Louisiana Purchase Auction™ - November 21 & 22, 2024

November 21 & 22, 2024

LOUISIANA PURCHASE AUCTIONTM

November 21 & 22, 2024

Important Collection of Early George Rodrigue Artwork from the Estate of Artist and Collector C. Delle Bates

Art from the Collection of Sally and the Late Dr. Lawrence O’Meallie, New Orleans

Collection of Fine Silver from the Estate of Herbert Mack Jolly, Birmingham AL

Important Neoclassical Salon Table Descended in the Family of Ambassador Laurence Steinhardt (1892-1950)

Select Period Furniture from the Collection of Gifford A Cochran (1906-1978), Historic Dog Hill, North Salem, New York

Antique Furniture from the Freret-Bultman House, Faubourg Wiltz, New Orleans

Large Collection of Wine, Sold for the Benefit of the New Orleans Mission, Part One

EXHIBITION

Monday, November 11 through November 20, 10 a.m. to 5 p.m.

SATURDAY PREVIEW

Saturday, November 16, 10 a.m. to 3 p.m.

EVENING PREVIEW

Tuesday, November 19, 5 to 7 p.m.

LIVE & ONLINE AUCTION

DAY 1: N ovember 21, begins at 11:00 a.m , Lots 1-231

DAY 2: November 22, begins at 11:00 a.m, Lots 232-696

IMPORTANT COLLECTION OF EARLY GEORGE RODRIGUE ARTWORK FROM THE ESTATE OF ARTIST AND COLLECTOR

C.

DELLE BATES

(1943-2023)

C. Delle Bates was born in Winnfield, Louisiana on October 1, 1943. He loved drawing and creating art from a young age and was encouraged by his third-grade teacher to continue developing his artistic talents and skills.

In the 1970s, Mr. Bates moved to Texas and formed his company which serviced the plywood industry with ‘glue extenders’ used in the manufacturing of plywood. While he built his business over the next two decades, he also continued to work on his own artistic development and became a keen-eyed art collector as well.

Mr. Bates met George Rodrigue in the 1980s and was moved by Mr. Rodrigue’s heart-centered interpretations of Louisiana life and culture. Mr. Rodrigue would drive to Texas to sell art from the trunk of his car at that time, and since Mr. Bates lived right across the border in Orange, Texas, he was often Mr. Rodrigue’s first stop. Mr. Rodrigue ate soup with the Bates family on his Texas trunk sale stops and also enjoyed a stay in the family’s Gulf Coast beach home a time or two.

Mr. Bates sold his business and became a full-time artist himself in the 1990s. He counted Mr. Rodrigue as his favorite artist, followed by Nicolai Fechin. Other notable artists whose works Mr. Bates admired and collected include Francoise Gilot, R. C. Gorman, and celebrities-turnedartists such as John Lennon and Anthony Quinn. In the last years of his life, Mr. Bates collected the work of New Orleans artist Noel Rockmore, whom Mr. Bates believed would be the next great posthumously discovered and celebrated artist with Louisiana roots.

Mr. Bates, like Mr. Rodrigue, leaves a legacy of generosity and kindness, love for Louisiana, and an abiding belief that art matters and beauty can save us.

DONATED PRIVATE WINE COLLECTION AUCTION TO BENEFIT

NEW ORLEANS MISSION NEW ORLEANS, LA

Neal Auction Company is pleased to assist the New Orleans Mission in the sale by auction of a large, anonymously-donated wine collection. One-hundred percent of net proceeds will go to the New Orleans Mission, a 501(c)(3) nonprofit organization with the mission statement:

“The New Orleans Mission is a Christian Humanitarian Organization. We are dedicated to the rescue, recovery, re-engagement, and reunite people facing homelessness, addiction, human trafficking, abuse, or mental illness. Motivated by our faith in Jesus Christ, we walk alongside those in need as a demonstration of God’s unconditional love for everyone. The New Orleans Mission serves all people, regardless of religion, race, ethnicity or gender.”

This extensive wine collection will be offered in two parts: Part I on November 21, 2024 and Part II on January 23, 2025.

SIP & SPARKLE SOIREE

Monday, November 18, 4:30 to 6:30 p.m.

A delightful evening where you can indulge in the finest wines while adorning yourself with exquisite jewelry.

Wine experts Joanne Close and Jim Yonkis of Independent Caveau will be on hand to discuss the wines.

FINE SILVER FROM THE COLLECTION OF HERBERT MACK JOLLY (1950-2024)

Neal Auction Company is pleased to present the Herbert Mack Jolly Collection of Fine Silver.

Dr. Jolly, a retired dentist, was a longtime resident of Birmingham, Alabama, and a proud native of Talassee, Alabama. He was a true Southern gentleman who supported the Arts, many charities and University of Alabama football. For many years he sang in the choir of the Cathedral Church of the Advent.

The Jolly Collection encompasses several flatware services, rare antique serving pieces and extensive hollow ware from goblets and juleps to candelabra, teapots, cocktail shakers, platters and an asparagus tray. In short, anything and everything a proper Southern gentleman would need to entertain in great style.

AUCTION DAY ONE

Thursday, November 21, 11 a.m. LOTS 1-231

1. Two Pairs of Gold and Jade Cufflinks, incl. pair of 14 kt. yellow gold and jade cufflinks, marked “GUMP’S”, 6.78 dwts.; and pair of 9 kt. gold cufflinks, 3.77 dwts. [$200/300]

2. Longines Master Collection Chronograph Moonphase Stainless Watch, caliber L687, ref. L26734, 40mm, serial #47209000, sapphire crystal, transparent caseback, automatic, leather strap, original box and instructions [$700/1000]

3. Michele Deco Diamond Stainless and 18K Gold-Plated Watch, chronograph, quartz movement, bezel set with 120 diamonds (0.6 carats), 35mm, sapphire crystal, mother-of-pearl dial, bracelet with butterfly clasp, water resistant to 5 atm.

[$700/1000]

4. Omega Seamaster Aqua Terra Stainless Watch, Master Chronometer caliber 8900, ref. 220.12.41.21.06.002, serial #89238163, 41mm, automatic, transparent caseback, sapphire crystal, water resistant to 150 meters, grey rubber strap with deployant clasp, with box, instructions, and cards. [$1500/2500]

5. Omega Speedmaster Stainless Racing Chronograph Watch, caliber 9900, 44.25 mm, ref. 329.30.44.51.04.001, serial #84299037, transparent caseback, automatic, sapphire crystal, black and white stripe Nato strap, water resistant to 50 meters, with box, instructions, and cards. [$2500/3500]

6. Glashutte Original PanoMaticLunar

Stainless Watch, caliber 90, ref. 190024632, serial #205150, 40mm, transparent caseback, blue dial, with subsidiary seconds dial and moon phase indicator, movement with 21 carat gold oscillation weight, Glashutte Louisiana alligator strap with deployant clasp, with original box and papers. [$3000/5000]

7. Tiffany & Co. Stainless Steel “Atlas” Ladies Watch, quartz movement, 27mm, l. 6 in. [$2000/3000]

8. Platinum South Sea Pearl and Diamond Ring, center dark gray or aubergine cultured south sea pearl, 13.90-14,10 mm; bezel with 40 round brilliant and baguette cut diamonds, total wt. approx. 1.14 cts.; size 7; GGA report. [$3000/5000]

10. 14 kt. White Gold, Star Sapphire and Diamond Ring, marked, center oval cabochon star sapphire accented by numerous round diamonds, size 7.5; 4.95 dwts. [$500/700]

9. 14 kt. White Gold and Tahitian Pearl Necklace, strand of 31 dark gray near round cultured pearls, 13.00-15.57 mm; l. 18 1/2 in.; AIGL and GIA reports. [$3000/5000]

11. 14 kt. White Gold, Blue Star Sapphire and Diamond Ring, center oval cabochon blue star sapphire, wt. approx. 9.39 cts.; accented with round brilliant cut diamonds, total wt. approx. 0.07 ct.; size 7; IAS report. [$1000/1500]

12. Platinum, Burmese Sapphire and Diamond Pendant on Chain, center oval cabochon blue sapphire, wt. approx. 23.12 cts.; bezel with 24 round brilliant cut diamonds, total wt. approx. 0.26 ct.; pendant l. (incl. bale) 1 1/4 in.; chain l. 17 in. [$2000/3000]

13. Art Deco Style Platinum, Sapphire and Diamond Ring, center GIA certified oval mixed cut blue sapphire, wt. approx. 1.28 cts.; bezel with 56 round brilliant cut diamonds, total wt. approx. 0.76 ct., F-G color, VS2-SI1 clarity; size 6.75; AIGL and GIA reports. [$2500/3500]

14. 14 kt. White Gold, Sapphire and Diamond Dangle Earrings , mounted with 6 oval brilliant faceted cut blue sapphires, total wt. approx. 4.12 cts.; bezels set with 82 round brilliant cut diamonds, total wt. approx. 0.78 cts.; l. 1 in.; GGAreport. [$1800/2500]

15. Platinum, Sapphire and Diamond Bracelet, mounted with 18 oval brilliant faceted cut blue sapphires, total wt. approx. 14.91 cts.; bezels with 252 round brilliant cut diamonds, total wt. approx. 2.62 cts., G-H color, SI1-SI2 clarity; l. 6 1/2 in.; GGA report. [$4000/6000]

17. Group of 14 kt. Yellow Gold Jewelry, two chains, l. 18 in.; cross, l. 1 1/4 in.; and St. Raphael coin; 5.03 dwts. [$200/300]

16. Platinum, Sapphire and Diamond “Toi et Moi” Ring, center pear mixed cut blue sapphire, wt. approx. 0.92 ct.; and rectangular step cut diamond, wt. approx. 0.24 ct., G color, SI1 clarity; size 7; AIGL report. [$1800/2500]

18. Two Italian 14 kt. Yellow Gold Chain Bracelets, marked, l. 8 1/4 in. and 8 1/2 in.; 7.52 dwts. [$400/600]

19. 14 kt. Yellow Gold Charm Bracelet, marked, mounted with 4 charms, l. 6 3/4 in.; 17.35 dwts. [$800/1200]

20. Three 14 kt. Yellow Gold & Gemstone Rings, marked, incl. ribbon design with oval mixed cut gemstone, size 8.25; “Toi et Moi” with pear shape gemstones, size 8.5; and band, size 8; 11.80 dwts. [$500/700]

18

22. Henry Dunay 18 kt. Yellow Gold Hammered Twist Earrings, marked, numbered “A6826” clip backing, l. 1 1/4 in.; 17.33 dwts., l. 1 1/4 in. [$6000/8000]

24. 18 kt. Yellow Gold “Soleil” or “Crown of Thorns”

, marked, openwork design with invisible clasp, l. 8 1/4 in.; 39.87 dwts. [$8,000/12,000]

Bracelet

21.

kt. Yellow Gold and Diamond Eternity Band Ring, mounted with 21 emerald cut diamonds, total wt. approx. 4.78 cts., G-H color, VS1-VS2 clarity; size 5.5; GGA report [$7000/9000]

23. David Webb 18 kt. Yellow Gold Hammered Knot Earrings, marked, clip backings, l. 1 in.; 18.92 dwts. [$7000/9000]

25. Tiffany & Co. 14 kt. Yellow and Rose Gold Convertible Brooch Earrings, marked, l. (each) 2 in.; 13.06 dwts. [$4000/6000]

27. Vintage 14 kt. Yellow Gold and Diamond Swirl Collar Necklace, marked, mounted with numerous round diamonds, total wt. approx. 2.00 cts.; l. approx. 14 in.; 48.00 dwts. [$5000/7000]

29. Yellow Gold, Yellow Diamond and Diamond “Toi et Moi” Ring, triangular brilliant cut natural fancy yellow diamond, wt. approx. 2.18 cts.; and triangular brilliant cut diamond, wt. approx. 1.10 cts., G-H color, SI1 clarity; size 5.5; GGA report. [$20,000/30,000]

26. David Yurman 18 kt. Yellow Gold and Diamond Man’s Ring, marked, set with numerous round diamonds, total wt. approx. 2.00 cts.; size 8.75; 15.19 dwts. [$5000/7000]

28. 14 kt. Yellow Gold and Heart Shape Diamond Pendant on Chain, center bezel set heart shape diamond, wt. approx. 2.00 cts., H-I color, SI2-SI3 clarity; chain l. 23 in.; GGA report. [$12,000/18,000]

30. 18 kt. Yellow Gold, Onyx and Diamond Earrings, marked, central bezel set oval cabochon onyx, scrollwork bezels mounted with 8 round diamonds, clip backings, l. 1 in.; 20.14 dwts. [$4000/6000]

31. Italian 18 kt. Yellow Gold and Onyx Van Cleef & Arpels Alhambra Style Necklace, l. 24 in.; 25.82 dwts. [$5000/7000]

33. Buccellati Style 18 kt. Yellow and White Gold, Sapphire and Diamond Filigree Bracelet, made in Florence, openwork filigree design mounted with 10 sapphires and 10 diamonds, l. 7 1/4 in.; 16.22 dwts. [$7000/9000]

32. Italian 18

34. Buccellati Style 18 kt. Yellow and White Gold, Sapphire and Diamond Filigree Necklace, made in Florence, openwork filigree design mounted with 26 sapphires and 26 diamonds, l. 18 in.; 45.79 dwts., l. 18 in [$20,000/30,000]

35. Italian 18 kt. Yellow Gold, Diamond, Ruby, and Emerald Earrings, clip backings, l. 1 in.; 14.89 dwts. , l. 1 in [$8,000/12,000]

kt. Yellow Gold and Onyx Van Cleef & Arpels Alhambra Style Necklace, l. 32 in.; 28.78 dwts. [$5000/7000]

36. 14 kt. Yellow Gold, Emerald and Diamond Dangle Earrings, 2 Brazilian pear mixed cut emeralds, total wt. approx. 6.14 cts.; and 2 kite cut diamonds, total wt. approx. 0.70 ct.; l. 1 1/2 in.; GGA report., l. 1 1/2 in [$6000/8000]

37. 14 kt. Yellow Gold and Emerald Line Bracelet, mounted with 32 octagonal step faceted cut emeralds, total wt. approx. 19.31 cts.; l. 6 3/4 in.; GGA report., l. 6 3/4 in [$7000/9000]

38. 14 kt. Yellow Gold, Emerald and Diamond Pendant on Chain, center octagonal mixed cut emerald, wt. approx. 1.00 ct.; round sunburst bezel with numerous round brilliant cut diamonds, total wt. approx. 0.24 cts.; pendant dia. 3/4 in.; chain l. 18 in.; GGA report. [$1500/2500]

39. Pair of David Webb 18 kt. Yellow Gold and Mabe Pearl Earrings, marked, l. 1 1/8 in.; 28.09 dwts. [$7000/9000]

40. 14 kt. Yellow Gold, South Sea Pearl, Emerald and Diamond Ring, center round cultured south sea pearl, 11.20-11.30 mm; mounted with 8 oval mixed cut emeralds, total wt. approx. 1.98 cts.; and 266 round brilliant and round single cut diamonds; size 6.75; GGA report. [$2000/3000]

41. Pair of Fana 14 kt. White Gold, Emerald and Diamond Stud Earrings, marked, 15.90 dwts. [$400/600]

42. Platinum, Emerald and Diamond Ring, center GIA certified Colombian pear mixed cut emerald, wt. approx. 2.16 cts.; bezel and shoulders with 41 round brilliant cut diamonds, total wt. approx. 0.89 ct.; size 7.25; GGA and GIA reports. [$4000/6000]

43. Platinum, Emerald and Diamond Ring, center pear modified brilliant cut emerald, wt. approx. 3.59 cts.; bezel and shoulders set with 56 round brilliant cut diamonds, total wt. approx. 0.89 ct., F-G color, VS2-SI2 clarity; size 7; AIGL and GIA reports. [$4000/6000]

44. Art Deco Style Platinum, Emerald and Diamond Ring, center octagonal step cut emerald, wt. approx. 2.72 cts.; accented with 80 baguette and round brilliant cut diamonds, total wt. approx. 0.49 ct.; size 6.75; AIGL report. [$3000/5000]

45. Platinum, Emerald and Diamond Ring, center oval mixed cut emerald, wt. approx. 1.91 cts.; triple bezel and shoulders set with 91 round brilliant cut diamonds, total wt. approx. 1.10 cts., F-G color, VS1-VS2 clarity; size 7.25; GGA report. [$3000/5000]

46. 14 kt. White Gold, Emerald and Diamond Ring, center octagonal step faceted cut emerald, wt. approx. 6.61 cts.; bezel and shoulders set with 18 round brilliant cut diamonds, total wt. approx. 0.59 cts.; size 6.75; GGA report. [$3000/5000]

47. Platinum, Emerald and Diamond Ring, center GIA certified octagonal step faceted cut emerald, wt. approx. 7.29 cts.; shoulders set with 50 baguette and round brilliant cut diamonds, total wt. approx. 1.05 cts., F-G color, VS1-VS2 clarity; size 7; GGA and GIA reports. [$7000/9000]

48. Art Deco Style, Platinum, Emerald and Diamond Ring, center GIA certified octagonal step cut emerald, wt. approx. 4.36 cts.; bezel and shoulders set with 78 round brilliant cut diamonds, total wt. approx. 0.89 ct.; size 7; AIGL and GIA reports.

[$6000/8000]

49. Platinum, Emerald and Diamond Ring, center octagonal mixed cut emerald, wt. approx. 3.19 cts.; accented by 102 round brilliant cut diamonds, total wt. approx. 0.80 ct.; size 6.75; GGA report. [$5000/7000]

50. Platinum, Emerald and Diamond Ring, center octagonal mixed cut emerald, wt. approx. 5.00 cts.; bezel with 74 round brilliant cut diamonds, total wt. approx. 1.75 cts., F-G color, VS1-VS2 clarity; size 6.75; GGA report. [$5000/7000]

51. Platinum, Emerald and Diamond Pendant on Chain, center octagonal step cut emerald, wt. approx. 15.38 cts.; ornate bezel and bale set with 139 round brilliant cut diamonds, total wt. approx. 1.99 cts., G-H color, VS2-SI1 clarity; pendant l. 1 5/8 in.; chain l. 18 in.; AIGL report. [$10,000/12,000]

53. Platinum, Emerald and Diamond Dangle Earrings, 2 center octagonal step cut emeralds, total wt. approx. 10.09 cts.; ornate setting mounted with 336 round brilliant cut diamonds, total wt. approx. 3.27 cts., G-H color, VS1-SI1 clarity; l. 1 7/8 in.; AIGL report. [$18,000/25,000]

55. 18 kt. White Gold, Emerald and Diamond Necklace, mounted with 15 graduated emerald faceted cut emeralds, total wt. approx. 81.39 cts.; and 426 round brilliant cut diamonds, total wt. approx. 5.82 cts., G-H color, SI2-I1 clarity; l. 17 1/4 in.; GGA report. [$30,000/40,000]

52. 18 kt. White Gold, Zambian Emerald and Diamond Cross Pendant on Chain, mounted with 7 oval Zambian emeralds, total wt. approx. 6.02 cts.; and numerous round diamonds, total wt. approx. 1.01 cts.; pendant l. 1 1/2 in.; chain l. 18 in.; 7.05 dwts. [$12,000/18,000]

54. 18 kt. White Gold, Colombian Emerald and Diamond Ring, center GIA certified octagonal step cut Colombian emerald, wt. approx. 7.47 cts.; flanked by 2 shield step cut diamonds, total wt. approx. 1.02 cts., G color, VS1 clarity; size 6.25; AIGL and GIA reports. [$30,000/40,000]

56. David Webb Platinum, Columbian Emerald and Diamond Ring, c. 1970, center emerald mixed cut emerald, wt. approx. 5.68 cts. (minor treatment); flanked by 2 pear and numerous round diamonds, total wt. approx. 2.00 cts.; size 5; 9.20 dwts. [$70,000/90,000]

57. Platinum, Diamond and Colored Diamond Floral Brooch, mounted with numerous round, marquise and baguette cut diamonds, total wt. approx. 4.30 cts.; and 2 round colored diamonds, total wt. approx. 0.45 cts.; l. 2 in.; 13.46 dwts.

[$8,000/12,000]

58. 18 kt. White Gold and Diamond Floral Brooch, set with numerous round diamonds, total wt. approx. 7.36 cts.; l. 2 1/4 in.; 13.85 dwts.

[$15,000/25,000]

59. Platinum and Diamond Ribbon Brooch, mounted with numerous round diamonds, total wt. approx. 9.00 cts.; l. 2 3/4 in.; 19.28 dwts.

[$8,000/12,000]

60. Platinum and Diamond Pendant Brooch, mounted with reticulated cascade of 34 marquise diamonds, total wt. approx. 4.08 cts.; 33 graduated round diamonds; and 15 invisibly set tapered baguette diamonds; l. 2 1/4 in.; 19.73 dwts.

[$20,000/30,000]

61. Verdura Style 18 kt. White Gold and, Baroque Pearl, Diamond, Coral and Ruby Swan Brooch, center baroque pearl, wt. approx. 59.78 cts.; neck and feathers mounted with numerous round diamonds, total wt. approx. 7.10 cts.; l. 2 3/4 in.; 29.24 dwts.

[$20,000/30,000]

62. Pair of 14 kt. White Gold and Diamond Stud Earrings, 2 round brilliant cut diamonds, total wt. approx. 2.21 cts., G color, I1-I2 clarity; AIGL report. [$4000/6000]

63. 14 kt. White Gold, Diamond and Black Enamel Checkered Ring, set with numerous diamonds, total wt. approx. 0.30 ct.; size 6.25; GGA report. [$1000/1500]

64. Lauren B Platinum and Lab Grown Diamond Solitaire Ring, band marked “LB” and “PT950 USA”, center emerald cut laboratory grown diamond, wt. approx. 12.78 cts., E color, VS1 clarity; size 5.25; GIA certified with copy of certificate available. [$3000/5000]

65. 18 kt. White Gold and Diamond Ring, center pear brilliant cut diamond, wt. approx. 1.34 cts., K color, VS2 clarity; double bezel and shoulders set with 73 round brilliant cut diamonds, total wt. approx. 0.36 ct.; size 6.5; GGA report. [$6000/8000]

66. Platinum and Diamond Ring, center round brilliant cut diamond, wt. approx. 3.01 cts., H color, I1 clarity; elaborate bezel with 39 baguette, round, square and marquise diamonds, total wt. approx. 3.32 cts., G-I color, VS1-SI2 clarity; size 5.5; AIGL report. [$15,000/25,000]

67. Platinum and Diamond Tennis Bracelet, set with 34 graduated round brilliant cut diamonds, 4.60-5.70 mm, total wt. approx. 17.94 cts., G-H color, SI2-I1 clarity; l. 7 1/2 in.; AIGL report. [$18,000/25,000]

68. Lugano 18 kt. White Gold and Diamond Cross Pendant on Chain, set with 20 reverse mounted princess cut diamonds, each wt. approx. 0.50 ct., total wt. approx. 10.00 cts.; pendant l. 2 in.; diamond station chain l. 18 in.; 10.71 dwts. [$15,000/25,000]

69. Platinum and 18 kt. White Gold and Diamond Necklace, marked, center pear shape diamond drop, wt. approx. 1.90 cts.; 20 full cut diamonds, total wt. approx. 0.66 ct.; 6 marquise diamonds, total wt. approx. 1.09 cts.; and numerous baguette cut diamonds; l. 18 1/2 in.; 27.00 dwts.

[$18,000/25,000]

70. Platinum, Ruby and Diamond Ring, center prong set pear mixed cut ruby, wt. exact 1.88 cts.; bezel and shoulders set with 41 round brilliant cut diamonds, total wt. approx. 0.89 ct.; size 7; AIG report. [$2500/3500]

71. Platinum, Burmese Ruby and Diamond Ring, center GIA certified bezel set cushion mixed cut ruby, wt. approx. 3.63 cts.; flanked by 2 round brilliant cut diamonds, total wt. approx. 0.96 ct.; size 6.75; AIGL and GIA reports. [$3000/5000]

72. Platinum, Ruby and Diamond Ring, center GIA certified unheated oval mixed cut ruby, wt. approx. 7.38 cts.; openwork double bezel and shoulders set with 84 round brilliant cut diamonds, total wt. approx. 1.60 cts., H-I color, SI1-SI2 clarity; size 6.75; AIGL and GIA reports. [$3000/5000]

73. Platinum, Ruby and Diamond Ring, center oval brilliant faceted cut ruby, wt. approx. 9.13 cts.; mounted with 146 round brilliant and baguette cut diamonds, total wt. approx. 2.47 cts., F-G color, VS1-VS2 clarity; size 6.75; GGA report. [$4000/6000]

74. Platinum, Burmese Ruby and Diamond Hinged Bangle Bracelet, mounted with 19 oval mixed cut Burmese rubies, total wt. approx. 22.58 cts.; and 56 round brilliant cut diamonds, G-H color, SI1-SI2 clarity; inner circ. 7 in.; GGA and GIA reports. [$6000/8000]

75. Platinum, Burmese Ruby and Diamond Bib Necklace, mounted with 112 GIA certified oval and pear mixed cut Burmese rubies, total wt. approx. 83.01 cts.; and 168 round brilliant cut diamonds, total wt. approx. 2.43 cts., G-H color, SI2-SI2 clarity; l. 17 in.; GGA and GIA reports.

[$18,000/25,000]

76. 18 kt. Two Tone Gold, Kashmir Sapphire and Diamond Ring, center GIA certified cushion mixed cut purplish pink sapphire, wt. approx. 0.94 ct.; floral bezel set with 44 round brilliant cut diamonds, total wt. approx. 1.07 cts.; size 6.75; AIGL and GIA reports. [$2500/3500]

77. Art Deco Style Platinum, Alexandrite and Diamond Ring , center GIA certified octagonal step cut Alexandrite, wt. approx. 1.30 cts.; accented by 56 round brilliant cut diamonds, total wt. approx. 0.37 ct.; size 7; AIGL and GIA reports. [$2500/3500]

78. 14 kt. White Gold, Sphene and Diamond Ring, center pear mixed cut yellowish orange sphene, wt. approx. 3.66 cts.; accented by 50 round brilliant cut diamonds, total wt. approx. 0.66 ct.; size 6.75; GGA report. [$1200/1800]

79. Platinum, Multicolored Sapphire and Diamond “Toi et Moi” Ring, yellow and blue modified brilliant cut sapphires, total wt. approx. 4.18 cts.; accented by 49 round brilliant cut diamonds, total wt. approx. 0.54 ct.; size 6.75; AIGL and GIA reports. [$3000/5000]

81. Platinum, Multicolored Sapphire and Diamond Bracelet, mounted with 42 GIA certified oval, pear, cushion, marquise and octagonal sapphires, total wt. approx. 37.23 cts.; and 105 round brilliant cut diamonds, total wt. approx. 3.16 cts., G-H color, VS2-SI2 clarity; l. 7 1/4 in.; AIGL and GIA reports. [$15,000/25,000]

80. Platinum, Multicolored Sapphire and Diamond “Toi et Moi” Ring, blue and pink cushion mixed cut sapphires, total wt. approx. 5.93 cts.; set with 56 round brilliant cut diamonds, total wt. approx. 0.70 ct.; size 6.75; AIGL and GIA reports. [$4000/6000]

82. Platinum, Multicolored Sapphire and Diamond Necklace, mounted with 132 oval, cushion and octagonal multicolored sapphires, total wt. approx. 133.99 cts.; and 326 round brilliant cut diamonds, total wt. approx. 4.01 cts., G-H color, VS2-SI1 clarity; l. 18 in.

[$70,000/80,000]

83. 18 kt. Yellow Gold, Opal and Diamond Necklace, mounted with 27 graduated oval cabochon opals, total wt. approx 141.00 cts.; accented by numerous round diamonds; l. 16 1/2 in.; 46.82 dwts. [$20,000/30,000]

84. 14 kt. Two Tone Gold, Multicolored Sapphire and Diamond Pendant on Chain, set with 15 round and oval mixed cut sapphires, total wt. approx. 11.19 cts.; and 130 round brilliant cut diamonds, total wt. approx. 1.01 cts.; pendant dia. 1 1/2 in.; chain l. 18 in.; GGA report. [$2000/3000]

85. Kutchinsky 18 kt. Yellow Gold, Diamond and Multicolored Sapphire Round Floral Brooch , marked, dia. 1 in.; 6.90 dwts. [$3000/5000]

86. 18 kt. Yellow Gold, Multicolored Sapphire and Diamond Necklace, mounted in rainbow pattern of invisibly set multicolored sapphires, total wt. approx. 9.23 cts.; accented by numerous round diamonds; l. 17 in.; 24.11 dwts. [$10,000/15,000]

87. 14 kt. Yellow Gold, Montana Sapphire and Diamond Bracelet, set with 13 oval mixed cut sapphires, total wt. approx. 16.40 cts.; and 14 round brilliant cut diamonds, total wt. approx. 0.89 ct.; l. 6 1/2 in.; 9.79 dwts.; GGA report. [$7000/9000]

88. 14 kt. Yellow Gold and Montana Sapphire Earrings, 2 oval mixed cut sapphires, total wt. approx. 3.00 cts.; 3.16 dwts.; GGA report. [$1500/2500]

89. 14 kt. Yellow Gold, Montana Sapphire and Diamond Ring, center no heat octagonal mixed cut Montana sapphire, wt. approx. 2.76 cts.; flanked by 4 baguette cut diamonds, total wt. approx. 0.64 ct.; size 6.25; 2.92 dwts.; GGA report. [$3000/5000]

Cellino 18 kt. Yellow Gold and Oxblood Coral Earrings, marked, dia. 1 1/8 in.; 23.35 dwts. [$8,000/12,000]

90.

91. Vintage 18 kt. Yellow Gold, Coral, Turquoise and Diamond Leaf Motif Earrings, marked, mounted with 52 round diamonds, 4 oval cabochon coral and 2 oval cabochon turquoise, l. 1 1/8 in.; 14.00 dwts. [$9,000/12,000]

92. 18 kt. Yellow Gold, White Gold and Turquoise and Diamond Ring, c. 1950, center oval cabochon turquoise; accented by numerous round diamonds, total wt. approx. 1.25 cts.; size 7; [$6000/8000]

93. 14 kt. Yellow Gold, Turquoise and Diamond Ring, c. 1970, size 5.5; 10.77 dwts. [$5000/7000]

Pomellato 18 kt. Yellow Gold, Pink Tourmaline and Diamond Ring, marked, size 6; 15.68 dwts. [$4000/6000]

95. 18 kt. Yellow Gold, Pink Sapphire and Diamond “Toi et Moi” Ring, oval and cushion purplish pink sapphires, total wt. approx. 1.93 cts.; diamond pave band set with 162 round brilliant cut diamonds, total wt. approx. 0.82 ct.; size 6.5; GGA report., size 6.5 [$2500/3500]

96. 14 kt. Rose Gold and Pink Sapphire Dangle Earrings, mounted with 38 octagonal step faceted cut pink sapphires, total wt. approx. 11.50 cts.; l. 2 1/2 in.; GGA report. [$2500/3500]

94.

