Important Fall Estates Auction September 9 & 10 by Neal Auction

Neal Auction Company September 9 & 10, 2017

Neal Auction Company Important Fall Estates Auction September 9 & 10, 2017

Neal Auction Company John R. Neal Neal Alford Katherine Hovas Chairman President Senior Vice President Marc Fagan Vice President Consignments

Michelle LeBlanc Leckert, CAI Vice President

Bettine Field Carroll Vice President Business Development

ADMINISTRATION

AUCTIONEERS

Director of Administration & Finance Michelle LeBlanc Leckert, CAI Database Manager Jackie Hernandez Client Services Rebekah Abernathy Administrative Assistant/Internet Auction Administrator Lisa Weisdorffer Administrative Assistant/Social Media Coordinator Cameron McHarg

Neal Alford #797 Michelle LeBlanc Leckert #1514 Bettine Field Carroll #1874

Marc Fagan #1935

GENERAL MANAGER

Jason Leckert

GRAPHICS Graphics Director Dave Roberts Catalogue Design Emory Nolan Photography Jason Leckert Gerard Lewis Owen Murphy Tom Simpson

OPERATIONS Director of Operations Charles Lee Operations Staff Charlie Clay Kelvin Gibson Jerry Majors Robert Wilson Marvin Varnado

EXHIBITION STAFF

Cecile Ballard Ann Mahorner Cammie Mayer Margo Phelps Yvette Semmes Clare Stewart Carolyn Wogan Sybil Lawson, Emerita

CONSIGNMENTS Furniture & Decorative Arts Neal Alford; Polly Rolman-Smith Paintings, Prints & Photography Marney Robinson; Sophie Hirabayashi Casey Foote Books, Maps & Natural History Prints Marc Fagan Silver & Decorative Arts Katherine Hovas Asian Arts Bettine Field Carroll Inventory Coordinator Stephen Dewey Consignments & Condition Report Manager Johanna Darilek

AUCTION SERVICES Director of Museum Services & Research Douglas Lewis, Ph.D., F.A.A.R. Trust & Estates Advisor Henry G. McCall Senior Appraiser Fine Arts Amanda Mantle Winstead Appraisals Marc Fagan

CATALOGUE CONSULTANTS Paintings & Fine Arts Claudia Kheel; Amie Strickland Furniture & Decorative Arts Doris Mollenkopf Newcomb Pottery & Decorative Arts Sally Main Silver Carey Mackie Decorative Arts & Victoriana Ann M. Masson Asian Arts Richerson Rhodes

Important Fall Estates Auction September 9 & 10, 2017 On Our Premises 4038 Magazine Street & 3923 Carondelet Street

Featuring: The Collection of the Sturm Family of St. Thomas and Trinidad, incl. Rare West Indies Furniture, Continental and English Decorative Arts, and Important Chinese Objects Fine Art and Sculpture from the Koch Collection, Metairie, LA The Collection of Michael Brown and Linda Green, New Orleans Property from the Collection of Renowned Mardi Gras Designer and Historian Henri Schindler, New Orleans Period Antique Furniture from an Esteemed Natchez, MS Collection Part II, Nineteenth Century American Furniture from the Estate of Antiquarian Jeff Mello, Sr., Gustine, CA Property from the Estate of Lynette Stilwell, New Orleans Part II, the Historic Collection of Gretchen & Alonzo Lansford, New Orleans And Property of Others

AUCTION SCHEDULE Saturday, September 9, 10 a.m., 4038 Magazine Street Sunday, September 10, 11 a.m., 3923 Carondelet Street EXHIBITION Both galleries beginning Monday, August 28, 10 a.m. to 5 p.m Special Saturday preview, September 2, 10 a.m. to 5 p.m. Please note that we will be closed Monday, September 4 in observance of Labor Day Evening Preview Reception, Thursday, September 7, 5 to 7 p.m.

Neal Auction Company Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 • 504-899-5329

1-800-467-5329 • Fax: 504-897-3808 • www.nealauction.com

LA Auc. Lic., Neal Auction Co. #AB-107, Alford #797, LeBlanc #1514, Carroll #2014, Fagan #1935

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Neal Auction Company

Neal Auction September 9 & 10, 2017

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The Sturm Collection

The Sturm Collection, which features rare West Indies furniture, as well as Continental and English decorative arts and important Chinese objects, was formed by Dorothy Wallace de L’Isle Sturm, an artist and connoisseur, between 1939 and 1981. Mrs. Sturm showcased the collection at Bagshot House, the family’s 19th century estate in Maraval, Trinidad. Mrs. Sturm had been educated at Gray’s School of Art in Aberdeen, Scotland, where she took top honours and a degree in graphic and furniture design and architecture. With her educational background and artist’s eye she quickly recognized the significance of West Indies antiques, which, at the time, were out of fashion. Over time she began taking her son Philip on her collecting jaunts, teaching him all she knew about the furniture, its origins, styles and details. Building on his own education in art and history in London and New York, Philip expanded his knowledge with research in libraries and archives in Trinidad, Barbados, St. Kitts and the Virgin islands. Upon inheriting his mother’s collection, Philip began to expand and refine it, ultimately building an encyclopedic collection of Lesser Antilles furniture. In 1974 Philip Sturm settled on St. Thomas where he restored an historic property known as the Petit-Pissarro House on Denmark Hill, one of the earliest residential neighborhoods in Charlotte Amalie. He has also restored the birthplace of Camille Pissarro, 14 Dronningens Gade (Main Street) in Charlotte Amalie. Sturm has served on various preservation boards including the St. Thomas Historic Trust, and has been curator and advisor to several museums in the Antilles. Sturm has published numerous articles and lectured widely on the subject of West Indies furniture. In 2007 he wrote West Indian Antique Furniture of the Lesser Antilles 17401940. Many of the illustrated objects are offered here. Neal Auction Company is honored to be entrusted with the deaccessioning of the Sturm Family Collection.

Additional information at www.nealauction.com

Collection of Henri Schindler

Henri Schindler is the acclaimed designer of Carnival parades and balls for some of New Orleans’ most eminent societies. He began his crusade to restore the grandeur of the Golden Age of Carnival more than forty years ago with the active encouragement of Boatner Reily and Bill Wisdom. Henri is also a highly regarded Mardi Gras historian. His literary contributions include Mardi Gras New Orleans (published Flammarion Books, Paris, 1997) and the four-book series, Mardi Gras Treasures of the Golden Age (Pelican Publishing). In addition to social history, these books document the artistry of Golden Age objects and the artists and artisans who created them. As Schindler says in a 2003 Gambit interview with Constance Adler, “The preconceived idea of Mardi Gras is tacky and cheesy. I wanted to shed light on these beautiful works of art.” In Photo credit: Josephine Sacabo recognition of Henri Schindler’s contributions to Mardi Gras, in 1992 the Mistick Krewe issued a proclamation naming him “a true and respected friend of Comus”. In 2013 the Arts Council of New Orleans honored him with a Lifetime Achievement Award. It is no surprise that Schindler is also an inveterate collector. His collections include furniture and related decorative arts of the Aesthetic Movement, papal portraits and ephemera, and of course, Mardi Gras artifacts, all assembled and curated with his discriminating eye and historical sense. Schindler’s home and collection are beautifully described and illustrated in Susan Sully’s New Orleans Style: Past & Present in a chapter titled “Amormysterii”. Many of the illustrated objects are offered here. The papal collection was inspired by Schindler’s early fascination with the rituals of the Roman Catholic Church, and was displayed in his workroom, known as “the Holy Office”. The Henri Schindler Collection of Mardi Gras artifacts is broad and deep, and includes many rare examples illustrated in his well-known publications. Neal Auction Company is pleased to offer select property from the collection of Henri Schindler. Ref. Sully, Susan. New Orleans Style: Past & Present, pp. 96-103. Rizzoli, 2004; Adler, Constance. “Drawing from the Past,” Gambit, Feb. 25, 2003.

Collection of Lynette Askew Stilwell

Neal Auction Company is pleased to offer property from the Estate of Lynette Askew Stilwell, removed from historic 716 Esplanade Avenue. Mrs. Stilwell and her late husband, Victor, an architect and attorney, lovingly restored the late 19th century cottage, furnishing it with their collection of antiques. Active in Patio Planters, Spring Fiesta and New Orleans Opera Guild, Mrs. Stilwell opened her home and courtyard garden for their various tours. The Stilwell Estate collection includes antique furniture and decorations as well as an extensive offering of jewelry.

Additional information at www.nealauction.com

The Collection of Michael Brown and Linda Green “I don’t know when I wake up that day if an artwork will be in my future; it just happens.” - Michael Brown The Michael Brown and Linda Green Collection consists of an impressive array of artists who were active in the New Orleans art scene from the 1970s through the 1990s. Brown met Green, a fellow art enthusiast, when she was working at the Orleans Gallery in the late 1960s. They briefly dated, then lost touch until they reunited years later, both having acquired their own impressive collections in the meantime. Avid supporters of the arts, Michael Brown and Linda Green donated a large portion of their collection to the Ogden Museum of Southern Art, the first major body of work added to the Museum’s permanent collection after Roger Ogden’s founding donation. Always on the lookout for unique pieces and artists that challenge the status quo, Brown find himself drawn to the likes of Fred Trenchard, Peter Dean, and Justin Forbes, amongst others who are known for their eccentric and transgressive works. Brown has said, “I always try to root for the underdog and I like things that eat away at society. I like artists who are willing to question the maxims of society. I’m an upstanding citizen, but every day I ask myself questions like: Why do I have to stop at a red light when there aren’t any cars coming? I like paintings that reflect that.” The collection represents an important time in Louisiana contemporary art. Nationally, the trend in modern art was shifting towards an abstract and minimalist style. The artists here however were delving into realism with a surrealist flair and psychedelic palette. Art critic Doug MacCash describes many of the artists within the Brown and Green collection thus, “So these artists reinvented old-fashioned, handmade, narrative painting… without the deadpan irony and soup-can appropriation of Pop…their idiosyncratic styles inspired the narrative art that still dominates the local scene.” Ref.: MacCash, Doug. “Insight into an Era.” The Times Picayune. 2010. 6

Session One Saturday, September 9, 10 am 4038 Magazine

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1. Pair of Meissen Porcelain Figural Sweetmeat Dishes, late 19th c., faint crossed swords marks, modeled as male and female courtiers beside ovoid dishes, h. 6 3/4 in., w. 10 in., d. 5 1/2 in. $600/900 Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

4. Carl Teichert Meissen Porcelain Serpent‑Handled Vase, c. 1890, Stove and Fireclay mark, double‑snake handles, gilt and floral design, h. 20 5/8 in., w. 13 in. $600/900

2. Pair of Meissen Molded Porcelain Cabinet Plates, 20th c., crossed swords marks, impressed “32 Z98b” and in iron red “36g”, dia. 9 in. $500/700

3. Six Meissen Porcelain “Garden” Children, late 19th c., crossed swords marks, each holding flowers or garden implements, tallest h. 5 1/2 in. $600/900 Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

5. Pair of Sitzendorf Porcelain Figural Sweetmeat Dishes, late 19th c., crossed lines marks, oval bodies mounted with cherub playing flute and classical maiden, applied flowers, scroll feet, h. 6 3/4 in., w 9 in., d. 5 1/4 in. $300/500 Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

8. Biedermeier Carved Figured Maple Settee, 19th c., shaped crest rail, flared arms fronted by cornucopiae, molded seat rail, flared legs, scrolled toes, h. 40 in., w. 85 in., d. 27 1/2 in. $1000/2000

6. Meissen Porcelain Figural Group of “Summer”, late 19th c., crossed swords mark, script model “G92”, girl playing mandolin and boy sitting on sheaves of wheat, h. 6 1/4 in., w. 4 1/2 in., d. 3 1/2 in. $300/500

7. Two Antique Italian Baroque‑Style Carved Walnut Side Chairs, each with crest rail centered by burled panel, plank seat, conforming stretcher. $400/600

Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA. 9. Chinese Famille Verte Decorated Powder Blue Ground Porcelain Charger, 17th c., central floral shaped panel enclosing a village waterscape with figures on a boat, rim with landscape and figural panels, powder blue ground with gilt flower sprays, base marked, h. 2 5/8 in., dia. 16 in., display stand, overall h. 19 3/4 in. $1000/1500 Provenance: The Sturm Collection.

10. Large George III Brass and Wirework Fire Fender, early 19th c., oxbow form, faceted urn finials, h. 17 in., w. 60 1/2 in., d. 20 in. $600/900

11. George III Brass and Wirework Fire Fender, early 19th c., finials, scrolled decoration, h. 12 in., w. 53 in., d. 16 in. $500/700

12. Large English Delftware Polychrome Bowl, c. 1740, probably Bristol, foliate and “star” design in blue, iron‑red and green, interior with foliate spray, h. 7 in., dia. 11 3/4 in. $700/1000 Provenance: Christie’s, The Collection of the Late Lillian Blankley Cogan, Farmington, Connecticut, Sept. 7, 1992, lot 59.

13. Pair Chinese Export Famille Rose Porcelain Phoenix Birds, Qing Dynasty (1644‑1911), approx. h. 10 1/4 in. $1000/1500

14. Chinese Export Famille Rose Porcelain Charger, 18th c., decorated with a grasshopper amid colorful leaves and peonies, dia. 14 in. $800/1200

Provenance: Sallea Antiques, New Canaan, CT, 2010.

16. Pair of Napoleon III Bronze-Mounted Marble Cassolettes, late 19th c., mounted with ram’s heads and garlands, incurvate triangular base, h. 16 1/2 in., w. 11 in., d. 11 in. $700/1000 Provenance: The Sturm Collection. 15. Fine Pair of Chinese Export Famille Verte Porcelain Dishes, 18th c., interiors decorated with phoenix and flowers, rims with fish and sea creatures, dia. 9 3/8 in. and 9 1/2 in. $800/1200 Provenance: Sallea Antiques, New Canaan, CT, 2010.

17. American Aesthetic Movement Bronze and Bejeweled Desk Set, late 19th/early 20th c., incl. inkwell, pen tray, paper knife and pair of candlesticks, h. 8 1/2 in. $300/500

20. Set of Sixteen Irish Late Georgian Sterling Silver Handled Table Knives, each handle marked with harp crowned and king’s head, engraved crest, steel blades marked “WEST” except one marked “J. THOMPSON & SON/ CUTLERS TO HER MAJESTY/6 HENRY ST DUBLIN”, l. 10 7/8 in. $1000/1500

18. Art Nouveau Gilt and Patinated Bronze Presentation Vase, early 20th c., signed and stamped by Albert Marionnet (French, 1852‑1910), with the inscription “Les Officiers du 18e Regiment du Genie a leur Colonel, 4. Juin 1928”, with removable brass liner, h. 15 in., w. 5 3/4 in., d. 5 3/4 in. $700/1000

19. Monumental Italian .800 Silver Six‑Light Candelabrum in the Classical Taste, Fassi Arno, Milan, act. 1935‑present, mark post 1968, with scroll arms, Corinthian columnar standard, paw feet, incurvate triangular plinth, h. 23 5/8 in., overall wt. 131 troy ozs. $1000/2000 Provenance: The Sturm Collection.

21. French Colonial Silver Cup, early 19th c., probably West Indies, marked “A. JOUBERT” in rectangle, triple struck, seamed construction, applied die‑rolled bands, cast handle of Neoclassical inspiration, engraved “U.G. Ross” in script, h. 4 in., wt. 7.85 troy ozs. $300/500 Provenance: Sturm Family Collection, St. Thomas and Trinidad. Note: A silversmith named Joubert is documented in Le Cap, Saint-Domingue, active 1766-1781. Ref. Maurice Meslans, “Orfevres de Saint-Domingue”, Part I, Silver Magazine, Nov./Dec. 2016.

Provenance: Estates of William and Sarah McGehee, Dr. Dubs House, Natchez, MS.

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23. Suite of Four Antique Continental Silver and Cobalt Glass Salt Cellars, with Dutch import marks, probably late 19th c.; together with 4 British silver master salt spoons, 3 Glasgow, 1835, prob. George White, 1 London, 1829, prob. William Johnson, h. 2 1/8 in., w. 3 3/8 in., total wt. (weighable) 13.05 troy ozs. $300/500 22. Continental Silver‑Mounted Molded Glass Claret Jug in the Rococo Taste, late 19th c., h. 10 5/8 in. $300/500

Provenance: The Sturm Collection. Ref.: Tardy.

24. Ancien Regime Silver Gilt Side‑Handle Demitasse Pot, Paris, 1789, pyriform on scroll supports, turned ivory handle, h. 5 7/8 in., wt. 8.90 troy ozs. $500/700 Provenance: The Sturm Collection; acquired The Patino Collection, Christie’s, Oct. 28, 1986, lot 93.

Provenance: The Sturm Collection.

25. Antique Sheffield Plate Regimental Venison Dome, 19th c., with lotus blossom and scroll handle, gadroon border, engraved with crest of 53rd Shropshire Regiment of Foot, h. 11 1/4 in., w. 19 1/4 in., d. 14 3/8 in. $300/500 Provenance: The Sturm Collection.

Ref.: Tardy, p. 193. 26. Regency Brass Inlaid Mahogany Supper Table, early 19th c., banded tilt top, turned and reeded standard, gadrooned collar, saber legs, brass paw feet, casters, h. 28 in., dia. 49 in. $1500/2500

27. Good Georgian‑Style Carved Oak Partner’s Desk, probably mid‑19th c., inset tooled leather top, three frieze drawers on each side, pedestals of three drawers on bracket feet, h. 32 in., w. 60 in., d. 41 1/2 in. $1200/1800

28. Irish Chippendale Carved Mahogany Tilt‑Top Table, late 18th c., circular piecrust top, fluted columnar support, acanthus carved cabriole legs, casters, h. 30 in., dia. 35 in. $2000/3000

29. George III Sterling Silver Salver, London, 1776, maker’s mark rubbed, piecrust border with rocaille scrolls, flat chased well, ball and claw feet, dia. 13 3/8 in., wt. 35.05 troy ozs. $1000/1500 Provenance: The Sturm Collection. 30. Edwardian Mahogany and Parcel Ebonized Serving Trolley, late 19th c., labeled “W. Walker, London”, lotus‑carved backsplash above three shelves, fluted supports with festooned swag, base fitted with blind drawers, turned carved feet, casters, h. 48 in., w. 54 in., d. 20 1/4 in. $1000/1500

31. French Provincial Carved Fruitwood Occasional Table, 19th c., molded top, scalloped frieze, cabriole legs, hoof feet, h. 26 3/4 in., w. 29 1/2 in., d. 23 1/4 in. $1000/1500

32. British Colonial Carved Calamander Astronomical Regulator Clock, 19th c., brass dial signed “W.J. Doyle - Colombo”, with hour and second subsidiary dials, bonnet-carved with foliate and scroll design, case carved with a scene depicting a man climbing a palm tree, over another man with bow, an elephant, and two donkeys, brass movement with single weight, h. 80 1/4 in., w. 21 1/2 in., d. 11 in. $1200/1800

33. Pair of French Bronze Table Reliquaries, 19th c., cathedral‑form, doors opening to reveal porcelain portrait plaques, h. 6 1/2 in. $300/500 Provenance: The Sturm Collection.

34. Rare Pair of Art Nouveau Mixed‑Earth Pichon Vases, c. 1880, impressed mark “Pichon a Uzes”, flared rim, contrasting clay colors in blue, green, brown, red, and cream, h. 14 1/4 in., d. 5 1/2 in. $1000/1500

35. Pair of Italian Pietra Dura Plaques, 20th c., depicting birds and flowers, carved walnut frame, h. 19 in., w. 30 in., d. 2 3/4 in. $800/1200

36. Pair of French Giltwood and Polychromed Two‑Light Sconces, early 20th c., shield‑form backplate with coat‑of‑arms, h. 18 in., w. 17 1/2 in., d. 8 in. $500/700 37. Pair of Baccarat Crystal Photophores, 19th c., marked, foliate decorated shade, rope-twist shaft, h. 14 in., dia. 5 1/8 in. $600/900 Provenance: The Sturm Collection.

39. English Regency Portico Clock, c. 1810, dial with engine‑turned bezel, bronze mounted onyx columns, h. 15 1/4 in., w. 10 in., d. 5 1/2 in. $400/600 Provenance: The Sturm Collection.

40. Napoleon III Gilt Bronze Figural Mantel Clock, 19th c., movement marked “Lenoir à Paris”, dial with inset porcelain Roman numerals, figure of bull and maidens on rocaille base, h. 17 1/2 in., w. 14 in., d. 8 1/2 in. $800/1200

38. Pair of Fine English Silver‑Mounted Cut Crystal Decanters, c. 1925, silver collar with marks of Adie Brothers, Ltd, Birmingham, h. 13 1/4 in., dia. 6 1/2 in. $500/700

41. English Carved and Polychromed Limewood Papal Statue with Glass Eyes, possibly 16th c., h. 22 1/4 in., w. 7 in., d. 3 1/2 in., later base, overall h. 23 1/4 in. $300/500 Provenance: Collection of Henri Schindler.

Provenance: The Sturm Collection.

42. West Indies Carved Mahogany Sofa, 19th c., Barbados, shaped crest with inset reeded panel, scrolled reeded arms, conforming seat rail, saber legs, brass paw feet, casters, h. 34 3/4 in., w. 89 in., d. 23 in. $1500/2500 Provenance: The Sturm Collection. Ill.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Collectors’ Club: Suffolk, 2011, p. 105. Note: The design of the sofa offered here is clearly influenced by the “Grecian sofa” of New York cabinetmaker Duncan Phyfe. This sofa closely relates to an example illustrated in The World of Duncan Phyfe (p. 20), including the overall form, scrolled arms, and reeded carvings on the crest and seat rails. During the early 19th century, trade between the U.S. and the Antilles played an important role in the influence of American designs on Caribbean furniture. Many prominent American makers were also exporting furniture to the West Indies. Ref.: Feld, Elizabeth and Stuart P. The World of Duncan Phyfe. Hirschl & Adler Galleries, Inc.: New York, 2011, p. 20; Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 17401940. Antique Collectors’ Club: Suffolk, 2011, p. 48. Additional information at www.nealauction.com

43. West Indies Carved Mahogany Bookshelf, 19th c., Barbados, five graduated shelves, turned supports, plinth base, disc feet, h. 56 3/8 in., w. 49 1/4 in., d. 15 in. $500/700 Provenance: The Sturm Collection. Ill.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Collectors’ Club: Suffolk, 2011, p. 132.

44. West Indies Brass‑Mounted Carved Mahogany Cellarette, 19th c., Barbados, rectangular top, inset paneled front and sides, bail handles, turned legs, fitted interior, h. 30 1/2 in., w. 27 in., d. 18 in. $1200/1800 Provenance: The Sturm Collection. Ill.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Colletors’ Club: Suffolk, 2011, p. 109.

46. Five American or English Mahogany Dining Chairs, late 18th/early 19th c., incl. 1 armchair and four side chairs, arched crest rail, pierced splat, trapezoidal slip seat, square legs, stretchers, armchair h. 38 3/8 in., w. 23 in., d. 16 in.; side chair h. 37 5/8 in., w. 19 in 5/8 in., d. 16 in. $500/1000 Provenance: The Sturm Collection.

47. American Classical Bronze‑Mounted Mahogany Sécrétaire à Abattant, early 19th c., attr. Emmons and Archibald, Boston, blind frieze drawer, fall front writing compartment flanked by columnar stiles, doors below, two interior drawers, paw feet, h. 50 in., w. 36 in., d. 17 3/4 in. $1500/2500

48. Pair of Neoclassical-Style Gilt Bronze Guéridons, inset marble tops, banded frieze, shaped legs with lion’s masks, X supports, paw feet, h. 27 in., w. 14 1/2 in., d. 14 1/2 in. $2500/3500

45. West Indies Inlaid Mahogany Armoire, 19th c., Trinidad, molded cornice, frieze centered with inlaid monogram, shaped paneled doors, scalloped apron, with compass star inlay, scrolled cabriole legs, h. 75 3/4 in., w. 50 in., d. 21 1/4 in. $2500/3500 Provenance: The Sturm Collection. Note: The inlaid armoire in the lot shown here relates closely to the American Federal and French-influenced armoires made during the early 19th century in Louisiana. The pairing of the monogram inlaid frieze and inlaid compass star within the scalloped skirt is related to a New Orleans armoire with a similar form and inlay made for the Soniat family. The French Rococo-influenced inset cartouche panels, typical of West Indies armoires, are similarly featured on an armoire descended through the TruxilloPrejean family of Assumption Parish. During the 18th and early 19th century, Louisiana was an integral part of the exchange of goods, people, and influences throughout the Caribbean. Among the many Caribbean people who immigrated to New Orleans, especially from the island of St. Domingue after the Haitian Revolution ended in 1804, were skilled cabinetmakers, often free people of color, such as Jean Rousseau and Dutreuil Barjon Sr. Ref.: Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835. The Historic New Orleans Collection: 2010, pp. 128-129, 132, 146, 180; Sturm, Philip. West Indies Antique Furniture or the Lesser Antilles, 1740-1940. Antique Collectors’ Club: Suffolk, 2011, p. 48.

49. Continental Empire-Style Bronze‑Mounted and Gilt Gondola Chair, curved back with continuous arms terminating in lappet carved cylinders, griffin supports, paw feet, h. 35 1/2 in., w. 22 3/4 in., d. 22 in. $600/800

50. Fine Edwardian Mahogany and Satinwood Inlaid Sideboard in the Adam Taste, late 19th c., bowfront center section with frieze drawer and backsplash, flanked by pedestals, each with a drawer and fitted cupboard, carved paw feet, h. 46 in., w. 88 1/4 in., d. 20 3/4 in. $3000/5000

52. Louis XVI Silver Sucrier with Cobalt Glass Liner, Mirreraud‑Bouty, Paris, 1789, h. 5 in., w. 8 1/4 in., wt. 10.35 troy ozs. $300/500 Provenance: The Sturm Collection. 51. English Engraved Glass Hurricane Shade, 19th c., star and foliate decoration, folded foot, h. 21 in., dia. 8 in. $500/700

Ref.: Emile Beuque. Dictionnaire Des Poincons. p. 158.

54. Antique French First Standard Silver‑Mounted Cut Glass Ice Pail, panel cut with star cut base, h. 6 1/4 in. $200/400

Provenance: The Sturm Collection.

Ref.: Emile Beuque. Dictionnaire Des Poincons. Paris, 1984, p. 12, #97, p. 83, #73c and p. 131, #117.

Provenance: The Sturm Collection.

55. Continental Silver Cruet Stand in the Empire Taste, 19th c., marks rubbed, possibly Malta, associated panel cut bottles, h. 8 1/8 in., w. 8 in., d. 6 1/8 in., wt. 19.25 troy ozs. $300/500

53. Ancien Regime Silver Gobelet, second half 18th c., Soissons, probably .958 silver, h. 3 7/8 in., wt. 3.05 troy ozs. $250/350

56. French First Standard Silver Timbale, 19th c., export mark introduced 1878, engine‑turned decoration, h. 3 3/8 in., wt. 3.10 troy ozs. $150/250 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

57. French First Standard Silver Side Handle Coffee Pot in the Rococo Taste, 19th c., Paris, mark introduced 1838, h. 8 3/8 in., wt. 18.50 troy ozs. $400/600

58. Four Antique Continental Silver “Knights of Malta” Menu Card Holders, each inset with coin of a Grand Master of the Sovereign Military Order of Malta, surrounded by military trophée and surmounted by a Maltese cross, easel back, h. 13 1/2 in., total wt. 6.5 troy ozs. $300/500

Provenance: The Sturm Collection.

Ref.: Tardy, p. 199.

59. French First Standard Silver Mustard Pot in the Louis XVI Taste, 19th c., with cobalt glass liner and associated Apostle spoon, h. 4 1/2 in., wt. 2.80 troy ozs. $250/350 Provenance: The Sturm Collection.

60. French First Standard Silver Cup, Gregoire Thurot, #01367 Paris, act. 1833‑1852, tapered cylindrical form with applied straight gadroon bands, cast acanthus scroll handle, h. 3 3/4 in., wt. 7 troy ozs. $200/300

61. French First Standard Silver Cup, c. 1828‑1838, F. Durand, 4 rue du Mouton, Paris, act. 1828‑1874, tapered cylindrical form with applied bands and scroll handles, h. 3 3/4 in., wt. 5.45 troy ozs. $200/300

Provenance: The Sturm Collection.

Ref.: Tardy, p. 199.

Ref.: Arminjon. Dictionaire de poincons, vol. 2, Paris, p. 139.

62. Antique Continental Silver “Knights of Malta” Salver, late 18th/ early 19th c., marks not traced, possibly Kingdom of Naples, engraved crest with banner “Sarria/ Navare Biscaye” over Maltese cross, molded serpentine rim, baluster foot, h. 3 1/2 in., dia. 10 1/4 in., wt. 15.25 troy ozs. $300/500 Provenance: The Sturm Collection.

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63. Late Georgian Sterling Silver Kettle‑on‑Stand with Burner, kettle and burner marked RG, probably Robert Garrard, London, 1805; stand by George Frederick Pinnell, London, 1837, rococo repoussé and chasing, h. (to top of finial), 11 3/8 in., wt. 68.30 troy ozs. $1500/2000 Provenance: The Sturm Collection.

64. Pair of George III Sterling Silver Tankards, Francis Crump, London, 1770, mark reg. 1756, each baluster form with molded stepped foot and double “C” scroll handle with acanthus thumbpiece, h. 5 in., wt. 26.10 troy ozs. $1500/2000 Provenance: The Sturm Collection.

65. George III Sterling Silver Covered Entree Dish, Thomas Robins, London, 1810, marks rubbed, removable acanthus scroll and branch handle, straight gadroon borders, engraved armorial crest with motto “Parta Tueri” (Defend your Acquisitions), h. 5 1/4 in., w. 11 3/4 in., d. 8 3/4 in., wt. 54.90 troy ozs. $1500/2000

66. Queen Anne Britannia Standard Silver Candlestick, Thomas Ash, London, 1706, mark reg. 1697, octagonal paneled baluster form, removable bobêche, h. 8 1/4 in., wt. 20.15 troy ozs. $800/1200

Provenance: The Sturm Collection.

67. George I Britannia Standard Silver Salver, London, 1721, probably Humphrey Payne, mark ent. 1701, h. 2 1/4 in., dia. 7 1/4 in., wt. 8.80 troy ozs. $400/600 Provenance: The Sturm Collection.

68. Irish George IV Sterling Silver Fruit Basket, William Nolan, Dublin, 1821, act. 1814‑1828, footed form with figural swing handle, repoussé and chased decoration with spreadwing eagles, fruit, flowers and scrolls, shell and gadroon border, h. 5 1/8 in., w. 13 1/2 in., wt. 58.20 troy ozs. $1500/2500

69. West Indies Carved Mahogany Settee, 19th c., Trinidad, exuberantly carved high crest, scrolled arms, caned back and seat, foliate‑carved uprights, turned legs, casters, h. 41 in., w. 90 in., d. 24 in. $1500/2500

Provenance: The Sturm Collection.

Ref.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Collectors’ Club: Suffolk, 2011, p. 50.

Provenance: The Sturm Collection. Ill.: Connors, Michael. British West Indies Style: Antigua, Jamaica, Barbados, and Beyond. Rizzoli: New York, 2010, p. 144.

70. West Indies Mahogany Cellarette, 19th c., square case, fitted interior, bail handles, turned standard, saber legs, brass paw feet, casters, h. 30 1/4 in., w. 16 in., d. 16 in. $1000/1500 Provenance: The Sturm Collection.

71. West Indies Carved Mahogany Bookcase, early 19th c., Barbados, molded cornice, glazed doors, shelf interior, lower case with reeded top and base, two doors, shelf interior, turned feet, h. 82 3/4 in., w. 37 3/8 in., d. 18 3/8 in. $1500/2500 Provenance: The Sturm Collection. Ill.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Collectors’ Club: Suffolk, 2011, p. 162. Note: Features of the bookcase in the lot offered here are indicative of the American influence on Caribbean furniture, such as the “beehive foot” often found on Louisiana furniture and the exaggerated stepped cornice, commonly seen on similar American Federal bookcases. Trade between the United States and the Antilles brought American influences to the Caribbean (see lot 42 note). Ref.: Furnishing Louisiana: Creole and Acadian Furniture, 17351835. The Historic New Orleans Collection: 2010, p. 124; Hurst, Ronald L. and Jonathan Prown. Southern Furniture 1680-1830: The Colonial Williamsburg Collection. Abrams: New York, 1997, pp. 355, 463; Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740-1940. Antique Collectors’ Club: Suffolk, 2011, p. 48.

72. West Indies Carved Mahogany Armoire, early 19th c., cove molded cornice, shaped panel doors, shelf interior fitted with drawer, scalloped skirt centered by carved star, turned legs, button feet, h. 75 7/8 in., w. 49 3/8 in., d. 23 1/4 in. $2000/3000 Provenance: The Sturm Collection.

73. American Federal Carved Mahogany Games Table, early 19th c., attr. to Thomas Seymour, Boston, fold‑over swivel top, spiral‑turned supports and stretcher, brass paw feet, casters, h. 28 1/2 in., w. 35 1/4 in., d. (open) 35 1/2 in., d. (closed) 17 3/4 in. $1200/1500

74. American Classical Stenciled, Carved and Gilded Mahogany Pier Table, early 19th c., New York, white marble top, frieze drawer, marble columnar supports, mirror back, incurvate stretcher shelf, foliate lobed feet, h. 37 1/2 in., w. 42 in., d. 19 in. $4000/6000 Note: The pier table shown here stands among the most expensive and sophisticated types of pier tables made in New York City during the first half of the 19th century. Pier tables made by prominent New York City cabinetmakers such as Charles-Honoré Lannuier and Duncan Phyfe feature expensive embellishments in the form of ornate stenciled gilt decoration and finely cast marble supports with gilt bronze mounts. The distinctive melon-carved foot, surmounted by foliate decoration, is a common feature seen on similar pier tables and other furniture made by Duncan Phyfe, including a stenciled example held in the Collection of Carswell Rush Berlin. Ref.: Kenny, Peter M. and Michael K. Brown. Duncan Phyfe: Master Cabinetmaker in New York. The Metropolitan Museum of Art: New York, 2011, p. 219.

75. Eight American or English Gothic Mahogany Dining Chairs, mid-19th c., incl. 2 armchairs and 6 side chairs, entwined crests, molded oval splats, shaped arms, turned legs, armchair h. 43 in., w. 21 in., d. 19 1/2 in.; side chair h. 38 1/2 in., w. 18 1/2 in., d. 17 in. $1200/1800

76. Good American Classical Carved Mahogany Work Table, early 19th c., probably New York, octagonal top, fitted interior compartment, conforming case with two frieze drawers, acanthus-carved turned standard, foliate-carved hairy paw feet, casters, h. 30 3/4 in., w. 23 5/8 in., d. 16 3/4 in. $1000/1500

77. West Indies Carved Mahogany Serving Trolley, c. 1835, galleried shelves, trestle base with scrolled brackets, “sand box fruit” feet, casters, h. 43 1/2 in., w. 60 in., d. 25 in. $1000/1500 Provenance: The Sturm Collection. Ill.: Connors, Michael. British West Indies Style: Antigua, Jamaica, Barbados, and Beyond. Rizzoli: New York, 2010, p. 104. Note: The distinctive “sand box fruit” feet on the serving trolley here refers to the fruit from the sand box tree, a species prevalent throughout tropical America and the West Indies. The shape of the fruit was a commonly carved form used for feet on Caribbean furniture, especially on the islands of Barbados and Trinidad.

77A. British School, late 18th/ early 19th c., ”Portrait of Frances “Fanny” Nisbet 17581831) of Nisbet Plantation, Nevis, West Indies”, oil on canvas, unsigned, 50 in. x 40 in., framed. $800/1200 Provenance: The Sturm Collection.

Ref.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740-1940. Antique Collectors’ Club: Suffolk, 2011, p. 87. Additional information at www.nealauction.com

78. Rare George III Carved Mahogany Kettle Stand, 18th c., possibly American, circular top with foliate-carved edge, columnar standard, acanthus-carved cabriole legs with ball and claw feet, h. 22 3/4 in., dia. 16 3/4 in. $1000/1500 Provenance: The Sturm Collection; acquired The Plaza Art Galleries, NY, c. 1970. Ref.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Collectors’ Club: Suffolk, 2011, p. 107.

79. American Bronze‑Mounted Carved Rosewood Canterbury, fretwork panels, three bays with shaped dividers over single drawer, cabriole legs, casters, h. 21 1/2 in., w. 20 1/2 in., d. 17 in. $1200/1800

81. Louis XVI‑Style Crème Peinte and Parcel Gilt Lit à Couronne, paneled and upholstered head and foot board, fluted posts with pod finials, demilune canopy, h. 106 in., w. 77 in., d. 51 in. $800/1200

82. Fine Anglo‑Colonial Carved Rosewood Tilt‑Top Table, 19th c., circular top with egg and dart molding, scrolled acanthus frieze, foliate baluster standard, incurvate triangular plinth, disc feet, h. 30 1/2 in., dia. 22 1/2 in. $1500/2500

80. Louis XV Carved Walnut Chaise de Bureau, 18th c., stamped “I‑B‑CRESSON” for Jean‑Baptiste Cresson (1714‑1781), floral carved crest, padded arms, carved serpentine seat rail, caned back and seat, cabriole legs, h. 34 in., w. 26 3/4 in., d. 21 in. $1500/2500

83. Antique French Tôle Peinte Tray, 19th c., red ground with Caribbean island scenes in reserve, later faux bamboo stand, h. 18 1/4 in., dia. 35 1/2 in. $1200/1800

84. French Empire Bronze-Mounted, Verde Antico and GiltDecorated Console Table, early 19th c., marble top, mounted frieze, caryatid supports, mirrored back, plinth base, h. 37 in., w. 40 in., d. 16 in. $2000/3000 85. George III Mahogany Cellarette, late 18th c., with alterations, in the form of a drop leaf table, rectangular hinged top opening to a void interior, previously divided, square legs, brass casters, h. 28 in., w. 34 in., d. 21 in. $1200/1800

87. Scottish Sterling Silver Repoussé Tea Service, Leonard Urquhart (wc. 1829‑1848), Edingburgh, 1842, incl. teapot, open sugar and creamer, each footed form with floral and scroll chasing, scroll handles, sugar and creamer retain gilt wash interiors; teapot h. 8 1/8 in., total wt. 48.90 troy ozs. $1000/2000 86. George III‑Style Carved Mahogany Serving Table in the Style of Robert Adam, early 20th c., serpentine top, conforming highly carved frieze, square tapered bellflower carved legs, spade feet, h. 35 7/8 in., w. 60 in., d. 25 in. $1000/1500

Provenance: The Sturm Collection.

88. Georgian Sheffield Plate Covered Entree Dish on Warming Stand, 19th c., cover with inset silver shield engraved “CAMERON HIGHLANDERS/ 79TH/ REG.”, acanthus scroll handles, gadroon and shell borders, warming stand with acanthus bracketed paw feet, retaining original tinned back, h. 6 3/4 in., w. 14 1/2 in., d. 9 in. $300/500 Provenance: The Sturm Collection.

89. George III Sterling Silver Hot Water Urn, London, 1795, probably John Robins, domed cover with acorn finial, reeded foliate handles, spigot with urn finial, plinth base with spherical feet, h. 18 1/4 in., wt. 94.45 troy ozs. $2500/3500 Provenance: The Sturm Collection.

90. George III Sterling Silver Salver, London, 1771, maker IC, gadroon border, paw feet, dia. 19 in., wt. 89.30 troy ozs. $2500/3500

91. Spanish Colonial Silver Altar Candlesticks, 18th c., standard with foliate and fluted design, cherub busts, tripartite base, now mounted as lamps h. 29 1/2 in., dia. 11 1/2 in., h. to socket 40 in. $700/1000

92. An English Derbyshire Spar (Blue John) and Marble Lidded Urn, on tall plinth base, h. 17 1/4 in., w. 5 1/4 in., d. 5 1/4 in. $600/900 Provenance: M.S. Rau, New Orleans, LA. 93. Gilt‑Tooled Morocco Leather Cave à Liqueur, early 19th c., case with domical lid, brass strapwork hinges, bail handle, fitted with decanters, mixing glass, bitters bottle and eight glasses, h. 9 1/4 in., w. 14 in., d. 9 3/4 in. $400/600

Provenance: The Sturm Collection.

94. Pair of George III Sterling Silver Wine Coasters, London, 1796, marks rubbed, reeded borders, bright cut engraving, turned wood bottoms; together with antique Anglo-Irish cut glass decanters. $500/700 Provenance: The Sturm Collection.

98. English Delftware Blue and White Flower Brick, 18th c., Chinoiserie decoration of a pavilion in a floral landscape, h. 2 1/2 in., w. 5 in., d. 2 1/4 in. $400/600

95. George III Sterling Silver Cruet Stand, London, 1788, marks rubbed, oval reticulated stand with bright‑cut decoration, central loop handle and ball and claw feet, h. 9 7/8 in., w. 6 3/8 in.; with associated antique silver and silverplate‑mounted cruets and castors, mustard pot with Georgian silver egg spoon. $400/600

96. English Delftware Polychrome Plate, 18th c., figure of a stag in a landscape, in iron‑red, blue, green, and purple, dia. 8 1/2 in. $500/700

97. English Delftware Polychrome Double‑Portrait Plate, c. 1690, London, with portraits of William and Mary, dia. 8 5/8 in. $500/700 Provenance: Garry Atkins, London, 2003.

Provenance: The Sturm Collection.

99. Chinese Export Famille Rose Porcelain Covered Soup Tureen, 19th c., mushroom finial, twisted leafy branch handles, decorated with bird‑and‑flower, figural, and fruit panels, h. 11 in., w. 14 1/2 in., d. 10 in. $700/900 Provenance: William Word Fine Antiques, Atlanta, GA, 2013.

100. Chinese Export Pseudo Tobacco Leaf Porcelain Foliate Rim Dish, late 17th c., dia. 9 1/8 in. $700/900 Provenance: Sallea Antiques, New Canaan, CT, 2010.

101. Chinese Export Blue and White Porcelain Wall Vase, 18th/19th c., lion’s mask ring handles, decorated with a recessed landscape panel on a diaper ground, neck with Qianlong mark, h. 5 in., w. 5 7/8 in. $400/600 Provenance: The Sturm Collection.

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104. Pair of Continental Faux Granite Painted Metal “Grand Tour” Sphinx Figures, late 19th c., possibly bookends, h. 8 in., w. 9 in., d. 5 1/8 in. $500/750

103. Continental Rouge Marble Obelisk, early 20th c., of typical form, h. 16 1/2 in., w. 3 3/4 in., d. 3 3/4 in. $300/500 102. Pair of Chinese Export Green, Yellow and Aubergine Glazed Stoneware Parrots, 19th/early 20th c., modeled standing on pierced rockwork plinths, h. 7 1/2 in. $150/250

105. West Indies Carved Mahogany Pembroke Table, 19th c., Barbados, drop‑leaf top with reeded edge, frieze drawer, turned legs, casters, h. 29 5/8 in., w. 32 7/8 in., d. (closed) 21 in., d. (open) 41 1/4 in. $500/1000

Provenance: The Sturm Collection.

Provenance: The Sturm Collection. Ill.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Collectors’ Club: Suffolk, 2011, p. 150.

Provenance: The Sturm Collection.

106. Louis XVI‑Style Gilt and Patinated Bronze Figural Mantel Clock, c. 1860, dial and movement marked “DENIERE/A PARIS”, the Classical maiden watching a bird defend its nest from a snake, shaped base with marble inserts, h. 15 1/4 in., w. 20 1/2 in., d. 9 in. $1500/2500 107. Fine Pair of Charles X Bronze Doré Urns, c. 1825, found in attractive old surface, the elongated handles having ram’s head terminals, h. 8 1/2 in., w. 4 1/2 in., d. 3 in. $1500/2500 108. Régence‑Style Bronze Eight‑Light Chandelier, vasiform standard mounted with busts, scrolled arms, pod pendant, electrified, h. 32 in., dia. 33 in. $1500/2500

109. West Indies Carved Mahogany Armoire, 18th c., Trinidad, cove molded cornice, two doors with shaped inset panels, shelf interior, scalloped skirt, scrolled cabriole legs, h. 78 1/2 in., w. 55 1/8 in., d. 25 in. $2500/3500 Provenance: The Sturm Collection. Ill.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Collectors’ Club: Suffolk, 2011, p. 173 (overall form), p. 46 (feet).

110. Pair of West Indies Carved Mahogany Armchairs, 19th c., incurvate crest rail and slat, scrolled arms, turned arm supports, trapezoidal caned seat, turned legs, h. 32 in., w. 22 in., d. 20 1/2 in. $500/800 Provenance: The Sturm Collection. Ill.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Collectors’ Club: Suffolk, 2011, p. 102.

111. Federal Brass and Wirework Fire Fender, c. 1800, turned finials, ornamented with wirework swags, h. 10 1/2 in., w. 49 1/2 in., d. 17 in. $500/700

112. Carved Mahogany Tilt‑Top Table, c. 1830, possibly St. Thomas or St. Croix, square top, molded frieze, concealed drawer, columnar standard with acanthus collar, incurvate plinth, paw feet, h. 28 5/8 in., w. 35 in., d. 34 7/8 in. $400/600 Provenance: The Sturm Collection.

113. American Federal Inlaid Mahogany Three‑Part Dining Table, early 19th c., two demilune ends, drop‑leaf center section, conforming frieze, square tapered legs, h. 30 in., l. 118 1/4 in., d. 47 5/8 in. $1200/1800 Provenance: Northeast Auctions, Hampton, New Hampshire, August 1997.

114. American Rococo Carved Marble Mantel, mid‑19th c., probably New York, serpentine molded top, frieze centered by a floral bouquet, shell roundels, scrolled floral corners, stepped base, h. 48 3/4 in., w. 75 in., d. 15 1/2 in. $3000/5000

116. Italian Carved and Inlaid Walnut Commode, probably late 18th c., serpentine top with floral carved edge, two conforming drawers, molded inset side panels, shaped skirt, cabriole legs, h. 31 3/4 in., w. 53 1/2 in., d. 22 1/2 in. $3000/5000

118. Pair of Napoleon III Patinated Cast Iron Figural Torchères, 19th c., foundry mark “Val d’Osne”, Classical maidens holding volute‑handled vases, h. 45 1/4 in., w. 11 1/2 in., d. 10 in. $3000/5000

115. Charles X Inlaid Mahogany Console, early 19th c., shaped black marble top, frieze drawer, beaded foliate urn pedestal, dolphin supports, shaped plinth, paw feet, h. 34 in., w. 58 in., d. 24 1/2 in. $3000/5000

117. Four West Indies Carved Mahogany Side Chairs, c. 1830, incurvate crest rail, rosette carved slat, trapezoidal seat, sabre legs, h. 33 in., w. 18 1/4 in., d. 20 3/4 in. $1000/1500 Provenance: The Sturm Collection. Ill.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Collectors’ Club: Suffolk, 2011, p. 95.

119. Pair of Large Renaissance-Style Patinated Bronze Chenets, female term standard, with lion and wreath, flanked by cherubs, h. 37 1/2 in., w. 17 1/4 in., d. 13 1/2 in. $1200/1800

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120. Pair of American or West Indies Carved Mahogany Games Tables, c. 1830, shaped foldover top with reeded edge, conforming frieze, rope-turned acanthus‑carved legs, one swing leg, casters, h. 30 in., w. 38 in., d. (closed) 18 in., d. (open) 36 1/2 in. $1200/1800

121. Pair of West Indies Mahogany and Caned Bergères, late 19th/early 20th c., Trinidad, square crest rail, saber arms, turned arm supports, square tapered legs, h. 36 1/2 in., w. 24 in., d. 24 1/2 in. $1200/1800

Provenance: The Sturm Collection.

122. American Sheraton Mahogany Bowfront Chest, c. 1800, graduated drawers with original pulls, reeded legs, retaining old finish, h. 39 3/8 in., w. 41 7/8 in., d. 23 3/8 in. $1000/1500

Ill.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 17401940. Antique Collectors’ Club: Suffolk, 2011, p. 100; Connors, Michael. British West Indies Style: Antigua, Jamaica, Barbados, and Beyond. Rizzoli: New York, 2010, p. 102.

123. West Indies Bronze‑Mounted Mahogany Pier Table, 19th c., probably Martinique, marble top, plain frieze, columnar supports, rear corners mounted with pierced iron brackets, incurvate plinth, cylindrical feet, h. 37 3/4 in., w. 50 7/8 in., d. 24 in. $1000/1500 Provenance: The Sturm Collection. Ill.: Connors, Michael. British West Indies Style: Antigua, Jamaica, Barbados, and Beyond. Rizzoli: New York, 2010, p. 102.

124. American Federal Figured Mahogany Sideboard, early 19th c., shaped backsplash, bowfront top, conforming case with five frieze drawers over two divided drawers, four cabinet doors, turned legs, h. 51 3/4 in., w. 73 in., d. 25 in. $1000/1500 127. English Bronze‑Mounted Rosewood Multi‑Form Table, 19th c., rectangular slide top, central well fitted with backgammon board, two galleried side compartments, frieze fitted with checkerboard slide, trestle base with incurvate supports, scrolled stretcher, foliate mounted sabre legs, brass paw feet, casters, h. 30 in., w. 40 1/4 in., d. 20 1/2 in. $700/1000 Provenance: The Sturm Collection.

128. Pair of Louis Philippe‑Style Carved Mahogany Bergères, barrel back, swan-form arm supports, lappet‑carved sabre legs, h. 31 1/2 in., w. 22 1/2 in., d. 23 in. $1000/1500

125. American Classical Carved and Gilded Mirror, c. 1825-1835, New York, in the manner of Isaac Platt, split columnar surround, fleur-de-lis corners, divided mirror plate, h. 50 in., w. 26 1/4 in. $600/900

126. West Indies Bronze‑Mounted Mahogany Armchair, 19th c, incurvate crest rail, arm supports with bronze busts, square tapered legs, paw feet, h. 37 1/4 in., w. 23 1/2 in., d. 21 in. $500/700 Provenance: The Sturm Collection. Ill.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Collectors’ Club: Suffolk, 2011, pp. 154, 177.

129. Pair of Fine Empire‑Style Gilt Bronze and Marble Cassolettes, late 19th c., grape cluster collar, ram’s head mounts, hoof feet, incurvate triangular plinth, now mounted as table lamps, h. 18 in., dia. 8 in., h. (to socket) 28 in. $5000/7000

130. Empire‑Style Gilt and Patinated Bronze Calendar Mantel Clock, 20th c., serpent bezel, swan and cornucopia mounts, subsidiary dials showing date, day of week and month, h. 15 1/2 in., w. 8 1/4 in., d. 4 3/4 in. $1200/2000

131. Fine Regency Brass Inlaid Rosewood Games Table, early 19th c., attr. to Thomas Hope, tooled leather sliding top opening to a velvet‑lined backgammon board, reverse top with inlaid chessboard, boullework frieze with three drawers, trestle base, turned stretcher, paw feet, casters, h. 29 1/2 in., w. 47 in., d. 27 in. $7000/9000 Note: The extraordinary Regency cabinetry of the table offered here and especially the boullework, which may be of earlier date and incorporated within the frieze and the supports here, indicates a possible attribution to Thomas Hope. The Classical antique design is in the French style of Percier and Fontaine’s Recuil de Décorations Intérieures, 1802, promoted by the connoisseur Thomas Hope (1769-1831) in the furnishings of his Duchess Street mansion.

