped “14C-585”, gold plate trim, piston fill; M400 Souveraïn, 1982-1987, 14k gold EF nib, gold plate trim, piston fill; M150, 1983-1990, stamped “W.-Germany” on cap ring, stainless steel gold plated EF nib, gold plate trim, piston fill; with 1980’s Pelikan 3 pen plastic carry case stamped “W.-Germany” on underside and extra gold plate clip. (5 pcs.) [$400/550]
303. Mont Blanc Fountain Pens, 320, c. 1970s, stamped “Mont Blanc Germany” on cap lip ring, black resin, 14k gold nib stamped “535”, cartridge/converter fill, with original case; Meisterstuck 144 Burgundy Resin, c. early 1990’s, “Germany” stamped on clip ring, 14k gold nib stamped “4810 14K MontBlanc”, cartridge/converter fill, with original case; Meisterstuck 144 Black Resin, c. early 1990s, 14k gold nib stamped “4810 14 K MontBlanc”, cartridge/converter fill; Meisterstuck 149, mid-to-late 70s,stamped “Germany” on clip ring, 14k gold nib stamped “4810 14k MontBlanc” piston fill (piston needs repair), with original case; Slim Line, 1980-1986, matte black, stamped “Mont Blanc Germany” on cap, stainless steel gold plate nib, cartridge/converter fill; with 1980s Mont Blanc 2 pen plastic carry case with original carboard sleeve marked “W.Germany”. (9 pcs) [$700/1000]
304. Parker and Waterman Fountain Pens Mixed Lot, Parker 75 Ciselé Sterling Silver, c. late 1970s, stamped “Parker Sterling 925 France” on cap lip ring, 18k gold F nib stamped “Parker 750 France”, cartridge/converter; Parker 75, c. early 1970s, stamped “Parker made in France”, on cap lip ring, 14k gold XF nib stamped “Parker 585 France”, j-press bar converter fill; Parker Duofold Centennial MKI, 1988-1995, 18K two tone X nib stamped “Parker 18K 750”, cartridge/converter fill; Parker Premier Grain d’Orge Silver, 1983-1992 stamped “Parker France” on cap lip, 14k gold nib stamped “Parker 585 France”, cartridge/converter fill; 4 pen Parker hard carry case; Waterman Le Man 200, 1985-1999, stamped “Waterman Made In France” on cap lip ring; 18k gold nib stamped “Waterman Ideal Paris 18k 750”, cartridge/converter fill; Waterman unknown model stamped “Waterman Made In France” on cap lip ring, 14k gold nib stamped “Waterman Paris 18k 750 Made In France”, cartridge/converter fill. (7 pcs.) [$700/1000]
305. Vintage Fountain Pens Mixed Lot, 3 St. Dupont Classique MK II Chinese Lacquer fountain pens, each stamped “ST. Dupont Paris Laque de Chine”, 2 on clip ring, 1 on cap lip ring, each stamped “Made in France” under clip, each 18k gold nib stamped “18ct D 750”, each with cartridge/converter fill; St. Dupont Classique MK II unknown model, stamped “Made in France” under clip, 18k gold nib stamped “18ct D 750”, cartridge/converter fill; each with 7 digit serial number on side of clip; 3 ST. Dupont display boxes, 1 wood, 2 faux leather, each faux leather with box of royal blue ink cartridges and extra converter; Dunhill Gemline Classic Dress fountain pen, late 1970s/ early 1980s, stamped “Dunhill England” on cap lip, 14k gold plated nib stamped “Dunhill 535”, cartridge/converter fill; Aurora for Cartier, 2 Ferrari Formula, c. 1980s, 1 red, 1 black, each with steel plate nib, cartridge/converter fill, with extra nib unit and original faux leather box. (16 pcs.) [$800/1200]
306. H. Stern Men’s “Safira” Stainless Steel Watch, sapphire crystal, diamond at the 12 marker, water resistant to 100 meters, matching bracelet. [$800/1200]
62
307. Art Deco-Style Platinum and Diamond Ring, center prong set old mine cut diamond, wt. approx. 1.58 cts., I color, SI1 clarity; mounted with 70 round brilliant cut diamonds, total wt. approx. 0.23, G-H color, VS1-VS2 clarity, size 7, GGA report. [$3000/5000]
309. Corneille (Guillaume Cornelis van Beverloo, 1922-2010) Silver and Enamel Bird Brooch, signed, numbered 22/100 and hallmarked Meisterzeichen der Koniglichen Begeer, date mark for 1993, retains fitted case of Jaski Art Gallery and Begeer certificate, l. 4 in., wt. 62 dwt. Note: small abrasion and 2 cracks to enamel [$300/500]
308. 14 kt. Yellow Gold “Rose” Brooch, set with small diamonds and emeralds, 10.05 dwts [$500/700]
310. Seven Strand Necklace of 3 mm. Hematite Beads with 18 kt. Yellow Gold and Emerald Clasp, marked Schroeder, clasp set with 5 small baguette emeralds, necklace l. 17 1/4 in., original Schroeder, Luxembourg fitted leather case. [$600/900]
Note: Founded in 1877, Schroeder is supplier to the Royal Family of Luxembourg.