97. 14 kt. Rose Gold, Morganite and Diamond Pendant on Chain, center oval brilliant faceted cut morganite, wt. approx. 13.11 cts.; bezel and bale with 60 round brilliant cut diamonds, total wt. approx. 0.60 ct.; pendant l. 1 1/2 in.; chain l. 18 in.; GGA report., pendant l. 1 1/2 in.; chain l. 18 in [$2500/3500]

98. 14 kt. White Gold, Baroque Pearl, Blue Topaz and Diamond Dangle Earrings, 2 cultured freshwater pearls, 6.70-16.20 mm; 4 pear mixed cut blue topaz, total wt. approx. 3.91 cts.; and 2 pear brilliant cut diamonds, total wt. approx. 0.30 ct.; l. 1 1/2 in.; GGA report., l. 1 1/2 in. [$1200/1800]

99. Platinum, Tanzanite and Diamond Ring, center triangular brilliant faceted cut tanzanite, wt. approx. 3.63 cts.; accented with 22 round brilliant cut diamonds, total wt. approx. 1.28 cts.; size 6.75; GGA report, size 6.75. [$3000/5000]

100. 18 kt. White Gold, Tanzanite and Diamond Ring, center oval mixed cut tanzanite, wt. exact 8.95 cts.; accented by 91 round brilliant and baguette cut diamonds total wt. approx. 1.96 cts., E-G color, VS1-SI1 clarity; size 7; AIGL and GIA reports. [$6000/8000]

101. Pair of Platinum, Tanzanite and Diamond Dangle Earrings, 2 center cushion faceted cut tanzanite, total wt. approx. 7.09 cts.; ornate bezel with 16 baguette faceted cut diamonds and 156 round faceted cut diamonds, total wt. approx. 3.35 cts.; l. 1 3/4 in.; GIA report., l. 1 3/4 in. [$7000/9000]

102. Platinum, Tanzanite and Diamond Hinged Bangle Bracelet, 7 modified brilliant cut pavilion tanzanite, total wt. approx. 28.39 cts.; accented with 24 round brilliant cut diamonds, total wt. approx. 1.17 cts.; inner circ. 7 in.; AIGL report. [$8,000/12,000]

104. Two Sterling Silver Charm Bracelets, marked, incl. bracelet with 9 charms (2 coins, clover, cross, camel, sailboat, figure and Sahara Vegas), l. 7 3/4 in., 52.67 dwts.; and bracelet with 6 portrait charms, l. 7 in., 27.93 dwts. [$200/300]

106. Gerochristo 18 kt. Yellow Gold, Sterling Silver and Blue Topaz Ring, marked, size 7; 12.44 dwts. [$1200/1800]

108. 18 kt. Yellow Gold, Amethyst and Turquoise Ring, size 6.5; 5.92 dwts. [$5000/7000]

103. 18 kt. White Gold and Tanzanite Bracelet, marked, mounted with numerous round tanzanite, total wt. approx. 87.47 cts., l. 8 in.; 64.36 dwts. [$8,000/12,000]

105. MCL Design by Matthew Campbell Laurenza Sterling Silver and Gemstone Cuff Bracelet, marked, inner circ. 6 1/4 in.; 40.13 dwts.; with original box and dustbag. [$400/600]

107. Sterling Silver and Amethyst Bracelet, marked, l. 7 1/2 in.; 58.51 dwts. [$4000/6000]

112.

110. Charles Turi 18 kt. Yellow Gold, Mother of Pearl and Diamond Earrings, marked, dia. 7/8 in.; 14.97 dwts. [$4000/6000]

Pair of Vintage Tony Duquette 18 kt. Yellow Gold, Moonstone and Chalcedony Earrings, marked, l. 3 in.; 46.50 dwts. [$15,000/25,000]

114. David Webb Style 18 kt. White Gold, Rock Crystal, Diamond and Black Enamel Earrings, marked, set with numerous round diamonds, total wt. approx. 1.90 cts., l. 2 1/2 in.; 25.66 dwts. [$8,000/12,000]

109. 18 kt. Yellow Gold, Sugalite and Diamond Ring, size 8.75; 19.21 dwts. [$7000/9000]

111. Seaman Schepps 18 kt. Yellow Gold and Chalcedony Earrings, marked, inscribed “3239”, l. 1 1/8 in.; 25.29 dwts. [$5000/7000]

113. Vintage Seaman Schepps 18 kt. White Gold and Rock Crystal Earrings, c. 1970, marked, numbered “243902”, l. 15.54 dwts. [$6000/8000]

115. Suite of Seaman Schepps 18 kt. Yellow Gold and Cocholong Jewelry, incl. necklace, marked, inscribed “19855”, l. 18 in.; pair of earclips, marked, dia. 3/4 in., 19.59 dwts.; and ring, marked, size 4.75, 12.50 dwts.; TOGETHER WITH 2 spare beads. [$7500/9500]

Provenance: Barney’s New York.

Yves

Croc

on Chain in

Leather, single flap closure with YSL logo, gold-tone hardware, h. 5 1/2 in., w. 8 3/4 in., d. 1 3/4 in.; chain strap, drop h. 18 1/2 in.; with original dust bag, h. 5 1/2 in., w. 8 3/4 in., d. 1 3/4 in [$700/900]

116. Two Louis Vuitton Inclusion Logo Resin Bracelets, with Swarovski crystals, one champagne flat bangle with rosegold and pink, marked M67090, GA0144, inner circ. 7 3/4 in.; other convex bangle with pink and gold, marked M66807, K112, inner circ. 7 3/4 in. together with brown Louis Vuitton dust bag. [$150/250]

118. Chloé Woody Tote in Linen Canvas and Storm Blue Leather, interior labeled “Chloé Made in Italy” with serial number “04225765-9”, embroidered signature canvas ribbon handles, single interior pocket, h. 11 in., w. 14 in., d. 5 in.; with authenticity card; h. 11 in., w. 14 in., d. 5 in. [$500/700]

120. Yves Saint Laurent Toy North South Shopping Tote Bag in Dark Beige Calfskin Leather, Made in Italy, gold-tone hardware, luggage tag with signature YSL charm, h. 11 in., 2. 9 3/4 in., d. 3 1/2 in.; dual top handle, removable shoulder strap, drop h. 12 in.; with dust bag, authenticity card and tag; h. 11 in., 2. 9 3/4 in., d. 3 1/2 in. [$400/600]

117. Christian Louboutin Palmette Black Satin Clutch, signature engraved clasp, lined in signature red satin, removable chain strap, h. 21 1/2 in.;with original tag and dust bag. [$200/300]

119.

Saint Laurent Cassandra Wallet

Black

Embossed

GG

Bag in White Leather, palladium-tone hardware, double G logo clasp, suede lined interior, h. 5 in, w. 8 1/2 in., d. 3 in.; removable adjustable leather strap, drop h. 20 in.; with original dust bag; h. 5 in, w. 8 1/2 in., d. 3 in. [$500/700]

123. Gucci Zumi Horsebit Crossbody Bag in Black Leather, gold and silver-tone hardware, logo horsebit closure, h. 9 1/2 in., w. 13 3/4 in., d. 3 1/2 in.; adjustable leather shoulder strap, drop h. 23 in.; h. 9 1/2 in., w. 13 3/4 in., d. 3 1/2 in. [$700/900]

125. Gucci Black Leather and Strass Studded Dionysus Bag, gold and ruthenium-tone hardware, h. 6 3/4 in., w. 10 7/8 in., d. 3 in.; chain strap, drop h. 15 in.; with authenticity card and tag. [$800/1200]

9

5

12

Gucci Tote Leather Medium Swing Tote

, embossed in gold “MADE IN ITALY BY Gucci”, canvas lining with interior pockets, magnetic snap closure, h. 11 1/4 in., w. 13 1/2 in., d. 6 1/2 in., strap drop h. 7 3/4 in.; with authenticity

21

122. Gucci Ophidia Flora Backpack, GG supreme canvas, white leather trim, web detail, gold-tone hardware, h. 12 in., w.

1/2 in., d.

in.; h.

in., w. 9 1/2 in., d. 5 in. [$300/500]

124.

Handbag

card. [$300/500]

126. Gucci Ophidia Crossbody Bag with Web Detail, gold-tone hardware, GG Supreme canvas, brown leather trim, green and red web stripe, h. 9 1/2 in., w. 11 in., d. 3 in.; removable web stripe strap, drop h.

1/2 in.; with original tag. [$500/700]

121. Gucci Petite

Shoulder

128. Louis Vuitton Dopp Kit in Brown Monogram Coated Canvas, goldtone hardware, cowhide leather trim, textile lining, h. 6 in., w. 11 in., d. 6 1/2 in.; with dust bag. [$200/300]

130. Louis Vuitton Neverfull MM Bag in Brown Monogram Coated Canvas, cerise or cherry red striped textile lining, gold-tone hardware, removable zipped pouch, h. 11 in., w. 12 1/4 in., d. 5 1/2 in.; with dust bag. [$700/900]

132. Louis Vuitton Nice Mini Toiletry Bag in Brown Monogram Macassar Canvas with Red Leather Trim, h. 5 1/2 in., w. 7 1/2 in., d. 4 3/4 in. [$200/300]

127. Louis Vuitton Bandoulière Khaki Green Jacquard Strap with Brown Monogram Coated Canvas Coin Purse, gold-tone hardware, natural cowhide leather trim, l. 43 in., w. 1 5/8 in. [$100/200]

129. Louis Vuitton Bum Bag in Brown Monogram Coated Canvas, gold tone hardware, leather trim, h. 6 1/2 in., w. 14 in., d. 6 in. [$400/600]

131. Vintage Louis Vuitton Nice Vanity Case in Brown Monogram Coated Canvas, leather trim, interior with pockets and mirror, h. 8 1/2 in., w. 12 in., d. 7 in. [$300/500]

133. Louis Vuitton Voyage Pochette MM in Brown Monogram

Macassar Canvas with Red Leather Trim, h. 8 in., w. 10 1/2 in., d. 2 1/4 in. [$200/300]

135. Louis Vuitton Keepall Bandoulière 45 in Brown Monogram

Coated Canvas with Black Leather Trim, silver-tone metal hardware, cotton textile lining, removable leather luggage tag, h. 1 3/4 in., w. 17 3/4 in., d. 7 3/4 in.; removable adjustable strap, drop h. max 20 in.; [$800/1200]

137. Louis Vuitton Pegase 70 Suitcase in Brown Monogram

Coated Canvas, gold-tone hardware, cowhide leather trim and handles, 2 wheels, h. 27 in., w. 17 in., d. 9 1/2 in. [$800/1200]

134. Louis Vuitton Palm Springs Mini Backpack in Brown Monogram

Coated Canvas, gold-tone hardware, leather scarf loop, h. 6 3/4 in., w. 8 3/4 in., d. 3 7/8 in.; removable, adjustable shoulder straps; with dust bag[$400/600]

136. Vintage Louis Vuitton Monogram Alize 2 Pouch Weekender Bag, brown coated canvas, brass hardware, leather trim, zip closures, interior “VI1011” label, removable adjustable shoulder strap, h. 15 in., w. 22 in., d. 10 in., handle drop h. 5 in., adjustable should strap l. (longest) 54 1/2 in. [$500/700]

138. Louis Vuitton Pegase 70 Suitcase in Brown Monogram

Coated Canvas, gold-tone hardware, cowhide leather trim and handles, 2 wheels, removable leather name tag, h. 27 in., w. 17 in.; d. 9 1/2 in. [$800/1200]

139. Fine Camel Leather Weekender Bag, silver-tone hardware, canvas lined interior, h. 15 in., w. 21 in., d. 9 in. [$300/500]

141. Louis Vuitton Travel Bag in Turtledove Gray Monogram Empreinte Leather, gold-tone hardware, textile lining, front zipped pocket, logo luggage tag, padlock with keys, h. 15 in., w. 22 3/4 in., d. 9 in.; strap drop h. 10 in. [$1500/2500]

143. Louis Vuitton Bandoulière 20 in Latte and Candy Blue Monogram Empreinte Leather, embossed grained cowhide leather, leather trim, gold-tone hardware, padlock, h. 5 1/2 in., w. 8 1/4 in., d. 4 3/4 in.; removable adjustable strap, drop h. max 21 1/2 in. [$700/900]

140. Louis Vuitton Vavin PM Handbag in Turtledove Gray Monogram Empreinte Leather, gold-tone hardware, embossed supple grained cowhide leather and supple grained cowhide leather, h. 7 in., w. 10 in., d. 4 in.; adjustable sliding chain strap, drop h. max 23 in. [$800/1200]

142. Louis Vuitton Takeoff Backpack in Atlantic Blue Leather, LV Aerogram Collection, palladium-tone hardware, signature initials in tone-on-ton metal, cowhide leather trim, textile lining, h. 17 in., w. 12 in., d. 5 1/2 in.; with dust bag and original tags. [$800/1200]

144. Louis Vuitton Coussin PM Handbag in Cream MonogramEmbossed Puff Lambskin Leather, gold-tone hardware, calfskin leather trim, cowhide leather lining, 3 interior compartments, h. 8 in., w. 10 1/4 in., d. 4 3/4 in.; removable chain strap, drop h. 10 1/2 in.; Condition: Excellent. [$800/1200]

146. Louis Vuitton Riviera Handbag in Black Épi Leather, gold-tone hardware, debossed “LV” logo, luggage tag with monogram “M”, h. 11 in., w. 14 in., d. 6 1/2 in.; handle drop h. 4 1/2 in. [$400/600]

148. Louis Vuitton Félicie Pochette in Black Monogram Empreinte Leather, h. 4 3/4 in., w. 8 1/2 in., d. 1 1/2 in.; removable chain strap, drop h. 22 in. [$300/500]

150. Louis Vuitton Keepall Bandoulière 45 in Black Monogram Empreinte Leather, gold-tone hardware and padlock with keys, cowhide leather, h. 10 5/8 in., w. 17 3/4 in., d. 8 in.; removable adjustable leather strap, drop h. max 18 3/4 in. [$800/1200]

145. Louis Vuitton Capucines Mini Bag in Blue Python Leather, goldtone hardware, rolled handle, leather lined interior, 2 interior compartments, 1 interior pocket, h. 7 1/2 in., w. 7 3/4 in., d. 3 1/4 in.; adjustable removable strap, drop h. max 23 in.; with original dust bag. [$2000/3000]

147. Louis Vuitton Alpha Wearable Wallet in Black LV Aerogram Leather, black grained calf leather, black-tone hardware, h. 4 1/2 in., w. 7 1/4 in., d. 2 3/4 in., removable adjustable strap, drop h. max 25 in. [$500/700]

149. Louis Vuitton NéoNoé MM Bucket Bag in Black Embossed Monogram Empreinte Leather , gold-tone hardware, cowhide leather trim, interior zippered pocket, h. 10 1/4 in., w. 10 1/4 in., d. 6 7/8 in.; removable handle; removable adjustable leather strap, drop h. max 21 1/4 in. [$700/900]

151. Louis Vuitton OnTheGo GM Tote in Black Monogram Empreinte

Leather, gold tone hardware, cowhide leather trim, double handle, interior flat zipped pocket, interior double pocket, h. 13 3/8 in., w. 16 1/8 in., d. 7 1/2 in.; 2 long shoulder straps, drop h. 11 in. [$2000/3000]

153. Vintage Louis Vuitton Steamer Trunk, early 20th c., Paris/London label, serial #113601, worn “LV” coated canvas, with remnants of labels and painted monograms, interior fitted with three removable trays, squat metal wheels, h. 23 in., w. 44in., d. 22 1/2 in. [$1000/2000]

155. Vintage Louis Vuitton Damier Hatbox Steamer Trunk, c. 1900, Paris/London label, checkerboard Damier coated canvas, painted with a “C” to both sides, interior fitted with a removable ribbon basket, bail handles, h. 20 in., w. 24 in., d. 17 in. [$1500/2500]

152. Louis Vuitton Georges Tote or Weekender Bag in Black Leather, cuir millésime/calfskin leather, silver-tone hardware, signature s-lock closure, interior with metal signature plate, h. 13 7/8 in., w. 19 5/8 in., d. 7 1/2 in.; adjustable leather strap, drop h. 20 3/4 in.; original dustbag and insert. [$2000/3000]

154. Vintage Louis Vuitton Damier Hatbox Steamer Trunk, c. 1900, Paris/London label, serial #125145, checkerboard Damier coated canvas, with monogram “B.B.” on a red background to sides, interior fitted with removable tray and ribbon basket, h. 20 in., w. 24 in., d. 17 in. [$1500/2500]

156. Vintage Louis Vuitton Steamer Trunk, early 20th c., Paris/Nice/Lille/ London label, also John Wanamaker label, serial #301278, “LV” coated canvas, the sides painted with red “A.V.M.” monogram, interior fitted with a basket and tray, over two long trays, squat metal wheels, h. 28 in., w. 40 in., d. 23 1/2 in. [$8,000/12,000]

WINE & SPIRITS

Please note that all sales of spirits and liquor are sold for in-person collection in Louisiana. Neal Auction does NOT have a recommended shipper for spirits and liquor, ONLY wine and champagne. All bidders are strongly advised to investigate the specific requirements in which alcoholic beverages shall be brought into their state and to comply with all regulations.

157. Old Weller The Original 107 Proof 7 yr. Gold Vein, 750 ml., bottled c. 1978, bottle code 78., No. H-8903 on label. [$800/1200]

159. George T. Stagg Kentucky Straight Bourbon, 750ml., bottled 2023, date code “L232490114:28D”. [$600/800]

158. Thomas H. Handy Sazerac Straight Rye Whiskey, 750ml., bottled 2023, 124.9 proof, date code “L232570106:47M”. [$400/600]

160. Pappy Van Winkle Family Reserve 13yr Straight Rye Whiskey, 750ml., bottled 2023, date code “L232220109:12D”. [$700/1000]

161. Kentucky Bourbon Mixed Lot, Benchmark Premium Bourbon, 750 ml., bottled c. 1978, bottle code 78, tax strip; Wild Turkey Kentucky Spirit Single Barrel Bourbon, 750 ml., bottled 2002, “Bottled 10/31/02 barrel No. 6 stored in warehouse A on rick No. 47” on neck label, very light sediment. (2 bottles) [$300/500]

162. Kentucky Bourbon Mixed Lot, Angel’s Envy Cask Strength, 750ml, bottled 2023, bottle No. 09715, batch C12; Booker’s Mighty Fine Batch 2023-03, 750ml, bottled 2023, with original wood box; Knob Creek Single Barrel Select, 2 bottles, 750ml., one bottled 2020, one 2022; W.L. Weller Special Reserve, 3 bottles, 750ml., bottled 2020, two with date code “L203290118:33B” one with date code “L203070112:42B”; Michter’s Small Batch, 750ml., bottled 2021, batch code 21L3222; Heaven Hill Bottled-In-Bond 7yr, 750ml (10 bottles) [$600/800]

163. Champagne Louis Roederer Cristal Millésime 2008, 1 bottle, 750ml. [$200/400]

Provenance: Sold for the Benefit of the New Orleans Mission.

164. Champagne Pol Roger Réserve Brut N.V., 6 bottles, original case. [$200/400]

Provenance: Sold for the Benefit of the New Orleans Mission.

Champagne

Provenance: Sold for

166. Champagne Baron-Fuenté Brut Millésime 2010, 2 bottles, 3L

Provenance: Sold for the Benefit of the New Orleans Mission.

(Jeroboam) [$200/400]

165.

Billecart-Salmon Réserve Brut N.V., 28 bottles, 12 in original cases, 750ml. [$700/1000]

the Benefit of the New Orleans Mission.

167. Champagne Mixed Lot, Perrier-Jouët Grand Brut N.V., 750ml.; G.H. Mumm Grand Cordon Brut N.V., 750ml.; Louis Roderer Premier Brut N.V., 750ml; Barnaut Grand Réserve Brut Grand Cru, 750ml.; Nicolas Feuillatte Réserve Exclusive Brut N.V., 2 bottles, 750ml.; Lanson Brut N.V., 2 bottles, 375ml.; Moët & Chandon Grand Vintage Brut 2009, 2 bottles, 750ml.; Pommery Royal Brut N.V., 2 bottles, 750ml.; Piper Heidsieck Brut Monopole N.V., 3 bottles, 750ml.; Dumagine Le Rosé Brut Premier Cru N.V., 4 bottles, 750ml.; Marie Copinet Monsieur Leonard Brut 2009, 4 btl, 750ml.; Jean-Noël Haton Réserve Brut N.V., 5 btl, 750ml.; Pierre Moncuit Blanc de Blancs Brut N.V., 12 btl, 750ml. (40 bottles) [$700/1000]

Provenance: Sold for the Benefit of the New Orleans Mission.

168. Altemasi Brut Trenteno Millesimato 2014, 750ml. (12 bottles) [$150/250]

Provenance: Sold for the Benefit of the New Orleans Mission.

169. Italian Sparkling Mixed Lot, Contadi Castaldi Rosé Franciacorta N.V., 12 bottles, 750ml.; Contadi Castaldi Satén Franciacorta 2014, 750ml.; Bellavista Alma Gran Cuvée Franciacorta N.V., 6 bottles, 750ml.; Ferrari Brut Rosé Trenteno N.V., 3 bottles, 750ml.; Altemasi Brut Trenteno Millesimato 2014, 2 bottles, 750ml.; Terraza dell’Etna Cuvée Brut N.V., 9 bottles, 750ml.; Valdo Numero 1 Spumante Extra Dry N.V., 8 bottles, 750ml., Avissi Prosecco N.V., 750ml. (42 bottles) [$400/600]

Provenance: Sold for the Benefit of the New Orleans Mission.

170. Frank Family Vineyards Mixed Lot, Napa Valley Zinfandel 2013, 2 bottles, 750ml.; Napa Valley Zinfandel 2016, 11 bottles, 750ml.; Napa Valley Cabernet Sauvignon 2018, 12 bottles, 750ml.; Carneros Chardonnay 2018, 375ml.; Carneros Chardonnay 2019, 14 bottles, 750ml. (39 bottles) [$600/800]

Provenance: Sold for the Benefit of the New Orleans Mission.

171. Gruet Winery Mixed Lot, Blanc de Noirs N.V., 2 bottles Cabernet Sauvignon, 750ml.; Brut N.V., 5 bottles Cabernet Sauvignon, 750ml.; Brut Rosé N.V., 5 bottles Cabernet Sauvignon, 750ml.; Sauvage Rosé N.V., 14 bottles Cabernet Sauvignon, 750ml. (26 bottles) [$200/300]

Provenance: Sold for the Benefit of the New Orleans Mission.

172. California Sparkling Mixed Lot, Schramsberg Brut Rosé 2010, 2 bottles, 750ml.; Schramsberg Brut Rosé 2012, 3 bottles, 750ml.; Schramsberg Blanc de Noir 2015, 750ml.; Schramsberg Brut Rosé 2017, 10 bottles, 750ml.; J Vineyards Cuvée 20 Brut N.V., 15 bottles, 750ml.; Roederer Estate L’Ermitage Brut 2011, 2 bottles,750ml.; Roderer Estate Brut N.V., 750ml.; Domaine Carneros by Taittinger Brut 2012, 750ml. (35 bottles) [$500/700]

Provenance: Sold for the Benefit of the New Orleans Mission.

173. Alsace Mixed Lot, Albert Boxler Gewurztraminer Réserve 2014, 4 bottles, 750ml.; Domaine Maurice Schoech Harmonie R Rangen de Thann 2009, 4 bottles, 750ml.; Trimbach Riesling 2016, 7 bottles, 750ml.; Trimbach Pinot Gris Vendanges Tardives 2000, 2 bottles, 750ml.; Albert Mann Gewurztraminer 2017, 2 bottles, 750ml.; Lucien Albrect Brut Rosé Cremant d’Alsace N.V., 2 bottles, 750ml. (21 bottles) [$200/400]

Provenance: Sold for the Benefit of the New Orleans Mission.

Provenance: Sold for the Benefit of the New Orleans Mission.

Provenance: Sold for the Benefit of the New Orleans Mission.

for the

174. Maison Nicolas Potel Chambolle-Musigny 2008, 750ml. (4 bottles) [$700/1000]

175. Domaine Dubreuil-Fontaine Corton Clos du Roi Grand Cru 2005, 750ml. (11 bottles) [$400/600]

176. Prince Florent de Merode Corton Les Bressandes Grand Cru 2005, 750ml. (4 bottles) [$600/800]

Provenance: Sold for the Benefit of the New Orleans Mission.

177. Domaine Georges Mugneret-Gibourg NuitsSaint-Georges Les Chaignots Premier Cru 2013, 750ml. (4 bottles) [$400/600]

Provenance: Sold

Benefit of the New Orleans Mission.

178. Domaine Armand Rousseau

Gevry-Chambertin Clos SaintJacques Premier Cru 2015, 1 bottle, 750ml. [$700/1000]

Provenance: Sold for the Benefit of the New Orleans Mission.

179. Albert Bichot Mixed Lot, Château Gris Nuits-Saints-Georges Les Terrases Monopole 2017, 12 bottles, 750ml.; Bourgogne Vieilles Vignes de Chardonnay, 12 bottles, 750ml. (24 bottles) [$500/700]

Provenance: Sold for the Benefit of the New Orleans Mission.

180. Edmond Cornu Ladoix Vieille Vignes Mixed Lot, 2011, 4 bottles, 750ml.; 2015, 16 bottles, 750ml. (20 bottles) [$400/600]

Provenance: Sold for the Benefit of the New Orleans Mission.

181. Maison Nicolas Potel Mixed Lot, Clos Saint-Denis Grand Cru 2004, 3 bottles, 750ml.; Morey-Saint-Denis 2016, 7 bottles, 750ml.; Bourgogne Pinot Noir 2014, 1.5L; Santenay Clos Rousseau Premier Cru 2014, 750ml.; Bourgogne Pinot Noir 2018, 5 bottles, 750ml.; Chablis Blanchot Grand Cru 2015, 21 bottles, 750ml; Meursault 2016, 7 bottles, 750ml. (45 Bottles) [$800/1200]

Provenance: Sold for the Benefit of the New Orleans Mission.

182. Maison Champy Mixed Lot, CharmesChambertin Grand Cru 2009, 14 bottles, 750ml.; Volnay 2009, 10 bottles, 750ml.; Vosne-Romanée Premier Cru Les Suchots 2009, 9 bottles, 750ml.; Vosne-Romanée 2011, 2 bottles, 750ml. (35 bottles) [$800/1200]

Provenance: Sold for the Benefit of the New Orleans Mission.

183. Meursault Mixed Lot, Chanson Meursault Charmes Premier Cru 2013, 4 bottles, 750ml.; Domaine Bitouzet-Prieur Meursault Clos du Cromin 2015, 750ml.; Louis Jadot Meursault-Charmes Premier Cru 2014, 375ml.; Louis Jadot Meursault 2016, 3 bottles, 750ml.; Joseph Faiveley Meursault 2017, 6 bottles, 750ml. (15 bottles) [$500/700]

Provenance: Sold for the Benefit of the New Orleans Mission.

184. Red Côte de Nuits Mixed Lot, Antonin Rodet Clos de la Roche Grand Cru 2009, 10 bottles, 750ml.; Joseph Drouhin Clos de Vougeot Grand Cru 2003, 750ml.; Domaine Petitot Côte de Nuits Villages Terres Burgondes 2013, 3 bottles, 750ml.; Château de La Tour Clos de Vougeot Grand Cru 2014, 2 bottles, 750ml.; Domaine Lécheneaut Nuits-Saint-Georges Au Chouillet 2014, 5 bottles, 750ml.; Domaine Pierre Labet Gevrey-Chambertin 2015, 2 bottles, 750ml.; Guillard Gevery-Chambertin Aux Corvées Vieilles Vignes 2017, 7 bottles, 750ml. Antonin Rodet Gevery-Chambertin 2015, 4 btl, 750ml. (34 bottles) [$800/1200]

Provenance: Sold for the Benefit of the New Orleans Mission.

185. Red Côte de Beaune Mixed Lot, Louis Jadot Corton Grand Cru 2004, 2 bottles, 750ml.; Domaine Joseph Voillet Volnay Les Champans Premier Cru 2009, 6 bottles, 750ml.; Domaine Joseph Voillet Pommard Les Pézerolles Premier Cru 2009, 3 bottles, 750ml.; Domaine Joseph Voillet Volnay Vieilles Vignes 2012, 3 bottles, 750ml.; Domaine Bitouzet-Prieur Volnay Mitans Premier Cru 2011, 5 bottles, 750ml.; Domaine Lucien Jacob Savigny-Les-Beaune Les Peuillets Premier Cru 2013, 3 bottles, 750ml.; Jean-Jacques Gerard Savigny-les-Beaune 2014, 8 btl & 2012, 3 btl, 750ml.; Domaine Dubreuil-Fontaine Pommard 2014, 750ml.; Domaine C. Newman Pommard Vieilles Vignes 2016, 5 btl, 750ml. (39 bottles) [$700/1000]

Provenance: Sold for the Benefit of the New Orleans Mission.

186. White Côte de Beaune Mixed Lot, Bachelet-Monnot Puligny-Montrachet Les Referts Premier Cru 2013, 750ml.; Domaine Michel Niellon Chevalier-Montrachet Grand Cru 2014, 750ml.; JeanClaude Ramonet Pernand-Vergelesses Les Belles Filles 2015, 3 bottles, 750ml.; Domaine Leflaive Puligny-Montrachet Clavoillon 2015, 750ml.; Pascal Clément Saint-Aubin Les Charmois Premier Cru 2017, 750ml.; Olivier Leflaive Chassagne-Montrachet 2018, 9 bottles, 750ml.; Louis Latour ChassagneMontrachet 2018, 12 bottles, 750ml. (28 bottles) [$1000/1500]

Provenance: Sold for the Benefit of the New Orleans Mission.

187. Red Burgundy Mixed Lot, Château de Marsannay Bourgogne de Château 2015, 5 bottles, 750ml.; Vincent Girardin Bourgogne Cuvée Saint Vincent 2016, 6 bottles, 750ml.; Domaine Michel Juillot Mercurey Le Meix Juillot 2016, 8 bottles, 750ml.; Domaine Faiveley Mercurey Premier Cru Clos des Myglands Monopole 2017, 3 bottles, 750ml. (23 bottles) [$300/400]

Provenance: Sold for the Benefit of the New Orleans Mission.

188. White Burgundy Mixed Lot, Vignoble Dampt Chablis Les Preuses Grand Cru 2012, 750ml.; Lucien Muzard Santenay

Champs Claude Vieilles Vignes 2013, 2 bottles, 750ml.; Guy Saumaize Saint-Véran en Pommard 2013, 2 bottles, 750ml.; Michelet

Chablis Valmur Grand Cru 2015, 8 bottles, 750ml.; Le Domaine d’Henri Troesmes 2015, 12 bottles, 750ml.: Domaine de la Chapelle Pouilly-Fuissé Vieille Vignes 2017, 9 bottles, 750ml.; Jean-Marc Brocard Chablis Fourchaume Premier Cru 2017, 7 bottles, 750ml.; Jean-Marc Brocard Chablis Sainte Claire 2018, 6 btl, 375ml.; Pascal Bonhomme Viré-Clessé 2018, 4 btl, 750ml.; Drouhin Vaudon Chablis Premier Cru 2018, 750ml.; William Fevere Chablis Champs Royaux 2019, 2 btl, 750ml. (53 bottles) [$700/1000]

Provenance: Sold for the Benefit of the New Orleans Mission.

189. Jura and Savoie Mixed Lot, Domaine de la Borde Arbois-Pupillon Côte de Feule Ploussard 2016, 8 bottles, 750ml.; Thierry Tissot Bugey Mataret Mondeuse 2013, 3 bottles, 750ml.; Domaine Jean Vullien Rubis Brut Rosé N.V., 2 bottles, 750ml.; Domaine Désiré Petit Arbois Le Grandes Gardes Trousseau 2016, 4 bottles, 750ml. (17 bottles) [$200/300]

Provenance: Sold for the Benefit of the New Orleans Mission.