132. Monumental Gilt Bronze Covered Urn, with rococo chasing, the sterling silver gilt collar (probably from a magnum wine coaster), hallmarked Robert Garrard, London, 1829 (marks rubbed), and engraved with crest of the Order of the Garter, h. 19 in. $1500/2500

133. Narcisse Garnier (French, late 18th/early 19th c.), “Portrait de Femme Coifée d’un Turban”, 1810, oil on canvas, signed and dated “fecit 1810” lower right, printed label in French with title and artist identified as “Elève de David [Student of David]” en verso, 25 1/2 in. x 21 in., period gilt frame. $1500/2500

135. Pair of Antique Italian Carved, Painted and Parcel Gilt Girandole Mirrors, surmounted by a floral crest with a pair of opposing doves, floral‑carved surround, beveled mirror plate, scrolling candlearms, acanthine candlecups, scrolling foliate pendant, h. 44 in., w. 31 in., d. 13 in. $1800/2500

134. Attributed to Pierre‑Philippe Thomire (French, 1751‑1843 ), “Napoleon” and “Josephine”, 1807, 2 wax profile bust reliefs, latter inscribed “Josephine / Thomire 1807” on truncation, busts 5 1/2 in. x 4 in., framed alike. (2 pcs.) $500/800

Additional information at www.nealauction.com

136. Louis Philippe Carved and Gilt Overmantel Mirror, 19th c., molded arched surround with rope and beaded motif, lower corners with clusters of flowers, h. 67 1/2 in., w. 44 in. $1500/2000

137. American Classical Coin Silver Covered Entree Dish, c. 1820, Forbes, New York, gadrooned borders, original removable handle, 8 3/4 in. x 12 in., wt. 50 troy ozs., 10 dwts. $3000/5000

138. Pair of Belle Époque Tiffany Sterling Silver Gilt Perfume Flasks, pattern introduced 1890, chased with putti and trophées of love, h. 7 7/8 in., wt. 28.90 troy ozs. Note: Condition. $1000/1500

139. Tiffany “Queen Anne” Pattern Sterling Silver Coffee and Tea Service, pattern introduced 1870, including coffee pot, teapot, covered sugar, creamer and waste bowl; together with associated Reed & Barton silverplate tray, coffee pot h. 9 3/4 in., tray 25 1/2 in. x 16 in., total wt.(weighable) 82.30 troy ozs. $1500/2500

140. Pair of Tiffany and Co. Sterling Silver Chambersticks, late 19th c., pattern introduced 1882, square with removable bobêches, floral and scroll chasing, reeded scroll handle, h. 3 3/8 in., w. 7 7/8 in., d. 6 5/8 in., wt. 24.65 troy ozs. $1000/1500

141. Edwardian Art Nouveau Sterling Silver Dressing Table Mirror, hallmarked Charles Henry Dumenil, London, 1905, shield shape with tulip repoussé on hammered ground, conforming beveled mirror plate, handsome strapwork monogram, easel back, h. 20 in., w. 15 1/4 in. $1000/1500

142. West Indies Carved Mahogany Console Table, 19th c., Barbados, molded top, paneled frieze drawer, acanthus‑carved scroll supports with paw feet, incurvate plinth, disc feet, h. 34 in., w. 33 in., d. 21 in. $500/700

Provenance: The Sturm Collection.

Provenance: The Sturm Collection. Ill.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Collectors’ Club: Suffolk, 2011, p. 146.

143. AngloColonial Carved Camphor Wood Campaign Chest, molded top, bail brass handles, foliate-carved stiles, five drawers, molded base, turned feet, h. 50 3/4 in., w. 46 in., d. 20 1/2 in. $1500/2500

144. English Polychrome Painted and Inlaid Mahogany Games Table, c. 1790, demilune foldover top, baize playing surface, blocked frieze, square tapered legs, two swing legs, spade feet, h. 29 in., w. 32 in., d. (closed) 16 in., d. (open) 32 in. $500/1000 Provenance: The Sturm Collection.

145. Georgianâ&#x20AC;&#x2018;Style Mahogany Bookcase, 20th c., stepped cornice, three glazed doors, adjustable shelves, plinth base, h. 90 in., w. 86 1/4 in., d. 19 in. $1500/2500 146. Regency-Style Inlaid Mahogany Dining Table, 3 leaves, h. 29 1/2 in., l. (closed) 53 3/8 in., l. (extended) 110 in., w. 53 1/2 in. $1000/2000

147. Italian Baroque Walnut Trestle Table, 18th c., banded top, scalloped molding, paneled frieze, shaped splayed legs, stretchers, old scarlet paint surface, h. 32 in., l. 86 1/2 in., w. 35 1/4 in. $4000/6000

149. Italian Rococo Carved Giltwood Hall Bench, 19th c., floral and scroll reticulated crest, acanthus scroll arms, C scroll legs, padded back and seat, h. 50 in., w. 50 1/4 in., d. 16 1/2 in. $1200/1800

148. Pair of Italian Baroque Walnut Console Tables, 17th c., each with shaped two board top, canted scroll legs, supported by brackets, h. 29 3/4 in., w. 56 in., d. 28 in. Note: Restorations. $5000/7500

150. Italian Neoclassical Rosewood and Kingwood Inlaid Demilune Console, early 19th c., banded, bookmatched top, two frieze drawers, square tapered legs, h. 30 1/4 in., w. 44 1/2 in., d. 22 in. $1000/1500

152. Louis Philippe Carved Walnut Center Table, 19th c., scagliola top top with pastoral scene, molded frieze, reeded support, drum plinth, arched acanthus carved legs, scrolled feet, h. 26 1/2 in., dia. 32 in. $1800/2500

151. Pair of Monumental American Asethetic Giltâ&#x20AC;&#x2018;Incised, Carved and Ebonized Pedestals, late 19th c., probably New York, each with oval molded top, molded base, rectangular plinth, h. 43 in., w. 35 1/2 in., d. 23 1/2 in. $1800/2500 Additional information at www.nealauction.com

153. Pair of Baltic Carved Stone Planters, 20th c., strapwork decoration, h. 13 1/2 in., dia. 19 in. $1000/1500

154. Good Pair of George III Carved Mahogany Side Chairs, probably late 18th/ early 19th c., molded back, triple lozenge carved upright splats, trapezoidal seat, molded tapered legs, H stretcher, h. 35 1/4 in., w. 20 1/2 in., d. 19 1/2 in. $800/1200

155. Rare Pair of American Gothic Carved Mahogany Side Chairs, c. 1830‑1840, attr. to J. & J.W. Meeks, New York, crest rail with pierced trefoil motif, incurvate pierced splat, trapezoidal seat, shaped sabre legs, casters, h. 36 in., w. 19 in., d. 19 1/2 in. $800/1200 Note: The gothic chairs offered here are nearly identical to a set of four chairs made by the New York firm J. & J.W. Meeks for the White House in 1846 during the presidency of James K. Polk. Later used by President Abraham Lincoln, the chairs have decorated the Lincoln Bedroom in the White House since 1952 when President Harry S. Truman directed the reinstallation of the original Lincoln Bedroom furnishings during a White House renovation. Ref.: Allman, William G. “The Lincoln Bedroom: Refurbishing a Famous White House Room.” The White House Historical Association. www.whitehousehistory.org/the-lincoln-bedroomrefurbishing-a-famous-white-house-room. Accessed 8/5/2017.

156. Empire‑Style Bronze‑Mounted Marble Figural Mantel Clock, late 19th c., surmounted by Cupid, dial with engine‑turned mounts, Classical frieze, paw feet, h. 21 1/4 in., w. 12 in., d. 6 in. $1200/1800

157. Manner of Claude Lorrain (French/Italian, 1604/051682), “Figures at a Ferry Embarkation on a River Estuary at Sunset”, oil on canvas, unsigned, 21 1/2 in. x 29 in., antique frame. $1200/1800 Provenance: The Sturm Collection.

158. Denis Joseph Ernest Berard (French, 1829‑1914), “Middle Eastern Street Scene with Red Striped Mosque and Minaret”, 1885, oil on canvas, signed and dated lower right, illegible pencil inscription en verso, 15 in. x 19 in., framed. $800/1200 Provenance: The Sturm Collection.

159. John James Audubon (American, 1785‑1851), “Scarlet Ibis”, Plate 397, color lithograph from The Birds of America, Amsterdam edition, sight 24 1/4 in. x 36 3/4 in., framed. $600/900

160. John James Audubon (American, 1785‑1851), “Purple Gallinule”, Plate 305, hand‑colored aquatint engraving from The Birds of America, Havell edition, “J.Whatman/1836” watermark, sheet 26 in. x 39 1/2 in., framed. $800/1200

162. Eight American Gothic Carved Mahogany Dining Chairs, c. 1845, possibly Charles Baudouine (act. 1829‑c.1854), New York, incl. two armchairs and six side chairs, shaped pierced crest rail with lobed fans, splats surmounted by ogee arches, trapezoidal seat, shaped legs, retaining old attractive finish. $2500/3500

161. Richard Earlom (British, 1743‑1822), after Johan Joseph Zoffany R.A. (British, 1733‑1810), “Colonel Mordaunt’s Cock Match at Lucknow, 1786”, hand-colored mezzotint, titled and artist identified lower margin, “Mango Tango Art Gallery, St. Thomas, Virgin Islands” label en verso, sheet 20 in. x 26 3/4 in., framed. $800/1200 Provenance: The Sturm Collection.

Note: Gothic Revival chairs with s-shaped front legs and splats surmounted by ogee arches have been attributed to New York City cabinetmakers such as Alexander Roux and John & Joseph W. Meeks. The chairs in the current lot are distinguished by a shaped crest rail with peaks and lobed fans. Additionally, moldings outline the ogee arches as well as the splats. These details are not found on chairs by Roux or by J. and J.W. Meeks. Features such as the lobed fans and moldings are found individually on chairs made by Charles A. Baudouine, including a set of forty-two rosewood chairs produced around 1845 for the State Dining Room of the White House during the administration of President James K. Polk, and a pair of armchairs that were part of a rosewood parlor suite supplied in 1849 to Betsy Hart of Troy, New York. Ref.: Bucher, Douglas G., Stacy Pomeroy Draper, et al. The Marble House in Second Street: Biography of a Town House and its Occupants. 1825, 2000, p. 38, fig. 41; Howe, Katherine S. and David B. Warren. The Gothic Revival Style in America, 1830-1870. 1976, p. 13-14, figs. 2 & 4; Monkman, Betty C. The White House: Its Historic Furnishings and First Families, 2000, p. 103.

163. Large American Carved Pine Bookcase, 19th c., likely Southern, molded cornice, two sliding glazed doors, shelf interior, lower cabinet with two paneled doors, one side with divided interior, bracket feet, h. 101 1/2 in., w. 75 in., d. 15 1/2 in. $2500/3500

164. American Late Classical Carved Mahogany Games Table, 19th c., in the manner of Samuel McIntire, Salem, Massachusetts, foldover serpentine top, frieze centered by a floral basket, acanthus carved, turned and reeded legs, one swing leg, h. 30 in., w. 36 in., d. (closed) 18 1/4 in., d. (open) 36 1/2 in. $500/1000

165. American Federal Carved and Inlaid Mahogany Tester Bed, late 18th/early 19th c., Charleston, urn finials, later oval inlaid shaped tester, leaf carved reeded tapered posts ending in bellflower inlaid blocked bases, pine headboard, conforming rails, h. 111 in., l. 75 in., w. 54 in. $15000/25000 Note: The bedstead offered as lot 165 is among an important group of Neoclassical beds made during the late 18th and early 19th century in Charleston, South Carolina. This bed, illustrated in The Furniture of Charleston: 1680-1820, features inlaid, finely carved, reeded and foliate-decorated posts, characteristics common among this important group of Charleston beds. Ill.: Rauschenberg, Bradford L. and John Bivens Jr. The Furniture of Charleston: 1680-1820. Vol. II. The Museum of Early Southern Decorative Arts: Winston-Salem, NC, 2003, pp. 815-817.

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166. West Indies Carved and Inlaid Mahogany Hunt Table, early 19th c., Jamaica, molded top, inlaid frieze centering a blocked rosette of Regency inspiration, tapering turned legs, h. 39 1/2 in., w. 47 in., d. 23 1/2 in. $6000/8000

167. English Bronze‑Mounted Kingwood, Marquetry and Mahogany Cellarette, 19th c., slant front top, two handles, shaped base, sabots, h. 20 1/4 in., w. 22 1/4 in., d. 17 1/4 in. $1000/1500 Provenance: The Sturm Collection.

168. American Rococo Carved Walnut Corner Cabinet Étagère, mid‑19th c., attr. to J. & J.W. Meeks, New York, finialed superstructure of two graduated shelves, fretwork back, gadrooned lower section, Gothicized door, interior shelf, blocked base, h. 81 in., w. 30 1/2 in., d. 21 1/2 in. $1500/2500

169. George IIIStyle Mahogany Breakfront Gentleman’s Wardrobe, 19th c., stepped cove molded cornice, two side cabinets flanking a linen press cupboard, on four drawer chest, plinth base, casters, h. 86 1/4 in., w. 90 in., d. 25 in. $2000/3000

170. Georgian‑Style Carved Mahogany Settee, arched back, serpentine arms, reeded tapered legs, spade feet, h. 35 in., w. 71 in., d. 23 in. $1000/1500

171. Fine Pair of Antique George III‑Style Highly Carved Mahogany Elbow Chairs in the Irish Taste, horse shoe shaped back, flared arms, lion mask carved cabriole legs, hairy paw feet, casters, h. 38 in., w. 29 in., d. 24 1/2 in. $4000/6000 172. Regency‑Style Carved Rosewood Credenza, paneled frieze, two doors faced with antique leather book spines, flanked by acanthus carved scrolled supports, plinth base, h. 35 1/2 in., w. 39 in., d. 17 1/2 in. $1200/1800

173. Extraordinarily Fine Victorian Carved Walnut and Marquetry Center Table, c. 1860, possibly Robert Strahan & Co., Dublin, serpentine top with extensive floral reserve, highly carved scrolled trestle base with figural supports, stretcher centered by a cluster of carved fruit, casters, h. 29 in., l. 60 1/2 in., d. 36 in. $8000/12000 Ref.: The Art Journal Illustrated Catalogue of the International Exhibition 1862. James S. Virtue: London, 1862, p. 110.

175. Venetian Polychrome and Gilt‑Decorated Three Panel Folding Screen, c. 1750, oil on linen, blue ground with floral and acanthus motif, scrolling border, h. 81 in., w. 118 in., d. 2 in. $3000/5000

174. Fine Queen Anne-Style Carved Walnut Stool, late 18th/early 19th c., acanthus carved cabriole legs, pad feet, h. 18 in., w. 22 in., d. 18 in. $1200/2000

Provenance: Estate of Contessa Alicia Spaulding Paolozzi, Italy and Charleston, SC.

176. Antique Empire Bronze‑Mounted Mahogany Armchair, late 19th/early 20th c., finialed bronze capped uprights, rectangular back, arms terminating in bronze atlantid uprights, paw feet, h. 44 1/2 in., w. 32 in., d. 28 1/2 in. $2500/3500 177. Continental Egyptianesque Polychrome and Inlaid Collector’s Cabinet on Stand, oval case, conforming door, fitted interior, rectangular plinth with two side frieze drawers, base with frieze drawer, bracket feet, h. 57 1/4 in., w 33 in., d. 15 in. $2500/3500

178. Antique Chinese Export Black Lacquer and Papier‑Mâché Sewing Table, gilt decoration, fitted interior retaining sewing implements, h. 25 in., w. 16 in., d. 11 in. $300/500

179. Pair of Directoire‑Style Gilded and Ebonized Armchairs, after Jean‑Joseph Chapuis, incurvate crest rail with putti and acanthus scrolls, arms with ball finials, foliate carved round tapered uprights, caned square seat, arched legs, ball feet, h. 35 in., w. 21 1/2 in., d. 18 in. $800/1200 180. Near Pair of Russian Neoclassical‑Style Brass‑Mounted Mahogany Commodes, 20th c., stepped molded top, one with two drawers, other with fitted sécrétaire drawer, square tapered legs, h. 36 in., w. 38 3/4 in., d. 17 in. $3000/5000

Additional information at www.nealauction.com

181. Old Sheffield Plate Warming Stand and Domed Cover with Crest of the Madras European Regiment, mid‑19th c., associated sterling silver entree dish, Benjamin Smith III, London, marks rubbed, also with crest of the Madras European Regiment, 12 3/8 in. x 12 1/4 in., entree dish wt. 29.75 troy ozs., overall h. 10 1/4 in., w. 13 1/8 in. $500/750

182. Scottish Sterling Silver Campana‑Form Vase, 1846, Edinburgh, probably J. Hay, acanthus and blossom repoussé, retains traces of gilt wash interior, h. 8 1/8 in., wt. 17.70 troy ozs. $400/600

Provenance: The Sturm Collection.

185. Scottish George III Sterling Silver Wine Funnel, Edinburgh, 1801, maker “M & ?” untraced, l. 4 1/2 in., wt. 2.20 troy ozs. $150/250 Provenance: The Sturm Collection.

183. Victorian Sterling Silver Standish, Henry Wilkinson & Co., Sheffield, 1845, mark reg. 1831, scroll decorated stand fitted with pounce pot, taper stick with removable bobêche and snuffer, and 2 associated crystal ink pots with silverplate mounts, h. 5 1/2 in., l. 10 3/4 in., wt. 14.75 troy ozs. $300/500 Provenance: The Sturm Collection.

186. Antique English Sterling Silver‑Mounted Horn Carving Set, 19th c., Joseph Rodgers & Sons, Sheffield, hallmarks rubbed, including fork, knife and sharpening steel, in original fitted oak case marked “Joseph Rodgers & Sons/ Cutlers to/ her Majesty/ 6 Norfolk Street/ Sheffield”, “El Trinchante Incomparable” and “VR/ Joseph Rodgers & Sons/ Cutlers to Her Majesty”, knife l. 16 7/8 in. $300/500

187. Regency Sterling Silver Presentation Cup, Joseph Angell I, London, 1819, mark reg. 1811, footed form with foliate and floral scroll frieze, acanthine handle and fruit garland foot, h. 3 5/8 in., wt. 6.25 troy ozs. $250/350

Provenance: The Sturm Collection.

189. George II Sterling Silver Creamer, Walter Brind, 1752, mark reg. 1749, rococo chasing, scroll handle and feet, h. 2 7/8 in., l. 5 1/2 in.; together with crested fiddle, thread and shell soup ladle, Francis Higgins III, London, 1887, mark reg. 1880, l. 13 3/8 in.; and Old English thread fish slice, George Aldwinckle, London, 1862, l. 12 1/4 in., total wt. 19.45 troy ozs. $500/700 190. George I Britannia Standard Silver Muffineer, 1716, baluster form with flat chasing, h. 6 1/4 in., wt. 4.80 troy ozs. $150/250 Provenance: The Sturm Collection.

184. Georgian‑Style Sterling Silver After‑Dinner Coffee Service, incl. coffee pot, creamer and sugar, I. Freeman & Son, London, 1934 and 1935, the associated tray, Ellis & Co., Birmingham, 1953; pot h. 8 in., tray dia. 11 3/8 in., total wt. 43.25 troy ozs. $1000/1500

188. George III Sterling Silver Wine Funnel, Peter and Ann Bateman, London, 1795, mark reg. 1790, in two sections, reeded borders, l. 5 1/4 in., wt. 2.75 troy ozs. $250/350 Provenance: The Sturm Collection.

191. American Rococo Coin Silver Water Pitcher and Two Goblets, the pitcher c. 1855, ret. Mitchell & Tyler, Richmond, Virginia, wc. 1845‑1866, probably made by Bailey & Co., Philadelphia whose standard marks for coin silver used until 1858 appear on the bottom, incise marks “MITCHELL & TYLER” and “PURE COIN” also on the bottom of the pitcher, decorated with repoussé chased flowers, foliage and scrolls, the pyriform pitcher with a cartouche below the spout with engraved script initials “RPW”, on a molded circular foot; the tulip shaped goblets marked “COIN”, repoussé chased floral and scroll panels, the knopped stems and paneled feet also decorated, engraved in script “IPW”, pitcher height 11 1/2 in., goblet height 7 3/4 in., combined wt. 50.20 troy ozs. $2500/3500

194. American Coin Silver Soup Ladle, Henry Hebbard, New York, “Grecian” pattern, pat. 1862, l. 12 3/4 in., wt. 6.80 troy ozs. $250/350 192. American Coin Silver Fiddlethread Ladle, William Gale & Son, New York, 1851, ret. Gregg, Hayden & Co., Charleston, downcurved handle with French style shoulder with oval bowl, the upperface engraved in script “S. & V. Tupper” marked “GREGG HAYDEN & CO” in a rectangle, “G & S” in an oval above a circle above a lozenge dated 1851, l. 13 1/4 in., wt. 10.45 troy ozs. $1500/2500 Provenance: Samuel Yeadon Tupper, Charleston.

193. Tennessee Coin Silver Soup Ladle, W.H. Calhoun, Nashville, wc. 1835‑1865, l. 13 in., wt. 6.45 troy ozs. $600/900

196. American Gilt Bronze Figural Solar Lamp, c. 1850, attr. to Hooper, Renaissance figure with sword, floral cut shade, marble base, h. 21 in. $700/1000

195. American Coin Silver Presentation Cup, c. 1830; together with a group of 11 American coin silver teaspoons, 19th c., and 2 Continental silver teaspoons. $250/350

Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH. 197. American Gilt Bronze Solar Lamp, c. 1850, attr. to Hooper, fluted shaft on tall plinth, cut glass shade with trellis design, h. 23 in. $700/1000

198. American Gilt Bronze Solar Lamp, c. 1850, attr. to Hooper, grapevine prism ring, fluted baluster base, globe shade cut with gothic arch windows, h. 22 in. $800/1200 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

200. Pair of Empire‑Style Bronze Gas Sconces, early 20th c., oil lamp form with dramatic masks and portrait medallions, electrified, h. 11 in., w. 7 in., d. 16 in. $1500/2000

199. Pair of Louis XVI‑Style Bronze and Tôle Peinte Bouillotte Lamps, 20th c., adjustable oval shade, floral arms, electrified, h. 28 1/4 in., w. 14 1/4 in., d. 10 1/2 in. $500/700

201. American Classical Carved Rosewood Méridienne, c. 1835, attr. to Duncan Phyfe and Son, New York, scrolled back with concentric bosses, paneled rail, elliptical feet, h. 34 in., w. 67 1/2 in., d. 22 1/8 in. $2000/3000 Note: The scroll arm, blocked plinth, and D‑form feet are very similar to those on a méridienne ordered from Duncan Phyfe by Samuel Foote in 1837 and now in the Metropolitan Museum of Art (66.221.1). Ref.: Tracy, Berry, B. 19th-Century American Furniture and Other Decorative Arts. (New York: New York Graphic Society), 1970, fig. 79.

202. Mexican Carved Oak Campeche Chair, late 19th c., distinctive Art Nouveau dragonfly and floral embossed leather back and seat, incised arms, scrolled seat rail and legs, turned stretcher, h. 33 in., w. 21 in., d. 27 in. $1500/2500

203. American Late Federal Carved Mahogany Side Table, early 19th c., probably Philadelphia, molded top, conforming frieze, spiral reeded standard, square plinth, molded sabre legs, brass paw feet, casters, h. 31 in., w. 39 in., d. 19 in. $500/1000

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204. Fine Pair of American Rococo Carved and Laminated Rosewood Side Chairs, c. 1850‑1860, attr. to John Henry Belter, New York, in the pattern known as “Cornucopia”, tall high relief carved crest, acanthus carved uprights, exuberant floral carved serpentine seat rail, cabriole legs, casters, h. 38 1/2 in., w. 19 in., d. 18 1/2 in. $10000/15000

205. Pair of American Rococo Carved and Laminated Rosewood Side Chairs, c. 1850‑1860, attr. to John Henry Belter, New York, in the pattern known as “Cornucopia”, found en suite with preceding lot, tall crest carved in high relief, acanthus carved uprights, exuberant serpentine seat rail with massive floral carvings, carved cabriole legs, casters, h. 39 in., w. 19 in., d. 18 in. $10000/15000

Provenance: The Service Collection, Estate of Grant A. Oakes, Warren OH.

Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH. 206. American Rococo Carved and Laminated Rosewood Settee, c. 1850‑1860, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Tuthill King”,finely carved crests with grapes, fruit and flowers over C and S scrolls with reticulation below, serpentine seat rail, cabriole legs, casters, fine historically appropriate silk damask upholstery, h. 43 3/4 in., w. 68 1/2 in., d. 34 in. $10000/15000 207. American Rococo Carved and Laminated Rosewood Armchair, c. 1850‑1860, attr. to John Henry Belter, New York, in the pattern referred to as “Tuthill King”, finely carved crest with grapes, fruits and flowers over C and S scrolls, serpentine seat rail, cabriole legs, casters, h. 43 1/2 in., w. 19 in., d. 34 in. $7000/10000 208. Fine American Carved and Laminated Rosewood Center Table, c. 1850‑1860, attr. to John Henry Belter, New York, shaped marble top, extensively carved apron with grapes and flowers, acanthus and floral carved cabriole legs, scrolled stretchers with central basket of flowers, acanthine feet, casters, h. 28 3/4 in., w. 33 3/4 in., d. 26 1/2 in. $25000/35000 Note: The ornate features of the center table offered here relate closely to several important examples by New York cabinetmaker John Henry Belter. The serpentine top, elaborately carved apron, distinctive cabriole legs, and the scrolled stretcher surmounted by an abundant floral basket are nearly identical to an important center table from the Service Collection sold by Neal Auction Company as lot 149, September 12, 2015, also illustrated in American Furniture of the 19th Century by Eileen and Richard Dubrow. The table is also closely related to the historic Belter center table in the Lincoln Bedroom at the White House and a table attributed to Belter installed in the Rococo Revival period room at the Metropolitan Museum of Art. Ref.: Allman, William G. “The Lincoln Bedroom: Refurbishing a Famous White House Room.” The White House Historical Association. whitehousehistory.org. Accessed 8/5/2017; Davidson, Marshall. The American Wing, The Metropolitan Museum of Art. Harrison House: New York, 1985, pp. 82-83; Dubrow, Eileen and Richard. American Furniture of the 19th Century. Schiffer: Pennsylvania, 1983, p. 131.

209. Fine American Rococo Carved and Laminated Rosewood Side Chair, attr. to John Henry Belter, New York, in the pattern referred to as “Fountain Elms”, arched floral and grape carved crests, scrolled stiles, serpentine floral carved seat rail, cabriole legs, casters, h. 38 1/2 in., w. 18 in., d. 26 in. $3000/5000

210. American Rococo Carved and Laminated Rosewood Armchair, c. 1850‑1860, attr. to John Henry Belter, New York, in the pattern referred to as “Tuthill King”, medallion back carved and pierced with floral scroll elements, seat rail with cluster of flowers, cabriole legs, acanthine feet, casters, h. 44 in., w. 24 in., d. 19 in. $7000/10000

212. After Louis Hottot (French, 1834‑1905), “Odalisque Reclining on a Divan”, polychromed metal, removable headdress, scarf and robe, h. 17 in., w. 30 in., d. 12 in. $2000/3000

214. American Late Classical Carved Mahogany Secretary Bookcase, c. 1830, probably New York, molded stepped cornice, two glazed doors flanked by scrolled supports over a bank of four drawers, rectangular top, fitted secretary drawer, conforming base with two cabinet doors, scrolled feet, h. 101 in., w. 57 in., d. 27 1/2 in. $1500/2500

211. Bronze Figural Group of a Gaul Warrior and Young Man, after “Pro Patria” by Emile Laporte (1858‑1907), signature and “84” inscribed on self base, dedication “à Monsieur Henri Saint/Hommage du Personnel/2 janvier 1898” inscribed and “Siot Decauville/ Foundeur Paris” foundry stamp on side of base, h. 35 in., w. 24 in., d. 18 3/4 in. $2500/3500

213. Empire Carved Rosewood Pier Table, early 19th c., marble top, gothicized frieze, acanthus carved scroll supports, mirrored back, shaped plinth, lobed melon feet, h. 35 1/2 in., w. 36 in., d. 12 3/4 in. $1500/2500

214A. American Classical Carved Mahogany Drop‑Leaf Table, early 19th c., New York, frieze drawer, carved bulbous reeded standard, drum plinth, acanthus carved legs, paw feet, casters, h. 28 1/2 in., w. (closed) 24 1/2 in., w. (open) 53 1/2 in., d. 36 3/4 in. $700/1000 Additional information at www.nealauction.com

215. American Classical Mahogany Library Chair, early 19th c., scrolled arms and arm supports, molded seat rail, scrolled legs, casters, h. 37 in., w. 22 in., d. 24 in. $400/600

217. American Renaissance Carved Walnut Metamorphic Serving Trolley, 19th c., three molded shelves, incised supports, trestle base, carved stretcher, turned feet, casters, h. 43 in. (fully extended), h. 32 in. (closed), w. 44 in., d. 21 1/2 in. $500/750

216. American or English Aesthetic Movement Carved and Gilded Easel, late 19th c., shell and floral motifs, h 63 1/2 in., w. 24 in., d. 21 in.; with associated Aesthetic Movement carved and gilded frame presented with a decorative pastel of a riverscape. $500/800

218. American Rococo Carved and Laminated Rosewood Armchair, c. 1850‑1860, reticulated crest carved with flowers and scrolls, serpentine seat rail, acanthus carved cabriole legs, casters, h. 42 1/2 in., w. 25 in., d. 25 in. $1200/1800

219. American or English Aesthetic Ebonized and Gilt‑Incised Parlour Cabinet, late 19th c., possibly Allen Bro., Philadelphia, superstructure with mirror flanked by shelves, case with configuration of polychromed doors and niches, turned feet, h. 62 1/2 in., w. 48 in., d. 15 1/2 in. $1000/1500 Provenance: Collection of Henri Schindler 220. Pair of American Aesthetic Ebonized, Incised, and Gilt Slipper Chairs, late 19th c., polychromed back splat, turned legs, casters, h. 32 in., w. 19 in., d. 16 1/2 in. $800/1200 Provenance: Collection of Henri Schindler

221. American Aesthetic Inlaid Walnut Writing Desk, late 19th c., attr. to Herter Brothers, New York, galleried superstructure with shelves, slanted writing surface, floral inlaid frieze, mechanical side drawer, turned tapered legs, spindled stretchers, casters, h. 62 in., w. 30 in., d. 25 in. “4081”. $800/1200

222. American Aesthetic Japonesque Ebonized and Carved Cherrywood Firescreen, c. 1880, reticulated crest, molded frame, fitted with silk embroidery, bracketed base with outset feet, h. 57 1/2 in., w. 34 1/4 in., d. 15 in. $500/700

223. English Black Lacquered, Parcel Gilt and Motherof‑Pearl Inlaid Prie-Dieu, mid‑19th c., padded crest rail, Gothic pierced back, turned uprights, legs, h. 34 1/2 in., w. 20 in., d. 17 1/2 in. $300/500

224. English RenaissanceStyle Carved Oak Settee, raked back, padded arms, pierced C scroll stretcher rail, acanthus scroll legs, h. 50 1/2 in., w. 56 in., d. 29 in. $1000/1500

225. English Black Lacquer and Gilt Papier‑Mâché Tray, 19th c., oval with polychrome pug reserve, later stand with bamboo turned legs, pad feet, h. 17 in., w. 33 1/2 in., d 26 1/2 in. $800/1200

226. Pair of Regency Carved Mahogany Armchairs, 19th c., incurvate crest rail, scrolled shell‑carved slat, molded arms, padded seat, rope-turned legs, h. 37 in., w. 23 1/2 in., d. 22 in. $500/750

227. English Brass‑Mounted Walnut Campaign Console, 19th c., frieze drawer, chamfered legs, H stretcher, cuff feet, h. 30 in., w. 28 in., d. 9 in. $300/500

228. Set of Eight Georgian‑Style Carved Mahogany Dining Chairs, attr. to Schmieg and Kotzian, serpentine crest rail, foliate carved splat, leather seat with brass nailhead trim, molded square legs, H stretcher, h. 37 in., w. 21 3/4 in., d. 19 in. $2000/3000 229. Continental Neoclassical‑Style Brass‑Mounted Mahogany Commode, stepped top, frieze centered by jasperware tablet, canted corners, two graduated drawers, square tapered legs, h. 33 1/2 in., w. 38 1/2 in., d. 16 3/4 in. $1000/1500 230. Continental Patinated Bronze “Warwick” Vase, c. 1900, after the Antique, with removable liner, on tall plinth base, h. 16 in., w. 14 in., d. 10 1/4 in. $800/1200

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231. Pair of French Gilt Bronze Campagna Urns, late 19th c. twig handles, Bacchic frieze, on associated marble bases, urn h. 9 in., w. 9 1/4 in., d. 7 1/2 in., total h. 17 in. $400/600

232. Continental Gilt Metal and Onyx Chess Board, 20th c., on paw feet, h. 1 1/2 in., w. 15 in., d. 15 in. $300/500 Provenance: The Sturm Collection. 233. Napoleon III Gilt Bronze Plaque, late 19th c., cast with floral vases and scrolls, inset with porcelain plaques of courting couples, dia. 13 3/4 in. $500/700

234. French School, mid‑19th c., “Apotheosis of Napoleon”, hand‑colored mezzotint, 9 1/2 in. x 13 1/2 in., framed. $250/500

236. Good French Champlevé Bowl, late 19th c., black and green ground with gilt accents, interior with a crane and flowers, h. 4 in., d. 8 5/8 in. $200/300

237. American Patinated Metal Architectural Model of a Staircase, late 19th c., intricate wrought railing, on wood base, h. 18 1/4 in., w. 20 1/2 in., d. 10 in. $500/750

235. Art Deco Boch Freres Vase, c. 1935, fully marked, with impressed “1885”, h. 9 3/4 in., d. 5 1/8 in. $400/600 Provenance: Modernism Gallery, Coral Gables, FL.

238. American Wrought Iron Firescreen, early 20th c., in the style of Samuel Yellin, S scroll design, arched legs, penny feet, h. 30 in., w. 29 in., d. 9 in. $300/500

241. English or American Painted Cast Iron Table, c. 1830, circular top, scrolled foliate supports, incurvate triangular base, acanthus feet, h. 26 1/4 in., dia. 18 3/4 in. $300/500

239. Pair of American Aesthetic Movement Brass Andirons, late 19th c., pierced blossom design centered by stylized scrollwork on splayed legs, h. 19 in., w. 8 1/4 in., d. 10 in. $400/600

242. Pair of English Black Lacquered, Gilt and Mother‑of‑Pearl Inlaid Side Chairs, mid‑19th c., arched crest, spiral-turned uprights, padded back, serpentine seat rail, cabriole legs, h. 38 in., w. 18 1/2 in., d. 15 in. $500/800

240. American Cast Iron Swan‑Form Architectural Element, 19th c., mounted on rectangular base, h. 20 1/2 in., w. 30 1/4 in. $300/500

244. Pair of Diminutive Antique American Classical Carved Mahogany Curule Benches, 19th c., chamfered rectangular seat rail, curule supports, turned stretcher, h. 17 1/2 in., w. 17 1/2 in., d. 11 in. $400/600 243. West Indies Carved Mahogany Drum Table, 19th c., Barbados, circular top with molded edge, two opposing frieze drawers, reeded vasiform standard, reeded saber legs, brass paw feet, casters, h. 29 3/4 in., dia. 28 in. $300/500 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

245. English Carved Rosewood Canterbury, mid‑19th c., reticulated dividers, ogee base, turned legs, casters, h. 20 in., w. 20 3/4 in., d. 15 1/8 in. $400/600 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

246. Antique English Mahogany Serving Table, marble top, two frieze drawers, tapered legs, pad feet, h. 30 1/2 in., w. 48 1/2 in., d. 23 in. $500/1000 Provenance: Estate of Janice Lane Young, Richmond, VA. 247. Georgian Mahogany Drop‑Leaf Table, late 18th c., bracketed frieze, tapered legs, pad feet, h. 27 in., l. (open) 38 1/2 in., l. (closed) 13 1/2 in., w. 33 1/2 in. $500/800

249. Austrian Neoclassical Inlaid Mahogany Bureau á Cylindre, 19th c., galleried top, cylinder lid, fitted interior with pull‑out baize writing surface, two graduated drawers, square tapered legs, h. 46 1/2 in., w. 45 1/2 in., d. 23 1/2 in. $800/1200 248. William IV Inlaid Mahogany Server, 19th c., molded top, paneled frieze drawers, segmented turned tapered legs, h. 37 in., w. 78 in., d. 26 in. $1000/1500

Provenance: The Sturm Collection.

250. Continental Carved and Inlaid Pine Kas, 19th c., molded stepped cornice, two paneled doors, shelf interior fitted with single small drawer, two drawers in molded base, turned bulbous feet, h. 77 in., w. 74 in., d. 26 1/4 in. $1000/1500

252. Antique Spanish Carved Walnut and Parcel Ebonized Cassone, later base with barley‑twist legs, h. 38 1/4 in., w. 48 in., d. 27 1/2 in. $500/800

253. Italian Neoclassical Walnut Commode, 18th c., marble top, open compartment, square stop-fluted tapered legs, H stretcher, h. 31 3/4 in., w. 22 in., d. 17 1/4 in. $600/800

251. Italian Renaissance‑Style Specimen Marble and Carved Walnut Stand, late 19th c., signed “... Aristide, 1889”, inset specimen marble top in foliate carved molding, acanthus carved standard, dolphin supports, incurvate base, lion’s paw feet, h. 30 in., dia. 22 in. $1500/2500

254. Antique Gustavian‑Style Crème Peinte Side Table, 19th c., oval top, frieze drawer, square tapered legs, X stretcher, h. 28 1/4 in., w. 22 1/2 in., d. 16 in. $300/500

255. Pair of French Directoire‑Style Carved Fruitwood Refraîchissoirs, each with inset marble top with fitted bottle wells, frieze drawer, turned supports and stretcher, two shelves, h. 29 in., w. 18 in., d. 18 in. $1000/1500

Additional information at www.nealauction.com

256. Pair of Louis XV‑Style Bronze‑Mounted Tables, each with inset shaped marble top, conforming frieze, cabriole legs, sabot feet, h. 30 1/2 in., w. 31 1/4 in., d. 31 1/2 in. $1200/1800

257. Continental Neoclassical‑Style Brass‑Mounted Mahogany Commode, Egyptian marble top, columnar stiles, three drawers, square tapered legs, h. 34 in., w. 44 1/2 in., d. 23 in. $1000/1500

258. Suite of Four Venetian Giltwood Two‑Light Sconces, 20th c., each with scrolled frame, mirror backplate etched with opera singers, electrified, h. 24 1/2 in., w. 13 in., d. 6 in. $2000/3000 259. Louis XVI Brass‑Mounted Inlaid Mahogany Games Table, 18th c., inset leather top, the reverse baize‑lined, interior well with ebony and ivory inlaid backgammon board, paneled frieze, square tapered legs, brass caps, h. 30 1/4 in., w. 43 3/4 in., d. 23 in. $2000/3000 260. Italian NeoclassicalStyle Trumeau Mirror, 18th c., gris peinte with gilt details, classical painting over mirror plate, h. 63 5/8 in., w. 59 1/2 in. $2500/3500

262. Good French Bronze Lamp in the Egyptian Taste, 19th c., columnar standard, base with winged sun disks and seated pharaohs, painted shade, electrified, h. 27 in., dia. 12 in. $700/900

263. George III Mother‑of‑Pearl and Abalone Tea Caddy, early 19th c., interior with two lidded compartments, on brass compressed ball feet, h. 5 1/2 in., w. 8 1/2 in., d. 5 1/4 in. $1000/1500

261. Monumental Pair of Japanese Kutani Porcelain Vases, probably Meiji Period (1868‑1912), decorated with figures on horseback amid moriage highlighted trees on a red diaper ground, h. 33 in., now mounted as lamps, h. (to base of finial) 4 8 in. $2000/3000

264. George III Tortoiseshell and Mother‑of‑Pearl Tea Caddy, early 19th c., lid with monogram cartouche “M.A.V.G. 1861”, interior with two lidded compartments, ball feet, h. 5 1/8 in., w. 7 3/4 in., d. 5 in. $1000/1500

265. American Gilt Bronze Miniature Solar Lamp, c. 1850, attr. to Hooper, inverted pear font on baluster standard with marble base, cut glass shade, h. 14 in. $700/1000 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

266. Diminutive American Gilt Bronze Solar Lamp, c. 1850, attr. to Hooper, inverted pear font on dished base, cut and frosted glass shade, h. 11 in. $300/500 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

268. Jean Covens and Corneille Mortier (Dutch, 18th c.), “Carte de la Louisiane et du Cours du Mississipi, Dressee Par Guill. de L’Isle”, c. 1730, Amsterdam, copper‑plate engraved map, after Delisle’s important work, 17 1/2 in. x 23 1/2 in., framed. $1000/1500 267. Pair of William IV Gilt Bronze Argand Lamps, 19th c., each with urn-shaped font on dolphin supports, foliate decoration. $1500/2500 Provenance: Didier, Inc., New Orleans.

269. Louis Philippe Painted Stick Barometer, early 19th c., signed “Pedraglio, Opti. a Nantes”, with weather tube and thermometer, h. 37 1/2 in., d. 4 in. $500/750

270. English Engraved Glass Hurricane Shade, 19th c., star and foliate decoration, folded foot rim, h. 25 1/2 in., dia. 9 1/4 in. $500/700 Provenance: The Sturm Collection.

273. Gorham Sterling SilverMounted Leather Presentation Tyg, early 20th c., with silver rim and shieldshaped cartouche engraved with Dec. 22, 1908 presentation, copper liner, h. 8 1/2 in., w. 9 in., d. 9 in. $400/600

277. Diminutive Murano Glass SixLight Chandelier, early 20th c., pale green and lavender, vasiform standard, bowl issuing leaves and foliate arms, electrified, h. 29 in., dia. 21 in. $500/700

274. Pair of American Cast Iron Figural Andirons, owl-form, glass eyes, h. 13 in., w. 8 1/2 in., d. 18 in. $200/300

271. American Gothic Carved Mahogany Mixing Table, 19th c., rectangular marble top, molded stepped frieze, carved brackets, inset gothicized panels, plinth base, h. 35 in., w. 32 3/4 in., d. 20 1/4 in. $300/500

275. Tiffany Studios Bronze “Bell Pepper” Table Lamp Base, early 20th c., tankard impressed “Tiffany Studios / New York / 21218”, h. (to top of burner) 12 3/4 in., dia. 16 1/4 in., electrified; together with a leaded glass shade in the acorn pattern, unsigned, overall h. 17 1/4 in., dia. 16 in. $700/1000 Provenance: The Sturm Collection.

278. Antique French Carved Giltwood Barometer, 19th c., basket and tassel carved case, with thermometer, the weather dial signed “Viardot, Opticien / Rue Bonaparte 38”, h. 37 in., w. 11 1/2 in., d. 1 3/4 in. $500/750

272. English Carved Mahogany Washstand, early 19th c., square top, turned supports, stretcher shelf fitted with drawer, turned legs, h. 28 in., w. 16 in., d. 16 in. $300/500

Ref.: An identical lamp base is illustrated in Duncan, Alistair. Tiffany Lamps and Metalware. Woodbridge: Suffolk, 2007, p. 46, no. 157.

276. Aesthetic Movement Bejeweled Lantern, early 20th c., star cut brass frame, inset with faceted glass “jewels”, cut and beveled glass panels, four socket cluster, h. 34 in., w. 11 in., d. 11 in. $800/1200

279. Antique West Indies Cast Iron Gate, Trinidad, arched crest, central panel centering a fleur-de-lis, h. 66 in., w. 41 1/2 in. $500/700

280. British West Indies Plantation Bell, 19th c., yoke support mounted on chamfered post, cruciform bracketed base, h. 65 1/2 in., dia. 14 in. $500/700

Provenance: The Sturm Collection.

Additional information at www.nealauction.com

281. Emile Albert Gruppé (American/Massachusetts, 1896‑1978), “Gloucester Harbor”, oil on canvas, signed lower right, handwritten label identifying artist en verso, 16 in. x 20 in., framed. $4000/6000

283. Robert Crannell Minor, Sr. (American, 1839‑1904), “Between Keene Valley and Fort Henry, Essex County, Adirondacks, New York”, oil on canvas, signed lower right, signed, initialed “RCM” twice and titled en verso, 12 in. x 16 in., framed. $1000/1500

282. Charles P. Appel (American/New Jersey, 1857‑1928), “Late Afternoon, New Jersey”, oil on canvas, signed lower right, pencil‑titled and handwritten label identifying artist en verso, 25 in. x 30 in., framed. $1000/1500

284. Percival Leonard Rosseau (American/Louisiana, 1859‑1937), “Irish Setter”, 1932, charcoal on paper, signed and dated lower right, 27 1/4 in. x 39 1/4 in., matted and framed. $4000/6000 Note: Percival Leonard Rosseau was born in 1859 in Pointe Coupee Parish, Louisiana. After his parents and two older brothers were killed and Sherman destroyed the family plantation during the Civil War, he and his sister were rescued by a slave and raised by a family friend in Kentucky. After exploring a career as an importer in New Orleans and a cowboy along the Chisholm Trail, Rosseau surprised his associates and friends by leaving for Paris to enroll in the Académie Julian at the age of thirty-five. In the Paris Salon of 1903, his painting featuring Diana with two Irish Wolfhounds received much positive attention, particularly for the two dogs in the composition. The following year he would exhibit two paintings of setters which proved hugely popular. This trend set Rosseau’s trajectory as a highly respected and sought-after painter of dogs, and he was a favorite among prominent sportsmen such as Percy Rockefeller and Clarence Mackay. In the lot offered here, Rosseau’s attention to detail and mastery of the canine form is on full display. Even with the restriction of the black and white palette, he is able to perfectly convey the posture, fur, and sinewy articulations of the dog in mid-hunt. Ref.: “Percival Leonard Rosseau.” William Secord Gallery. www.dogpainting.com. Accessed July 27, 2017.

285. Elmer Wachtel (American/California, 1864‑1929), “Grove of Trees”, oil on board, signed and monogrammed lower right, 13 in. x 16 3/4 in., framed. $2000/3000 Note: In 1882, Elmer Wachtel moved to San Gabriel, California, where he would become known for his panoramic, impressionistic landscapes of the area. Wachtel studied briefly at the Art Students League in New York with William Merritt Chase and at the Lambeth School in London. From 1904 until his death, Wachtel spent most of his time traveling California and the Southwest in a specially artist-equipped motor car, capturing the magnificent scenery and changing light of the region. Wachtel’s mastery of atmosphere and tone are evident in the lot presented here; the tight horizon line of shaded trees and movement of the foliage in the wind reveal the luminosity of the expansive sky in the background. Ref.: Lummis, Charles F., ed. “Wachtel and His Work”, The Land of Sunshine: a Southwestern Magazine. June to Nov, 1895: 168-172.

286. Walter Palmer (American, 1854‑1932), “Lady Hanging Wash on a Line, Stately Manor House”, 1894, oil on canvas, monogrammed and dated lower right, 11 in. x 14 1/4 in., unframed. $3000/5000

287. Attributed to Claude Gillot (French, 1673‑1722), “Musical Contest of Apollo and Marsyas”, sanguine ink and wash on paper, unsigned, handwritten inscription in Latin and stamp “Wiltfang” en verso, pencil‑inscription identifying artist, title and provenance of “Coll: Hubert Horne” and “Wiltfang” stamped en verso of backing board, 6 1/2 in. x 9 in., antique frame. $1800/2500

288. Samuel Colman (American/ New York, 1832‑1920), “The Hill of the Alhambra, Granada”, oil on board, unsigned, 13 1/4 in. x 5 3/4 in., antique frame with artist plaque. $600/800

289. Charles Woodward Hutson (American/South Carolina, 1840‑1936), “High Ground Overlooking the Bay”, pastel on board, initialed “C.H.” lower right, label with artist, title and provenance en verso, 5 3/4 in. x 9 in., framed. $500/800

290. Charles Oglesby Longabaugh (American/Louisiana, 1885‑1944), “The Batture” and “Fishing under the Live Oak Tree, Lafitte, Louisiana”, watercolor on canvas board and watercolor on paper, former initialed “C.O.L” lower left, both titled en verso, 12 in. x 16 in. and 12 in. x 9 1/4 in., unframed. (2 pcs.) $1500/2500 Provenance: Descended in the family of the artist.

293. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Guzmania Bromeliad and Rose‑throated Becard”, watercolor on paper, signed lower left, sight 20 in. x 14 1/4 in., framed. $1500/2500

291. Charles Oglesby Longabaugh (American/Louisiana, 1885‑1944), “Raised Cabin with Goat, Washington, Louisiana”, 1943, and “Pakenham Oaks, St. Bernard Parish”, 2 watercolors on paper, former signed and dated lower center, both pencil‑titled en verso, each 9 1/4 in. x 12 in., unframed. (2 pcs.) $1200/1800

292. John Kelly Fitzpatrick (American/Alabama, 1888‑1953), “The Coosa River by the Dixie Art Colony”, 1944, watercolor on paper, pencil‑signed and dated lower right, handwritten label with artist, title and date en verso, 15 1/2 in. x 22 1/2 in., framed. $2000/3000

Provenance: Descended in the family of the artist.

294. Alberta Kinsey (American/ New Orleans, 1875‑1952), “French Quarter Courtyard”, oil on canvas board, signed lower left, “Farish Art Store, Royal St., New Orleans” label en verso, 14 in. x 13 in., period frame. $1000/1500

Provenance: Descended in the family of the artist.

295. William Woodward (American/New Orleans, 1859‑1939), “Surf, Waikiki Beach, Honolulu”, 1925, oil on canvas board, signed and dated lower left, pencil‑signed, titled and dated en verso, 10 in. x 14 in., period frame. $1800/2500 Provenance: Descended in the family of the artist.

296. Ellsworth Woodward (American/New Orleans, 1861‑1939), “Seascape”, gouache on paper, initialed “E.W.” lower right, 7 in. x 9 3/4 in., unframed. $400/600

297. William Woodward (American/ New Orleans, 1859‑1939), “Portrait of Maria Carpenter Woodward”, 1891, charcoal on paper, initialed “W.W.” and dated mid‑right, handwritten notes identifying sitter and artist notes en verso, 15 3/4 in. x 12 in., framed. $700/1000

Provenance: Descended in the family of the artist.

298. George Henry Clements (American/Louisiana, 1854‑1935), “Sailing Boat in the Harbor”, 1923, watercolor on paper, signed and dated lower right, 12 in. x 18 in., period frame. $1000/1500 Additional information at www.nealauction.com

299. William Woodward (American/New Orleans, 1859‑1939), “Corner of Chartres Street at Old Ursuline Convent, towards St. Louis Cathedral”, 1906, Raffaelli crayon on board, signed and dated lower left, handwritten note with provenance en verso, 14 3/4 in. x 19 in., framed. $50000/80000 Provenance: Descended in the family of the artist.

Note: William Woodward painted this particular view, from the corner of Chartres Street and Ursulines Avenue, several times in the early 1900s, followed by an etching based on these paintings in 1922. Working from his easel in front of the Ursuline Convent, Woodward had a clear view down Chartres Street toward the St. Louis Cathedral. In the particularly charming version of the scene offered here, Woodward uses a mix of vibrant colors in the highlights of the cathedral, buildings, and cobblestone street, capturing the energy of the bustling scene and creating a dynamic composition. In Woodward’s 1938 book of French Quarter etchings, he notes that the red tile roof building (pictured at lower left in the current lot) across from the Ursuline Convent was said to be the oldest building in the Mississippi Valley, until its destruction. An architect, artist, and preservationist, Woodward strived to create lasting representations of the changing city as he saw it in the early twentieth century, including details of horses and buggies, pedestrians, and atmospheric effects. The work offered here perfectly exemplifies his efforts. Ref.: Bragg, Jean and Susan Saward. Painting the Town: The Woodward Brothers Come to New Orleans. New Orleans: Jean Bragg Gallery, 2004. Hinckley, Robert. William Woodward: American Impressionist. New Orleans: MPress, 2009. Woodward, William. French Quarter Etchings of Old New Orleans. New Orleans: Franklin Printing Company, 1938. Byrnes, James B. Early Views of the Vieux Carré. New Orleans: Isaac Delgado Museum of Art, 1965.