312. 14 kt. White Gold and Tahitian Pearl Necklace, 31 near round cultured Tahitian pearls, 13.00-15.48 mm, plunger style scalloped bead clasp, l. 18 1/2 in.; AIGL and GIA reports. [$1800/2500]
311. Paloma Picasso for Tiffany & Co. Onyx, Mabe Pearl and 18 kt. Yellow Gold Necklace, signed and with 1981 copyright, 32 12 mm. polished onyx beads with 2 18 mm. mabe pearls with gold mounts, l. 18 in.; together with pair of Paloma Picasso for Tiffany & Co. 18 kt. yellow gold and oval cabochon onyx earrings with post and clip backs, signed and with 1983 copyright, l. 23.5 mm. x w. 21 mm., wt. 17 dwt. [$1000/1200]
313. 14 kt. Yellow Gold and Golden South Sea Pearl Necklace, 37 near round cultured South Sea pearls, 12.0514.89 mm, plunger style scalloped bead clasp, l. 21 in.; AIGL and GIA reports. [$2000/3000]
63
314. 18 kt. White Gold and Diamond Ring, center emerald cut diamond, wt. approx. 1.36 cts., K color, VVS1 clarity; flanked by 2 trapezoid cut diamonds, total wt. approx. 0.32 ct., F-G color, VVS1VVS2 clarity; size 6.5; GGA report. [$3500/4500]
315. Platinum and Diamond Ring, two central prong set round diamonds, dia. approx. 6.00 mm and 5.90 mm; shoulders with 12 channel set baguette diamonds, size 5.5; 4.77 dwts. [$1000/1500]
316. Pair of 14 kt. White Gold and Diamond Stud Earrings, 2 prong set round brilliant cut diamonds, total wt. 1.82 cts., 6.03 x 5.93 mm and 5.93 x 5.90 mm, G-H color, SI2-SI3 clarity; accented with 16 round brilliant cut diamonds, total wt. approx. 0.29 cts.; GG [$2500/3500]
318. 14 kt. White Gold and Diamond Stud Earrings, 2 round brilliant cut diamonds, total wt. approx. 4.07 cts., 7.80 mm and 7.90 mm, F-G color, I1-I2 clarity; AIGL report. [$8000/12000]
320. 14 kt. White Gold and Diamond Tennis Necklace, mounted with 106 round brilliant cut diamonds, total wt. approx. 21.55 cts., 3.80 mm, G-I color, SI2-I1 clarity, l. 17 in.; AIGL report. [$18000/25000]
317. Pair of 14 kt. White Gold and Diamond Stud Earrings, 2 bezel set round brilliant cut diamonds, total wt. 2.03 cts., 6.10 mm, G-H color, I1 clarity; AIGL report. [$3000/5000]
319. 14 kt. White Gold and Diamond Double Strand Bracelet, set with 112 graduated round brilliant cut diamonds, total wt. approx. 5.80 cts., G-H color, VS2-SI1 clarity; l. 7 in.; GGA report. [$6000/8000]
321. Oscar Friedman 14 kt. White Gold, Sleeping Beauty Turquoise and Diamond Necklace, mounted with 51 pear shape cabochon turquoise from Globe, Arizona, total wt. approx. 62.88 cts., 8.00 x 6.00 - 14.50 x 10.50 mm; accented by 84 round brilliant cut diamonds, total wt. approx. 3.07 cts., G-H color, SI1-SI2 clarity; l. 18 in.; AIGL report. Note: The renowned Sleeping Beauty Mine in Globe Arizona closed in 2012. [$7000/9000]
64
322. 14 kt. White Gold and Diamond Bracelet, mounted with 40 round brilliant cut diamonds, total wt. approx. 11.94 cts., 4.70 x 3.50 mm, G-H color, SI1-I2 clarity; l. 6 3/4 in.; GGA report.
[$8000/12000]
323. Oscar Friedman 14 kt. Yellow Gold and Diamond Tennis Bracelet, mounted with 43 graduated round brilliant cut diamonds, total wt. approx. 13.23 cts., 3.20-5.40 mm, H-I color, SI1-SI3 clarity; l. 7 in.; AIGL report.
[$10000/15000]
324. 18 kt. White and Yellow Gold, Yellow Diamond and Diamond Ring, center GIA certified prong set rectangular mixed cut Fancy Light Yellow Diamond, wt. 3.51 cts., 8.88 x 7.21 x 5.40 mm, SI2 clarity; inner bezel set with 26 round brilliant cut Fancy Yellow Diamonds, total wt. approx. 0.18 cts.; outer bezel and openwork shoulders set with 102 round brilliant cut diamonds, total wt. approx. 0.50 ct., F-G color, VS1-VS2 clarity; size 6.25; AIGL and GIA reports. [$30000/40000]
325. Oscar Friedman 18 kt. Yellow Gold and Diamond Ring, center bezel set cushion modified brilliant cut diamond, wt. approx. 2.70 cts., 8.20 x 7.90 x 5.20 mm, I color, SI1 clarity, size 7; AIGL report.