190. Beaujolais Mixed Lot, Domaine de la Chapelle des Bois Chiroubles 2014, 8 bottles, 750 ml,; Laurent Perrachon Moulin-à-Vent Terres Roses 2016, 2 bottles, 750ml.; Domaine Pascal Berthier Esprit de Séduction Saint-Amour 2013, 6 bottles, 750ml.; Domaine de la Voûte des Crozes Côte-de-Brouilly 2017, 4 bottles, 750ml.; Domain Coudert Clos de la Roilette Fleurie 2017, 3 bottles, 750ml.; Pascal Granger Juliénas 2013, 2 bottles, 750ml.; Gerard Charvet Chénas 2014, 2 bottles, 750ml. (27 bottles) [$100/200]

Provenance: Sold for the Benefit of the New Orleans Mission.

191. E. Guigal Mixed Lot, Hermitage 2003, 6 bottles, 750ml.; Hermitage 2015, 3 bottles, 750ml.; Côte-Roti Brune et Blonde 2012, 6 bottles, 750ml.; Côte-Roti Brune et Blonde 2014, 7 bottles, 750ml.; Châteauneuf-du-Pape 2016, 2 bottles, 750ml. (24 bottles) [$700/1000]

Provenance: Sold for the Benefit of the New Orleans Mission.

192. Rhône Mixed Lot, Domaine Barge Côte-Roti Cuvée du Plessey 2012, 11 bottles, 750ml.; Domaine Lionnet Cornas Terre Brûlée 2014, 10 bottles, 750ml.; M. Chapoutier Crozes-Hermitage La Petite Ruche 2016, 5 bottles, 750ml.; Paul Jaboulet Aine Hermitage 2003, 3 bottles, 750ml.; Saint Cosme Châteauneuf-du-Pape 2011, 750ml.; Saint Cosme Chateauneuf-du-Pape 2014, 5 bottles, 750ml.; Saint Cosme Saint-Joseph 2013, 6 bottles, 750ml.; Saint Cosme Côtes-du-Rhône 2018, 750ml.; Saint Cosme Gigondas 2012, 3 bottles, 750ml.; Domaine Jean Royer Châtauneuf-du-Pape Blanc 2016, 750ml. (46 bottles) [$700/1000]

Provenance: Sold for the Benefit of the New Orleans Mission.

193. Rhône Mixed Lot, Domaine du Grand Montmirail Gigondas Les Deux Juliettes 2018, 11 bottles, 750ml.; Domaine Louis Cheze Ro-Rée Saint-Joseph Blanc 2015, 3 bottles, 750ml.; Jean-Luc Colombo La Redonne Côtes-du-Rhône Blanc 2016, 6 bottles, 750ml.; Jean-Luc Colombo Les Fées Brunes Croze Hermitage Syrah 2018, 5 bottles, 750ml.; Jean-Luc Colombo Les Fées Brunes Croze Hermitage Syrah 2016, 3 bottles, 750ml.; E. Guigal Côtes-du-Rhône Blanc 2016, 750ml.; Domaine de la Janasse Côte-du-Rhône Rosé 2017, 750ml. (30 bottles) [$300/500]

Provenance: Sold for the Benefit of the New Orleans Mission.

194. Provence, Languedoc and Cahors Mixed Lot, Clos Cibonne Tibouren Côtes de Provence Blanc 2017, 9 bottles, 750ml.; Jean-Louis Tribouley Les Bacs Vieilles Vignes 2015, 7 bottles, 750ml.; Domaine Corne-Loup Tavel Rosé 2016, 3 bottles, 750ml.; Château Haut-Gléon Corbières Rouge 2014, 3 bottles, 750ml.; Peyrassol Côtes de Provence Le Clos Peyrassol Rosé 2017, 2 bottles, 750ml.; Crocus Le Calcifère Malbec de Cahors 2014, 7 bottles, 750ml.; Domaine de Triennes Sainte-Fleur Viognier 2016, 11 bottles, 750ml. (42 bottles) [$300/500]

Provenance: Sold for the Benefit of the New Orleans Mission.

195. Loire Mixed Lot, Château de la Ragotière Muscadet Sévre-et-Maine Vallet 2014, 3 bottles, 750ml.; Pierre Morin Chêne Marchand

Sancerre 2017, 2 bottles, 750ml.; Champalou Vouvray 2017, 6 bottles, 750ml.; Le Clos de la Meslerie Vouvray Sec 2017, 8 bottles, 750ml.; Domaine Serge Laporte Les Boursicottes Sancerre 2019, 750ml.; Domaine de Petit Métris Coteaux du Layon Chaume 2011, 5 bottles, 750ml.; Baron de Ladoucette Pouilly-Fumé 2018, 3 bottles, 750ml.; Domaine Pascal Jolivet Sancerre 2018, 750ml.; Michel Vatton Sancerre O-P 2017, 8 btl, 750ml.; Domaine Laffourcade Savennières 2016, 7 btl, 750ml. (40 bottles) [$400/600]

Provenance: Sold for the Benefit of the New Orleans Mission.

196. Château de Lescours Grand Cru 2016, original wood case, 750ml., (12 bottles) [$200/300]

Provenance: Sold for the Benefit of the New Orleans Mission.

197. Château Talbot Grand Cru Classé 2005, 750ml., 5 with no label. (10 bottles) [$400/600]

Provenance: Sold for the Benefit of the New Orleans Mission.

198. Château Calon-Ségur Grand Cru Classé 2003, 750ml., (10 bottles) [$400/600]

Provenance: Sold for the Benefit of the New Orleans Mission.

199. Château Batailley

Grand Cru Classé Mixed Lot, 2010, 17 bottles, 750ml.; 2011, 11 bottles, 750ml. (28 bottles) [$700/1000]

Provenance: Sold for the Benefit of the New Orleans Mission.

200. Château Lagrange

Grand Cru Classé Mixed Lot, 2005, 9 bottles, 750ml.; 2005, 6 bottles, 750ml. (15 bottles) [$600/800]

Provenance: Sold for the Benefit of the New Orleans Mission.

201. Bordeaux Right Bank Mixed Lot, Maison-Blanche 2008, 4 bottles, 750ml.; Maison-Blanche 2009, 5 bottles, 750ml.; MaisonBlanche 2010, 3 bottles, 750ml.; Le Colombier de la Métairie 2007, 4 bottles, 750ml.; Château de Salers 2015, 6 bottles, 750ml. (22 bottles) [$300/400]

Provenance: Sold for the Benefit of the New Orleans Mission.

202. Bordeaux Left Bank Mixed Lot, Château Oliver 1990, 4 bottles, 750ml.; Château Léoville-De Cases 2011, 750ml.; Château Picque Caillou 2015, 5 bottles, 750ml.; Château de Cérons 2016, 12 bottles, 750ml.; Château HautMarbuzet 2001, 4 bottles, 750ml.; Château Chantecler 2011, 5 bottles, 750ml.; Château Milon Tricot 2016, 17 bottles, 750ml.; Château Simard 2010, 5 bottles, 750ml.; Château Cleric Milon Pastourelle 2010, 7 bottles, 750ml.; Château Le Peyre R 2011, 750ml.; Château du Seuil 2015, 3 bottles, 750ml.; Château Soussans 2013, 2 btl, 750ml.; Château Loudenne 2015, 12 btl, 750ml.; Château Malartic Lagraviere Blanc 2013, 2 btl, 750ml.; Château Carbonnieux Blanc 2014, 750ml. (81 bottles) [$1200/1800]

Provenance: Sold for the Benefit of the New Orleans Mission.

203. French Wine Mixed Lot, Olivier Leflaive Cuvée Margot Bourgogne Rouge 2017, 12 bottles, 750ml.; Jean-Marc Brocard Fourchaume Chablis Premier Cru 2017, 11 bottles, 750ml.; Domaine Dubreuil-Fontaine Pommard 2014, 4 bottles, 750ml.; Château Tour d’Auron Bordeaux Supérieur 2015, 10 bottles, 750ml.; Château Pichon-Longueville Baron des Tourelles de Longueville Pauillac 2014, 3 bottles, 750ml.; Château Lassolle AD Naturam Rouge Vin de France 2015, 5 bottles, 750ml.; Jourdan Aramon Vieilles Vignes Rosé 2017, 9 bottles, 750ml .; Domaine Jean-Philippe Padie Petit Taureau Côtes de Roussillon 2018, 5 btl, 750ml. (59 bottles) [$600/800]

Provenance: Sold for the Benefit of the New Orleans Mission.

204. Austrian Wine Mixed Lot, Weingut Moric Blaufränkisch Burgenland 2016, 5 bottles, 750ml.; Weingut Moric Hausmarke Supernatural Weiss Burgenland 2017, 8 bottles, 750ml.; Hermann Moser Grüner Veliner Gebling Kremstal 2018, 750ml.; Stift Klosterneuburg Junherrn Weissburgunder 2014, 9 bottles, 750ml.; Höpler Beerenauslese N.V., 3 bottles, 375ml.; Höpler Grüner Veltliner Eiswein Burgenland 2015, 8 bottles, 375ml. (34 bottles) [$400/600]

Provenance: Sold for the Benefit of the New Orleans Mission.

205. Clos i Terrasses Clos Erasmus Laurel Priorat 2018 , 750ml., (12 bottles) [$300/400]

Provenance: Sold for the Benefit of the New Orleans Mission.

206. Tenuta San Guido Sassicaia Bolgheri 2016, 3 bottles, 750ml. [$500/700]

Provenance: Sold for the Benefit of the New Orleans Mission.

207. Italian Wine Mixed Lot, Casina delle Rose Tre Stelle Barbaresco 2011, 4 bottles, 750ml.; Casina delle Rose Tre Stelle Barbaresco 2012, 750ml.; Tenuta delle Terre Nere Calderara Sottana Etna Rosso 2015, 8 bottles, 750ml.; Fattorie Romeo Castello Allegracore Etna Rosso 2017, 8 bottles, 750ml.; Cantina TerlanoKellerei Terlan Vorberg Riserva Pinot Bianco Alto Adige 2013, 7 bottles, 750ml.; Planeta Cometa Fiano Menfi Bianco Sicilia 2013, 2 bottles, 750ml. (30 bottles) [$500/700]

Provenance: Sold for the Benefit of the New Orleans Mission.

208. German Wine Mixed Lot, Weingut S.A. Prüm Ürziger Würzgarten Riesling Kabinett Mosel 2009, 9 bottles, 750ml.; Joh.Jos. Prüm Graacher Himmelreich Riesling Kabinett Mosel 2016, 4 bottles, 750ml.; Joh.Jos. Prüm Graacher Himmelreich Riesling Spätlese Mosel 2016, 3 bottles, 750ml.; J.B. Becker Wallufer Burg Bildstock Riesling Spätlese Rheingau 1990, 6 bottles, 750ml.; Eva Fricke Riesling Trocken Rheingau 2016, 2 bottles, 750ml.; Weingut Wittmann Morstein Riesling Grosses Gewachs Rheinhessen 2016, 6 bottles, 750ml.; Kallstader Saumagen Riesling Spätlese Trocken Pflaz 2011, 6 btl, 750ml.; Weingut Seehof Morstein Riesling Kabinett Rheinhessen 2018, 4 btl, 750ml. (40 bottles) [$800/1200]

Provenance: Sold for the Benefit of the New Orleans Mission.

209. Argentinian Wine Mixed Lot, Mano de Dios Sobremesa Vineyard Blanco Fingerprint Series 2012, 7 bottles, 750ml.; Durigutti Proyecto Las Compuertas Cino Suelos Malbec 2018, 3 bottles, 750ml.; Tercos Malbec 2020, 3 bottles, 750ml.; Torrontés Extra Brut N.V., 5 bottles, 750ml.; Zolo Malbec 2019, 6 bottles, 750ml.; Doña Paula Malbec 2019, 6 bottles, 750ml. (28 bottles) [$200/300]

Provenance: Sold for the Benefit of the New Orleans Mission.

210. New Zealand Wine Mixed Lot, Pyramid Valley Vineyards Growers Collection Hille Vineyard Semillon Marlborough 2017, 9 bottles, 750ml.; Cloudy Bay Te Koko Sauvignon Blanc 2014, 5 bottles, 750ml.; Mt. Beautiful Riesling North Canterbury 2014, 5 bottles, 750ml.; Yealands Estate Single Vineyard Pinot Noir Awatere Valley 2014, 4 bottles, 750ml. (26 bottles) [$300/500]

Provenance: Sold for the Benefit of the New Orleans Mission.

211. Australian Wine Mixed Lot, Kilikanoon Attunga 1865 Shiraz Clare Valley 2006, 7 bottles, 750ml.; Jim Barry Cover Drive Cabernet Sauvignon Coonawarra 2015, 6 bottles, 750ml.; John Duval Wines Plexus Shiraz Barossa Valley 2013, 2 bottles, 750ml.; Angove Family Winemakers Nine Vines Moscato Southeastern Australia 2018, 6 bottles, 750ml. (21 bottles) [$300/500]

Provenance: Sold for the Benefit of the New Orleans Mission.

Provenance: Sold for the Benefit of the New Orleans Mission.

212. Domaine Serene Evenstad Reserve Pinot Noir Willamette Valley 2017, 750ml. (18 bottles) [$600/800]

213. Oregon Wine Mixed Lot, Carabella Vineyard Pinot Noir Willamette Valley 2016, 11 bottles, 750ml.; Browne Family Vineyards Heritage Pinot Noir Willamette Valley 2016, 19 bottles, 750ml.; Archery Summit Premier Cuvée Pinot Noir Willamette Valley 2013, 4 bottles, 750ml.; Illahe Vineyards Project 1899 Pinot Noir Willamette Valley 2015, 750ml.; Martin Woods Gamay Noir Willamette Valley 2017, 5 bottles, 750ml.; Amalie Robert Bellpine Pearl Rose Willamette Valley 2017, 4 bottles, 750ml.; Archery Summit Pinot Noir Dundee Hills 2016, 2 bottles, 750ml.; Dominio IV Stil Life Viognier Rogue Valley 2016, 7 bottles, 750ml.; Bethel Heights Estates Chardonnay Eloa-Amity Hills 2012, 4 bottles, 750ml. (57 bottles) [$500/700]

Provenance: Sold for the Benefit of the New Orleans Mission.

Sold for the

215. Hirsch Vineyards Pinot Noir Mixed Lot, West Ridge 2014, 12 bottles, 750ml.; San Andreas Fault 2018, 27 bottles, 750ml. (39 bottles) [$1000/1500]

Provenance: Sold for the Benefit of the New Orleans Mission.

216. Merryvale Vineyards Cabernet Sauvignon 2010, 750ml. (21 bottles) [$500/700]

Provenance: Sold for the Benefit of the New Orleans Mission.

Sold

214. Jonata Winery El Desafio de Jonata Cabernet Sauvignon 2011, 750ml. (12 bottles) [$500/700]

Provenance:

Benefit of the New Orleans Mission.

217. Quintessa Estate Rutherford 2010, 375ml. (16 bottles) [$800/1200]

Provenance:

for the Benefit of the New Orleans Mission.

Provenance: Sold for the Benefit of the New Orleans Mission.

Provenance: Sold for the Benefit of the

Provenance: Sold for the Benefit of the New Orleans Mission.

218. Stag’s Leap Cellars S.L.V. Cabernet Sauvignon 2010, 10 bottles, 750ml. [$800/1200]

220. Burgess Cellars Cabernet Sauvignon 2010, 12 bottles, 750ml. [$800/1200]

219. Odette Estate Cabernet Sauvignon 2012,15 bottles, 750ml. [$1200/1800]

New Orleans Mission.

221. Burgess Cellars Cabernet Sauvignon Mixed Lot, 2004, 750ml.; 2006, 750ml.; 2007, 6 bottles, 750ml.; 2008, 7 bottles, 750ml. (15 bottles) [$800/1200]

Provenance: Sold for the Benefit of the New Orleans Mission.

222. Croze Winery Mixed Lot, Cabernet Sauvignon Oakville 2012, 5 bottles, 750ml.; Cabernet Sauvignon Napa 2013, 750ml.; Cabernet Sauvignon Napa 2016, 2 bottles, 750ml.; Cabernet Sauvignon Napa 2017, 4 bottles, 750ml.; Chardonnay Simone Vineyard 2014, 2 bottles, 750ml.; Chardonnay Simone Vineyard 2015, 3 bottles, 750ml.; Viognier Phoenix Ranch 2015, 6 bottles, 750ml. (23 bottles) [$400/600]

Provenance: Sold for the Benefit of the New Orleans Mission.

223. Duckhorn Winery Mixed Lot, Paraduxx Proprietary Red 2015, 3 bottles, 1.5L.; Duckhorn Vineyards Cabernet Sauvignon 2009, 4 bottles, 750ml.; Duckhorn Vineyards Chardonnay 2017, 2 bottles, 750ml.; Canvasback Red Mountain Cabernet Sauvignon Washington State 2017, 11 bottles, 750ml. (20 bottles) [$500/700]

Provenance: Sold for the Benefit of the New Orleans Mission.

224. Caymus Vineyards Mixed Lot, 2010, 750ml.; 2012 40th Anniversary, 750ml.; 2019, 3 bottles, 750ml. (5 bottles) [$300/500]

Provenance: Sold for the Benefit of the New Orleans Mission.

225. Heitz Cellars Cabernet Sauvignon Mixed Lot, 2005, 6 bottles, 750ml.; 2007, 4 bottles, 750ml. (10 bottles) [$500/700]

Provenance: Sold for the Benefit of the New Orleans Mission.

226. Heitz Cellars Cabernet Sauvignon Mixed Lot, 2008, 10 bottles, 750ml.; 2009, 3 bottles, 750ml.; 2010, 4 bottles, 750ml.; 2014, 2 bottles, 750ml.; 2015, 750ml. (22 bottles) [$600/800]

Provenance: Sold for the Benefit of the New Orleans Mission.

227. Pahlmeyer Mixed Lot, Proprietary Red 2014, 750ml.; Merlot 2015, 3 bottles, 750ml.; Proprietary Red 2016, 3 bottles, 750ml. (7 bottles) [$400/600]

Provenance: Sold for the Benefit of the New Orleans Mission.

228. Cade Estate Cabernet Sauvignon Mixed Lot, 2010, 6 bottles, 750ml.; Howell Mountain 2010, 7 bottles, 750ml.; Howell Mountain Reserve 2012, 3 bottles, 750ml.; 2013, 3 bottles, 750ml. (19 bottles) [$800/1200]

Provenance: Sold for the Benefit of the New Orleans Mission.

229. Napa Cabernet Sauvignon Mixed Lot, Antinori Family Estate Antica 2013, 1.5L.; Antinori Family Estate Antica 2014, 5 bottles, 7é0ml.; Terra Valentine Spring Mountain District 2007, 16 bottles, 750ml.; Louis M. Martini 2016, 7 bottles, 750ml.; Shafer Vineyards One Point Five 2012, 750ml.; Shafer Vineyards One Point Five 2015, 2 bottles, 375ml.; Reynolds Family Winery Reserve 2010, 750ml.; Reynolds Family Winery Reserve 2011, 750ml.; Clos du Val 1995, 9 bottles, 750ml. (41 bottles) [$800/1200]

Provenance: Sold for the Benefit of the New Orleans Mission.

230. Napa Cabernet Sauvignon Mixed Lot, Plumpjack Winery 2016, 9 bottles, 750ml.; Freemark Abbey 2017, 5 bottles, 750ml.; Charles Krug 2015, 5 bottles, 750ml.; Charles Krug 2016, 4 bottles, 750ml.; Charles Krug Peter Mondavi Family 2017, 9 bottles, 750ml. (32 bottles) [$800/1200]

Provenance: Sold for the Benefit of the New Orleans Mission.

231. Dessert Wine Mixed Lot, Inniskillin Cabernet Franc Icewine Niagra Peninsula Canada 2015, 375ml.; Capitello Dolcino Gewurztraminer Oregon 2013, 375ml.; Oro Puro Vineyards Rancho de Oro Blanco Late Harvest Sauvignon Blanc-Semillon California 2005, 2 bottles, 375ml.; Quady Winery Elysium Black Muscat California 2013, 7 bottles, 375ml.; Quady Winery Essensia Orange Muscat California 2012, 6 bottles, 375ml.; Château Rieussec Sauternes 2003, 375ml.; Château Filhot Sauternes 2015, 8 bottles, 375ml.; Château Jany Sauternes 2013, 3 bottles, 375ml. (29 bottles) [$300/500]

Provenance: Sold for the Benefit of the New Orleans Mission.

AUCTION DAY TWO Friday, November 22, 11 a.m.

232. Rare American Rococo Carved and Laminated Rosewood Slipper Chair, c. 1850-1860, attr. to John Henry Belter, New York, floral-carved crest, scrolled crest rail, elaborately reticulated back carved with foliage, grapes, and acorns, serpentine seat, carved seat rail, cabriole legs, casters, h. 34 3/4 in., w. 18 in., d. 16 in.

[$1200/1800]

Provenance: Estate of Gordon and Vera Noakes, Detroit, MI, Neal Auction November 17, 2018, Lot 406.

234. American Rococo Carved and Laminated Rosewood Side Chair, mid-19th c., attr. to J. & J.W. Meeks, New York, in the pattern commonly referred to as “Hawkins”, elaborately carved and scrolled crest centered by a foliate medallion, reticulated crest rail decorated with clusters of grapes.

[$700/1000]

233. American Rococo Carved and Laminated Rosewood Settee, 19th c., attr. to J. & J.W. Meeks, in the pattern commonly referred to as “Hawkins”, anthemion carved crests above pierced floral and fruit clusters, padded arms, cabriole legs, later casters, h. 49 1/2 in., w. 65 in., d. 31 1/2 in., h. 49 1/2 in., w. 65 in., d. 31 1/2 in. [$3000/5000]

235. American Rococo Carved Mahogany Turtle Top Center Table, 19th c., probably Alexander Roux, New York, inset molded marble, gadrooned edge, scrolled and acanthus legs, scrolled C scrolled stretcher surmounted by finial, castors, h. 31 in., l. 44 1/2 in., w. 31 in.

[$2500/3500]

236. Pair of American RenaissanceStyle Carved Oak Rocking Chairs, late 19th c., attr. to R.J. Horner, New York, curved crest rail with shield and Griffin carving, pierced carved arms with griffins, shaped seat rail, rockers, h. 38 1/2 in., w. 23 in., d. 26 in.

[$700/1000]

237. Fine American Renaissance-Style Carved Mahogany Hall Bench, late 19th c., attr. to R.J. Horner, New York, crest with winged griffins center with fleur-de-lis, back elaborately carved sea serpents flanked by grotesque masks, winged lion arms, lift seat, foliate and fish frieze, paw feet, h. 58 in., w. 72 in., d. 24 1/2 in.

[$2000/3000]

238. American Rococo Carved Mahogany Half Tester Bed, mid-19th c., attributed to William McCracken, New Orleans, shaped beaded tester, molded arched headboard surmounted by foliate cartouche, cluster column posts, shaped rails, scrolled footboard with finial posts, h. 114 1/2 in., w. 61 1/2 in.

[$4000/6000]

239. American Aesthetic Brass Mounted Mahogany Lamp Table, 20th c., attr. Merklen Brothers, New York, molded top, frieze drawer, barley twist supports, shelf stretcher, brass ball and claw feet, h. 29 1/2 in., w. 19 in., d. 19 in.

[$700/1000]

240. American Aesthetic Brass Mounted Mahogany Center Table, 20th c., attr. Merklen Brothers, New York, molded top, frieze drawer, barley twist supports and stretchers, brass ball and claw feet, h. 28 1/2 in., w. 37 1/2 in., d. 23 1/2 in. [$1200/1800]

241. Chippendale-Style Carved Mahogany Day Bed, 18th/ 19th c., scalloped crest rail, pierced carved double splat, conforming rails, square legs, h. 41 1/2 in., w. 31 in., d. 74 in. [$700/100]

242. American Late Classical Brass Mounted Mahogany Drum Table, 19th c., New York or Boston, molded top, frieze drawer with brass molding, faceted standard, triangular plinth base, bun feet, h. 28 in., dia. 37 in., h. 28 in., dia. 37 in. [$1000/1500]

243. Group of Scalamandre “Abeilles” Red Silk Custom Textiles, incl. 3 bolster pillows, l. 55 in. and 24 in.; and 3 Roman shades, l. approx. 84 in., w. 40 1/2 in. (6 pcs.) [$600/800]

244. American Classical Carved Mahogany Extension Dining Table, 19th and later c., conforming frieze, center pedestal, plinth base, paw feet, three leaves, h. 29 1/2 in., w. 59 1/4 in., w. fully extended 113 1/4 in., d. 60 in. [$2000/3000]

245. Antique Italian Renaissance-Style Carved Walnut Settee, 19th c., double arched back, padded wings and arms, turned supports, X-form stretchers, h. 48 in., w. 62 1/2 in., d. 23 1/2 in. [$800/1200]

246. Set of Seven Louis XV-Style Carved Walnut Dining Chairs, 19th c., one armchair, six side chairs, foliate carved crest rail, conforming seat rail, cabriole legs, armchair: h. 36 1/2 in., w. 23 in., d. 20 in., side chair: h. 36 in., w. 19 1/2 in., d. 17 1/2 in. [$800/1200]

247. French Provincial Carved Walnut Commode, 18th c., molded top, paneled sides, three drawers, scalloped apron, cabriole legs, h. 39 1/2 in., w. 50 in., d. 25 in. [$800/1200]

248. English Jacobean-Style Carved Oak Settle, 19th c. molded paneled carved back, molded seat, paneled cabinet doors, plinth base, h. 46 1/4 in., w. 60 1/2 in., d. 21 1/2 in. [$500/700]

249. American Victorian Wicker Corner Chair, attr. Heywood- Wakefield, stamped 1895 on seat, h. 37 1/2 in., w. 31 in., d. 21 1/2 in.

[$300/500]

250. George III Mother-of-Pearl Inlaid Tortoiseshell Tea Caddy, 19th c., interior with two lidded compartments, h. 5 in., w. 8 in., d. 4 3/4 in. [$800/1200]

251. Georgian Tortoiseshell Tea Caddy, pagodaform, interior with two lidded compartments, compressed ball feet, h. 5 1/2 in., w. 7 3/4 in., d. 4 3/4 in.

[$800/1200]

252. Georgian Tortoiseshell Tea Caddy, navette form, hinged lid, single compartment, h. 4 3/4 in., w. 6 1/2 in., d. 2 3/4 in. [$1000/1500]

253. George III Tortoiseshell Tea Caddy, 19th c., pagoda-form, interior with two lidded compartments, h. 5 1/2 in., w. 6 1/2 in., 4 1/4 in. [$800/1200]

255. Antique English Burled Walnut Traveling Case, fitted interior, with removable tray, pushbutton activated “secret” drawer, h. 7 in., w. 12 3/4 in., d. 9 in.

[$400/600]

254. Tim Cotterill (British, b. 1950), two enameled bronze frogs, each signed, stamped, and numbered, larger h. 1 3/4 in., w. 5 1/2 in., d. 5 in. [$400/600]

256. Antique English Brass Fire Fender, pierced and gadrooned design, on lobed feet, h. 9 1/2 in., w. 56 in., d. 13 in. [$300/500]

257. William IV Mahogany Peat Bucket, 19th c., brass liner, on ball feet, h. 15 in., dia. 14 in.

[$300/500]

259. American Tramp Art Hanging Spice Cabinet, nine drawers, fitted with porcelain pulls, pediment marked “15/II K.J. 1906”, h. 16 1/2 in., w. 10 in., d. 4 1/4 in. [$300/500]

260. American Parquetry Inlaid Mahogany Tallcase Clock, early 20th c., movement striking on eight bells and eight gongs, foliate engraved dial, elaborately carved case with full columns, h. 96 in., w. 25 in., d. 16 in. [$7,000/10,000]

258. Antique German Tramp Art Carved Wooden Box, brass mounted velvet panels, the front with “IH Zur Erinnerung” flanked by putti, interior with mirror, h. 7 in., w. 10 3/4 in., d. 7 in. [$300/500]

261. 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. [$600/800]

262. Napoleon III Gilt Bronze “Napoleon” Mantel Clock, 19th c., silk-thread striking bell movement, the figure standing beside a flag and cannon, h. 14 3/4 in., w. 9 3/4 in., d. 3 1/2 in. [$800/1200]

263. Antique English Oak Tallcase Clock, dial marked “Thomas Brown, Birmingham”, bearing a silver presentation plaque for “Major Kayler” from his company and men, 1944”, h. 87 in., w. 19 1/5 in., d. 11 in.

[$600/900]

264. American Renaissance Revival Marquetry, Parcel Gilt and Ebonized Music Cabinet, 19th c., attributed to Killian Brothers, New York, crest with central plaque, shelf with maiden supports, gilt incising throughout, paneled folio fall front door with center trophy inlay, divided lower case, turned feet, castors, h. 62 in., w. 26 in., d. 14 1/2 in.

[$1200/1800]

265. American Aesthetic Movement Slipper Chair, late 19th c., manner of Herter Brothers, New York, reeded crest rail, pieced carved ribbon back, turned supports, padded back and seat, incised seat rail and legs, castors, h. 34 in., w. 20 in., d. 19 in.

[$1000/1500]

266. American Late Renaissance/ Early Aesthetic Burl Amboyna, Mahogany and Marquetry Bedstead, 19th c., attributed to Herter Brothers, New York, anthemion crest, architectonic molded and paneled backboard with foliate inlay, conforming rails, paneled conforming footboard with spindles, h. 88 in., w. 59 1/2 in., d. 79 1/2 in.

[$10,000/20,000]

268. American Renaissance Bronze Mounted, Parcel Ebonized and Inlaid Burlwood Parlor Cabinet, 19th c., probably Pottier & Stymus, New York, molded inset marble top, frieze drawer, inlaid allegorical figure of Summer centering door, incurvate paneled sides, plinth base, h. 43 1/2 in., w. 41 1/2 in., d. 19 1/2 in., note: later marble.

[$2000/3000]

267. Pair of American Renaissance Burl and Carved Walnut Armchairs, late 19th c., attr. John Jelliff, Newark, New Jersey, scrolled crest rail, padded lion headed arms, turned fluted legs, front castors, h. 42 in., w. 25 in., d. 24 1/2 in.

[$700/1000]

270. American Aesthetic Gilt Incised Rosewood Firescreen, 19th c., probably New York, beadwork insert, h. 43 1/2 in., w. 27 in., d. 19 in.

[$700/1000]

269. American Late Classical Mahogany Center Table, 19th c., probably J.& J.W. Meeks, New York, later slate top, molded and faceted frieze, bulbous standard, tripod plinth base, turned bun feet, h. 28 in., dia. 31 1/2 in.

[$800/1200]

271. Aesthetic Ebonized Gilt Incised Piano Bench, late 19th/ early 20th c., stamped AA, padded hinged seat, sides with arches and turned supports, turned stretcher, castors, h. 20 in., w. 36 in., d. 13 1/2 in.