300. Wilson Henry Irvine (American, 1869‑1936), “Evening in the Brulatour Courtyard, New Orleans”, c. 1927‑28, oil on canvas, signed lower left, 24 in. x 27 in., framed. $7000/9000

300A. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Moonlight on the Louisiana Bayou”, 1912, oil on canvas, signed and dated lower left, 18 in. x 24 in., framed. $4000/6000

Note: Considered one of the masters of American Impressionist painting, Wilson Henry Irvine was active in art circles in Chicago in the late 19th c. In 1918, he established his permanent residence at the art colony in Old Lyme, CT. Irvine traveled extensively throughout Europe and the United States. He spent part of the winter of 1927-28 painting in New Orleans and informed a journalist the reason was that twenty-five years earlier he had a passion for reading George Washington Cable and never forgot. The reporter noted Irvine “had a mild word of praise for the renovated courts of the quarter, but kept his unstinted encomium for the old grey places where the walls were decaying.” Irvine painted a series of paintings of the courtyards of the Vieux Carré during this visit. The work offered here depicts the Brulatour Courtyard, at the time the home of the Arts & Crafts Club of New Orleans, and one of the bestknown courtyards in the French Quarter. Here, the moonlight and its ethereal glow beautifully combine in an atmospheric scene.

Provenance: New Orleans Estate; Sold in these rooms, Feb. 11, 2017, lot 271.

Ref.: The Item-Tribune New Orleans. Feb. 2, 1928, p.12.

301. Newcomb College Art Pottery Semi‑Matte Glaze Bowl, 1912, decorated by Alma Mason with Louisiana irises, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, B for buff clay body, and reg. no. FG40, h. 3 1/8 in., dia. 8 1/2 in. $800/1200

304. Newcomb College Art Pottery High Glaze Vase, 1904, decorated by Harriet Coulter Joor with incised design of clovers, blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. VV92, and “W” for white clay body, h. 11 1/2 in. $7000/10000 Provenance: Drs. Arnold and Helene Gerall, New Orleans, LA and Chapel Hill, NC.

302. Large Newcomb College Art Pottery Vase, 1918, decorated by Anna Frances Simpson in a landscape design of moss‑laden live oaks and a fence, semi‑matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. JU88 and shape no. 268, h. 10 3/4 in. $4000/6000

305. Newcomb College Art Pottery Vase, 1927, decorated by Anna Frances Simpson in the Moon and Moss design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, faint top portion of potter’s mark, reg. no. Q042 and shape no. 102, h. 5 in., dia. 5 in. $1200/1800

303. Newcomb College Art Pottery Vase, 1927, decorated by Anna Frances Simpson in the Moon and Moss design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. QO85, and shape no. 150, h. 10 3/4 in., dia. 4 1/2 in. $8000/12000

306. Newcomb College Art Pottery Vase, 1932, decorated by Sadie Irvine in the Espanol pattern, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Jonathan Hunt potter’s mark, reg. no. TP23, and shape no. 67, h. 3 3/4 in., dia. 5 3/4 in. $1500/2500

Additional information at www.nealauction.com

308. Walton Blodgett (American/Ohio, 1908‑1963), “Florida Landscape with House and Figures’, c. 1936, watercolor on paper, signed lower right, 20 in. x 25 1/2 in., framed. $1000/1500

307. Knute Heldner (Swedish/New Orleans, 1877‑1952), “Fishing in the Bayou”, oil on canvas, signed lower left, “The Little Gallery, Newark, N.J.” label en verso, 20 in. x 27 in., framed. $5000/7000 Provenance: Purchased from the artist.

309. Charles Wellington Boyle (American/Louisiana, 1861‑1925), “Oak Tree Draped with Spanish Moss, Louisiana Bayou Landscape”, oil on canvas, signed lower right, 15 7/8 in. x 24 in., framed. $5000/7000

310. John McCrady (American/Louisiana, 1911‑1968), “Saturday Shoppers (drawing and mathematical figures regarding Holy Communion Mural en verso)”, pencil drawing on paper, initialed “JMcC” and titled lower margin, inscribed “What did the mayo say to the ice box? Close the door I am dressing” upper right, 8 3/4 in. x 10 1/2 in., framed. $3000/5000

311. John McCrady (American/Louisiana, 1911‑1968), “Pipe Fitters” watercolor on illustration board, signed lower right, “Downtown Gallery, Julia St., NO” label with artist and title, and typewritten artist’s label with title en verso, 16 in. x 22 in., framed. $8000/12000 Note: In 1909, Standard Oil, the John D. Rockefeller owned company founded in 1870, opened a refinery in Baton Rouge, creating thousands of jobs and stimulating growth throughout the region. Still in existence today as the ExxonMobil Baton Rouge Refinery, it is the fourth-largest refinery in the United States. In 1947, the company commissioned local well-known artist John McCrady to create a series of watercolors and lithographs of the Baton Rouge plant. The current lot portrays pipefitters replacing a spool piece in a water line with gate valves, which would have been a common scene at a refinery where frequent replacements could be needed to prevent corrosion. McCrady’s Regionalist style focuses on the hard working men with a complex composition and vibrant colors, typical of his oeuvre. Having studied with Thomas Hart Benton, who was at the forefront of that movement, McCrady was responsible for bringing Regionalism to the South. His depictions of rural life in the South, elevating common scenes of everyday people to artistic subject matter, have become iconic examples of American Scene Painting. Ref.: Marshall, Keith. John McCrady, 1911-1968. New Orleans: New Orleans Museum of Art, 1975.

312. Knute Heldner (Swedish/New Orleans, 1877‑1952), “Sharecroppers”, 1943, oil on canvas, signed lower right, signed, monogrammed, titled and dated on label on reverse of frame, 31 in. x 25 in., original frame. $7000/10000 Provenance: Sold in these rooms Oct. 6, 2007, lot 512. Note: Making his way from Verderslov, Sweden to New Orleans, Knute Heldner had many stops throughout his new country – Boston, Massachusetts, Duluth and Minneapolis, Minnesota, and Washington, D.C. were just some of the cities visited by the artist before he arrived in New Orleans for the first time in the winter of 1923. After their stay in New Orleans, he and his wife, Colette, decided to make it their winter home, spending summers in Duluth. Throughout his travels, Heldner, a religious man by nature, held a variety of jobs including cabin boy, shepherd, woodland guide, dishwasher, and cook in a lumber camp. This variety in employment allowed Heldner to interact with diverse groups of people and experience their hardships. One of his main goals in painting was to attempt to reach people through his art and inspire a reaction connecting the adversity in everyday life with a sense of divine purpose. The idea of finding God through art is not an uncommon one and can be seen in a number of Heldner’s works, both religious and secular. The current lot, depicting a family in a mule-drawn cart, the mother nursing a young baby, calls to mind the Biblical story of the Flight to Egypt; framing the plight of the contemporary poor as a modern day Holy Family. Heldner’s lifelong passion for spirituality and social idealism are deeply felt through this empathetic portrait of a working class family.

313. John McCrady (American/New Orleans, 1911‑1968), “Discussion”, oil on canvas, signed lower right, “Downtown Gallery, New Orleans” label with title en verso, 20 in. x 34 in., framed. $7000/9000 Provenance: Naomi Marshall, Downtown Gallery, New Orleans, 1997. Note: While John McCrady’s earliest works were more naturalistic in style, after studying at the Arts Students’ League of New York under Thomas Hart Benton and Kenneth Hays Miller, McCrady embraced American Regionalism, as well as studying classical composition and technique. Teresa Parker Farris writes, “Miller introduced McCrady to the multi-stage technique (once used by Rembrandt, Da Vinci, Rubens, and El Greco to give their works an inner luminosity).” Benton, on the other hand, acquainted McCrady with a manner of painting that was stylized and exaggerated. In 1934, McCrady moved back to New Orleans, taking with him the valuable knowledge he had gained at the Arts Students’ League and applying it to southern subject matters with which he was familiar. The current lot, “Discussion,” bears notable similarities to McCrady’s 1935 work, “Political Rally” (sold in these rooms October 11, 2008, lot 245). Both paintings include stylization of the faces, clothing, and hair, although “Political Rally” includes the town square of Oxford, Mississippi for context, while “Discussion” displays indistinct red walls behind the figures. The left side of the crowd depicted in “Political Rally” consists of a group of men arguing and gesticulating in a similar manner to “Discussion;” the animated faces and hand gestures in both works display McCrady’s attention to detail when portraying a passionate debate. Capturing a moment in the lives of the working class is a common theme throughout McCrady’s work and he does so beautifully in this intriguing and exciting painting. Ref.: Marshall, Keith. John McCrady: 1911-1968. New Orleans: Franklin Printing Co., 1975; Farris, Teresa Parker. City on a Hill: John McCrady’s Oxford, Mississippi. University of Mississippi Master of Arts Thesis, 2005.

315. Wayman Elbridge Adams (American/New Orleans, 1883‑1959), “Summer, New Orleans”, watercolor on illustration board, signed lower left, pencil‑titled en verso, board 10 in. x 14 1/2 in., framed. $1000/1500 314. Hilda Belcher (American/Georgia, 1881‑1963), “Tree” and “Returning Home”, 1928, 2 watercolors and pencil on paper, both signed lower right, former dated and inscribed en verso, 11 in. x 9 in. and 10 in. x 11 1/2 in., framed alike. (2 pcs.) $1200/1800 316. William Woodward (American/New Orleans, 1859‑1939), “A Corner of William Woodward’s Garden at The Studio, Biloxi, Mississippi”, oil on canvas board, unsigned, pencil‑inscription with artist, title, date and provenance en verso, 12 in. x 9 in., framed; accompanied by a 1939 letter from the artist to his niece, Margaret Giesen (Mrs. Arthur Richard Johnson), Lewiston, Idaho about his gardens. $2500/3500 Provenance: Descended in the family of Louise Amelia Giesen Woodward, wife of the artist. Note: In his handwritten April 15, 1939 letter to his niece Margaret, William Woodward wrote, “The garden is bright with roses and honeysuckle not to mention two orange trees in bloom that bore fruit last, also 2 kumquat trees and a Ponderosa lemon which still holds a big lemon from last crop.”

317. William Woodward (American/New Orleans, 1859‑1939), “Newcomb College Drawing Class with Model”, 1893, pen and ink on paper, initialed “W.W.” and dated lower center, 14 in. x 17 in., unframed. $400/600 Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans. Additional information at www.nealauction.com

318. William S. Robinson (American/Mississippi, 1861‑1945), “Biloxi ‑ Mississippi”, 1938, oil on board, signed lower left, signed, monogrammed, titled, dated “February‑5‑1938”, printed artist biography and inscribed en verso, 12 in. x 16 in., framed. $2000/3000 Note: An artist from the Boston area, William S. Robinson studied at the Académie Julian in Paris and taught at the Maryland Institute, Drexel Institute, Pennsylvania Academy of Fine Arts, Columbia University, and the National Academy of Design. In 1937, Robinson retired and moved south to Biloxi, Mississippi, where he continued to paint; his impressionistic palette and brushwork combined with the southern scenery to create beautifully complex compositions of views of everyday life in Biloxi.

320. Joseph Rusling Meeker (American/Louisiana, 1827‑1887), “Untitled (Likely Cuba near the Yumuri Valley)”, 1872, oil on canvas, signed and dated lower right, 30 in. x 50 in., period frame. $50000/75000 Note: Many of the greatest nineteenth century American landscape painters, such as Albert Bierstadt, Thomas Moran, George Inness, and Winslow Homer, traveled to the West Indies to capture the beautiful mountains, valleys, and tropical vistas. The Caribbean provided the warm climate and exotic panoramas often sought out by artists who desired a change in scenery from American topography. Often called the northernmost city in the Caribbean, New Orleans was the perfect departure point for these artists, many of whom left from that port to Cuba, the Bahamas, or other tropical destinations. Joseph Rusling Meeker, who studied under Hudson River School painter Asher B. Durand, was well versed in American landscape painting. Born in Newark, New Jersey, Meeker studied and worked in New York City, and Louisville, Kentucky, before settling in St. Louis, Missouri in 1859. During the Civil War, Meeker traveled up and down the Mississippi River with the Union Navy; his time near the mouth of the Mississippi exposed him to a new type of landscape, and he learned to love the humid atmosphere, which dispersed the light in a beautiful, hazy manner. After the war, Meeker continued to make summer trips to the New Orleans area to sketch the nearby lakes, bayous, and swamps; his sketches and notes provided the material needed to complete his canvases back in St. Louis at a later time. During Meeker’s many trips near the Gulf of Mexico, it seems likely that he decided to extend

319. William S. Robinson (American/Mississippi, 1861‑1945), “Sailboats, Biloxi ‑ Miss.”, 1937, oil on board, signed, monogrammed, titled, dated “March‑23‑1937” and inscribed en verso, 10 in. x 12 in., framed. $4000/6000

his travels to the West Indies as many of his colleagues did. A painting of the distinctive cliffs and palm trees overlooking the Caribbean by William Henry Buck, sold in these rooms on April 21, 2012 as lot 476 , indicates that Buck also traveled to the West Indies, although no documentation has yet been discovered. The current lot, with its luminous atmospheric effects, includes mountains, palm trees, and a body of water; although compositionally different, thematically it resembles Charles de Wolf Brownell’s 1860 view of the Bay of Matanzas, Cuba, located at the Milwaukee Art Museum. In the foreground Meeker has added American White Ibises, whose habitat exists around the edges of the Gulf of Mexico, up the Eastern coast of North America, and throughout the Caribbean. Meeker has treated the composition of this painting in a similar way to his Louisiana swamp and bayou scenes, with trees scattered throughout the background and middle ground, while the foreground includes small plants and animals. The current lot specifically has many similarities with Meeker’s Bayou Plaquemines of 1881; both paintings illustrate the artist’s tonalist technique in depicting the way the light diffuses over a semitropical body of a water during a sunset. Ref.: Brown, C. Reynolds. Joseph Rusling Meeker: Images of the Mississippi Delta. Montgomery, Alabama: Montgomery Museum of Fine Arts, 1981. Dixson, Kathryn Vogt. “Joseph Rusling Meeker: The Land of Evangeline and Beyond,” Gateway Heritage, Vol. 3, No. 3 (Winter 1982-83): 10-15.

321. William Aiken Walker (American/South Carolina, 1838‑1921), “House along the Gulf Coast”, 1870, oil on paper, signed and dated “Oct. 28(?), 1870” lower left, “Sotheby’s..., New York, Dec. 18, 1991, lot 63” labels en verso, 6 3/4 in. x 9 1/2 in., framed with artist plaque. $18000/24000 Provenance: Private Collection, Savannah, GA. Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker. Note: Walker kept only one journal or day-book throughout his long career, during the period of his two-month sojourn in Cuba beginning on December 15, 1869. Following his last entry there, of February 13,1870, he sailed shortly afterward for Charleston and New York; he also possibly made his only visit to Europe, presumably that spring. At the end of the year, an undated clipping from the Baltimore Sun recorded his European trip, and also that Walker “contributed two original pictures” to “the Exhibition.” Since a parallel clipping of December 1871 refers to another such show as the “second annual” exhibition of Baltimore artists, the presumption is that the earlier clipping may have been published in December 1870. An example of the two “small paintings” that Walker presented in that show is named by the newspaper as “One of the Attractions of the Sea Shore” (it represented a girl on a rock, gazing out to sea). Apart from these anchors of January-February and December, Walker’s life and works are undocumented for the entire remainder of 1870. Thus the fine and unique painting offered here affords both an important new date in Walker scholarship, and also the quite unexpected revelation that he was in fact enjoying the Gulf Coast on its inscribed date of October 28, 1870. Ref.: Trovaioli, August P. and Roulhac B. Toledano. William Aiken Walker, Southern Genre Painter. Baton Rouge: Louisiana State University Press, 1972. Seibels, Cynthia and Robert M. Hicklin Jr. The Sunny South: Life and Art of William Aiken Walker. Spartanburg: University of South Carolina Press,1995; Bellande, Ray L. Hotels and Tourist Homes of Ocean Springs, Mississippi. Ocean Springs, MS: Ray Bellande,1994, pp. 31-35, 67. Ref.: Brown, C. Reynolds. Joseph Rusling Meeker: Images of the Mississippi Delta. Montgomery, Alabama: Montgomery Museum of Fine Arts, 1981. Dixson, Kathryn Vogt. “Joseph Rusling Meeker: The Land of Evangeline and Beyond,” Gateway Heritage, Vol. 3, No. 3 (Winter 1982-83): 10-15.

322. Louisiana School, mid‑19th c., “View of New Orleans from the Faubourg Marigny”, watercolor on paper, unsigned, 8 1/2 in. x 13 1/2 in., framed. $3000/5000 Note: This enchanting scene of the New Orleans cityscape shows a view of the city from the edge of the river in the Faubourg Marigny. The curve of the river is apparent, giving a direct view of the skyline in a foreshortened perspective, including the crenellated square bell tower of St. Patrick’s Church and the central spire of the St. Louis Cathedral. Two ships are depicted on the riverfront and the water of the river seems to have risen high upon the batture from the vantage point of the artist. Due to the lack of the St. Charles Hotel dome in the skyline, the painting can be dated to after 1852, when that building was destroyed by fire.

323. Alfred Heber Hutty (American/Charleston, 1877‑1954), “Corner of Huguenot Church, Charleston, S.C.”, 1925, etching on paper, pencil‑signed and snail monogram lower margin, pencil‑titled, inscribed “ed. 75” and “plate destroyed” lower edge, “Woodward & Lothrop, Art Pictures and Picture Frames, Washington D.C.” label en verso, 5 1/2 in. x 6 1/4 in., framed. $700/1000

324. John McCrady (American/New Orleans, 1911‑1968), “Dancing Trees, Mt. Evans, Colorado”, 1949, screenprint on paper, pencil‑signed, titled and dated lower margin, signed in plate lower center, artist estate label with title and date en verso, sheet 12 in. x 17 1/2 in., matted. $1500/2500

Ill.: Arnold, Sara C. and Stephen G. Hoffius, eds., The Life and Art of Alfred Hutty: Woodstock to Charleston. Columbia, SC: The University of South Carolina Press, 2012, no. 38, p. 131; Saunders, Boyd and Ann McAden. Alfred Hutty and the Charleston Renaissance. Orangeburg, SC: Sandlapper Publishing Co., 1990, p. 78 Additional information at www.nealauction.com

325. Edward Larocque Tinker (American/New Orleans, 1881‑1968), “Stevedore, Port of New Orleans”, 1921, linocut on paper, pencil‑signed, dated and embossed monogram lower margin, embossed monogram on mount, 5 in. x 7 1/4 in.; and Robert Malcolm Rucker (American/Louisiana, 1932‑2001), “Shooting Dice on the Levee”, etching on paper, signed in plate lower right, 9 in. x 8 1/2 in., unframed. (2 pcs.) $300/500 326. Leo Touchet (American/Louisiana, 20th c.), “Procession Leaving Church, George Lewis Jazz Funeral, N.0” and “Musician’s Instrument at Cemetery, New Orleans Jazz Funeral”, 1969, and 9 scenes of New York City, East Anglia, England, Northern Spain and Matamoras, Mexico, 1987‑1988, 11 silver gelatin prints, 10 artist labels with titles and dates en verso, sights 8 in. x 9 3/4 in. to 9 in. x 6 1/2 in., 10 framed alike. (11 pcs.) $2000/3000

328. Clementine Hunter (American/Louisiana, 1886‑1988), “Cleaning Day at the African House, Melrose Plantation”, oil on board, monogrammed mid‑right, “Eleanor M. Worsley, M.D.” handwritten en verso, 16 in. x 24 in., framed. $4000/6000 327. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Dixie Belles”, 1938, vintage silver gelatin print, signed and dated lower left, pencil-numbered “39/50” and estate numbers of “037A” and “PN 1436” en verso, 16 in. x 20 in., archivally framed. $2500/3500

Provenance: Estate of Dr. Eleanor M. Worsley, Natchitoches, LA; Sold in these rooms, Sept. 24, 2016, lot 243.

329. Ellsworth Woodward (American/ New Orleans, 1861‑1939), “Dogwood”, 1887, “Honeysuckle”, 1886, and “Ear of Corn (Marigolds en verso)”, 1886, 3 pen and ink drawings, each initialed “E.W.”, dated and 2 inscribed “N.O.” lower right, 6 1/4 in. x 5 1/4 in. to 9 in. x 12 1/4 in., unframed. (3 pcs.) $300/500

330. Ellsworth Woodward (American/ New Orleans, 1861‑1939), “Reclining Female Nude”, “Standing Female Nude” and “Seated Female Nude with Hands Raised”, 3 watercolors on boards, 2 initialed “E.W.” lower right or left, one unsigned, 14 in. x 19 in. to 20 in. x 14 3/4 in., unframed. (3 pcs.) $600/800

Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans.

331. Alberta Kinsey (American/ New Orleans, 1875‑1952), “French Quarter Home and Courtyard”, oil on artist board, signed lower right, 9 in. x 12 in., framed. $800/1200

332. Alberta Kinsey (American/ New Orleans, 1875‑1952), “Still Life of Yellow Flowers”, oil on canvas board, signed lower right, 20 in. x 16 in., period frame. $700/1000

333. Clark Hulings (American/New Mexico, 1922‑2011, act. Louisiana 1940s‑1960s), “Three Men Hand Braiding Rope”, 1987, oil on canvas, signed and dated lower left, partial “Fenn Galleries Ltd., Santa Fe” label and handwritten inscription on reverse of frame, 12 in. x 24 in., framed. $20000/30000 Provenance: Fenn Galleries, Santa Fe, NM. Note: Beginning his career as a portraitist in Baton Rouge, Clark Hulings, who studied at the Art Students League in New York with Frank Reilly, eventually made his name as a painter and illustrator. A master of portraying textures through his ability to capture light and shadow on the canvas, Hulings enjoyed “seeing the beauty in daily human gestures and activities.” In the current lot, Hulings’ mastery of textures is clearly apparent in the treatment of the various surfaces, including the peeling paint on the wall behind the figures, the rocky soil upon which they sit, and the rope. A tranquil and captivating scene, Hulings certainly captures the peaceful, rhythmic gestures of an everyday task. Ref.: Hulings. https://www.clarkhulings.com/biography. Accessed Aug. 3, 2017.

334. Thomas Addison Richards (British/New York, 1820‑1900), “An Outing; Hudson River Valley Landscape”, 1853, oil on canvas, signed, dated and inscribed “N.Y.” lower center, “A Heydenryk Frame, The House of Heydenryk, New York” label en verso, 48 1/2 in. x 48 1/4 in. (painted circle), framed. $20000/30000 Provenance: Henry B. Holt, Inc., Essex Fells, NJ, Oct. 1982; Private Collection, LA. Note: Thomas Addison Richards was born in London and immigrated to America in 1831 with his family, moving first to Hudson, New York, and then to Charleston, South Carolina. His pioneering regard for the splendors of the American countryside was first recognized in an 1843 publication, which noted that his “drawings of the beautiful scenery of the Southern States are almost the first pictures which have been made from this rich storehouse of nature.” Richards was painting at the height of his career when he created the panoramic and important landscape offered here. Clearly influenced by his Hudson River School contemporaries, the artist offers a scene that reflects man’s peaceful coexistence with nature and a reverence for the American landscape. Ref.: “Thomas Richards”. The Johnson Collection. www.thejohnsoncollection.org. Accessed Oct. 22, 2016. Bruce, Kate. “Thomas Addison Richards.” KnowLA Encyclopedia of Louisiana. Louisiana Endowment for the Humanities, Sep. 12, 2012. www.nola.org. Accessed Oct. 22, 2016.

335. Southern School, mid‑19th c., “Family Gathering in the Garden”, watercolor on paper, unsigned, “From W. Whitehead Carver & Gilder, Artists’ Colourman, 8 Lansdowne Terrace, Leamington” label with handwritten inscription en verso, 11 1/4 in. x 16 1/4 in., framed. $1500/2500 Note: The captivating scene depicted in this watercolor exemplifies a typical day in the antebellum South. The family has gathered along the side or back of their home to enjoy the day among intriguing architecture and botanicals. Oaks, ivy, a weeping willow, and dozens of potted bushes and trees line the lane on which the family perambulates.

336. Joseph Rusling Meeker (American/Louisiana, 1827‑1887), “Twilight on the Bayou”, oil on canvas, initialed “JRM” lower right, 11 in. x 9 in., period frame. $7000/10000

Painted with exquisite attention to detail, the lovely stucco plantation house with a side colonnade on the first and second floor sits picturesquely among the potted plants, and the surrounding landscape suggests the scene may be in the Feliciana parishes. The arrangement of the pots in rows and in such numbers is unusual, and perhaps they could be botanical specimens cultivated for horticultural trade between the colonies and Europe, which had begun as early as the 1600s. Additional information at www.nealauction.com

337. George David Coulon (French/New Orleans, 1822‑1904), “On the Tchéfunté River, (Tchefuncta.) Madisonville, La. / House of Mr. Lesassier”, 1896, oil on academy board, signed and dated lower left, signed, titled, dated and inscribed en verso, 9 1/2 in. x 12 in., period frame. $10000/15000 Provenance: The Jay P. Altmayer Family Collection, Mobile, AL. Note: In 1828, Louis Lesassier (1796-1859) married Carmelite Baham (1804-1846), whose grandfather, Jean Baptiste Baham (1730-1812), founded the city of Madisonville, Louisiana, in 1800. Originally known as Coquille, which means “shell” in French, the town was also sometimes referred to as Baham Village and is located where the Tchefuncte River meets Lake Pontchartrain. The couple had at least nine children, and the house likely was owned by one of them in 1896, when Coulon depicted it in the jewel-like work offered here. Well-established as a portraitist and landscape painter by the end of the 19th century, Coulon’s painterly style is evident. The meticulous depiction of the details on the house, trees, and the reflection in the Tchefuncte River demonstrate Coulon’s delicate technique and beautiful palette.

338. American School, late 19th c., “Conversation: The Possum Man and Old Smithy in front of the Blacksmith Shop”, oil on canvas, unsigned, illegible pencil inscription en verso, 24 in. x 20 in., framed. $4000/6000 Provenance: The Jay P. Altmayer Family Collection. Note: This quintessentially American scene of the late 19th century depicts the interaction between two men in a southern landscape, created by an anonymous artist in a manner directly related to the work of William Aiken Walker. The brushwork, composition and subject matter of the work all evoke Walker’s characteristic style, albeit on a larger scale which allows for greater detail in the faces and clothes of the sensitively portrayed figures. Walker himself painted pictures of a man holding an opossum at least three times, although all three paintings included cotton fields in the background. In the work offered here, the blacksmith, whose workshop can be seen in the background, converses with the man who holds the opossum, perhaps trading goods for his dinner that night. Hunted both for meat and for its pelt, the opossum was a common substitute for chicken or rabbit in stews or served with sweet potatoes, particularly in the rural South. Mark Twain enjoyed opossum so much that he included it on his list of about seventy-five American foods he missed eating the most while traveling in Europe.

339. Clementine Hunter (American/Louisiana, 1886‑1988), “Pickin’ Cotton”, oil on board, monogrammed mid‑right, “Riverside Galleries, Shreveport” label en verso, 16 in. x 24 in., framed. $3000/5000 Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA. 340. Clementine Hunter (American/Louisiana, 1886‑1988), “Wedding”, oil on canvas board, monogrammed lower right, 20 in. x 16 in., framed. $3000/5000

341. Clementine Hunter (American/Louisiana, 1886‑1988), “Workin’ in the Fields”, oil on board, monogrammed lower right, 16 in. x 24 in., framed. $3000/5000

342. Judi Polivka Betts (American/Louisiana, b. 1936), “Pirogues Docked on the Shore of the Bayou”, watercolor on paper, signed lower right, 15 in. x 22 in., framed. $300/500 344. William Woodward (American/New Orleans, 1859‑1939), “Lewis and Bernard Antiques, Chartres St., N.O.”, 1904 and “Camping, Biloxi”, 1934, 2 drypoint etchings on paper, latter pencil‑signed, titled and dated lower margin, former signed and dated in plate, sheets 15 in. x 11 in. and 11 1/2 in. x 14 1/2 in., unframed. (2 pcs.) $600/800 Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans.

343. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Autumn: Louisiana Bayou”, 1911, oil wash on board, signed and dated lower right, 19 1/2 in. x 29 1/2 in., period frame. $2500/3500 345. Henry Casselli (American/New Orleans, b. 1946), “The Old Lady with the Cross (Mrs. Eloise Lopez Arollo Samakintos)”, 1975, lithograph on paper, pencil‑signed, titled and numbered “59/60” lower margin, “Tahir Editions, Chartres St., NO” printed sheet with artist, title, date and subject en verso, sheet 12 in. x 16 in., unframed. $800/1200 Note: Henry Casselli wrote about his subject “I had seen her often in the French Quarter. There was something mysterious about her and her supposed legend or promise. She was so old, one wondered just how close behind death was. Given a moment of thought, her story is quite beautiful. Though her actions were surely much more illustrated than that of the average man, her belief and promise were strong. I drew and painted her often: “Hopscotch”, “Leftovers”, and two versions entitled, “Promise Keeper”. Now that she has died unclaimed, I have done this lithograph of her. It is her headstone, her legacy to posterity...”

347. Endi Poskovic (Bosnian/ Michigan, b. 1969), “Rhino in Orange, Homage to Durer (Souffrance): Souffrance and l’Aventure Series”, multi‑colored woodcut on paper, pencil‑signed, titled and inscribed “EA IX/X” lower margin, 38 in. x 25 1/2 in., framed. $300/500 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

348. Ellsworth Woodward (American/New Orleans, 1861‑1939), “Ursuline and Chartres (Corner Ursuline, 1040 Chartres, Boyer 16)”, 1931, etching on paper, pencil‑signed and titled lower margin, initialed “E.W.” and dated lower right in plate, 7 1/2 in. x 10 in., unframed. $700/1000

346. George Rodrigue (American/ Louisiana, 1944‑2013), “Rodrigue: A Man & His Dog”, 1993, silkscreen, signed lower right, inscribed “Artist Proof” lower left, ed. of 90, 23 in. x 16 in., unframed. $800/1200 Ill.: Rodrigue, George and Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné, 1970‑2007. New York: Abrams, 2008, p. 90.

349. John James Audubon (American, 1785‑1851), “Glossy Ibis”, Plate 387, color lithograph, from The Birds of America, Amsterdam edition, sight 26 in. x 38 3/4 in., framed. $600/900

Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans. Additional information at www.nealauction.com

351. Continental Bronze Mirror, in the manner of Arturo Pani, beaded surround, h. 32 in., w. 18 1/2 in. $400/600

352. Charles Chikazunga (Zimbabwean, 20th c.), “Sleeping Child”, Shona serpentine stone, signed along base, h. 6 1/2 in., w. 6 in., d. 4 1/2 in. $300/500 350. Three New Orleans Art Glass Sculptures, 20th c., each unsigned, h. 4 in. to 28 1/4 in. $600/800

Provenance: Zimbabwe Shone Sculpture Gallery, Saint Helena, CA., 1993; Koch Collection, Metairie, LA.

Provenance: Collection of Michael Brown and Linda Green, New Orleans.

353. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Sunset on the Louisiana Bayou”, oil wash on board, signed lower right, 14 1/2 in. x 39 1/2 in., framed. $2500/3500

354. Clementine Hunter (American/Louisiana, 1886‑1988), “Saturday Night at the Juke Joint”, oil on canvas board, monogrammed mid‑right, “Riverside Galleries, Shreveport” label en verso, 16 in. x 20 in., framed. $2500/3500

355. Marion Sims Souchon (American/New Orleans, 1870‑1954), “Shelter”, oil on board, unsigned, titled and artist inventory number “377” en verso, 22 in. x 28 in., artist‑enhanced frame. $2000/3000

Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

Provenance: Estate of a New Orleans Lady.

356. Beauregard A. Redmond (American/ Florida, b. 1933), “Patriotic Porch”, 2001, watercolor on paper, signed and dated lower center, 22 1/2 in. x 15 in., framed. $800/1200

358. Diminutive Beaux Arts Bronze and Champlevé Mantel Clock, c. 1900, movement marked “Henry Paris”, flowering urn finial, flanked by amorini, shaped base, peg feet, h. 10 3/4 in., w. 6 in., d. 3 1/4 in. $700/1000 357. Frank, Robert (Swiss/American, b. 1924), Les Américains, Paris, Robert Delpire, 1958, text edited by Alain Bosquet, cover design by Saul Steinberg, oblong 4to, laminate boards, first French edition. $700/1000

Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

359. Steamboat Natchez Captain Thomas P. Leathers’ 18 kt. Gold Presentation Pocketwatch, c. 1875, engraved “Cha. H. Grosclaude/Fleurier, Switzerland/Eight Days Running/Ind.p.t. Full & Quarter Seconds/40 Ruby Jewels/ Ben Roach to T.P. Leathers” outer case engraved with trotter horse racing and duck hunting scenes; the crown set with mine‑cut diamond, dial set with dual‑time dials; the outer ring with sweep second hand, leather fob, case dia. 2 1/2 in. $5000/7000 Provenance: Descended in the Leathers family. The “Ben Roach” who presented this watch was almost certainly Benjamin Roach (1812‑1986), a wealthy planter and merchant in Carrollton, Mississippi. Note: Thomas Paul Leathers (1816‑1896) was probably the most famous Mississippi steamboat captain of the golden age, having won the famous race against the Robert E. Lee in 1870, immortalized in the iconic Currier & Ives print.

360. Pope Pius IX Signed Papal Bull c. 19th c., on vellum, signed by Pius, with original lead seal, 5 1/2 in. x 11 3/4 in. $700/1000 Provenance: Collection of Henri Schindler

361. Celtic Cast Stone Cross, late 19th/early 20th c., strapwork decoration, h. 46 in., w. 12 in., d. 9 in. $600/900 Provenance: Estate of Lynette Stillwell.

362. Governor Jimmie H. Davis Tooled Leather and Sterling Silver Bohlin Saddle, Martingale and Headstall, stamped “Bohlin made, Hollywood, Calif., Sterling”, with silver nameplate “Jimmie H. Davis”, LA governor 1944‑1948 and 1960‑1964, Edward Bohlin, silversmith; together with You Are My Sunshine: The Jimmie Davis Story by Gus Weill (Pelican, 1991), autographed by Jimmie Davis after an appearance at Mel Tillis Theatre, Branson, MO, Nov. 17, 1991 and Jimmie Davis, More Than Sunshine by Kenny Gill (Sweet Dreams, 2000); accompanied by provenance documentation incl.: letter from Jimmie Davis to Kenny [Gill], dated Dec. 22, 1980; letter from Kenny Gill to Earl [Northrup], dated Oct. 7, 1992; autographed photograph from Kenny Gill to Earl and Mrs. Northrup; letter from Audie W. Northrup, dated Mar. 28, 2013; and paperwork from Rio Grande Trading Co. $15000/25000 Provenance: With Buck Jones (1891‑1942), soldier, racecar driver, cowboy, Hollywood stuntman, and Western movie star; by descent to his wife, actress Odille Osborne; to Jimmie H. Davis (1899 ‑2000), singer, songwriter, and two‑term Louisiana Governor (1944‑48 and 1960‑64), c. 1942; to Kenny Gill (aka Walker Kenny Guillot, 1936‑2010), world class guitarist inducted into The Louisiana Music Hall of Fame, The Rockabilly Hall of Fame, The North American Country Music Hall of Fame, and The Order of Living Legends, 1980 or 1981; to Earl W. Northrup (1934‑2012), proprietor of world famous Earl’s Drive‑In and Country Music Park, Chaffee, NY, offering “food for the body, music (including performances by Jimmie Davis) for the soul,” 1992; by descent to his heir and executor, Audie W. Northrup; to Bruce Bartlett, Western Americana collector, author and proprietor of Rio Grande Trading Co., San Antonio, TX, 2013; to Private Collector, Louisiana. Note: Leaving his home in Sweden at age 15 to immigrate to America, Edward Bohlin dreamed of horses, cowboys, and the Wild West. His visions of cowboy life were made a reality as he found work in Montana herding cattle. Finally settling in Cody, Wyoming, Bohlin opened a shop selling saddles and silver accessories of his own creation; the Edward H. Bohlin Company operated from the 1920s to the 1980s. During that time, Bohlin crafted elaborate saddles, in addition to spurs, holsters, buckles, bolos, and various accoutrements. Gaining popularity during the golden age of Hollywood Western films, Bohlin was called upon to outfit celebrities such as Mae West, Hopalong Cassidy, and Ronald Reagan. Before he began his political career, Louisiana Governor James “Jimmie” Davis had gained critical acclaim for his musical skills. Recording many country-western albums in the 1930s and 1940s, Davis also acted in several films, usually playing the part of a singing cowboy with his famous horse, Sunshine. For these roles, Sunshine wore the Bohlin saddle offered here, that Davis had purchased from the wife of Buck Jones, the famous Western movie star. Jones, with more than 160 film credits to his name, used the saddle in many of his roles. This “Louisiana-style” saddle features square skirts, elaborately tooled leather and intricately engraved sterling silver accents with conchos throughout. Born into extreme poverty to sharecropping parents in Beech Springs, Louisiana, Davis valued his education and graduated from high school in Winnfield, Louisiana and earned his Bachelor’s degree from Louisiana College in Pineville, as well as his Master’s degree from Louisiana State University. In addition to his singing and acting work, he also served as a teacher and court clerk before seeking public office. His most popular song, “You Are My Sunshine,” which was written as an ode to his beloved palomino, was well known by the time Davis ran for Governor of Louisiana in 1944, and he would ride Sunshine, singing the song while campaigning. After a successful first term and a twelve year hiatus, Davis sought the governorship again. Upon winning the general election in 1960, Davis rode Sunshine up the steps of the Louisiana State Capitol, singing his song in victory. Davis’ accomplishments as governor include instituting mandatory licensing for all automobile drivers, building hospitals and roads, repairing infrastructure, and raising teacher salaries. However, it is likely the image of him on Sunshine, wearing a white cowboy hat and singing “You Are My Sunshine” for which Davis is best known. Ref.: Weill, Gus. You Are My Sunshine: the Jimmie Davis Story. Waco, TX: Word Books, 1977. Additional information at www.nealauction.com

Collected in New Orleans The opening of the Orleans Gallery in 1956 was considered a significant event in terms of contemporary art in New Orleans. The gallery was non-profit and cooperative, offering community memberships and a place to give greater meaning to the art of New Orleans and the South. Following the closing of the Arts and Crafts Club in 1951, the artists of New Orleans were without a proper exhibition and community meeting space. During the seventeen years it operated, the Orleans Gallery fulfilled that need and expanded public awareness of contemporary art . The gallery presented outstanding exhibitions featuring artist-members and guest artists, including some with international reputations such as Henry Moore and Picasso. The seven founders: Robert Helmer, Shearly Grode, Lin Emery, Jack Hastings, George Dunbar, James Lamantia and Jean Seidenberg, created the first venue in New Orleans to devote itself entirely to contemporary art and inspired widespread interest among collectors which has only increased over subsequent years. By the end of 1960, the Orleans Gallery clearly had become the city’s main venue for contemporary art. The original number of artistmembers had more than doubled, and a knack for publicity kept gallery events and art highly visible in the city. The thirty-four artist-members of the Orleans Gallery, including renowned artists such as Ida Kohlmeyer, Jose Maria Cundin and George Dureau, laid the foundation for contemporary art in New Orleans, and demonstrated to the generations of artists who followed in their footsteps that there was a sophisticated collector base in the city willing to support an avant garde gallery. The Orleans Gallery’s successes prompted the opening of other art galleries in the city such as the Downtown Gallery, Glade Gallery, Circle Gallery, Bienville Gallery and later Galerie Simonne Stern in 1967 and Arthur Roger Gallery in 1978 to

promote the work of the city’s upcoming and established artists. Following the closing of the Orleans Gallery in 1973, the Contemporary Arts Center (CAC) was formed in 1976 as an artist-run, artist-driven community organization in the Warehouse District of New Orleans. The CAC continued the role of an artistic forum and space for new talent to develop in a multidisciplinary arts center and would act as a nucleus for a growing arts district in the surrounding neighborhood. By the 1984 World’s Fair in New Orleans, new galleries began to open along Julia Street, and today more than twenty-five galleries are located within the area. In 2003, the opening of the Ogden Museum of Southern Art on Camp Street opposite the CAC further solidified the Arts District as a focal point of contemporary art in the city. The success of the Orleans Gallery was all the more remarkable given the stylistic variation within the artist-members. Kohlmeyer was working within the language of abstract expressionism, while Helmer, Grode and Dunbar were incorporating widely different media with abstraction. Emery combined abstract sculpture and water to create fountains, and others alternated between realism and abstraction. The story told by the artwork of these artists and later contemporary artists in the city is one of perseverance and innovation. The paintings and sculptures offered here represent a unique group curated by local collectors from prominent galleries over the last five decades and provide a window into the rich and varied history of contemporary art in New Orleans and the surrounding areas.

Ref.: Orleans Gallery: The Founders New Orleans: The Historic New Orleans Collection, 1982. Barker, Claudia Ann. The Orleans Gallery and Art in New Orleans, 1945-1975. University of New Orleans Masters of Arts in History Thesis, 1981. 52

363. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Study: Girl with Flower”, 1956, oil on masonite, signed lower right, titled on reverse of frame, 48 in. x 29 1/4 in., original frame. $8000/12000

Note: Dissatisfied with what she called a “vapid, dilettante life,” Ida Kohlmeyer first joined the John McCrady Art School in 1947, and then began classes at Newcomb College under Pat Trivigno in 1950. Completing her Master’s Thesis in 1956, which included an introductory essay and a “Series of Paintings Concerning the Mood of Aloneness in Children,” Kohlmeyer worked directly from models, attempting to capture the particular mood of the children she was painting, particularly a sense of introspection.

turquoise and burnt orange colors are a clear precursor to Kohlmeyer’s later works.

As one of these early works, “Study: Girl with Flower” clearly indicates the path Kohlmeyer would follow from representational to abstraction, as well as the development of a specific palette that would remain in her oeuvre throughout her career. Kohlmeyer writes, “Color, as a factor, became increasingly more challenging. In the early pieces, I used restrained color, with limited palettes. I found as I continued, I could use intense colors without destroying the mood if I kept them low in value.” In the current lot, the intense

Ref.: Kohlmeyer, Ida. Introductory Essay for a Series of Paintings Concerning the Mood of Aloneness in Children. Tulane University Masters of Fine Arts Thesis, 1956. Engeran, Whitney J. “Reflections on Lyrical Power: A Kohlmeyer Study.” Ida Kohlmeyer: Thirty Years. Charlotte, NC: Mint Museum, 1983. Plante, Michael. Ida Kohlmeyer. New Orleans: Newcomb Art Gallery, 2004.

The stillness and contemplation of the young girl in this piece, particularly when surrounded by such a vibrant background, serves to highlight the mood that Kohlmeyer was trying to capture. This balance between figure and background, quietude and movement, and juxtaposition of color, are themes Kohlmeyer would continue to explore throughout her career.

Neal Auction Company would like to thank Jane Lowentritt for her assistance with this note.

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365. Robert Helmer (American/New Orleans, 1922‑1990), “Horse”, 1974, markers on paper, signed and dated lower right, “Circle Gallery, St. Charles Ave., New Orleans” label en verso, 24 in. x 19 in., framed. $700/900

364. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Debris”, c. 1960, oil on canvas, signed lower right, titled and artist identified en verso, 40 in. x 36 in., original frame. $12000/18000 Provenance: Descended in the family of the artist. Note: By the 1960s, Marie Hull was painting in a fully developed Abstract Expressionist style as exemplified by the painting offered here, titled “Debris.” Hull’s work indicates a dynamic and complex palette. She employs dark, gestural brushstrokes in contrast to a diffusion of white and pink pigment. Fragments of vivid yellows, greens and blues emerge through the muted tones which dominate the canvas. The energy of the composition and the gestural and vibrant use of color make “Debris” an exceptional Abstract Expressionist canvas. The work relates to the important painting “Snow Hill,” which was featured in the groundbreaking exhibition and monograph on Hull at the Mississippi Museum of Art in September of 2015. The work offered here also has an exceptional provenance, having been in the artist’s private collection and descended through her family until being offered onto the market at this time.

366. Robert Helmer (American/New Orleans, 1922‑1990), “Sailboat”, oil and mixed media on board, signed lower right, 28 in. x 28 in., period frame. $700/1000 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

367. George Valentine Dureau (American/New Orleans, 1930‑2014), “Those Who Share Life”, 1991, oil on canvas, signed and dated lower right, signed, titled and dated en verso, 51 in. x 40 1/2 in., framed. $4000/6000 Provenance: Arthur Roger Gallery, New Orleans, 1993; Koch Collection, Metairie, LA.

368. George Valentine Dureau (American/New Orleans, 1930‑2014), “Angel Playing a Flute”, 1992, charcoal and crayon on paper, signed and dated lower right, sight 24 in. x 20 in., framed. $700/1000

369. George Valentine Dureau (American/New Orleans, 1930‑2014), “Angel Playing a Trumpet”, 1992, charcoal and crayon on paper, signed and dated lower right, sight 24 in. x 20 in., framed. $700/1000

370. Jean Seidenberg (American/New Orleans, b. 1930), “Charlotte as Flora”, 1983, egg tempera on masonite, signed and dated lower left, signed, titled and dated en verso, 32 in. x 36 in., framed. $2000/3000 Ill.: Seidenberg, Jacob Jean. Paintings, Drawings, Sculpture: Jean Seidenberg, New Orleans: Silkmont and Count, 2009, pp. VII and 67. Note: In 1981, New Orleans artist Jean Seidenberg married Charlotte, a garden expert, author and naturalist. He painted a series of portraits of Charlotte that convey her love of flowers as well as their blossoming relationship. The work offered here, painted in 1983-84 and titled “Charlotte as Flora,” depicts his wife wearing a wreath of ivy and a floral embroidered blouse, standing next to a bouquet of brightly colored flowers. Described as a modern-day “Flora,” this arresting and vibrant composition is reproduced in the monograph on Jean Seidenberg published by the Louisiana Endowment for the Humanities and stands out among the well-known artist’s many sensitive portraits. Ref.: Jean Seidenberg: Paintings, Drawings, Sculpture. New Orleans: Louisiana Endowment for the Humanities, 2009, p. 67. “Jean Seidenberg: A Brush with the Intimate”, Louisiana Cultural Vistas, Spring 2008, Vol. 19, No. 1, p. 10.

371. John T. Scott (American/New Orleans, 1940‑2007), “Border Crossing I”, 1985, painted bronze kinetic sculpture, unsigned, h. 14 in., w. 35 in., d. 2 1/2 in. $4000/6000 Provenance: Galerie Simone Stern, New Orleans, 1985; Koch Collection, Metairie, LA.

372. John T. Scott (American/New Orleans, 1940‑2007), “Just Two (Street Dancer), Diddlie Bow Series”, painted brass kinetic sculpture, h. 33 in., w. 10 1/2 in., d. 11 in. $4000/6000 Provenance: Galerie Simone Stern, New Orleans, 1985; Koch Collection, Metairie, LA. Note: Well-known artist and professor, John T. Scott was one of New Orleans’ greatest contemporary artists and an important figure in the art community. After attending Michigan State University for his graduate degree, Scott returned to New Orleans to join the faculty at Xavier University in 1965, where he taught for forty years.

373. George Bauer Dunbar (American/New Orleans, b. 1927), “Sailboats”, 1959, gouache and ink on paper, signed and dated lower right, 10 in. x 17 1/4 in., framed. $1000/2000

374. George Bauer Dunbar (American/New Orleans, b. 1927), “Bridge”, gold leaf on red clay, signed lower right, 23 3/4 in. x 33 in., framed. $7000/10000

During his career, Scott’s style of sculpture and the materials used varied; the most recognizable being his kinetic sculptures, which he began creating with the “Diddlie Bow” series in 1983. Often incorporating his African-American heritage into the symbolism behind his works, Scott found inspiration in the stories he heard about “traditional African hunters who used their hunting bows in musical absolutions following the killing of their prey.” The movement of the sculptures, which sway in the wind, resembles the rhythms throughout a piece of music, in addition to referencing the “diddley bow,” a one-stringed musical instrument affixed to a porch or wall, commonly found in the Mississippi Delta. Ref.: Powell, Richard J. Circle Dance: The Art of John T. Scott. New Orleans: New Orleans Museum of Art, 2005 Additional information at www.nealauction.com

375. George Bauer Dunbar (American/New Orleans, b. 1927), “Torso”, 1990, clay, mixed media and egg emulsion on board, signed and dated en verso, 23 in. x 23 in., framed. $7000/10000

376. George Bauer Dunbar (American/New Orleans, b. 1927), “Untitled (Three Figures)”, clay, mixed media and egg emulsion on board, signed upper and lower left and en verso, 22 in. x 29 in., period frame. $2500/3500 Provenance: Galerie Simonne Stern, New Orleans, 1993; Koch Collection, Metairie, LA.

377. Lin Emery (American/New Orleans, b. 1926), “Flower Dance”, 1990, polished aluminum, signed on self‑base, h. 47 in., dia. 16 in., granite pedestal, overall h. 71 in. $25000/35000 Provenance: Arthur Roger Gallery, New Orleans, 1992; Koch Collection, Metairie, LA. Note: The narrative of Lin Emery’s work from the static to the animated is a compelling one. In 1949, a sojourn in Paris would mark the inauguration of Lin Emery, the sculptor. Inspired by her mentor, Ossip Zadkine and the Romanesque works in the Musée de l’homme, Emery would incorporate the aesthetics and ideologies of both into her early religious works. Back in her adopted home of New Orleans as a studio assistant to Enrique Alferez, she was approached by the Father Judge Mission Seminary to create a series of sculptures for their church in Virginia. The resulting works are elongated and elegant figures representing familiar religious characters. In 1952, Emery would attend the Sculpture Center in New York and learn how to weld and cast metal. There her main influence would be Seymour Lipton and his textured welded forms. With metal being her newfound medium of choice, Emery focused her efforts on making it move. Inspired by the small fortuitous incident of witnessing a drop of water hit a spoon and make it rock in her kitchen sink, Emery focused her efforts and engineering ingenuity into building moving water forms she dubbed “aquamobiles.” This would be her first foray into kinetic sculpture. In 1965, Emery began experimenting with magnets, which she would hide in both the individual elements of her works and in the hidden motorized base, the rotation of which would cause sporadic, undulating movements. While the “aquamobiles” and “magnetmobiles” were effective in their capacity to convey a certain vitality, they would prove too constraining in their reliance on electricity and pumps. It was her 1977 discovery and subsequent usage of ball bearings in her works that would transform the way her sculptures move, giving them a freedom and autonomy that was unattainable previously. With this new lightness in articulation, she took to the wind, which would prove her most reliable source of movement. In the lots offered here, an early “magnetmobile” dances hauntingly on a stand, and both a small and large-scale petal form sculpture spin and whirl in an unpredictable, yet elegant frenzy. Ref.: Palmedo, Philip F. Lin Emery. Manchester: Hudson Hills, 2011.

378. Lin Emery (American/New Orleans, b. 1926), “Petal Forms”, polished aluminum, signed on self‑base, h. 17 in. $3000/5000 Provenance: Koch Collection, Metairie, LA.

379. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Synthesis 92‑3”, 1992, oil and mixed media on canvas, signed and dated lower right, artist label with title and “Arthur Roger Gallery, New Orleans” label with artist, title and date en verso, 42 in. x 60 in., framed. $30000/50000 Provenance: Arthur Roger Gallery, New Orleans, 1993; Koch Collection, Metairie, LA. 380. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Symbolic Pole I”, 1991, painted aluminum, signed and dated, h. 90 in., w. 36 in., d. 28 in. $18000/25000 Provenance: Arthur Roger Gallery, New Orleans. Note: Beginning in the late 1960s, Ida Kohlmeyer explored the extension of her pictorial compositions into three-dimensions. Taking several approaches in both small and large scale, the initial sculptures played with form and texture, almost always reflecting her contemporaneous paintings. By the mid1980s, Kohlmeyer was extracting shapes from her grid paintings and reassembling them into totemic forms that served as anthropomorphic representations within her complex visual language. As the sculptures developed, the scale increased and the works, created in fabricated steel or aluminum and then painted, became more elaborately volumetric, as seen in the monumental “Symbolic Pole I” of 1991 offered here. The brightly-colored shapes exist free of their constraining framework, alternately overlapping and isolating depending on the location of the viewer. Ref.: Ida Kohlmeyer: Recent Works. Morris Museum of Art, 1996. Plante, Michael. Ida Kohlmeyer – Systems of Color. New Orleans: Newcomb Art Gallery, 2004.

381. Paulette Tokar Whiteman (American/Louisiana, b. 1950), “Anticipation and Reflection”, 1983, acrylic and collage on canvas, signed, titled and dated en verso, 36 1/2 in. x 32 1/2 in., framed. $3000/5000.

382. Lin Emery (American/ New Orleans, b. 1926), “Leaf Play”, aluminum, magnets and motor, signed, painted stand, overall h. 42 1/2 in. $4000/6000

Provenance: Koch Collection, Metairie, LA.

Provenance: Joel Weinstock Collection, New Orleans, LA.

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383. Robert Gordy (American/Louisiana, 1933‑1986), “The Wall”, 1978, acrylic on canvas, signed, titled, dated and “New Orleans Museum of Art” label with artist and title en verso, 28 in. x 63 1/4 in., period frame. $3000/5000 Provenance: Arthur Roger Gallery, New Orleans, 1993; Koch Collection, Metairie, LA.

385. Richard A. Johnson (American/New Orleans, b. 1942), “Mint Ring (Study for Stereoscope)”, 1985, acrylic and mixed media on gesso board, unsigned, “Galerie Simonne Stern, New Orleans” label identifying artist, title and date en verso, 10 in. x 20 in., framed. $400/600 Provenance: Galerie Simonne Stern, New Orleans, 1986; Koch Collection, Metairie, LA.

384. Robert Gordy (American/Louisiana, 1933‑1986), “Woman in Water”, 1970, acrylic on canvas, initialed “R.G.” and dated lower right, signed, titled, dated and “Galerie Simonne Stern, New Orleans” label en verso, 22 1/2 in. x 21 1/2 in., period frame. $2000/3000 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

386. Richard A. Johnson (American/New Orleans, b. 1942), “Abstract Form”, acrylic painted papier-mâché and laminated wood, unsigned, h. 14 1/2 in., w. 12 in., d. 6 in. $300/500

Provenance: Arthur Roger Gallery, Magazine St., New Orleans, 1985; Koch Collection, Metairie, LA.

387. Gene Koss (American/New Orleans, 20th c.), “Ridge Road Climb”, 1974, cast glass with color embellishment, signed, titled and dated, h. 11 in., w. 11 in., d. 2 in. $700/1000

388. Gene Koss (American/New Orleans, 20th c.), “Ridge Climb”, 1985, cast glass with color embellishment, signed, titled and dated, h. 14 1/4 in., w. 12 in., d. 4 in. $700/1000

Note: After obtaining his Master of Fine Arts degree at Tyler School of Art at Temple University, Gene Koss founded the well-known Tulane University glass program and brought the movement of glass art to New Orleans. Working with serial cast glass parts to enlarge scale and combining these elements with iron and neon, Koss has raised glass sculpture to the realm of public art, and he has had a profound impact on American artists working in both steel and glass media. In addition to his innovative techniques to transform his memories of the mechanized Wisconsin farm of his youth into foundry-based glass sculptures on a massive scale, Koss also combines glass and steel found objects to create stand alone, small-scale sculptures such as the ones offered here, which often serve as studies for his larger-scale works. Ref.: “Gene Koss.” Arthur Roger Gallery. www.arthurrogergallery.com. Accessed July 23, 2017.

389. Pat Trivigno (American/New Orleans, 1922‑2013), “Atchafalaya Swamp #3”, 1982, oil on canvas, signed lower left, “New Orleans Museum of Art” exhibition label with title and date en verso, 84 in. x 96 in., period frame. $3000/5000 390. Frank Hayden (American/Louisiana, 1934‑1988), “Group Carrying Corpse”, mixed media, signed on self‑base, label with artist and title on reverse of base, h. 31 in.; together with “Proposed Design for Tabernacle at St. Pius Church, Baton Rouge (never materialized)”, color pencil on illustration board, unsigned, handwritten label with title and printed label identifying artist en verso, 32 in. x 20 in., framed. (2 pcs.) $2000/3000

Provenance: Collection of the Louisiana Land Trust and Exploration Company, New Orleans. Exh.: “Pat Trivigno: The Search for Inner Form”, New Orleans Museum of Art, 1994 and illustrated in the accompanying catalogue, p. 30.

391. Jack Gates (American/Louisiana, b. 1946), “Paperclip Table”, mahogany and steel, unsigned, h. 16 1/2 in., w. 73 in., d. 23 in. $3000/5000 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

392. Rick Brunner (American/ Louisiana, b. 1954), “Medieval Shield”, 1997, wood, metal, leather, rubber and pigment, signed, titled, dated, “Brunner Gallery” label and handwritten hanging instructions en verso, h. 74 in., w. 46 in., d. 5 in. $2500/3500

393. Rick Brunner (American/ Louisiana, b. 1954), “Bearing the Beauty”, 2002, wood, metal and pigment, signed, titled, dated and “Brunner Gallery” label en verso, h. 85 in., w. 32 in., d. 6 in. $2500/3500

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395. Fred Trenchard (American/New Orleans, b. 1941), “Bicycle Dream”, 1968, oil and mixed media on canvas, signed and dated upper left, titled, dated and inscribed en verso, 60 in. x 60 in., framed. $1000/1500 Provenance: Collection of Michael Brown and Linda Green, New Orleans. 394. Peter Dean (German/American, 1934‑1993, act. New Orleans, 1970‑1991), “No Evil”, 1975, oil and mixed media on canvas, signed lower left, signed, titled, dated and inscribed “N.Y.C.” en verso, 36 in. x 30 in., period frame. $1200/1800 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

396. Bill Barrell (British/American, b. 1932, act. Baton Rouge, 1982), “Coffee Klatch”, 1976, oil on canvas, signed and dated lower right, 57 in. x 75 3/4 in., period frame. $1000/1500 Provenance: Collection of Michael Brown and Linda Green, New Orleans. Note: In 1982, Bill Barrell was a visiting artist at the School of Art + Design, LSU.

397. Fred Trenchard (American/New Orleans, b. 1941), “Untitled: Girl in Limbo”, 1971, oil on canvas, unsigned, “Galerie Simonne Stern, Royal St., New Orleans” label with artist and date en verso, 48 in. x 48 in., period frame. $1000/1500 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

398. Paulette Tokar Whiteman (American/Louisiana, b. 1950), “My House”, “A Lick”, and “724”, 1992, 3 acrylic, collage and mixed medias on paper, each signed, titled and dated lower margin, sights 7 1/4 in. x 7 1/4 in. to 9 1/2 in. x 7 1/2 in., framed alike. (3 pcs.) $1500/2500 Provenance: Sylvia Schmidt Gallery, New Orleans, 1993; Koch Collection, Metairie, LA.

399. Gail Paradise (American/ Louisiana, 1939‑2005), “Clear Female Torso”, cast glass and gold leaf on granite base, unsigned, overall h. 17 in. $500/800 Provenance: Carol Robinson Gallery, New Orleans, 1998; Koch Collection, Metairie, LA.

400. Gail Paradise (American/Louisiana, 1939‑2005), “Blue Female Torso”, cast glass on granite base, signed, overall h. 12 3/4 in. $500/800

401. Hunt Slonem (American, b. 1951), “Shiva”, 1982, oil on canvas, signed, titled and dated en verso, 60 in. x 72 in., unframed. $5000/8000

Provenance: Carol Robinson Gallery, New Orleans, 1998; Koch Collection, Metairie, LA.

402. Gail Paradise (American/ Louisiana, 1939‑2005), “Red Sun Face”, 1994, cast glass on granite base, initialed “G.P.” and dated, overall h. 9 in. $400/600 Provenance: Carol Robinson Gallery, New Orleans, 1999; Koch Collection, Metairie, LA.

403. José Torres‑Tama (Ecuadorian/New Orleans, b. 1961), “Louis Armstrong: In Memory of Satchmo”, 2004, pastel on paper, signed lower left, signed, titled, dated and inscribed en verso of backing board, 28 in. x 20 in., framed. $800/1200 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

405. Douglas Bourgeois (American/Louisiana, b. 1951), “Sal Mineo”, 1982, mixed media and collage on board, signed and dated lower right, 7 3/4 in. x 10 in., framed. $800/1200

404. José Torres‑Tama (Ecuadorian/ New Orleans, b. 1961), “Rose Nicaud, Free Woman of Color”, 2004, pastel on paper, signed and dated lower left, 22 in. x 14 in., framed. $800/1200 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

406. Edward Whiteman (American/Louisiana, b. 1938), “Toy Landscape”, 1969, mixed media on wood, initialed “E.W.” and dated upper right, signed, titled and dated en verso, 43 in. x 48 in., period frame. $700/1000 Provenance: Collection of Michael Brown and Linda Green, New Orleans. Additional information at www.nealauction.com

407. Justin Forbes (American/New Orleans, b. 1967), “Long Beach”, 1995, oil on canvas, signed and dated lower left, signed, titled and dated en verso, 48 in. x 60 in., framed. $7000/10000 Provenance: Collection of Michael Brown and Linda Green, New Orleans. Ill.: Justin Forbes Art website, http://justinforbesweekly.com/pre‑2007 artwork. Note: Justin Forbes moved to New Orleans after studying art in New York and has said “I found that it reminded me of the freedom I enjoyed traveling around Europe, and gave me an opportunity to meet other young artists and collaborate with them in unimaginable ways. Our lives became the main subject of my art, and there was a seamless overlap between the two…” Autobiographical elements combine with imaginative landscapes in his works to create complicated and often intimate tableaux that are rich with elements of realism, exaggeration of perspective and a not-so-subtle surrealism. The canvas becomes a stage, where the viewer is left to provide their own interpretation of the drama. The interaction between the figures, some acknowledging the viewer and others not, the mysterious clues and the setting itself all become central to the narrative. In the work offered here, Forbes is at his best – merging elements of social unrest, violence and an idyllic summer day on the beach. Ref.: “Bio.” Justin Forbes Art. www.justinforbes.weebly.com. Accessed July 25, 2017.

408. Aaronel deRoy Gruber (American/ Pennsylvania, 1918‑2011), “Untitled: Tower in Pink, Orange, Blue and Gray”, Plexiglas, unsigned, h. 74 in., w. 23 in., d. 23 1/2 in., black Plexiglas base, overall h. 86 1/4 in. $5000/8000 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

410. Fred Trenchard (American/New Orleans, b. 1941), “Chaotic Scene in Yellow” and “Chaotic Scene in Yellow with a Man and Cars”, 1971, 2 watercolors on paper, each signed and dated lower right, “Royal Wishing Gates Art Gallery, New Orleans” labels en verso, sheets 28 in. x 22 in., framed alike. (2 pcs.) $1000/1500 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

409. Aaronel deRoy Gruber (American/ Pennsylvania, 1918‑2011), “Untitled in Blues and Greens”, 1970, Plexiglas with black light, signed, dated and numbered “3/8”, h. 17 1/2 in., w. 16 in., d. 10 1/4 in. $1000/1500 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

411. Gina Laguna (American/New Orleans, 20th c.), “Interlocking Rectangles”, welded steel, unsigned, h. 20 in., w. 25 in., d. 6 in. $800/1200 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

412. Scott de Montluzin (American/New Orleans, 20th c.), “Suspended White Cubes”, painted wood, signed, h. 51 in., w. 14 in., d 14 in. $500/700 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

413. George Rodrigue (American/Louisiana, 1944‑2013), “Mississippi Card Sharp”, 1978, oil on canvas, signed lower left, signed, titled, dated and artist stamps en verso, 24 in. x 36 in., framed. $25000/35000 Note: In this 1978 canvas, George Rodrigue combines several of his most memorable Cajun themes within a classic Louisiana landscape – horse racing and gambling. Titled “Mississippi Card Sharp,” most likely after the figure on the left in blue and black, the card sharp stands out among his Cajun counterparts, who are clad in glowing white against the dark foliage. The horse blends into the dark oak tree, perhaps the participant of a recent match race or claiming race, and the card game is most likely bourré, a trick-taking gambling card game common to Acadiana. As Rodrigue writes in The Cajuns of George Rodrigue of 1976, “The only thing that an outsider may be sure of is that he can bet with a Cajun on almost anything he wants. The typical place for most betting used to be in little country stores. Even today bourré games are going on in the back of these stores scattered throughout South Louisiana.” Ref.: Rodrigue. George. The Cajuns of George Rodrigue. Birmingham, AL: Oxmoor House, Inc., 1976.

414. George Rodrigue (American/Louisiana, 1944‑2013), “I Feel Good”, oil on canvas, signed lower left, 24 in. x 29 3/4 in., original frame. $30000/50000

416. Hunt Slonem (American/ Louisiana, b. 1951), “Two Parrots”, 2003, oil on board, signed, dated, inscribed and drawing of a toucan en verso, 9 1/4 in. x 7 1/4 in., antique frame. $1800/2500

417. Hunt Slonem (American/ Louisiana, b. 1951), “Yellow Bunny”, 2003, oil on board, signed, dated and inscribed en verso, 8 3/4 in. x 6 1/2 in., framed. $1800/2500 415. Hunt Slonem (American/Louisiana, b. 1951), “Gold Bunny”, 2015, oil on wood panel, signed and dated en verso, 20 in. x 16 in., framed. $2000/3000 Additional information at www.nealauction.com

418. Alexei E. Kazantsev (Russian/New Orleans, b. 1966), “Weeping Torso”, Carrara marble, initialed “A.K.” lower right, h. 32 in., w. 15 in., d. 8 in. $1200/1800 Provenance: Carol Robinson Gallery, New Orleans; Koch Collection, Metairie, LA.

419. Alexei E. Kazantsev (Russian/New Orleans, b. 1966), “Torso”, Carrara marble, initialed “A.K.” and inscribed “14”, h. 30 in., w. 9 in., d. 7 in. $1000/1500

420. Robert Gordy (American/ Louisiana, 1933‑1986), “Male Nude”, monotype on paper, unsigned, 30 in. x 22 1/2 in., framed. $1500/2500 Provenance: Arthur Roger Gallery, New Orleans, 1994; Koch Collection, Metairie, LA.

Provenance: Carol Robinson Gallery, New Orleans, 2000; Koch Collection, Metairie, LA. Exh.: “Alexei Kazantsev, Neoromanticism: New Work in Marble”, Carol Robinson Gallery, New Orleans, May 2000.

421. Jason DuMouchel (American/New Orleans, b. 1970), “Portrait of Blake”, 2001, signed and dated lower right, signed, titled and dated en verso, 24 in. x 24 in., framed. $700/900

422. Jason DuMouchel (American/ New Orleans, b. 1970), “You didn’t hear this from me, but...”, 2001, oil on canvas, signed, titled and dated en verso, 22 in. x. 22 in., framed. $700/900

423. Mary Louise Snowden (American, b. 1952), “Genesis: Sketch”, lithograph on paper, signed and numbered “89/1000” lower left, “Masterpiece, Laguna Beach, CA” labels with artist and title en verso, 9 1/2 in. x 12 in., framed. $300/500

424. David Harouni (Iranian/New Orleans, b. 1962), “The Red House by the Orchard”, oil on masonite, signed lower left, 16 in. x 12 in., framed. $1200/1800

426. Peter Dean (German/ American, 1934‑1993, act. New Orleans, 1970‑1991), “Catskill Eve”, 1978, acrylic on paper, signed lower right, signed, titled, dated, inscribed and “The Times Picayune, The World of Art” 1979 article on the artist en verso of backing board, 19 in. x 24 in., framed. $1000/1500 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

425. Peter Dean (German/American, 1934‑1993, act. New Orleans, 1970‑1991), “Self‑Portrait”, 1977, watercolor and graphite on paper, signed and dated lower left, signed, dated and inscribed mid‑right, 12 1/2 in. x 9 1/2 in., framed. $800/1200 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

429. Babette Beaullieu (American/ Louisiana, 20th c.), “La Femme”, carved and stained wood with painted rock, unsigned, h. 83 in., w. 9 in., d. 3 in. $1200/1800 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

427. Denice Bizot (American/ New Orleans, 20th c.), “Nordic Chute”, 1999, found metal, signed and dated under base, h. 39 1/4 in., w. 28 in., d. 11 in., pedestal, overall h. 76 in. $800/1200

428. Enrique Alferez (Mexican/New Orleans, 1901‑1999), “Standing Draped Woman”, graphite on paper, unsigned, 28 1/4 in. x 18 in., framed. $800/1200

Provenance: Collection of Michael Brown and Linda Green, New Orleans.

Provenance: Acquired from the artist; thence by descent in a New Orleans family.

431. Terry Weldon (American/New Orleans, b. 1947), “Disc”, 1988, enamel on metal, unsigned, 46 in. x 44 1/2 in. $3000/5000 Provenance: Arthur Roger Gallery, New Orleans, 1993; Koch Collection, Metairie, LA.

430. Joseph B. O’Sickey (American/Ohio, 1918‑2013), “Porch in Light Key with Climbing Rose”, 1987, oil on canvas, signed and dated lower right, “Kennedy Galleries, Inc., NYC” label with title en verso, 48 in. x 60 in., framed. $3000/5000 Provenance: Kennedy Galleries, Inc., New York.

432. Fletcher Benton (American/California, b. 1931), “Untitled #5”, 1989, varnished steel, signed and dated on inner curvature, h. 22 in., w. 51 1/2 in., d. 20 in., pedestal, overall h. 41 1/2 in. $7000/10000 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

Ill.: Lucie‑Smith, Edward. Fletcher Benton. New York: Harry N. Abrams,Inc., 1990, p. 288.

433. David Hockney (British, b. 1937), “Lithographic Water Made of Lines, Crayon and Two Blue Washes with Green Wash”, 1978‑1980, color lithograph in colors on TGL handmade paper, pencil‑signed and dated lower right, pencil‑numbered “67/85” lower left, published by Tyler Graphics Ltd., Mount Kisco, New York with blindstamp lower right, image 21 1/2 in. x 29 in., sheet 29 1/2 in. x 34 1/2 in., framed. $25000/35000

Note: Beginning his art career in San Francisco, Fletcher Benton was initially influenced by the Beatnik culture of the 1950s and 1960s. His early works in oil paint and kinetic sculpture included geometric themes that eventually transitioned to his mature works. By the late 1970s, Benton moved from kinetic to stationary sculptures made of metal, working in both large and small scale. Some of Benton’s most popular series, such as Folded Circles, Steel Watercolors, and the Alphabet Series, came out of his experimentation with metal sculptures. However, Benton often made stand-alone pieces as well. The current lot, although intentionally untitled by the artist, exhibits elements of Benton’s One Legged Tables Series, which modify the positive and negative space to create a complex interaction between the curved round pieces and the sharp, piercing linear forms. Ref.: Lucie-Smith, Edward. Fletcher Benton. New York: Harry N. Abrams, 1990. 435. Manuel Neri (American/California, b. 1930), “Passage, Maquette II”, 1996, bronze with patina, signed, dated and numbered “1/4” on self‑base, “Galerie Simonne Stern, New Orleans” label with artist and title under base, h. 24 in., w. 6 in., d. 8 in. $8000/12000 Provenance: Galerie Simonne Stern, New Orleans, 1998; Koch Collection, Metairie, LA.

434. Jim Dine (American, b. 1935), “White Robe on Black Paper”, 1977, lithograph on paper, pencil‑signed dated and numbered “29/100” lower, sheet 41 1/2 in. x 29 1/2 in., framed. $3000/5000

Note: While the human form is one that has been studied and executed by artists since the genesis of Western art, Manuel Neri’s take on figurative sculpture is intensely poignant. With a painter’s eye and aesthetic, he is able to incorporate those related characteristics into his three-dimensional works. As Hilton Kramer points out in his 1981 New York Times review of Neri’s solo show at the Cowles Gallery, “[w]hat distinguishes Mr. Neri’s art is the way he has combined the traditional nude figure with the interests of painting. While his conception of the figure tends to be classical, his painterly sensibility is decidedly Expressionist. There is thus an extraordinary tension - or, if you will, a dialectic - built into the very crux of his style. This gives the work a very individual dynamism, even if at times it also leaves us with the impression of something teetering on the brink of dissolution.” In the lot offered here, the sense of impending dissolution is nearly palpable. The fragile humanoid figure appears to be emerging from its surroundings, and Neri highlights the tension between animation and stagnation. The sculpture’s coarse surface and incomplete form is reminiscent of the rough brushstrokes of a quick painting sketch, while as a whole remaining remarkably complete and well balanced. Ref.: Kramer, Hilton. “Art: First Solo Show for Manuel Neri”. The New York Times. Feb. 27, 1981. www.nytimes.com. Accessed July 26, 2017. Additional information at www.nealauction.com

436. Don Nice (American, b. 1932), “Tootsie Pops”, 1974, color lithograph on paper, pencil‑signed, titled and numbered “14/50” lower margin, 22 1/2 in. x 34 in., framed. $700/1000

437. Timo Arturi Solin (Finnish/ Sweden, b. 1947), “Staende Kvinna (Standing Woman)”, patinated and polished bronze, signed and inscribed “3/4 E.A.” lower right (rear foot), h. 22 1/2 in., w. 21 in., d. 11 in. $4000/6000 Provenance: Collection of Michael Brown and Linda Green, New Orleans. 438. Roy Lichtenstein (American, 1923‑1997), “Cathedral #5 (Rouen)”, 1969, lithograph in black and yellow on Special Arjomari, pencil‑signed, dated and inscribed “TPI” (Trial Proof I) lower margin, edition of 75, published by Gemini G.E.L., Los Angeles, Corlett 79, blind stamp lower right margin, printer’s ink stamp with pencil inscription “RL69‑29” en verso, artist label with title, date and printed artist biography on reverse of backing board, image 41 3/4 in. x 27 in., sheet 48 1/4 in. x 32 1/4 in., framed. $6000/8000

440. Pedro Friedeberg (Mexican, b. 1936), “Explicaciones de Casanova a Kafka: La vida intima de un cobarde”, 1973, lithograph, pencil‑signed, titled, dated and numbered “XLVI/L” lower margin, titled in plate upper mid‑right, 19 1/2 in. x 19 1/2 in., framed. $300/500

441. Archie Held (American/California, b. 1955), “Slim”, 1993, bronze and mixed media water sculpture, unsigned, h. 70 in., w. 31 in., d. 18 in. $8000/12000 Provenance: Weinstein Gallery, San Francisco, 1993; Koch Collection, Metairie, LA.

439. Pedro Friedeberg (Mexican, b. 1936), “Ya Conocimos a Diaghilev”, 1975, lithograph, pencil‑signed and numbered “108/175” lower margin, 23 1/2 in. x 23 3/4 in., framed. $300/500

Note: Archie Held has been sculpting out of his home base in Richmond, California since the 1970s. Held’s most oftchosen media are bronze and stainless steel, often with a water element involved. “Water is the basic common denominator we all share – water adds life.” His 1993 creation offered here, “Slim” showcases Held’s main sculptural preoccupations: simple elegant designs utilizing the permeance of metals with the addition of water to add vitality and complement the timelessness of his designs. In describing the inspiration for his works, “I am drawn to forms that embody the essence of growth and strength.” Ref: “Press.” Archie Held Studio. www.archieheld.com. Accessed July 21, 2017.

442. Alexander Calder (American, 1898‑1976) with Carlos Franqui (Cuban, 1921‑2010), “Lo Oscuro Invade”, 1975, color lithograph, pencil‑initialed “CA”, pencil‑signed “Carlo Franqui” and pencil‑numbered “48/500” lower margin, sight 25 3/4 in. x 36 3/4 in., framed. $700/1000

443. Lowell Nesbitt (American, 1933‑1993), “Spotted Lilly”, 1973, serigraph, pencil‑signed, dated and numbered “55/100” lower margin, sheet 34 in. x 31 1/2 in., unframed. $300/500

444. Robert Wick (American/Arizona, 20th c.), “Golden Head”, cast bronze on stone base, unsigned, h. 16 in., w. 14 in., d. 11 in., pedestal, overall h. 56 1/2 in. $2000/3000 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

445. Milton Avery (American, 1885‑1965), “The Break”, 1956, ink and crayon on paper, signed and dated lower right, titled en verso “Donald Morris Gallery, Inc., Birmingham, MI”, “Pensler Galleries, Washington D.C.” and “DC Moore Gallery, New York” labels with artist, title and date en verso of backing board, 17 in. x 14 in., framed; accompanied by a copy of DC Moore Gallery invoice, 2000. $2000/3000 Provenance: Donald Morris Gallery, Inc., Birmingham, MI; Pensler Galleries, Washington, D.C.; DC Moore Gallery, New York.

446. Bruce Conner (American/ California, 1933‑2008), “Still Life”, 1963, ink on paper, signed, titled and dated on backing board, “Picasso Frames, Marina Del Rey, CA” and “Christie’s 11‑Jan‑11, Lot 11” labels en verso, 23 3/4 in. x 17 3/4 in., matted and framed; accompanied by copy of original Christie’s 2011 invoice. $3000/5000

Provenance: Property from the Collection of Dennis Hopper, Christie’s New York, Rockefeller Center, Jan. 11, 2011, lot 11.

447. American School, 20th c., “Twisted Figure”, bronze on stone base, inscribed “Fitch”, h. 10 1/4 in., w. 10 in., d. 7 in. $600/800 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

449. Bertil Vallien (Swedish, b. 1938), “Journey 85‑23”, 1985, sand cast glass and mixed media, signed, titled and inscribed “Pilchuck”, h. 3 1/2 in., w. 21 in., d. 5 1/2 in. $3000/5000

448. Nils Obel (Danish/Maine, b. 1937), “Diver and Crab”, 1978, oil on canvas, signed lower right, signed, titled and dated en verso, 39 1/4 in. x 32 in., framed. $700/1000 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

Note: Swedish artist Bertil Vallien is often credited as the artist who pioneered and perfected the method of sand casting glass. The method gives glass artists the ability to imbed objects and layer glass and colors in a unique way, with often very mysterious, atmospheric results. One of his most celebrated and recognized series are his boats, such as the one offered here “Journey 85-23”. When speaking of Vallien’s artwork, the Alliance for Contemporary Glass describes it thus, “His interiors glow. It isn’t the surface outward appearance but the interior behind the form, he puts a protective skin over his glass to enclose the light. There, encapsulated, it leads a life of its own and becomes a cosmos of mythical colors, fantastical forms and universal archetypes.” Vallien’s own words are more simple, “Glass eats light.” Ref.: “Bertil Vallien.” Alliance for Contemporary Glass. www.contemporaryglass.org. Accessed July 24, 2017.

Provenance: Arthur Roger Gallery, Magazine St., New Orleans, 1987; Koch Collection, Metairie, LA. Additional information at www.nealauction.com

450. Jim Bird (British/American, 1937‑2010), “Iberian Stone II”, 1990, acrylic on canvas, signed, titled and dated “90/May” en verso, 60 in. x 24 in., period frame. $1500/2500 Provenance: Galerie Simonnie Stern, New Orleans, 1993; Koch Collection, Metairie, LA.

451. Jim Bird (British/American, 1937‑2010), “Imagination is Funny”, 1990, acrylic on canvas, signed, titled, and dated “90/May” en verso, 36 in. x 32 in., period frame. $1000/1500 Provenance: Galerie Simonne Stern, New Orleans, 1993; Koch Collection, Metairie, LA.

452. Joe Sorci (American/Tennessee, b. 1956), “Untitled”, stone, signed on base, h. 14 in., w. 26 in., d. 17 in., pedestal, overall h. 51 in. $800/1200 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

453. Kirils Pantelejevs (Latvian/California, b. 1969), “The Thinker”, bronze on stone base, initialed “K.P.”, overall h. 24 in. $1000/1500 Provenance: Cobra Fine Art, San Francisco, 1993; Koch Collection, Metairie, LA.

454. Hayne E. Rudolph (American/Mississippi, late 20th c.), “John Lennon”, papier mâché and mixed media, signed “Hayne” in armpit, titled on left shoe, h. 40 1/4 in., w. 31 in., d. 21 in. $800/1200

455. Luis Colmenares (American/New Orleans, 20th c.), “Untitled: Geometric Forms”, 1993, surface embellished stainless steel, metal stand, signed “Luis” and dated on self‑base, h. 43 1/2 in., w. 24 in., d. 18 in., metal pedestal, overall h. 70 in. $800/1200

456. Mark T. Smith (American/Florida, b. 1968), “New Orleans Elephant”, 2009, graphite on paper, signed, monogrammed “M”, titled and dated lower left, 22 1/2 in. x 30 1/4 in., unframed; accompanied by book Mark T. Smith, 2006. $1500/2500 .

459. Mary Louise Snowden (American, b. 1952), “Cambrian Sea Fan”, bronze, signature and “PP 9/10” inscribed and “Snowden / Rodin / Eberhard / Marque de Fondeur” foundry stamp on naturalistic base, h. 35 in., w. 25 in., d. 25 in., granite base, overall h. 38 in. $3000/5000

457. Barbara Kirschner (American, 20th c.), “Split Reflections”, handmade paper, signed lower left, artist label and title en verso, 34 in. x 26 in., shadowbox frame. $800/1200 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

458. Joanna Zjawinska (Polish/California, b. 1950), “Bella and Hugo”, oil on canvas, signed lower left, 36 in. x 36 in., unframed. $1200/1800 Additional information at www.nealauction.com

460. Italian Neoclassical Carved Giltwood and Silk Velvet Tufted Window Bench, 20th c., foliate scroll arms, shaped seat rail, spiral‑turned legs, h. 25 in., w. 28 1/4 in., d. 17 in. $800/1200 461. Pair of Antique Continental Rococo Peinte and Parcel Gilt Fauteuils, late 19th c., foliate-carved horseshoe shaped backs and arms, attractive silk upholstery, cabriole legs, casters, h. 32 3/4 in., w. 22 3/4 in., d. 16 3/4 in. $1000/1500

463. Louis XV‑Style Bronze‑Mounted Kingwood and Marquetry Commode, repaired marble top, incised “J. Lapie”, h. 34 in., w. 43 in., d. 18 in. $3000/5000 Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

465. French School, late 18th c., “Gentleman in a Fur Lined Jacket” and “Lady with Flowers in her Hair”, 2 oils on canvas, both unsigned, 25 in. x 20 3/4 in. and 25 1/2 in. x 21 in. respectively (ovals), antique frames. $1800/2500

464. Pair of Neoclassical‑Style Crème Peinte and Parcel Gilt Armchairs, scrolled crest rail, padded back, shaped arms, square tapered legs, h. 33 1/2 in., w. 24 1/2 in., d. 20 1/4 in. $1200/1800

466. Pierre Joseph Redouté (French, 1759‑1840), “Rosa Geminata” and “Rosa Centifolia Simple”, 2 hand‑colored engravings, published by Rémond, engraved by Chapuy, each with “W. Graham Arader, III, King of Prussia, PA” labels en verso, sights 13 in. x 9 1/2 in. (2 pcs.) $500/700

469. Four Italian Rococo-Style Carved Giltwood Three‑Light Sconces, 20th c., scroll and foliate backplate and arms, electrified, h. 27 in., w. 16 in., d. 5 in. $700/1000 468. Pair of Polychrome and Gilt Porcelain Jardinières in the Sevres Style, turquoise ground, floral band, reserves with Bacchic trophée and floral spray, h. 12 1/4 in., w. 16 1/2 in., d. 13 1/4 in. $1500/2500

462. Louis XV‑Style Bronze‑Mounted Parquetry and Marquetry Work Table, 19th c., floral inlaid serpentine top, fitted interior, cabriole legs, h. 29 in., w. 23 in., d. 17 in. $500/700

467. Pair of Empire‑Style Gilt Bronze Figural Candlesticks, 20th c., ram’s head candlecup, grapevine standard, lion feet, h. 12 3/4 in., dia. 4 1/2 in. $500/750

470. Pair of Gilt Bronze‑Mounted “Sevres” Porcelain Urns, 20th c., floral and cherub reserves, mounted as table lamps with tall painted wood base, h. 15 in., w. 5 in., d. 5 in., h. to socket 23 in. $1500/2500

472. Pair of William IV Bronze Dolphin-Form Lustres, c. 1840, hung with faceted prisms. $200/400

471. Bronze and Cut Crystal Twelve‑Light Chandelier, 20th c., vasiform standard, scrolled arms, electrified, h. 31 in., dia. 26 in. $800/1200

473. English or French Tôle Peinte Sinumbra Lamp, c. 1830, black ground with gilt accents, retains antique frosted and cut glass “mushroom” shade, electrified. $200/400

474. Antique Moser Raised Enamel, Gilt and Silvered Ruby Glass Dresser Box, c. 1885, brass mounted, bale handles, raised on ornate ball feet, 5 1/4 in., w. 5 7/8 in., d. 4 in. $500/700 Ref.: Identical boxes are found in Baldwin, Gary. Moser Artistic Glass Edition Two, Marietta, The Glass Press, 1997, p. 86.

475. After Jean‑Baptiste Lemoyne (1704‑1778), “Lady Astride Dolphin”, terracotta figure, inscribed “Lemoyne” and dated on self‑base, h. 11 in., w. 14 in., d. 5 in., wood base inscribed “Feme... Dauphin...F...” on top, overall h. 14 in. $200/400 Provenance: The Sturm Collection; acquired Christies.

476. French Bronze Figure of a Woman, after “Pastorale Watteau” by Adrien Etienne Gaudez, title and artist plaque, h. 27 in., w. 12 in., d. 8 1/2 in., granite base, overall h. 28 1/2 in. $1200/1800

477. Empire BronzeMounted Mahogany Console Table, early 19th c., marble top, frieze with griffin mounts, columnar supports, plinth blocked feet, h. 35 1/2 in., w. 47 1/4 in., d. 15 in. $1500/2500

478. Louis Philippe Carved Walnut Curule Bench, 19th c., square molded frame fitted with boxed cushion, foliate X‑form legs, scroll feet, h. 18 in., w. 19 in., d. 18 1/4 in. $400/600

479. Set of Art Nouveau Inlaid Oak Quartetto Tables, early 20th c., each marched “Galle”, inlaid foliate motif tops, pastoral and boating scenes, h. 27 3/4 in., w. 23 in., d. 15 in. $1200/1800

Additional information at www.nealauction.com

480. Pair of French Os de Mouton Walnut Armchairs, 19th c, tall raked backs, scroll arms, serpentine seat, ox bow stretchers, scroll feet, h. 43 in., w. 25 1/2 in., d. 33 in. $1000/2000

481. Louis XVI‑Style Brass‑Inlaid Mahogany Bouillotte Table, marble top with reticulated gallery, frieze fitted with drawer and candle slides, h. 29 1/2 in., dia. 26 in. $800/1200 Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA. 482. Régence‑Style Specimen Marble and Argenté Salon Table, top inlaid with Classical urn reserve, elaborately carved base, frieze with pendant cartouches, acanthus carved legs, intertwined stretcher centered by a foliate medallion, h. 33 in., w. 74 in., d. 38 1/4 in. $7000/10000

484. Directoire‑Style Brass‑Mounted Mahogany Desserte, galleried tiers, stop-fluted tapered standard, lappet-carved arched legs, bronze slipper feet, h. 44 1/2 in., dia. 28 3/4 in. $400/600

485. American Verdigris Patinated Bronze Figural Guéridon, late 19th/early 20th c., now with later glass top, reeded standard with Classical maiden, incurvate triangular plinth, paw feet, h. 32 1/2 in., w. 14 in., d. 14 in. $800/1200

483. Antique French Provincial Carved Walnut Table, 18th c. and later, molded top, frieze drawer, bulbous turned legs, shaped X stretcher, bun feet, h. 28 1/4 in., w. 34 in., d. 22 3/4 in. $600/800

486. Large French Provincial‑Style Carved and Painted Table, molded circular top, turned supports, cruciform scrolled plinth base, h. 29 1/2 in., dia. 60 in. $1000/2000

487. Georgian‑Style Mahogany Partners’ Desk, inset tooled leather top, each side with three frieze drawers, pedestals with three drawers on each side, molded plinth, h. 30 1/2 in., w. 72 in., d. 50 1/4 in. $1000/1500

488. George II‑Style Carved Mahogany Library Chair, square padded back, padded arms, foliate carved arm supports, padded seat, foliate serpentine apron, cabriole legs, ball and claw feet, h. 37 in., w. 28 3/4 in., d. 25 in. $500/750

489. Louis Philippe Figured Mahogany Console, 19th c., black marble top, ogee frieze drawer, scroll supports, shaped plinth, suppressed ball feet, h. 32 1/2 in., w. 27 in., d. 16 1/2 in. $700/1000

490. Continental Carved Mahogany Miniature Sécrétaire à Abattant, 19th c., triangular pediment flanked by finials, fall front, fitted interior, three drawers flanked by fluted pilasters, disc feet, h. 21 in., w. 15 in., d. 9 1/2 in. $500/750

491. Pair of Empire‑Style Bronze and Marble Four‑Light Candelabra, 20th c., flame finial, reeded standard, tall plinth base, h. 17 in., dia. 9 in. $700/1000

492. Pair of French Brass and Wrought Iron Five‑Light Torchères, c. 1900, brass foliate mounts, scrolled tripartite base, h. 78 in., w. 18 1/2 in., d. 12 in. $700/1000

493. Carrara Marble Bust of “Apollo Belvedere”, after the Antique, h. 19 1/4 in., w. 17 in., d. 10 in., base, overall h. 23 in. $1000/1500

494. Bronze Bust of Pope Pius IX, late 19th c., marked “Chomas, Rome” and “Boyer, Bronzier” on base, h. 8 3/4 in., w. 5 3/4 in., d. 4 in. $200/400

495. Bronze Bust of Pope Leo XIII, after Aristide Onesime Croisy, signature inscribed under proper right shoulder, h. 13 1/2 in., w. 10 in., d. 5 1/2 in. $300/500

Provenance: Collection of Henri Schindler.

Provenance: Collection of Henri Schindler. 497. Chinese Blue and White Porcelain Gu‑Form Beaker Vase, probably 17th c., bulbous center decorated with Buddhist lion masks between bands of upright and pendant leaf tips, base with double ring mark, h. 9 1/4 in., stand, overall h. 10 1/2 in. $800/1200

498. Gilt Bronze‑Mounted Chinese Famille Jaune Porcelain Vase, Qing Dynasty (1644‑1911), painted in imitation of cloisonné enamel with peony sprays on a yellow ground, h. 7 in. $500/700 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

496. Georgian Walnut Overmantel Mirror, 18th c., later divided mirror plates, star cut engraving, h. 24 in., w. 54 1/4 in. $800/1200

499. Pair of Chinese Cinnabar‑Red and Black Lacquer Bowls, Qing Dynasty (1644‑1911), deeply carved with flower and cloud motifs through the black to a floral diaper red ground, brass interiors, h. 3 1/4 in., dia. 5 7/8 in. $800/1200 Provenance: The Sturm Collection.

Additional information at www.nealauction.com

500. Chinese Mustard Yellow Glazed Porcelain Censer, Qing Dynasty (1644‑1911), bombe body with Buddhist lion’s mask ring handles, base with incised Yongzheng mark, h. 3 in., w. 6 1/4 in., stand, overall h. 4 1/2 in. $700/900

501. Chinese Green, Aubergine and Biscuit Decorated Yellow Ground Porcelain Bowl, Qing Dynasty (1644‑1911), incised with dragon roundels and flaming pearls, interior well with flaming pearl, base with Chenghua mark, h. 3 3/8 in., dia. 8 in., storage box. $500/700

Provenance: The Sturm Collection.

503. Chinese Creamy White and Russet Jade Belt Hook, Qing Dynasty (1644‑1911) or earlier, carved with a bearded qilong atop a curving shank with a dragon’s head terminal, reverse with button hook, l. 4 1/8 in. $800/1200 Provenance: The Sturm Collection.

502. Mughal White Jade Libation Cup, probably 18th c., creamy white stone with russet inclusions, carved with a foliate handle, incised and beaded gilt lacquer restoration, h. 1 5/8 in., w. 4 1/4 in. $1000/1500 Provenance: The Sturm Collection.

504. Chinese Creamy White and Brown Jade Belt Hook, probably Ming Dynasty (1644‑1911), curving shank carved with a dragon’s head terminal, reverse with button hook, l. 3 1/2 in. $400/600 Provenance: The Sturm Collection; by repute, Ex Yamanaka Collection.

506. Large Chinese Coral Figural Group, upright branch carved as a nobleman dressed with a child on his head and with others clambering up his legs, secondary horizontal branch carved with numerous children and a cart laden with sacks and auspicious gifts, base branch with a child amid fish, phoenix and waves, h. 16 in., w. 10 3/8 in., mounted to a carved wood stand, overall h. 18 in., w. 12 1/4 in. Note Breaks. $3000/5000

505. Chinese Carved Coral Figural Group, carved as a warrior on a galloping horse crossing a bridge with three peasant warriors amid prunus, pine and bamboo, h. 8 1/2 in., w. 13 1/2 in., mounted to a carved wood base, overall h. 10 1/8 in., w. 14 3/4 in. Note: Break to pine branch. $2000/3000

507. Chinese Peachbloom Glazed Porcelain Bottle Vase, Qing Dynasty (1644‑1911), overall mottled copper red glaze, base with Kangxi mark, h. 8 1/8 in. $600/800 Provenance: The Sturm Collection.

508. Pair of Chinese Famille Noir Porcelain Bowls, Qing Dynasty (1644‑1911), decorated with birds amid prunus and rocks, bases with leaf marks, h. 2 5/8 in., dia. 5 3/4 in., associated stands, overall h. 3 1/2 in. $600/800 Provenance: The Sturm Collection.

509. Pair of Chinese Mustard Yellow Glazed Flask‑Form Porcelain Vases, Qing Dynasty (1644‑1911), stylized loop handles, relief‑decorated with eagles on rocks, bases drilled, h. 10 1/8 in., stands, overall h. 11 5/8 in. $600/800 Provenance: The Sturm Collection.

510. Chinese Blue and White Porcelain Vase, probably Qing Dynasty (1644‑1911), lobed body with elephant mask loop handles, decorated with floral cartouches on a dense floral scroll ground, h. 11 1/4 in., stand, overall h. 13 1/8 in. $500/700

511. Chinese Celadon Stoneware Vase, Ming Dynasty (1368‑1644), ovoid body incised with flower heads within a basketweave pattern, overall crackle, h. 8 7/8 in., stand, overall h. 10 in. $800/1200 Provenance: By repute, J. P. Morgan Collection; Bluett & Sons, London; The Sturm Collection.

Provenance: The Sturm Collection.

512. Chinese Peachbloom Glazed Porcelain Brushwasher, Qing Dynasty (1644‑1911), base with Kangxi mark, h. 1 1/4 in., dia. 4 3/4 in. $300/500 Provenance: The Sturm Collection.

513. Chinese Jun‑Style Stoneware Water Pot, Qing Dynasty (1644‑1911) or earlier, slightly faceted domed‑form with brown glazed keyfret band encircling mouth, h. 1 3/4 in., dia. 3 5/8 in., stand, overall h. 2 in. $300/500 Provenance: The Sturm Collection.

514. Two Chinese Ge‑Type Porcelain Scholar’s Accessories, Qing Dynasty (1644‑1911), incl. vasiform water pot, h. 1 7/8 in.; and mountain‑form brush stand, h. 1 1/4 in., l. 4 1/4 in. $600/800

515. Chinese Blue and White Porcelain Miniature Jar, Qing Dynasty (1644‑1911), overall leafy floral scrolls, base with Qianlong mark, h. 2 3/4 in. $300/500

Provenance: The Sturm Collection.

517. Large Chinese Famille Verte Porcelain Buddhist Lion, Qing Dynasty (1644‑1911), 2 parts, modeled seated beside a brocade ball on a pierced rectangular plinth, h. 19 1/8 in., w. 6 in., d. 8 3/8 in. Note: Chips and restoration. $500/700 Provenance: The Sturm Collection. 516. Chinese “Jun” Ware Narcissus Bowl, possibly Ming Dynasty (1368‑1644), hexagonal body on three ruyi‑head bracket feet, mottled blue, lavender, and oxblood glaze, h. 3 3/8 in., dia. 8 5/8 in. $2000/4000 Provenance: The Sturm Collection. Additional information at www.nealauction.com

518. Chinese Cinnabar Lacquer Vase, Qing Dynasty (1644‑1911), carved with scholars and attendants in a forest setting between floral scrolls banding the waisted flared neck and splayed foot, h. 12 1/2 in., stand, overall h. 14 1/8 in. $1000/1500 Provenance: The Sturm Collection.

519. Antique Chinese Cinnabar Lacquer Bowl, probably Ming Dynasty (1368‑1644), intricately carved with figures in various outdoor settings above a small band enclosing a fish, qilin, dragon, and a Buddhist lion, key‑fret banded foot, metal rim, h. 4 1/2 in., dia. 10 7/8 in. $2500/3500 Provenance: The Sturm Collection. 520. Rare Chinese Marbled Xipi Lacquer Tiered Box, Qing Dynasty (1644‑1911), covered in an abstract marble design of red, ochre, green, and black, black interior with one fitted tray, h. 6 7/8 in., w. 12 1/2 in., d. 6 3/8 in. $2000/4000 Provenance: The Sturm Collection. Note: Xipi, literally “rhinoceros hide “ lacquer is a technique that involves applying layers of different colored lacquer, which is then polished so that the varying colors appear in a marbled pattern over the surface of the object.

521. Rare Chinese Cinnabar Lacquer Tray, Qing Dynasty (1644‑1911), interior carved with various diapers on base and sides, exterior walls carved with figures in landscapes, small bracket feet, h. 2 in., w. 13 3/4 in., d. 13 3/4 in. $1000/2000 Provenance: The Sturm Collection.

522. Pair of Antique Chinese Cinnabar Lacquer Vases, probably 19th c., shaped handles, faceted bodies carved with figural and floral panels, necks and feet with floral scrolls, h. 10 1/8 in., stands, overall h. 11 5/8 in. $800/1200 Provenance: The Sturm Collection. 523. Chinese Gilt Metal‑Mounted White and Gray Jade “Dragon” Plaque, Qing Dynasty (1644‑1911) or earlier, rectangular body carved in high relief with two confronting qilong, mounted as a belt buckle, l. 2 7/8 in., w. 2 1/8 in. $1500/2500 Provenance: The Sturm Collection. 524. Antique Chinese Archaistic Yellow and “Calcified” Jade Conjoined Bi Disk, lower disks incised with a stylized dragon and phoenix and surmounted by an openwork bridge of two confronting dragons holding a further disk, h. 6 5/8 in., w. 10 in., stand, overall h. 9 3/8 in. $800/1200 Provenance: The Sturm Collection.

525. Chinese Gilt Bronze Figure of Manjushri, Qing Dynasty (1644‑1911), cast seated in dhyanasana on a double lotus base holding a sword in one hand and a lotus flower supporting a book in the other, h. 5 7/8 in. $800/1200 Provenance: The Sturm Collection.

526. Rare Chinese Cinnabar Lacquer Tray, Qing Dynasty (1644‑1911), carved with figures in a landscape with clouds, mountains, trees and rocks, upturned curving sides with flower scrolls, h. 1 3/4 in., w. 15 1/8 in., d. 15 1/8 in. $2000/3000

527. Chinese Scholar’s Rock, hardwood stand, overall h. 25 3/4 in. $800/1200

Provenance: The Sturm Collection.

528. Chinese Patinated Bronze Alm’s Bowl, relief‑cast with dragons amid cloud scrolls, base with apocryphal Qianlong mark, h. 8 5/8 in., dia. 12 1/2 in. $1000/1500

529. Two Chinese White Jade Carvings, Qing Dynasty (1644‑1911) or earlier, incl. boy holding a lingzhi, h. 2 1/4 in.; and bean pod pendant, h. 2 3/8 in. $250/350 Provenance: The Sturm Collection.

530. Chinese Translucent Green Hardstone Covered Tripod Censer, Buddhist lion and ball finial, body with lion’s mask loose ring handles, lion’s mask paw feet, h. 4 3/4 in., w. 4 3/4 in.; together with an antique rose quartz figure of a lady with a dog, h. 3 3/8 in., w. 3 3/4 in., stand, overall h. 4 1/4 in. (2 pcs.) $250/350 Provenance: The Sturm Collection.

531. Three Chinese Hardstone Sword Fittings, probably Ming Dynasty (1644‑1911) or earlier, incl. white and russet jade with incised archaistic motifs, l. 3 1/4 in.; blackish brown and gray jade with ribbed surface, l. 1 5/8 in.; and brown stone with incised geometric motifs, l. 2 3/8 in. $800/1200 Provenance: The Sturm Collection; third example reputedly Ex Yamanaka Collection. 532. Chinese Ochre, Black and Red Cinnabar Lacquer Box, Qing Dynasty (1644‑1911), carved overall with fruiting and flowering leafy branches on a floral diaper ground, h. 2 3/4 in., dia. 7 1/8 in. Note: Break to one side of cover. $800/1200 Provenance: The Sturm Collection. 533. Chinese Copper Red Glazed Porcelain Bottle Vase, probably 20th c., overall even glaze of crushed strawberry tone thinning to white at the mouth, base with Qianlong mark, h. 12 in. $2000/4000

534. Fine Chinese Cinnabar Lacquer Seal Paste Box, probably Ming Dynasty (1368‑1644), cover and body each carved with three bats amid cloud swirls, h. 1 1/4 in., dia. 2 3/8 in. $1000/1500 Provenance: The Sturm Collection. Additional information at www.nealauction.com

535. Large and Rare Pair of Chinese Cloisonné Enamel Leopards, 19th/20th c., modeled crouching with heads slightly turned to the side, black and yellow enamel bodies with white enamel bellies centered by cash, h. 13 3/4 in., l. 22 1/2 in. $3000/5000 Note: For a nearly identical pair, see Christie’s, London, Quai d’Orsay, Paris ‑ An Apartment by Jacques Grange, sale 7820, Nov. 19, 2010, lot 551. For a single example, see Christie’s, NY, Fine Chinese Ceramics and Works of Art, sale 12900, Mar. 17, 2017, lot 1057.

