Louisiana Purchase Auction - November 23 & 24, 2019 by Neal Auction

Neal Auction

Louisiana Purchase Auction November 23 & 24, 2019

~ On Our Premises ~ 4038 Magazine Street & 3923 Carondelet Street

Featuring:

18th and 19th c. American, French and English antiques, important paintings, historical material and decorative arts especially consigned by discerning collectors, estates and institutions including: Estate of Stephen G. Henry, Jr. Baton Rouge, LA Contents of 511 St. Ann, Historic Pontalba, New Orleans Fine Art and Natural History Prints from the Collection of Suzanne and Gray Sexton, Baton Rouge, LA Estate of Ruth S. Bodenheimer, Lanaux Mansion, 547 Esplanade Ave., New Orleans Important Decorative Arts from a Prominent Collector and Connoisseur, Part II Select Property from an Esteemed Lady Antiquarian Estate of an Uptown New Orleans Lady Fine Art, Sculpture and Art Glass from the Estate of Jesse Lee Leonard III, Lafayette, LA Part II, Property from the Collection of Dr. and Mrs. Frederick Schwitz, Franklin, LA

EXHIBITION Both galleries beginning Monday, November 11, 10 a.m. to 5 p.m. Special Saturday Preview, November 16, 10 a.m. to 5 p.m. Evening Preview Reception Thursday, November 21, 5 to 7 p.m. AUCTION SCHEDULE Saturday, November 23, 10 a.m., 4038 Magazine Street Sunday, November 24, 10 a.m., 3923 Carondelet Street

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 #1874, Fagan #1935

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THE PONTALBA BUILDING 511 ST. ANN Neal Auction Company is pleased to offer the

contents of 511 St. Ann, a family’s French Quarter pied a terre for nearly three decades. 511 St. Ann is located in the Lower Pontalba, one of the twin blocks of row houses built by Baroness Micaela Almonester de Pontalba in 1848-1850. The Pontalba Buildings flank Jackson Square and frame the important 18th c. structures on the north side of the square: St. Louis Cathedral, the Cabildo and the Presbytere. There is no more iconic address in New Orleans than the Pontalba. Storied residents of the Pontalba from earlier days include famed soprano Jenny Lind, writers Katherine Anne Porter, William Faulkner and Sherwood Anderson, and photographer Clarence John Laughlin. Previous residents of this noted Lower Pontalba apartment include Carolyn Ramsey, photographer, writer and member of the Melrose Plantation coterie. Her photographs illustrate the famous Melrose Cookbook, written by Clementine Hunter and Francois Mignon. Prior to Ramsey, the apartment was occupied by Frans Blom, the Danish archaeologist noted for his Mesoamerican discoveries. He also taught at Tulane University where he headed the Department of Middle American Research. 511 St. Ann was furnished most appropriately for an elegant 19th century Creole townhouse, including an important early Louisiana bed and daybed, American Classical and Louis Philippe furnishings, portraits, Paris porcelains and period lighting, all put together with an “a la francaise” sensibility.

Photos courtesy of Gross & Daley www.grossanddaley.com

Featured in Creole Houses: Traditional Homes of Old Louisians, pp. 60-65.

THE ESTATE OF

RUTH ANN SPORL BODENHEIMER HISTORIC LANAUX MANSION 547 ESPLANADE AVE. NEW ORLEANS

native of New Orleans, Ruth Bodenheimer (1939 â&#x20AC;&#x201C; 2019) had a lifelong career as a devoted ambassador of her city.

She worked as a consultant and appraiser at Mortonâ&#x20AC;&#x2122;s Antiques during the late 1960s, where she was able to apply her love of history and passion for preservation. In 1972, Bodenheimer began working for Gray Line Sightseeing, which marked the beginning of a long career dedicated to the promotion of New Orleans as premier tourist destination. In the 1980s, Bodenheimer launched a fifteen-year career with the New Orleans Steamboat Company, where she was responsible for creating Visit New Orleans, a division of the company specializing in destination event planning. Furthering her passion for historic preservation, Bodenheimer fulfilled her dream of restoring a historic New Orleans home when she purchased the Lanaux Mansion on Esplanade Avenue in the Faubourg Marigny in 1986. Originally built in 1879 for attorney Charles Andrew Johnson, Bodenheimer transformed the property into a lavishly period-decorated bed and breakfast. The carefully restored home was used in the 2008 film The Curious Case of Benjamin Button, starring Brad Pitt.

Neal Auction Company is pleased to present select objects from the Estate of Ruth Bodenheimer, all meticulously collected from the interiors of the historic Lanaux Mansion.