[$10000/15000]
326. 14 kt. Yellow Gold and Diamond Man’s Ring, center round brilliant cut diamond, wt. approx. 1.01 cts., H color, SI1 clarity; accented with 60 round brilliant cut diamonds, total wt. approx. 0.48 ct.; size 10; GGA report. [$3000/5000]
327. 18 kt. Yellow Gold and Diamond Ring, mounted with 17 princess brilliant cut diamonds, total wt. approx. 1.00 cts., H-I color, VS clarity; size 8.75; IAS and Florida Diamond Appraisers Reports.
[$1000/2000]
328. Pair of 18 kt. Yellow Gold Cushion-Shaped Earrings, Florentine finish with polished swirl decoration, post and clip backs, 5/8 in. square, wt. 12.5 dwts. [$1200/1800]
65
329. Pair of 22 kt. Yellow Gold, Diamond, Ruby and Emerald Hoop Earrings, set with 21 small round faceted diamonds, 4 small faceted emerald and 4 small faceted emeralds, gold unmarked but tested, wt. 10.02 dwts., l. 1 in. [$1000/2000]
330. 18 kt. Yellow Gold, Emerald and Diamond Ring, asymmetric setting with octagonal mixed cut emerald, wt. approx. 1.34 cts.; accented by 10 bezel set round brilliant cut diamonds, total wt. approx. 0.31 ct., G-H color, VS2-SI2 clarity; size 6.75; 4.74 dwts.; GGA report. [$2000/3000]
331. 14 kt. Yellow Gold, Emerald and Diamond Ring, center octagonal mixed cut emerald, wt. approx. 2.29 cts.; accented with 12 round brilliant cut diamonds, total wt. approx. 0.42 cts., G-H color, SI1-SI2 clarity; size 7; 7.21 dwts.; GGA report. [$2500/3500]
332. 18 kt. Yellow Gold, Emerald and Diamond Ring, center pear mixed cut emerald, wt. approx. 1.97 cts.; accented by 3 round brilliant cut diamonds, total wt. approx. 0.78 ct.; size 7; GGA report. [$2000/3000]
333. Oscar Friedman 18 kt. Yellow Gold, Columbian Emerald and Diamond Ring, prong set pear modified brilliant cut emerald, wt. 3.20 cts., 13.22 x 9.01 x 5.77 mm; and prong set triangular modified brilliant cut diamond, wt. approx. 0.97 ct., G color, I1 clarity; size 6.75; AIGL and GIA reports. [$5000/7000]
335. Oscar Friedman 14 kt. Yellow Gold, Emerald, Diamond and Enamel Earrings, 2 octagonal mixed cut emeralds, total wt. approx. 1.31 cts.; and 36 round brilliant cut diamonds, total wt. approx. 0.22 ct.; GGA report. [$500/1200]
334. Oscar Friedman 14 kt. Yellow Gold, Emerald and Diamond Ring, center bezel set square emerald cut emerald, wt. approx. 5.48 cts.; accented by 16 round diamonds, total wt. approx. 0.35 ct.; size 6.75; [$2000/3000]
336. 14 kt. Yellow Gold, Emerald, Diamond and Enamel Ring, center oval cut emerald, wt. approx. 1.53 cts.; bezel with numerous diamonds, total wt. approx. 0.16 ct.; size 7; IAS report. [$1000/1500]
66
337. Pair of 18 kt. Two-Tone Gold, Alexandrite, Yellow Diamond and Diamond Stud Earrings, 2 oval brilliant faceted cut alexandrites, total wt. approx. 2.21 cts.; accented by 34 Fancy Yellow diamonds and 42 diamonds, total wt. approx. 0.80 cts.; GGA and GIA reports. [$4000/6000]
338. Art Deco Style 18 kt. Yellow Gold, Emerald, Diamond and Enamel Necklace, set with 30 oval brilliant faceted cut emeralds, total wt. approx. 35.69 cts.; and 480 round brilliant cut diamonds, total wt. approx. 10.69 cts., G-H color, SI1-I1 clarity; GGA and Florida Diamond Appraisal reports. [$20000/30000]
339. Platinum, Columbian Emerald and Diamond Ring, center octagonal step cut emerald, wt. approx. 0.75 ct.; ballerina bezel with 46 baguette and round brilliant cut diamonds, total wt. approx. 0.45 cts., G-H color, VS2-SI1 clarity; size 5; AIGL and GIA reports. [$2000/3000]
341. 18 kt. White Gold, Emerald and Diamond Bracelet, set with 10 emerald faceted cut emeralds, total wt. approx. 66.28 cts.; linked by 80 round brilliant cut diamonds, total wt. approx. 1.52 cts., G-H color, SI2-I1 clarity; l. 7 in.; GGA report. [$20000/30000]
340. Oscar Friedman Platinum, Emerald and Diamond Ring, center octagonal emerald step cut emerald, wt. 6.66 cts., 12.29 x 9.59 x 7.45 mm; shoulders set with 50 baguette and round brilliant diamonds, total wt. approx. 1.01 cts., G-H color, VS2-SI1 clarity; size 6.75; AIGL and GIA report. [$7000/9000]