537. Fancy Light Yellow Diamond Solitaire Ring, unmarked, probably platinum, approx. 1 ct. $2000/3000

538. 18 kt. Yellow Gold and Carved Coral Pagoda Brooch, set with small diamonds. $2000/3000

536. 18 kt. Yellow Gold and Carved Chinese Jade Pendant, marked. $200/300

539. Triple Strand 7.5‑8 mm. Cultured Pearl Necklace with 14 kt. Yellow Gold, Emerald and Diamond Clasp, set with 7 marquise cut emeralds and 36 small brilliant cut diamonds; together with 7.5 mm. cultured pearl bracelet with hidden clasp. $1500/2500

540. Pair of 18 kt. White Gold, Diamond and Sapphire Cluster Pendant Earrings, set with 2 oval faceted blue sapphires totaling approx. 1.88 cts., and 88 round brilliant diamonds and 59 tapered baguette diamonds totaling approx. 1.96 cts. $2000/3000

541. Pair of 18 kt. Yellow Gold, South Sea Pearl and Diamond Earrings, set with 14 mm. pearls and 6 round full cut diamonds totaling approx. .52 ct. $1500/2500

543. 18 kt. White Gold and Diamond Ring, set with 3.20 ct. pear‑shape diamond (K color, VS2 clarity), heavy mounting set with numerous small round full cut diamonds totaling approx. 2 cts., and princess cut diamonds totaling approx. 3.80 cts., HI color, VS1‑VS2 clarity. $15000/25000

542. 18 kt. Yellow Gold, Lavender Jade and Diamond Ring, with bezel‑set jade cabochon 15 x 20 mm., and 8 bezel‑set round diamonds totaling approx. 1.32 cts., H color, SI1 clarity. $2500/3500 545. Pair of 14 kt. Yellow Gold and Diamond Leaf Motif Earrings, pavé set with 36 full cut diamonds totaling approx. 1.86 ct., clip and post backs. $1500/2500

544. 14 kt. Yellow Gold and Diamond Pendant, bezel‑set diamond approx. .96 ct., J‑K color, SI1 clarity, on 14 kt. yellow gold oval link chain, l. 16 in. $3000/5000

546. Edwardian Platinum and Diamond Bar Pin, early 20th c., centered by Old European cut diamond, wt. approx. 4.25 cts., 10.1 x 6.8 mm., approx. J/K color and SI1 clarity, in milligrain bezel, set in a long‑tapered openwork platinum mounting with chevron ends and bead‑and‑bezel‑set with forty‑eight small Old European cut diamonds totaling approx. 2 cts., l. 3 3/4 in., overall wt. 16.5 gr. $20000/40000

547. Antique American 14 kt. Yellow Gold and Diamond Bangle Bracelet, set with 7 old mine cut diamonds totaling approx. 1.25 cts. $1500/2500

548. Platinum and Diamond Ring, set with a 7.11 ct. emerald‑cut diamond, K‑L color, VS‑1 clarity, flanked by 6 baguette diamonds totaling 1.20 ct.; accompanied with a European Gemological Laboratory Diamond Certificate for the center stone. $18000/25000 Additional information at www.nealauction.com

550. 14 kt. White Gold, Emerald and Diamond Necklace, set with a pear‑shape diamond, approx. 2.2 ct., I clarity, H‑I color and 12 round, faceted emeralds totaling approx. 2.4 ct. $6000/8000

549. 18 kt. White Gold, Yellow Gold, Diamond and Gem‑Set Brooch in the Style of Cartier, pave set with numerous diamonds, cabochon and emerald‑cut blue sapphires and cabochon emerald eyes. $6000/8000

551. 18 kt. Yellow Gold and Diamond Belt Design Ring, set with 60 princess cut diamonds totaling approx. 3.5 cts. $2000/3000

553. 14 kt. Yellow Gold, Pearl, Emerald, Diamond and Amethyst Bee Pin/Pendant, set with South Sea pearl, 11.5 x 12.5 mm., 6 baguette emeralds totaling approx. .31 ct., 3 round diamonds totaling approx. .03 ct., 2 emerald eyes and wings of carved amethyst. $1200/1800

552. 18 kt. White Gold, Rose Gold and Diamond Band Ring, set with 22 small diamonds totaling approx. 3 cts. $2000/3000

554. Indian 18 kt. Yellow Gold, Diamond and Lavender Star Ruby Ring, unmarked, set with star ruby, 13 x 10 mm., and 30 full cut diamonds set in white gold, totaling approx. 1 ct. $1500/2500

555. Antique‑Style Silver Top, Gold Back Diamond and Gem‑Set Parasol Brooch, set with small diamonds, emeralds and rubies. $1200/1800 557. Moderne Yellow Gold, Cultured Pearl and Diamond Chandelier Brooch, unmarked, probably 18 kt., together with a matching ring. $1000/1500

556. 18 kt. Yellow Gold and Diamond Wide Band Ring; together with matching pair of 18 kt. yellow gold and diamond clip and post earrings, signed. $1000/1500

558. US $20 Gold Coin, 1924, mounted as a pendant in a 14 kt. gold frame. $1000/1500

559. Mexican 50 Peso Gold Coin, mounted as a pendant with a 14 kt. yellow gold chain. $1000/1500

560. Italian 14 kt. Yellow Gold Necklace, of squared oval links, l. 18 in., wt. 35 dwt. $1200/1800

561. 14 kt. Yellow Gold Florentine Finish Open Link Bracelet, wt. 20 dwt. $700/1000

562. Continental Oil on Canvas Folding Screen, 19th c., four panels with floral and fruit motifs, h. 83 in., w. 97 in. $2500/3500

564. Continental Neoclassical‑Style Burl Walnut Dining Table, oval top, conforming frieze with storage compartment, two extension leaves, scrolled supports, incurvate plinth base, h. 30 1/2 in., w. 99 in. (fully extended), d. 47 1/4 in. $1000/1500

563. Pair of Louis XV Verte Peinte Fauteuils, one stamped “OG MATHON” (Augustin Mathon, received his maitre in 1763), arched foliate crests, serpentine arms and seat rail, cabriole legs, h. 36 3/4 in., w. 26 in., d. 20 in. $4000/6000

565. American Silvered Bronze Figural Eight‑Light Chandelier, vasiform standard, cherub busts, scrolled arms, silvered chain and ceiling cap, electrified, h. 23 in., dia. 26 in. $2000/3000 Additional information at www.nealauction.com

566. Georgian‑Style Bronze Hall Lantern, 20th c., foliate etched glass panels, four‑light fixture, electrified, h. 29 in., dia. 12 in. $300/500 567. British School, early 20th c., “Street View of the Queens Hotel and Arkwright St. Station, Great Central Railway, Nottingham, England”, oil on canvas, monogrammed “A.G.” lower left, “S. Cooke, Wollaton, Nottingham” canvas stencil en verso, 24 in. x 36 in., framed. $1500/2500

568. Persian Heriz Carpet, blue, pink and cream ground, central medallion, vining design, 9 ft. 3 in. x 12 ft. 8 in. $800/1200

572. Oushak Carpet, blue, red, olive and yellow, repeating vining design, 9 ft. 2 in. x 11 ft. 2 in. $3500/4500

576. Turkish Patchwork Handmade Carpet, 10 ft. x 13 ft. 5 in. $2500/3000

569. Contemporary Handmade Kilim Carpet, cream ground, brown border and stripes, 9 ft. 10 in. x 13 ft. 5 in. $2000/3000

573. Fine Kashan Carpet, red ground, blue border, allover floral design, 9 ft. 3 in. x 12 ft. 3 in. $3000/4000

577. Persian Tabriz Carpet, central medallion, repeating gull border, 6 ft. x 4 ft. 10 in. $1200/1800

570. Oushak Carpet, light pink, blue and cream, vining design, 10 ft. 2 in. x 11 ft. 9 in. $4000/6000

574. Oushak Carpet, cream ground, floral design, 9 ft. 8 in. x 11 ft. 4 in. $3500/4500

578. Antique Persian Bactairie Carpet, red and cream ground, repeating floral medallions, 6 ft. 11 in. x 4 ft. 9 in. $1200/1600

571. Nepal Urban Contemporary Handmade Carpet, brown ground, circular motifs, burgundy accents, 9 ft. x 12 ft. $2800/3400

575. Contemporary Wool and Jute Handmade Carpet, cream ground, brown stripes, 8 ft. 1 in. x 9 ft. 9 in. $1800/2400

579. Persian Silk Prayer Rug, red ground, floral vase design, 3 ft. x 5 ft. $700/1000

580. Persian Silk Rug, intricate floral vase design, 4 ft. 1 in. x 6 ft. 1 in. $500/700

581. [Chinese Propaganda Poster], “Long Live Chiang Ching and Chang Chun‑Chiao!...”, 20th c., offset lithograph on newsprint, centered by Mao Zedong with stylized background of flag wavers, 22 3/4 in. x 17 in. $150/250

582. Rare and Important Photographic Archive of Chinese and Western Military, Religious, and Civil Elite, c. 1940s, hundreds of images in albums and loose, identified personages incl. Ouyang Ju, Wu Tiecheng, and Dame Isobel Cripps (autographed), largest 12 in. x 18 in. $1500/2500 Provenance: By descent in the family of Ouyang Ju (1896‑1958), Mayor of Guangzhou (1946‑1949); to present owner.

583. Rare Chinese “Order of the Cloud and Banner” Medal, Republic Period (1911‑1949), polychrome enameled silver, reverse with clip and number “244”, dia. 3 1/8 in.; together with Chinese bronze service badge featuring the bust of Chiang Kai Shek, reverse numbered “50448”; 4 gilt metal double star insignia; and 4 chrysanthemum insignia (10 pcs.) $1000/1500

584. Rare Chinese Gilt Metal Appliqué Commemorating the Crowning of Queen Elizabeth II, c. 1953, embossed with a dragon and inscriptions relating to the Hong Kong coronation festivities, l. 3 in., original paperboard sleeve. $150/250

Provenance: By descent in the family of Ouyang Ju (1896‑1958), Mayor of Guangzhou (1946‑1949); to present owner.

586. Chinese Bone, Glass and Hardstone Court Necklace, 19th c., 108 bone beads interspersed with 4 larger fotou, tassel cord intersected by flattened hardstone bead and suspending green glass pendant, 3 jinnian strands with carved blue glass beads suspending hardstone pendants. $500/700 Provenance: The Sturm Collection.

587. Chinese Glass and Jadeite Court Necklace, 19th c., 108 glass imitation amethyst beads and 4 jadeite fotou, tassel cord intersected by flattened rectangular pendant suspending a blue glass pendant, 3 jinnian strands with amber glass beads suspending glass pendants. $500/700

585. Chinese Mother‑of‑Pearl Inlaid Hardwood Cross, Qing Dynasty (1644‑1911), probably Hongmu, intricately inlaid with flower scrolls and tendrils, h. 17 1/2 in., w. 9 3/4 in. $200/400 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

590. Chinese Peachbloom Glazed Porcelain Water Pot, Qing Dynasty (1644‑1911), mottled copper red glaze, h. 1 3/8 in., dia. 3 1/4 in. $200/400

588. Chinese Wood, Glass and Hardstone Court Necklace Parts, 19th c., incl. 103 wood beads, 4 green glass fotou, 1 green glass fotouta, 2 green glass tear‑shaped pendants, 1 hardstone (possibly aventurine) tear‑shaped pendant, 1 pink glass pendant, and 2 hardstone pendants. $150/250

589. Chinese Peachbloom Glazed Porcelain Bottle Vase, Qing Dynasty (1644‑1911), mottled copper red glaze, h. 7 in. $600/800

Provenance: The Sturm Collection.

Provenance: The Sturm Collection. 591. Chinese Peachbloom Glazed Porcelain Amphora Vase, probably 19th c., mottled copper red glaze, recessed base with Kangxi mark, h. 6 1/4 in. $150/250 Provenance: The Sturm Collection. Additional information at www.nealauction.com

592. Chinese Peachbloom Glazed Porcelain Water Pot, Qing Dynasty (1644‑1911), overall white streaked copper red glaze, h. 2 in., dia. 2 1/2 in. $200/400 Provenance: The Sturm Collection.

593. Near Pair of Chinese Copper Red Glazed Porcelain Vases, probably 20th c., overall slightly mottled oxblood glaze, bases with double ring marks, h. 9 1/4 in. $300/500

594. Chinese Flambé Glazed Porcelain Floriform Vase, Qing Dynasty (1644‑1911), overall oxblood glaze thinning to creamy white at the edges and streaked with lavender above the foot, h. 4 3/8 in. $200/300

595. Chinese Turquoise Blue Glazed Porcelain Bowl, 19th c., incised with chrysanthemum, lotus, peony, and prunus, base with Kangxi mark, h. 4 3/8 in., dia. 9 1/4 in., stand, overall h. 5 7/8 in. $400/600 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

596. Chinese Powder Blue Glazed Porcelain Rouleau Vase, probably 19th c., base with double ring mark, h. 10 1/8 in. $400/600 Provenance: The Sturm Collection.

597. Chinese “Clair-de-Lune” Glazed Porcelain Brush Washer, Qing Dynasty (1644‑1911), exterior with slightly mottled sky blue glaze, base with Kangxi mark, dia. 4 5/8 in. $500/700 Provenance: The Sturm Collection.

600. Chinese Mirror Black Glazed Porcelain Water Pot, probably 17th c., white glazed interior and base, h. 1 1/4 in., dia. 2 5/8 in. $200/400

598. Chinese Blue Glazed Porcelain Libation Vessel, Yongzheng mark and probably period (1723‑1735), stylized dragon handle, brown glazed rim, elongated tapering body, base marked, h. 2 1/8 in., w. 6 3/8 in., d. 2 3/4 in., stand, overall h. 3 3/4 in. $600/800

599. Chinese Mustard Yellow Glazed Porcelain Water Pot, probably 19th c., canted sides with applied dragon, base with Tongzhi mark, h. 2 1/4 in., w. 2 3/4 in., d. 2 1/2 in. $300/500

Provenance: The Sturm Collection.

Provenance: The Sturm Collection. 602. Two Chinese Yellow Glazed Vases, 19th c., each with overall crackle, first wide bottle‑form, h. 6 1/2 in.; other square‑form with Buddhist lion mask handles, h. 8 1/4 in. $500/700 Provenance: The Sturm Collection.

601. Chinese Turquoise Blue Glazed Porcelain Bottle Vase, Qing Dynasty (1644‑1911), h. 9 3/8 in. $300/500 Provenance: The Sturm Collection.

603. Chinese Turquoise Blue Glazed Porcelain Flower Pot, Qing Dynasty (1644‑1911), square loop handles, overall mottled greenish blue glaze, h. 2 1/2 in., w. 3 1/2 in., d. 3 1/8 in., stand, overall h. 3 in. $300/500 Provenance: The Sturm Collection.

604. Three Chinese Monochrome Porcelain Bottle Vases, Qing Dynasty (1644‑1911), incl. blue with stepped foot, base with double ring mark, h. 4 1/2 in.; yellow with overall crackle, h. 4 7/8 in.; and mottled blue, h. 5 1/2 in. $300/500

605. Chinese “Clair-de-Lune” Glazed Porcelain Jardinière, 19th/20th c., four bracket feet, base with Yongzheng mark, h. 3 in., w. 9 1/2 in., d. 5 1/2 in. $300/500 Provenance: The Sturm Collection.

Provenance: The Sturm Collection. 606. Chinese Blue Glazed Porcelain Lobed Bowl, Qing Dynasty (1644‑1911), inverted beehive‑form, brown glazed band at the waist, white glazed interior, base with Wanli mark, h. 4 1/4 in., dia. 9 1/2 in., stand, overall h. 5 1/2 in. $400/600 Provenance: The Sturm Collection.

609. Set of Four Chinese Famille Rose Porcelain Wine Cups, probably 20th c., decorated with peaches, bats and insects, h. 1 5/8 in. $200/300

607. Group of Chinese “Clair-deLune” and Turquoise Glazed Porcelain, Qing Dynasty (1644‑1911), incl. bird feeder, h. 1 1/2 in.; faceted vase, h. 1 7/8 in.; and Budai, h. 2 3/4 in. (3 pcs.) $300/500 Provenance: The Sturm Collection.

610. Chinese “Wucai” and Gilt Porcelain Dish, probably early 20th c., decorated with lotus scrolls, base with Guangxu mark, dia. 5 3/8 in. $200/300 Provenance: The Sturm Collection.

Provenance: By descent in the family of Ouyang Ju (1896‑1958), Mayor of Guangzhou (1946‑1949); to present owner. 608. Pair of Chinese Famille Rose Decorated Gold Ground Miniature Hu Vases, probably Republic Period (1911‑1949), deer head handles, bases with Qianlong marks, h. 2 3/8 in. $400/600 Provenance: By descent in the family of Ouyang Ju (1896‑1958), Mayor of Guangzhou (1946‑1949); to present owner.

612. Chinese Famille Rose “Wu Shuang Pu” Porcelain Cup, 19th c., gilt rim, decorated with heroic figures and calligraphy, h. 3 in. $200/400 Provenance: The Sturm Collection. 611. Chinese Glazed Porcelain Water Coupe, Qing Dynasty (1644‑1911), finely relief‑decorated with a moth and prunus branches on a green ground, h. 1 3/4 in., dia. 3 1/8 in. $400/600 Provenance: The Sturm Collection.

613. Five Chinese Blue and White Porcelain Wine Cups, probably 19th c., incl. 4 with stem feet, 3 decorated with foliate scrolls, 1 with landscape, h. 2 in. and 2 1/8 in.; and a single with prunus decoration, h. 1 3/8 in., stand, overall h. 2 3/8 in. $150/250 Provenance: The Sturm Collection.

614. Pair of Chinese Blue and White Porcelain Wine Goblets, early 20th c., decorated with butterflies and foliage, bases with Jin Tang Fu Ji marks, h. 4 1/4 in. $150/250 Provenance: The Sturm Collection.

615. Group of Chinese Blue and White Porcelain, probably Qing Dynasty (1644‑1911), incl. pair wine cups with figural, rock, lingzhi, and Buddhist emblem decoration, bases with Chenghua marks, dia. 2 5/8 in.; pair of wine cups with bird and branch decoration, h. 2 5/8 in.; and two small dishes with figural decoration, dia. 4 in. (6 pcs.) $500/700 Provenance: The Sturm Collection. Additional information at www.nealauction.com

616. Chinese Mixed Hardwood, Cloisonné Enamel, Stone, and Bone Embellished Orange Lacquer Wall Panel, probably 20th c., featuring three figures beside a lake in a mountainous landscape, inscribed and sealed, h. 39 1/2 in., w. 25 1/2 in., gilt metal hanger. $1000/1500

617. Chinese Soapstone Embellished Carved Wood Table Screen, embellished with a central flower vase with prunus and bamboo branches flanked by a censer and fruit bowl, verso carved in reverse of recto, h. 27 1/2 in., w. 22 5/8 in., d. 12 in. $500/700

618. Chinese Cinnabar Lacquer Covered Box, Qing Dynasty (1644‑1911), cover carved with sages playing go in a landscape with pine and rocks, sides with swastika diaper, h. 1 5/8 in., dia. 3 1/4 in. $300/500 Provenance: The Sturm Collection.

621. Chinese Cinnabar Lacquer Bottle Vase, Qing Dynasty (1644‑1911), carved with shaped panels enclosing boys at play on a dense floral ground, h. 8 in., stand, overall h. 9 in. $600/800

619. Pair of Chinese Cinnabar Lacquer Peach‑Form Covered Boxes, Qing Dynasty (1644‑1911), covers variously carved with a seated sage and a sage on a donkey on floral scroll grounds, h. 2 1/2 in., w. 3 5/8 in., d. 3 1/4 in. $300/500

Provenance: The Sturm Collection.

Provenance: The Sturm Collection. 620. Two Chinese Cinnabar Lacquer Covered Boxes, Qing Dynasty (1644‑1911), each carved with sages in landscapes with trees and rocks, h. 2 in. and 1 3/4 in., w. 5 1/8 in. and 3 1/4 in., d. 5 1/8 in. and 2 1/2 in. $400/600 Provenance: The Sturm Collection.

622. Chinese Red and Black Lacquer Box, probably early 20th c., relief‑decorated with figures before and within a garden pavilion, interior fitted with a black lacquer box, h. 2 5/8 in., w. 8 3/4 in., d. 10 in. $150/250 Provenance: The Sturm Collection.

623. Chinese Molded Faux Cinnabar Lacquer Box, probably 20th c., cover decorated with two figures seated at a table amid leaves and waves, h. 3 3/4 in., dia. 7 3/8 in., stand, overall h. 5 1/2 in. $150/250 Provenance: The Sturm Collection.

624. Chinese Bronze Mirror, relief cast with numerous figures, a pagoda, a crane, and a deer, dia. 4 1/8 in. $150/250 Provenance: The Sturm Collection.

625. Chinese Bronze Mirror, relief‑cast with figures in a landscape before a shrine, dia. 6 7/8 in., wood stand, overall h. 10 1/8 in. $300/500 Provenance: The Sturm Collection.

626. Chinese Lady’s Jewelry, Qing Dynasty (1644‑1911), incl. 3 enamel nail guards, l. 1 7/8 in. to 3 5/8 in.; jadeite, enamel and silver bracelet, w. 2 7/8 in.; and kingfisher feather and amethyst quartz embellished hair ornament, w. 2 1/2 in. (5 pcs.) $400/600 Provenance: The Sturm Collection.

627. Three Chinese Jade Rings, Qing Dynasty (1644‑1911) or earlier, incl. mottled green jade archer’s ring, h. 1 in., dia. 1 1/4 in.; white jade ring/pendant with incised decoration, dia. 1 3/4 in.; and apple green and white jadeite ring, w. 1 in. $500/700 Provenance: The Sturm Collection.

628. Two Archaic or Archaistic Chinese Hardstone Pendants, incl. brownish yellow huang‑form with fish head terminals and incised scrollwork decoration, h. 3 1/8 in., w. 4 1/2 in.; and brown axe‑form surmounted by a phoenix, h. 2 7/8 in. $400/600

629. Chinese Green and Russet Jade Recumbent Qilin, possibly Ming Dynasty (1368‑1644), carved with head raised, h. 1 1/2 in., l. 2 1/8 in. $200/400

Provenance: The Sturm Collection.

630. Chinese Celadon and Russet Jade Recumbent Ram, Qing Dynasty (1644‑1911) or earlier, carved grasping lingzhi sprays, h. 1 3/8 in., l. 1 5/8 in. $250/350 Provenance: The Sturm Collection.

631. Chinese Agate Pendant, Qing Dynasty (1644‑1911), carved as a boy emerging from a lotus pod, h. 1 3/4 in. $200/300 Provenance: The Sturm Collection.

632. Two Archaistic Chinese Hardstone Bangles, incl. brown and green calcified, dia. 3 3/8 in.; and celadon and gray, dia. 3 1/4 in. $200/300

633. Three Archaistic Chinese Hardstone Items, incl. cong, w. 2 1/4, d. 2 1/4 in.; and two bi disks, dia. 2 1/4 in. and 2 5/8 in. $400/600 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

634. Two Pieces of Chinese Silver and Jadeite Jewelry, Qing Dynasty (1644‑1911), incl. necklace with agate beads, suspending jadeite ruyi pendant, jadeite h. 3 in., w. 3 5/8 in; and an opium tool chatelaine, l. 10 1/8 in. $400/600

637. Chinese Celadon Jade Buddhist Lion, probably early Qing Dynasty (1644‑1911), carved in a striding stance wearing a bell around its neck, h. 2 1/2 in., w. 3 5/8 in. $300/500

Provenance: The Sturm Collection. 635. Chinese Silver, Enamel and Jadeite Hung Gray Jade Disk, Qing Dynasty (1644‑1911), circular disk, dia. 2 3/16 in., overall l. 7 5/8 in. $200/300 Provenance: The Sturm Collection.

638. Thirteen Chinese Carved Jade, Jadeite and Amethyst Quartz Pendants, h. 1 1/2 in. to 2 1/4 in. $200/300 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

Provenance: The Sturm Collection. 636. Chinese Jadeite Pendant, relief‑carved with a qilong amid cash, h. 3 in., w. 1 3/4 in., suspended from a chain, l. 30 in. $150/250 Provenance: The Sturm Collection.

639. Thirty Chinese Carved Jade, Jadeite and Hardstone Pendants, h. 1 1/2 in. to 2 5/8 in. $300/500 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

640. Chinese Agate Brush Washer, 19th/early 20th c., carved with two confronting qilong encircling the mouth, w. 3 3/4 in., d. 2 7/8 in., associated stand, overall h. 2 1/4 in. $300/500 Provenance: The Sturm Collection.

Additional information at www.nealauction.com

643. Chinese Marble Jardinière, quadrilobed body carved with mythical beast panels, lion’s mask feet, h. 9 7/8 in., w. 19 1/2 in., d. 15 1/2 in. $700/900

641. Chinese Dry Lacquer Heavenly King, modeled standing on a cloud base holding an umbrella and a pagoda, h. 30 in. $800/1200

642. Chinese Scholar’s Rock, rosewood stand, overall h. 28 3/4 in. $800/1200

644. Pair of Chinese Blue and White Porcelain Bowls, probably Ming Dynasty (1368‑1644), decorated with foliate scrolls, heaping and piling glaze, bases with fu marks, h. 2 3/4 in., dia. 7 in., stands, overall h. 6 in. $200/400

645. Chinese Famille Verte Porcelain Bowl, probably 17th c., exterior boldly decorated with figures in a palace garden setting, base with lingzhi mark, h. 3 1/2 in., dia. 6 3/4 in., stand, overall h. 4 7/8 in. $400/600

Provenance: The Sturm Collection.

646. Chinese Famille Noire Porcelain Cup, Qing Dynasty (1644‑1911), interior rim with chrysanthemum and diaper band, exterior with mirror black glaze, h. 4 1/8 in., stand, overall h. 4 3/4 in. $300/500

647. Chinese Blue and White “Kraak” Porcelain Dish, 17th c., decorated with flowers and antiques, base with “J. A. Tognacca & F. Cossa / Amsterdam” label, h. 2 in., dia. 12 in. $300/500

648. Chinese Sancai Glazed Porcelain Bowl, probably 17th c., base with character mark and later painted collection numbers, h. 3 1/4 in., dia. 7 1/8 in., stand, overall h. 6 1/8 in. Note: Restoration. $300/500

Provenance: The Sturm Collection.

649. Chinese Famille Verte Porcelain Rouleau Vase, probably 20th c., decorated with figures in a wooded landscape, molded neck with a Shoulao beside a deer, base with Chenghua mark, h. 18 1/4 in. $500/700

651. Chinese Celadon Stoneware Foliate Rim Dish, Ming Dynasty (1368‑1644), lobed exterior, interior well carved with leaf sprays, h. 2 5/8 in., dia. 9 3/4 in. $300/500 Provenance: The Sturm Collection.

650. Pair of Chinese Celadon Porcelain Bottle Vases, probably 19th c., flared upright rims, bases with Yongzheng marks, h. 5 3/9 in. $400/600 Provenance: The Sturm Collection.

652. Chinese Carved and Molded Celadon Stoneware Vase, garlic mouth, phoenix head handles, carved with phoenix wings and flowers, h. 7 3/4 in., stand, overall h. 9 1/8 in. $600/800 Provenance: The Sturm Collection.

653. Chinese Celadon Porcelain Tripod Censer, probably late 19th/early 20th c., ruyi feet, h. 2 7/8 in., dia. 8 in. $200/300 Provenance: By descent in the family of Ouyang Ju (1896‑1958), Mayor of Guangzhou (1946‑1949); to present owner.

654. Three Chinese “Blanc‑de‑Chine” Porcelain Figures of Guanyin, probably 19th c., 2 modeled seated in royal ease, h. 4 1/2 in. and 5 3/4 in., latter with stand (broken), overall h. 7 in.; and one standing on a cloud base holding the vase of Immortality, base with impressed seal marks, h. 12 in. $700/900 Provenance: The Sturm Collection.

655. Chinese “Blanc‑de‑Chine” Porcelain Figure of Zhenwu, Qing Dynasty (1644‑1911), modeled standing with a sword on a tortoise, h. 3 in.; together with a white glazed Buddhist lion, h. 4 1/4 in., w. 4 5/8 in. (2 pcs.) $200/400 Provenance: The Sturm Collection.

656. Group of Chinese White Glazed Porcelain, Qing Dynasty (1644‑1911), incl. “blanc‑de‑chine” libation cup, molded with flowers and butterflies, h. 2 in., w. 3 1/2 in.; pair of octagonal cups, probably Dehua, h. 1 1/4 in.; and pair of incised crackle glazed dishes, dia. 3 7/8 in. (5 pcs.) $300/500 Provenance: The Sturm Collection. 657. Chinese White Glazed Porcelain Bowl, probably Qing Dynasty (1644‑1911), h. 3 1/8 in., w. 10 1/8 in., d. 7 7/8 in. $250/350 Provenance: The Sturm Collection.

658. Three Chinese Carved Giltwood Panels, probably 19th c., incl. vertical, carved with figures on and around an elephant and a goat, framed, 20 1/2 in. x 6 3/4 in.; horizontal, carved with 3 figures beneath trees, framed, 8 in. x 16 1/2 in.; and horizontal, carved with 2 figures in a window and 3 outside, framed, 8 1/2 in. x 17 1/4 in. $500/700 Provenance: The Sturm Collection.

661. Large Antique Asian Bronze Bowl, base inset with a Chinese patinated brass mirror with a central boss surrounded by four auspicious characters, h. 7 1/4 in., dia. 19 1/2 in. $200/300 Provenance: The 927 Gallery (Floyd McLamb), Royal Street, New Orleans.

659. Chinese Bronze Buddhist Lion, modeled seated on a rectangular plinth with one forepaw resting on a cub, h. 8 3/8 in., w. 4 1/2 in., d. 5 7/8 in. $300/500 Provenance: The Sturm Collection.

660. Chinese Cloisonné Bodhisattva, 19th/20th c., modeled seated in dyanasana on a double lotus base holding an alms bowl, h. 10 3/4 in., w. 8 in. $300/500

662. Chinese Gilt Splashed Patinated Bronze Censer, bombe body with lion’s mask handles, base with apocryphal Xuande mark, h. 3 1/4 in., w. 9 1/4 in. $700/900

Provenance: The Sturm Collection. 663. Chinese Patinated and Gilt Bronze Vase, elephant mask handles, relief‑decorated with stylized petal lappets, dragons, and lingzhi, base with apocryphal Qianlong mark, h. 15 in., w. 8 in., d. 5 1/2 in. $1000/1500

664. Chinese Archaistic Bronze Faceted Vase, pair of mask‑loop handles, body intricately modeled with stylized dragons and taotie masks, h. 7 in. $250/350

665. Chinese Bronze Censer, Qing Dynasty (1644‑1911), square body with rectangular loop handles, sides cast with a qilin and an elephant, base with Xuande mark, h. 3 in., w. 4 7/8 in., d. 3 5/8 in., wood cover, overall h. 4 3/4 in. $400/600 Provenance: The Sturm Collection. Additional information at www.nealauction.com

666. Chinese Brass Censer, probably 19th/ early 20th c., lion’s mask loose ring handles, base with Xuande mark, h. 2 1/4 in., w. 4 1/2 in. $100/150 Provenance: The Sturm Collection. 667. Four Chinese Glazed Pottery Miniature Vases or Snuff Bottles, probably 19th c., incl. 2 Ge‑style crackle vases, one with underglaze blue decoration, h. 2 3/4 in. and 2 7/8 in.; and 2 yellow crackle vases, h. 2 5/8 in. and 2 3/8 in.; together with a Japanese polychrome example, h. 2 1/2 in. (5 pcs.) $200/400

668. Three Chinese Glazed Porcelain Snuff Bottles, 2 with stoppers, incl. white with blue calligraphy, h.3 in.; and 2 green, h. 3 in. and 3 3/8 in. $200/400

669. Seven Chinese Blue and White Porcelain Snuff Bottles, 6 with stoppers, variously with landscape, figural or animal decoration, h. 2 5/8 in. to 4 in. $300/500

670. Four Chinese Famille Rose Porcelain Snuff Bottles, stoppers, incl. molded with “antiques” on one side and painted with a cat pursuing rats on the other, marked, h. 3 1/4 in; with figure of an elegant lady and calligraphy, Daoguang mark, h. 3 1/2 in; with sages, h. 3 in.; and with fruit, h. 2 7/8 in. $200/400

Provenance: The Sturm Collection.

672. Three Chinese Snuff Bottles, stoppers, incl. two glass imitating agate, h. 1 7/8 in. and 2 3/8 in.; and mother‑of‑pearl, carved with a Buddhist lion, h. 2 7/8 in. $150/250 671. Chinese Famille Rose Enameled White Glass Snuff Bottle, probably early 20th c., stopper, decorated with boys in landscapes, base with Guyue Xuan mark, h. 3 1/8 in. $200/300

Provenance: The Sturm Collection.

673. Chinese Sapphire Blue Overlay Snowflake Glass Snuff Bottle, stopper, decorated with “antiques”, h. 2 1/2 in. $150/250

674. Chinese “Blown Red” Glazed Stoneware Snuff Bottle, overall mottled red glaze on buff body, h. 2 3/4 in. $150/250

Provenance: The Sturm Collection.

677. Three Chinese Ge‑Style Crackle Glazed Stoneware Snuff Bottles, h. 2 7/8 in.; 2 3/4 in.; and 2 1/2 in. $250/350

678. Chinese White Slip Embellished Blue and White Porcelain Snuff Bottle, stopper, decorated with birds and lotus, base with hall mark, 2 5/8 in. $200/400

Provenance: The Sturm Collection.

675. Two Chinese Copper Red Glazed Porcelain Snuff Bottles, incl. peachbloom, base with Chenghua mark, h. 3 1/4 in.; and oxblood, h. 2 3/4 in. $150/250 Provenance: The Sturm Collection.

676. Three Chinese Soapstone Snuff Bottles, stoppers, incl. white, h. 2 7/8 in.; mottled spinach green and gray, h. 2 3/4 in.; and green and russet, carved with prunus and feline, h. 2 5/8 in. $100/200

Provenance: The Sturm Collection.

679. Chinese Blue Decorated Blue Glazed Porcelain Snuff Bottle, decorated with a figure carrying a lantern beside branches, h. 3 in. $100/150 Provenance: The Sturm Collection.

680. Three Chinese Copper Red Decorated Porcelain Snuff Bottles, stoppers, incl. figural, Qianlong mark, h. 3 1/2 in.; blue and white with dragon and wave, Yongzheng mark, h. 3 1/2 in.; and blue and white with dragon and cloud, h. 2 5/8 in. $250/350 Provenance: The Sturm Collection.

681. Two Chinese Pottery Snuff Bottles, one with stopper, incl. yellow crackle glaze porcelain, h. 2 7/8 in.; and celadon, h. 2 7/8 in. $100/150 Provenance: The Sturm Collection.

682. Chinese Cloisonné Enamel Snuff Bottle, stopper, decorated with butterflies and prunus, h. 2 7/8 in. $100/150 Provenance: The Sturm Collection.

Session Two Sunday, September 10, 11 am 3923 Carondelet

Additional information at www.nealauction.com

The Henri Schindler Collection of Mardi Gras Artifacts, lots 683-729

683. [Mardi Gras], Mistick Krewe of Comus, ball favor pin, theme “Izdubar”, 1904. $300/500 Ill.: Schindler, Henri, Mardi Gras Treasures: Jewelry of the Golden Age, Gretna: Pelican Publishing Co., 2006, p. 31.

684. [Mardi Gras], Mistick Krewe of Comus, 14 kt. yellow gold Maid’s pin, 1963, marked “Adler’s 1/20 14K”. $100/200

685. [Mardi Gras], Krewe of Proteus, enamel ball favor pin, theme “Al Kyris the Magnificent”, 1901. $400/600 Ill: Schindler, Henri, Mardi Gras Treasures: Jewelry of the Golden Age, New Orleans: Pelican Publishing Co., 2006, p. 142.

689. [Mardi Gras], Mistick Krewe of Comus, ball invitation, theme “Demonology”, Feb. 10th, 1891, designed by Jennie Wilde. $300/500

687. [Mardi Gras], Rex, 3 ducal badges, theme “Idealistic Queens, Mar. 7th, 1905, 1982 and 1985, each with ribbons and original box. (3 pcs.) $200/300 691. [Mardi Gras], Mistick Krewe of Comus, ball invitation, theme “Selections From the Operas”, Feb. 19th, 1901, designed by Jennie Wilde; ball invitation, theme “Jewels from Byron”, Feb. 17th, 1931; and 1983, ball invitation, committee card and admit card. (3 pcs.) $400/600 Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, pp. 34‑35 and 42.

695. [Mardi Gras], Rex, ball invitation, theme “Illustrations from Literature”, Feb. 6th, 1894, designed by Bror Anders Wikstrom. $300/500 Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, pp. 64‑65.

688. [Mardi Gras], Mistick Krewe of Comus, ball invitation, theme “The Myths of Northland”, Mar. 1st, 1881; and Rex, ball invitation, theme “The Realm of Flowers”, Feb. 14th, 1888. (2 pcs.) $400/600

692. [Mardi Gras], Twelfth Night Revelers, dance card, theme “Pierrot Domino”, Jan. 6th, 1903; ball program, theme “A Reminiscence of Lafcadio Hearn”, Jan. 6th, 1938; Prophets of Persia, admit card, Feb. 11th, 1939; and Veiled Prophet, ball invitation and envelope, Oct. 4th, 1904. (5 pcs.) $200/400

Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, pp. 22‑23.

690. [Mardi Gras], Mistick Krewe of Comus, ball invitation, theme “Josephus”, Feb. 14th, 1899, designed by Jennie Wilde. $300/500 Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 31.

693. [Mardi Gras], Rex, ball invitation, theme “The Semitic Races”, Feb. 26th, 1884, F. Appel, Paris. $400/600 Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, pp. 54‑55.

Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 83.

696. [Mardi Gras], Knights of Momus, admit card, theme “A Comic History of Rome”, Feb. 13th, 1896; 2 dance cards (green and blue), theme “Our Festivals”, Feb. 14th, 1901; ball invitation, theme “Momus Predicts, Visions of Tomorrow’s Vagaries”, Mar. 2nd, 2000; and ball invitation, Feb. 22nd, 2001. (5 pcs.) $200/400

686. [Mardi Gras], The Mystic Club, ball pin favor, inscribed “Mystic” en verso. $75/150

694. [Mardi Gras], Rex, ball invitation, theme “Ivanhoe”, Feb. 17th, 1885, F. Appel, Paris. $300/500 Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 56.

697. [Mardi Gras], Knights of Momus, dance card, theme “Above the Clouds”, Jan. 30th, 1913; ball invitation and envelope, theme “Odds and Ends of Nonsense”, Feb. 19th, 1914; and ball invitation, Feb. 22nd, 1979. (4 pcs.) $200/300

698. [Mardi Gras], Krewe of Proteus, ball invitation, theme “Myths and Worships of the Chinese”, Feb. 16th, 1885, designed by Carlotta Bonnecaze. $300/500

Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 117.

Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 125.

699. [Mardi Gras], Krewe of Proteus, ball invitation, theme “The Hindoo Heavens”, Mar. 5th, 1889. $300/500

700. [Mardi Gras], Krewe of Proteus, ball invitation, theme “A Dream of the Vegetable Kingdom”, Feb. 29th, 1892. $300/500

Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 131.

702. [Mardi Gras], Krewe of Proteus, ball invitation, theme “The Alphabet”, Feb. 15th, 1904. $300/500 701. [Mardi Gras], Krewe of Proteus, dance card with pencil, theme “Dumb Society”, Feb. 18th, 1896. $500/700

704. [Mardi Gras], Krewe of Proteus, ball invitation and dance card, theme “Romances of Wales”, Feb. 22nd, 1909. (2 pcs.) $300/500 703. [Mardi Gras], Krewe of Proteus, Silver Anniversary ball program, theme “The Inspiration of Proteus”, Feb. 26th, 1906, designed by Bror Anders Wikstrom. $300/500

Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 143.

Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 139.

705. [Mardi Gras], Krewe of Proteus, dance card, theme “Romances of Wales”, Feb. 22nd, 1909; Elves of Oberon, dance card, theme “The Journey Through Toyland”, Feb. 15th, 1906; and Elves of Oberon, dance card, theme “The Masque of Oberon”, Jan. 31st, 1907 1 with pencil. (4 pcs.) $400/600

706. [Mardi Gras], Consus, dance card with pencil, and envelope, Jan. 10th, 1902 (2 pcs.) $300/500

707. [Mardi Gras], Disciples of Thespis, 1874, designed by Charles Briton, lithography by Wehrman, Exchange Alley, New Orleans. $125/250

708. [Mardi Gras], The Mittens, ball invitation and admit card, Jan. 21st, 1913; Krewe of Osiris, ball invitation, Feb. 11th, 1925; and Arthurians, ball invitation, envelope and admit card, Feb. 3rd, 1989 (6 pcs.) $200/400

710. [Mardi Gras] Charles Briton (Swedish/ New Orleans, 1840‑1884), Rex Ball Pageant, c. 1876, “Musician” and “Umbrella Bearer”, 2 watercolor costume designs on paper, unsigned, each pencil‑titled lower left and no. “113” and “116” upper left respectively, each 9 1/2 in. x 7 in., unframed. (2 pcs.) $500/700 Note: The oldest known Rex costume plates. Ill.: Schindler, Henri, Mardi Gras Treasures: Costume Designs of the Golden Age, Gretna: Pelican Publishing Co., 2002, p. 21.

709. [Mardi Gras], King’s Crown, c. 1900, unknown krewe, set with paste “jewels”. $300/500 711. [Mardi Gras] Ceneilla Bower Alexander (American/New Orleans, c. 1865‑1966), Rex Ball Pageant, 1911, “Painting”, watercolor costume design on card stock, unsigned, pencil titled lower left and no. “74” upper left, theme “Arts and Sciences”; and Krewe of Nereus Ball Pageant, “Nereid”, watercolor costume design on card stock, unsigned, pencil inscribed lower left and no. “14” upper right, each 9 1/2 in. x 7 1/2 in., unframed. (2 pcs.) $400/600 Ill.: Schindler, Henri, Mardi Gras Treasures: Costume Designs of the Golden Age, Gretna: Pelican Publishing Co., 2002, pp. 121‑122 Additional information at www.nealauction.com

712. [Mardi Gras] Louis Andrews Fischer (American/New Orleans), Rex Ball Pageant, 1930, “Moonstone”, “Coral” and “Pearl”, 3 watercolor costume designs on paper, unsigned, each pencil‑inscribed in lower right and left corners and numbered in upper right and left corners, 10 3/4 in. x 5 1/4 in., unframed. (2 pcs.) $600/900 Ill.: Schindler, Henri, Mardi Gras Treasures: Costume Designs of the Golden Age, Gretna: Pelican Publishing Co., 2002, p. 136.

713. [Mardi Gras] Louis Andrews Fischer, “Tableau, Alhambra”, 1951, “Tableau, Virgilians”, 1950, and “Tropical Theme Float”, 3 watercolor designs on paper, 2 with “W.M. Bower Spangenburg, Inc.” studio stamp and pencil‑inscribed krewes and dates lower margins, 14 1/2 in. x 23 in. to 13 in. x 18 in., unframed. (3 pcs.) $300/500

Note: The pencil‑inscriptions appear to be the hand of Fischer’s colleague Leda Plauche, indicating that the costumes were used in some later production.

714. [Mardi Gras], “Kickapoo Waltz: Respectfully Dedicated to Phunny Phorty Phellows”, sheet music, by J.W.H. Eckert, published by L. Gruneward, New Orleans; and Phunny Phorty Phellows, admit card, theme “As You Like It (Scraps from the Boss’s Brush), Feb. 26th, 1884. (2 pcs.) $200/400

715. [Mardi Gras], “The Song of Rex, If Ever I Cease to Love”, record album with cover, Rene Louapre Society Orchestra, cover design and text by Dr. Edmond Souchon and Charles L. Dufour; together with “New Orleans Mardi Gras, February 8, 1910”, illustrated brochure, Illinois Central Railroad. (2 pcs.) $200/300

716. [Mardi Gras], Rex, 2 krewe favor, incl. 1916, green ceramic and silver deposit vase, and 1917, black glass vase with silver overlay. (2 pcs.) $200/300

717. [Mardi Gras] Rex, 2 parade bulletins, theme “Rulers of Ancient Times”, Feb. 18th, 1890, lithographer T. Fitzwilliam & Co., N.O., and theme “In Utopia”, Feb. 27th, 1906, lithographer Walle & Co., Ltd., N.O., each sheet 28 in. x 42 in., unframed. (2 pcs.) $400/600

718. [Mardi Gras], Rex, parade bulletin, theme “The Drama of the Year”, Feb. 24th, 1914, lithographer Walle & Co., Ltd., N.O., 28 in. x 42 in., unframed. $500/700

719. [Mardi Gras], Rex, parade bulletin, theme “Visions from the Poets”, Mar. 7th, 1916, lithographer Walle & Co., Ltd., N.O., sheet 28 in. x 42 in., unframed. $500/700

720. [Mardi Gras], Mistick Krewe of Comus, parade bulletin, theme “Time’s Mysteries”, Feb. 4th, 1913, lithographer Walle & Co., Ltd., N.O., sheet 28 in. x 42 in., framed. $500/700

722. [Mardi Gras], Krewe of Proteus, parade bulletin, theme “Zoroaster”, Feb. 19th, 1912, Walle and Co., Ltd., N.O. sheet 28 in. x 42 in., unframed. $500/700

721. [Mardi Gras], Krewe of Proteus, parade bulletin, theme “Dumb Society”, Feb. 17th, 1896, lithographer T. Fitzwilliam & Co., N.O., sheet 28 in. x 42 in., unframed. $800/1200

723. [Mardi Gras], Krewe of Proteus, parade bulletin, theme “Gerusalemme Liberata”, Feb. 23rd, 1914, lithographer Walle & Co., Ltd., N.O., sheet 28 in. x 42 in., unframed. $500/700

724. [Mardi Gras] Herbert J. Harvey (American/New Orleans, act. early 20th c.), “Panoramic View, Rex Mardi Gras Pageant Passing Canal and St. Charles Ave., New Orleans, LA”. handcolored photograph, photographer printed upper right, sight 5 1/4 in. x 27 1/2 in., framed. (showing detail) $200/300

728. [Mardi Gras], Krewe of Proteus, ball invitation and envelope, theme “The Queen of the Serpents”, Feb. 11th, 1907. (2 pcs.) $300/500 Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 140.

731. Michael Meads (Alabama/New Orleans, b. 1966), “Composition Study for Le Roi du Carnaval” and “Fat Baby Study IV”, 2006, 2 watercolor and ink on paper, each pencil‑signed and dated lower left or right, latter signed, titled and dated en verso, each with printed label with titles, 16 in. x 12 in. and 4 1/2 in. x 14 in., unframed. (2 pcs.) $800/1200

725. [Mardi Gras] Moses Photography Studio, New Orleans, “Judge George Janvier, Captain of Mistick Krewe of Comus”, c. 1940, silver gelatin print, photographer’s embossed stamp lower left, 10 in. x 7 3/4 in., unframed; together with Colonel George Soule’s “The Carnival of New Orleans”, 1887, pamphlet, Rex, printed by Picayune Job Print. (2 pcs.) $200/300

726. [Mardi Gras], Mistick Krewe of Comus, clock with original case, ball favor, theme “The Realms of Phantasy”, Feb. 24th, 1925. $400/600

729. [Secret Societies of Baltimore], Secret Order of the Oriole, Official Programme of the Oriole Festival, September 12, 13 & 14, 1882. Thursday, September 14 designated “Mystic Day” with a “Night Spectacular Pageant” featuring 36 tableaux (floats) headed by Lord Baltimore, followed by representations from the mystic societies of the South and West: Rex (No. 2), Comus (No. 3), Momus (No. 4), Proteus (No. 5), the 4 Mystic Societies of Mobile (No. 6), Galveston Court of Momus (No. 7), Memphi (No. 8) and Veiled Prophets (No. 9). In addition to the signature floats, the procession included the entire sequence of floats for the Momus and Proteus parades from Mardi Gras 1882. The following Mardi Gras, Lord Baltimore (Mr. James Pangburn) and Lady Baltimore (Miss Bessie Wilson), were honored as members of the Rex court. $300/500

727. [Mardi Gras], Mystick Krewe of Comus, 16 annual commemorative doubloons, 1983, 1995‑2009, 6 with “Compliments of Mistick Krewe of Comus” cards and 7 with envelopes. (16 pcs.) $300/500

730. George Schmidt (American/New Orleans, b. 1944), “Study for Portrait of Henri Schindler”, oil on board, signed lower right, 12 in. x 10 in., framed. $800/1200 Provenance: Collection of Henri Schindler

732. New Orleans School, 20th c., “Louis Armstrong as King of Zulu in 1949”, oil on canvas, initialed “N K” lower right, 20 in. x 24 in., framed. $500/700 Provenance: Collection of Henri Schindler

Provenance: Collection of Henri Schindler

733. [Mardi Gras], Sunday Sinners, pin favor of smiling pepper, 2001, signed, dated and titled en verso, designed by India Stewart. $50/75

734. Three Butterfly Wing Pictures, tropical scenes of women, butterfly wings on paper, unsigned, each 9 1/4 in. x 7 1/2 in., matching frames. $200/400

735. Two German Zoological Wall Plates, “Turtle” and “Mosquito”, linen‑backed color lithographs with original rollers, each 57 in. x 51 in. (2 pcs.) $500/700

736. Six Hand‑Colored Engravings of India, from A Brief History of Ancient and Modern India, 1804‑05, published by Edward Orme, London, 16 3/4 in. x 23 3/4 in., unframed. $300/500

Provenance: Allain Bush Antiques, Magazine St., New Orleans. Additional information at www.nealauction.com

737. Antique English Decoupage Four Panel Screen, c. 1880, arched panels, figural decoration including risqué details, h. 83 in., total w. 92 in. $800/1200

739. Marc Chagall (French, 1887‑1985), “Villa de Marseille, Ecouter Voir Elsa Triolet, Bibliothèque Municipale, Marseille (Mourlot 642)”, 1972, color lithograph poster, pencil‑signed and numbered “113/200” lower margin, printed by Mourlot, Paris, sheet 25 1/2 in. x 19 3/4 in., framed. $1000/1500

738. [Drag Queen Candy Darling], rare cover and fold‑out from the avant‑garde publication THE ONLY REAL PICTURE NEWSPAPER, Volume One, Number Five, 1969, together with a brass watch holder containing a matchbook with name and address of Darling, possibly written by him, poster 22 3/4 in. x 34 in. $100/200 Note: Candy Darling (1944‑1974), was a muse of Warhol and frequent visitor to the “Factory.” He was also one the inspirations in Lou Reed’s hit “Walk on the Wild Side”.

741. American Aesthetic Bronze Humidor, c. 1900, Persian motif with birds, lions and rosettes, h. 3 1/2 in., w. 6 in., d. 4 1/4 in.; together with enameled vase, 19th c. $250/350 740. Sterk Sunage (American, 20th c.), “Reclining Male Nude”, pen and ink on paper, signed lower left, pencil‑inscribed “Wilson” en verso, sheet 16 in. x 15 in., unframed. $700/900

742. Tiffany Bronze “Jeweled” Candlestick, marked “Tiffany Studios”, set with green glass cabochons, foliate legs, h. 10 in. $200/300

Provenance: Gift of Ellis Wilson to the Collection of James Ligon, New York.

743. Antique Continental Gilt Metal and Bejeweled Santos Crown, 19th c., h. 8 3/4 in., dia. 6 1/4 in. $300/500 Provenance: Kevin Stone Antiques, New Orleans, LA., Provenance: Collection of Henri Schindler

746. American Aesthetic Carved and Gilded Mirror, late 19th c., floral and urn motif surround, foliate and floral carved corners, beveled mirror plate, h. 46 1/2 in., w. 37 in. $400/600 744. Two Aesthetic Movement Two‑Light Mirrored Sconces, early 20th c., one bronze, with bird and cattails, inset with colored cabochons, h. 20 in., w. 10 1/2 in.; the other brass, with stylized flowers, h. 16 1/2 in., w. 11 in., both with beveled mirror plates. $250/350

745. American Aesthetic Bamboo Mirror, late 19th c., pediment crest, floral embossed leather‑lined upper shelf, beveled mirror plate flanked by two conforming shelves, over floral panels, h. 28 5/8 in., w. 21 1/2 in. $200/300 749. Rare Coalport “Green Bird” Imari Porcelain Sugar Bowl and Teapot Stand, c. 1810, bowl h. 5 3/4 in., w. 5 1/2 in., stand w. 5 7/8 in. $200/300 Provenance: Bardith.