[$400/600]

272. Assembled Set of Antique and Vintage “King’s Pattern” and Variant “King’s” Sterling Silver Flatware, including Tiffany “English King”, pat. 1885, designer Charles Grosjean, 1 fork (l. 7 5/8 in.), 6 knives (. 10 ¼ in.), 12 cocktail forks, 6 cream soup spoons, 1 dessert spoon, 2 iced teaspoons, tablespoon, large berry spoon, strawberry fork, long cream ladle and cake knife (hh); Gorham “King George”, pat. 1894, designer William C. Codman, 5 forks (l. 7 3/4 in.), 3 knives (l. 9 5/8 in.), 5 salad forks, 6 cream soup spoons, 4 teaspoons, 12 vermeil teaspoons, tablespoon, pierced tablespoon, salad serving fork and spoon, 2 gravy ladles, soup ladle (l. 12 1/2 in.) pickle/olive fork and olive spoon; Victorian fish serving knife and fork, George Whiting, London, 1860, mark reg. 1858, knife l. 12 3/4 in. 5 William IV forks, London, 1831, maker’s marks rubbed, l. 7 in.; Whiting “Imperial Queen”, pat. 1893, designer Charles Osborne, lettuce fork, sugar shell, olive fork, bonbon spoon and 12 oyster forks; and 1 antique American cold chipped beef fork, mark rubbed; 96 total pcs., total weight (weighable) 156.15 troy ozs. [$2500/3500]

274. Extensive Reed & Barton “Francis I” Pattern Sterling Silver Flatware Service, pat.1907, designer Ernest Meyers (Multi motif), incl. 14 each: forks (l. 7 3/4 in.), knives with modern blades (l. 9 5/8 in.), salad forks and teaspoons; 12 each: dessert spoons, fish forks, fish knives (fh) silver blades), steak knives (hh), iced tea spoons (l. 7 5/8 in.) and iced tea spoons (l. 7 in.); 17 large cream soup spoons (l. 7 ¼ in.), 1 bouillon spoon (l. 5 7/8 in.), 7 citrus spoons, 8 butter knives (fh), 3 forks (l. 7 ¼ in.) , 15 oyster forks, 11 ice cream forks, 8 terrapin forks, 4 tablespoons and 2 pie iced tablespoons, 213 pcs. total, total weight (weighable) 248.55 troy ozs. [$5000/7000]

273. Kirk “Repousse” Pattern Sterling Silver Flatware Service, introduced 1828, incl. 7 forks (l. 7 ¼ in.), 6 knives with blunt blades (l. 8 11/2 in.), 8 knives with modern blades (l. 9 in.), 8 salad forks, 6 gumbo spoons (l. 7 3/8 in.), 3 dessert spoons (l. 6 7/8 in.), 8 teaspoons, 8 butter knives (fh), 1 tablespoon, chased berry spoon, 2 serving spoons ( l. 9 5/8 in.), 2 serving forks, bacon fork, tomato server, 2 mayonnaise ladles, pitcher spoon l. 14 ¼ in.), jelly server, olive fork, 3 pickle forks, lemon fork, relish spoon, bonbon spoon, and master butter knife (hh), cake knife (hh), cheese knife (hh), asparagus server (hh) and ice scoop (hh), 77 total pcs., total weight (weighable) 81.50 troy ozs. [$2,000/4,000]

275. Extensive Collection of Reed & Barton “Francis I” Sterling Silver Flatware Serving Pieces, pat. 1907, designer Ernest Meyers (Multi motif), incl. dressing spoon (l. 13 3/4 in.), soup ladle (l. 11 ½ in.), fish serving set (l. 11 ½ in,), salad serving fork and 2 spoons (l. 9 ½ in.), pierced vegetable serving spoon (l. 9 ½ in.), salad serving fork (l. 8 in.), asparagus serving fork (l. 9 5/8 in.), 2 cold meat forks (l. 9 ¼ in. and 8 in.), serving fork (l. 9 ¼ in.), macaroni server (l. 10 ½ in.), ice cream slice (l. 12 ½ in.), ice cream slice (l. 9 ¼ in.) , waffle server (l. 10 in.), tomato server (l. 8 ¼ in.), solid cake server (l. 9 ½ in.), reticulated jelly server (l. 10 ¼ in.); 20 pcs. total, total weight 98.10 troy ozs. [$2000/3000]

276. Collection of Reed & Barton “Francis I” Sterling Silver Serving Pieces, incl. ice tongs (l. 6 7/8 in.), gravy ladle, chipped beef fork (l. 6 1/8 in.), scalloped server, 2 sugar shells (l. 6 ¼ in.), sugar shell (l. 5 3/8 in.), master butter knife, butter pick, jelly server, cream ladle, 2 mustard ladles, 2 pickle forks, 2 lemon forks, sugar tongs, 2 reticulated bonbon spoons (l 4 in.), and Christmas bonbon spoon; 21 pcs., total weight 25.75 troy ozs.; together with 8 “Francis I” serving pcs. with hollow handles and stainless steel fittings, incl. carving knife and fork (l. 11 1/4 in. and 8 3/4 in.), cake knife (l. 12 3/4), ice scoop, bottle opener, bar knife, butter knife, letter opener, and “Burgundy” ice scoop; 30 pcs. total. [$500/700]

277. Tiffany “Olympian” Pattern Sterling Silver Partial Flatware Service, pat. 1878, designer Edward C. Moore, (Multi motif), incl. 6 forks (l. 7 7/8 in.), 4 knives (l. 10 ¼ in.), 2 knives (l. 9 3/8 in.), 10 salad forks, 8 dessert spoons, 12 teaspoons, 12 ice cream forks (with gilt wash bowls), 6 ice cream spoons and 3 butter knives (fh); 63 pcs., total weight (weighable) 97.25 troy ozs. [$3000/5000]

278. Tiffany “Olympian” Pattern Sterling Silver Flatware Serving Pieces, pat. 1878, designer Edward C. Moore, (Multi motif), incl. soup ladle with fluted bowl (l. 13 in.), asparagus serving fork (l. 9 3/8 in.), berry spoon with kidney-shaped bowl (l. 9 ¼ in.), pea serving spoon (l. 8 7/8 in.), pastry server (l. 11 ¼ in.), salad serving fork and spoon (gilt wash bowl, l. 10 in.), tomato server (l.7 7/8 in.), serving fork and spoon (l. 8 7/8 in.), 2 jelly knives and 2 gravy ladles, 14 pcs., total weight 60.35 troy ozs. [$3000/5000]

279. Tiffany “Olympian” Sterling Silver Small Flatware Serving Pieces, pat. 1878, designer Edward C. Moore, (Multi motif), incl. double-lipped cream ladle (with gilt-washed bowl, l.7 3/4 in.), cream ladle, 2 jelly spoons (1 with gilt wash bowl, l 7 ¼ in.), olive fork, olive spoon, sardine fork (l. 5 ½ in.), mustard ladle and butter pick, 9 pcs., total weight 12.40 troy ozs. [$300/500]

281. Gorham “Versailles” Sterling Silver Flatware Service, pat. 1888, designer F. Antoine Heller, (Multi-Motif), incl. 6 forks (l. 7 3/4 in.), 8 knives (blunt blades, l. 9 5/8 in.), 5 fish/salad forks (l. 6 3/4 in.), 5 pastry forks (l. 5 7/8 in.), 7 teaspoons, 6 citrus spoons, 6 bouillon spoons, 4 ice cream spoons (l. 5 1/8 in.), small individual terrapin spoon (l. 4 3/4 in.), 9 butter knives (fh), 5 tablespoons, tomato server, gravy ladle, salad serving fork, cold meat fork and master butter knife; 66 pcs., total weight (weighable) 78.30 troy ozs. [$1500/2500]

280. Good Group of Antique Gorham Sterling Silver Flatware, incl. “St. Cloud” pattern, pat. 1885, designer Walter Wilkinson, (Multi motif), 14 dessert spoons (l. 7 in.), 2 serving spoons (l. 8 ½ in.), 1 tablespoon (. l. 7 7/8 in.), salad serving spoon with gilt wash bowl, teaspoon, 4 luncheon forks (l. 6 3/4 in.), and 2 master butter knives (fh), 25 pcs.; and “Cluny” pattern, pat. 1880, designer F. Antoine Heller, (Multi motif), 11 luncheon forks (l. 6 3/4 in.), 9 teaspoons (l. 6 in.) and 1 teaspoon (l. 6 1/8 in.), 21 pcs.; total 46 pcs., total weight 81.11 troy ozs. [$1500/2500]

282. Edward VII Sterling Silver Military Presentation Cup, Wakely & Wheeler (James Wakely & Frank Clarke Wheeler) London, 1908, mark reg. 1891, footed cup with double scroll handles, engraved presentation “Royal Naval & Military Tournament.1909/Mounted Competitions/Officers. /Heads & Posrs./2nd Prize/won by/Lieut. W. Holderness./5th Lcers”, h. 7 ¼ in., w. 8 ¼ in., weight 15.35 troy ozs. [$300/500]

283. Egyptian .800 Silver Presentation Salver, c. 1950, molded serpentine border with ribbon and flower rim, ball-and claw feet with acanthus brackets, well centering engraved presentation “FRACTURED FLUSH AWARD/Affectionately Presented to/TOBY STUBBS/Cairo Poker Club/1959”, 1 ¼ in., dia. 9 ½ in., weight 14.45 troy ozs. [$200/400]

286. George V Sterling Silver Presentation Salver, Thomas Bradbury & Sons Ltd., Sheffield, 1923, mark reg. 1892, serpentine molded rim with gadrooned edge, ball and claw feet, reverse with engraved presentation, Presented to/Marcus Stewart Esq./ on the occasion of his marriage/by/The Foremen and Employees/at/ Lodgemore Mills, Stroud./29th Sept 1925”, h. 1 in., dia. 8 ¼ in., weight 11.40 troy ozs; TOGETHER WITH Georgian -style sterling silver sauceboat, Thomas & John Perry, Birmingham, act. 1906-1936, l. 6 1/8 in., weight 3.10 troy ozs. [$200/400]

284. Late Victorian Sterling Silver Presentation Tray, Walker & Hall, Sheffield, 1895, mark reg. 1894, circular tray with scrolled over gallery, flat-chased decoration throughout, well centering engraved presentation, “PRESENTED BY THE/Executive Committee of the/Fire Salvadge Association/of Liverpool/TO JAMES MACLAREN ESQ/CHAIRMAN/of the Association/UPON THE OCCASION OF HIS MARRIAGE/LIVERPOOL/5th SEPTEMBER 1895”, h. 1 in., dia. 14 in., weight 47.50 troy.

[$800/1200]

285. Late Victorian Sterling Silver Presentation Salver, James Dixon & Sons Ltd.,Sheffield,1891, serpentine gadrooned rim interspersed with foliage, ball and claw feet, flat-chased well centered with armorial and motto “Vi Vivo Et Armis” (“Live with Force and by Arms”)above engraved presentation “PRESENTED TO/M.A. HENNESSY, ESQ./by the members of/the Wexfordd Club/ AS A MEMENTO OF THEIR REGARD/on his departure from Wexford/ May 9th 1893”, h. 1 ¼ in., dia. 15 ¼ in., weight 44 troy ozs.

[$800/1200]

287. George V Sterling Silver and Molded Ivorine Presentation Trowel, Walker & Hall Ltd., Sheffield, 1914, mark reg. 1896, flat chased blade with engraved presentation, “PRESENTED/to/COUNCILLOR/A.E.MEREDITH/CHAIRMAN/ of the/ FIRE BRIGADE COMMITTEE/to commemorate the laying/OF THE/ FOUNDATION STONE/OF THE NEW FIRE STATION/AT ABERCARN/12th June, 1923”, l. 12 ½ in., in original fitted leather case marked for Walker & Hall, Ltd. [$150/250]

288. Italian Renaissance Carved Walnut Figural Hallstand, early 19th c., paper label on verso “ Marco Dal Tedesco”, elaborate pierced carved back with foliate, maidens, dragons, lion and crest, cast metal elephant hanging hooks, turned umbrella holder, metal lined drip pan, paw feet, h. 84 in., w. 44 in., d. 11 in.

[$800/1200]

289. Set of Six Italian Neoclassical-Style Faux Finished Dining Chairs, 20th c., molded carved crest rail with center shell, pierced carved foliate splat, cabriole legs, carved stretcher, scrolled toes, h. 44., w. 20 1/2 in., d. 17 in.

[$1000/1500]

290. Pair of Venetian Neoclassical-Style Faux Finished Armchairs, 20th c., nail head Aubusson tapestry upholstery, arched crest rail, scrolled arms, X-form stretchered cabriole legs, h. 45 7/8 in., w. 24 in., d. 18 in.

[$500/700]

291. Italian Rococo Carved Giltwood Console, late 18th / early 19th c., slate top, foliate and scrolled carved frieze centered by a shield, scrolled lobed cabriole legs, h. 34 1/2 in., w. 66 in., d. 24 in.

[$3000/5000]

292. Rare Pair of Antique Continental Giltwood and Polychromed Statuary Pedestals, 18th c. and later, probably Italian, molded square tops, sides adorned by winged putti heads and swags, plinth bases, h. 38 in., w. 19 in., d. 19 in.

[$4000/6000]

293. Fine and Rare Neoclassical Scagliola Top Salon Table , the top c. 1800, attr. to Clemente Susini (Florence, 1752-1814), with trompe l’oeil depicting doves perched on a bowl amongst classical vases and a feline, surrounded by a Vitruvian scroll border with fan corners; the table 19th c., in the manner of Thomas Hope, with star-molded frieze and parcel gilt trestle base mounted with Grecian masks; table: h. 30” x 40 5/8 in. x 21 1/2 in.; scagliola: w. 37 in. x d. 17 1/2 in. [$15,000/25,000] Provenance: Descended in the Family of Ambassador Laurence A. Steinhardt (1892-1950). www.ambassadorsteinhardt.com. See also Bonham’s 10 April 2014 single owner sale “Divine Treasures, Important Russian Icons from the Collection of Ambassador Laurence A. Steinhardt” VISIT https://shorturl.at/F112U

Note: Examples of Clemente Susini’s scagliola works are rare. One of the few is in the British Royal Collection at Windsor Castle. There is another example in the collection of Ovedskloster Manor in Sweden. A further example, with a nearidentical feline, was sold at Christie’s in London as Lot 206 on Dec. 13, 2018. Interestingly, Susini is also renowned for his wax anatomical models which are housed in museums in Vienna and Italy.

Ref. R. Edwards, The Dictionary of English Furniture , Vol. III, page 302, fig. 80.

294. Set of Eight Louis XVI-Style Gris Peinte Chaises, 19th c., molded padded back, nail head upholstery, conforming seat rail, fluted tapered legs, h. 38 in., w. 19 in., d. 18 in. [$1500/2500]

295. French Empire Bronze Mounted Mixed Woods Secretaire a Abattant, early 19th c., marble top, frieze drawer, paneled fall front door, fitted interior, flanking columnar supports, paneled doors, brass caps, h. 54 in., w. 37 in., d. 18 in. [$700/1000]

296. French Four-Panel Painted Canvas

Folding Screen, painted canvas depicting fruit and floral baskets, h. 77 in., total w. 94 in.

[$700/1,000

Provenance: Estate of Sybil M. Favrot, New Orleans, LA.

297. Pair of Antique Italian Giltwood Carved and Polychrome Decorated Figural Prickets, 17th c., on rectangular plinth, h. 26 in. [$1000/1500]

298. Pair of Antique Continental Grand Tour Patinated Metal Vases, late 19th c., portrait busts, griffin handles, on paw feet, h. 9 3/4 in., w. 10 3/4 in., d. 7 1/2 in. [$700/1000]

299. Antique Neoclassical-Style

Bronzed Metal Krater Vase, after the Antique, on rouge marble base, h. 15 in., w. 6 1/2 in., d. 5 in.

[$800/1200]

300. French Bronze Figure of Atlas on Marble Pedestal, figure supporting an armillary sphere with moveable rings, h. 35 in., w. 14 in., d. 14 in., presented on a white and grey variegated marble pedestal, total h. 74 in. [$1000/1500]

301. Large Antique Italian Grand Tour Carved Marble Lidded Urn, lion handles, gadrooned body, carved allover with grapevines and acanthus leaves, flared base, h. 25 in., w. 18 1/2 in., d. 15 in. [$2000/3000]

302. Pablo Picasso (Spanish, 1881-1973), Hibou Brillant (A.R. 285), 1955, white earthenware clay, decoration in engobes and engraved by knife under glaze, stamped “EDITION PICASSO” and “MADOURA PLEIN FEU”, from the edition of 450, 15 3/8 in. x 12 3/4 in. (39 cm. x 32.5 cm.) [$12,000/18,000]

One of the most revered artists, Pablo Picasso stands alone as a master painter, sculptor, and ceramicist. He is considered one of most influential artists of all time. Born in 1881, artist Pablo Picasso made a name for himself as a diverse artist who was constantly reinventing himself and pushing the boundaries of great artwork with his abstract designs. He studied under his father before attending Barcelona’s School of Fine Arts and eventually moving to Paris where he began to blossom. It was during his initial time in Paris that he experimented with surrealism and became one of the founders of cubism. The value of Pablo Picasso’s artwork for sale varies considerably, with rare original Picasso paintings and etchings often reaching many thousands of dollars at auction. With thousands of pieces created, Picasso was one of the world’s most prolific artists. His greatest works includes Garson a la Pipe, Guernica, and The Old Guitarist. Enliven your living space with colorful, characterful, and rare paintings available for purchase at online auction.

303. Pair of Capodimonte Porcelain Urns , marked, double-mask handles, frieze of Classical figures, h. 19 1/4 in., dia. 13 1/2 in. [$600/900]

305. Napoleon III Gilt Bronze Encrier, in the Gothic taste, surrounded by architectural tracery, with pen tray, covered pots, sander, and decorative birds, quill pen with Esterbrook nib, h. 9

304. Continental Gilt Bronze Mirrored Plateau, bead and foliate border, on paw feet, h. 3 1/2 in., dia. 16 1/2 in. [$500/700]

306. Pair of Empire Tole Peinte Figural “Lampes a Quinquet”, early 19th c., Diana bust, over tapered body, removable oil font, h. 16 3/4 in., w. 2 1/2 in., d. 6 3/4 in. [$500/700]

307. Erté Italian Gilt Crystal Glassware, Medici Gold pattern, incl. 7 water, 10 wine, 10 champagne flutes, and 8 footed dessert, tallest 7 1/2 in. [$400/600]

308. Twelve Pieces of Bohemian Gilt and Ruby Stemware, attributed to Moser, engraved gilt design, with ruby reserves, incl. 4 wine, h. 9 3/8 in., 4 champagne coupes, and 4 cordials. [$500/700]

309. Pair of Charles X Gilt Bronze Three-Light Bouillotte Lamps, c. 1830, oil-lamp form, adjustable tole shade, paw feet, electrified, h. 27 1/2 in., dia. 15 1/2 in. [$700/1000]

Provenance: Estate of Sybil M. Favrot, New Orleans, LA.

310. Empire-Style Gilt Bronze and Tole Six-Light Bouillotte Lamp, adjustable shade, dish base, h. 28 in., dia. 19 in. [$500/700]

311. Pair of Empire Gilt and Patinated Bronze Five-Light Candelabra, foliate arms, the figures on finely cast tall pedestals, h. 26 in., dia. 8 in.

[$700/1000]

312. Regence-Style Gilt and Creme Peinte Console, 20th c., later molded marble top, foliate carved frieze centering shell, cabriole legs, molded stretcher surmounted by floral basket finial, acanthus carved feet, h. 37 in., w. 60 in., d. 14 in. [$1200/1800]

313. Pair of Régence-Style Carved Giltwood Fauteuil, 20th c., carved foliate crest rail, scrolled padded arms, conforming seat rail, cabriole legs, h. 36 in., w. 24 1/2 in., d. 21 in.

[$700/1000]

314. French Provincial Carved Walnut Serpentine Commode, 19th c., molded top, paneled case, three molded drawers, scalloped apron, cabriole legs, h. 33 1/2 in., w. 53 in., d. 28 in. [$1000/1500}

Provenance: The Bultman Family Collection, New Orleans, LA.

315. French Provincial Creme Peinte Buffet a Deux Corps, 18th c., molded cornice, foliate frieze, molded grillework doors, lower case with molded paneled doors, scalloped apron, cabriole legs, scrolled toes, h. 98 in., w. 56 1/2 in., d. 24 in.

[$1000/1500]

316. Pair of Louis XVI-Style Creme Peinte Fauteuils, 19th c., molded arched crest rail, padded back and seat, molded seat rail, stop fluted tapered legs, h. 38 in., w. 24 5/8 in., d. 22 in. [$800/1200]

318. Louis XV Provincial Carved Walnut Armoire, molded arched cornice, conforming frieze, paneled doors, stop-fluted stile, cut steel escutcheons, shelf interior, lower drawer, scalloped skirt, cabriole legs, scrolled toes, h. 104 1/2 in., w. 65 in., d. 24 in. [$1000/1500]

317. Italian Rococo-Style Carved and Gilded Console, early 19th c., molded marble top, scrolled pierced carved frieze, cabriole legs, scrolled stretcher. [$800/1200]

319. William IV Flame Mahogany Bookcase Cabinet, 19th c., molded cornice, gothic glazed doors above paneled cabinet doors, bracket feet, h. 84 3/4 in., w. 51 1/4 in., d. 17 in. [$800/1200]

320. French Regence’-Style Carved Mahogany Console Table, 20th c., molded Rosso marble top, foliate caved frieze, scrolled supports, carved molded stretchers, cabriole legs, scrolled toes, h. 38 1/2 in., w. 63 in., d. 21 1/2 in. [$800/1200]

321. Set of Eight Dutch Rococo-Style Mahogany and Marquetry Dining Chairs, 20th c., two arms, six sides, arched scalloped backs, vasiform splat, conforming seat rail, acanthus knees, cabriole stretchered legs, ball and claw feet, armchair; h. 43 1/2 in., w. 24 in., d. 19 1/ in., sidechair; h. 43 1/2 in., w. 19 1/2 in., d. 17 1/2 in. [$2500/3500]

322. Monumental Antique Moorish Hand Hammered Brass Tray-Top Table, later wrought iron base, elaborate incised decoration centered by a star, h. 31 1/2 in., dia. 53 1/2 in. [$800/1200]

323. English Baroque-Style Carved Walnut Bench, 19th c. and later, scrolled arms, gadrooned molded seat rail, turned and scrolled stretchers, cabriole legs, h. 25 in., w. 52 in., d. 22 in. [$1200/1800]

324. George II-Style Parcel Gilt and Faux Bois Console Table, late 18th/ early 19th c., marble top, gadroon molded, foliate and scrolled carved frieze, cabriole legs, hairy paw feet, h. 33 7/8 in., w. 48 in., d. 22 5/8 in. [$2000/3000]

325. William & Mary-Style Faux Bois Pine Chest on Stand, 19th c., molded top, upper case with two short drawers over three long drawers, lower case with frieze drawer, tuned supports, X-form stretcher surmounted with finial, turned feet, h. 59 1/2 in., w. 36 1/2 in., d. 20 in. [$1000/1500]

328. American ArtDeco Style Silvered Bronze and CutCrystal Chandelier, stamped with spurious mark “TIFFANY STUDIOS NY. NY.”, tiered rings, h. 44 in., dia. 18 in. [$1200/1800]

330. Regency-Style Hall Lantern, bell-form, h. 22 in., dia. 11 in. [$500/700]

327. American Leaded Glass and Giltwood Floor Lamp, early 20th c., fluted and leaf-carved base, Greek-key legs, h. 74 in., dia. 24 in. [$1000/1500]

329. Pair of E.F. Caldwell Mirrored Two-Light Sconces, c. 1920, marked with “D” in diamond, bird and bouquet decoration, remnants of silverplate, h. 16 in, w, 10 in., d. 5 in. [$600/900]

331. Pair of Regency-Style Hall Lanterns, wheel-cut vine design, foliate-decorated hardware, h. 14 in., dia. 7 in. [$600/900]

326. Pair of American Gilt Bronze and Cut-Crystal Six Light Sconces, tiered foliate arms, h. 16 in., w. 20 in., d. 13 in. [$600/900]

332. Regency-Style Hall Lantern, bell-form, wheel-cut design, h. 17 in., dia. 8 in. [$400/600]

333. Regency-Style Hall Lantern, bell-form, h. 21 in., dia. 10 in. [$500/700]

334.Pair of Regency-Style Hall Lanterns, bell-form, wheel-cut foliate design, h. 15 in., dia. 8 in. [$600/900]

336. Antique Empire-Style Gilt and Patinated Bronze Six Light Chandelier, torch-form standard, foliate arms, mounted with goat heads and female masks, h. 29 in., dia. 18 in. [$700/1000]

335. Pair of Italian Polychromed Iron and Tole Lanterns, scroll bracket, hexagonal-form lantern, h. 38 in., w. 14 in., d. 20 in. [$500/700]

337. Empire-Style Brass and Engraved Glass Chandelier, swan and foliate design, h. 42 in., dia. 21 in. [$600/900]

338. 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]

339. George III-Style Satinwood and 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]

340. Edwardian Painted Satinwood Double Shield Back Settee, 19th c., in the Adam taste, floral painted decoration throughout, pierced shield back, scroll arms, conforming seat rail, square tapered legs, h. 39 in., w. 42 in., d. 21 in.

[$700/1000]

341. Edwardian Satinwood Side Chair, in the Adam taste, pierced shield back with floral bouquet, shaped seat rail, square tapered legs, h. 37 1/2 in., w. 20 in., d. 17 1/2 in.

[$400/600]

342. Adams-Style Inlaid Satinwood and Mahogany Paint Decorated Drop-Leaf Pembroke Table, 19th c., banded top with painted foliate swags center by putti, frieze drawer, tapered square legs, cup castors, h. 27 3/4 in., w. 36 in., d. 21 in. [$1000/1500]

343. Two Queen Anne-Style Carved Walnut Wingchairs, 20th c., arched crest rail, padded back, wings and outswept arms, shell carved knees, cabriole legs, turned stretchers, h. 46 1/2 in., w. 36 in., d. 23 in. [$1000/1500]

344. Regency Carved Mahogany

Etagere, 19th c., four shelves with adjustable book stand top tier, base drawer, turned supports and legs, h. 50 1/2 in., w. 19 in., d. 17 in.

[$700/1000]

345. Pair of Georgian Carved Mahogany Demilune Consoles, 19th c., molded conforming frieze, square tapered legs, h. 33 1/4 in., w. 48 in., d. 21 1/2 in.

[$1000/1500]

346. American Classical Carved Mahogany Side Chair, early 19th, probably Joseph Barry, Philadelphia, tablet crest, nailhead upholstery, turned legs, h. 35 1/2 in., w. 18 in., d. 16 in.

[$500/700]

347. Regency Carved Mahogany Settee, 19th c., scrolled crest rail with center shell, scrolled arms with rosettes, reeded seat rail, tapered lobed legs, castors, h. 38 1/2 in., w. 86 in., d. 25 in.

[$1000/1500]

348. Georgian-Style Inlaid Mahogany Serpentine Sideboard, 20th c., banded top, frieze drawer flanked by cabinets, tapered legs, spade feet, h. 35 1/4 in., d. 22 1/2 in., w. 59 1/2 in.

[$700/1000]

349. Richard Ansdell (British, 1815-1885), “The Pride of the Flock”, 1873, oil on canvas, signed and dated lower right, artist and title plaque on stretcher, “Christie’s NYC” label on stretcher, 27 in. x 66 in., framed with artist and title plaque, overall, 33 in. x 72 in. x 2 in. overall, 33 in. x 72 in. x 2 in. [$8,000/12,000]

Exh.: Royal Academy, London, 1873.

Born in Liverpool, Richard Ansdell rose to the upper echelon of Victorian sporting artists on the strength of his ability to paint animals. Between 1840 and 1885, Ansdell exhibited paintings annually at the Royal Academy (149 in total), and he also exhibited some thirty canvases at the British Institution. He was elected an Associate of the Royal Academy in 1861 and Royal Academician in 1870. From the earliest days of his career, Ansdell painted Scottish animal subjects, in particular favoring sheep. He increasingly visited the highlands of Scotland on holidays and built a home called Moy Lodge on the banks of Loch Laggan in 1868. This location offered him the opportunity to observe the local shepherds and their flocks along with the breathtaking landscape of the region. In the monumental work offered here, Ansdell demonstrates his remarkable skill at depicting the posture and individual expressions of the sheep. Each animal adds a narrative element and unique quality to the scene, while the artist’s careful brushwork provides an eye-catching contrast between the soft fleeces and harsh terrain. A masterful composition, both intimate and panoramic in nature, “The Pride of the Flock” was exhibited at the Royal Academy in 1873 and is a specular example of an artist at the height of his skill painting his favorite subject.

Ref.: Draper, Amanda. “Richard Ansdell: Painter of Fur, Feathers and Woolliness.” Victory Gallery & Museum. University of Liverpool. vgm.liverpool.ac.uk. Accessed Oct. 18, 2024.

350. 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. [$1000/2000]

351. Gustave Wolff (German/New York, 1863-1935), “River Landscape”, oil on canvas, signed lower right, handwritten title on stretcher, 16 in. x 12 in., framed with artist plaque, overall 24

352. Paul Cornoyer (American/New York, 1864-1923), “Venice”, 1893, oil on canvas, signed, titled and dated lower left, 16 in. x 12 1/2 in., framed, overall 23 3/4 in. x 20 1/2 in. x 2 in.

[$3000/5000]

353. After Guido Reni (Italian, 1575-1642) , “Aurora”, oil on canvas, unsigned, 30 3/4 in. x 67 in., framed, overall 38 1/4 in. x 74 1/2 in. x 2 in. [$1000/1500]

354. After Agostino Achille Carracci (Italian, 1557-1602) , “Saint Jerome”, oil on canvas, unsigned, 52 in. x 42 3/4 in., framed, overall 59 1/2 in. x 50 5/8 in. x 3 in. overall.

[$2500/3500]

Agostino Carracci (or Caracci) (16 August 1557 – 22 March 1602) was an Italian painter, printmaker, tapestry designer, and art teacher. He was, together with his brother, Annibale Carracci, and cousin, Ludovico Carracci, one of the founders of the Accademia degli Incamminati (Academy of the Progressives) in Bologna. This teaching academy promoted the Carracci emphasized drawing from life. It promoted progressive tendencies in art and was a reaction to the Mannerist distortion of anatomy and space.[1] The academy helped propel painters of the School of Bologna to prominence.

355. Continental School, 18th c., “Madonna, Christ Child and Infant St. John the Baptist”, oil on panel, unsigned, 40 in. x 30 in., framed, overall 47 1/4 in. x 39 1/4 in. x 2 3/4 in.

[$700/900]

356. Continental School, late 19th/early 20th c.“Still Lifes with Urns and Parrots”, 2 oils on leather, each unsigned, each 57 3/4 in. x 22 3/4 in., framed alike, each overall 64 1/4 in. x 26 in. x 1 1/4 in. (2 pcs.)

[$2500/3500]

357. Allan Ramsay (Scottish, 1713-1784), “Joseph Banks, ESQ”, oil on canvas, unsigned, handwritten label with sitter on stretcher, “Joseph Sartor Galleries, Dallas, TX” label with artist and title and label with artist on backing board, 24 3/4 in. x 19 1/4 in., framed with artist and title plaque, overall 31 in. x 26 1/2 in. x 2 1/2 in. [$2000/3000]

358. Charles Edward Perugini (Italian/British, 1839-1918), “Likely Catherine Elizabeth Dickens Perugini (1839-1929) Reading Her Old Letters”, oil on canvas, monogrammed lower left, handwritten label and “Charles Roberson & Co.” label inscribed “Mrs. Perugini / 38a Victoria Rd” on stretcher, 43 in x 33 in., framed, overall 49 in. x 39 1/2 in. x 2 in. 3 in x 33 in., framed, overall 49 in. x 39 1/2 in. x 2 in.

[$40,000/60,000]

Provenance: Estate of Laura Jill King Ramey, Tyler, TX.

Carlo “Charles” Edward Perugini was born in Italy in 1839 but spent his childhood in England. He later returned to Italy to study art under Giuseppe Bonolis and Guiseppe Macinelli, then under Ary Scheffer in Paris. During one of Frederic Leighton’s voyages on the Continent, he met and befriended Charles, subsequently becoming his mentor. Through Leighton’s encouragement, Charles left for England and established his own atelier. He exhibited his first work at the Royal Academy in 1863. While he struggled to sell his early paintings, he soon was able to gain a foothold with the right social connections and the wealthy art patrons of England. In 1874, he married a recently widowed Kate Dickens.