342. 18 kt. Two Tone Gold, Cabochon Sapphire, Diamond and Enamel Necklace, set with 13 cabochon pear and cushion faceted cut cabochon blue sapphires, total wt. approx. 300.00 cts.; linked by numerous round brilliant cut diamonds; l. 20 3/4 in.; GIA certificate. [$15000/25000]
343. Oscar Friedman Platinum, Burmese Ruby and Diamond Ring, center heart shape mixed cut Burmese ruby, wt. 2.94 cts.; shoulders set with 62 round brilliant cut diamonds, total wt. approx. 0.50 ct.; size 6.75; AIGL and GIA reports. [$2000/3000]
344. Oscar Friedman Platinum, Burmese Ruby and Diamond Ring, center oval mixed cut ruby, wt. 2.48 cts.; double bezel and shoulders set with 56 round brilliant cut diamonds, total wt. approx. 0.97 ct.; size 7; AIGL and GIA reports. [$3000/5000]
67
345. Rare 14 kt. Yellow Gold, Burmese Ruby and Diamond Bracelet, set with 15 oval brilliant faceted cut Burmese rubies, total wt. approx. 24.00 cts.; and 15 round brilliant cut diamonds, total wt. approx. 1.50 cts., G-H color, SI1-SI2 clarity; l. 7 1/4 in.; GGA and GIA reports. [$7000/9000]
347. Platinum, Blue Sapphire and Diamond “Toi et Moi” Ring, triangular mixed cut sapphire, wt. 1.35 cts.; and octagonal step cut diamond, wt. approx. 0.48 ct., G color, VS2 clarity; size 6; AIGL and GIA reports. [$2500/3500]
349. Platinum, Blue Sapphire and Diamond Bracelet, set with 17 oval brilliant faceted cut sapphires, total wt. approx. 15.65 cts.; bezels with 294 round brilliant cut diamonds, total wt. approx. 2.84 cts.; l. 7 1/4 in.; GGA report. [$4000/6000]
346. Oscar Friedman 14 kt. Yellow Gold, Burmese Ruby and Diamond Necklace, mounted with 45 oval brilliant faceted cut Burmese rubies, total wt. approx. 17.51 cts.; and 440 round brilliant cut diamonds, total wt. approx. 9.89 cts., G-H color, SI1-SI2 clarity; l. 17 in. [$10000/15000]
348. Platinum, Blue Sapphire and Diamond Ring, center oval mixed cut sapphire, wt. 1.25 cts.; multilayer bezel set with 64 baguette and round brilliant cut diamonds, total wt. approx. 0.69 ct.; size 6; AIGL and GIA reports. [$2000/3000]
351. Platinum, Blue Sapphire and Diamond Ring, center octagonal mixed cut sapphire, wt. 2.07 cts.; double bezel and shoulders set with 68 round brilliant cut diamonds, total wt. approx. 0.68 ct.; size 6.75; GGA and GIA reports. [$3000/5000]
350. Pair of 14 kt. White Gold, Blue Sapphire and Diamond Dangle Earrings, set with 36 oval brilliant faceted cut sapphires, total wt. approx. 21.42 cts.; and 64 round brilliant cut diamonds, total wt. approx. 0.71 ct.; l. 1 3/4 in.; GGA report. [$2500/3500]
352. 14 kt. White Gold, Aquamarine, Tanzanite and Diamond Ring, center emerald cut aquamarine, wt. approx. 4.33 cts.; accented by numerous round diamonds, total wt. approx. 0.47 ct.; and numerous marquise shape tanzanite, total wt. approx. 1.66 cts.; size 7; IAS report. [$1000/2000]
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353. 14 kt. White Gold, Pink Sapphire and Diamond Ring, center bezel set oval mixed cut sapphire, wt. approx. 1.97 cts.; ornate bezel with 34 round brilliant cut diamonds, total wt. approx. 0.22 ct.; size 6.25; GGA report. [$1500/2500]
354. Platinum, Kashmir Sapphire and Diamond Ring, center triangular purple-pink sapphire, wt. approx. 0.77 ct.; bezel and shoulders set with 24 round brilliant cut diamonds, total wt. approx. 0.65 ct.; size 6.75; AIGL and GIA reports. [$1500/2500]
355. 18 kt. White Gold, Pink Sapphire and Diamond Ring, center prong set octagonal mixed cut natural purple-pink sapphire, wt. 3.67 cts.; triple band set with 66 round brilliant cut diamonds, total wt. approx. 3.67 cts.; size 6.25; AIGL and GIA reports. [$4000/6000]
357. Platinum, Alexandrite and Diamond Ring, center oval brilliant faceted cut alexandrite, wt. approx. 0.60 ct.; bezel with 9 round brilliant cut diamonds, total wt. approx. 0.36 ct.; size 6.75; GGA and GIA reports. [$1500/2500]
356. Oscar Friedman Platinum, Pink Sapphire and Diamond “Toi et Moi” Ring, center oval mixed cut sapphire, wt. 1.76 cts.; and round brilliant cut diamond, wt. approx. 0.68 ct., G color, SI3 clarity; size 7; AIGL and GIA reports. [$2500/3500]