747. [Pope Pius IX Grouping], incl. a parian bust, dated 1869; a small oval engraving, autographed and dated verso, September 24, 1854; and two bone snuff boxes commemorating his ascendance to papacy, 4 pcs. $200/300 Provenance: Collection of Henri Schindler.

748. Spanish Colonial Retablo on Copper of the Virgin Mary with Dove, 19th c., mounted to wood, with later punched copper border, sight 11 3/4 in. x 8 7/8 in. $200/300 Provenance: Collection of Henri Schindler

750. Beaux Arts Bronze and Crystal Centerpiece, c. 1900, oval with Greek key handles, decorative band with cherubs riding a chariot, h. 7 1/4 in., w. 17 in., d. 8 1/4 in. $700/1000

751. Pair of Beaux Arts Bronze and Cut Crystal Candlesticks, c. 1900, cast with foliate motifs, on scrolled feet, h. 13 in., w. 6 1/4 in., d. 6 1/4 in. $700/1000

752. Patinated Bronze Recumbent Pelican , h. 16 12 in., l. 29 1/4 in. $200/300 Provenance: The Sturm Collection.

754. American School, 20th c., “Still Life of Apple and Grapes”, oil on wood panel, illegibly signed lower right, 5 in. x 7 in., framed. $300/500 753. Two American Aesthetic Brass Mirrors, late 19th c., both with pierced floral surrounds and beveled mirror plates, tallest h. 18 1/2 in. $200/400

758. Pair of Antique Tibetan Turquoise Inset Patinated Brass Figural Candlesticks, modeled as two opposing Buddhist lions carrying leafy branches in their paws, h. 5 1/4 in., w. 4 1/2 in., d. 4 in. $250/350

755. Lalique‑Style Frosted Glass “Sea” Vase, depicting underwater sea life, h. 10 1/4 in., dia. 7 3/4 in. $200/300

756. Continental Patinated Metal Figure of an Egyptian Maiden, late 19th c., the figure holding a mirror and box of jewels, on a hieroglyphic and sphinx‑decorated base, h. 14 3/4 in., w. 4 1/2 in., d. 4 1/2 in. $200/400

757. Aesthetic Movement Brass and Marble Stand , h. 31 1/2 in., w. 19 in., d. 13 1/2 in. $150/250

Provenance: Whisnant Galleries, New Orleans, c. 1980, Collection of Henri Schindler.

Provenance: Collection of Henri Schindler.

759. [Chinese Gardens], Siren, Osvald. Gardens of China, New York, The Ronald Press Company, 1949, cloth, 12 in. x 9 1/2 in., numerous illustrations, slipcase. $200/400

760. Chinese Parcel Gilt Carved Wood Architectural Fragment, with flowering prunus, cabbage, moths, and cloud scrolls, h. 11 in., l. 100 1/4 in. $200/400

763. Pair of Continental Polychrome Porcelain Demilune Jardinières, c. 1900, fluted pilasters, floral panels, h. 5 1/4 in., w. 11 1/2 in., d. 5 3/4 in. $600/800 764. Pair of French Enameled Blue Opaline Glass Vases, of tapered triangular form, h. 9 in.; together with 3 English Aesthetic “Palm” pattern pitchers, tallest h. 7 1/2 in. $250/350

761. Spanish Colonial Retablo, 19th c., “St. Rose of Lima”, oil and gilt on wood panel with elaborately carved, painted and gilt frame, 12 1/4 in. x 9 1/2 in. x 3 1/2 in. $300/500

762. Pair of Regency Bronze Griffin-Form Figural Candlesticks, early 19th c., the tail forming the handle, paw feet, h. 6 7/8 in., w. 2 1/4 in., d. 3 1/2 in. $250/350 Provenance: The London Shop, New Orleans, LA; Collection of Henri Schindler. Ill.: Sully, Susan. New Orleans Style: Past and Present.

765. Art Deco Shagreen Cigarette Box, c. 1930, hinge marked “London Made”, light‑purple shagreen, birch interior with single adjustable divider, h. 2 in., w. 7 1/2 in., d. 4 in. $300/500

766. Art Deco Striped Shagreen Cigarette Box, c. c. 1925, slightly domed cover, alternating green and brown shagreen, maple interior, h. 2 5/8 in., w. 7 3/8 in., d. 5 6/8 in. $300/500

Provenance: Hampton Antiques, Northampton, UK.

Additional information at www.nealauction.com

767. Pair of Buccellati Sterling Silver Shell Dishes, h. 1 1/2 in., w. 4 5/8 in., d. 3 5/8 in., wt. 8.25 troy ozs. $300/500

768. “Autumn Haze” Mink Swing Jacket, c. 1950, l. 27 in. $250/350

772. Lalique “Capucines” Glass Bowl, marked “Lalique, France”, h. 2 3/4 in., dia. 12 1/4 in. $300/500

769. Pair of Louis XVI‑Style Gilt and Patinated Two‑Light Sconces, bowknot backplate with faux bois candle arms, electrified, h. 23 in., w. 11 in., d. 7 in. $200/300

770. Antique American Carved Giltwood Mirror, 19th c., molded foliate surround, h. 42 in., w. 35 1/4 in. $150/250

773. Pair of Waterford Cut Crystal Two‑Light Girandoles, 20th c., scrolled arms, spear finial, faceted prisms, h. 19 3/4 in., w. 13 in., d. 5 1/4 in. $500/700 774. Charles Kaziun Miniature Pedestal Paperweight, 20th c., modeled as a white lily on a red and gold fleck ground, signed “K” verso, on round pedestal, h. 1 3/4 in., dia. 1 5/8 in. $400/600

771. Continental Brass‑Mounted Alabaster Chandelier, 20th c., hemisphere form, stylized floral brass bands, h. 42 in., dia. 15 in. $300/500 775. Schneider Art Glass Vase, c. 1920‑1930, elongated body with amber, oxblood and white spatter motif, marked “Schneider” on applied violet foot, etched “France” under base, h. 17 in., dia. 4 5/8 in. $400/600

776. Pair of “Scallop Shell” Slipper Chairs, late 19th c., turned walnut legs with casters, h. 31 1/2 in., w. 26 in., d. 20 in. $400/600 Provenance: Collection of Henri Schindler. Ill.: Susan Sully New Orleans Style: Past and Present.

778. Chinese Soapstone Buddhist Lion, carved recumbent on a rockwork base, h. 3 in., l. 5 in., stand, overall h. 4 1/2 in. $100/200

779. Chinese Cast Iron Bodhisattva, seated in dhyanasana holding a pagoda in one hand, h. 32 in., w. 20 in. $600/900

780. Chinese Hardstone Floral Arrangement in Cloisonné Enamel Jardinière, naturalistic branches issuing colorful leaves and flowers, h. 13 1/4 in., stand, overall h. 14 1/2 in. $300/500 Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

777. Louis XV‑Style Bronze‑Mounted Boullework Bracket Clock, c. 1870, striking gong movement marked “S. Marti & Cie.”, repoussé dial with inset porcelain numerals, clock h. 18 in., w. 9 1/2 in. d. 5 1/4 in., total h. 29 in. $800/1200

781. Two Aesthetic Ebonized, Carved and Incised Armchairs, late 19th c., green velvet upholstery, h. 32 1/2 in., w. 27 1/4 in., d. 19 1/2 in.; h. 29 1/2 in., w. 29 1/2 in., d. 20 in. $400/600 Provenance: Ex-Collection of Peachy and Henri Villere, New Orleans; Collection of Henri Schindler. Ill.: Susan Sully New Orleans Style: Past and Present.

783. English Aesthetic Polychromed, Gilt and Ebonized Hanging Corner Cupboard, c. 1875‑1880, design probably H. W. Batley, attr. to Gillow & Co., spindled crest, mirrored niche, two doors over shelves, h. 67 in., w. 22 in., d. 17 in. $500/800 784. English Aesthetic Polychromed, Gilt and Ebonized Hanging Corner Cupboard, c. 1875‑1880, en suite with preceding lot, h. 67 in., w. 22 in., d. 17 in. $500/800

782. Louis XV‑Style Bronze‑Mounted Marquetry Salon Table, c. 1900, serpentine top, conforming frieze mounted with mythological masks, two frieze drawers, cabriole legs, sabots, h. 28 3/4 in., w. 48 in., d. 25 in. $600/900

785. Set of Four Antique Walnut Dining Chairs in the Renaissance Taste, barley‑twist legs, leather upholstery with brass nailhead trim, h. 33 3/4 in., w. 18 in., d. 15 1/4 in. $300/500

786. Neoclassical‑Style Gilt Bronze‑Mounted Agate Pedestal, late 19th c., stepped square top, tapered standard with beribboned foliate mounts, conforming stepped base, h. 35 3/4 in., w. 14 3/4 in., d. 14 3/4 in. Note: Plinth surround detached but present, losses. $300/500

789. Contemporary Mixed Woods Cabinet, late 20th c., maple and wenge structure, with carved sapele, two doors, shelf interior, h. 82 3/4 in., w. 42 5/8 in., d. 18 1/2 in. $500/700

787. Pair of Decorative Hardwood Elephant Tusks, 20th c., octagonal bases, h. 34 1/2 in. $600/800

790. Two Danish Modern Teak and Tile Tables, mid‑20th c., model numbers 67 and 62, “Moluna Mohler” labels, stamped “Made in Denmark”, h. 16 5/8 in., w. 26 1/4 in., d. 26 1/4 in., and h. 14 5/8 in., w. 42 1/4 in., d. 26 1/4 in. $600/900

788. Continental Majolica Garden Seat, modeled as an elephant standing on a square plinth with a double cash‑pierced octagonal seat on its back, h. 23 1/4 in., w. 23 1/4 in., d. 10 1/4 in. $400/600

791. Martin Ballendate Polyurethane and Chrome “Concept 902” Chair, Tonon, Italy, impressed mark, h. 32 1/2 in., w. 21 3/4 in., d. 18 in. $300/500

792. Charles and Ray Eames Rosewood Lounge Chair and Ottoman, 1976, Herman Miller labels, chair h. 32 in., w. 31 1/2 in., d. 37 in.; ottoman h. 11 in., w. 21 in., d. 25 1/2 in. $600/900 793. Charles and Ray Eames Rosewood Lounge Chair and Ottoman, 1979, Herman Miller labels, chair h. 32 in., w. 31 1/2 in., d. 37 in.; ottoman h. 11 in., w. 21 in., d. 25 1/2 in. $2000/3000 Provenance: Collection of Michael Brown and Linda Green, New Orleans. Additional information at www.nealauction.com

796. Art Moderne‑Style Burlwood Console Cabinet, plinth top above four drawers flanked by scrolled sides enclosing shelves, plinth base, h. 38 in., w. 41 3/4 in., d. 14 in. $700/1000

794. English Arts and Crafts Brass‑Mounted Walnut Fall‑Front Desk, early 20th c., trapezoidal case, fitted interior, frieze drawer and work drawer below, turned supports, pierced stretcher, arched legs, casters, h. 49 in., w. 26 1/2 in., d. 16 1/4 in. $500/700

795. Italian Paint‑Decorated Bedside Bombé Chest, 20th c., stepped top, two drawers, cabriole legs, h. 28 1/2 in., w. 23 3/4 in., d. 13 in. $600/900 797. Pair of BiedermeierStyle Burled Wood and Ebonized Side Tables, cloverleaf top, conforming frieze, frieze drawer, intertwined tapered legs, incurvate triangular plinth, ball feet, h. 28 3/4 in., w. 17 1/4 in., d. 17 1/2 in. $600/800

800. Wilfrid Louis (Haitian, 1943‑2012), “Haitian Pack Mules”, oil on canvas, signed lower right, 24 in. x 32 in., framed. $400/600 Provenance: The Sturm Collection.

801. Fritz Lamothe (Haitian, b. 1933), “Seascape” and “The Village”, 2 oils and wax on masonite, signed lower right and left respectively, handwritten label with artist, title and media en verso of latter, 16 in. x 23 3/4 in. and 8 in. x 9 3/4 in., matching frames. (2 pcs.) $300/500

798. Peter G. Ray (Bulgarian/ Montreal, 20th c.), “Andante”, 2004, acrylic on canvas, signed lower left, signed, titled, dated, inscribed “Montreal” and 2 labels with artist and title en verso, 48 in. x 48 in., unframed. $700/900

799. Peter G. Ray (Bulgarian/ Montreal, 20th c.), “Butterfly”, 2003, acrylic on canvas, signed lower right, signed, titled, dated and inscribed “Montreal” en verso, 30 in. x 30 in., unframed. $400/600

Provenance: Collection of Michael Brown and Linda Green, New Orleans.

802. Jacques‑Enguerrand Gourgue (Haitian, 1930‑1996), “Francois ‘Papa Doc’ Duvalier”, oil on masonite, signed lower left, 23 1/2 in. x 35 1/2 in., original wood frame. $1800/2500

803. Randolph Tucker Fitz‑Hugh, Jr. (American/New Orleans, 20th c.), “Hoodlum Pigs: Porcine Series”, oil on canvas, unsigned, 24 in. x 36 in., framed. $500/700

Provenance: Collection of Angela Gross, Bernardsville, NJ.

Provenance: Miriam Walmsley Gallery, New Orleans, 1989.

Provenance: The Sturm Collection.

804. William “Bill” Kidwell (American/Tennessee, 1934‑2015, act. New Orleans, 1960s), “Waiting in front of Peter’s”, watercolor on paper, unsigned, 22 1/4 in. x 15 in., framed. $800/1200

805. John J. Milam (American/New Orleans, 20th c.), “Cloud Formation”, 1967, oil on canvas, signed, dated and initialed “M” lower right, handwritten label with artist and title en verso, 14 in. x 10 in., framed. $300/500

Provenance: Collection of Michael Brown and Linda Green, New Orleans.

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806. Pamela Scholz (American/New Orleans, 20th c.), “Floating in the Sun” and “Red Wax”, 2 acrylics on canvas, each signed lower right and titled en verso, 30 in. x 47 in. and 30 in. x 26 in., both framed. (2 pcs.) $500/800

807. Nell C. Tilton (American/New Orleans, 20th c.), “After the Storm”, 2005, acrylic on paper, signed and dated lower left, “Carol Robinson Gallery, New Orleans” labels with artist and title en verso, sight 12 1/2 in. x 15 1/2 in., framed. $500/800 Provenance: Carol Robinson Gallery, New Orleans.

808. Francisco McBride (American/ Louisiana, 20th c.), “Naked Lady with an Umbrella: Surrealistic Scene”, 1977, and “Happydale Farms Inc., A Haven for the Mentally Disturbed”, 1970, 2 ink drawings on paper, each signed and dated lower left, sights 17 1/2 in. x 22 1/4 in. and 11 1/2 in. x 13 3/4 in., both framed. (2 pcs.) $400/600

812. Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Four for the CAC”, serigraph on paper, pencil‑signed, titled, dated, and numbered “64/350” lower margin, 20 in. x 25 1/2 in., framed. $400/600 Provenance: Koch Collection, Metairie, LA.

809. Francisco McBride (American/ Louisiana, 20th c.), “Woman Holding Baskets of Heads”, 1970, and “Elderly Man Meditating”, 1972, 2 ink drawings on paper, each signed and dated lower right, sights 11 1/2 in. x 10 1/2 in. and 13 in. x 19 in., each framed. (2 pcs.) $400/600

813. J. Kim Sessums (American/ Mississippi, 20th c.), “Untitled”, 1998, etching on paper, signed, dated and inscribed “3rd State 1st Proof/ To Billy ‑ Pulled December, 1998/ Scott Young’s Studio ‑ Jupiter, Florida” lower margin, sheet 9 3/4 in. x 11 1/2 in., framed. $400/600

810. Mimi Gross Grooms (American/Massachusetts, b. 1940), “After Photo by James Van Der Zee”, 1973, crayon and gouache on paper, signed, monogrammed and dated upper right, monogrammed, titled and dated lower right, signed, titled, inscribed and “Bienville Gallery” label with artist and title en verso of backing board, 23 in. x 29 in., unframed. $400/600

811. Leonard Hillsdale (American, 20th c.), “Portrait of a Man (abstract pencil drawing en verso)”, watercolor on paper, unsigned, 36 in. x 29 1/2 in., framed. $400/600 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

Provenance: Collection of Michael Brown and Linda Green, New Orleans.

814. Brian Perkins (American/New Orleans, 20th c.), “Bather”, photographic print on canvas, signed and numbered “1/8” lower right, 53 in. x 35 in., unframed. $300/500

815. Pair of Shearwater Pottery Figural Pelican Bookends, c. 1960, quarter size impressed marks, brown with shoal glaze, h. 10 1/2 in. Note: Each base with penciled price marking. $700/1000

Provenance: Koch Collection, Metairie, LA.

816. Newcomb College Art Pottery Black Glaze Four‑Handled Jardinière, 1932, decorated by Sadie Irvine with twisted ridge design, base marked with Newcomb cipher, decorator’s mark, Jonathan Hunt’s potter’s mark, reg. no. TQ73 and shape no. 274, h. 4 in., dia. 6 in. $300/500

817. Niloak Mission‑Swirl Art Pottery Vase, c. 1910‑1940, Eagle Pottery Co., Benton, Arkansas, blue, brown and cream glaze, matte finish, base impressed, h. 6 1/4 in., dia. 4 in. $300/500

821. Set of Eighteen Black Faux Marbre Porcelain Service Plates, late 20th c., Villeroy & Boch, dia. 11 1/4 in. $125/175 820. George Ohr Art Pottery Pitcher, rough matte gunmetal glaze, applied handle, base impressed “G.E.O. E. OHR/BILOXI”, h. 3 3/8 in. $300/500

818. Shearwater Pottery Plate, 2005, “Woman with Children” by Christopher Inglis Stelby (American/ Mississippi, b. 1967), signed and dated, dia. 9 3/4 in. $300/500

822. Scottish “Tartanware” Painted Wood Tea Caddy, 19th c., divided interior with lids, h. 4 5/8 in., w. 8 1/8 in., d. 5 in. $200/300

819. Two Shearwater Pottery Relief Carved Decorative Tiles/ Trivets, incl. Walter Anderson inspired “Fish Tail Down”, quarter size impressed mark, 6 3/4 in. x 6 3/4 in., and “Fruit on Vine”, hand signed “Shearwater 2001”, 6 1/2 in. x 6 1/2 in. $200/300

823. William Spratling Silver‑Mounted Rosewood Salad Serving Fork and Spoon, Taxco, wc. 1931‑1967, wood marked with entwined WS cipher, l. 12 5/8 in. Ref.: Morrill & Berk. Mexican Silver, pp. 30‑79. $200/300

Additional information at www.nealauction.com

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826. Tiffany & Co. Sterling Silver Strawberry Motif Berry Spoon, l. 9 3/8 in. $200/400

824. Gorham Sterling Silver‑Mounted Cut Glass Water Pitcher, no. 3293D, date mark for 1920, intaglio cut glass with lotus blossoms and leaves, h. 10 7/8 in. $400/600

827. Aesthetic Movement Silverplate Hot Water Urn in the Egyptian Taste, late 19th c., with burner, h. 14 3/4 in.; together with a silverplate octagonal gallery tray, 18 in. x 13 1/4 in. $300/500

825. Tiffany & Co. Makers Sterling Silver After‑Dinner Coffee Pot, pattern introduced 1925, h. 9 in., wt. 18.35 troy ozs. $400/600 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

828. Set of Ten Tiffany & Co. Makers Sterling Silver Cordials, pattern introduced 1915, h. 4 1/8 in., wt. approx.. 36 troy ozs. $600/900

829. Gruen Veri‑thin Gold‑Filled Pocket Watch Retailed by A.B. Griswold & Co., New Orleans, Swiss‑made movement marked “Veri‑thin Watch”, serial #336741; the case marked “Guaranteed 25 yr Gold‑filled Amer. Made Verithin”, serial #306143, dial marked “A.B. Griswold & Co.”, monogrammed, with 14 kt. gold chain (10 dwts.) $600/900 Note: A.B. Griswald & Co. active New Orleans, 1865-1906.

830. Vacheron & Constantin 18 kt. Gold Pocket Watch, retailed A.B. Griswold & Co., New Orleans, engine‑turned dial marked “A.B. Griswold & Co.”, movement marked “Vacheron & Constantin”, “A.B. Griswold & Co., New Orleans”, serial #316139, case serial #191585. $800/1200

834. Platinum, Emerald and Diamond Bow‑Shaped Ring, set with one full cut diamond, approx. .30 ct., and 18 tapered baguette emeralds of fine color. $800/1200

832. Gentleman’s 18 kt. Yellow Gold Universal Geneve Wristwatch, marked “46729” and 18 KARAT GOLD”, alligator band. $500/700

831. Gentleman’s 18 kt. Yellow Gold Baume & Mercier Wristwatch, serial #4189151, model MVO‑45088, on white alligator strap. $500/700

835. 14 kt. Yellow Gold and Angelskin Coral Ring, oval coral cabochon in moderne setting. $500/800

833. Italian Carved Cameo Pendant, signed “V. Parlati” (Vincenzo Parlati, Torre del Greco), with Italian 18 kt. yellow gold chevron pattern chain. $300/500

837. Antique‑Style 14 kt. Yellow Gold Back and Silver Top Butterfly Brooch, set with rubies and rose diamonds. $400/600

836. 18 kt. Yellow Gold Chain Necklace with Various Memento Pendants, 22.5 dwt. $500/800

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838. 14 kt. Yellow Gold Butterfly Motif Ring, set with emerald and 28 small single cut diamonds. $400/600

839. South Sea Pearl Necklace, pearls graduated from 9.5 to 10.5 mm., slightly off‑round, 14 kt. yellow gold clasp, l. 16 in. $1500/2500

840. Pair of 14 kt. Yellow Gold and Diamond Hoop Earrings. $700/1000

844. 18 kt. Yellow Gold Squared Hoop Earrings . $300/500

841. Pair of 18 kt. Yellow Gold, Onyx and Diamond Hexagonal Clip Earrings . $800/1200

842. Pair of Mignon Faget 14 kt. Yellow Gold Earrings, clip and post backs; together with pair of hand‑hammered 14 kt. yellow gold earrings signed Aucoin Hart. $300/500

843. Pair of Italian 14 kt. Yellow Gold Fluted Hoop Earrings, clip and post back. $300/500

845. 14 kt. Yellow Gold and Pavé Emerald Bee Pin . $300/500 846. Greek 18 kt. Yellow Gold Double Ram’s Head Bangle Bracelet; together with matching 18 kt. yellow gold ram’s head ring with ruby eyes. $700/1000

847. 14 kt. Yellow Gold Charm Bracelet with 7 Charms. $1000/1500

848. 14 kt. Yellow Gold Double Strand Solid Rope Bracelet. $600/800

849. Mexican Sterling Silver Necklace, Los Ballesteros, Taxco. $300/500 Note: A closely related necklace by Antonio Pineda, c. 1955, is illustrated in Morrill & Berk Mexican Silver, p. 144, no. XII‑8.

852. Gentleman’s Sterling Silver and Dyed Black Pearl Dress Set, incl. pair of cufflinks and 4 shirt studs. $150/250

850. Pair of 14 kt. White Gold, Cultured Pearl and Diamond Pendant Earrings; together with pair of 14 kt. yellow gold and baroque pearl pendant earrings. $300/400

851. Pair of 14 kt. Yellow Gold and Emerald‑Cut Amethyst Earrings . $300/500

853. DeLatte Hand‑Blown Fluted Art Glass Vase, early 20th c., orange and mottled blue design, marked “DeLatte/Nancy”, h. 21 1/4 in., dia. 5 1/2 in. $400/600 854. Gallé Cameo Glass Vase, early 20th c., bulbous form, red floral overlay over yellow ground, marked “Gallé”, h. 4 5/8 in., dia. 5 in. $300/500

855. Highly Decorative Feather Mirror, pheasant feather surround, h. 38 in., w. 38 in. $150/250

Additional information at www.nealauction.com

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856. Continental Figured Walnut and Gilt Metal‑Mounted Petite Commode, 19th c., lockplates stamped “P. Wertheim & Co...”, serpentine top, conforming drawers, cabriole legs, h. 30 1/2 in., w. 26 in., d. 19 in. $800/1200 857. Louis XVI‑Style Mahogany Demilune Console Desserte, 20th c., marble top, reticulated gallery, frieze with center drawer flanked by drawers, stretcher shelf, fluted tapered legs, h. 34 in., w. 42 in., d. 15 1/2 in. $500/700 Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

858. Louis XVI‑Style Mahogany Demilune Sideboard, 20th c., marble top, frieze with center drawer flanked by two swing drawers, over paneled doors, shelf interior, fluted stiles, turned and tapered legs, h. 39 in., l. 70 in., w. 22 in. $700/900

859. Louis XVI‑Style Brass Inlaid Mahogany Dining Table, demilune ends, one extension leaf, blocked frieze, fluted tapered legs, turned feet, h. 29 1/4 in., l. 74 in., d. 47 1/4 in. $1000/1500

Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA. 861. Pair of Continental Rococo Carved Mahogany Consoles, 19th c., shaped marble top, conforming frieze with cartouche carved drawer, acanthus carved scrolled legs, shell carved stretcher, h. 39 1/2 in., w. 32 1/2 in., d. 16 1/2 in. $1800/2500

860. Set of Eight Antique Louis XVI‑Style Crème Peinte Chaises, each with square padded back and seat, seat rail with rosette blocks, fluted tapered legs, turned feet, h. 37 in., w. 20 in., d. 19 in. $1200/1800 Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA. 862. French Provincial Carved Walnut Table, late 18th/early 19th c., molded top, frieze drawer, serpentine skirt, cabriole legs, scrolled toes, h. 29 in., w. 34 1/2 in., d. 26 1/2 in. $700/1000

863. Louis XV Provincial Fruitwood Commode, 18th c., serpentine top, two over two carved drawers, block feet, h. 33 1/2 in., w. 49 3/4 in., d. 24 in. $1000/1500

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864. French Provincial Carved Oak Buffet Bas, 18th c., molded top, three drawers over doors, scalloped base, chamfered corners, cabriole legs, scrolled toes, old paint surface, h. 44 1/2 in., w. 63 3/4 in., d. 19 1/2 in. $2000/3000

865. Pair of Louis XIV‑Style Carved Creme Peinte Fauteuils, 19th c., arched floral crests, shield backs, acanthus scrolled arms, serpentine seat rail, fluted tapered legs, h. 40 1/4 in., w. 25 1/4 in., d. 22 3/4 in. $1000/1500

866. Louis XVI‑Style Hardwood Bouillotte Table, late 19th c., inset rouge marble top, inlaid frieze drawers, square tapered legs, h. 29 in., dia. 24 in. $800/1200

867. Pair Louis XVI‑Style Bronze‑Mounted Parquetry and Marquetry Side Tables, rectangular top, blocked frieze, frieze drawer, square tapered legs, incurvate plinth, acanthus capped feet, h. 30 1/4 in., w. 26 1/2 in., d. 18 1/2 in. $1200/1800

868. Maria Ada Gianni (Italian, 1873‑1956), “Panorama of Naples with Mount Vesuvius”, gouache on paper, signed lower left, sight 17 1/2 in. x 23 1/2 in., framed. $500/750

872. Sèvres‑Style Porcelain Cachepot, probably 19th c., interlaced Ls mark, shell scroll handles, decorated with floral basketry, floral entwined monogram “MA”, h. 4 1/4 in., w. 6 1/2 in. $150/250 Provenance: The Sturm Collection.

869. Charles Malfroy (French, 1862‑1918), “Fishing Village”, oil on canvas, signed lower left, 18 1/4 in. x 25 3/4 in., framed with artist plaque. $800/1200 870. Italian School, 18th/19th c., “Portrait of a Man”, oil on canvas, unsigned, 24 in. x 19 in. (oval), framed (possibly Lorenzo de Medici). $400/600

873. Sevres/Vincennes Soft‑Paste Porcelain Cachepot, c. 1755, floral bouquets and gilt accents on white ground, base marked with interlaced LL and date letter code “B” above painter’s mark, h. 5 7/8 in., dia. 6 3/8 in. $200/400 Provenance: The Sturm Collection.

871. Continental School, 19th c., “Ladies Feeding Fish”, oil on canvas, unsigned, 36 1/2 in. x 29 1/4 in., antique frame. $1000/1500

874. Two Tin Glazed Earthenware Chargers, probably 19th c., probably Italian, polychrome decorated with birds, marked “V.M.D.” and “RC”, dia. 13 3/4 in. and 13 1/2 in. $200/300 Provenance: The Sturm Collection.

875. Group of London George III Sterling Silver Flatware, incl. fish slice, William & Samuel Knight, 1812; sauce ladle, James Sutton & James Bult, 1782; and 3 tablespoons, incl. Hester Bateman, 1784; Solomon Hougham, Solomon Royes & John East Dix, 1818; and Duncan Urquhart & Naphtali Hart, 1807, total wt. 11.55 troy ozs. $400/600

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878. Good English Silverplate Tea Tray, Ellis‑Barker, Birmingham, 20th c., menorah mark, vintage motif border and handles, reticulated cavetto, 29 in. x 18 1/8 in. $200/300 876. George V Sterling Silver Mounted Child’s Dressing Set, Adie Brothers, Ltd., Birmingham, 1926, incl. hand mirror, hairbrush, comb and clothes brush, script monogram, in fitted case. $300/500

877. Pair of Antique Regency‑Style Silverplate Three‑Light Candelabra, with gadroon and shell borders and removable bobeches, convertible to single candlestick, h. 20 1/4 in. $500/700

880. Pair of Louis XV‑Style Patinated Bronze and Crystal Twelve‑Light Chandeliers, each with urn support, foliate arms, extensively hung with cartouche and spear prisms, spherule pendant, h. 36 in., dia. 26 in. $3000/5000

879. Pair of Empire‑Style Bronze Two‑Light Sconces, 20th c., torch and basket backplate, foliate arms, electrified, h. 31 in., w. 12 in., d. 7 1/2 in. $600/900

881. Pair of Neoclassical‑Style Bronze Two‑Light Sconces, flame and griffin finial, scrolled arms, electrified, h. 27 in., w. 11 in., d. 6 3/4 in. $600/900

882. Bronze Figural Group, after “Bacchantes” by Claude Michel “Clodion”, signature inscribed on harvest bag, h. 15 1/4 in., w. 11 1/4 in., d. 8 1/4 in. $700/1000

884. Continental Carved Argente Mirror, 19th c., shaped crest, molded surround, gilt inner border, h. 69 1/2 in., w. 46 1/2 in. $1500/2500

885. Louis XV‑Style Carved and Gilded Pier Mirror, 19th c., rocaille crest, molded surround, acanthine and floral carved corners, h. 82 in., w. 38 in. $700/1000

883. Pair of Patinated Metal Figures of Mythological Beasts, h. 29 3/4 in. and 33 1/2 in. $800/1200

886. Napoleon III Gilt Bronze and Marble Figural Clock, c. 1870, surmounted by figure of Cupid, bronze signed “P.H. Mourey” Japy Freres movement, fluted marble base, h. 11 3/4 in., w. 16 1/2 in., d. 5 1/2 in. $1000/1500

Provenance: St. Charles Hotel.

887. French Renaissance-Style Gilt and Patinated Bronze Three‑Piece Clock Garniture, 20th c., inset porcelain numerals, conforming five‑light candelabra, clock h. 21 in., w. 11 1/2 in., d. 7 1/2 in. $600/900

888. Chinese Blue and White Porcelain Charger, 18th/19th c., well decorated with figures on a garden terrace, rim with flower heads on a diaper ground, h. 1 5/8 in., dia. 13 3/4 in. $150/250 Provenance: The Sturm Collection.

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889. Pair of Chinese Blue and White Porcelain Moon Flask Vases, 20th c., dragon handles, decorated with prunus on “cracked ice” grounds, bases with Kangxi marks, h. 10 1/8 in. $200/400 Provenance: The Sturm Collection.

890. Pair of Chinese Blue and White Porcelain Vases, 19th c., decorated with dragons amid foliage, bases with Kangxi marks, h. 5 1/4 in., stands, overall h. 6 1/4 in. $300/500 Provenance: The Sturm Collection.

891. Chinese Blue and White Porcelain Charger, 19th c., decorated with prunus branches on a “cracked ice” ground, h. 1 7/8 in., dia. 11 3/4 in., display stand, overall h. 14 in. $150/250

892. Chinese Blue and White Porcelain Sleeve Vase, 19th/early 20th c., decorated with figures flanking vases amid prunus and birds, base with Kangxi mark, h. 10 1/2 in. $150/250

Provenance: The Sturm Collection.

893. Chinese Famille Rose Porcelain Jardiniere, probably 20th c., decorated with tree peonies, h. 9 in., dia. 10 1/4 in., drilled and mounted to an antique bronze stand, overall h. 10 3/4 in. $500/700

894. Pair of Chinese Famille Rose Porcelain Jardinières, 20th c., painted with birds on branches, h. 6 7/8 in., w. 13 1/2 in., d. 8 1/4 in. $400/600 Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA. 895. Chinese Polychrome Porcelain Covered Food Container, late 19th/ early 20th c., metal handles, decorated with incised ferocious dragons pursuing the flaming pearl amid cloud scrolls on a blue ground, h. 7 7/8 in. $600/800 Provenance: Sallea Antiques, New Canaan, CT.

897. Pair of Chinese Cloisonne Enamel Cranes, 19th/20th c., h. 7 1/4 in. and 7 3/8 in. $150/250 Provenance: The Sturm Collection. 896. Chinese Hardstone Tree Set in Cloisonne Enamel Jardiniere, naturalist branches issuing colorful flowers and leaves, h. 19 1/2 in. $300/500

898. Pair of Continental Mother‑of‑Pearl, Bone and Brass Inlaid Carved Hardwood Mirrors, scrolling arched crest centered by a vase of flowers, foliate and floral surround, beveled mirror plate, h. 47 in., w. 23 5/8 in. $1200/1800

899. Continental Gilt Bronze Pier Mirror and Console, scrolling foliate frame, oval mirror plate, conforming marble top base, h. 89 1/2 in., w. 41 in., d. 11 in. $500/700

900. Antique Neoclassical‑Style Carved and Gilded Mirror, outset blocked corners, foliate pendants, beaded surround, h. 51 1/4 in., w. 36 1/2 in. $400/600 901. Adam‑Style Paint-Decorated Chairback Settee, with vasiform splats, carved arms, caned seat, square tapered legs, h. 34 1/2 in., w. 78 in., d. 24 in. $700/1000 Additional information at www.nealauction.com

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902. Adam‑Style Painted Satinwood Breakfront, 20th c., ogee gothic arched cornice, conforming glazed doors, floral‑painted columnar stiles, shelf interior with lower bank of drawers, conforming lower case with floral vase painted doors, turned feet, h. 102 1/2 in., w. 97 in., d. 21 1/2 in. $1200/1800

905. Pair of Georgian‑Style Inlaid Burled Walnut Demilune Console Tables, each with segmented radial inlay top, paneled frieze with drawer, square tapered legs, h. 28 in., w. 36 in., d. 17 1/2 in. $500/1000

908. English Bronze‑Mounted and Satinwood Inlaid Mahogany Occasional Table, 19th c., oval top, conforming frieze and stretcher shelf, arched square tapered legs, h. 28 in., w. 23 1/8 in., d. 17 5/8 in. $250/350

903. Georgian‑Style Carved Mahogany Bookcase, molded cornice, two glazed doors, shelf interior, two lower drawers, shaped skirt, bracket feet, h. 80 3/4 in., w. 50 1/2 in., d. 16 in. $1200/1800

906. Set of Six Regency‑Style Mahogany Dining Chairs, early 20th c., incl. two armchairs and four side chairs, shaped crest rail, medial slat, trapezoidal slip seat, saber legs, armchair h. 35 in., w. 22 in., d. 18 1/2 in.; side chair h. 33 1/2 in., w. 18 in., d. 16 in. $500/800

904. Georgian‑Style Carved Mahogany Bookcase, molded Greek key cornice, three glazed doors, shelf interior, molded base, h. 78 3/4 in., w. 63 1/2 in., d. 14 1/2 in. $1000/1500

907. Antique George III‑Style Mahogany Three Part Dining Table, 19th c., demilune ends, central section with drop leaves, Marlborough legs, h. 30 in., dia. 48 in., central table w. 23 in., l. (extended) 117 in. $700/900

909. Eight Chippendale‑Style Carved Mahogany Dining Chairs, incl. 2 armchairs and 6 side chairs, serpentine crest, pierced splat, trapezoidal seat, square tapered legs, armchair h. 40 in., w. 24 1/2 in., d. 21 in.; side chair h. 38 1/2 in., w. 18 in., d. 14 1/2 in. $1000/2000

910. West Indies Carved Mahogany Sofa, 19th c., possibly Barbados, serpentine crest rail, scrolled arms, padded back, arms and seat, reeded seat rail, bulbous‑turned legs, h 35 1/2 in., w. 82 in., d. 22 1/2 in. $800/1200

Provenance: The Sturm Collection. 911. West Indies Inlaid Mahogany Games Table, 19th c., Barbados, foldover swivel top, baize‑lined playing surface, molded frieze, interior compartment, reeded vasiform standard, hipped saber legs, brass cuffs, casters, h. 30 in., w. 36 in., d. (closed) 17 3/4 in., d. (open) 35 1/4 in. $400/600 Provenance: The Sturm Collection. Ill.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Collectors’ Club: Suffolk, 2011, p. 110. 912. American Late Classical Mahogany and Parcel Gilt Drop‑Leaf Breakfast Table, 19th c., scalloped leaves, frieze drawer, foliate carved standard, acanthus-carved paw feet, casters, h. 29 1/4 in., w. 40 in., d. (closed) 25 1/2 in., d. (open) 53 3/4 in. $700/1000

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913. American or English Painted and Carved Cricket Table, probably mid‑19th c., circular top, conforming stretcher shelf with scalloped skirt, turned legs, ball feet, h. 29 in., dia. 36 in. $500/750

914. Six Rococo Carved Mahogany and Caned Chairs, 19th c., probably Cuba, incl. two armchairs and four side chairs, oval backs, crests with baskets of flowers and scrolling leaves, serpentine seat rails with foliate cartouches and diapering, molded cabriole legs. $1200/1800 Provenance: Purchased from Hunter Kay, Woodland Antiques, Nashville, TN, c. 1999.

915. American Classical Figured Mahogany Armoire, 19th c., probably New York, cove molded cornice, pair of paneled doors, one with later mirror, divided interior with shelves and bank of drawers, shaped feet, h. 87 1/2 in., w. 66 1/2 in., d. 27 7/8 in. $800/1200 916. English Brass-Bound Mahogany Campaign Chest, mid‑19th c., in two sections, two over three drawers, recessed pulls, h. 35 in., w. 39 in., d. 18 3/4 in. $500/700

917. Antique English or American Carved Mahogany Cupboard, 19th c., upper case with ogee cornice, glazed doors and shelf interior, lower case with five drawers, turned feet, h. 28 1/4 in., w. 18 3/4 in., d. 9 1/2 in. $500/750

918. Anglo‑Colonial Hardwood Daybed, scrolled arms, square tapered legs, h. 24 in., w. 76 1/2 in., d. 21 1/2 in. $200/400

920. West Indies Cedar Chest, late 18th/early 19th c., molded top, bail handles, dove-tailed case, shaped base, h. 19 1/4 in., w. 29 5/8 in., d. 20 3/4 in. $150/250

919. West Indies Tropical Hardwood Pie Safe, early 20th c., Trinidad, dome‑shaped top and upper compartment with inset screen panels, over medial drawers, paneled doors, shelf interior, square legs, h. 63 1/4 in., w. 43 in., d. 22 in. $700/1000

Provenance: The Sturm Collection. Ill.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Collectors’ Club: Suffolk, 2011, pp. 74, 138.

Provenance: The Sturm Collection. Ref.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Collectors’ Club: Suffolk, 2011, p. 53.

921. West Indies Carved Mahogany Tilt‑Top Table, 19th c., Barbados, circular top, vasiform standard, reeded saber legs, brass paw feet, casters, h. 26 1/4 in., dia. 28 in. $200/400

922. English Carved Mahogany Kettle Stand, 19th c., square top, conforming frieze, scrolled brackets, chamfered legs, h. 24 5/8 in., w. 9 1/2 in., d. 8 7/8 in. $100/150

Provenance: The Sturm Collection.

923. Pair of American Late Classical Mahogany Side Chairs in the Gothic Taste, c. 1840, arched crest, spindled back, serpentine slip seat, saber legs, h. 33 1/2 in. $200/400

924. American Classical Carved Mahogany Work Table, 19th c., top with outset corners, conforming ring‑turned stiles, two drawers, acanthus carved standard, square plinth, scrolled foliate carved legs, paw feet, casters, h. 30 in., w. 20 1/2 in., d. 15 in. $400/600

926. American Federal Carved Mahogany Poster Bed, 19th c., shaped and paneled head board, turned and tapered posts, conforming foot board and legs, later rails, h. 87 1/2 in., l. 77 in., w. 53 1/2 in. $800/1200

925. American Carved Mahogany Extension Dining Table, mid‑19th c., circular top, cluster column pedestal, quadripartite plinth terminating in discs, casters, with three leaves and one modified leaf, h. 28 3/8 in., l. (closed) 52 1/2 in., l. (extended) 108 3/4 in., w. 54 in. $800/1200 Additional information at www.nealauction.com

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927. American or French Carved Mahogany Armoire, mid‑19th c., arched foliate‑carved crest, lobed finials, molded mirrored door, canted corners, stepped plinth base, scrolled feet, h. 91 1/2 in., w. 52 in., d. 24 1/2 in. $1500/2500

928. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Autumn Landscape, Colorado”, oil on canvas board, signed lower left, “Knoke Galleries, Marietta, GA” labels with title en verso, 12 in. x 14 in., unframed. $2000/3000

930. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Live Oak and Cypress Trees, Louisiana Bayou”, 1929, oil wash on board, signed and dated lower right, sight 19 1/4 in. x 29 1/4 in., framed. $2000/3000

929. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Farm in the Hills”, oil on canvas board, signed lower right, 12 in. x 14 in., framed. $2000/3000

931. Henry Pember Smith (American/Connecticut, 1854‑1907), “On the Flanders Road, East Lyme, New London, Connecticut”, oil on canvas, signed lower right, “Kulicke Frames, Inc., NYC” label en verso, 29 1/4 in. x 36 in., framed. $1500/2500

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932. Charles Oglesby Longabaugh (American/Louisiana, 1885‑1944), “Oak Alley Plantation, Vacherie, LA”, watercolor on paper, unsigned, 9 1/2 in. x 11 3/4 in., framed. $1000/1500 Provenance: Descended in the family of the artist.

934. American Classical Figured Mahogany Footstool, early 19th c., serpentine frame, acanthus carved cabriole legs, h. 13 1/2 in., w. 18 1/2 in., d. 16 1/2 in. $300/500

935. American Federal Carved Mahogany Drop‑Leaf Dining Table, early 19th c., two opposing frieze drawers, rope-turned legs, two swing legs, casters, h. 28 3/4 in., w. (open) 60 in., w. (closed) 21 1/2 in., d. 48 in. $400/600

933. Southern Carved Walnut Harvest Table, early 19th c., probably Valley of Virginia, drop‑leaf top, deep drawer at one end of frieze, turned legs, ball feet, h. 29 1/2 in., l. 84 in., w. 22 1/2 in. $300/500

936. American Late Classical Mahogany Secretary Bookcase, c. 1830, stepped cornice over two glazed doors, lower case with sécrétaire drawer, interior fitted with letter slots and small drawers, over two paneled doors flanked by turned colonettes, blocked plinth, hairy paw feet, h. 82 3/4 in., w. 56 1/4 in., d. 25 in. $1000/1500

937. Cast Stone Garden Figure of a Dog, rectangular self‑base, h. 9 in., w. 23 in., d. 17 in. $200/300

938. Pair of Georgian Cut Crystal Decanters, 19th c., ribbed and faceted, h. 8 3/4 in., dia. 3 1/2 in. $200/300 Provenance: The Sturm Collection.

939. Set of Four American Air Twist Blown Glass Candlesticks, 18th c., h. 7 in. $200/300

942. Tennessee Coin Silver Spectacles, mid‑19th c., J.S. Curtis, Memphis, marked “J.S. CURTIS” in rectangle, 4 green oval lenses, extension temple arms; together with accompanying case. (2 pcs.) $300/500

Provenance: The Sturm Collection.

940. Neoclassical‑Style Gilt Brass and Bronze Five‑Light Chandelier, late 19th/early 20th c., foliate corona, baluster standard, scrolled arms, electrified, h. 28 1/2 in., w. 22 1/2 in. $700/1000

941. American Painted Metal Hall Lantern, early 20th c., tapered hexagonal form, fitted with three‑light fixture, h. 30 in., dia. 14 in. $400/600

943. Philadelphia Coin Silver Soup Ladle, Hildeburn & Bro., act. 1852‑1871, fiddle typt handle, l. 12 3/8 in., wt. 6.40 troy ozs. $200/300 Ref.: Hollan, Catherine B. Philadelphia Silversmiths, pp. 95‑97, mark ill. p. 96.

944. William Spratling Sterling Silver Cup, mid‑20th c., mark rubbed, h. 2 3/8 in., wt. 2.85 troy ozs. $200/300

945. Steamboat J.M. White Silverplate and Cut Glass Cruet Set, marked “Gorham Mfg. Co. Prov/RI & New York 0830”, c. 1878, circular stand retaining 6 original cut glass condiment holders; 2 castors and mustard pot with Gorham sterling silver mounts, overall h. 13 in. $150/250 Provenance: Frances Tobin, New Orleans, granddaughter of Captain John W. Tobin, owner of the J.M. White.

946. Phillip Anthony Sage (American/ Louisiana, b. 1942), “Napoleon House”, 2001, and “St. Louis Cathedral”, 2 etchings on paper, each pencil‑signed, titled, and numbered lower margin, sheets 10 1/2 in. x 9 in. and 11 in. x 10 in.; together with (After) Robert Bledsoe Mayfield (American/Louisiana, 1869‑1935), “Twilight” and “Canal Derelicts”, 2 etchings on paper, each pencil‑titled, numbered and inscribed “Posthumous ed. 100, Robert Bledsoe Mayfield by Sage, 2000” lower margin, sheets 7 in. x 8 3/4 in. and 12 3/4 in. x 8 in., unframed. (4 pcs.) $300/500

Additional information at www.nealauction.com

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947. Henry Alvin Sharpe (American/Louisiana, 1910‑1982), “Green Shutters, French Quarter”, etching on paper, pencil‑signed and titled lower margin, signed in plate lower right, 11 3/4 in. x 10 3/4 in., framed. $300/500

951. Charles Henry Reinike, III (American/New Orleans, b. 1947), “Aerial View of Mississippi River”, watercolor on paper, signed lower left, sight 10 3/4 in. x 14 3/4 in., framed. $400/600

948. C. Bennette Moore (American/ New Orleans, 1879‑1939), “Eugene Field Court, New Orleans” and “Shadows of Old New Orleans”, 2 hand‑colored photographs, each signed lower left or right, each titled lower margins, sights 13 1/2 in. x 10 1/2 in., matching frames; together with Eugene Delcroix (American/ New Orleans, 1891‑1967), “Old Brulatour Patio”, hand‑colored photograph on porcelain, signed lower right, titled and inscribed en verso, sight 6 1/2 in. x 4 1/2 in., period frame. (3 pcs.) $250/350

952. James Carl Hancock (American/New Orleans, 1890‑1966), “Court of Two Sisters”, pen and ink on paper, pencil‑signed and titled lower margin, 13 in. x 9 1/2 in.; together with “Pirate’s Alley, New Orleans”, etching on paper, pencil‑signed and titled lower margin, 7 in. x 5 1/2 in., both unframed. (2 pcs.) $300/500

949. John James Audubon (American, 1785‑1851), “Winter Hawk”, color lithograph from The Birds of America, Amsterdam edition, “Schut & Zonen” watermark, sheet 26 1/4 in. x 39 1/4 in., framed. $500/700

950. John James Audubon (American, 1785‑1851), “Rusty Grackle”, Plate 222, chromolithograph, from The Birds of America Bien edition, sheet 39 1/4 in. x 26 in., unframed. $300/500 Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans.

953. Gideon Townsend Stanton (American/Louisiana, 1885‑1964), “Lugger Loaded with Watermelons”, oil on canvas, signed lower left, “Taylor Clark, Fine Prints, Paintings and Framing, Baton Rouge” label en verso, 25 in. x 30 in., framed. $700/1000

954. Robert Malcolm Rucker (American/New Orleans, 1932‑2001), “Light‑Filled Porch”, oil on canvas, signed lower right, 18 in. x 24 in., unframed. $1200/1800

955. Colette Pope Heldner (American/New Orleans, 1902‑1990), “Swamp Idyll (Louisiana Bayou Country)”, oil on canvas, signed lower left, signed and titled en verso, 40 in. x 34 in., framed. $2500/3500 956. Clementine Hunter (American/Louisiana, 1886‑1988), “Wash Day and Feeding Chickens”, oil on board, monogrammed mid‑right, 13 1/4 in. x 22 in., framed. $2000/3000 Provenance: Acquired from the artist, Natchitoches, LA, c. 1960s; Sold in these rooms, May 4, 2008, lot 872.

959. Robert Malcolm Rucker (American/New Orleans, 1932‑2001), “Arrival of the Steamboat”, oil on canvas, signed lower right and en verso, 4 3/4 in. x 11 1/2 in., framed. $400/600 957. Robert Malcolm Rucker (American/New Orleans, 1932‑2001), “Ox‑Drawn Wagon”, oil on canvas, signed lower right, 18 in. x 24 in., unframed. $800/1200

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958. Nestor Hippolyle Frugé (American/New Orleans, 1914‑2012), “French Quarter Street Scenes”, 1976, 3 watercolors on paper, each signed lower right or left, one dated lower left, 15 in. x 11 in., 2 framed. (3 pcs.) $400/600

960. Frances M. Hancock (American/Florida, b. 1934), “Egret in the Florida Marsh”, acrylic on canvas, signed lower right, artist stamp en verso, 24 in. x 30 in., framed. $300/500

961. Don Wright (American/ Louisiana, 1938‑2007), “Beach Scene”, 1980, oil on canvas, signed and dated lower right, inscribed “Exhibited at Zigler Museum, 12‑80” en verso, 24 in. x 30 in., unframed. $400/600

962. Don Wright (American/ Louisiana, 1938‑2007), “Industrial Boat Yard”, 1980, oil on canvas, signed and dated lower right, inscribed “Exhibited at Zigler Museum, 12‑80” en verso 24 in. x 30 in., unframed. $400/600

966. P. Tildor (Haitian, mid‑20th c.), “Animals in the Jungle”, oil on board, signed lower right, sight 23 1/2 in. x 47 in., framed. $300/500 Provenance: The Sturm Collection.