Catherine Elizabeth Macready Dickens was the youngest daughter of famed author Charles Dickens. A strong-minded child, she earned the nickname “Lucifer Box” as she was known for her hot temper. Growing up the daughter of one of Britain’s most famous men, Kate had a unique childhood, traveling with her parents abroad, and at one point even performing on a public stage for Queen Victoria. She demonstrated an early talent for drawing and was enrolled at Bedford College to study art. Wellknown in cultured circles, Kate was even the model for John Everett Millais’ famous painting “The Black Brunswicker.”

Her temperament raised eyebrows, as a headstrong, unconventional woman was often thought “brash” or “shameless” in the conservative society of nineteenth century England. She married pre-Raphaelite artist, Charles Allston Collins, who passed away in 1873. Soon after, she fell in love with and subsequently married Charles Perugini whom she met at Leighton’s house. Their marriage proved to be remarkably egalitarian for the time period. Kate was a renowned and exhibited

portrait painter in her own right, and she was often featured in many of Charles’ paintings and remained his lifelong muse. His depictions of his wife always portray her with a delicate tenderness with his fondness clearly conveyed.

In the impressive, three-quarters size portrait offered here, the sitter, likely Kate, is sumptuously dressed in elegant robes while nestled into silken upholstery and oversized pillows. She is holding a letter plucked from the carefully stacked pile to her left. In her other hand rests the fragile pressed remains of a forget-me-not, the Victorian symbol of remembrance for those who have passed away and a symbol of true love and devotion. While she holds the letter to her face, her eyes appear unfocused and her expression wistful, the look of someone lost in revery. Charles’ masterful skill is evident in the detailed stitches of her luxurious shawl, the texture of the various draped fabrics as well as the poignant expression of the sitter engrossed in her memories. En verso is a “Charles Roberson & Co. Drawing Materials” label inscribed “Mrs. Perugini / 38a Victoria Road” which was the couple’s address in Kensington documented in letters conserved at the Royal Academy as well as J.M Barrie’s archives, amongst others.

Ref.: “Charles Edward Perugini.” Spartacus Educational. www.spartacus-educatin.com. Accessed Oct. 22, 2024; “Charles Edward Perugini.” Rehs Galleries. www.rehs.com. Accessed Oct. 22, 2024; Hawksley, Lucinda. “Dickens’s Artistic Daughter Katey.” Lucinda Hawksley. www.lucindahawksley.com. Accessed Oct. 22, 2024; “Kate Perugini, 38A Victoria Road, Kensington, to [W.T. Whitley].” Royal Academy. www.royalacademy. org. Accessed Oct. 22, 2024, reference code: WTW/28; “Kate Perugini to Sylvia du Maurier – 1982.” JM Barrie. www.jmbarrie.co.uk. Accessed Oct. 22, 2024.

361. Bronze Figure of Moliere, h. 14 1/2 in., w. 8 in., d. 5 1/2 in., marble base, overall h. 21 1/2 in. [$400/600]

359.Attributed to Thomas Hudson (British, 1701-1779), “Portrait of Edward Henri Sartorius”, oil on canvas, unsigned, label with sitter information on stretcher, 36 in. x 28 in., framed, overall 45 in. x 37 in. x 3 in.

[$2000/3000]

362. Bronze Figural Group of a Maiden with Bust of Bacchus and Putto, after Michael Claude Clodion, signature inscribed on self-base, h. 31 in., w. 12 in., d. 9 in. [$2500/3500]

360. Carved Marble Figural Group of Diana of Versailles, after the original conserved in the Louvre, Paris, h. 46 1/2 in., w. 23 in., d. 22 in., marble pedestal, overall h. 79 in.

[$800/1200]

363. Patinated Bronze Figure of a Woman Holding a Mandolin, after Auguste Moreau, signature inscribed on self-base, h. 33 1/2 in., w. 11 in., d. 10 in., marble base, overall h. 35 in.

[$500/700]

364. George Hand Wright (American/Connecticut, 18721951), “Belle Roule/Eboulements”, watercolor on paper mounted to board, signed lower right, titled lower left, 7 in. x 7 7/8 in., framed, overall 14 1/2 in. x 15 in. x 1 in.

[$500/800]

365. Leo Gausson (French, 1860-1944), “Village in the Countryside”, 1894, oil on board, signed lower right, monogrammed, dated, “Atelier Leo Gausson” stamp and handwritten label en verso, 10 1/2 in. x 13 3/4 in., framed, overall 14 3/8 in. x 17 7/8 in. x 1 in. [$2000/3000]

366. Maximilien Luce (French, 1858-1941),

“Soleil Couchant, Honfleur”, 1929, oil on canvas, signed and dated lower left, handwritten title on stretcher, label with artist and title en verso, 18 1/8 in. x 21 7/8 in., framed with artist and title plaque, overall 26 in. x 29 1/2 in. 1 1/2 in.

[$5000/8000]

Constantin

368. Raphael Soyer (Russian/New York, 1889-1987), “Lady in a Red Dress”, oil on canvas, signed lower right and en verso, 33 1/4 in. x 24 1/4 in., framed, overall 37 3/4 in. x 28 3/4 in. x 1 1/2 in. [$2000/3000]

367.

Kluge (Russian/French, 1912-2003), “Le Vieux Moulin”, oil on canvas, signed lower right, 38 1/2 in. x 51 1/2 in., framed with artist and title plaque, overall 42 in. x 60 in. x 2 in. [$2500/3500]

369. Herbert Vladimir Meyerowitz (Russian, 1900-1945), “Bust of a Woman”, 1921, bronze, stamped signature and dated on reverse, h. 16 in., w. 8 in., d. 11 in., wood base, overall h. 19 1/2 in.

[$800/1200]

370. Harry Rosin (American/Pennsylvania, 1897-1973), “Reclining and Stretched Female Nude”, 1941, bronze, signed and dated on reverse, h. 9 1/2 in., w. 22 1/2 in., d. 5 1/2 in. [$700/1000]

371. Henri Matisse (French, 1869-1954), “Nu Couché Sur Sol Fleuri”, 1929, lithograph, pencil-signed and numbered “14/50” lower right, “Arches” watermark visible, sheet 19 7/8 in. x 25 7/8 in., framed, overall 32 1/4 in. x 36 1/2 in. x 1 in.

[$700/1000]

Artist Henri Matisse was one of the leaders of the Fauvist school of art, and a leading figure in modern art in general. His career spanned over half a century, beginning with traditional painting and ending with cut-paper work. Despite being a leader of the Fauvists, artist Henri Matisse created his most successful works after the decline of the movement. As his career progressed, his use of color, flattened shapes, and controlled lines distinguished his work from other PostImpressionists. Henri Matisse’s portrait paintings often depict his wife Amelie or his daughter Marguerite.With ill health curtailing his ability to paint, Matisse turned to collage, cutting gouache-coated paper into various abstract patterns to create artworks. However, Henri Matisse drawings for sale or at auction are some of his most collectible works. Be a savvy art enthusiast and find many vintage and collectible nude prints for sale at online galleries to add to your growing collection.

372. Antique French Giltwood Overmantel Mirror, spherule border, over Classical frieze, beveled mirror plates, h. 40 1/2 in., w. 64 in., d. 4 in.

[$1200/1800]

373. Continental Giltwood Overmantel Mirror, arched top, foliate border, h. 91 1/2 in., w. 55 1/2 in., d. 3 in.

[$1200/1800]

374. Continental Rococo Carved Giltwood Mirror, c. 1900, scroll and grape design, h. 37 in., w. 23 in., d. 5 in. [$700/1000]

375. Antique Continental Giltwood Mirror, 19th c., portrait bust crest, h. 24 in., w. 12 in., d. 2 1/2 in. [$600/900]

377. Empire Giltwood and Vert Peinte Mirror, early 19th c., palmette and scroll decoration, h. 43 in., w. 35 in., d. 3 3/4 in. [$500/700]

376. Antique French Giltwood Overmantel Mirror, scroll and foliate crest, beveled mirror plate, h. 88 in., w. 52 in., d. 3 in.

[$1000/1500]

378. Regency Giltwood and Ebonized Overmantel Mirror, early 20th c., in the Egyptian taste, mounted with Egyptianesque pilasters and leopard heads, h. 37 in., w. 54 in., d. 6 in. [$2000/3000]

379. Antique English Giltwood Trumeau Mirror, the top panel with a military trophée with banners celebrating the victories of the Nile and Trafalgar, flanked by cluster columns, h. 49 in., w. 28 1/2 in., d. 4 1/4 in. [$500/700]

380. Pair of Louis Philippe Giltwood Mirrors, c. 1840, burnished and matte gilt surround, h. 57 in., w. 41 in. [$1500/2500]

381. Pair of Italian Carved Mirrors, with mirrored borders, h. 59 1/2 in., w. 24 in., d. 2in. [$600/900]

382. American Neo-Grec Walnut and Marquetry Bedstead, late 19th c., possibly Pottier & Stymus, New York, the demilune crest with anthemion, landscape motif marquetry panel flanked by strapwork and roundel finials, shaped rails, architectonic footboard, h. 107 in., interior w. 60 in., l. 68 in.

[$7,000/10,000]

384. American Renaissance Gilt Incised Burl and Carved Walnut Parlor Suite, late 19th/ early 20th c., including settee and armchair, pierced carved back with clover shaped upholstery, padded arms, turned legs, sofa: h. 46 in., w. 65 in., d. 25 1/2 in., armchair: h. 41 in., w. 29 in., d. 24 in.

[$1200/1800]

383. American Renaissance Gilt Incised Carved Walnut Folding Armchair, 19th c., in the manner of George Hunzinger, New York, upholstered back and seat, gilt incised supports, padded arms, 35 1/2 in., w. 24 1/2 in., d. 17 in.

[$800/1200]

385. Pair of American Renaissance Carved Walnut Side Chairs, 19th c., possibly Thomas Brooks, New York, rosette centered crest rail flanked with scrolls, pierced carved splat, conforming seat rail, trumpet legs, h. 35 in., w. 17 in., d. 16 in.

[$800/1200]

387. American Renaissance Carved Walnut Klismos Chair, c. 19th c., New York, possible Thomas Brooks, arched back, swept-back rosette stiles, rosette paneled supports, scrolled seat rail, out swept legs, hoof feet, casters. [$800/1200]

386. Pair of American Renaissance Carved and Burled Walnut Library Armchairs, late 19th c., attributed to Thomas Brooks, New York, scrolled uprights, foliate uprights, foliate and tassel-carved returns, scrolled legs, h. 33 in., w. 26 in., d. 38 in.

[$800/1200]

388. American Renaissance Carved Walnut Klismos Chair, c. 19th c., New York, possible Thomas Brooks, arched back, swept-back stiles, rosette paneled supports, scrolled seat rail, outwept legs, hoof feet, casters, h. 35 1/2 in., w. 26 1/2 in., d. 30 in.

[$800/1200]

389. American Renaissance Carved Rosewood Lamp Table, 19th c., New York, molded inset marble top, incised throughout, urn form standard, h. 30 in., dia. 18 in. [$500/700]

390. Fine American Renaissance Inlaid, Gilt and Ebonized Games Table, mid-19th c., attr. Pottier & Stymus, New York, marquetry signed by Joseph Cremer, Paris, stamped 2288 on drawer runner, molded floral inlaid foldover top, molded frieze, drawer with maple fitted interior, turned fluted tapered, h. 29 in., w. 36 1/2 in., d. 18 in. [$2500/3500]

391. American Renaissance Inlaid Walnut Mirror, 19th c., New York, central scrolled, foliate crest, inlaid border, foliate carved sides, h. 30 in., w. 48 in. [$1200/1800]

393. Set of Fourteen Gorham Sterling Silver Water Goblets, pattern 272, no monograms, h. 6 ½ in., weight 83.25 troy ozs. [$1000/2000]

395. Set of Six Tiffany & Co. Makers Sterling Silver Beakers , 1955-1965, pattern introduced 1940, tapered form with incised banding at foot, each h. 5 ¼ in., total weight 45.60 troy ozs. [$1500/2500]

392. American Aesthetic Gilt Incised and Ebonized Fern Stand, 19th c., Killian Brothers, New York, molded circular top, three supports mounted with birds, urn finial base, outswept legs, h. 37 in. [$500/700]

394. Five American Sterling Silver Julep Cups, mid-to-late 20th c., each tapered form with molded rim and incised banding, h. 3 5/8 in., total weight 18.45 troy ozs. [$800/1200]

396. Georg Jensen Sterling Silver Tumbler, pattern 127B, c. 1930, presentation inscription on underside, h. 3 ½ in., weight 5.05 troy ozs. [$200/400]

397. Art Deco Hammered Sterling Silver Cocktail Pitcher, 1st half 20th c., George A Henckel & Co., act. New York, NY, 1902-1940, marked with Henckel’s trademark and “STERLING/GHS/THE GORHAM CO”, tapered form with angular handle, short spout with cover, molded foot rim, note missing cover, h. 12 3/8 in., weight 37.30 troy ozs.

[$600/900]

399. Pair of Gorham Sterling Silver Vintage Motif Wine Coasters, no. A4839, reticulated grape, grape leaf and vine motif gallery, reserve monogrammed “JA”, turned wood bottom, h. 2 ½ in., dia. 5 in. [$300/500]

398. Good American Sterling Silver Covered Cocktail Pitcher, Frank M. Whiting “Early American” pattern, no. B907, ret. Spaulding & Gorham, Chicago, act. late 1920s to 1943, tapered form with mushroom top, molded bands and foot, and loop handle, engraved presentation on underside “WHENEVER YOU FILL THIS SHAKER/MAY EVERY DROP BE LADEN WITH/HAPPINESS AND GOOD CHEER/REMINDING YOU OF TWO DEVOTED FRIENDS/FRED AND EDITH,” note dent to cover, h. 10 3/4 in., weight 31.40 troy ozs.

[$800/1200]

400.Tiffany & Co. Sterling Silver-Mounted Walking Stick, probably late 19th/early 20th c., the silver top marked “TIFFANY & Co/MAKERS/ STERLING,” decorated with cast fleur-de-lis, script monogram, h. 2 ¼ in., weight 1.70 troy ozs., turned hardwood shaft, overall l. 35 5/8 in.

[$300/500]

401. Continental .800 Chased Silver Cane Handle, D. Vollgold & Sohne, Berlin, 2d half 19th c., w. 4 ¼ in., weight 2.85 troy ozs.; together with Persian .875 silver cigarette case, chased arabesque decoration, gilt wash interior, 6 3/4 in. x 3 3/8 in., weight 7.5 troy ozs.

[$300/500]

402. Georg Jensen Sterling Silver Coffee and Tea Service, pattern 80A, designed by Georg Jensen 1915, c. 1930, incl. coffee pot (h. 6 ½ in.), teapot, covered sugar and graduated cream jugs (h. 3 5/8 in. and 2 5/8 in.), ebony handles and finials, some pieces with 1930s presentation inscriptions on underside, 5 pcs., total weight 40.85 troy ozs.

[$1500/2500]

403. Pair of Gorham Sterling Silver Three-Light Candelabra in the Neo-Classical Taste, no. A8510/3, date marks for 1928, removable candlearms convertible to single candlesticks, urn-form candlecups with removable bobèches, monogrammed, weighted bases, note dent to one candlecup, h. 18 1/8 in. [$1000/1500]

404. Set of Four Gorham Sterling Silver Corinthian Columnar Candlesticks, No. A3208, ret. Harris & Shafer, Washington D.C., 1 with date mark for 1911, 3 with date marks for 1915, weighted bases, h. 12 ¼ in. [$700/900]

405. Pair of Edwardian Sterling Silver Corinthian Columnar Candlesticks, Goldsmiths & Silversmiths Co., Ltd., London, 1901, h. 6 3/4 in. [$300/500]

406. American Classical Mahogany Center Table, 19th c., possibly Boston, marble top, molded frieze, large hexagonal urn form standard, trefoil plinth base, turned disk pads, h. 30 in., dia. 48 in.

[$5000/7000]

407. American Classical Bronze-Mounted Brass Inlaid Mahogany Pier Table, mid-19th c., attr. Michael Allison, New York, “CA” signed mounts, marble top, die-cut brass bordered frieze, tapered bronze mounted columnar supports, tapered pilasters flanking mirror, incurvate plinth base, carved acanthus paw feet. [$5000/7000]

408. American Classical Carved Mahogany Curule Chamber Table, early 19th c., attr. Duncan Phyfe, New York, four drawer case, center drawer with divided interior, reeded curule base, turned stretcher, paw feet, castors, h. 33 5/8 in., w. 36 1/2 in., d. 20 in.

[$2000/3000]

Note: The curule base on the table here is closely related to a large suite of furniture made by Duncan Phyfe for New York merchant Thomas Cornell Pearsall, most of which is now in the collection of the Metropolitan Museum of Art. Each piece of seated furniture in the Pearsall suite features a similarly styled base with a baluster-turned stretcher and delicate paw feet, also seen on the table in the present lot. The overall form of this table is a near match to a dressing table made by Phyfe for the home of James Vanderpoel in Kinderhook, New York, illustrated in Nancy McClelland’s Duncan Phyfe and the English Regency, 1735-1830.

Ref.: Brown, Michael K. and Peter M. Kenny. Duncan Phyfe: Master Cabinetmaker in New York. New York: Metropolitan Museum of Art, 2011, p. 178; McClelland, Nancy. Duncan Phyfe and the English Regency, 1735-1830. New York: Dover Publications, 1980 (org. 1939), p. 171 (also see pp. 289-293).

409. Important American Classical Bronze Mounted Mahogany Secrétaire Abattant, early 19th c., attr. Duncan Phyfe, New York, marble top, arched frieze, book matched veneer, fall-front paneled door, fitted interior, paneled cabinet doors, columnar supports, lobed feet, Inscription on interior drawer notes: this desk was made for banker Eugene Kelly c. 1830 then passed by marriage through his daughter Eugenia to James A. G. Beales of New York. h. 59 1/8 in., w. 43 in., d. 19 1/2 in. [$5000/7000]

The Abattant offered here at Neal Auction is very closely related to Christie’s Lot# 1297 Jan. 18th 2019. Abattant with original bill of sale from Duncan Phyfe to J.E. Haight, dated April 20th, 1832. The Secretaire à Abattant is a distinct neo-classical French form that appeared in the last quarter of the 18th century. In the United States, French émigré craftsmen working in New York such as Charles-Honoré Lannuier and the Scotsman Duncan Phyfe were influenced by designs published in Pierre de la Mésangère’s Collection des Meubles et Objets de Goût editions between 1802 and 1826, including plate 57 from the 1803 version, in which Mésangère highlights the use of large sheets of figured veneers, ormolu capitals and bases on the columns, and ormolu appliqués on the friezes.

Ref.: Peter M. Kenny and Michael K. Brown. Duncan Phyfe: Master Cabinetmaker in New York. New York: The Metropolitan Museum of Art, 2011, p. 214, pl.37; Tom Armstrong. An American Odyssey, The Warner Collection of American Fine and Decorative Arts. New York: The Manacelli Press, 2001, p. 205. “32

410. American Classical Finely Carved Mahogany Four Poster Bed, early 19th c., Philadelphia, school of Anthony Quervelle paneled headboard with acanthus carved scrolled crest, complex turned and acanthus carved posts with anthemion collars, conforming rails, h. 92 in., w. 58 in., l. 81 1/2 in.

[$2,000/4,000]

411. American Classical Inlaid Mahogany Games Table, 19th c., New York, swivel foldover top, string inlaid conforming frieze, ring turned standard, acanthus, hairy paw feet, castors, h. 29 1/2 in., w. 41 in., d. 20 in. [$1200/1800]

412. American Victorian Parcel Gilt, Ebonized Walnut Pier Mirror, late 19th c., together with an associated marble top console, turned legs, h. 96 in., w. 37 1/2 in., d. 14 in.

[$800/1200]

413.Set of Eight American Classical Inlaid Mahogany Dining Chairs, 19th c., probably Philadelphia, flame mahogany, string inlaid crest, rosette carved splat, slip seat, sabre legs, h. 31 in., w. 18 1/2 in., d. 17 in. [$1000/1500]

414. American Classical Bronze Mounted Carved Mahogany Pier Table, 19th c., New York, probably J. & J.W. Meeks, marble top, arched frieze with blind drawer, bronze mounted marble columns supports and pilasters, incurvate plinth, faceted tapered feet, h. 35 1/2 in., w. 42 1/2 in., d. 20 in. [$4000/6000]

415. Important American Classical Parcel Gilt Rosewood Center Table, 19th c., New York or Boston, marble top, conforming frieze with gilt molding, triangular columnar support on gilt spheres, triangular plinth base, carved block feet with lotus leaves, h. 30 in., dia. 41 in.[$8,000/12,000]

416. American Classical Carved Mahogany Sideboard, late 19th c., New York, in the manner of Charles Lannuier, blocked backsplash above three beveled drawers, four paneled cupboard doors, acanthus carved columns, blocked plinth carved legs, brass paw feet, h. 52 in., w. 71 in., d. 23 in. [$2000/3000]

417. Renaissance-Style Cast-Stone Planter, the frieze depicting Adam and Eve, resting on lion supports, h. 16 1/2 in., w. 37 in., d. 12 in. [$600/900]

418. Pair of Coalbrookdale-Style Cast-Iron Garden Benches, in the “Oak and Ivy” pattern, rounded arms terminating in lion heads, wood slat seat, h. 37 1/2 in., w. 58 in., d. 27 in. [$1200/1800]

419. Pair of Coalbrookdale-Style Cast-Iron Garden Benches, in the “Oak and Ivy” pattern, the rounded arms terminating in lion heads, wood slat seat, h. 37 1/2 in., w. 58 in., d. 27 in. [$1200/1800]

420. Coalbrookdale-Style CastIron Garden Table, in the “Oak and Ivy” Pattern, marble top, h. 19 in., w. 48 1/2 in., d. 48 1/2 in. [$400/600]

Antique

422.

American Cast-Iron Garden Bench, in the Gothic taste, after the design by Carron Co., Scotland, h. 34 1/2 in., w. 41 in., d. 18 in. [$500/700]

421. Antique American Cast-Iron Garden Bench, in the Gothic taste, after the design by Carron Co., Scotland, h. 36 in., w. 60 in., 19 in. [$800/1200]

425. Antique Continental Cast-Stone Cherub Terminus Garden Statue, illegible tag to base, based on the boundary markers of European estates, h. 65 in., w. 11 in., d. 11 in.

[$700/1000]

423. Eight Classical-Style Metal Garden Chairs, h. 33 in., w. 19 in., d. 16 1/2 in.

[$700/1000]

Provenance: The Bultman Family Collection, New Orleans, LA.

424.Decorative American Patinated Brass and Marble Garden Sundial, by Flora & Fauna, dial with Father Time, on outswept green marble base, h. 12 1/2 in., dia. 11 1/4 in.

[$400/600]

427. Pair of Antique American Cast-Iron Hitching Posts, foliate designs, fluted central column, flanked by rings, h. 49 1/2 in.

[$700/1000]

426. Antique American CastIron Hitching Post, organic form, retaining single ring, total h. 62 1/2 in., h. installed 40 in. [$400/500]

428. Antique American CastIron Figural Hitching Post, depicting a jockey with outstretched arm, the base with mounting flanges, h. 47 in., w. 16 in., d. 16 in.

[$700/1000]

429. Antique American CastIron Hitching Post, trefoil brass, rings, the lower collar cast with lion masks, h. 50 in. [$400/600]

430. American Cast-Iron George Washington Boundary Marker, posed in uniform, on plinth base, h. 37 in., w. 13 in., d. 15 in. [$600/900]

431. Art Deco-Style Garden Figure, faux-marble composite figure with outstretched arms, on self-pedestal, h. 71 in., w. 17 in., d. 36 in.

[$500/700]

432. Antique American Cast-Iron Bell, marked “Eagle Bell Co., Lebanon, PA”, lacking cradle, h. of bell only 11 1/2 in., dia. 19 1/2 in. [$300/500]

433. Pair of Large Antique American Cast-Iron Boot Scrapers in the Gothic Taste, with integral mounting posts, h. 11 1/2 in., w. 14 in., d. 6 3/4 in. [$300/500]

434. Fine Kirk Sterling Silver Repousse Water Pitcher, 1896-1924, marked “S. KIRK & SON CO/925/1000/32”, spherical form with finely worked floral repousse on a stippled ground, foliate and scroll collar, scroll handle, h. 8 3/4 in., weight 37.45 troy ozs. [$1500/2500]

436. Stieff Sterling Silver Repousse Compote, no. 120C, floral repousse on stippled ground, h. 4 1/8 in., dia. 8 ¼ in., weight 13.40 troy ozs. [$400/600]

435. Kirk Sterling Silver Repousse Oval Platter, 1896-1924, marked “S. KIRK & SON CO/925/1000/2517”, border of floral repousse on stippled ground, laurel leaf rim, 16 3/4 in. x 11 ½ in., weight 31.15 troy ozs. [$800/1200]

437. Kirk Sterling Silver Repousse Footed Bowl, marked “S. KIRK & SON/ STERLING/233”, lobed bowl chased with fruit, berries, flowers and leaves on stippled ground, ball feet, h. 2 ½ in., dia. 9 ¼ in., weight 16.30 troy ozs. [$500/700]

438. Two Kirk Sterling Silver Small Bowls and One Bread Plate, nos. 409, dia.6 ¼ in.; 407A, dia. 5 5/8 in.; and 127F, dia. 6 ¼ in.; total weight 12.70 troy ozs. [$300/500]

439. Two Kirk Sterling Silver Repousse Footed Bowls , each with floral rim and tall feet with floral brackets and hoof feet, larger with monogram; nos. 215, h. 2 7/8 in., dia. 6 ¼ in.; and 207, h. 3 in., dia. 5 in.; total weight 11.65 troy ozs. [$300/500]

441. Kirk Sterling Silver Repousse Salver, 1896-1924, marked “S. KIRK & SON CO/925/1000”, foliate rim, floral repousse border on stippled ground, flatchased well centering old script monogram,ball and claw feet, dia. 8 in., weight 9.95 troy ozs. [$300/500]

440. Kirk Sterling Silver Repousse Bowl, no. 219AF, everted rim with floral chasing on stippled ground, h. 2 ½ in., dia. 9 3/8 in., weight 14.05 troy ozs. [$400/600]

442. Steiff Sterling Silver Repousse Circular Tray, no. 200, date mark for 1938, hand- chased floral rim on stippled ground, dia, 14 in., weight 32.80 troy ozs. [$800/1200]

443. Antique Gorham Sterling Silver Circular Vegetable Dish, no. 4525, date mark for1896, chased with flowers and scrolls, h. 2 ½ in., dia. 9 1/8 in. weight 9.90 troy ozs., weight 9.90 troy ozs. [$300/500]

444. Gorham “Chantilly Grand” Sterling Silver Tureen and Cover, no. A576, date mark for 1899, no monogram h. 7 ½ in., w. 9 in., weight 25.65 troy ozs. [$500/700]

446. Reed & Barton “Burgundy” Pattern Sterling Silver Coffee and Tea Service, pattern no. 745, incl. coffee pot (h. 9 3/4 in.), teapot, covered sugar, creamer and waste bowl, no monograms, total weight 116 troy ozs. [$2500/3500]

445. Gorham “Chantilly Grand” Sterling Silver Gravyboat and Underplate, nos. A579 and A595, date marks for 1956 and 1956, no monogram, l. 7 5/8 in. and 8 3/8 in., combined weight 18.95 troy ozs. [$400/600]

447. Reed & Barton “Francis I” Pattern Sterling Silver Bread Tray, no. X568, l. 11 _ in.; together with a “Francis I” sterling compote, no. X566, date mark for 1952, h. 3 in., dia. 7 in.; total weight 21.90 troy ozs. [$400/600]

448. Reed & Barton “Francis I” Pattern Sterling Silver Oval Vegetable Bowl, no. X566, h. 2 3/4 in., l. 12 3/4 in., weight 19.90 troy ozs. [$400/600]

449. Reed & Barton “Francis I” Sterling Silver Bowl and Footed Bowl, nos. X569 (date mark for 1947) and X569F, h. 2 3/4 in. x dia. 11 ¼ in. and h. 3 ¼ in. x dia. 11 ¼ in.; total weight 44.55 troy ozs. [$1000/1500]

450. Two Reed & Barton “Francis I” Sterling Silver Bowls, no. X569, one with date mark for 1949, each h. 1 3/4 in., dia. 8 in.; total weight 19.90 troy ozs. total weight 19.90 troy ozs. [$400/600]

451. Two Reed & Barton “Francis I” Pattern Sterling Silver Sandwich Trays, no. X569, date marks for 1949, dia. 11 3/8 in., total weight 35.25 troy ozs. [$700/1000]

452. Reed & Barton “Francis I” Pattern Sterling Silver Cakestand, no. X565, h. 4 in., dia. 11 ¼ in., weight 24.65 troy ozs. [$400/600]

453. French 1st Standard (.950 Fine) Silver Gilt Dresser Set, Pierre Kotowski, early 20th c., incl. hand mirror, 3 hair brushes, 2 clothes brushes, 4 cut and etched glass bottles, 2 circular jars and 2 oblong jars, the silver gilt mounts with rocaille chasing, gilt tooled embossed leather fitted case. [$4000/6000]

454. Gorham Sterling Silver Tazza, no. A7090, mid-20th c., serpentine molded rim, wide border with cartouches and floral garlands, pedestal base with floral scrolls and scroll feet, monogram, h. 4 in., dia. 10 3/4 in., weight 25.65 troy ozs. [$500/700]

456. American Sterling Silver Tazza in the Rococo Taste, Frank Smith, no. 2671, molded foliate scroll border, reticulated and flat-chased surround with foliate scrolls and diapering, h. 1 ½ in., dia. 12 in., weight 21.80 troy ozs. [$400/600]

455. Gorham Sterling Silver Reticulated Centerbowl, no. 5715, date mark for 1906, everted serpentine rim with floral scrolls and beading, monogrammed well, h. 2 5/8 in., dia. 12 ¼ in, weight 21.50 troy ozs. [$500/700]

457. Fine American Sterling Silver Gallery Tray, Dominick & Haff, New York, NY, 1887, ret. J.E. Caldwell & Co., Philadelphia, circular with shaped reticulated gallery interspersed with shells, monogrammed well, ball feet, h. 2 ¼ in., dia. 11 in., weight 17.25 troy ozs. [$400/600]

458. Reed & Barton “Chippendale” Pattern Sterling Silver Oblong Serving Dish, no. X376, no monogram, l. 14 7/8 in., w. 10 ¼ in.; together with Reed & Barton “Windsor” sterling oblong vegetable dish, no. X959, date mark for 1937, monogrammed, h. 2 in., l. 11 in., w. 8 in.; combined weight 42.85 troy ozs. [$1000/1500]

459. American Sterling Silver Oval Platter, Frank M. Whiting, no. 2554, robustly molded scroll border, deep well, no monogram, l. 17 3/4 in., w. 12 7/8 in., weight 41.75 troy ozs. [$800/1200]

460. Fine Gorham Sterling Silver Tray, no. 1886, Gorham date mark for 1886, ret. Howard & Co., New York, gadrooned rim with reticulated border, no monogram, l. 10 3/4 in, w. 10 3/4 in., weight 27.20 troy ozs. [$700/1000]

462. Tiffany & Co. Makers Sterling Silver Salver, pattern introduced 1913, chased neoclassical decoration, circular molded foot, h. 1 ¼ in., dia. 10 3/5 in.; together with Tiffany & Co. Makers sterling circular serving dish, pattern introduced 1884, molded rim, dia. 13 in., combined weight 49.40 troy ozs. [$1000/1500]

461.J.E. Caldwell & Co. Sterling Silver Octagonal Platter, Philadelphia, late 19th/early 20th c., molded rim, flatchased border with monogram and crest, 17 5/8 in. x 12 ¼ in., weight 38.15 troy ozs. [$700/1000]

463.Good American Sterling Silver Basket, Shreve & Co., San Francisco, early 20th c., swing handle, openwork woven body with cast grape and grapeleaf border, h. (to top of handle) 6 in., dia. 8 3/4 in., weight 11.55 troy ozs. [$300/400]

464. American Sterling Silver Centerbowl in the Rococo Taste, Meriden Brittania, 20th c., no. 720, everted rim with molded shell and scroll border and latticework reticulation and floral swags, h. 3 ¼ in., dia. 13 ½ in., weight 49.35 troy ozs. [$1000/1500]

466. Whiting “Madam Jumel” Pattern Sterling Silver Asparagus Tray and Mazarine, nos. 9332 and 9332C, date mark for 1914, monogrammed, l. 13 1/8 in., w. 8 3/4 in., weight 30.20 troy ozs. [$800/1200]

465. Gorham Sterling Silver Footed Centerbowl, no. A3656, date mark for 1907, serpentine everted rim with molded foliate scroll border and conforming foot, monogrammed, h. 5 1/8 in., dia. 11 ½ in., weight 36.55 troy ozs. [$700/1000]

467. Tiffany “Chrysanthemum” Pattern Sterling Silver Asparagus Tongs, pat. 1880, designer Charles Grosjean,1st half 20th c., monogrammed, l. 7 ½ in., weight 6.45 troy ozs. [$400/600]

468. Fine Dominick & Haff Sterling Silver Footed Stand, 1879, New York, NY, act. 1872-1928, square with scroll handles , floral scroll border, floral repousse on stippled ground, diaper tooled well, h. 2 ½ in., w. 12 1/8 in., d. 9 5/8 in., weight 28.20 troy ozs. [$700/1000]

469. English Regency Satinwood Inlaid Mahogany Breakfront Serving Table, 19th c., backsplash with scroll corners, banded top, molded frieze, tapered fluted legs, h. 34 in., w. 66 in., d. 27 in.