358. Platinum, Fancy Sapphire and Diamond Ring, center octagonal mixed cut greenish yellow sapphire, wt. 1.89 cts.; shoulders with 22 round brilliant cut diamonds, total wt. approx. 0.24 cts.; size 6.75; GGA and GIA reports. [$1500/2500]
359. Sheffield & Sons Platinum, Multicolored Sapphire and Diamond Necklace, mounted with 30 GIA certified oval mixed cut unheated sapphires, total wt. approx. 36.09 cts.; linked by 31 bezel set round diamonds, total wt. approx. 7.90 cts., G-I color, SI2-I1 clarity; l. 17 3/4 in.; AIGL and GIA reports. [$25000/35000]
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363. Platinum, Tanzanite and Diamond Pendant on Chain, mounted with 1 emerald faceted cut tanzanite and 1 triangular faceted cut tanzanite, total wt. 12.25 cts.; accented by 113 round brilliant cut diamonds, total wt. approx. 1.83 cts., F-G color, VS2-SI1 clarity; pendant l. 1 3/4 in.; chain l. 16 in.; GGA report. [$7000/9000]
361. Pair of 14 kt. Yellow Gold, “Watermelon” Tourmaline and Diamond Dangle Earrings, 2 octagonal mixed cut bi-colored tourmaline, total wt. approx. 26.36 cts.; accented by 132 round brilliant cut diamonds, total wt. approx. 2.01 cts., G-H color, SI1-SI2 clarity; l. 2 in.; GGA report. [$3000/5000]
360. Oscar Friedman 18 kt. Yellow Gold, Multicolored Sapphires and Diamond Bracelet, mounted with 139 heart shape brilliant step cut pink, orange, green, blue, yellow, and purple sapphires, total wt. approx. 47.56 cts.; accented by 97 round brilliant cut diamonds, total wt. approx. 2.22 cts., I-J color, VS2-SI1 clarity; l. 7 in.; AJI and GIA reports. [$10000/15000]
362. 14 kt. White Gold, Tanzanite and Diamond Ring, center pear shape brilliant faceted cut tanzanite, wt. approx. 4.46 cts.; accented by 42 round brilliant cut diamonds, total wt. approx. 0.56 ct.; size 6.75; GGA report. [$1500/2500]
364. Art Deco Style 14 kt. Two Tone Gold, Opal, Diamond and Black Enamel Pendant, center pear shape cabochon opal, wt. approx. 9.37 cts.; accented by 87 round brilliant cut diamonds, total wt. 0.87 ct.; pendant l. 2 in.; chain l. 18 in.; GGA report. [$2000/3000]
365. Platinum, Black Opal and Diamond Ring, center oval cabochon opal, wt. approx. 2.53 ct.; bezel and shoulders set with 44 round brilliant cut diamonds, total wt. approx. 0.68 ct.; size 6.75; GGA report. [$1200/1800]
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2024 AUCTION SCHEDULE
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.
71 Consign With Us! nealauction.com
CONDITIONS OF SALE; WAIVERS OF WARRANTY; LIMITATIONS OF LIABILITY
Registering for and/or placing a bid at auction constitutes the acceptance of and agreement to these Conditions of Sale; WAIVERS OF WARRANTY; and LIMITATIONS OF LIABILITY (collectively, the “Conditions of Sale”). These Conditions of Sale are binding and enforceable on all bidders and buyers.
1. WARRANTY WAIVERS; LIABILITY LIMITATIONS. All lots are sold “AS IS, WHERE IS” – WITH ALL FAULTS and WITH NO EXPRESS OR IMPLIED WARRANTIES. No statement or description regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, value, size, or quality of a lot, whether made orally at the auction or at any other time, in electronic messages, online, in writing, or in a catalogue, website, correspondence, advertising, literature, or elsewhere, is or shall be construed to be a guarantee, an express or implied warranty, or assumption of liability, obligation, or responsibility. The bidder or buyer WAIVES any such warranty, WAIVES any warranty of fitness for ordinary use or for any intended use, and further WAIVES any warranty against redhibitory vices and defects, whether latent, hidden, or apparent, and whether imposed by the Louisiana Civil Code or any other applicable statute, law, jurisprudence, or legal authority. The buyer further WAIVES any rights or remedies in redhibition to a return or reduction of the purchase price for any lot, including for any lot with any defect rendering the lot useless, inconvenient, or of diminished usefulness. All sales are final, without exception.