965. Southern School, 20th c., “Street Scene with Church”, 1905, watercolor on paper, indistinctly signed and dated lower right, 10 1/4 in. x 8 1/2 in., framed. $300/500

963. Charles Richards (American/ Louisiana, 1906‑1992), “St. Peter St., Jackson Square, French Quarter”, oil on canvas, signed lower center, 11 1/4 in. x 14 1/4 in., unframed. $700/900

967. William Arnold (American/ Louisiana, 1902‑2006), “Bayou Cabin and Live Oak Tree”, 1987, oil on board, signed lower right, signed and dated en verso, 7 3/4 in. x 9 3/4 in., artist embellished frame. $200/400

972. Colette Pope Heldner (American/New Orleans, 1902‑1990), “Swamp Idyll (Louisiana Bayou Country)”, oil on canvas, signed lower left, signed, titled, “The Little Gallery, Rue Royale, N.O.” stamp and label with provenance en verso, 18 in. x 36 in., framed. $2000/3000

968. William Arnold (American/ Louisiana, 1902‑2006), “Still Life with a Vase of Flowers and Books”, 1989, oil on board, signed and dated lower right and en verso, 14 in. x 11 in., artist embellished frame. $200/400 971. Frank Ashley (American, 1920‑2007), “The Birth of Jazz”, 1952, oil on canvas, signed and dated lower right, “Spanierman Gallery, NY” and “Cahoon Museum of American Art” labels en verso, 23 in. x 27 in., framed with artist plaque. $1200/1800

970. Marion Joseph Beauregard‑Bezou (American/New Orleans, 1914‑1992), “Street Scene with Dance Hall”, c. 1940s, oil on canvas, signed lower left, inscribed “Bezou” en verso, 16 in. x 20 in., framed. $300/500 969. Don Wright (American/ Louisiana, 1938‑2007), “Misty Oak” and “Lady in White”, 1976, 2 oils on canvas, signed and dated lower left and right respectively, 10 in. x 14 in. and 14 in. x 10 in., unframed. (2 pc.) $250/350

964. Charles Richards (American/ Louisiana, 1906‑1992), “Woman and Baby on a Blue Bench”, oil on canvas, signed upper left, artist identified, “The Fortier Gallery, Chartres St. NOLA” label and hanging tag with artist and title en verso, 16 in. x 20 in., framed. $400/600

Provenance: Spanierman Gallery, New York, NY. Exh.: Striking the Right Notes ‑ Music in American Art, Cahoon Museum of American Art, Cotuit, MA, Oct. 25 ‑ Dec. 31, 2005.

973. Robert Malcolm Rucker (American/New Orleans, 1932‑2001), “Steamboat City of Louisville”, oil on masonite, signed lower left, titled and “A.F. Brown Co., Pictures and Picture Framing, Shreveport” label en verso, 7 3/4 in. x 10 in., framed. $700/1000

974. Bernard “Bernie” Fuchs (American, 1932‑2009), “Eureka Brass Band”, 1977, oil on canvas, signed lower right, “Jack O’Grady Galleries Inc., Chicago” label with artist, title and date en verso, 28 in. x 50 in., framed. $2500/3500 Additional information at www.nealauction.com

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975. Charles Richards (American/ Louisiana, 1906‑1992), “Two Female Seated Nudes”, oil on canvas, signed lower right, 15 1/2 in. x 19 1/2 in., framed. $400/600

976. Anne Wells Munger (American/Mississippi, 1862‑1945), “The Pines, a Suggestion of the Inn‑by‑the‑Sea”, oil on board, signed lower left, signed and titled en verso of board and backing paper, 17 in. x 14 in., period frame. $500/800 Provenance: Estate of noted antiquarian Major Philip St. George Ambler IV (1923‑2012) of Pass Christian, MS and Charleston, SC.

979. Luis Graner Y Arrufi (Spanish/New York, 1863‑1929, act. New Orleans, 1914‑1922), “Path to the River”, oil on canvas laid down, signed lower right, “Tilden ‑ Foley Gallery, American Art, Magazine St., NOLA” label with artist, title and date “ca. 1915” en verso, 21 in. x 30 in., period frame. $1200/1800

981. Eugene Daymude (American/ Louisiana, 1925‑1995), “Moored Sailboat at Dusk”, oil on masonite, signed lower right, 24 in. x 18 in., framed. $500/800

985. Don Cincone (American/ Louisiana, b. 1936), “Cabins and Cypress Trees on the Bayou”, oil on canvas, signed and inscribed “A class demonstration” lower left, pencil‑inscription with provenance en verso, 24 in. x 18 in., framed. $500/800

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982. Nestor Frugé (American/New Orleans, 1914‑2011), “Pirate’s Alley, French Quarter”, watercolor on paper, signed lower left, sight 12 in. x 8 1/2 in., framed. $200/300

986. Amos Lee Armstrong (American/Louisiana, 1899‑1969), “Union Parish, Autumn”, oil on canvas, signed lower right, signed, titled and “Studio of Amos Lee Armstrong, The 1st Artist Laureate of Louisiana” label en verso, 22 in. x 30 in., framed. $500/800

977. Frances Marie Folse (American/Louisiana, 1906‑1985), “Tenant House”, 1949, oil on canvas, signed lower right, dated and handwritten label with title en verso, 20 in. x 24 in., framed. $400/600

978. Achille Perelli (Italian/New Orleans, 1822‑1891), “Nature Morte: Wood Duck”, 1877, watercolor on board, signed, dated and inscribed “N.O.” lower left, 24 in. x 14 in., period frame. $1500/2500

980. Colette Pope Heldner (American/New Orleans, 1902‑1990), “Swamp Idyll (Louisiana Bayou Country)”, oil on canvas, signed lower left, signed and titled en verso, 24 in. x 48 in., framed. $2000/3000

983. George Washington Sully (American/Louisiana, 1816‑1890), “Parakete [sic]”, 1837, watercolor on paper, titled lower center, signed, titled, dated and inscribed en verso, 6 1/2 in. x 7 1/2 in., framed. $400/600

987. Louisiana School, mid‑20th c., “Plantation Home among the Live Oak Trees”, oil on board, unsigned, “Ludwig Katzenstein, Custom Framing & Art, Baltimore” label en verso, 23 1/2 in. x 27 in., framed. $600/800

984. Ben Earl Looney (American/ Louisiana, 1904‑1981), “Fisherman on the Bayou”, “Oil Derrick”, and “Landscape with Birds”, 3 watercolors on paper, each signed, each sight 28 1/2 in. x 12 in., framed alike. (3 pcs.) $800/1200

988. Roy C. Gamble (American/ Michigan, 1886‑1972), “The Busy Port”, oil on canvas, unsigned, “Meredith Long & Company, Houston, TX” label with artist identified and handwritten provenance en verso, 19 1/2 in. x 25 1/2 in., framed. $700/900

989. Amos Lee Armstrong (American/Louisiana, 1899‑1969), “Louisiana Bayou”, oil on canvas, signed lower right, handwritten inscription and “Framed by L.P. Whiteside, LA” stamp en verso, 12 in. x 16 in., framed. $300/500

990. American School, late 19th/ early 20th c., “Nature Morte: Two Mallard Ducks”, oil on artist board, unsigned, 24 1/4 in. x 18 1/4 in., framed. $300/500 Provenance: Sold in these rooms, June 5, 1999, lot 268.

993. William “Bill” Kidwell (American/Tennessee, 1934‑2015, act. New Orleans, 1960s), “Hanging Out in front of Wallace’s Upholstering”, 1969, watercolor on paper, signed and dated lower right, “Rechenbach’s Art Shop and Gallery, Knoxville, TN” label en verso, 23 in. x 30 1/4 in., framed. $800/1200 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

997. Octavia Gayden Tullis (American/Louisiana, 1881‑1970), “Magnolia Blossoms”, watercolor on paper, signed lower right, sight 19 1/2 in. x 14 in., framed. $300/500

1001. Joseph Poché (American/ Baton Rouge, 20th c.), “Still Life of Pink Roses”, acrylic on panel, signed lower right, “Taylor Clark, Fine Prints, Paintings & Framing, Baton Rouge” label en verso, sight 23 1/2 in. x 15 1/2 in., framed. $300/500

994. Peter G. Ray (Bulgarian/ Montreal, 20th c.), “Spring”, 2004, acrylic on canvas, signed lower right, signed, titled, dated and inscribed “Montreal” en verso, 30 in. x 39 in., unframed. $600/800

992. Southern School, late 19th/20th c., “Cabin Scene”, oil on artist board, illegibly signed lower left, 6 1/2 in. x 12 in., antique frame. $800/1200

991. B. Rouen (American/New Orleans, act. early 20th c.), “Nature Morte: Songbird”, 1915, watercolor, signed and dated lower right, sight 20 1/4 in. x 11 3/4 in., framed. $500/800

995. June S. Dudley (American/ Texas, b. 1940), “Misty Evening in Sabinal Canyon”, acrylic on board, signed lower left, artist card with title en verso, 18 in. x 24 in., framed. $1000/2000

996. Louise Guidry (American/ Louisiana, b. 1930), “Live Oaks along the Bayou”, watercolor on paper, signed lower right, sight 10 1/2 in. x 14 1/2 in., framed. $500/800

Provenance: Collection of Michael Brown and Linda Green, New Orleans.

998. Harry Hershey (American/ Florida, 20th c.), “On the Beach”, watercolor on paper, signed lower right, 15 in. x 19 1/2 in., matted. $400/600

1002. Chestee Harrington (American/Louisiana, b. 1941), “Chapron on the Teche”, 1980, oil and mixed media on wood, signed lower left, titled en verso, “Gilley’s Gallery, Baton Rouge” and “Tezcuco Plantation” labels en verso, 13 in. x 15 1/2 in., framed. $300/500

999. Leonard Howard Reedy (American/Chicago, 1899‑1956), “Cowpony in Winter”, watercolor, signed lower right, pencil‑titled on mat board, printed biography from “Contemporary Artists Review, 1940”, and 2 labels with artist and title en verso, sight 8 in. x 11 1/4 in., framed. $300/500

1003. New Orleans School, 20th c., “Spanish Arms Gate, New Orleans” and “Royal Street, French Quarter, New Orleans”, 2 hand‑colored photographs, each signed “Swinney” lower right, titled lower left, typewritten labels with titles en verso, sights 11 in. x 4 1/2 in., framed alike. (2 pcs.) $150/250

1000. Richard Hoffman (American/ New Orleans, d. 1973), “Pirate’s Alley” and “French Quarter Courtyard”, 2 watercolor enhanced photo lithographs, each signed in plate, sights 16 1/4 in. x 12 1/4 in., framed alike. (2 pcs.) $200/300

1004. George Drummond Mansfield (American/Louisiana, 20th c.), “Patio & Slave Quarter at 631 Rue Chartres, New Orleans”, 1961, oil on masonite, signed and dated lower right, signed, titled and inscribed en verso, 24 in. x 10 in., period frame. $200/300alike. (2 pcs.) $150/250

Additional information at www.nealauction.com

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1005. Emerson Bell (American/Louisiana, 1932‑2006), “Prophet”, 1996, oil on paper, signed and dated lower center, sight 12 in. x 5 1/4 in., framed. $300/500

1006. Préfète Duffaut (Haitian, 1923‑2012), “Coastal Town”, 1955, oil on masonite, signed and dated lower center, 13 in. x 24 in., period frame. $150/250

1009. Karl Ferdinand Wolfe (American/Mississippi, 1904‑1985), “Mississippi Cabins in the Hills”, watercolor and pencil on board, pencil‑signed lower left, 11 3/4 in. x 13 1/2 in., unframed. $300/500

1013. Kelly Jones (American/New Orleans, 20th c.), “Untitled Landscape”, oil on canvas, signed lower right label with artist, title and “Evans Gallery” en verso, 10 in. x 10 in., unframed. $150/250

1010. Karl Wolfe (American/ Mississippi, 1904‑1985), “Justine Hatry as Betsy Ross”, 1930, oil on canvas, signed lower right, signed, titled, inscribed “Delgado, Mid‑South, Montgomery, Laurel” and “Division of Fine Arts, Mid‑South Fair” label en verso, 38 in. x 30 in., framed. $500/800

1014. Sandra Blair (American/New Orleans, 20th c.), “Spirit Lands”, 1998, art pottery vase, signed, titled and dated near base, h. 8 1/2 in. $100/150

1007. Louise A. Cook Moore (American/New Orleans, 1854‑1941), “A Bouquet of Roses”, oil on canvas, signed “E. Cook Moore” lower right, typewritten artist biography en verso, 20 in. x 14 in., framed. $500/800

1011. Bunny Matthews (American/ New Orleans, 20th c.), “Let’s Make a Deal!” and “Four‑on‑the Floor”, 1984, 2 ink and colored pencils on paper, both signed, titled and dated lower margin, 18 in. x 24 in. and 14 in. x 17 in., framed. (2 pcs.) $300/500

1008. Nura Woodson Ulreich (American/Missouri, 1899‑1950), “Beth, Bob and Rover”, watercolor on illustration board, signed lower right, signed, titled and inscribed “Vanity Fair 2358c” en verso, 17 1/4 in. x 15 in., framed. $500/800

1012. Sharon Richardson (American/Mississippi, 20th c.), “Abandoned”, “November at Richland” and “Familiar Sight”, 3 pastels on paper, each signed lower right or left, each “Carol Robinson Gallery, New Orleans” stickers and labels with artist and titles en verso, sights 3 in. x 4 3/4 in. to 3 3/4 in. x 5 in., framed. (3 pcs.) $800/1200 Provenance: Carol Robinson Gallery, New Orleans, 1993; Koch Collection, Metairie, LA.

1015. Willie White (American/New Orleans, 1908‑2001), “Birds and Horses”, marker on paperboard, signed mid‑left, sight 21 1/2 in. x 27 1/2 in., framed. $300/500

1016. Currier & Ives/ Publishers, “A Home on the Mississippi”, 1871, chromolithograph after Alfred Waud (British/New York, 1828‑1891), sight 9 1/2 in. x 13 1/2 in., framed. $100/150

Provenance: Koch Collection, Metairie, LA. 1017. American Walnut Apothecary Cabinet, 20th c., turned feet, h. 13 1/2 in., w. 25 1/8 in., d. 12 1/2 in. $500/750

1018. French Porcelain Relief Plaque, late 19th c., label verso “No. 128, Ball Room in the Palace at Versailles”, in original frame, sight 7 in. x 11 in. $300/500

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1019. American Rococo Carved Rosewood Bedstead, mid‑19th c., probably the workshop of Prudent Mallard, serpentine crest rail centered by a shell, paneled head board, shaped cluster posts surmounted by turned finials, conforming foot board, h. 65 1/2 in., l. 106 in., w. 78 in. Note: Posts have been altered. $4000/6000

1020. American Rococo Carved Rosewood Center Table, c. 1850‑1860, New York, later serpentine marble top, conforming floral carved frieze, C scroll floral carved legs, shaped stretcher, floral finial, h. 32 in., w. 50 1/2 in., d. 33 in. $2000/3000

1022. American Rococo Carved and Laminated Rosewood Gentleman’s Armchair, c. 1850‑1860, attr. to John Henry Belter, New York, fruit and flower crest, scrolled stiles, serpentine arms and seat rail, cabriole legs, casters, h. 43 in., w. 23 1/2 in., d. 19 in. $1500/2500

1024. American Classical Carved Mahogany Armoire, c. 1830‑1835, probably New Orleans, beaded ogee molded cornice, paneled doors, beaded molded surround, interior with shelf and drawer, tall shaped bracket feet, h. 99 3/4 in., w. 75 in., d. 28 1/2 in. $1500/2500

1021. Fine Pair of American Rococo Carved and Laminated Rosewood Side Chairs, c. 1850‑1860, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Rosalie with Grapes”, shaped stiles, serpentine seat rail, rose carved cabriole legs, casters, h. 37 in., w. 18 in., d. 18 in. $1500/2500

1023. American Rococo Carved Rosewood Armchair, c. 1850‑1860, attr. to J.H. Belter, New York, molded oval back surmounted by a “single rose” carved crest, serpentine carved seat rail, cabriole legs, h. 44 1/4 in., w. 24 in., d. 25 in. $800/1200

1025. American Rococo Carved Mahogany Half‑Tester Bed, mid‑19th c., incurvate half‑tester surmounted by finials, scrolled foliate crest, paneled headboard, octagonal posts, conforming foot board, bulbous turned feet, h. 113 in., l. 76 1/2 in., w. 59 in. $2000/3000

Provenance: Property of the New Orleans Museum of Art, Sold to Benefit the Acquisitions Fund.

1026. Four American Rococo Carved and Laminated Rosewood Chairs, c. 1840‑1850, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Rosalie”, incl. 2 armchairs and 2 side chairs, floral‑carved crest, scrolled crest rail, serpentine seat rail, cabriole legs, casters, armchair h. 42 1/2 in., w. 24 in., d. 20 in.; side chair h. 38 in., w. 18 in., d. 19 in. $1200/1800

1027. William IV Burled Walnut Oval Canterbury, 19th c., with three bays, turned and carved uprights, one drawer, turned legs, brass ferrules, casters, h. 20 3/4 in., w. 28 1/2 in., d. 18 1/2 in. $500/750

Additional information at www.nealauction.com

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1028. English Chippendale‑Style Carved Mahogany Serpentine Front Silver Chest, probably late 19th c., labeled “Garrard & Co. / Ltd. 112, Regent St. London”, gadrooned top, with fitted baize-lined interiors, graduated drawers, foliate‑carved cabriole legs, ball and claw feet, h. 32 1/4 in., w. 39 in., d. 22 in. $800/1200

1029. Antique Georgian‑Style Mahogany Extension Dining Table, circular top, conforming frieze, three leaves, tapered legs, pad feet, casters, later elements, h. 29 5/8 in., l. (closed) 49 in., l. (open) 118 in., w. 54 in. $600/900

1035. Pair of American Carved Rosewood Side Chairs, c. 1850‑1860, attr. J.H. Belter, New York, molded oval back surmounted by a “single rose” carved crest, scrolled supports, serpentine seat rail, cabriole legs, h. 39 in., w. 19 in., d. 20 in. $800/1200

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Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

1031. American Hanging Solar Lamp, c. 1850, attr. to Hooper and Company, font with foliate mounts and globe shade, h. 29 in. $300/500 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

1032. Exceptional American Renaissance Carved and Gilded Overmantel Mirror, late 19th c., architectonic crest, molded stepped cornice, beaded foliate and scrolled accents, molded base flanked by floral‑decorated pedestals, h. 65 in., w. 51 1/2 in., d. 8 1/2 in. $800/1200

1038. American Classical Carved Mahogany Mirror, mid‑19th c., molded pediment over figured panel, old mirror plate flanked by reeded half‑columns, h. 44 in., w. 23 3/4 in. $200/400

1030. Antique Gilt and Patinated Bronze Sinumbra Lamp, c. 1850, fluted column with foliage, square base, frosted and cut mushroom shade, h. 22 1/2 in. $800/1200

1039. English Eighteen‑Inch Table Globe, c. 1918, by G.W. Bacon & Co., Ltd., with over‑label of retailer John Wanamaker, New York, Philadelphia, on “bronzed” cast‑iron base with paw feet, h. 30 in. $500/700

1033. American Renaissance Carved Giltwood Pier Mirror, late 19th c., anthemion crest, blocked cornice, bracketed sides, associated console with marble top and scrolled leg, Closson Art Galleries, Cincinnati label, h. 103 1/2 in., w. 33 in. $700/1000 1034. American Carved and Laminated Rosewood Side Chair, mid‑19th c., attr. J.H. Belter, New York, pierced grapevine carved padded back, surmounted by a basket of flowers crest, serpentine seat rail, acanthus carved cabriole legs, casters, h. 37 1/2 in., w. 19 1/2 in., d. 22 3/4 in. $800/1200

1036. American Aesthetic Brass‑Mounted Figured Maple Lady’s Writing Table, c. 1880, New York, galleried lift top, fall front lid, fitted interior with original inset velvet, shaped uprights, trestle base, medial foot rest, h. 48 in., w. 25 1/2 in., d. (closed) 20 in., d. (open) 24 in. $500/800

1040. Set of Six Chippendale‑Style Carved Mahogany Dining Chairs, incl. two armchairs and four side chairs, patera-carved crest, reticulated lyre splat, trapezoidal slip seat, cabriole legs, claw and ball feet, h. 38 in., w. 22 1/2 in., d. 18 7/8 in. $400/600

1037. American Classical Giltwood Mirror, early 19th c., ring‑turned split columnar surround, blocked corners, divided mirror plate, h. 63 in., w. 34 1/4 in. $400/600 1041. English Brass‑Mounted Mahogany Shaving Stand, 19th c., circular reversible beveled mirror on brass support, cased drawer with reticulated gallery, brass tripod legs, conforming stretchers, brass ball feet, h. 56 1/2 in., w. 17 3/4 in., d. 17 in. $200/300 Provenance: The Sturm Collection. Ill.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Collectors’ Club: Suffolk, 2011, p. 96.

1043. Queen Anne‑Style Burled Walnut Console Table, bookmatched banded top, molded frieze, cabriole legs, pad feet, h. 28 3/4 in., w. 51 1/2 in., d. 26 in. $600/800 1042. Georgian Mahogany Wingchair, 18th c., arched crest, shaped wings, scroll arms, square legs, H stretcher. $500/1000

Provenance: St. Charles Antiques, c. 1970.

Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

1046. Georgian‑Style Mahogany Dining Table, 19th c., molded edge top, shaped skirt, tapering legs, ball and claw feet, h. 28 1/2 in., w. 54 in., d. 38 3/4 in. $300/500

1044. Georgian‑Style Carved Mahogany Canterbury, late 19th c., four bays, turned uprights, center divider with molded handle, frieze drawer, turned legs, casters, h. 18 1/2 in., w. 19 in., d. 14 in. $300/500

1047. Suite of Four Edwardian Inlaid Mahogany Round‑About Chairs, 19th c., shaped crest, scrolled crest rail, pieced splats, incurvate seat rail, square tapered legs, X stretcher, h. 31 1/2 in., w. 25 5/8 in., d. 23 in. $300/500 Provenance: The Sturm Collection.

1048. Continental Inlaid Mahogany Side Table, 19th c., shaped tray top, three drawers, serpentine apron, cabriole legs, h. 29 7/8 in., w. 12 7/8 in., d. 10 in. $150/250 Provenance: The Sturm Collection.

1050. French Provincial Walnut Occasional Table, 19th c., molded serpentine top, frieze drawer, molded cabriole legs, scroll toes, h. 28 1/2 in., w. 26 1/2 in., d. 22 1/2 in. $400/600

1051. Pair of Brass Guéridons, circular etched marble tops, scroll supports, incurvate triangular plinths, paw feet, h. 27 1/2 in., dia. 16 in. $500/700

1053. Pair of Louis XV‑Style Ebonized and Argenté Inlaid Side Tables, molded rectangular top, serpentine frieze, cabriole legs, sabots, h. 30 in., w. 23 1/2 in., d. 16 in. $600/800

1045. Faux Bois Welsh Dresser, late 19th c., flared cornice, scalloped frieze, three plate shelves, base with three drawers, pair of cupboard doors flanking an arch, turnip feet, h. 84 1/4 in., w. 57 1/2 in., d. 19 3/4 in. $1000/1500

1049. Pair of Continental Carved Walnut Armchairs in the Renaissance Taste, 19th c., leather upholstery, brass nailhead trim, h. 38 1/2 in., w. 23 1/2 in., d. 23 1/2 in. $400/600

1052. Provincial Louis XV‑Style Carved Fruitwood Duchesse Brisee, mid‑19th c. and later, carved floral crest, caned back and seat, scrolling arms, serpentine floral carved seat rail, cabriole legs, scrolled toes, h. 35 in., l. 49 1/2 in., w. 23 1/2 in. $700/900 Provenance: Henry Stern Antiques, New Orleans, LA. 1055. Louis XVI‑Style Kingwood and Marquetry Bracket Clock, late 20th c., brass dial, striking gong movement, on conforming pedestal, overall h. 74 in., w. 16 in., d. 7 1/4 in. $800/1200

1054. Set of Six Biedermeier‑Style Chairs, each with circular back centering a pierced palmette, trapezoidal seat, sabre legs, h. 38 in., w. 19 in., d. 17 in. $500/1000

Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

Additional information at www.nealauction.com

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1056. Pair of Antique Louis XVI‑Style Carved Walnut and Needlepoint Fauteuils, possibly late 18th/early 19th c., oval padded backs, padded arms, gadrooned seat rail, fluted tapered legs, h. 36 1/2 in., w. 24 1/5 in., d. 22 in.; together with a related fauteuil, h. 35 in., w. 24 1/2 in., d. 20 in. (3 pcs.) $800/1200 Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

1059. French Belle Époque GiltMounted Marble Three Piece Clock Garniture, c. 1900, striking bell movement marked “Bonnet & Pottier, Paris”, conforming vases with mask handles, clock h. 21 in., w. 13 in., d. 6 1/4 in. $700/1000

1063. Chinese Export Famille Rose Porcelain Bowl, 18th/19th c., decorated with figures in landscapes and iron red waterscape and landscape cartouches, h. 4 1/4 in., dia. 10 1/4 in. $250/350

1067. Chinese Ming‑Style Tilework Figure of a Warrior astride a Tiger, modeled in alert forward moving stance, h. 13 in., w. 14 in., stand, overall h. 14 5/8 in. $200/400 Provenance: The Sturm Collection.

1061. Chinese Export Famille Jaune Porcelain Punch Bowl, probably early 20th c., painted with bird and butterfly panels on a yellow ground, h. 5 in., dia. 11 5/8 in. $300/500 1060. French Bronze‑Mounted Delft Mantel Clock, c. 1900, vasiform case, Japy Freres movement, dragon finial, lion mask handles, scroll feet, h. 27 1/2 in., w. 10 3/4 in., d. 9 1/4 in. $700/1000

Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

1058. American Classical Mahogany and Parcel Gilt Mirror, 19th c., molded frame, divided mirror plate, h. 43 in., w. 22 3/4 in. $400/600

1062. Pair of Chinese Export Famille Rose Porcelain Vases, 19th c., necks and shoulders with applied dragons and pearls, decorated with figural and bird‑and‑flower panels, h. 12 1/4 in. $300/500 Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

1066. Tlingit Steel Figural Dagger, late 19th c., one side flat, ridged blade, pommel with stylized wolf head, l. 18 1/4 in, $700/1000

1064. American Inlaid Sarcophagus-Form Jewelry Box, 19th c., inlaid with compass stars and lozenge banding; the lid with other‑of‑pearl cartouche engraved “Alice Smith”; interior with mirror and removable tray, h. 6 1/2 in., w. 10 1/2 in., d. 8 1/2 in. $300/500

1065. French Patinated Bronze Figure of a Charging Bull, 20th c., after Isidore Jules Bonheur (French, 1827‑1901), signature on self‑base, h. 13 in., w. 20 in., d. 7 1/4 in., stone base, overall h. 14 1/2 in., w. 21 3/4 in. $500/700

1068. Two Japanese Shibayama Table Screens, Meiji Period (1868‑1912), each embellished with mother‑of‑pearl and faux ivory, smaller with Seven Lucky Gods, signed, reverse with maki‑e foliage, h. 9 1/2 in., w. 7 1/2 in.; larger with figure, peaches and monkeys, reverse with tethered eagle, h. 11 in., w. 7 7/8 in. $200/400

1069. Japanese Lacquer Fubako‑Form Letter Box, 19th c., decorated with a bird beneath willow, h. 2 1/8 in., w. 9 5/8 in., d. 3 1/2 in.; together with a lacquer tea caddy, 20th c., h. 6 1/4 in. (2 pcs.) $200/400

1070. Japanese Lacquer Four‑Case Inro and Netsuke, 19th c., inro carved with the 12 animals of the zodiac, h. 3 1/4 in., w. 2 3/4 in.; netsuke with further animals and figures, dia. 1 3/4 in., joined by cord and ojime. $100/150

Provenance: The Sturm Collection.

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1057. American or English Carved and Gilt Bullseye Mirror, early 19th c., surmounted by a spread‑wing eagle and two serpents, spherule-mounted cavetto, convex mirror plate, foliate pendant, h. 36 1/2 in., w. 22 in., d. 6 in. $500/800

Provenance: The Sturm Collection; acquired W. E. Channing & Co., Santa Fe, April 1993.

Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

1071. Fine Pair of Japanese Lacquer Bowls, 19th c., interiors decorated with prunus branches and fruiting grape vines, h. 2 in., dia. 4 3/4 in., stands, overall h. 3 1/4 in.; together with 3 lacquer covered bowls, 19th c., incl. pair, h. 3 1/2 in., dia. 5 in., and single, h. 3 1/4 in., dia. 4 7/8 in. (5 pcs.) $400/600 Provenance: The Sturm Collection.

1072. “Peacock” Tenmoku Glazed Porcelain Vase by Hideaki Miyamura (Japanese/New Hampshire, b. 1955), c. 2005, base signed, h. 8 3/4 in. $800/1200

1073. Kiyoshi Saito (Japanese, 1907‑1997), “Black and White Cat with Butterfly”, woodblock print, signed in plate lower left, sight 14 3/4 in. x 10 in., matted and framed. $400/600

1074. Three Hunzinger Innovative Carved Walnut Chairs, late 19th c., incl. a “Lollipop” rocking chair, steel mesh strapwork rocking chair, and a “Stick and Ball” side chair, largest h. 37 in., w. 24 1/2 in., d. 29 1/2 in. $800/1200

Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

1075. Continental Renaissance‑Style Highly Carved Oak Side Table, 19th c., octagonal top, foliate and floral frieze, baluster standard with masks, acanthus carved scrolled legs, h. 32 in., dia. 18 1/2 in. $600/800

1076. Louis XV‑Style Carved Giltwood Settee, crest rail with molded cartouche, scrolled arms, serpentine seat rail, cabriole legs, scrolled toes, h. 40 1/4 in., w. 52 1/2 in., d. 24 1/2 in. $400/600

1077. Louis XVI‑Style Bronze‑Mounted Kingwood Parquetry and Marquetry Tric‑Trac Table, 19th c., foldover swivel top, floral reserve, fitted drawer, shaped apron, cabriole legs, sabots, h. 28 1/2 in., w. 31 1/2 in., d. 23 in. $700/1000

1078. Samuel Nelson Abbott (American, 1874‑1953), “Venice”, 1897, pen and ink drawing on paper, initialed “S.N.A”, titled and dated lower left, 19 1/4 in. x 12 in., framed. $300/500 Provenance: The Sturm Collection.

1081. Continental School, late 19th/ early 20th c., “Young Maiden at the Well”, oil on canvas, signed “D. Giraud/C. Meunieur” lower right, 40 in. x 28 in., framed with “Constantin Emile Meunier” artist plaque. $1200/1800 1079. Continental or British School, 17th c., “Portrait of a Woman with Book”, oil on panel, unsigned, handwritten label en verso, 27 in. x 20 in., framed. $700/900

1080. Dutch School, 19th c., “Drunken Dutchman” and “Enjoying a Smoke”, 2 oils on metal, each signed “Valeris” lower right, 8 in. x 6 3/4 in., period frames. $300/500 Provenance: The Sturm Collection; previously in the collection of Aboyne Castle, Aberdeenshire, Scotland.

1082. Anton Bernreiter (German, 1835‑1892), “On a Walk: Country Manor with Children”, oil on canvas, signed lower left, handwritten label identifying artist en verso, 13 in. x 9 in., framed. $800/1200

1083. Adam Knight (British, 1855‑1931), “The Village Street, Cassis” and “The Fountain in St. Paul du Var”, 2 watercolors on paper, each signed lower left and titled lower right, each typewritten label and one handwritten with artist and title en verso, 20 3/4 in. x 25 1/2 in., framed alike. (2 pcs.) $800/1200 Additional information at www.nealauction.com

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1084. Arthur Trevor Haddon, (British/California, 1864‑1941), “Three Maidens by the Well”, oil on canvas, signed and inscribed “R.B.A” (Royal Society of British Artists) lower right, printed artist biography in German en verso, 16 in. x 26 in., framed with brass artist plaque. $700/1000

1086. Scottish School, late 19th c., “Fisherman by the Stream”, 1894, watercolor on paper, signed “Smith” and dated lower left, 8 1/2 in. x 12 3/4 in., period frame. $300/500 1085. Scottish School, late 19th c., “Listening to the Violin; Family and their Dog gathered around the Hearth”, 1880, oil on canvas, signed “Smith” and dated lower left, 10 in. x 12 in., period frame. $700/900

Provenance: The Sturm Collection.

Provenance: The Sturm Collection; previously in the collection of Aboyne Castle, Aberdeenshire, Scotland.

1087. British Hand‑Colored Engravings of Hunting Scenes, from The Gentleman’s Recreation, 1686, incl. “Shewing y Bucks Head to y Hounds and Rewarding Them”, “Hunting the Wild Bore”, “The Stagg at Bay”, “Unharbouring y Staggs” and “Say of ye Stagg”, published by Richard Blome (British, 1635‑1705), sights 13 1/4 in. x 7 1/2 in., framed alike. (5 pcs.) $400/600 Provenance: The Sturm Collection.

1091. KPM Porcelain Figure of “Ariadne”, c. 1785, blue sceptre mark, modeled by Johann George Muller, h. 5 1/4 in. $200/300

1088. Minton “Riverton” Pattern Gilt Porcelain Partial Dinner Service, c. 1926‑2011, marked, raised gilt floral border, incl. 12 dinner plates, dia. 10 3/4 in., 12 salad plates, dia. 7 3/4 in., 10 bread plates, dia. 6 1/8 in., 12 bouillon cups with 8 saucers, dia. 6 1/2 in., 8 tea cups and 4 coffee cups with 15 saucers, dia. 5 5/8 in., oval platter, l. 16 in., rectangular platter, l. 13 in., 2 vegetable dishes, l. 10 1/4 in., gravy boat with underplate, l. 8 1/4 in., creamer, h. 3 3/4 in. and lidded sugar bowl, dia. without handles 4 1/4 in. (89 pcs.) $800/1200

1092. Group of German Porcelain Monkey Band Figures, late 19th/20th c., scissor marks, incl. conductor #151, violinist #151, French horn player #187, cellist #151, drummer #151, bagpiper #151, flutist #17, bassoonist #17 and coronet #151, h. 4 1/8 in. to 6 in. (9 pcs.) $700/900

1090. Three Meissen Porcelain Figures, 19th c., crossed swords marks, incl. Cupid forging a heart, Cupid aiming his arrow as matchmaker, and a maiden with an ewer, h. 7 1/2 in., h. 7 1/2 in., and 7 5/8 in. $1000/1500 1089. Meissen Porcelain Allegorical Figural Group of the Five Senses, 19th c., crossed swords mark, modeled as five putti with various emblems, incised “1770/131” and painter’s mark “62” in iron‑red, h. 6 in. $800/1200

1093. Pair of Meissen Molded Porcelain Leaf Shaped Dishes, 18th/19 c., crossed swords marks, modeled as peony blossom flanked by two leaves, Deutches Blumen décor, stem and bud handles, h. 2 1/4 in., w. 7 1/2 in., d. 7 1/2 in. Note: One restored. $300/500 Provenance: The Sturm Collection.

1094. Meissen Molded Porcelain Leaf Shaped Dish, 18th/19th c., crossed swords mark, modeled as a chrysanthemum flanked by two leaves, Deutches Blumen décor, twisted stem handle. $300/500 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

1095. Meissen Porcelain Shell‑Shaped Dish, 18th/19th c., faint crossed swords mark, modeled as a scallop shell, Deutches Blumen décor, finely ribbed exterior, h. 2 in., w. 8 5/8 in., d. 7 3/8 in. $200/300 Provenance: The Sturm Collection.

1096. Italian Blue and White Majolica Dish, probably 19th c., Cantagalli cockerel above “ES” mark, putto reserve, pierced and molded foliate rim, dia. 9 3/8 in. $100/150

1097. Delftware Blue and White Dish, probably 19th/early 20th c., probably Dutch, decorated in Chinese style with a fisherman beneath willows, dia. 12 in. $100/150

Provenance: The Sturm Collection.

1098. Italian Blue and White Majolica Tulip Vase, early 20th c., Cantagalli cockerel beside “22” mark, floriform, molded with leaves and petals, h. 8 1/2 in., w. 7 in. $100/150 Provenance: The Sturm Collection.

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1099. Delftware Blue and White Heart Shaped Tulip Vase, 18th/19th c., probably Dutch, decorated with an amorous couple and a village landscape, h. 8 3/4 in., w. 7 in. $100/200

1100. Delftware Blue and White Beaker Vase, 18th/19th c., probably Dutch, decorated in the Chinese style with flowering branches, h. 11 in. $100/150

1101. Pair of Paris Porcelain Vases, decorated with parrots on flowering plum branches on pale blue grounds, h. 13 3/4 in., now mounted as lamps, h. (to socket) 19 1/2 in. $500/700

Provenance: The Sturm Collection.

1103. Delftware Blue and White Covered Coffee Pot, 18th/19th c., probably Dutch, rectangular body decorated in the Chinese style with flower sprays, h. 6 1/2 in. $150/250

1102. Delftware Blue and White Covered Vase, 18th/19th c., probably Dutch, dog finial, body with chinoiserie reserve, base marked, h. 7 3/4 in. $150/300 Provenance: The Sturm Collection.

1104. Pair of Paris Porcelain Scent Bottles, 19th c., in the style of Jacob Petit, each painted with figural decoration, reverse with flower sprays, raised gilt accents, h. 7 1/4 in. $150/250

1105. French Gilt Bronze-Mounted Bisque Covered Urn, late 19th/early 20th c., inset “Sevres” plaques, pseudo interlaced “L” mark above “France”, h. 24 in. $500/700

1108. Chinese Export‑Style Famille Rose Porcelain Vase, probably 19th c., probably Samson, molded with tree peonies and lychee, h. 11 1/2 in., apparently undrilled, now adhered to a wood base, and mounted as a lamp, h. (to top of finial) 23 1/4 in. $500/700

1109. Gorham “Luxembourg” Pattern Sterling Silver Flatware Service, pat. 1893, ret. M. Scooler, act. New Orleans, 1842‑1900, incl. 6 tablespoons, 6 teaspoons, 6 forks, and 1 butter knife, total wt. 26.85 troy ozs., in fitted case marked for retailer August Baumann, New Orleans, act. 1862‑1932. $500/700

1106. Pair of Meissen‑Style Porcelain Vases, 19th c., overglaze crossed swords marks, gilt decoration, applied fruit and nuts, h. 12 in., dia. 7 1/4 in. $800/1200

Provenance: The Sturm Collection.

1107. Pair of French Gilt and Polychromed Glazed Pottery Jardinières, c. 1900, lobed form, remnant of Toulouse retailer’s label, h. 11 3/4 in., dia. 16 1/2 in. $700/1000

Provenance: Henry Stern Antiques, New Orleans, c. 1970.

1111. American Aesthetic Silverplate Ice Water Pitcher, Pairpoint Mfg., New Bedford, MA, with 1880 presentation inscription, h. 13 5/8 in. $150/250 Provenance: Collection of Henri Schindler.

1112. American Sterling Silver Flatware Service for Eight, Frank Smith “Fiddle Shell ‑ Alden” pattern, pat. 1914, incl. 8 each: forks (l. 7 ¼ in.), knives (l. 8 ½ in.), salad forks and teaspoons, 1 tablespoon, slotted tablespoon, cold meat fork and master butter knife (hh), 36 pcs., total wt. (weighable) 47.50 troy ozs. $800/1200

1113. Gorham “Plymouth” Pattern Sterling Silver Tea and Coffee Service, incl. kettle‑on‑stand with burner (h. 13 3/8 in.), teapot, coffee pot (h. 9 1/8 in.), sugar, creamer and waste bowl, total wt. 111.65 troy ozs. $800/1200

1110. Reed and Barton “Francis I” Pattern Sterling Silver Flatware Service, pat. 1907, incl. 8 each: forks (l. 7 1/8 in.), knives (l. 9 1/8 in.), salad forks, teaspoons and butter knives (fh), 5 soup spoons, 6 iced tea spoons, cold meat fork, 2 tablespoons, gravy ladle, cream ladle, tomato server, master butter knife, pie/cake knife and pickle/olive fork, (60 pcs.), total wt. (weighable) 74 troy ozs. $1500/2500

1114. Pair of Regency‑Style Silverplate Wine Coasters, marked “ROYAL CASTLE/ SHEFFIELD/ EP”, shell and scroll rims, turned hardwood bases with silvered buttons, dia. 7 in. $250/350

Additional information at www.nealauction.com

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1115. Pair of Louis XVI‑Style Gilt Bronze Three‑Light Sconces, late 19th c., backplate with flaming urn finial, foliate scroll arms, h. 20 in., w. 12 in., d. 11 1/2 in. $150/250

1116. Pair of Napoleon III Gilt Bronze Two‑Light Candelabra, late 19th c., tiered finial, scrolled foliate arms, baluster‑form standard, marble plinth, paw feet, h. 17 in., w. 10 5/8 in. $200/400 Provenance: Estates of Eva and Jerry Gotlib, New York, NY and Fort Smith, AR.

1119. American Brilliant Cut Glass Punchbowl on Stand, late 19th c., h. 13 1/4 in., dia. 14 in. $300/500

1117. 14 kt. Yellow Gold, Ruby and Diamond Ring, set with 6 round faceted diamonds and 5 single cut diamonds. $300/500

1121. American Aesthetic Ebonized and Gilt Decorated Two‑Piece Bedroom Suite in the Egyptian Taste, c. 1870‑1880, stamped Herter Brothers, New York, incl. bed and dressing chest, bed with winged crest centered by a gilt and polychromed Egyptian tableau, incised paneled headboard, lotus carved and turned uprights, bracketed rails, conforming low foot board; dresser with mirror back flanked by canted marble top chests, molded base, bed h. 86 in., l. 84 in., w. 58 in.; chest h. 97 1/2 in., w. 84 in., d. 23 1/2 in. $4000/6000

1120. Good Art Deco Mirrored and Glass Mantel Clock, c. 1930, by ATO, Paris, etched numerals, nickel plated case fitted with mirrors, on plate glass base, h. 7 in., w. 18 in., d. 6 in.; together with a German Art Deco walnut clock by Halder, h. 9 in., w. 10 1/2 in., d. 6 in.; accompanied by a copy of original receipt. $500/700 Provenance: Calderwood Gallery, Decorative Arts 1900‑1950, Phil., PA (ATO clock), Collection of Nan Wier, New Orleans, LA.

1122. American Classical Carved Mahogany Gentleman’s Chest, early 19th c., superstructure with two drawers, torus-molded frieze drawer over three drawers flanked by spiral turned columns, turned legs, h. 53 in., w. 41 1/4 in., d. 19 1/2 in. $600/900

1123. Faux Alligator Pressed Tin Travel Trunk, late 19th c., domed strapwork lid, open interior, sides with carrying handles, h. 22 in., w. 28 in., d. 16 1/2 in. $200/400

1118. 14 kt. Yellow Gold and Malachite Bangle Bracelet; together with 14 kt. yellow gold and malachite ring. $300/500

1124. Rare American Aesthetic Maple Faux Bamboo Youth Bed, c. 1870‑1880, attr. to R.J. Horner, New York, spindled head and foot board, posts with ball finials, conforming rails, h. 43 1/2 in., l. 54 in., w. 36 1/2 in. $400/600

1125. Pair of American Renaissance Carved Walnut Folding Child’s Chairs, late 19th c., pierced crest rail, incised stiles surmounted by finials, padded back and seat, square tapered legs, h. 30 in., w. 13 3/4 in., d. 25 in. $300/500

1126. American Renaissance Carved Walnut Étagère, mid‑19th c., arched reticulated crest, conforming mirror plate flanked by graduated shaped shelves, turned supports, conforming stepped base, turned feet, h. 86 1/2 in., w. 51 in., d. 14 in. $300/500

1127. American Late Classical Carved Walnut Sofa, 19th c., spindled back, scrolled arms, scrolled legs joined by stretchers, old surface, h. 32 1/2 in., w. 89 in., d. 21 1/2 in. $500/700

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1128. Strapwork Tin‑Mounted Travel Trunk, late 19th c., domed lid, fitted tray interior, carrying handles to the side, h. 27 in., w. 36 1/4 in., d. 20 in. $150/250

1129. Pair of Art Nouveau Carved Mahogany Side Chairs, c. 1900, probably French, pierced asymmetrical back, serpentine seat rail, cabriole legs, original upholstery. $100/200

1130. Antique Renaissance‑Style Cast Iron and Carved Walnut Miniature Table, shaped top, turned supports, incurvate triangular iron plinths, paw feet. $150/250

1131. Large American Late Classical Mahogany Sewing Bench, mid‑19th c., period needlepoint top, lined interior, tapering sides, molded plinth, casters, h. 17 in., w. 22 in., d. 21 1/2 in. $150/250

1132. American Late Classical Carved Walnut Campeche Chair, mid‑19th c., arched molded crest rail, reeded scroll arms, conforming legs, turned stretcher, h. 40 3/4 in., w. 24 in., d. 22 in. $300/500 Provenance: Estate of a New Orleans Lady.

1134. American Classical Figured Mahogany Dining Table, early 19th c., drop‑leaf top, incurvate paneled pedestal, conforming plinth, disc feet, casters, h. 29 in., w. 38 3/4 in., d. 26 in. $500/700

1135. American School, 19th c., “Sounding the Alarm: Attack on the Village”, oil on canvas, unsigned, pencil‑inscribed “Mr. Healy” en verso, 25 in. x 30 in., unframed. $300/500 Provenance: Succession of Antiquarian Louis J. Healy, New Orleans.

1136. Bolivian/Peruvian School, mid‑20th c., “Mother Carrying her Child in a Manta”, 1930, oil on canvas board, signed “O. Bangerter” and dated lower right, “W.F. Lee Frame Maker, Caxton House, Winchcomb St., Cheltenham” label en verso, 28 1/2 in. x 22 1/4 in., carved wood frame with leather foliate, floral and fruit embellishments. $400/600

1133. American Classical Carved Mahogany Tester Bed, early 19th c., later molded tester, reeded, turned acanthus carved posts, arched gadrooned headboard, pegged rails, h. 87 in., l. 75 in., w. 58 in. $800/1200

1137. French School, 19th c., “Napoleon” and “Josephine”, 2 miniatures, unsigned, sight 2 1/4 in. x 1 3/4 in., matching gilt frames; together with French School, 19th c., “Portrait of Young Woman Wearing a Tiara”, miniature, unsigned, 3 1/2 in. x 2 1/2 in., partial leather case. (3 pcs.) $200/300

Provenance: The Sturm Collection.

1138. Antique French Bronze and Enamel Crucifix and Holy Water Font, mounted on a later alabaster cross, h. 9 1/2 in., w. 5 3/4 in. $100/150 Provenance: The Sturm Collection.

1139. Dresden Porcelain Figural Group, probably Richard Klemm, early 20th c., modeled as an amorous couple seated on a rock ledge beside a sheep, h. 12 in., w. 10 1/4 in. $200/300

1140. Pair of Aesthetic Painted Wood Plaques depicting Shore Birds, c. 1895, in ebonized and parcel gilt frames, frames 20 1/2 in. x 12 1/2 in. $200/300

1141. Aesthetic Tôle Peinte Watering Can, 19th c., bird finial, with decoupage chromoliths of shore birds, h. 17 in., dia. 9 1/4 in. $150/250 Provenance: Collection of Henri Schindler.

Provenance: Collection of Henri Schindler.

1143. Two Giant Clam Shells, Tridacna Gigas, probably South Pacific, h. 10 1/2 in., w. 24 in., d. 15 in. and h. 14 in., w. 28 in., d. 16 in. $500/700

1142. American Tramp Art Mirror, c. 1900, layered and notch‑carved, h. 29 in., w. 26 in., d. 3 1/8 in. $300/500 Provenance: Juanita Elfert’s Country Antiques c. 1975; Collection of Henri Schindler.

1144. Asian Slip Decorated Celadon Porcelain Jar, probably early 20th c., decorated with an egret in marsh and birds on branches, h. 7 in., now mounted as a lamp, h. (to top of finial) 22 1/2 in. $200/300

1145. Pair of Japanese Cloisonné Enamel Vases, Meiji Period (1868‑1912), decorated with cranes amid chrysanthemums, h. 7 1/4 in., dia. 3 3/4 in. $200/300

Additional information at www.nealauction.com

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1146. Pair of Japanese Patinated Bronze Vases, probably Meiji Period (1868‑1912), faceted bodies relief‑cast with birds on fruiting branches, “bamboo” legs, h. 10 7/8 in. $500/700

1150. Pair of Asian Patinated Bronze Rain Drums, tops with central starburst surrounded by concentric bands, sides with pairs of double loop handles, bosses and leaves, h. 18 1/8 in., dia. 13 in. $800/1200

1147. Six Japanese Ginbari Cloisonné Vases, 20th c., incl. 2 pairs of red with roses, h. 7 1/4 in. and h. 4 3/4 in.; green with roses, h. 7 1/2 in.; and green to white with palm and peony, h. 6 in. $300/500 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1151. Pair of Thai Patinated and Gilt Bronze Thephanom Figures, modeled kneeling with hands raised in prayer, h. 9 1/2 in. and 9 1/4 in. $200/300

1148. Three Japanese Cloisonné Enamel Vases, 20th c., incl. pair decorated with chrysanthemums on a blue ground, h. 7 in.; and one with roses, h. 7 1/8 in. $150/250 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1152. Pair of Asian Antique Glass‑Inset Gilt Bronze Arms, modeled outstretched in abhaya mudra, l. 8 1/2 in., mounted to wood stands, overall h. 11 3/4 in., w. 3 1/8 in., d. 9 in. $200/400 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

1155. Kitagawa Utamaro (Japanese, 1753‑1806), “Yamauba Breast Feeding Kintaro (Yamauba no chichi o suh Kintaro)”, woodblock print, sheet 15 in. x 10 in., unframed. $200/300

1156. Asian Black and Red Lacquer Covered Box, probably late 19th c., round body on six small feet, interior tray, h. 10 1/8 in., dia. 15 1/2 in. $100/200 Provenance: The Sturm Collection.

1158. Chinese Carved Hardwood Altar Table, paneled top with prunus‑carved scroll ends, openwork frieze, and stretchered legs, h. 39 in., w. 48 1/2 in., d. 16 in. $600/900

1159. Chinese Double‑Sided Embroidery Set within a Rosewood Frame as a Floor Screen, worked in satin stitch with a bronze bottle vase with multi‑colored lotus, millet and foliage, three seals, reticulated frame and stand, overall h. 80 in., w. 38 in., d. 19 in. $1000/1500

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1153. Antique Persian Tinned Copper Ceremonial Dish, possibly Safavid (1501‑1736), wide rim repoussé‑decorated with radiating spear tips, well incise‑decorated, h. 2 7/8 in., dia. 14 3/8 in. $300/500 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

1154. Antique Indian Inlaid Bronze, Brass and Wood Ceremonial Mace, lobed head with foliate inlay, l. 20 3/4 in.; together with two antique Indian iron axes, larger with figural decoration, l. 28 1/4 in. and 19 3/4 in. (3 pcs.) $400/600

1149. Asian Patinated Brass Elephant‑Form Censer, modeled standing with a rectangular vessel on its back, h. 8 3/4 in., w. 10 1/2 in. $300/500

1157. Japanese Three‑Part Wood Tansu, Meiji Period (1868‑1912), upper case with sliding doors over long and short drawers; lower two cases with long and short drawers, h. 60 7/8 in., w. 69 1/2 in., d. 16 in. $300/500

1163. Group of Fencing Equipment, incl. two masks, two épées and two sabers. $200/300 1160. Two African Bronze Currency Objects, incl. anklet, possibly Wodaabe, Togo, h. 6 in.; and bracelet, now modified as a bowl, h. 2 1/4 in., dia. 4 3/4 in. $150/250 Provenance: The Sturm Collection.