[$1500/2500]

Antique French

, flared cornice, stiles with half-round ornaments, two doors, shelf interior, blocked apron, compressed flat round feet, h. 102 1/2 in., w. 67 1/2 in., d. 27 1/2 in. [$600/900]

471.

Walnut Armoire

472. Georgian Carved Mahogany Octagonal Tilt-Top Breakfast Table, 19th c., reed edge, turned standard, sabre legs, castors, h. 28 in., w. 52 in., d. 37 1/2 in. [$1000/1500]

470. Queen Anne-Style Inlaid Carved Oak Welsh Dresser, 20th c., molded cornice, plate shelves flanked by paneled cabinets, base with three molded drawers, cabriole legs, h. 77 in., w. 72 in., d. 19 1/2 in. [$1500/2500]

473. English Regency-Style Carved Mahogany Four-Tiered Trolley, late 19th c., galleried tiers, turned supports, molded edges, castors, h. 30 in., w. 30 in., d. 17 in. [$700/1000]

474. Fine Regency Inlaid Carved Mahogany Jupe-Style Circular Extension Dining Table, 19th c., conforming extension leaves, top with inlaid edge, ring mounted slides on frieze, string inlaid square tapered legs, brass ball feet, h. 31 in., dia. 79 1/2 in. [$5,000/7,000]

Provenance: Bethany Ewald Bultman, New Orleans, LA.

475. Fine Set of Twelve George I Carved Mahogany Dining Chairs, late 18th/early19th c., labeled Frank Partridge Works of Art, 26, King St. St. James’s and New York, scrolled crest rail, pierced carved splat, drop in seats, conforming seat rail, C-scroll knees, ball and claw feet, armchair h. 40 in., w. 26 1/2 in., d. 21 in., side h. 40 in., w. 24 1/2 in., d. 18 1/2 in. [$5000/7000]

476. Pair of English Chippendale-Style Carved Walnut Torchères, 19th c., tray top, foliate and C-scroll carving throughout, tripod standard, h. 48 in., w. 14 1/2 in., d, 14 1/2 in. [$1500/2500]

477. Pair of Georgian-Style Mahogany Dumbwaiters, 19th c., circular tiers with reeded edge, turned standard, sabre legs, brass cuffs casters, h. 37 1/2 in., dia. 21 in. [$700/1000]

Provenance: Waldhorn’s Antiques, New Orleans, LA.

478. Georgian Carved Walnut Secretary Bookcase, 19th c., upper case with molded cornice, glazed doors, lower case with pullout slide, fitted secretary drawer over three drawers, bracket feet, h. 81 1/2 in., w. 47 1/2 in., d. 23 in. [$800/1200]

482.Antique American Ships Wheel, brass inlay, iron hardware, dia. 68 in.

[$1000/1500]

479. Pair of Antique English Carved Walnut Wing Chairs, 19th c., arched back with shaped wings, outswept arms, h. 51 1/2 in., w. 34 1/2 in., d. 35 in.

[$1200/1800]

480. Pair of George III Mahogany Side Tables, beaded drawer with bail handles, square tapered legs, h. 29 in., w. 38 in., d. 19 5/8 in.

[$700/1000]

Provenance: Henry Stern, New Orleans, early 1980s.

481. English Aesthetic-Style Carved Mahogany Sideboard, late 19th/ early 20th c., attr. to Maple and Co., broken arch crest, superstructure with molded shelves, turned support, mirrored back, lower case molded top, two bow front drawers flanked drawers over cabinets, incised foliate carving, h. 100 in., w. 72 in., d. 28 in.

[$1200/1800]

483. Antique American Carved and Polychrome Carousel Horse, glass eyes, leather and iron stirrups, leather tail, the outer side decorated with inset mirrors, supported on later pole, h. 58 in., w. 53 in., d. 14 in.

[$500/700]

Provenance: City Park, New Orleans, Louisiana

485. Antique New Orleans Tin Coffee

, 19th c. with lithographed image of the French Market, h. 17 ½ in., w. 19 in., d. 14 in.

487. [LSU Sheet Music], “Two LSU Songs” by Huey Long and Castro Carazo, “Darling of LSU” and “Touchdown for LSU”, 1935, published by National Book Co. Inc. New Orleans La., 6 pgs., 12 1/4 in. 9 1/8 in. [$150/250]

489. Louisiana Governor Leche Autographed Civil Code, A Republication of the Projet of the Civil Code of Louisiana of 1825 and A Republication of the Projet of the Code of Practice of Louisiana of 1825, published by the State of Louisiana, 1937, printed by Thos. Moran’s Sons, New Orleans, 2 volumes bound together, leather boards, limited edition number 87 of 100, presentation copy for Hon. Monte Lemann, for the dedication of Leche Hall, LSU Law School, signed by Governor Richard Leche, Secretary of State E.A. Conway [$300/500]

488. Antique New Orleans Sheet Music, 18 antebellum and Civil War-era sheet music, uniform size, 13 in. x 10 in. [$200/300]

Container

[$300/500]

484. Four Carved Duck Decoys, two signed by Tommy Hebert, largest 17 in. [$400/600]

486. Vintage LSU Cast-Brass Tigers Belt Buckle, early 20th c., slightly curved form, 1 1/2 in. x 3 in. [$200/300]

490. William Woodward, French Quarter Etchings of Old New Orleans, New Orleans, The Magnolia Press, 1938, first printing, 54 plates, with descriptions, 11 in. x 8 1/2 in. [$400/600]

491. [Leather Bindings], Hazlitt, William. The Life of Napoleon; De Bourrienne, Louis. Memoirs of Napoleon; and Memoirs of Madame Junot, Duchesse D’Abrams, New York, Grolier Society, 16 vols., octavo, 3/4 maroon morocco, one of 425 copies of the “Empire Edition”, this being #69 [$500/700]

492. [Leather Bindings], The Works of William Shakespeare, London, Grolier Society, c. 1880, 18 vols., 9 1/8 in. x 6 1/4 in., 3/4 blue leather (spine faded to brown) [$300/500]

493. Rare Antique French Academic Journals, Journal des Savans, Amsterdam, Chez Pierre le Grand/ Janssons a Waesberge, 1784, original edition started 1665, with 78 full leather volumes (5 1/4 in. x 3 in.), covering the years 1665-1712, volumes 1-80 ( lacking 2, 6, and 65) [$500/700]

494. Ruth Bader Ginsberg Typed Letter Signed, dated March 14, 2011, on Supreme Court stationary, to friends Bobby and Harry Kamen, thanking them, in part, for “the chocolate cake for my birthday”, signed with her childhood nickname “Kiki”, 8 5/8 in. x 6 1/4 in., mounted and framed. [$300/500]

495. Recency Carved Mahogany Center Table, 19th c., molded frieze, faceted standard, acanthus collar, triangular plinth, paw feet, h. 29 in., dia. 53 1/2 in. [$1000/1500]

496. Pair of Baroque-Style Carved Oak Barley Twist Benches, 19th and later c., upholstered seat, twist carved supports and stretchers, h. 20 in., w. 30 1/2 in., d. 16 in. [$800/1200]

497. Pair of Chippendale-Style Caved Mahogany Tall Chests on Stand, late 19th /early 20th c., dental molded cornice, blind carved fretwork, seven drawers, scrolled center shell apron, ball and claw feet, h. 69 in., w. 28 1/2 in., d. 19 in.

[$2000/3000]

498. Pair of British Colonial Ceylonese Carved Ebony Hall Chairs, 19th c., arched pieced carved gothic tracery crest and back flanked by finials, foliate carved supports, now with slip seats, scrolled seat rail, turned legs, h. 51 ¾ in., d. 18 in., w. 20 in.

[$1500/2500]

499. Important Fine Early Victorian Inlaid Specimen Woods, Marquetry and Carved Mahogany Center Table, mid-19th c., stamped J. Aspinwall 70 Grosvenor St, elaborate segmented and geometric inlay top, carved standard, tripod base with shell carvings, cabriole legs, chicken feet holding turtles, h. 28 ¼ in., dia. 44 ¼ in. [$8,000/12,000]

James Aspinwall, a listed cabinet and upholsterer at 70 Grosvenor Street London in 1845. During Aspinwall’s time in London, the Falcini brothers of Florence were exhibiting at the Great Exhibition in London in 1851. The use of a finely executed exotic inlaid top and turtle feet favors the possibility of a collaboration between James Aspinwall and the Falcini brothers. One example of a stamped Aspinwall and Falcini table sold as lot 84 at Sotheby’s in 2007.

500. Queen Anne Figured Walnut Secretary Bookcase, 18th c., and later, molded arched cornice mounted by finials, molded arched mirror doors, fitted interior, lower case with banded fall front lid, fitted desk interior, two short drawers over two long, bun feet. 90 in., w. 38 in., d. 23 in. [$2500/3500]

501. Neoclassical-Style Carved Mahogany Pier Table, 19th c., after a Thomas King design, white marble top, blind frieze drawer, scroll carved supports, mirrored back, molded plinth base, h. 35 5/8 in., w. 41 5/8 in., d. 18 1/2 in.

[$2000/3000]

502. Late Regency Inlaid Carved Rosewood Teapoy, 19th c., after design by Thomas King, fitted sarcophagus form case, lotus and beaded carved standard, lobed collar, triangular base, paw feet, h. 36 in., w. 18 1/2 in., d. 12 in.

[$1000/1500]

504. Regency Mahogany Mechanical Architect’s Desk, 19th c., in the manner of Gillows, dual action tilting surface with removable book rest, height adjustable, trestle base, turned stretcher, sabre legs, castors, h. 31 in., w. 25 3/4 in., d. 20 5/8 in. [$800/1200]

503. George III Carved Mahogany Cumberland-Action Dining Table, 19th c., D-end drop leaves, reed edge top, turned supports, sabre legs brass cap castors, h. 28 in., w. 60 in., d. 50 in. [$1000/1500]

505. English Three Tier Walnut Trolley, 19th c., rosette centered backsplash flanked by gadrooning and finials, molded shelves, turned supports, castors, h. 52 in., w. 42 in., d. 18 1/2 in. [$700/1000]

506. Regency Rosewood Pedestal Desk, 19th c., tooled leather top, three frieze drawers, pedestals with three drawers, bracket feet, h. 28 in., w. 53 5/8 in., d. 26 1/2 in. [$1000/1500]

507. Pair of Vintage Leather Club Chairs, 20th c., by E. J. Victor, Connoisseur, tufted back, brass nail head upholstery, turned legs, castors, h. 45 1/2 in., w. 40 1/2 in., d. 29 in.

[$2000/3000]

509. Regency Carved Mahogany Cellarette, 19th c., molded hinged top, fitted liner, molded sides, canted corners, brass handles, turned feet, castors, h. 22 in., w. 27 in., d. 20 1/4 in.

[$700/1000]

510. Francisco Zúñiga (Costa Rican/Mexican, 1912-1998), “Mujer con Tocado”, 1979, pastel on paper, signed and dated l ower left, 27 3/4 in. x 19 3/4 in., framed, overall 35 1/2 in. x 28 1/2 in. x 1 1/4 in.

[$1000/1500]

Neal Auction would like to thank Ariel Zúñiga for his assistance in cataloguing this lot. Note: This work to be included in the Zúñiga Catalogue Raisonneé.

Provenance: Collection of Sally and the Late Dr. Lawrence O’Meallie, New Orleans

508.Georgian Inlaid Satinwood Mahogany Chest of Drawers, 19th c., banded, molded top, four banded drawers, bracket feet, h.

[$1000/1500]

Toledo

1940-2019), “Untitled”, oil and sand on canvas, signed and inscribed “Paris” en verso, 28 3/4 in. x 36 1/4 in., framed, overall, 32 1/4 in. x 39 3/4 in. x 2 in. [$40,000/60,000

Provenance: Collection of Sally and the Late Dr. Lawrence O’Meallie, New Orleans

Francisco Toledo was born in 1940 in Juchitán, Mexico. He studied at the Benito Juarez Autonomous University in Oaxaca and the Taller Libre de Grabado in Mexico City before moving to Paris in 1960. Toledo honed his printmaking skills in the studio of Stanley William Hayter and learned from writer Octavio Paz, artist Rufino Tamayo, and many others. By the time he returned to Mexico in 1965, he was celebrated in Europe for his “development of the mythic” and “his sacred sense of life.” Toledo then settled in Oaxaca and was part of “la Ruptura” (or the Breakaway Generation), a group of Mexican artists working against established nationalistic styles. His imagery often featured Zapotec elements from his indigenous pre-Columbian heritage. Toledo was regarded by many as Mexico’s greatest living artist until his death in 2019.

Toledo’s art is based on a fantastic realism that reflects a deep appreciation for, and astute observation of, nature, in particular animals not often associated with beauty, such as insects, toads and bats. Anthropomorphized creatures and metamorphosed objects are persistent facets of his work, which consistently served as an homage to the cosmic mysteries of the world. His style has been described as using folklore, Shamanism, and mysticism to blend animals and humans; expressionistic; and environmental. Upon his move to Paris, Toledo soon evolved a sacred, fanciful zoology in drawings and paintings, connecting his

practice both to the indigenous world of his native Juchitán and to the modern symbolism popular with many of his contemporaries such as Klee and Chagall. These traits are evident in the important work offered here, signed and inscribed “Paris” en verso. The painting also displays the influence of Tamayo in the use of sand to create a heavily textured, rich surface. The subject is a surrealist confluence of the natural and supernatural, fraught with a sense of mystery that invites the viewer to further explore Toledo’s fantastical world.

Toledo was called El Maestro, the master or teacher, who was devoted to bringing art to the masses. He was deeply invested in his community in Oaxaca and thus created the Oaxaca Museum of Contemporary Arts, the Graphic Arts Institute of Oaxaca, a library for the blind, a photographic arts center, a botanical garden, and more. He described these projects as his inspiration to continue producing and selling art. Toledo’s work is now included in the collections of major institutions in the United States, Mexico, and internationally.

Ref.: “Biographical Note.” Francisco Toledo. www.franciscotoledo.com. Accessed Oct. 18, 2024; “Francisco Toledo.” The Met. www.metmuseum.org. Accessed Oct. 18, 2024; “Francisco Toledo.” Davidson Galleries. www.davidsongalleries.com. Accessed Oct. 18, 2024.

511. Francisco Benjamin Lopez

(Mexican,

512. Eric Orr (American/California, 1939-1998), “Night Shift #9”, 1987, oil on wood panel mounted to leadwrapped wood panel, signed, titled twice and dated en verso, 60 in. x 48 in., unframed. [$15,000/25,000]

Provenance: Collection of Sally and the Late Dr. Lawrence O’Meallie, New Orleans

Eric Orr was an artist active in the Light and Space movement who worked in various media including painting, installation, sound art, performance, and sculpture. Orr used traditional fine art materials along with sound and elements from the natural world such as light, water, fire, lead, gold leaf, and even his own blood in his compositions. Concerned with the nature of perception itself, Orr created emotionally and often physically monumental works that ask the viewer to be present. A painting such as “Night Shift #9” can be understood as an offspring of the Color Field painters such as Mark Rothko in its atmospheric integrity. In deep contemplation, Orr’s claret-hued painting “opens” into a three-dimensional space where light quietly filters in, and the steel frame with its intentionally irregular bumpy surface becomes a portal to a spiritual experience.

Eric Orr’s work has been exhibited extensively. Highlights include documenta vii, Sydney Biennale, Venice Biennale, and Copenhagen Contemporary. Public collections include the Museum of Modern Art, Centre Pompidou, Los Angeles County Museum of Art, Whitney Museum of American Art, the Solomon R. Guggenheim Museum, and he is included in multiple private collections.

513. Luis López Loza (Mexican, b. 1939), “Montaña Imaginaria”, mezzotint and aquatint, pencil-signed and inscribed “Prueba de Color” lower margin, “Carmen Llewellyn Gallery, New Orleans” exhibition label with artist and title on backing paper, sheet 26 in. x 19 1/2 in., framed, overall 30 5/8 in. x 24 5/8 in. x 1 in. [$200/300]

Provenance: Collection of Sally and the Late Dr. Lawrence O’Meallie, New Orleans

514. Gunther Gerzso (Mexican, 1915-2000), “Paisaje”, 1978, serigraph, pencil-signed, dated and inscribed “P/A” lower right, signed, titled, dated and personalized en verso, sheet 22 in. x 30 in., framed, overall 30 1/4 in. x 38 in. x 7/8 in. [$800/1200]

Provenance: Collection of Sally and the Late Dr. Lawrence O’Meallie, New Orleans

515. Gunther Gerzso (Mexican, 1915-2000), “Naranja-Azul-Verde”, 1978, oil on masonite, signed and dated lower right, signed, titled and dated en verso, 18 in. x 25 1/2 in., framed, overall 22 in. x 29 1/2 in. x 1 3/4 in. [$150,000/250,000]

Provenance: Collection of Sally and the Late Dr. Lawrence O’Meallie, New Orleans

One of the most significant Mexican avant-garde artists of the twentieth century, Gunther Gerzso made substantial contributions to both Surrealism and geometric abstraction. Born in Mexico City to a Hungarian Jewish father and a German mother, he held a pivotal role within the international community of Surrealists in the 1940s and 1950s. As a teenager, Gerzso was sent to Lugano, Switzerland to live with his uncle, an art collector and dealer. He returned to the Americas in the early 1930s to work as a set designer for theater and film productions, living between Cleveland, Ohio, and Mexico. With the aim of launching a painting career, he resettled permanently in Mexico City in early 1941. In 1946, Gerzso had a breakthrough that led to the development of his signature style. While travelling around Mexico for his set design projects, he came to deeply appreciate precolonial art and architecture, borrowing from it to paint shimmering scenes of intricate structures.As stated in his official biography:

He was a mixture of Mexican and German (European) cultures. He accepted that his oil painting technique was evolving to that of traditional European painting. For example, he greatly admired Matthias Grunewald. And he kept exploring his

themes which were mostly based on pre-Hispanic Mexican architecture, specifically Altiplano (Toltec, Teotihuacan, Aztec, etc.) and Maya. And yet it seems that he could no longer give up drafting and designing as he had done in the theater and movies for over 30 years. By looking at his artists and design drawings, it is evident that he found a way to explicitly design his paintings as if they were sets.

Later works such as “Naranja-Azul-Verde” of 1978 offered here move further away from pictorial representation; they are generally characterized by vivid colors and sharply defined patterns of overlapping rectilinear planes, suggestive of both architectural forms and the landscape Gerzso so deeply admired. He utilized rich, jewel-like glazes of color, sharp-edged architectural forms and the suggestion of three-dimensions to transform his paintings into powerful expressions of emotion which he called “landscapes of the spirit.”

Ref.: “Biographies of Gunther Gerzso and His Wife, Gene R. Cady.” Gunther Gerzso Archive & Store. www.gunthergerzso.com. Accessed Oct. 20, 2024; “Gunther Gerzso.” Art Institute of Chicago. www.artic.edu. Accessed Oct. 20, 2024.

516. Eugene Bonfanti Thurston (American/Texas, 1896-1993), “Ship Rock, N.M.”, 1967, oil on canvas board, signed, titled and dated en verso, 16 in. x 20 in., framed, overall 20 3/4 in. x 24 1/2 in. x 1 1/2 in. [$1500/2500]

517. Joseph Hitchins (British/Colorado, 1838-1893), “Cloudy Sky over the Valley” and “Clouds over the Snowy Peaks”, 2 oils on concave panels, both signed lower right and remnant labels en verso, each 8 1/2 in. x 10 3/8 in., unframed. (2 pcs.) [$1500/2500]

519. Cornelius Salisbury (American/Utah, 1882-1970), “Navajo Hogan”, 1950, oil on panel, signed and dated lower right, label with artist and title en verso, 12 in. x 16 in., framed, overall 14 3/4 in. x 18 3/4 in. x 1 1/8 in. [$800/1200]

518. 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. [$700/1000]

520. Peter Hurd (American/New Mexico, 1904-1984), “The Late Call”, 1949, lithograph, signed in plate lower right, pencil-signed lower right margin, 13 1/2 in. x 18 3/8 in., unframed. [$800/1200]

521. Navajo Crystal Rug, c. 1905, JB Moore era, Crystal, AZ, 4 ft. 4 in. x 5 ft. 6 in. [$1200/1800]

522. Navajo Crystal Rug, c. 1905, 4 ft. 2 in. x 6 ft. 6 in. [$600/900]

524. Navajo Transitional Rug, c. 1895, pre-JB Moore, 4 ft. 6 in. x 6 ft. 6 in. [$1200/1800]

523. Navajo Red Mesa Rug, c. 1920, Crystal, AZ, 4 ft. 4 in. x 7 ft. 4 in. [$1200/1800]

525. Navajo Transitional Rug, c. 1890, pre-JB Moore, with whirling logs, snakes, horny toads, and human figures, 4 ft. 2 in. x 6 ft. 9 in. [$2000/3000]

526. Aubusson-Style Tapestry, depicting animals and foliage, mountains in the distance, 6 ft. 10 in. x 7 ft. 9 in. [$500/700]

527. Persian Carpet, red and blue ground, central medallion, 7 ft. 1 in. x 10 ft. 10 in. [$1000/1500]

528. Persian-Style Rug, red ground, triple medallion, 4 ft. 4 in. x 8 ft. 7 in. [$500/700]

529. Indian Carpet, cream ground, overall foliate design, 7 ft. 9 in. x 10 ft. [$700/1000]

530. Persian Rug, repeating grid design, 5 ft. 5 in. x 7 ft. [$400/600]

531. Persian Carpet, central medallion, 9 ft. 7 in. x 13 ft. 1 in. [$700/1000]

532. Antique Chinese Carpet, khaki and blue, 9 ft. 1 in. x 12 ft. 2 in. [$800/1200]

534. Antique Kazak Carpet, 5 ft. 2 in. x 6 ft. 5 in. [$300/500]

533. Antique Chinese Carpet, gold ground, designs of moths, dragons, and foliage, 9 ft. 1 in. x 11 ft. 10 in. [$1200/1800]

535. Karabagh Rug, Southwest Caucasus, c. 1910, signed, 4 ft. 2 in. x 5 ft. 11 in.; note: small restoration to one side [$500/700]

536. Charles Woodward Hutson (American/South Carolina, 18401936, active Louisiana, 1908-1936), “Path and Forest”, pastel on board, initialed lower right, 8 in. x 12 in., framed, overall 9 in. x 13 1/2 in. x 3/4 in. [$700/1000]

537. Charles Woodward Hutson (American/South Carolina, 1840-1936, active Louisiana, 1908-1936), “Autumn Field”, pastel on board, initialed lower right, 7 in. x 10 1/2 in., framed, overall 12 1/4 in. x 15 1/2 in. x 5/8 in. [$700/1000]

538. Clementine Hunter (American/Louisiana, 1886-1988), “Funeral”, oil on canvas, monogrammed lower left, 10 in. x 13 3/4 in., framed, overall 15 in. x 19 in. x 1 1/8 in.

[$3000/5000

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

539. Clementine Hunter (American/Louisiana, 1886-1988), “Harvesting Gourds at the African House”, oil on board, monogrammed lower right, 16 in. x 24 in., framed, overall 16 3/4 in. x 24 3/4 in. x 7/8 in.

[$4000/6000]

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

540. Clementine Hunter (American/ Louisiana, 1886-1988), “Courtroom Scene”, oil on canvas board, monogrammed lower right, partial sketch and inscribed en verso, 22 in. x 30 in., framed, overall 26 1/2 in. x 34 1/2 in. x 1 1/4 in. [$5000/7000]

Provenance: Acquired from the family of Cammie Henry, c. 1980; Private Collection; Neal Auction, Nov. 17, 2018, lot 558.

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

541. Clementine Hunter (American/Louisiana, 1886-1988), “Funeral Procession”, oil on canvas board, monogrammed lower right, 24 in. x 30 in., framed, overall 30 1/4 in. x 36 1/4 in. x 2 in. [$5000/7000]

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

542. Theora Hamblett (American/Mississippi, 1895-1977), “Buzzard’s Home”, 1955, oil on masonite, signed and dated lower right, inscribed with artist, title and “The Parsons Gallery / deliver to 1083 5th Ave. / Nat. Academy of Design / open til 7 pm” en verso, 24 in. x 18 in., framed, overall 28 in. x 22 in. x 1 1/2 in.

[$25,000/35,000]

Exh.: “Paintings by Theora Hamblett”, The Department of Art of the University of Mississippi, Oxford, MS, Nov. 20, 1955, catalogue no. 18; “Annual Exhibition”, National Academy of Design, New York, NY, Feb. 23/ Mar. 16, 1956; “Theora Hamblett Paintings”, Betty Parsons Gallery, New York, NY, May 12/31, 1955, catalogue no. 5.

Renowned for her self-taught painting style, Theora Hamblett became one of Mississippi’s most celebrated and distinguished artists. Hamblett began her professional career later in life at the age of fifty-five, eschewing the abstract style popular at the time in favor of subjects more personal. Over the ensuing twenty-two years, she developed an extraordinary oeuvre that is as unique as it is powerful. After an accident which broke her hip and required surgery in 1954, Hamblett began to paint her dreams and visions, many with religious themes and elements. The same year, New York gallery owner and famous collector, Betty Parsons, discovered one of Hamblett’s paintings in the collection of Andy Warhol and subsequently visited her home in Oxford to view her other work. Parsons purchased “The Golden Gate (renamed The Vision),” which was then included in a 1955 show of new acquisitions at the Museum of Modern Art. Parsons continued to represent, promote and sell Hamblett’s paintings in New York resulting in her work becoming known nationally and garnering important collectors.

In a handwritten letter dating January 31, 1956, from Hamblett to Parsons, Hamblett discusses both of the rare night scenes offered in this sale:

“Somehow I feel that “Buzzard’s Home” is best to enter that exhibition [National Acadamy of Design] because it is more original and from pure memory. When a small child I watched from my playground, the buzzards come and go to roost on a dead tree daily. Later when I grew larger and could go near enough to their home, their large wings amazed me. The tree in the picture is supposed to be in a swampy place, frost on the grass that protrudes above the mud and water…I sketch every dead tree that I have an opportunity. When I painted “Buzzard Home” I had to make up a tree to take care of a buzzard in each familiar buzzard position. I have just finished another night scene with three dead trees, an old stump, rocks, setting moon and birds asleep, which I call, “Sweet Relaxation.” I hope to enter it either at New Orleans or Memphis. I am now anxious to win some prizes or sell some pictures.”

This letter, along with several others in the chain of correspondence, indicates a friendly yet business-like relationship between Hamblett and the renowned New York gallery owner who provided advice, rejected certain paintings and complimented others with her keen eye. On February 9, 1956, Parsons confirmed in a typed letter to Hamblett that “Buzzard’s Home” was picked up for the Annual Exhibition of the National Academy of Design and stated: “I liked your last dark pictures very much. Very mysterious in atmosphere.”

Hamblett’s paintings are known for her distinctive brushwork, particularly in her depictions of trees, and her strong use of vibrant color. In these notable early works, that brushwork can be seen in the repetitive, rhythmic lines of frost on the ground and in the bark of the tree trunks, giving life to the barren scene. The ghostly blues and grays provide an eye-catching contrast with the yellow and orange moons, and these darker works provide a stunning counterbalance to their later, more well-known technicolor brethren. In these uncommon and profoundly mystical canvases, Hamblett wonderfully showcases the full spectrum of her artistic vision. It is no wonder that Parsons admired these deeply introspective works, which captured the complexity and range of Hamblett’s unique imagination.

543. Theora Hamblett (American/ Mississippi, 1895-1977), “Sweet Relaxation”, 1956, oil on masonite, signed and dated lower right, 18 in. x 24 in., framed, overall 20 1/8 in. x 25 1/8 in. x 1 1/2 in.

[$25,000/35,000]

544. William Tolliver (American/Louisiana, 1951-2000), “Three Figures Picking Cotton”, acrylic on canvas monotype, signed lower left, 39 in. x 32 in., framed, overall 41 1/4 in. x 34 1/2 in. x 2 in.

[$2000/3000]

Provenance: Neal Auction, Sept. 14, 2014, lot 807.

545. William Tolliver (American/ Louisiana, 1951-2000), “Cotton Choppers”, pastel and mixed media on paper, signed lower left, sheet 24 5/8 in. x 38 5/8 in., framed, overall 32 in. x 46 in. x 1 1/2 in.

[$5000/7000]

Provenance: Neal Auction, Jan. 31, 2015, lot 332.

546. Steele Burden (American/Louisiana, 1900-1995), “Cotton Picking”, oil on canvas board laid on board, signed and personalized on backing paper, 8 in. x 10 in., framed, overall 10 in. x 13 in. x 2 in.