Each bidder and buyer agrees and acknowledges that: (a) the bidder or buyer is not relying on Neal Auction Company’s actual, perceived, or expressed skill, expertise, experience, knowledge, or judgment in deciding to purchase any lot; (b) no oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value is the cause of or reason behind the buyer’s purchase of any lot; (c) the buyer would have purchased any lot regardless of any oral, written, or electronic statement or description about attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value, made in a catalogue, website, correspondence, advertising, literature, or elsewhere; (d) Neal Auction Company did not know, nor should it have known that attribution, authenticity, authorship, character, condition, kind, period, provenance, size, quality, or expressed value is the cause or reason why the buyer decides to purchase any lot; (e) the buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; (f) Neal Auction Company did not know, nor should it have known, that any oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere would cause a pecuniary or nonpecuniary loss to any bidder or buyer; (g) the bidder or buyer has had the opportunity prior to bidding to make independent inspections of, and conduct due diligence on, all lots being offered; (h) there is no inspection or examination period after the auction bidding; (i) the bidder’s or buyer’s failure to be fully informed as to the attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value of a lot will not be grounds for any reduction of the purchase price or rescission of the sale; (j) Neal Auction Company shall not be liable, obligated, or responsible for the presence of lead-based paint or any other environmental or other hazard of any lot; (k) Neal Auction Company shall not be liable, obligated, or responsible to the buyer as to third parties who may claims rights to or interests in any lot; (l) the buyer is buying at the buyer’s sole risk and peril; (m) Neal Auction Company shall not be liable, obligated, or responsible for any errors or omissions in any oral, written or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere. Each bidder and buyer WAIVES and RELEASES any and all claims arising out of the matters expressed above. All such waivers, releases, and limitations of liability shall apply to Neal Auction Company and its owners, officers, directors, representatives, insurers, agents, and employees.
2. Fine Art. Subject to the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, with respect to authorship of works of fine art, the following phrases have the following meanings: ARTIST - In our qualified opinion, we believe the work is by the artist named. Attributed to ARTIST - In our qualified opinion, we believe the work may be ascribed to the artist named on the basis of style and period, but our opinion is less certain than in the previous category. Signed “ARTIST” - In our qualified opinion, the signature, monogram, or other indication of authorship is a signature of the artist.
School of ARTIST - In our qualified opinion, the work is of the period of the artist named, by a student or a follower of the artist, but not by the artist.
Manner of ARTIST - In our qualified opinion, although the work is in the style of the artist named, it is actually of a later period.
After ARTIST - In our qualified opinion, the work is a copy of a known work of the artist named. Bears signature “ARTIST” - In our qualified opinion, although the work bears the signature or monogram of the artist, the work most likely is not that of the artist.
3. Discretionary Rescission. Notwithstanding the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale of a work of fine art on the basis of authenticity of authorship only under the following terms, conditions, and LIMITATIONS OF LIABILITY, all of which apply, and the buyer WAIVES and RELEASES any other rights, relief or remedies:
Neal Auction Company shall not grant rescission of any lot identified by the terms “attributed to,” “signed,” “school of,” “manner of,” “after,” or “bears signature.”
Neal Auction Company shall not grant rescission of any lot unless the buyer notifies Neal Auction Company in writing within 25 calendar days from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale.
Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written document signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery.
Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the original buyer, and any rights or interests of the original buyer are not transferrable, inheritable, or assignable.
Neal Auction Company shall not grant rescission when: (a) there is a conflict of expert opinion as to the authorship; (b) expert opinion supported authorship at the time of auction, although expert opinion may have changed afterward; and (c) scientific or other tests, examinations, investigations, research, or processes that were unavailable, expensive, or impractical at the time of the auction have revealed since that time that the author, character, condition, kind, provenance, period, quality, or value Neal Auction Company believed to be accurate at the time of sale was inaccurate.
In any dispute between Neal Auction Company and the bidder or buyer regarding authorship of a work of fine art, rescission of the sale and refund of the purchase price paid shall be the buyer’s sole recourse or remedy, if any is available. Neal Auction Company (and its owners, officers, directors, representatives, agents, insurers, and employees) shall not be liable, obligated, or responsible for any damages (including compensatory, general, incidental, consequential, exemplary, or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorneys’ fees, or any other monetary, declaratory, equitable, or injunctive relief or remedy. The buyer WAIVES and RELEASES any and all such damages, relief, and remedies.
AUCTION BIDDING AND SALE
1. The auctioneer shall have absolute discretion in determining the highest and best bid on each lot. The auctioneer may decide that any original bid is not commensurate with the value of the lot offered, or that any advance thereafter is not of sufficient amount, and the auctioneer may reject or refuse to recognize that bid or advance.