1161. Antique Carved and Polychromed Wood Carousel Horse, early 20th c., with applied tin and nailhead elements and repairs, h. 56 in., w. 48 in., d. 12 in. $600/900

1162. American Walnut Stereoviewer and Zograscope, 19th c., designed to view stereo cards and photographs, various heights, w. 7 in., d. 10 in. $300/500

1167. Two Czech Table Globes by Felkl, incl: an 8‑inch, c. 1880, half‑meridian, ebonized stand, the cartouche “DIE ERDE..von J.Felkl in Prag., Otto Delitsch...”, h. 13 3/4 in.; and a 4‑inch globe on marble stand, the cartouche “1947 Satelit vydal J. Felkl a Syn, Roztoky a Prahy”, h. 7 1/2 in., (2 pcs.) $400/600

1165. Eight American Paint‑Decorated Lanterns, early 20th c., one bearing US Customs label for the 1926 Sesqui-Centennial International Exposition in Philadelphia, painted fretwork and turned handles, remnants of painted glass panes, h. (without handles) 10 1/2 in., one larger at 12 in. $500/750

1166. Two Small German Table Globes incl. a 6‑inch by Heymann, Berlin, c. 1890, turned wood base; and a 4 1/2 inch globe, c. 1930, unknown maker, lithographed tin, on ebonized stand, h. 7 in. and 9 in. $400/600

1168. American Twelve‑Inch Library Globe with Atlas, c. 1933, cartouche “C.S. Hammond & Co., Brooklyn”, full brass meridian, walnut stand, atlas published by Hammond, 1933, h. 17 1/2 in. $300/500

1169. Large Bokhara Carpet, red ground, repeating motifs in blue and cream, 14 ft. 4 in. x 22 ft. 9 in. $2500/3500

1170. Persian Tabriz Carpet, cream ground, red and blue border, overall floral design, 9 ft. 2 in. x 14 ft. 4 in. $1000/1500

1171. Persian Mahal Carpet, red ground with central medallion, cream, blue and red stylized border, 9 ft. 9 in. x 13 ft. 2 in. $500/800

1172. Persian Silk Rug, central medallion and spandrels, red border, 37 in. x 54 in. $600/900

1173. Persian Heriz Carpet, central medallion, 5 ft. x 11 ft. $700/1000

1174. Persian “Tree of Life” Carpet, cream ground, polychrome design, 4 ft. 8 in. x 6 ft. 3 in. $700/1000

1175. Persian Tabriz Rug, central medallion, red ground, overall floral design, 4 ft. 2 in. x 6 ft. 9 in. $300/600

1164. Pair of Antique Painted Wood Ping Pong Paddles, c. 1900, three (of four) sides painted with landscapes, l. 12 in. $150/250

Ref.: Lamb, Tom and Jeremy Collins/Editors. The World in Your Hands, An Exhibition of Globes and Plantetaria, London, Christie’s, 1994, pg. 114.

Provenance: The Sturm Collection.

Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA. Additional information at www.nealauction.com

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1176. Persian Carpet, light green and cream ground, overall vining design, 5 ft. 2 in. x 14 ft. $600/900

1177. Persian Carpet, triple medallion, red and blue border, 5 ft. 1 in. x 15 ft. 5 in. $600/900

1178. Louis XV‑Style Bronze‑Mounted Kingwood Bureau Plat, 20th c., inset leather top, shaped frieze with drawers, bust‑mounted cabriole legs, h. 30 1/2 in., w. 52 in., d. 30 in. $600/900

1179. Eight Napoleon III‑Style Boullework Dining Chairs, incl. two armchairs and six side chairs, arched crest rail, serpentine seat rail, cabriole legs, armchair h. 42 7/8 in., w. 23 in., d. 23 1/8 in.; side chair h. 41 3/4 in., w. 21 7/8 in., d. 19 3/4 in. $500/700

1181. English Big Ben Picture Clock, c. 1900, with a musical movement that plays on the quarter hour, nocturnal scene embellished with mother‑of‑pearl, showing the River Thames with houses of Parliament and Big Ben, h. 22 1/2 in., w. 17 1/2 in. $300/500

1182. Twelve Antique American Gilt Brass Stair Rods, 20th c., with turned acorn finials, l. 30 in. $100/200

1183. Group of Empire Giltwood Curtain Elements, incl. oak wreath mount, l. 8 1/2 in.; pair of acorn finials, l. 5 in., and 20 large rings, dia. 4 1/2 in. $100/200

1185. American White Marble Bust of a Gentleman, mid‑19th c., in classical garb, socle base, h. 28 1/2 in., w. 21 in., d. 13 in. $500/800 1184. Three American Glass Inkwells, incl. octagonal cobalt, octagonal amber with floral decoration, and overlay red, tallest h. 3 in. $300/500

1186. Simon Willard‑Style Five Tube Tall Case Clock, 20th c., by Colonial Mfg. Co., Zeeland, Michigan, English movement by Enfield, chiming on five tubular bells, h. 93 in., w. 20 in., d. 12 1/4 in. $1000/1500 Note: The clock is a “Museum Reproduction, Authorized by the Edison Institute, Dearborn, Michigan”.

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1180. Rare French Provincial Painted Diorama Clock, 19th c., depicting French store fronts, in original case, with bale handle and wall hangers, h. 18 1/4 in., w. 23 in., d. 6 1/2 in. $300/500

1188. Paris Porcelain Oval Platter, 19th c., claret border, gilt accents and monogram, l. 21 3/8 in.; together with a polychrome and gilt flare vase, h. 12 3/4 in. $300/500 1187. Steiff Teddy Bear, c. 1905, gold mohair, marked with blank button and tag remnant, original pads and nose, black shoe button eyes, fully jointed, h. 10 in. $500/700

Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

1189. Seven Limoges Porcelain Fish Plates, late 19th c., Haviland & Co., ret. Davis Collamore & Co., New York, finely painted with fish and shellfish, dia. 9 in. $150/250

1190. Four Schwarzburg Porcelain Cabinet Plates, late 19th c., each with a Classical maiden personifying Music or the Arts, claret and raised gilt borders, two signed Hagen, green shield mark, dia. 10 1/4 in. $300/500

Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS. 1193. Moser “Salamander” Cranberry Glass Center Bowl, c. 1890, gilt and enameled decoration, fist feet, h. 4 in., dia. 9 in.; together with a large gilt and enameled Bohemian glass vessel, h. 9 in., and 4 tumblers. $500/700

1191. Bohemian Cobalt Overlay Glass Decanter, late 19th c., cut‑to‑clear Greek key and punty designs, faceted stopper, h. 11 in.; together with a cranberry overlay glass perfume bottle with cut‑to‑clear star and punty designs and tulip‑form stopper, h. 9 in. $100/150 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

1195. Abstract Painted Wood Sculpture, unsigned, hanging wire attached on reverse, h. 28 1/2 in., w. 16 1/2 in., d. 3 1/2 in. $200/300

1192. Daum Pate de Verre Frosted Glass “Mythologie” Pitcher, 20th c., marked “Daum France”, h. 12 3/4 in., w. 8 1/2 in., d. 4 1/4 in. $700/900

1196. Eight Chinese Carved Serpentine Bird and Bird Groups, 20th c., incl. 3 pair and 2 singles, all on stands, pairs overall h. 9 5/8 in., 8 1/2 in., and 5 1/4 in., singles overall h. 8 3/4 in. and 7 7/8 in. $300/500 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1194. Eight American Pressed Glass Open Salt Dishes, early 19th c., possibly by Boston & Sandwich Glass Co., h. 1 3/4 in., w. 3 1/4 in., d. 1 7/8 in. $400/600

1197. Three Chinese Carved Hardstone Bird Groups, 20th c., stands, overall h. 11 3/4 in., 11 in., and 6 1/4 in.; together with a dragon and fish group on stand, overall h. 9 1/8 in. $200/300 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

Provenance: Property of the New Orleans Museum of Art, Sold to Benefit the Acquisitions Fund.

1199. Chinese Carved Serpentine Budai Grotto, 20th c., modeled seated holding a full sack, h. 5 1/4 in., stone base, overall h. 8 1/4 in. $150/250 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1198. Two Chinese Patinated Metal Figures of Fuxing and Shouxing, 20th c., Fu Star modeled carrying a child and Shou Star holding a peach, h. 20 in. and 19 1/2 in. $250/350 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1200. Two Chinese Carved Green Jade Figures, 20th c., incl. Shoulao with phoenix, crane and deer, h. 5 3/4 in.; and Shoulao with staff and gourd, h. 7 7/8 in., stands, overall h. 6 3/4 in. and 8 3/4 in. $200/300 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1201. Two Chinese Carved Celadon and Russet Hardstone Covered Censers, 20th c., incl. one with lion’s mask loose ring handles, 3 lion’s mask claw feet, h. 8 in., w. 9 1/4 in.; and other globular with scroll handles, h. 6 1/2 in., w. 6 1/4 in. $250/350 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

Provenance: Estates of Maurice and Eunice Lion, Metairie, LA. Additional information at www.nealauction.com

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1203. Six Chinese Cloisonné Enamel Animals, 20th c., incl. ram, h. 10 1/2 in., w. 16 in.; bull, h. 8 in., w. 11 1/2 in.; rhino, h. 7 1/4 in., w. 8 3/4 in.; pair of pigs, h. 4 1/2 in., w. 8 in.; and dragon‑turtle covered box, h. 4 in., w. 7 1/2 in. $200/300 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1204. Set of Three Chinese “Fu Lu Shou” Embroidery Panels, 20th c., satin stitch and couched gold thread, 23 1/8 in. x 14 in., float mounted and framed alike. $300/500

1205. Pair of Chinese Tessellated Bone Horses, caparisoned figures modeled in mirror image in prancing stance, h. 16 in. and 16 1/4 in., w. 17 1/2 in. $500/700

Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

Provenance: Estate of world championship bridge player, Betty Ann Kennedy (1930‑2016), Shreveport, LA.

1207. Chinese Carved Sodalite Budai and Malachite Fish and Dragon Group, 20th c., h. 5 in. and 4 3/4 in., stands, overall h. 6 1/8 in. and 6 in. $100/150 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1211. Pair of Chinese Cloisonné Enamel Horses, modeled in galloping pose with one hoof resting on a stylized phoenix, h. 11 in. and 12 1/4 in., w. 18 1/4 in. and 18 3/4 in. $150/250 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1215. Three Chinese Carved Jadeite Covered Vases, 20th c., incl. bottle‑form, Buddhist lion finial and dragon’s mask loose ring handles; hu‑form, Buddhist lion finial, carved with carp amid lotus; and spade‑form, dragon‑pearl finial, carved with phoenix and bats; h. 8 1/2 in., 6 3/4 in., and 4 3/4 in., stands, overall h. 9 3/4 in., 7 1/2 in., and 5 1/2 in. $600/800 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

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1208. Two Pairs of Chinese Carved Hardstone Birds 20th c., incl. rose quartz quail, h. 3 3/4 in., w. 4 in., stands, overall h. 4 3/4 in.; and fluorite ducks, h. 4 1/8 in., w. 5 3/4 in., stands, overall h. 5 1/4 in. (4 pcs.) $150/250

1209. Nine Chinese Carved Agate Figures, Figural Groups and a Vase, 20th c., h. 1 3/4 in. to 4 1/4 in., 9 stands, tallest overall h. 4 7/8 in. (9 pcs.) $250/350 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1212. Five Chinese Carved Soapstone Covered Vases, 20th c., ram, bat, dragon, and peony finials, bodies variously carved with dragons and peonies, h. 9 3/8 in. to 11 1/2 in., stands, overall h. 10 1/4 in. to 12 1/4 in. $300/500 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1216. Two Chinese Carved Jadeite Groups, 20th c., incl. dragon and phoenix with bats amid flowers and lingzhi, h. 4 1/8 in., w. 8 1/8 in.; and Budhai with bats and clouds, h. 6 1/2 in., stands, overall h. 4 7/8 in. and 6 1/4 in. $200/300 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1206. Chinese Carved Celadon and Russet Soapstone Covered Figural Vessel, 20th c., mythical beast finial and body, h. 7 3/4 in., w. 9 1/4 in., stand, overall h. 8 3/8 in. $100/150

1210. Chinese Carved Celadon and Russet Soapstone Dragon Turtle, h. 3 1/2 in., w. 5 1/2 in., stand, overall h. 4 1/4 in.; together with hardstone dragon turtle, h. 3 3/8 in., w. 6 1/4 in., stand, overall h. 4 in. (2 pcs.) $150/250 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1213. Two Chinese Carved Serpentine Covered Censers, 20th c., dragon finials, spherical bodies with lion’s mask loose ring handles, stem feet, h. 10 in. and 8 1/2 in., stands, overall h. 11 in. and 9 3/4 in. $300/500

1214. Three Chinese Carved Jadeite Groups, 20th c., incl. fish, lotus and child, jadeite stand, overall h. 5 5/8 in; fish and flower basket, stand, overall h. 5 3/4 in.; and flowers in basket, stand, overall h. 6 1/2 in. $300/500 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1217. Three Chinese Carved Jadeite Groups, 20th c., incl. birds and bindweed, h. 6 5/8 in., w. 6 in.; toad and lotus, h. 3 1/4 in., w. 5 1/2 in.; and fish and lotus, h. 2 1/4 in., w. 4 1/4 in., stands, overall h. 7 1/2 in., 5 in., and 3 1/4 in. $200/300 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1218. Chinese Carved Green, White and Russet Hardstone Covered Vase, Buddhist lion finial, body with lion’s mask loose ring handles, carved to one side with a pair of qilong and a bat contesting the flaming pearl, h. 12 in., stand, overall h. 13 1/8 in. $100/150 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1219. Two Chinese Carved Serpentine Buddhist Lions, 20th c., smaller with removal head, stands, overall h. 5 3/4 in. and 5 in., w. 8 3/4 in. and 5 in. $100/150 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1220. Three Chinese Carved Celadon and Russet Soapstone Animals, 20th c., incl. deer with gourd, dragon with pearl, and turtle, stands, overall h. 9 in., 5 1/2 in. and 3 3/4 in. $200/300 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1223. Thirty‑Two Chinese Carved Jade, Jadeite and Hardstone Pendants, h. 1 5/8 in. to 3 5/8 in. $300/500 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1221. Two Chinese Carved Jade Figural Groups, 20th c., incl. Xi Wangmu on a lion, h. 3 1/2 in., stand, overall h. 4 3/8 in.; and Guanyin holding vase with acolyte, h. 3 7/8 in., stand, overall h. 5 in. $150/250 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1224. Thirty‑Two Chinese Carved Jade, Jadeite and Hardstone Pendants, h. 1 3/8 in. to 3 1/8 in. $300/500 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1222. Four Chinese Carved Jade and Hardstone Mythical Beast and Mythical Beast Groups, probably 20th c., incl. 2 Buddhist lions, l. 4 1/8 in. and l. 4 1/8 in.; Buddhist lion with cub, l. 2 1/4 in.; and entwined Buddhist lion and cub, l. 2 1/4 in. $150/250 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1225. Thirty‑Two Chinese Carved Jade, Jadeite and Hardstone Pendants, h. 1 1/2 in. to 3 1/4 in. $300/500 Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

1226. Thirty‑Two Chinese Carved Jade, Jadeite and Hardstone Pendants, h. 1 1/4 in. to 3 1/4 in. $300/500

1227. Thirty‑One Chinese Carved Jade, Jadeite and Hardstone Pendants, h. 1 3/4 in. to 2 3/8 in. $300/500

1228. Thirty Chinese Carved Jade, Jadeite and Hardstone Pendants, h. 1 1/4 in. to 2 5/8 in. $300/500

Provenance: Estates of Maurice and Eunice Lion, Metairie, LA.

GLOSSARY OF TERMS Please note that all of the terms and descriptions used in this catalogue are intended as qualified opinions only and are subject to the Conditions of Sale and Limited Warranty set forth elsewhere. Neal Auction Company assumes no express or implied warranty with respect to these terms and descriptions, and they shall not be construed to be a warranty, representation or assumption of liability. Subject to the foregoing, with respect to authorship of works of art, the following terms shall have the following meanings: George Inness -$ In our qualified opinion, we believe the work is by the artist named. Attributed to George Inness -$ In our qualified opinion, we believe the work may be ascribed to the artist named on the basis of style and period, but our opinion is less certain than in the previous category.

Signed “George Inness” -$ In our qualified opinion, the signature, monogram or other indication of authorship is a signature of the artist. School of George Inness -$ In our qualified opinion, the work is of the period of the artist named, by a student or a follower of the artist, but not by the artist. Manner of George Inness -$ In our qualified opinion, although the work is in the style of the artist named, it is actually of a later period. After George Inness -$ In our qualified opinion, the work is a copy of a known work of the artist named. Bears signature “George Inness” -$ In our qualified opinion, although the work bears the signature or monogram of the artist, the work most likely is not that of the artist.

Please Visit Nealauction.Com To Request And View Condition Reports, Register To Bid Live Online, And Submit Absentee/Telephone Bids. Additional information at www.nealauction.com

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CONDITIONS OF SALE Placing a bid at auction constitutes buyer’s acceptance of and agreement to these Conditions of Sale. 1. WAIVER OF WARRANTY: All lots are sold “AS IS”. No statement regarding condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalogue or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. Any such warranty is WAIVED. Regarding works of art, Neal Auction Company does not make any express or implied warranty as to authorship. No statement in the catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. Buyer agrees and acknowledges that: (a) buyer is not relying on Neal Auction Company’s skill or judgment in selecting to purchase any lot; (b) no oral or written statements in the catalogue of Neal Auction Company or elsewhere regarding condition, attribution, kind, quality, value or authorship are the cause of or reason behind buyer’s purchase of any lot; (c) buyer would have incurred the purchase of any lot regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (d) Neal Auction Company did not know and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why buyer decides to purchase any lot; (e) buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; and (f) Neal Auction Company did not know, nor should it have known, that any oral or written statement about a lot in the catalogue or elsewhere would cause a nonpecuniary loss to buyer. Notwithstanding the foregoing WAIVER OF WARRANTY, agreements and acknowledgements, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale on the basis of authenticity of authorship of a work of art under the following terms and conditions only, all of which must be met: A. Neal Auction Company shall not grant rescission regarding lots identified by Neal Auction Company by the terms “attributed to,” “school of,” “manner of,” “after,” or “signature of.” B. Neal Auction Company shall not grant rescission regarding any lot unless the buyer notifies Neal Auction Company in writing within 25 calendar days from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale. C. Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written document signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery. D. Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the original buyer, and any rights of the original buyer are not transferrable or assignable. E. Neal Auction Company shall not grant rescission when: (i) there is a conflict of expert opinion as to the authorship; (ii) expert opinion supported authorship at the time of sale, although expert opinion may have changed after the date of sale; and (iii) scientific processes that were unavailable, expensive or impractical at the time of sale have revealed since the time of sale that the author or period Neal Auction Company believed to be accurate at the time of sale was inaccurate. F. In any dispute between Neal Auction Company and buyer regarding authorship of a work of art, it is stipulated that rescission of the sale and refund of the price paid shall be the buyer’s sole recourse or remedy, if any is available, and Neal Auction Company shall not be responsible or obligated for any damages (including compensatory, general, incidental, exemplary or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorney’s fees, or any other monetary or injunctive relief. 2. The auctioneer shall have absolute discretion in determining the successful bidder. At the fall of the auctioneer’s hammer, title to the offered lot will pass to the bidder acknowledged by the auctioneer. The bidder thereupon assumes full risk and responsibility and will pay full purchase price for the said lot. 3. The auctioneer may decide that any original bid is not commensurate with the value of the article offered, or that any advance thereafter is not of sufficient amount, he may reject the same.

4. The auctioneer reserves the right to withdraw any item at any time before the sale of the item. 5. No merchandise will be released before the end of the auction. 6. If the buyer fails to comply with any of the Conditions of Sale, Neal Auction Company reserves the right to hold such defaulting buyer liable for the purchase price; to cancel the sale, retaining as liquidated damages any payment made by the buyer; resell the property without reserve at public auction or privately on seven days’ notice to the buyer or, take such other actions available by law as deemed necessary or appropriate. If Neal Auction Company resells the property, the original defaulting buyer shall be liable for the payment of any deficiency in the purchase price and all costs and expenses, including warehousing, the expenses of both sales, reasonable attorneys’ fees, commissions, incidental damages and all other charges due hereunder.

ABSENTEE/TELEPHONE BIDS

1. All absentee bids and/or telephone bids must be in our gallery by 5 P.M. CST the Thursday prior to the auction. 2. All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at the discretion of the Neal Auction Company. Each item must have a minimum low estimate of $500. 3. We assume no responsibility for failure to execute bids for any reason whatsoever. 4. We reserve the right to require that advance bids be accompanied by a 25% deposit.

PAYMENT

1. The successful bidder agrees to pay a buyer’s premium in the amount of 25% of the hammer price on each lot up to and including $200,000, plus 10% of the hammer price greater than $200,000. For payments made by cash, check or wire transfer within 15 days of the auction, the buyer’s premium shall be discounted 3% of this 25%. 2. Online bidding is available at a buyer’s premium in the amount of 28% of the hammer price. A cash discount is not available for purchases made online. 3. Unless exempt by law, the buyer will be required to pay Louisiana and local taxes, and, if applicable, any federal luxury or other tax, on the total purchase price. 4. Documentation of tax exemption must be provided upon registration. 5. Payment in full must be made by the successful bidder within 15 days of the auction date. Interest charges will apply to invoices paid after this period expires. We reserve the right to require payment in full of the sales price at the moment of the successful bid. 6. VISA, MasterCard, Discover and American Express are accepted for invoices up to $25,000 per customer.

TERMS

Any customer not accredited by Neal Auction Company must present a letter of reference from their bank or other suitable source acceptable to Neal Auction Company. Neal Auction Company requires that the merchandise be held on premises until the check clears or money can be wired into the Neal Auction Company account.

SHIPPING

We will assist buyers in making shipping arrangements by furnishing information on packers and shippers. Handling of purchased items by us is at the risk of the buyer. Final shipping arrangements and agreements are strictly between the buyer and the shipper.

STORAGE

Unless other arrangements are made and confirmed in writing, all items must be removed within 15 days of the auction. On the first business day following that time period, items remaining in the gallery will be turned over to a storage facility. The buyer will be responsible for handling and storage costs. Handling costs will be a minimum of $50. Storage rates will carry a minimum charge of $50 per month per item. All items handled or stored will be at the buyer’s risk. Storage charges are accrued monthly and must be paid in full before items are released. We are not liable for any damage to items after the sale.

MANDATORY AND EXCLUSIVE FORUM SELECTION; AND CHOICE OF LAW

Any action of any nature brought by either party against the other in any court, whether federal or state, shall be brought exclusively in Orleans Parish, Louisiana. Each party agrees to submit to jurisdiction and venue in federal or state court in Orleans Parish, Louisiana, waives all questions of such jurisdiction or venue, and waives any rights to jurisdiction or venue in any other forum. Any dispute between the parties shall be governed by the law of the State of Louisiana, notwithstanding any conflicts of law principles.

Pilgrimage Garden Club presents

‘From These Honored Walls’ 40th Natchez Antiques Forum

November 2-4, 2017 The 40th Natchez Antiques Forum will present ‘From These Honored Walls’, a series of fascinating and enlightening tours, lectures and entertainments celebrating the historic art, architecture, decoration, gardens and dining of the South, with a special salute to this year’s Bicentennial of Mississippi Statehood. The Natchez Antiques Forum is grateful to Neal Auction Company for its continued Sponsorship. Tickets Now Available For more information visit us online: natchezantiquesforum.org natchezpilgrimage.com facebook: Natchez Antiques Forum 2017 Natchez Pilgrimage Tours (601)446-6631 or (601)446-2476 Thomas Cole, “The Voyage of Life”, detail

Neal Auction The South’s Leading Auctioneer & Appraiser of Antiques & Fine Art

4038 Magazine Street • New Orleans, Louisiana • 504-899-5329 • www.nealauction.com The successful bidder agrees to pay a buyer’s premium in the amount of 25% of the hammer price on each lot up to and including $200,000, plus 10% of the hammer price greater than $200,000. LA Auc. Lic., Neal Auction Co. #AB-107, Alford #797, LeBlanc #1514

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Louisiana Purchase Auction™ November 18 & 19, 2017

We are especially interested in Fine American, Continental and Contemporary Paintings, Drawings, Prints and Photography • Historical Documents, Books, and Maps • Sculpture • Period Furniture, Objets de Vertu and Decorations • Lighting • Silver • Art Pottery

1. American Carved Mahogany Highboy, late 18th c., Phila., h. 96 1/2 in. 2. Chippendale Carved Walnut Tall Case Clock, c. 1790, John Fessler, Frederick Town, MD, h. 99 1/2 in. 3. Charles Giroux (1828-1885), “Settlement along the Bayou,” o/panel, 4 1/2 x 9 1/2 in. 4. Armand Guillaumin (1841-1927), “Printemps,” o/c, 16 3/4 x 23 in. 5. American Colonial Silver Coffee Pot, attr. Richard Pitts, Charleston, c. 1750, h. 10 1/8 in. 6. Empire Gilt and Patinated Bronze “Au Matelot” Mantel Clock, c. 1810, Jean-Simon Deverberie, h. 14 1/2 in. 7. New Orleans Coin Silver Cup, Adolphe Himmel for Hyde & Goodrich, c. 1855, h. 4 in. 8. Attr. Jeremiah Theus (1716-1774), “Young Girl with Flowers,” o/c, 34 x 29 in. 9. Walter Anderson (1903-1965), “Wild Azaleas,” wc, 11 x 8 1/2 in. 10. Important Louisiana Inlaid Mahogany Armoire, late 18th/early 19th c., h. 85 in. Additional information at www.nealauction.com 135

Neal Auction Company Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 s &AX s WWW NEALAUCTION COM

Auction Date: Auction Date: Auction Date: Sept. 25, Sept 924 & 10, 2017 Jan. 31 && Feb. 1,2016 2015 April 17-19, 2015

Condition Report Request Form PLEASE REVIEW GUIDELINES FOR CONDITION REPORT REQUESTS:

)TEMS MUST HAVE A MINIMUM LOW ESTIMATE OF #ONDITION 2EPORTS WILL NOT BE GIVEN VERBALLY 4HE #ONDITION 2EPORTS $EPARTMENT IS AVAILABLE TO TAKE REQUESTS TWO WEEKS PRIOR TO EVERY AUCTION 0HOTO REQUESTS WILL ONLY BE PROCESSED FOR ITEMS NOT ILLUSTRATED IN OUR CATALOGUE OR ON OUR WEBSITE AT WWW NEALAUCTION COM $ETAIL PHOTOS PROVIDED UPON DISCRETION # ONDITION 2EPORT 2EQUESTS SHOULD BE SUBMITTED BY FACSIMILE TO OR VIA THE ONLINE REQUEST FORM BY prior to to the the start of of the the auction. auction. prior . start 7EDNESDAY ! LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY

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Fax this formtoto504-897-3808 504-897-3808 on or before Fax this form before Wednesday, Wednesday,1/28/15. 1/15/15. 09/21/16 9/6/17 228

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NealAuction AuctionCompany Company Neal

Auctioneers Appraisers Antiques Fine Auctioneers && Appraisers of of Antiques && Fine ArtArt 4038 Magazine Street, New Orleans, Louisiana 70115 4038 Magazine Street, New Orleans, Louisiana 70115 s &AX s WWW NEALAUCTION COM s &AX s WWW NEALAUCTION COM

ConfidentialAbsentee Absentee/ Telephone / TelephoneBid BidForm Form Confidential

15/06M 16/08M 17/08M 15/06M

PLEASE REVIEW GUIDELINES FOR ABSENTEE TELEPHONE BIDDING PLEASE REVIEW GUIDELINES FOR ABSENTEE && TELEPHONE BIDDING : : 4ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE 4ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday !LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday prior to the auction. )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE !LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN !LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE

First Last First Last Name:_________________________ _________________________Name: Name:____________________________________ ____________________________________Company: Company:__________________________ __________________________ Name: Address: ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ Address: #ITY ????????????????????????????????????????????? ????????????????????????????????????????????? 0ROV 3TATE 0ROV 3TATE ??????????????????????? ??????????????????????? 0OSTAL 0OSTAL #ODE #ODE ???????????????? ???????????????? #ITY (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? DealerResale# Resale# ________________________________ State __________ Email: __________________________________________________ Dealer ________________________________ State __________ Email: __________________________________________________ Dealers must provide Neal Auction Company with proper documentation prior bidding. Dealers must provide Neal Auction Company with proper documentation prior to to bidding.

-534 02/6)$% : : -534 02/6)$% -534 0ROVIDE: -534 0ROVIDE: Cash Cash 0AYMENT 0AYMENT Check Check 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? Method: 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? Method: 7IRE 7IRE Credit Card V-code:________ Credit Card V-code:________ )& 35##%33&5, PLEASE BILL MY CARD )& 35##%33&5, PLEASE BILL MY CARD

Credit Credit Card Card

.UMBER #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ?????????????????????????? 4O 4O #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ?????????????????????????? .UMBER

,OT ,OT

$ESCRIPTION $ESCRIPTION

"ID !MOUNT OR 4ELEPHONE .O "ID !MOUNT OR 4ELEPHONE .O

I understand that Neal Auction Company undertakes execution of absentee bids a convenience clients and is not responsible inadvertent failI Iunderstand that Neal Auction Company undertakes the execution ofofabsentee bids as for clients and is responsible forfor inadvertent failure understand that Neal Auction Company undertakes thethe execution absentee bids asaas aconvenience convenience forfor clients and is not not responsible for inadvertent failure execute or any in execution bids. I have read and agree to â&#x20AC;&#x153;Conditions Saleâ&#x20AC;? stated the catalogue. I understand that to to execute forfor any error thethe execution of of bids. I have read and agree to â&#x20AC;&#x153;Conditions thethe â&#x20AC;&#x153;Conditions of of Saleâ&#x20AC;? as as stated in in the catalogue. I understand toure execute bids, bids, orbids, fororany error inerror theinexecution of bids. I have read and agree to the of Saleâ&#x20AC;? as stated in the catalogue. I understand thatthat a buyerâ&#x20AC;&#x2122;s premium will be charged on each purchased at 22% to and including $200,000 plus 10% hammer price greater than $200,000. For buyerâ&#x20AC;&#x2122;s premium will charged oneach each lotlot purchased 22% upup to and and including $200,000 plus 10% of the hammer price greater than $200,000. For a abuyerâ&#x20AC;&#x2122;s premium will bebecharged on lot purchased atat25% up to including $200,000 plus 10% of of thethe hammer price greater than $200,000. For purchase made by cash, check or wire transfer within 15 days of auction, buyerâ&#x20AC;&#x2122;s premium shall discounted 2.5% of this 22%. No exceptions. purchase made cash, check wire transfer within 15days days ofthe thethe auction, thethe buyerâ&#x20AC;&#x2122;s premium shall be be discounted 2.5% this 22%. exceptions. purchase made bybycash, check ororwire transfer within 15 of auction, the buyerâ&#x20AC;&#x2122;s premium shall be discounted 3% ofof this 25%. NoNoexceptions.

SignatureRequired Required Signature

Date Date

Internal Use Only:Approved Approved _____________Registered ___________ Entered ____________ ForFor Internal Use Only: _____________Registered ___________ Entered ____________ Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________

Fax Form on before Friday, 1/31/15 Fax Form on or before Friday, 1/31/15 Fax Form on or Friday,6/26/15 Fax Form on or before Friday, 9/23/16 Fax Fax Form Form on on or oror before Thursday, Friday,6/26/15 9/7/17 to 504-617-6431or 504-617-9990 504-617-6431 504-617-9990 toto 504-617-6431 oror 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 504-617-9990

229 229

Additional information at www.nealauction.com

137

Samuel Nelson Abbott, 1078 Wayman Elbridge Adams, 315 Ceneilla Bower Alexander, 711 Enrique Alferez, 428 American School, 338, 447, 754, 990, 1135 Charles P. Appel, 282 Amos Lee Armstrong, 986, 989 William Arnold, 967, 968 Frank Ashley, 971 John James Audubon, 159, 160, 349, 949, 950 Milton Avery, 445

September 9 & 10, 2017

•

Artist Index

Bill Barrell, 396 Babette Beaullieu, 429 Marion Joseph Beauregard-Bezou, 970 Hilda Belcher, 314 Emerson Bell, 1005 Fletcher Benton, 432 Denis Joseph Ernest Berard, 158 Anton Bernreiter, 1082 Judi Polivka Betts, 342 Jim Bird, 450, 451 Denice Bizot, 427 Sandra Blair, 1014 Walton Blodgett, 308 Bolivian School, 1136 Douglas Bourgeois, 405 Charles Wellington Boyle, 309 British School, 77A, 567, 1079, 1087 Charles Briton, 710 Rick Brunner, 392, 393

Alexander Calder, 442 Henry Casselli, 345 Marc Chagall, 739 Charles Chikazunga, 352 Don Cincone, 985 George Henry Clements, 298 Claude Michel Clodion (aft), 882 Samuel Colman, 288 Luis Colmenares, 455 Bruce Conner, 446 Continental School, 871, 1079, 1081 George David Coulon, 337 Aristide Onesime Croisy (aft), 495

Eugene Daymude, 981 Peter Dean, 394, 425, 426 Jim Dine, 434 George Drummond, 1004 Alexander John Drysdale, 300A, 343, 353, 930 June S. Dudley, 995 Préfète Duffaut, 1006 Jason DuMouchel, 421, 422 George Bauer Dunbar, 373-376 George Valentine Dureau, 367-369 Dutch School, 1080

Richard Earlom, 161 Lin Emery, 377, 378, 382

Randolph Tucker Fitz-Hugh, Jr., 803 John Kelly Fitzpatrick, 292 Frances Marie Folse, 977 Justin Forbes, 407 French School, 234, 465, 1137 Pedro Friedeberg, 439, 440 Nestor Hippolyle Frugé, 958, 982 Bernard “Bernie” Fuchs, 974

Roy C. Gamble, 988 Narcisse Garnier, 133 Jack Gates, 391 Adrien Etienne Gaudez (aft), 476 Maria Ada Gianni, 868 Claude Gillot (attr), 287

138

Robert Gordy, 383, 384, 420 Jacques-Enguerrand Gourgue, 802 Luis Graner Y Arrufi, 979 Mimi Gross Grooms, 810 Aaronel deRoy Gruber, 408, 409 Emile Albert Gruppé, 281 Louise Guidry, 996

Arthur Trevor Haddon, 1084 Frances M. Hancock, 960 James Carl Hancock, 952 David Harouni, 424 Chestee Harrington, 1002 Herbert J. Harvey, 724 Frank Hayden, 390 Archie Held, 441 Colette Pope Heldner, 955, 972, 980 Knute Heldner, 307, 312 Robert Helmer, 365, 366 Harry Hershey, 998 Leonard Hillsdale, 811 Morris Henry Hobbs, 293 David Hockney, 433 Richard Hoffman, 1000 Louis Hottot (aft), 212 Clark Hulings, 333 Marie Atkinson Hull, 364, 928, 929 Clementine Hunter, 328, 339-341, 354, 956 Charles Woodward Hutson, 289 Alfred Heber Hutty, 323

Wilson Henry Irvine, 300 Italian School, 870

Richard A. Johnson, 385, 386 Kelly Jones, 1013

Alexei E. Kazantsev, 418, 419 William “Bill” Kidwell, 804, 993 Alberta Kinsey, 294, 331, 332 Barbara Kirschner, 457 Adam Knight, 1083 Ida Rittenberg Kohlmeyer, 363, 379, 380, 812 Gene Koss, 387, 388

Gina Laguna, 411 Fritz Lamothe, 801 Emile Laporte (aft), 211 Jean-Baptiste Lemoyne (aft), 475 Roy Lichtenstein, 438 Charles Oglesby Longabaugh, 290, 291, 932 Ben Earl Looney, 984 Claude Lorrain (mnr), 157 Wilfrid Louis, 800 Louisiana School, 322, 987

Charles Malfroy, 869 Bunny Matthews, 1011 Francisco McBride, 808, 809 John McCrady, 310, 311, 313, 324 Michael Meads, 731 Joseph Rusling Meeker, 320, 336 John J. Milam, 805 Hideaki Miyamura, 1072 Robert Crannell Minor, Sr., 283 Scott de Montluzin, 412 C. Bennette Moore, 948 Louise A. Cook Moore, 1007 Anne Wells Munger, 976

Manuel Neri, 435 Lowell Nesbit, 443 New Orleans School, 350, 732, 1003 Don Nice, 436

Nils Obel, 448 Joseph B. O’Sickey, 430

Walter Palmer, 286 Kirils Pantelejevs, 453 Gail Paradise, 399, 400, 402 Achille Perelli, 978 Brian Perkins, 814 Peruvian School, 1136 Joseph Poché, 1001 Endi Poskovic, 347

Peter G. Ray, 798, 799, 994 Beauregard A. Redmond, 356 Pierre Joseph Redouté, 466 Leonard Howard Reedy, 999 Charles Henry Reinike, III, 951 Charles Richards, 963, 964, 975 Thomas Addison Richards, 336 Sharon Richardson, 1012 William S. Robinson, 318, 319 George Rodrigue, 346, 413, 414 Percival Leonard Rosseau, 284 B. Rouen, 991 Robert Malcolm Rucker, 954, 957, 959, 973 Hayne E. Rudolph, 454

Phillip Anthony Sage, 946 Kiyoshi Saito, 1073 George Schmidt, 730 Pamela Scholz, 806 John T. Scott, 371, 372 Scottish School, 1085, 1086 Jean Seidenberg, 370 J. Kim Sessums, 813 Henry Alvin Sharpe, 947 Hunt Slonem, 401, 415-417 Henry Pember Smith, 931 Mark T. Smith, 456 Timo Arturi Solin, 437 Joe Sorci, 452 Marion Sims Souchon, 355 Southern School, 335, 965, 992 Mary Louise Snowden, 423, 459 Spanish Colonial School, 748 Gideon Townsend Stanton, 953 George Washington Sully, 983 Sterk Sunage, 740

Pierre-Philippe Thomire (attr), 134 P. Tildor, 966 Nell C. Tilton, 807 Edward Larocque Tinker, 325 José Torres-Tama, 403, 404 Leo Touchet, 326 Fred Trenchard, 395, 397, 410 Pat Trivigno, 389 Octavia Gayden Tullis, 997

Nura Woodson Ulreich, 1008 Kitagawa Utamaro, 1155

Bertil Vallien, 449

Elmer Wachtel, 285 William Aiken Walker, 321 Terry Weldon, 431 Willie White, 1015 Edward Whiteman, 406 Paulette Tokar Whiteman, 381, 398 Robert Wick, 444 Theodore “Fonville” Winans, 327 Karl Ferdinand Wolfe, 1009, 1010 Ellsworth Woodward, 296, 329, 330, 348 William Woodward, 295, 297, 299, 316, 317, 344 Don Wright, 961, 962, 969

Joanna Zjawinska, 458 Johan Joseph Zoffany (aft), 161

0379-$625 0380-$1586 0381-$187 0382-$610 0383-$512 0384-$384 0385-$1586 0387-$610 0388-$875 0390-$1536 0391-$1342 0392-$576 0393-$488 0394-$366 0395-$1220 0398-$1342 0399-$549 0400-$488 0401-$366 0402-$366 0404-$305 0405-$732 0406-$732 0407-$125 0408-$488 0409-$427 0410-$384 0411-$244 0412-$384 0413-$183 0415-$750 0416-$244 0418-$512 0419-$366 0421-$960 0423-$183 0424-$1586 0426-$4575 0427-$640 0428-$671 0429-$427 0430-$576 0431-$793 0432-$448 0433-$250 0434-$488 0435-$512 0436-$5120 0437-$1536 0438-$1088 0439-$1920 0440-$1024 0441-$1024 0442-$427 0443-$366 0444-$576 0446-$3294 0447-$2000 0448-$640 0449-$3072 0450-$625 0451-$3172 0454-$2176 0455-$366 0456-$1664 0457-$1708 0458-$512 0459-$732 0461-$750 0462-$1098 0465-$384 0467-$187 0468-$183 0469-$366 0470-$671 0471-$256 0472-$183 0473-$183 0474-$854 0475-$122 0476-$704 0477-$427 0478-$768 0479-$183 0480-$437 0481-$305 0482-$437 0483-$610 0485-$256 0486-$793

0488-$256 0489-$610 0493-$384 0494-$375 0495-$256 0496-$192 0499-$671 0500-$768 0501-$1098 0505-$427 0507-$896 0509-$610 0510-$312 0513-$610 0514-$366 0516-$366 0517-$305 0519-$3660 0520-$2562 0521-$625 0523-$1125 0524-$500 0525-$366 0526-$640 0527-$768 0528-$4270 0529-$1525 0530-$1220 0531-$1708 0532-$488 0533-$2176 0534-$122 0536-$256 0538-$750 0539-$384 0540-$244 0541-$854 0543-$183 0545-$4880 0546-$2500 0547-$1098 0549-$366 0550-$1500 0555-$687 0556-$183 0557-$256 0567-$128 0568-$915 0569-$1952 0570-$1830 0571-$1152 0572-$1342 0573-$1159 0574-$1586 0575-$1250 0576-$8540 0578-$366 0579-$793 0580-$366 0581-$793 0582-$2928 0583-$610 0584-$1664 0585-$488 0586-$812 0587-$976 0588-$1220 0589-$488 0590-$671 0592-$854 0593-$305 0595-$192 0596-$312 0597-$213 0598-$156 0600-$1024 0601-$384 0603-$2196 0604-$1159 0606-$244 0607-$427 0608-$704 0609-$281 0610-$468 0611-$152 0612-$156 0613-$976 0614-$671 0615-$640 0616-$732

0617-$549 0618-$281 0619-$457 0620-$854 0621-$427 0622-$793 0623-$183 0624-$274 0625-$250 0626-$256 0628-$93 0629-$244 0635-$244 0636-$213 0637-$244 0638-$244 0640-$183 0641-$375 0642-$274 0643-$610 0644-$244 0645-$274 0646-$91 0647-$274 0648-$518 0649-$152 0650-$312 0651-$335 0652-$122 0653-$274 0654-$335 0655-$305 0656-$518 0657-$518 0658-$187 0659-$183 0660-$416 0661-$218 0662-$335 0663-$406 0664-$305 0665-$1098 0666-$488 0667-$187 0668-$156 0669-$488 0671-$128 0673-$305 0678-$128 0679-$156 0681-$125 0682-$128 0683-$1024 0684-$366 0685-$488 0686-$244 0687-$244 0688-$187 0689-$427 0690-$183 0691-$448 0692-$213 0693-$562 0694-$122 0696-$437 0700-$192 0702-$183 0703-$183 0704-$244 0705-$854 0706-$305 0707-$4160 0708-$384 0709-$1216 0710-$437 0711-$305 0713-$312 0714-$250 0715-$1187 0716-$937 0717-$1187 0718-$427 0719-$488 0721A-$183 0722-$384 0723-$1464 0726-$1586 0727-$732 0728-$512 0730-$488

0731-$1708 0735-$1220 0740-$1586 0741-$1586 0742-$320 0743-$122 0744-$244 0745-$91 0746-$366 0747-$1708 0748-$2196 0749-$1708 0750-$366 0752-$1708 0753-$1280 0754-$1280 0755-$2048 0756-$768 0757-$896 0758-$4270 0759-$2560 0760-$610 0762-$2688 0763-$625 0764-$250 0765-$244 0766-$875 0767-$1098 0768-$244 0770-$1159 0771-$960 0775-$488 0777-$384 0778-$610 0779-$320 0780-$976 0781-$610 0782-$671 0783-$687 0786-$488 0787-$500 0788-$192 0791-$256 0792-$1664 0794-$915 0795-$274 0798-$832 0799-$366 0800-$427 0801-$244 0802-$244 0803-$562 0804-$384 0805-$610 0806-$1952 0807-$1408 0808-$812 0809-$549 0810-$122 0811-$125 0812-$256 0814-$4270 0815-$366 0816-$562 0817-$244 0818-$160 0819-$384 0820-$976 0821-$244 0822-$750 0823-$640 0824-$1464 0825-$854 0826-$793 0827-$1024 0828-$384 0829-$384 0830-$187 0832-$2074 0838-$1159 0840-$576 0841-$427 0842-$1220 0844-$375 0845-$305 0848-$244 0849-$366 0850-$375 0851-$125 0852-$793

0853-$732 0854-$915 0858-$244 0860-$384 0861-$896 0862-$305 0863-$244 0864-$384 0865-$687 0867-$610 0868-$256 0869-$1152 0870-$1062 0874-$448 0875-$244 0877-$384 0879-$875 0881-$1250 0883-$488 0885-$1125 0886-$244 0887-$122 0888-$1250 0891-$1125 0892-$732 0893-$3660 0895-$488 0897-$768 0899-$1280 0900-$183 0901-$335 0902-$1408 0903-$305 0905-$2250 0906-$375 0907-$625 0908-$1664 0910-$750 0911-$1280 0912-$768 0913-$244 0915-$10980 0916-$960 0917-$15860 0918-$1220 0919-$1920 0920-$8000 0921-$1500 0923-$1464 0925-$610 0926-$1000 0927-$750 0928-$1830 0929-$1250 0930-$3050 0931-$750 0932-$610 0933-$250 0935-$366 0938-$1250 0939-$1098 0941-$122 0944-$625 0948-$488 0949-$488 0950-$244 0951-$488 0952-$768 0953-$1536 0954-$1159 0957-$1220 0958-$793 0959-$671 0960-$2440 0961-$4480 0962-$915 0963-$704 0964-$512 0965-$305 0966-$256 0967-$256 0968-$512 0969-$375 0970-$1280 0971-$750 0973-$512 0974-$384 0975-$488 0976-$2196 0977-$549

0978-$640 0979-$640 0980-$812 0981-$122 0982-$256 0983-$488 0984-$500 0985-$244 0986-$976 0987-$244 0988-$366 0990-$488 0991-$183 0992-$610 0994-$610 0995-$854 0996-$128 0997-$274 0998-$1536 0999-$2562 1000-$256 1001-$213 1002-$427 1003-$488 1004-$305 1005-$732 1006-$610 1007-$576 1009-$1159 1010-$625 1011-$768 1012-$562 1013-$244 1014-$244 1015-$256 1016-$625 1017-$549 1018-$244 1019-$122 1021-$437 1024-$192 1031-$93 1032-$1159 1033-$352 1034-$122 1035-$128 1036-$854 1040-$768 1041-$183 1045-$448 1047-$256 1048-$544 1049-$732 1050-$2688 1052-$305 1054-$625 1055-$244 1056-$2250 1059-$366 1060-$512 1061-$512 1064-$128 1065-$335 1067-$500 1069-$500 1070-$976 1071-$91 1072-$437 1073-$625 1074-$448 1075-$366 1076-$244 1077-$1220 1078-$610 1079-$437 1080-$152 1081-$335 1082-$244 1083-$2562 1084-$192 1085-$125 1086-$224 1088-$192 1089-$732 1090-$122 1091-$152

Additional information at www.nealauction.com

July 8 & 9, 2017

0253-$1664 0256-$1220 0258-$768 0259-$1220 0260-$244 0261-$3050 0262-$2562 0264-$1342 0265-$1464 0266-$2440 0267-$5490 0268-$732 0269-$12160 0270-$10370 0271-$732 0272-$671 0274-$3355 0277-$1280 0278-$3200 0280-$640 0281-$7625 0282-$704 0283-$1920 0284-$1098 0285-$1000 0286-$625 0288-$244 0290-$1220 0291-$812 0292-$976 0295-$366 0296-$750 0297-$488 0298-$549 0300-$244 0301-$732 0304-$854 0305-$854 0306-$4880 0307-$1000 0308-$976 0309-$976 0310-$1000 0311-$1708 0312-$1159 0313-$2440 0315-$3782 0318-$1586 0319-$3050 0320-$1280 0321-$1098 0324-$3172 0325-$610 0326-$768 0327-$2560 0332-$854 0335-$2048 0336-$640 0337-$1220 0338-$1830 0340-$500 0341-$671 0342-$896 0343-$3050 0344-$732 0345-$3294 0346-$183 0347-$384 0348-$1708 0349-$448 0350-$366 0353-$512 0354-$366 0356-$1464 0357-$610 0361-$1152 0362-$5000 0363-$875 0364-$1875 0365-$875 0366-$1664 0368-$732 0369-$1952 0370-$1536 0371-$549 0373-$1220 0374-$3172 0375-$1220 0376-$549 0378-$1037

â&#x20AC;¢

0143-$488 0144-$1408 0145-$976 0146-$1952 0147-$1280 0149-$1464 0150-$1408 0151-$2196 0152-$3050 0154-$976 0155-$512 0156-$183 0157-$793 0159-$488 0160-$640 0161-$500 0165-$610 0166-$3050 0167-$16875 0168-$3437 0170-$976 0171-$2684 0174-$2048 0175-$2250 0176-$1830 0177-$8320 0178-$2928 0179-$11250 0180-$1220 0181-$750 0182-$1220 0183-$1220 0184-$1037 0186-$1464 0187-$1586 0188-$448 0189-$2562 0190-$1408 0191-$1952 0192-$793 0193-$427 0194-$2806 0195-$1708 0196-$2500 0197-$488 0198-$1220 0199-$6250 0200-$25620 0201-$8540 0202-$2562 0203-$1952 0204-$10675 0205-$1952 0206-$1952 0207-$1098 0208-$488 0209-$1220 0210-$1464 0211-$250 0212-$1098 0214-$2074 0215-$488 0216-$2928 0218-$16470 0219-$11590 0220-$3660 0224-$36600 0226-$10370 0227-$35840 0228-$5760 0229-$11250 0230-$6100 0230A-$14640 0232-$1250 0233-$4160 0234-$3965 0235-$2176 0236-$3660 0237-$20130 0238-$3437 0240-$6710 0241-$750 0242-$2318 0243-$1586 0244-$3965 0245-$976 0246-$640 0250-$2250 0251-$1220 0252-$1408

Auction Results

0001-$183 0003-$1250 0004-$549 0006-$1220 0008-$1342 0009-$976 0011-$4270 0013-$1098 0016-$1220 0017-$854 0018-$896 0019-$5795 0020-$1220 0021-$488 0022-$1342 0023-$1664 0024-$1830 0025-$1830 0026-$1342 0027-$5760 0028-$1952 0029-$875 0030-$1464 0031-$4270 0032-$7625 0033-$4480 0034-$1920 0036-$2074 0038-$2074 0040-$488 0041-$9455 0043-$1152 0044-$610 0045-$366 0045A-$244 0046-$1220 0048-$1586 0050-$305 0052-$1220 0054-$1098 0055-$488 0056-$976 0057-$1625 0058-$1830 0062-$4575 0064-$500 0065-$488 0066-$854 0069-$366 0070-$976 0073-$4636 0077-$2440 0081-$896 0082-$488 0086-$2440 0089-$875 0090-$1830 0091-$610 0092-$610 0093-$488 0094-$366 0096-$915 0097-$488 0098-$610 0099-$488 0100-$549 0101-$427 0102-$1220 0105-$2000 0106-$976 0107-$732 0108-$2684 0110-$610 0111-$1464 0117-$1830 0118-$1664 0121-$610 0123-$427 0124-$1220 0127-$7040 0128-$976 0129-$1000 0130-$3965 0132-$1024 0133-$3050 0134-$488 0136-$640 0137-$1464 0138-$1342 0142-$610

139

Notes

140

Neal Auction Company John R. Neal Neal Alford Katherine Hovas Chairman President Senior Vice President Marc Fagan Vice President Consignments

Michelle LeBlanc Leckert, CAI Vice President

Bettine Field Carroll Vice President Business Development

ADMINISTRATION

AUCTIONEERS

Neal Alford #797 Michelle LeBlanc Leckert #1514 Bettine Field Carroll #1874

Marc Fagan #1935

GENERAL MANAGER

Jason Leckert

GRAPHICS Graphics Director Dave Roberts Catalogue Design Emory Nolan Photography Jason Leckert Gerard Lewis Owen Murphy Tom Simpson

OPERATIONS Director of Operations Charles Lee Operations Staff Charlie Clay Kelvin Gibson Jerry Majors Robert Wilson Marvin Varnado

EXHIBITION STAFF

Cecile Ballard Ann Mahorner Cammie Mayer Margo Phelps Yvette Semmes Clare Stewart Carolyn Wogan Sybil Lawson, Emerita

AUCTION SERVICES Director of Museum Services & Research Douglas Lewis, Ph.D., F.A.A.R. Trust & Estates Advisor Henry G. McCall Senior Appraiser Fine Arts Amanda Mantle Winstead Appraisals Marc Fagan

Neal Auction Company September 9 & 10, 2017

Neal Auction Company Important Fall Estates Auction September 9 & 10, 2017