[$1500/2500]

547. 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. [$3000/5000]

548.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]

549.Robert “Dr. Bob” Shaffer (American/ Louisiana, b. 1952), “Alligator”, mixed media and pigment on found tin mounted to board, signed lower left, h. 28 1/2 in., w. 56 3/8 in., d. 6 in. [$700/900]

550. Andrew LaMar Hopkins (American/Louisiana, b. 1977), “Louisiana Wash Basin”, 2019, acrylic on canvas board, signed and dated lower right, 12 in. x 12 in., framed, overall 18 7/8 in. x 18 7/8 in. x 1 1/4 in. [$4000/6000]

551.Rudolph T. Lux (German/New Orleans, 1815-1858)

Commemorative Porcelain Cup and Plate, 1864, signed “R.T. Lux. N. O. ‘64”, depicting the steamboat “Pierce”, with ship’s clerk’s name, John A. Purcell, in gilt, cup h. 2 3/8 in., dia. 2 5/8 in.; saucer dia. 6 3/4 in. [$1500/2500]

552. Shearwater Art Pottery “Sea, Earth and Sky” Vase, c. 1930-40s, designed by Walter Inglis Anderson, dime size impressed mark, white, blue, and green alkaline glaze, molded with pelicans, fish, men on horseback, and birds, h. 5 3/4 in., dia. 6 1/2 in. [$4000/6000]

553. Mary Kirk Kelly (Alabama, 1918-2013), very large ceramic squash, signed and dated 1985, h. 15 in. [$500/700]

555. Mary Kirk Kelley (Alabama, 1918-2013), ceramic vegetables, incl. two melons, and an eggplant, largest 10 in., (3 pcs.) [$300/500]

554. Mary Kirk Kelly (Alabama, 1918-2013), ceramic vegetables, incl, two potatos, a cauliflower, and a cantaloupe, each signed, largest 8 1/2 in., (4 pcs.) [$400/600]

557. Mary Kirk Kelly (Alabama, 1918-2013), a ceramic pineapple, orchid, and grape bunch, signed, largest 10 in., (3 pcs.) [$400/600]

556. Mary Kirk Kelly (Alabama, 1918-2013), life-size ceramic cabbage, signed [$250/350]

558. Mary Kirk Kelly (Alabama, 1918-2013), ceramic vegetables and fruit, incl. a peach, ear of corn, pear, pepper, mango, and a bunch of asparagus, each signed, largest 12 in., (6 pcs.) [$500/700]

559. Mary Kirk Kelly (Alabama, 1918-2013), ceramic pieces, incl, three squash, two carrots, a strawberry, a peanut, and a mushroom, larger pieces signed, carrot length 9 1/2 in., (8 pcs.) [$300/500]

560. Newcomb College Art Pottery Bowl, Newcomb College Art Pottery Bowl, 1912, decorated by Alma Mason, matte glaze with design of Louisiana irises, marked with Newcomb cypher, decorator’s mark, Joseph Meyer’s potter’s mark, B for buff clay body, and reg. number FG40, h. 3 1/8 in., dia. 8 1/2 in. h. 3 1/8 in., dia. 8 1/2 in. [$800/1200]

561. Newcomb College Art Pottery Vase, 1922, decorated by Anna Frances Simpson, with relief-carved daffodils, marked with Newcomb cypher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. number ME12, and shape 81, h. 7 1/2 in., dia. 3 3/4 in., Note: hairline cracks. [$300/500]

562. Newcomb College Art Pottery Bowl, 1924, decorated by Anna Frances Simpson, with a relief carved band of gardenias, marked with Newcomb cypher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. number OI82, and shape 55, h. 2 1/4 in., dia. 6 1/2 in., Note: hairline to rim. [$300/500]

563. American Late Classical Mahogany Center Table, 19th c., probably Baltimore or New York, reeded black marble top, frieze drawer, acanthus carved standard, incurvate triangular plinth base, paw feet, casters, Note: drawer is later, h. 28 3/4 in., w. 33 in., d. 33 in.

[$2000/3000]

564. American Federal Mahogany Two-Part Dining Table, early 19th c., Baltimore, D form ends with conforming skirt and drop leaves, ring-turned reeded legs, brass caps, h. 28 in., w. 47 3/4 in., l. open 89 in. [$1000/1500]

565. Set of Ten Georgian-Style Carved Mahogany Dining Chairs, 19th c., molded crest rail, pierced carved splat with foliate carving, conforming seat rail, H-form stretcher, h. 38 in., w. 20 1/2 in., d. 18 in. Note: two “as is” chairs. [$1200/1800]

Provenance: The Bultman Family Collection, New Orleans, LA

566. Antique Southern Pine Harvest Table, 19th c., found in New Orleans, four board top, square tapered legs, h. 30 in., w. 72 in., d. 33 1/2 in.

[$400/600]

567. American Southern FederalStyle Mixed Woods Brandy/Hunt Board, late 19th c., plank top, two long leaf pine drawers, cherry inset Panels, cherry square tapered legs, h. 41 1/2 in., w. 41 1/2 in., d. 20 in. [$1200/1800]

568. Two Southern Child’s Chairs, 19th c., probably Louisiana, one with hide seat, one with rush seat, h. 24 1/2 in., w. 14 in., d. 13 in. and h. 22 1/4 in., w. 12 1/4 in., d. 10 in. [$250/350]

569.Louisiana Cypress Worktable and Bench, 19th c., plank top, square tapered legs, table; h. 29 in., w. 49 in., d. 36 1/2 in., bench; h. 17 3/4 in., w. 56 in., d. 11 1/2 in. [$800/1200]

570. Pair of American Southern Mahogany Cluster Column Pedestals, 19th and later c., probably New Orleans h. 45 1/2 in., w. 9 in., d. 9 in. [$500/700]

571. American Late Classical Carved Mahogany Armoire, mid19th c., probably New Orleans, ogee molded cornice, arched molded paneled doors, later interior, bracket feet, h. 91 in., w. 70, d. 25 1/2 in. [$1000/1500]

572. American Late Classical Mahogany Bench, 19th c., upholstered seat, conforming ogee molded seat rail, bracket feet, h. 19 1/2 in., w. 50 in., d. 21 1/2 in. [$300/500]

575. Antique Acadian Homespun Cotton Blanket, handspun and loom-woven in two sections, unbleached, 64 in. x 88 in.

Note: A few minor stains. [$400/600]

Provenance: Betty Leger, Eunice, LA.

577. Eight Delarue New Orleans “Uniplat” Coin Silver Forks, Jean-Noel Delarue (b. Bacalan, Bordeaux, 1776, d. New Orleans, 1842, act. New Orleans 18021842), marked “De Larue” in elongated oval flanked by bees in octagonal cartouches, no monograms, l. 7 5/8 in. to 7 3/4 in. total weight 13.65 troy ozs.

[$4000/6000]

Ref. Crescent City Silver, pgs. 66-67, mark ill. p. 125.

573. American Rococo Carved Mahogany Full Tester Bed, mid-19th and later c., stamped “C. LEE/ 2062”, stepped ogee cornice, reverse tapered lobed posts with quatrefoil collars, carved crest with pendant grapes and pomegranate, paneled headboard, scrolled shaped rails, conforming plinth feet, h. 112 1/2 in., w. 65 1/2 in., l. 78 1/2 in.

[$7,000/10,000]

574.American Southern Black Walnut Sugar Chest on Stand, early 19th c., lift top, dovetail construction, base with molded top, frieze drawer, turned legs, h. 34 1/4 in., w. 32 1/2 in., d. 19 in.

[$1500/2500]

576. Acadian Homespun Cotton Blanket, two panel construction, in brown, green, and aubergine, 69 in. x 82 in. [$600/900]

578. Rare Delarue New Orleans Ursulines Convent Coin Silver Soup Ladle, Jean-Noel Delarue (b. Bacalan, Bordeaux, 1776, d. New Orleans, 1842, act. New Orleans 1802-1842), monogrammed “SU” in script above “No. 1” and a star, marked “De Larue” in elongated oval flanked by flowers in octagonal cartouches, downturned fiddle handle with double drop on back of bowl, l. 14 ¼ in., weight 7.85 troy ozs.

[$1500/2500]

Ref. Crescent City Silver, pgs. 66-67, mark ill. p.125.

Note: The monogram “SU” indicates the Order of St. Ursula; “No. 1” indicates the number assigned to the nun for whom the silver was made.

A group of Delarue table forks and tablespoons monogrammed “SU No.1” was sold in these rooms April 8, 2000, lot 272.

The Historic New Orleans Collection’s 2003 exhibit “A Visible Presence, A Legacy of Service: 275 Years of the Ursulines in New Orleans” included examples of Ursuline Convent silver monogrammed “SU” and made by New Orleans silversmith Anthony Rasch (1778/80-1858).

579. Rare Delarue New Orleans Ursulines Convent “Uniplat” Coin Silver Flatware, Jean-Noel Delarue (b. Bacalan, Bordeaux, 1776, d. New Orleans, 1842, act. New Orleans 1802-1842), incl. 3 table forks (l. 8 1/8 in.) and 4 tablespoons (l. 8 ¼ in.), monogrammed on reverse “SU” in script above “No. 1” and a star, marked “De Larue” in elongated oval flanked by flowers in octagonal cartouches; total weight 17.30 troy ozs. Ref. Crescent City Silver, pgs. 66-67, mark ill. p. 125. [$1000/2000]

582. French Neoclassical Fused Plate Coffee Pot, 1st half of 19th c., marked “PLAQUE” and “10M/LEV_T”; ovoid body, waisted neck, shallow domed cover with pod finial, dog’s head spout, ebonized scroll handle, palmette crested tapered legs with paw feet, h. 11 7/8 in. [$400/600]

580. American Classical Coin Silver Tea Service, John Owen, Philadelphia, act. 1800-1839, marked “I.OWEN” in rectangle, incl. teapot, covered sugar, creamer and waste bowl, footed vase forms, lobed bodies with pedestal foot on dodecagonal bases, covers with urn-form finials, reeded collars with gadroon rims, period script monograms, teapot h. 8 7/8 in., combined weight 59.35 troy ozs. [$1000/1500]

581. American “King’s” Pattern Coin Silver Dessert Service, Ball, Black & Co., New York, act. 1851-1874, incl. 6 dessert forks (l. 6 in.), 6 dessert knives (l. 7 ½ in.) and 12 dessert spoons (l. 6 7/8 in.), engraved crests en suite; 24 pcs. total. [$600/900]

583. Queen Anne Britannia Standard Silver Tankard, Robert Trimbell, London, 1705, flat top covered tankard with scroll handle, foliate scroll thumbpiece, hexagonal terminal at base of handle, stepped molded foot, fully marked on cover and side, maker’s mark only on handle, period monogram on bottom, h. 7 ¼ in., weight 25.35 troy ozs. [$2000/3000]

Provenance: Christies, New York, NY, 2003.

587. John James Audubon (American, 1785-1851), four original subscriber fasicles for the first edition Birds of America, octavo edition, each with text and 5 hand-colored engravings, with original printed wrappers, 11 in. x 7 1/4 in. [$300/500]

584. John Gould (British, 1804-1881), “Spathura Solstitialis”, “Dorifera Ludoviciae” and “Eutoxeres Aquila”, 3 hand-colored lithographs, 2 enhanced with gum arabic, from Hummingbirds, 2 with corresponding text, sheets 21 3/8 in. x 14 3/8 in., framed alike, each overall 29 1/2 in. x 22 1/2 in. x 1 in. (3 pcs). [$600/900]

Provenance: Collection of Sally and the Late Dr. Lawrence O’Meallie, New Orleans

585. John James Audubon (American, 1785-1851), “Red-headed Woodpecker”, Red-cockaded Woodpecker”, “Lewis’ Woodpecker”, 2 “Ivory-billed Woodpecker”, “Carolina Parrot or Parrakeet”, “Artic three-toed Woodpecker” and “Brown-headed Nuthatch”, 8 handcolored lithographs, from Birds of America, Bowen octavo edition, sheets 10 1/4 in. x 6 1/4 in., framed, overall 15 in. x 11 in. x 1 in. to 16 5/8 in. x 11 5/8 in. x 1/2 in. (8 pcs.) [$500/700]

Provenance: Collection of Sally and the Late Dr. Lawrence O’Meallie, New Orleans

586. John James Audubon (American, 1785-1851), “Common American Swan”, Plate 411, hand-colored engraving with aquatint, from The Birds of America, Havell edition, “J. Whatman” watermark visible, 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.

[$30,000/50,000]

Recently the subject of amplified interest and scholarship due in part to the acquisition of his legendary portrait popularly known as Asher Moses Nathan and Son by The Historic New Orleans Collection (sold through Neal Auction for $704,000 on November 20, 2021), Jules Lion is one of Louisiana’s most enigmatic early artists whose extant works are extraordinarily rare.

Lion was born in Paris in 1806 to Jewish parents as part of the first generation of emancipated French Jews. Lion likely received his art education as an informal apprentice in a lithographic print shop. The technique, only several decades in practice at the time, was an expanding trade and a lucrative one. Between 1831 and 1836, Lion exhibited his lithography in four Paris Salons before following the examples of other contemporaries by venturing in November of 1836 to New Orleans, where there was a thriving market for French portraitists. Once in the city, he worked as a prominent lithographer, painter and art teacher, and he was credited with introducing the daguerreotype to the city in 1843.

With the purchases of land, buildings, fine furnishings and enslaved women, Lion established himself as a prosperous Frenchman from 1842 until a reversal of fortune several years later. He continued working, however, and became involved with a free woman of color, Charlotte Armantine Broyard, with whom he had an illegitimate son in 1851. In her essay, “Racing Jules Lion,” Sara M. Picard explains that Lion appeared with the designation of “f.m.c.,” or “free man of color,” in the New Orleans city directories in the time period from 1851 to 1856 – the same period in which he was involved with Broyard who died in 1856 of unknown causes. All other documents of his life make no mention of his race, which indicates that he was believed to be white. The conclusion she reaches from her reexamination of the extant documents of Lion’s life and career therefore suggest that he was a French immigrant to Louisiana of Jewish heritage.

588. Jules Lion (French/American, 18061866, active New Orleans, 1837-1866), “Portrait of a Mustachioed Gentleman in a Crimson Brocade Waistcoat”, 1863, oil on canvas, signed and dated lower right, 30 1/4 in. x 25 1/4 in., framed, overall 37 1/4 in. x 32 1/4 in. x 2 1/2 in.

[$30,000/50,000]

Shortly after Broyard’s death, Lion married Marie Emma Muños, a young Creole, in St. Peter’s Church at 725 Marigny Street. The couple had three children who were all baptized in the same church. As Picard states: “Lion’s marriage to a non-Jewish woman in a Catholic church, like his relationship with a free woman of color, was not out of line with behavior of other Jewish men in New Orleans…early Jews of New Orleans felt the freedom not to emphasize their religious background because the city was more tolerant of their faith.” Lion continued to be listed in New Orleans city directories in 1858, 1861 and the year of his death in 1866. Lion’s brothers-inlaw placed an announcement of his passing in The Bee on January 10, 1866, and he was interred in the Catalan Monument, likely part of the now-demolished Spanish Society tomb, of St. Louis Cemetery No. 1.

Despite lingering questions regarding Lion’s ancestry, he was clearly in the end a beloved member of a Creole family and intertwined into the Spanish and free people of color communities in New Orleans at a time of great change and historical complexity. Lion’s lithographic portraits and rare surviving pastels of prominent Louisianans provide insight into his world and serve as important artistic contributions to the state and to the South. The oil on canvas portrait of an elegant gentleman offered here is the first known oil painting by the artist on the auction market and is a valuable discovery that sheds further light on Lion’s oeuvre, even as it introduces questions as to the sitter’s identity and heritage.

Ref.: Castenell, Wendy. “Asher Moses Nathan and Son.” Neal Auction Company. November 20, 2021, lot 210, www.nealauction.com; Picard, Sara M. “Racing Jules Lion.” Louisiana History: The Journal of the Louisiana Historical Association 58, no. 1 (2017): 5-37.

,

on woven French-made

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. [$10,000/15,000]

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. (17991867), was a native of Walpole, New Hampshire, and was among the first of the AngloAmericans 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 re-adhered 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.

589. Marie Adrien Persac (French/Louisiana, 1823-1873)

“Elm Hall, Assumption Parish”, 1859, gouache with collage

paper

590. Louisiana School, early 19th c., “Mrs. Christopher Adams née Susanna Johnson (1782-1819)”, oil on canvas, unsigned, 30 1/4 in. x 25 1/4 in., framed, overall 36 1/2 in. x 31 1/2 in. x 2 1/2 in. [$3000/5000]

Ill.: Bruns, Mrs. Thomas Nelson Carter, ed. Louisiana Portraits New Orleans: The National Society of the Colonial Dames of America in the State of Louisiana, 1975, p. 15.

Born in Lexington, Kentucky, Susanna Johnson lived in Virginia and married Christopher Irvine Adams (1780-1835) in 1809 in Opelousas, Louisiana. She had one daughter, Penelope Lynch Adams (1811-1848), and died on January 7, 1819. Penelope married John Andrews (1799-1886), a Virginia businessman who established himself as a successful sugar planter in Louisiana and built the Belle Grove mansion following her death.

591. Charles Giroux (French/Louisiana, 1828-1885), “Bayou Landscape”, oil on canvas, unsigned, 20 in. x 16 in., framed with artist and title plaque, overall 25 1/4 in. x 21 1/2 in. x 1 3/4 in.

[$8,000/12,000]

Though mystery surrounds the early background of French-born painter Charles Giroux, his rare surviving works record many aspects of the rural Louisiana landscape dating from around 1860 to 1885. He was last mentioned in the Daily Picayune for October 25, 1885, as well as in a list of the New Orleans Artists’ Association for the same year. The exceptional qualities of his artwork were recognized in the Daily Picayune article: “The work is remarkably well finished. The same careful study and painstaking care that characterizes all Mr. Giroux’s works is apparent in every line and shadow.” The same article noted the artist’s fascination with creating landscapes with an extensive use of vanishing perspective.

Giroux’s compositional style and color palette are considered unique among his contemporaries in the Louisiana landscape genre, and his works are distinguished by their romantic hues, smooth brushwork, luminous skies, and powerful recession of composition. These traits are all seen in the important work offered here which boasts a sunny, bright blue sky starkly contrasted against the shadowy darkness of the moss-draped tree and white, cloudy horizon. While nineteenth century Louisiana landscapes often lean dusky and mysterious, this painting by Giroux showcases the rich and varied textures of the life cycle of the bayou from the leaning dead tree in the far distance to the richly verdant moss-covered oaks and rusty leaves of the brush along the shore. Life is abundant in the stippled texture of the running water and the striking speckles of colorful flowers that grow in the shade of the shoreline. This canvas proves a stunning ode to Louisiana’s unique and alluring terrain.

592. Matthew Harris Jouett (American/Kentucky, 1788-1827), “Dr. Walter Brashear (1776-1860)”, c. 1822, oil on canvas, unsigned, inscribed “Dr. Brashear by Matthew Jouett” on stretcher, 25 1/2 in. x 21 1/2 in., framed, overall 32 in. x 28 in. x 2 1/4 in.

[$20,000/30,000]

Neal Auction would like to thank Mr. Estill Curtis Pennington for his expert assistance with this lot. The following catalogue note is an excerpt from his extensive research regarding the portrait and sitter and his monograph on the artist, Matthew Harris Jouett (1788-1827): His Life and Work, published in 2020.

Recorded by Jouett Menefee in “Catalog of Jouett Paintings” in General Samuel Wood Price’s The Old Masters of the Bluegrass of 1902, this portrait by Matthew Harris Jouett, widely considered the greatest portrait painter from Kentucky, was once part of a pair depicting Dr. and Mrs. Walter Brashear, with only the doctor’s portrait now surviving and offered here. Walter Brashear was born in Prince George’s County, Maryland, to Ignatius Brashear (1734-1807) and Francis Catteral (1736-1804). The Brashears were French in origin, the name meaning Brewer, and were in Calvert, Maryland by 1658 when Benois Brasseur acquired some 1,150 acres from Richard Bennett and began building a home known as upper Bennett. Accounts conflict as to whether they were Catholic or Huguenot, although Maryland was a Catholic stronghold.

Ignatius Brashear emigrated to Kentucky in 1784, taking possession of land near Shepherdsville, near Louisville. After some preparatory study he began his training as a medical professional under Dr. Frederick Ridgely at Transylvania University in Lexington. Walter Brashear was an ambitious entrepreneur who tacked his way between the medical field and a career as a merchant. After a trip to China in 1799, he returned to Kentucky and a medical practice. He secured his first claim to fame by an amputation at the hip joint on a seventeen-year-old slave boy. Seeking a wider range for his practice he moved his family to Lexington in 1813 and soon became a highly regarded local physician. He was awarded an honorary doctorate degree by Transylvania in 1822

That same year he moved his family to St. Mary’s Parish, where he set himself up as a grand planter at Belle Isle. He also began to dabble in politics, was elected United States Senator for Louisiana, and in 1847 was a co-sponsor of a bill to move the capital from New Orleans to Baton Rouge. In loyalty to Kentucky and to his hero Henry Clay he was a member of the Whig Party. His political activity must have been distracting from his life as a planter, for by 1849 advertisements began appearing for sales of his property to meet various debts. It does not seem to have been a problem for him for at the same time he was serving as head of the Whig Party and presided at their annual convention in 1852. At his death there was but brief mention of his passing in the press, while several advertisements also appeared advising those with claims against his estate on how to proceed.

From an art historical perspective, the Brashear portrait is a highly unusual example of the artist’s work. It is the only portrait found to date in which the sitter wears glasses. The portrait does manifest several of the lessons Jouett learned from [Gilbert] Stuart and practiced diligently throughout his career. It is certainly plumb, centered in the planar field with proportionate space above the head. Most importantly, as regards gaze and composition Jouett has surely “carefully observed and distinctly managed” the character of the sitter. Jouett gave his male sitters a gaze which came from his acute observation. His first portrait of Henry Clay, painted soon after his return to Lexington captures in a very subtle way Clay’s cunning, his smile just short of a smirk and his gaze bold and penetrating. His portrait of Dr. Robert Dudley, Brashear’s contemporary at Transylvania, looks out with the same kindly gaze he extended to his students while founding the medical school at Transylvania. Jouett certainly got away with a rather harsh, but probably accurate depiction of Edmund Haynes Taylor, the very handsome, and clearly arrogant founder of old Taylor Bourbon.

But it is Jouett’s two portraits of Dr. Horace Holley, President of Transylvania, to which we should look for suitable comparisons, to the Brashear portrait. Jouett painted two portraits of Holley. The first is a hesitant state portrait in which the sitter is invested with the trappings of authority, even as he seems to gaze off in a distracted manner while crumpling a piece of paper on which nothing is written. In the second, he is a solitary figure, who gazes intensely beyond the boundaries of the planar field, though little in his presence suggests he has seen something he is about to disclose. Though Jouett admired Holley, his portraits suggest he is portraying a man whose outward success as an orator masks an unresolved identity as a leader. He is neither engaged with his viewers nor inviting them to see him, remaining an isolated, polarizing figure, whose portraits advise viewers to draw their own conclusions from a safe distance.

Both portraits provide an insight into the character of Brashear, which Jouett captured in such a subtle way. Like Holley, Brashear was a very talented and driven man, a man who was not adverse to taking risks, be it in the operation room, on the plantation, or in the state house. But also, like Holley, he seems uncertain as to his pathway. He moved between his life as a highly accomplished, and admired, surgeon, to the life of a planter. At the same time, he pursued political office…as an ascertation of his leadership abilities or to consolidate his position in the planter hierarchy?

If the dating of the portrait is correct, Jouett painted him at a time in his life in which he was making choices, decisions that would radically change his identity. But the pursed lips and stiff posture, combined with a certain wariness in his eyes suggest a man who may think he knows where he is going, while unaware of what he may find there. It is certainly one of Jouett’s most perceptive and masterful works. This is not merely a portrait but a biographical account.

Ref.: Collection of the Brashear and Lawrence Family Papers, 1802-1897; Dr. John Ouchterlony. “Dr. Walter Brashear.” Pioneer Medical Men. Louisville: 1890, pp. 36-42

594. Nicola Marschall (Prussian/Alabama, 1829-1917) , “Lida Read Voigt (1857-1887)”, 1887, oil on canvas, signed and dated lower right, 30 in. x 25 in., framed, overall 35 5/8 in. x 33 5/8 in. x 3 in.; together with carte de visite of Lida by Henry Doerr of Louisville, KY with hand written genealogy information on backing. (2 pcs.) [$1500/2500]

593. Charles Lee Frank (American/Louisiana, 1873-1938), “Swamp Scene with Horse and Cart”, oil on canvas, signed lower left, 14 in. x 18 1/8 in., framed, overall 19 5/8 in. x 23 1/2 in. x 2 in. [$1200/1800]

595. Richard Clague, Jr. (French/Louisiana, 1821-1873), “Louisiana Pastoral with Cattle Farm”, oil on canvas, unsigned, 13 in. x 18 1/8 in., framed with artist plaque, overall 18 3/4 in. x 23 3/4 in. x 2 1/4 in. [$50,000/80,000}

Born in Paris in 1821, Richard Clague’s childhood and youth was divided between France and New Orleans, the home of his French Creole mother. He studied painting in Geneva, Switzerland in the mid-1830s followed by training in New Orleans from 1842 to 1843 and later enrolled in the École des Beaux Arts in Paris. His formal artistic training was greatly influenced by realism and the Barbizon School, and his naturalistic style held great appeal to a growing group of collectors in New Orleans. Clague established a near permanent studio in the city in 1857 and focused primarily on the landscape as his subject by the early 1860s, a time when portrait painting dominated the art scene. Often described as the founder of the landscape painting tradition in Louisiana, his highly detailed depictions of the bayous, cabins and farms of the region inspired an entire generation of artists. A review of Clague’s work suggests that the Louisiana farm such as the scene offered here was among his favorite subjects. Canvases featuring a dominant oak tree, farm buildings, grazing cattle and an expansive sky feature prominently in his best works.

Ref.: Lewis, Richard Anthony. “Richard Clague Jr.” 64 Parishes. www.64parishes.org. Accessed Oct. 18, 2024; Toledano, Roulhac. Richard Clague, 1821-1873. New Orleans: New Orleans Museum of Art, 1974.

596. Robert Bledsoe Mayfield (American/Louisiana, 1869-1934) , “Nymph by the Lake”, oil on canvas, signed “Mayf” lower left, 20 in. x 24 in., framed with artist plaque, overall 26 in. x 30 in. x 2 1/2 in.

[$1000/1500]

597. Helen Maria Turner (American/Louisiana, 1858-1958), “The Big Bouquet”, oil on canvas, signed lower left, signed, titled and “Victor Claessens Waereghem Belgique” canvas stamp en verso, 30 in. x 24 in., framed, overall 35 3/8 in. x [$6000/8000]

American Impressionist Helen Maria Turner was only the third woman elected to full membership in the National Academy of Design, the first from and her awards were as numerous as her exhibitions. The 1880s saw the art world open significantly for women in America, and Turner benefited greatly from the art clubs and associations in both New Orleans and New York, where she studied under artists such as Andres Molinary, Bror Anders Wikstrom, William Merritt Chase, and Joseph De Camp. She became part of a growing group of women who were able to support themselves as professional artists through hard work and perseverance in a field dominated by men.

As Lewis Hoyer Rabbage writes: “Among all the influences on Helen Turner’s personal life, and on her work, none could be considered more profound than her association with the artists’ colony at Cragsmoor, New York.” Beginning with her first summer there in 1906 upon the invitation of Charles Curran, Turner spent the summers from 1906 through 1941 in Cragsmoor, with only two exceptions. In 1911, she attended the William Merritt Chase class in Italy, and in 1922, she visited with an artist friend, Thalia Millett Malcom, in Paris. By 1910, Turner had built her own house in Cragsmoor and named it “Takusan.” The home featured a spacious second floor art studio, expansive porches and a lush garden. While other artists depicted Cragsmoor’s mountain, forest and meadow landscapes, Turner focused on her surroundings closer to home. In particular, the graceful porches encircled by a yard full of birch trees, rhododendrons, hollyhock and other bright flowers were a constant source of inspiration. Women on porches and in garden settings were popular subjects among American Impressionists, and Turner’s body of work within this realm are among her most successfully realized and important canvases. Faced with the challenge of capturing the richness of color, pattern and texture of the garden, without distracting from the importance of the model, Turner displayed her full skill and range as an artist.

Ref.: Faquin, Jane Ward. Helen M. Turner: The Woman’s Point of View. Memphis: Dixon Gallery and Gardens, 2010; Jalenak, Maia. Helen M. Turner: American Impressionist (M.A. Thesis). Baton Rouge: Louisiana State University, 2003; Rabbage, Lewis Hoyer. Helen M. Turner, NA (1858-1958) A Retrospective Exhibition. Cragsmoor, NY: The Cragsmoor Free Library, 1983.

598. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou”, oil on canvas, signed lower left, 22 in. x 28 1/8 in., framed, overall 31 1/4 in. x 37 3/8 in. x 2 1/4 in. [$5000/8000]

599. Alexander John Drysdale (American/Louisiana, 1870-1934), “Chef Menteur Bayou”, oil on canvas, 1929, faintly signed and dated lower left, 30 1/2 in. x 73 in., unframed. [$15,000 / 25,000]

“Chef Menteur Bayou” of 1929 offered here is a particularly atmospheric and haunting landscape by Alexander Drysdale which exhibits his mature style in a rare, monumental composition. Created the same year as the record-breaking canvas sold at Neal Auction for $304,000 in 2018, this luminous scene displays the expressionistic brushwork and careful use of light and dark that the artist famously utilized to draw a viewer into the otherworldly yet familiar landscape. Other known instances of Drysdale painting in a similar large-scale format to the work offered here include the canvases done to decorate the Weiss Dining Room, now conserved at Tulane University, the murals painted for the D. H. Holmes Department Store on Canal Street in 1927, and the murals done for the New Orleans Shushan Airport in 1933.

Ref.: Buechner, Howard A. Drysdale: Artist of Myth and Legend. Metairie, LA: Thunderbird Press, 1985.

600. Attributed to Frederick Milton Grant (American/Illinois, 1886-1959), “Market Place”, oil on canvas laid on masonite, signed faintly twice lower right, “Chicago Galleries Association, Chicago, IL” label en verso, 16 1/2 in. x 13 in., framed, overall 20 in. x 16 1/4 in. x 1 in.

[$400/600]

601. 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 251/2 in., framed, overall 40 in. x 35 in. x 5 1/4 in.

[$700/1000]

602. 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.

[$3000/5000

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 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.

603. Continental School, 19th c., “Portrait of a Young Boy in a Hat”, oil on canvas, unsigned, inscribed “Grasser Abels” on stretcher, 16 in. x 13 in., framed, overall 21 1/2 in. x 18 3/4 in. x 1 1/4 in. [$800/1200]

604. American School, 19th c., “Portrait of a Young Gentleman with Writing Desk”, oil on canvas, unsigned, 36 in. x 28 in., framed, overall 43 1/2 in. x 36 1/2 in. x 3 in. [$800/1200]

605. Albert Bierstadt (German/ New York, 1830-1902), “The Last of the Buffalo”, 1891, photogravure laid on paper, pencil-signed lower right, signed in plate, artist copyright upper margin, 16 1/4 in. x 27 1/2 in., framed, overall 34 1/2 in. x 45 in. x 2 1/2 in. [$3000/5000]

606. Group of Nine Antique African American Genre Photographs, 5 tintype photographs, 4 sixthplate portraits and one ninth-plate portait, 2 gelatin silver print postcards, 5 1/2 in. x 3 1/2 in., 2 gelatin silver print matte portraits, one illegibly inscribed en verso, 5 1/4 in. x 3 3/4 in., together with sixth-plate tintype portait of 2 women and a gentleman. (10 pcs.) [$400/600]

607. Antique Map of New Orleans , “City of New Orleans and Vicinity, Compiled from the Latest Surveys and Most Authentic Data by W.D. Hardee & B.J. Oliveira, Civil Engineers, January 1897”, lithograph, Walle & Co., New Orleans, linen-backed, highly detailed, extending from the Jefferson Parish line to Port Chalmette, with an inset map of the city as it was in 1770, 43 1/2 in. x 52 1/2 in., Note: losses.