2. At the fall of the auctioneer’s hammer, the bidder acknowledged by the auctioneer, whether in person or absentee, thereupon assumes the obligation to pay for the offered lot, and shall pay the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs.
3. Title to the offered lot shall pass to the bidder acknowledged by the auctioneer upon payment of the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs. The buyer thereupon assumes full risk, obligation, and responsibility for the lot.
4. At any time before the sale of a lot, Neal Auction Company reserves the right to withdraw the lot or any part of the lot, to combine lots, or to separate items within a lot.
5. No lots will be released before the end of the auction.
6. If the buyer fails to comply with any of these Conditions of Sale, Neal Auction Company reserves the right to (a) hold such defaulting buyer liable, obligated, and responsible for the total amount due and to commence legal proceedings to recover the entire amount along with interest, reasonable attorneys’ fees, expenses, and costs; (b) charge outstanding amounts to the buyer’s credit card; (c) apply any payments to outstanding amounts chosen by Neal Auction Company notwithstanding the instructions of the buyer; (d) cancel the sale, retaining as liquidated damages any payment made by the buyer; (e) resell the lot without reserve at public auction, online-only auction, or privately on seven calendar days’ notice to the buyer; (f) enforce specific performance of the sale; (g) require a deposit in future auctions; (h) exclude the buyer from future auctions or bidding on particular lots; (i) exercise the rights and remedies of a person holding security and/or privilege over property in Neal Auction Company’s possession, whether by pledge, security interest or any other mechanism, to the full extent allowed under Louisiana law, and Neal Auction Company may hold the property of the buyer as collateral security for the buyer’s obligations; (j) and/or take such other actions allowed by law in Neal Auction Company’s sole discretion. If Neal Auction Company resells the lot, the defaulting buyer shall be liable, obligated, and responsible for the payment of any deficiency in the purchase price and any damages, including but not limited to all costs and expenses of both sales, such as, by way of example only, storage, handling, insurance, repairs, illustrations, consultations, examinations, moving, shipping, promotions, advertising, reasonable attorneys’ fees, commissions, and incidental damages.
7. Virtually all lots offered have been subject to use over a considerable period of time. No mention of cracks, scratches, chips, tears, breaks, weaknesses, or any damages or wear will be included in oral, written, or electronic statements or descriptions in the catalogue, website, correspondence, advertising, or literature. Condition reports may be provided upon request, but condition reports may not mention all cracks, scratches, chips, defects, hazards, tears, breaks, weaknesses, or other damages or wear. Neal Auction Company makes no representations or warranties as to the accuracy or completeness of any information or description in a condition report or elsewhere, whether oral, written, electronic, or online. Neal Auction Company reserves the right to decline to provide a condition report for any specific lot, at its sole discretion.
8. Neither high nor low estimates in a catalogue, website, advertising, correspondence, literature, or elsewhere should be relied on as a representation, prediction, appraisal, guarantee, or warranty that a particular lot will sell for a particular price or that a particular lot has a particular value.
9. Neal Auction Company has absolute discretion to admit a bidder to the auction premises, to expel a bidder from the auction premises, or to refuse a bidder from participating in the auction.
10. Neal Auction Company and its auctioneers shall not be liable, obligated, or responsible for failure to recognize or execute any bids for any reason whatsoever, or for no reason. Bidders and buyers WAIVE and RELEASE any rights to damages, and equitable, declaratory, and injunctive relief arising out of the failure or rejection of any bid, or any errors or omissions relating to the bidding process.
11. Interfering with the auction in any way is prohibited.
12. Bid rigging is strictly prohibited. Any agreement, understanding, or arrangement not to bid against another or otherwise to dampen the bidding is unlawful. The auctioneer reserves the right to bid on behalf of the consignor for the protection of the consignor if this illegal activity by two or more bidders is detected, disclosed, alleged, or suspected.
13. Canvassing or solicitating on the auction premises is prohibited.
14. The auctioneer has the sole discretion as to the increments of bidding, the recognition of any bid, the acceptance of the final bid, and resolving any disputes among bidders.
15. Neal Auction Company represents the consignors only and is not acting as agent or representative of bidders or buyers. The payment of the buyer’s premium by the buyer does not indicate a dual agency relationship. Neal Auction Company is to be paid a fee or commission by the consignor pursuant to a separate written agreement between the consignor and Neal Auction Company. The consignor is the seller of the lot sold. Neal Auction Company is the consignment agent or representative, not the seller.
16. The successful bidder is obligated to pay the purchase price in full unless Neal Auction Company has consented in writing at the time of the bidder’s registration that the bidder is acting as an agent on behalf of an identified person and that said principal is obligated to pay the purchase price in full. Neal Auction Company reserves the right to require an advance deposit for such bids.
17. Prior to placing any bid, all bidders must complete a standard Neal Auction Company Registration Form in use at the time of the auction.