[$500/700]

608. After Marie Adrien Persac (French/ Louisiana, 1823-1873), “Plantations of the Lower Mississippi River from the Natchez to New Orleans, 1858”, reproduced from the original “Norman’s Chart”, 1967, Pelican Publishing, Co. for the Friends of the Cabildo, 52 in. x 31 in., unframed. [$300/500]

609. Elias Durnford West Florida Manuscript Land Grant, dated October 30, 1777, acting on behalf of West Florida Governor Peter Chester, granting John Stuart, Esq. “a Plantation or Tract of Land containing Fifteen Hundred Acres”, signed by Lieutenant Governor and Surveyor General Elias Durnford, single sheet, 15 1/2 in. x 9 3/4 in., framed. [$400/600]

610. Four Antique New Orleans Real Estate Plans, lithographs, incl. “Lots of Ground to be Sold in Treme”, “Sketch of the Plan of the Faubourg Livaudais”, “Plan of the Gurlie Property divided into lots between Bayou Road and Canal Carondelet”, “Plan Propriete Situee Bayou St. Jean”, the largest 19 in. x 27 in. [$400/600]

611. Five Antique New Orleans Real Estate Plats, incl. “Plan to sell Lots belonging to the City of New Orleans, 1829”, “Sale of Lots in Faubourg Avart City of Jefferson, 1853 (copy), “Sites for Sale Below Canal Street, 1907”, “Lots of Ground in the Fourth District, 1859”, and a manuscript division of lots by the city surveyor in the 7th district, largest 42 in. x 15 1/2 in. [$400/600]

612. Five Antique New Orleans Manuscript Real Estate Plats, incl. 2 plans of Algiers point showing the area around the ferry landings, 1865; a plan for division of lots in the French Quarter, 1810; an 1836 copy of a 1797 plan showing the property of Don Santiago (in four pieces); and apparently, a plan showing the planned extension of Magazine Street, 1817, the largest 11 in. x 33 1/2 in. [$400/600]

614. mRobert E. Lee Tobacco Card, 1889, Kinney Tobacco, from the Leaders N222 set, 2 3/4 in. x 1 3/8 in. [$300/500]

613. Robert E. Lee Clark’s Trade Card, 1894, chromolithograph, from Clark’s Thread H570 Gallery of American Heroes series, 5 in. x 3 in. [$300/500]

615. Rare Lincoln Death Newspaper Insert, printed card stock, “President Lincoln Died/At 22 minutes past 7 o’clock/THIS MORNING. /Salem, April 15th, 1865”, 2 7/8 in. x 4 1/4 in. [$300/500]

Confederate

,

617. Antique French Walnut Armoire, flared cornice, stiles with half-round ornamConfederate Note, T-64, $500, Feb. 17, 1864, serial #2994, dark red. [$300/500]

618. Album of Louisiana Ephemera, 27 paper pieces of ephemera related to New Orleans and LA, incl. Share the Wealth hand-out, shipping receipts, hotels, stores, banks, and others. [$200/300]

616.

Note

T-6, $50, 1861, serial #1575, plate B, signed by Tyler (register), and Elmore (treasurer) [$800/1200]

619. Louisiana School, early 20th c ., “In Vieux Carre, New Orleans”, oil on canvas, pencil-signed “Mary Sneed” lower right, pencil-titled on stretcher, illegibly inscribed on reverse of frame, 22 in. x 24 in., framed, overall 29 7/8 in. x 32 1/8 in. x 3 in.

[$600/800]

620. Attributed to Florence Mary Jardet (American/Louisiana, 1882-1980, active Newcomb College, 1911-1924) , “Portrait of Ellsworth Woodward Wearing a Raincoat and Hat”, oil on canvas, unsigned, sketch of stained glass en verso, 22 in. x 14 in., framed, overall 26 in. x 17 7/8 in. x 1 1/4 in.; accompanied by a copy of the Certificate of Authenticity from Taylor Clark Gallery, Baton Rouge, LA. (2 pcs.)

621. Attributed to Florence Mary Jardet (American/ Louisiana, 1882-1980, active Newcomb College, 1911-1924), “Portrait of a Woman with a Ruffled Collar”, oil on canvas, unsigned, partial portait en verso, 22 in. x 14 in., framed, overall 29 1/2 in. x 21 1/2 in. x 1 1/2 in.; accompanied by a copy of the Certificate of Authenticity from Taylor Clark Gallery, Baton Rouge, LA. (2 pcs.) [$500/700]

[$1200/1800]

622. Alberta Kinsey (American/Louisiana, 1875-1952), “Still Life of Pink Roses”, oil on canvas laid on board, signed lower right, 16 in. x 19 in., framed, overall 19 in. x 22 in. x 1 in.

[$800/1200]

624. Clarence Millet (American/Louisiana, 1897-1959), “Orleans St. Rainy Day/New Orleans”, oil on canvas board, signed lower left, inscribed with artist and title on backing paper, 20 in. x 16 in., framed, overall 25 1/2 in. x 21 1/2 in. x 2 1/4 in.

[$8,000/12,000]

623. 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.

[$4000/6000]

625. Clarence Millet (American/Louisiana, 1897-1959), “Madison St./ New Orleans”, oil on canvas board, signed lower left, inscribed with artist and title on backing paper, 20 in. x 16 in., framed, overall 25 3/4 in. x 21 1/2 in. x 1 1/2 in.

[$8,000/12,000]

626. Colette Pope Heldner (American/Louisiana, 1902-1990), “Patio, Old Brulatour Mansion, Royal St., French Quarter, ‘Old New Orleans’, (Paris of America)”, oil on canvas, signed lower left, signed and titled en verso, conservation label on stretcher, 24 in. x 30 in., unframed. [$1000/1500]

627. Colette Pope Heldner (American/Louisiana, 1902-1990), “Swamp Idyll”, oil on canvas, signed lower left, 14 in. x 18 in., framed, overall 21 in. x 24 3/4 in. x 2 in. [$800/1200]

628.Colette Pope Heldner (American/Louisiana, 1902-1990), “Old Slave Quarters”, oil on canvas board, signed lower left, signed, titled and inscribed en verso, 16 in. x 20 in., framed, overall 18 3/4 in. x 22 3/4 in. x 1 1/2 in. [$1200/1800]

629. Robert Malcolm Rucker (American/Louisiana, 1932-2001), “Brulatour Courtyard”, oil on canvas, signed lower right, signed, titled and inscribed on stretcher, signed artist card en verso, 10 in. x 8 in., framed, overall 15 1/8 in. x 13 1/8 in. x 1 1/2 in.

[$800/1200]

630. Cornelius Haly Hankins (American/Mississippi, 18641946), “Fall Foliage”, oil on canvas laid on board, signed lower left, 13 1/2 in. x 8 3/8 in., framed, overall 16 3/8 in. x 11 in. x 3/4 in. [$1000/1500]

631. James McConnell “Mac” Anderson (American/Mississippi, 1907-1998) ,

Fishermen”, 1987, oil on board, signed and dated lower right, handwritten label with artist and title on backing paper, 24 in. x 16 in., framed, overall 25 1/4 in. x 17 1/2 in. x 3/4 in. [$2000/3000]

“Bayou

632. Walter Inglis Anderson (American/ Mississippi, 1903-1965), “Shell”, watercolor and graphite on paper, unsigned, estate stamp lower right, inscribed “7-94” en verso, 8 1/2 in. x 11 in., framed, overall 17 1/4 in. x 19 3/4 in. x 2 1/2 in., together with a copy of the certificate of authenticity from the Estate of Walter Anderson attached to backing board.

[$5,000/7,000]

Provenance: Neal Auction, Apr. 13, 2002, lot 218

633. Walter Inglis Anderson (American/ Mississippi, 1903-1965), “Fish”, watercolor and graphite on paper, unsigned, titled and inscribed “128 M Fish F8” and “MAA” en verso, gallery and Sotheby’s labels on backing board, 8 1/2 in. x 11 in., framed, overall 17 1/4 in. x 19 3/4 in. x 2 1/2 in.

[$6,000/8,000]

Provenance: Sotheby’s, New York, Oct. 11, 2006, lot 208

634. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Ghost Crab and Driftwood”, watercolor and graphite on paper, unsigned, titled and inscribed “M F6” en verso, gallery and Sotheby’s labels on backing board, 8 1/2 in. x 11 in., framed, overall 17 1/4 in. x 19 3/4 in. x 2 1/2 in.

[$7,000/10,000]

Provenance: Sotheby’s, New York, Oct. 11, 2006, lot 207

635. Emmett John Fritz (American/Florida, 1917-1995), “Florida Houses”, watercolor on board, signed lower right, 6 1/2 in. x 13 1/2 in., framed, overall 12 5/8 in. x 19 5/8 in. x 1/2 in.

[$400/600]

Provenance: Estate of a Louisiana Gentleman Collector.

636. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Dixie Belles”, 1938, gelatin silver print, signed and dated lower left, pencil-numbered “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.

[$1200/1800]

638. Continental Cast-Iron Garden Figures of the Four Seasons, presented on elaborate Neoclassical pedestals, total h. 88 in., w. 25 in., d. 25 in., (4 pcs.)

[$3000/5000}

Provenance: Collection of Dr. Bruce Wilson, Memphis, TN.

637. Clarence John Laughlin (American/Louisiana, 19051985), “The Exuberant Domes (Brighton Pavillion)”, 1966, gelatin silver print mounted to board, signed, titled and dated on mount, 2 artist stamps, titled, inscribed and print dated en verso, 13 7/8 in. x 11 in., framed, overall 17 3/4 in. x 14 3/4 in. x 3/4 in.

[$800/1200]

639. Continental Cast-Iron Garden Figure and Pedestal, allegorical figure of Harvest, h. 50 in., w. 22 in., d. 16 in., on a relief-cast pedestal, total h. 82 in.

[$700/1000]

Provenance: Collection of Dr. Bruce Wilson, Memphis, TN.

640. American Cast Iron Figure of an Eagle, 20th c., with outspread wings and extended talons, on rockwork base, white paint, h. 46 in., w. 34 in., d. 29 in. [$1200/1800]

641. Pair of Antique American Cast-Iron Garden Urns, 19th c., acanthine body on plinth base, h. 35 in., dia. 27 1/2 in. [$1,000/1500]

642. French Terracotta Olive Jar, glazed interior, h. 28 1/2 in., dia. 21 in. [$600/900]

643. French Terracotta Olive Jar, h. 31 in., dia. 23 in. [$600/900]

644. French Terracotta Olive Jar, h. 29 1/2 in., dia. 21 in., Note: restored. [$300/500]

645. American

17 in., dia. 46 1/2 in.

w. 10 in., d. 10 in.

8 in. d. 8 in.

649. Pair of American Cast-Iron

District

Posts, h. 60 in., w. 8 in., d. 8 in. [$600/800]

650. Pair of American Cast-Iron

District

Posts, h. 54 in., w. 6 3/4 in., d. 6 3/4 in.

Garden

Fence

648. Pair of American Cast-Iron Garden District Fence Posts, h. 72 in., w.

[$900/1,200]

Garden

Fence

[$500/700]

Cast-Iron Sugar Kettle, flared rim, h.

[$800/1200]

647. Pair of American Cast-Iron Garden District Fence Posts, h. 90 in.,

[$1200/1800]

646. American Cast-Iron Sugar Kettle, flared rim, h. 25 in., dia. 72 in. [$1000/1500]

651.Quang Ho (Vietnamese/Colorado, b. 1963), “Sunflower Patch”, 1996, oil on canvas, signed lower left, signed, titled and dated en verso, gallery label on stretcher, 12 in. x 14 in., framed, overall 17 1/2 in. x 19 1/2 in. x 2 1/4 in. [$1000/1500]

Provenance: Jack Meier Gallery, Houston, TX.

652. Quang Ho (Vietnamese/Colorado, b. 1963), “Apple and Rose Petal Tea”, 1996, oil on canvas, signed lower right, signed, titled and dated en verso, gallery label on stretcher, 19 in. x 24 in., framed, overall 26 7/8 in. x 31 7/8 in. x 1 1/2 in.

[$1500/2500]

Provenance: Jack Meier Gallery, Houston, TX.

653. Quang Ho (Vietnamese/Colorado, b. 1963), “Eucalyptus and Porcelain Doll”, 1996, oil on canvas laid on board, signed upper right, signed, titled and dated en verso, 18 in. x 14 in., framed, overall 24 3/8 in. x 20 3/8 in. x 1 3/8 in.

[$1200/1800]

Provenance: Jack Meier Gallery, Houston, TX.

654. Quang Ho (Vietnamese/Colorado, b. 1963), “Remnants”, 1996, oil on canvas laid on board, signed upper left, signed, titled and dated en verso, gallery labels on reverse of frame, 16 in. x 20 in., framed, overall 21 1/4 in. x 25 1/4 in. x 1 1/2 in.

[$1200/1800]

Provenance: Jack Meier Gallery, Houston, TX.

655. Veronica B. Clark (British/South Carolina, 20th c.), “Morning Hike”, 2004, oil on gallery-wrapped canvas, signed lower left, signed and dated en verso, 24 in. x 30 in., unframed. [$600/800]

Provenance: Veronica B. Clark Fine Art Gallery, 2004.

656. Comer Jennings (American/Georgia, 1926-2016), “Iris”, acrylic on canvas, signed lower right, signed and inscribed en verso, 30 in. x 30 in., framed, overall 30 3/4 in. x 30 3/4 in. x 1 1/2 in. [$1000/1500]

657. Rise Delmar-Ochsner (American/Louisiana, b. 1944), “Polo #1”, 1999, acrylic on canvas, signed and dated lower left, handwritten label with title on stretcher, 60 in. x 72 in., unframed. [$1000/1500]

658. Rise Delmar-Ochsner (American/Louisiana, b. 1944), “Warren Parker, New Orleans Artist”, acrylic on canvas, signed lower right, 48 in. x 36 in., unframed. [$800/1200]

659. Adrian Deckbar (American/Louisiana, b. 1950), “Untitled: Woman in Veil”, 1986, pastel on paper, signed and dated lower left, “Arthur Roger Gallery, New Orleans” label with artist, title and date on backing board, 60 in. x 40 in., framed, overall 64 5/8 in. x 44 1/2 in. x 1 1/2 in. [$500/700]

660. Jose-Maria Cundin (Spanish/Louisiana, b. 1938), “Portrait of a Gentleman”, 1970, oil on canvas board, signed and dated lower right, 6 1/2 in. x 5 in., framed, overall 14 1/4 in. x 11 1/4 in. x 1 in. [$1000/1500]

661. George Bauer Dunbar (American/Louisiana, 1927-2024), “Untitled”, 1973, gold and metal leaf on red clay, signed and dated lower right, 36 in. x 48 in., framed, overall 37 in. x 49 in. x 1 1/4 in. [$15,000/25,000]

662. George Bauer Dunbar (American/Louisiana, 19272024), “Untitled”, lemon leaf on grey clay, signed and dated lower right and en verso, 12 in. x 16 in., framed, overall 12 1/2 in. x 16 1/2 in. x 1 5/8 in. [$2500/3500]

663. Newton Reeve Howard (American/Louisiana, 1912-1984), “Untitled: Birds in Flight over a Bayou”, 1981, oil on canvas, signed and dated lower left, 20 in. x 30 in., framed, overall 24 in. x 34 1/4 in. x 1 1/8 in. [$6,000/8,000]

664. Melissa Bonin (American/Louisiana, b. 1960), “Blue Night Bayou”, oil on gallery-wrapped canvas, signed lower left, signed and titled en verso, 30 in. x 15 in., framed, overall 31 1/8 in. x 16 1/8 in. x 2 1/2 in.

[$3000/5000]

665. George Rodrigue (American/ Louisiana, 1944-2013) , “Working on the Bayou”, 1985, oil on canvas, signed lower left, signed twice and inscribed “Painted for V.P. George Bush / Sold to Delle Bates 11/3/85” en verso, artist stamps, titled and inscribed “#8518” on stretcher, 24 in. x 30 in., framed, overall 34 3/4 in. x 40 3/4 in. x 2 in.

[$30,000/50,000]

666. George Rodrigue (American/Louisiana, 1944-2013), “The Yellow Team”, 1985, oil on canvas, signed lower right, titled and artist stamp on stretcher, 24 in. x 20 in., framed, overall 33 1/2 in. x 29 1/2 in. x 1 1/2 in.; accompanied by signed photograph of the artist and his son with the painting, 8 1/2 in. x 11 in. (2 pcs.) [$40,000/60,000]

Exh.: “Rodrigue’s Louisiana: Forty Years of Cajuns, Blue Dogs, and Beyond Katrina”, New Orleans Museum of Art, New Orleans, LA, Mar. 1/June 8, 2008.

George Rodrigue frequently utilized photography as inspiration for his canvases, from his mother’s early photograph album and family snapshots to images of his own creatively contrived tableaus designed to serve as models for future paintings. His friends and relatives and even the family pet, Tiffany, often made appearances.

In “The Yellow Team” offered here, the artist’s son, Jacques, is depicted with Tiffany, the infamous model for the loup-garou and Blue Dog series. Even though Tiffany had died the year prior to his birth in 1981, Jacques is seen wearing a football helmet and standing in a bayou alongside the dog, both strong shapes locked into the scene by the dark oaks and glowing against the landscape. Completed around 1985, this work ties closely to Rodrigue’s earliest use of Tiffany as the model for his loup-garou, first seen just one year prior in “Watchdog” of 1984.

In need of inspiration for an image of the loup-garou, a Cajun legend of a werewolf or ghost dog that lurked in cemeteries and sugar cane fields, Rodrigue followed a familiar pattern by turning to his photo files. Tiffany had been with the Rodrigue family since she was a puppy and was a loyal studio companion for many years to the artist. He had many photographs of her, a number of them at eye-level, and found her strong shape suitable for his purposes. While those early loup-garou images would multiply and eventually metamorphose into the iconic Blue Dog, immortalizing Tiffany’s shape, they had little to no connection to her as a pet and more to do with the artist’s eye for an engaging, graphic element.

In “The Yellow Team,” Tiffany in her original black and white fur makes an appearance, as she would sporadically throughout the artist’s career, and this work has more the feel of an imaginary family outing. Regardless of the color of the dog’s coat, Rodrigue maintained his careful vision for the elements of his composition, treating each as a puzzle piece against his characteristic landscape. The result is a serious, carefully composed work of art which is simultaneously a charming, sentimental depiction of Rodrigue’s modern day Cajun life.

667. George Rodrigue (American/Louisiana, 19442013), “Crawfish Music”, c. 1985, oil on canvas, signed lower right and en verso, titled and inscribed “#10” on stretcher, 20 in. x 24 in., framed, overall 29 1/2 in. x 33 1/2 in. x 1 1/2 in. [$30,000/50,000]

668. George Rodrigue (American/Louisiana, 1944-2013), “Our Red Bicycle”, c. 1985, oil on canvas, signed lower left, signed and titled on stretcher, 20 in. x 24 in., framed, overall 29 1/2 in. x 33 1/2 in. x 1 1/2 in.

[$30,000/50,000]

669. George Rodrigue (American/Louisiana, 1944-2013), “Legacy: Evangeline, Gabriel and Longfellow with Evangeline Oak”, 1981, bronze, signed, foundry stamped and inscribed “A/P” on self-base, edition of 10 plus 10 artist proofs, h. 10 3/4 in., w. 9 1/4 in., d. 9 1/4 in.

[$5000/7000]

George Rodrigue’s first experience with sculpture came as a young child bedridden with polio when his mother brought him paint-by-number sets and modeling clay. He continued to explore art in three-dimensions throughout his life. In the 1970s, he created clay sculptures inspired by his own Cajun culture, echoing the themes of his paintings with figures melded into the Louisiana oak tree. He first modeled the soft clay with his fingers and then chiseled the hardened clay with metal tools to achieve his desired surfaces. Once complete, he worked with a foundry to transform the clay models using a classical lost wax process into finished bronze sculptures. By the 1980s, he primarily utilized the Shidoni Foundry in Tesuque, New Mexico, although he also spent extensive time in the mid-1980s at a foundry in Pietrasanta, Italy – a town famous for its foundries and marble since the Italian Renaissance. A monumental version of Legacy offered here and featuring Evangeline and Gabriel with Longfellow stands today in the Kaliste Saloom Office Park in Lafayette, LA and was completed in Italy. Subjects such as oak trees, Evangeline and a fisherman with his pirogue appear to have leapt from Rodrigue’s canvases with the dark, rich patina of the bronze evoking his bayou landscapes in these rare, limited-edition sculptures. Ref.: Rodrigue, Wendy. “The Bronzes.” Musings of an Artist’s Wife. Life & Legacy Foundation & Art Tour. www.legacyarttour.org. Accessed Oct. 12, 2024.

670. George Rodrigue (American/ Louisiana, 1944-2013), “T-Boy and Jolie Blonde”, marker on rice paper, signed lower left, 17 3/4 in. x 11 3/4 in., framed, overall 27 in. x 21 3/4 in. x 1 1/4 in.

[$4000/6000]

With a background in formal art training from The Art Center College of Design in Pasadena which he attended from 1962 to 1967, George Rodrigue painted nudes occasionally throughout the 1970s and 1980s as part of his Cajun series, inspired by Roman sculpture and the drawings of the Old Masters. These works were generally not well-received by his conservative collectors; however, he continued to include figure studies and nudes in his paintings even as he developed the Blue Dog series in the early 1990s. His Blue Dog canvases that recreated famous classical nudes by artists such as Ingres and Manet from 1991 are ironically now among the most popular of his creations.

Rodrigue abandoned the nude figure almost entirely for a decade once he was forced due to health concerns to transition from oil to fast-drying acrylic paints in the early 1990s, as he was not able to capture the female form as he liked with the new medium. “Only the Lonely” offered here and dated 1989 therefore represents a rare, early example of Rodrigue’s Blue Dog series just as it was emerging from the

671. George Rodrigue (American/ Louisiana, 1944-2013), “Only the Lonely”, 1989, oil on linen, signed lower left, signed and dated en verso, signed and titled on stretcher, “Cyprian Gallery, Lafayette, LA” stamp on reverse of frame, 24 1/2 in. x 38 1/2 in., framed, 33 1/2 in. x 47 1/2 in. x 2in.

[$25,000/35,000]

loup-garou legend, combining the rich Acadiana landscape of his Cajun series with his love for the classical figure and the soon to be iconic image of the Blue Dog. Given the more developed nature of the Blue Dog, one suspects that the artist may have in fact added it to the scene later, in late 1991 or early 1992, making her “lonely” no more. The blonde figure is artfully draped in white and highlighted against the dark oak tree and foliage in timeless Rodrigue fashion and gazes down at the Blue Dog, whose enigmatic expression is asking the viewer: “Why am I here?” and “Where did I come from?” – questions that likely resonated creatively with the artist as he explored this new direction in his work.

Ref.: Rodrigue, Wendy. “The Nude Figure.” Musings of an Artist’s Wife. Life & Legacy Foundation & Art Tour. www.legacyarttour.org. Accessed Oct. 12, 2024; Rodrigue, Wendy. “Blue Dog: In the Beginning, 1984-1989.” Musings of an Artist’s Wife. Life & Legacy Foundation & Art Tour. www.legacyarttour.org. Accessed Oct. 12, 2024.

672. Hunt Slonem (American/ Louisiana, b. 1951), “Radiant Bunny”, 2021, diamond dust and oil on panel, signed, titled, dated and inscribed “JW0063” en verso, 10 in. x 8 in., framed, overall 16 in. x 14 in. x 1 1/4 in.

[$4000/6000]

673. Hunt Slonem (American/ Louisiana, b. 1951), “Maine”, 2022, oil on panel, signed, titled, dated and inscribed “CX1589” en verso, 10 in. x 8 in., framed, overall 19 in. x 17 in. x 1 3/4 in.

[$4000/6000]

674. David Harouni (Iranian/ Louisiana, b. 1962), “Untitled: Head”, oil and mixed media on metal panel, signed lower left, 9 in. x 6 in., framed, overall 17 3/4 in. x 14 3/4 in. x 1 1/4 in.

[$1000/1500]

Provenance: Harouni Gallery, New Orleans, LA, 2021.

675. Jeffrey Stolier (American/ Louisiana, 20th c.), “Portrait of a Woman”, oil on canvas, signed lower right, 24 in. x 18 in., framed, overall 24 1/2 in. x 18 1/2 in. x 1 1/2 in. [$700/1000]

Provenance: Collection of Sally and the Late Dr. Lawrence O’Meallie, New Orleans

676. Krista Jurisich (American/Louisiana, b. 1950), “Geometric Window”, hand-enhanced silkscreen, pencilsigned lower right, numbered “2/8” lower center, sheet 23 in. x 29 in., framed, overall 26 1/4 in. x 30 1/8 in. x 1 in.

[$600/800]

Provenance: Collection of Sally and the Late Dr. Lawrence O’Meallie, New Orleans

677. Robert Gordy (American/Louisiana, 1933-1986), “Study for Folly”, 1969, marker on paper, signed and dated lower right, titled en verso, 24 1/4 in. x 32 1/4 in., framed, overall 31 5/8 in. x 39 3/4 in. x 1 in.

[$800/1200]

678.George Valentine Dureau (American/Louisiana, 19302014), “Sonny Singleton”, gelatin silver print, signed lower right, titled lower left, “Christie’s” label and label with artist and title on plastic sleeve, 14 in. x 11 in., unframed.

[$700/1000]

679. George Valentine Dureau (American/Louisiana, 1930-2014), “Windell Platt”, gelatin silver print, signed lower right, titled lower left, “Christie’s” label and label with artist and title on plastic sleeve, 14 in. x 11 in., unframed.

[$700/1000]

680. George Valentine Dureau (American/Louisiana, 1930-2014), “Erni, Troy Brown and Wendell Platt”, 3 gelatin silver prints, each pen-signed lower right, each titled lower left, each 6 3/4 in. x 6 3/4 in., framed together, overall 16 1/4 in. x 34 3/4 in. x 1 3/4 in.

[$800/1200]

681. George Rodrigue (American/Louisiana, 1944-2013), “Codex Blue Dog”, 1991, silkscreen, signed lower right, numbered “21/90” lower left, sheet 31 in. x 24 7/8 in., unframed.

[$1200/1800]

682. George Rodrigue (American/Louisiana, 1944-2013), “Butterflies are Free”, 1996, silkscreen, pencil-signed lower left, numbered “436/1000” lower right, 18 1/2 in. x 32 in., framed, overall 29 in. x 42 in. x 1 in.

[$1200/1800]

683. George Rodrigue (American/Louisiana, 1944-2013), “Carmel Edition I”, 1991, silkscreen, signed and numbered “78/90” lower right, sheet 34 3/4 in. x 26 in., framed, overall 39 1/2 in. x 32 1/2 in. x 3/4 in.

[$1200/1800]

Provenance: Collection of Sally and the Late Dr. Lawrence O’Meallie, New Orleans

684. Sandra Russell Clark (American/Louisiana, b. 1949), “Winterthur, Delaware”, hand-colored gelatin silver print from infrared film, signed, titled and numbered “3/50” en verso, sheet 15 7/8 in. x 19 7/8 in., framed, overall 20 1/4 in. x 25 1/2 in. x 1 in.

[$1000/1500]

Provenance: Still-Zinsel Contemporary Fine Art, New Orleans, LA, Mar. 20, 1990. Collection of Sally and the Late Dr. Lawrence O’Meallie, New Orleans.

685. Sandra Russell Clark (American/Louisiana, b. 1949), “Isola Bella, Italy”, 1986/1987, 2 hand-colored gelatin silver prints from infrared film, each signed lower right, signed, titled and numbered en verso, from the Gardens of Reflection series, sheets 16 in. x 20 in. and 20 in. x 16 in.,unframed. (2 pcs.)

[$700/900]

686. Berenice Abbott (American, 1898-1991), “Advertisements, East Houston Street and 2nd Ave.”, negative creation date 1937, print date 1982, gelatin silver print mounted on board, pencil-signed and numbered “13/40” on mount, published by Parasol Press, New York, “Berenice Abbott Retrospective” stamp with publisher information and print date on reverse of mount, 18 1/4 in. x 23 1/8 in., unframed. [$1200/1800]

687.Persian Karaja Runner, red ground, repeating medallions, 2 ft. 8 in. x 12 ft. 9 in.

[$800/1200]

688.Persian Heriz Carpet, red ground, central medallion, 10 ft. 2 in. x 13 ft. 1 in.

[$4000/6000]

689. Persian Heriz Carpet, stylized foliate design in shades of brown, 9 ft. 5 in. x 12 ft. 5 in.

[$4000/6000]

690. Antique Turkish Oushak Carpet, foliate design, 8 ft. x 10 ft. 8 in. [$2000/3000]

691. Aubusson-Style Carpet, 4 ft. 7 in. x 8 ft. [$1000/1500]

692. Modern Indian Carpet, 9 ft. 2 in. x 11 ft. 6 in. [$1500/2000]

693. Fine Persian Esfahan Carpet, 7ft. 2 in. x 12 ft. 2 in. [$4000/6000]

694. Persian Soumak Carpet, allover design of figures and animals, 4 ft. 6 in. x 9 ft. [$700/900]

695. Persian Mahal Runner, 2 ft. 5 in. x 13 ft. 9 in. [$1000/1500]

696. Oushak Carpet, foliate designs in pale green, yellow, and blue, 9 ft. 3 in. x 11 ft. 4 in. [$2500/3500]

AMAZING ACOUSTIC GUITARS, CLASSIC ELECTRIC GUITARS, AMPS, DRUMS & MORE!

OF BUILDING COLLECTIONS

Neal Auction Company was founded June 7, 1984 by the late John R. Neal, noted collector and authority on 19th century American decorative arts.

From the beginning, Neal Auction Company has had a core focus on the history and material culture of the Lower Mississippi River Valley, which has led to our discovery of rare examples of furniture, paintings and decorative arts of the region, many of which are now in important institutional and private collections.

Our history includes legendary onsite auctions of important historic collections, notably the Sisters of Mercy Convent, Vicksburg, MS in 1984, and Houmas House Plantation, Darrow, LA in 2003, as well as block-buster sales of private collections such as the estate of author and tastemaker Julia Evans Reed in 2021.

Over the past forty years, we have enjoyed a frontrow seat to the ever-evolving market trends in taste and collecting, as we assist in dispersing estates and introducing the objects to new collections.

Today’s savvy collectors particularly respond to the eco-conscious aspect of recycling objects via auction. They recognize that they are seeking out unique objects with a history, not “cookie-cutter” mass-produced “disposable” goods.

As we enter our 5th decade, Neal Auction Company continues to be family-owned and locally managed, serving our New Orleans and regional community. We are proud to be one of Magazine Street’s landmark businesses, having debuted at 4139 Magazine then subsequently relocating to our 4038 Magazine address in 1990.

AUCTION SCHEDULE

December 5 - UNRESERVED @ Neal

December 19 - Mid-Century, Modern, Cont. Art & Design

January 23 & 24 - Premier Estate Collections Auction

Auction dates may be subject to change.

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

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

Richard McClain

Graphics Staff

Stephanie Do Ouro

Amanda Torres

Madison Randolph

Adam Trepagnier

Decorative Arts Inventory Management

Charlie Clay

AUCTIONEERS

Michelle LeBlanc Leckert #1514

Bettine Field Carroll #1874

Marc Fagan #1935

Marney Robinson #2155

Cameron McHarg #2184

John R. Neal (1940-2018), Founder

Marc Fagan Vice President Consignments

CONSIGNMENTS

Paintings, Prints & Photography, Sculpture

Marney Robinson; Sophie Hirabayashi; Casey Foote; Heather Munch

Books, Maps & Natural History Prints, Modern Furniture

Marc Fagan

Antique Furniture & Decorative Arts

Jason Leckert

Silver & Decorative Arts; Material Culture

Katherine Hovas

Jewelry & Couture

Cameron McHarg

Fine Art Inventory Manager, Wine & Spirits

Casey Foote

Consignments Administrator

Veronica Cross

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