18. Dealers must provide Neal Auction Company with proper documentation prior to bidding.
19. First time bidders are required to produce a valid state-issued identification card or passport.
20. Bids are required to be made in U.S. dollars.
21. Neal Auction Company may require a bidder or buyer at any time to produce financial, banking, or trade references and information.
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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.
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.
73
Auctioneers of Antiques & Fine Art
4038 Magazine Street, New Orleans, LA 70115
504.899.5329 | WWW.NEALAUCTION.COM
Confidential Absentee / Telephone Bid Form
AUCTION DATE: 24-03M #
FIRST NAME: 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
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.
SIGNATURE REQUIRED:
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.
PLEASE REVIEW THE GUIDELINES FOR BIDDING: FOR INTERNAL USE ONLY:
4. All property is sold “AS IS”. No statement regarding condition of any item, whether it is made orally at the auction or any other time, or in writing in the catalogue or elsewhere, shall be deemed to be a warranty, representation or assumption of liability.
5. In the event of discrepancies, lot number and not lot description will take precedence.
74
APPROVED _______________ REGISTERED _____________ ENTERED ________________ CLERK _______________ ACCOUNT # ________________________ CONFIRMED _______________
DATE: ZIP: CARD NUMBER: EXP: SECURITY CODE: LOT NUMBER DESCRIPTION TELEPHONE #
BID AMOUNT
/
fax to: 504-617-6431 - email: bids@nealauction.com
24-06M
A
Cassilly Adams, 117
Enrique Alferez, 276
Charles Henry Alston, 231
American School, 114
Walter Inglis Anderson, 205
John James Audubon, 129-133
B
Richmond Barthe, 222
Paul Wayland Bartlett, 238
Dale Bessire, 119
Melissa Bonin, 283, 284
Robert Ward Van Boskerck, 120
Jean Brusselmans, 66
Steele Burden, 203, 204
Sergio Bustamante, 233
C
Harry Morey Callahan, 290
David Chapin, 243
Chris Clark, 170
Continental School, 56
Tim Cotterill, 19
D
Rise Delmar-Oschner, 280, 281
Arthur Diehl, 124
Alexander John Drysdale, 192-196
George Bauer Dunbar, 277
William Dunlap, 282
E
Charles Warren Eaton, 122
Louis Michel Eilshemius, 123
Ray George Ellis, 230
Delphin Enjolras, 63
F
Pierre Le Faguays, 62
After Ludwig Hans Fischer, 125
Alan Flattmann, 279
G
Henry Martin Gasser, 229
Jean Jules Henry Geoffroy, 64
Alberto Giacometti, 241
James Jeffery Grant, 121
Louis Oscar Griffith, 191
H
David Harouni, 270-275
Earl Hebert, 172-175
Colette Pope Heldner, 199, 200
Knute Heldner, 198
William Hemmerling, 171
Lonnie B. Holley, 163
Andrew Lamar Hopkins, 176, 177
Allan Houser, 225
Alfred Howland, 118
Clementine Hunter, 162
Anna Vaughn Hyatt Huntington, 237
Charles Woodward Hutson, 158-161
J
Eugen Jettel, 57
Leon Foster Jones, 227
K
Otto Werner Henning von Kameke, 59
Anton Nicolaas Marie Karssen, 65
Mary Kirk Kelly, 135-140
Ida Rittenberg Kohlmeyer, 27
L
Albert Laessle, 239
Hayley Lever, 228
Donald Liardi, 240
M
Richard MacDonald, 224
After Pietro Magni, 55
Jacques Martin-Ferrieres, 67
James Michalopoulos, 260-265
Jean-Baptiste Monnoyer, 58
O
Dan Ostermiller, 235, 236
P
Roc Paul, 226
Enoch Wood Perry Jr., 113
Marie Adrien Persac, 190
Robert Philipp, 232
Eugene Alonzo Poole, 116
After Augustus Charles Pugin, 127
R
Pierre-Joseph Redoute, 128
Charles Henry Reinike, 202
Charles Whitfield Richards, 201
After Auguste Rodin, 60
George Rodrigue, 266-268
S
Frank Schueler, 246
Manfred Schwartz, 245
John Tarrell Scott, 269
David Alfaro Siqueiros, 242
Gideon Townsend Stanton, 197
Jimmy Lee Sudduth, 164-166
T
Mose Tolliver, 167-169
V
Elihu Vedder, 220, 221
W
Steve Walker, 244
Gary Michael Weisman, 223
Edward August Wenzel, 61
Theodore Fonville Winans, 285-289
Thomas Waterman Wood, 115
76
June 28, 2024 •
Index
Artist
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
Jorge Diaz
OPERATIONS
Operations Staff
Charlie Clay
Jerry Major
Graphics Staff
Stephanie Do Ouro
Amanda Torres
Adam Trepagnier
Madison Randolph
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
BUILDING COLLECTIONS
OF