Photos courtesy of NOLA Real Estate Marketing LLC

Session One Saturday, November 23, 10 a.m. 4038 Magazine

Additional information at www.nealauction.com

2. Biedermeier Parcel Gilt Fruitwood Vitrine Cabinet, 19th c., molded dished top, three hippocampus supports, case with glazed panels, upholstered rear door, shelf interior, self base, foliate webbed feet, h. 52 in., dia. 18 1/2 in. [$800/1200]

1. Queen Anne Walnut Stool, 18th c., inset upholstered seat, cabriole legs, pad feet, h. 19 in., w. 16 1/2 in., d. 21 1/2 in. [$300/500] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

3. Antique Venetian Polychromed Satinwood Nesting Tables, each with musical trophy reserve, banded top with foliate decoration, turned blocked legs, stretcher base, outswept legs, largest h. 21 3/4 in. m w. 18 5/8 in., d. 12 in., smallest h. 20 5/8 in., w. 14 in., d. 12 in. [$200/300]

4. 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. [$500/800]

7. Hermes Silk “Napoleon” Scarf, sight 34 in. x 33 in., framed. [$200/300] 5. French Tole Peinte Gallery Tray on Stand, grapevine and landscape motifs, folding scrolled stand, h. 19 1/4 in., w. 30 in., d. 22 in. [$500/800]

8. French Armorial Banner, painted with a crown above the arms of “de la Saigne de St. George”, suspending a beribboned Legion d’honneur medal, sight 43 in. x 29 in., framed. [$300/400]

6. Continental Zuber‑Style Five‑Panel Screen, 19th c., figural and floral still life cartouche, floral and classical borders, h. 76 in., w. 130 in., d. 1 1/4 in. [$1200/2000]

9. Pair of Restauration‑Style Patinated Bronze and Marble Six‑Light Candelabra, late 19th c., removable flame finial, incurvate triangular base, h. 28 in., dia. 10 1/4 in. [$800/1200]

10. French Provincial Carved Oak Commode, early 19th c., shaped top, bead‑decorated drawers and apron, scrolled feet, h. 48 in., w. 32 3/4 in., d. 19 in. [$1000/1500]

11. Continental Specimen Marble and Cast Iron Table, reticulated columnar standard with grapevine motif, base, scrolled feet, h. 30 in., dia. 24 in. [$800/1200]

12. Pair of Antique Louis XVI‑Style Crème Peinte and Parcel Gilt Fauteuils, oval back, padded scrolled arms, tapered fluted legs, h. 36 1/2 in., w. 24 in., d. 20 1/2 in. [$600/800]

13. Italian Renaissance Fruitwood Armchair, 17th c., carved bust crest rail with wreath surround, flanked by cherubs, lappet carved stiles, relief carved fruit and swag slat, spiral turned legs and stretchers, bun feet, h. 53 in., w. 28 in., d. 34 in. [$800/1200]

14. Eight Vintage Louis XV‑Style Painted and Parcel Gilt Dining Chairs, early 20th c., padded back and seat, leather upholstery with nailhead trim, shell and foliate gilt accents, raised scroll feet, h. 42 1/4 in., w. 19 1/2 in., d. 21 1/2 in. [$1000/1500] Provenance: Lucullus Antiques, New Orleans.

15. Empire Bronze‑Mounted and Parcel Ebonized Mahogany Dressing Mirror, early 19th c., lyre and swag crest, columnar supports, bulbous stretcher, outswept pad feet, h. 36 1/2 in., w. 19 in., d. 14 1/2 in. [$700/900]

16. Antique French Painted Tall Case Clock, early 19th c., scroll‑carved case, brass repoussé dial, later electric movement, h. 90 1/2 in., w. 12 in., d. 8 1/2 in. [$700/1000]

17. Hisao Domoto (Japanese, 1928‑2013), “Solution de Continuité”, 1966, oil on canvas, signed and dated lower right, signed, dated and inscribed en verso, partial period orange label on stretcher, 24 in. x 36 in., framed.[$15000/25000] Provenance: Acquired New York, early 1970s; thence by descent.

Note: Hisao Domoto was born in 1928 in Kyoto, Japan to a family of highly-regarded artists. While he became well-versed in Japanese artistic techniques and media, he felt restricted by them. His curious spirit and drive to evolve led him to Paris in 1955, where he studied oil painting and immersed himself in the post-war creativity of that vibrant western mecca. While the new medium allowed him a freedom that he felt Japanese painting stifled, he soon realized that his true artistic statement would be in combining his mastery of the two techniques, which can be seen in the painting offered here.

18. Erté (Romain De Tirtoff) (Russian/ French, 1892‑1990), “Willow Tree”, 1989, gilt and polychromed bronze, signed, dated, numbered “369/375”, and “Chalk & Vermilion and Sevenarts” on self‑base, h. 22 3/4 in., w. 12 1/2 in., d. 4 1/2 in., marble base, overall h. 24 1/2 in. accompanied by copy of authentication documentation from Chalk & Vermilion, Greenwich, CT. [$1500/2500]

Domoto utilizes the characteristic undiluted colors of his Solutions de Continuité series. The thick black brushstrokes blot out the bold red background, the edges dripping and thick. The asymmetry of the composition harkens back to the Japanese Buddhist notion of “wabi sabi,”the appreciation for the impermanent, incomplete, and imperfect. This melding of cultures and styles garnered Domoto much acclaim, and his works remain coveted by collectors of post-war art.

Provenance: Martin Lawrence Galleries, New Orleans, June 2005.

19. Bronze Figure of a Jester after “L’Arlequin” by René de Saint‑Marceaux, h. 20 1/4 in., w. 7 1/2 in., d. 5 in. [$300/500]

20. Patinated Bronze Figure of Ceremonial Drummer, h. 10 in., w. 5 in., d. 5 in. [$250/350]

21. English Carved and Gilded Convex Mirror, 19th c., later eagle crest and floral candlearms, spherule mounted cavetto, ebonized rabbet, h. 27 in., w. 26 in. [$400/600]

22. Louis Philippe Gilt Bronze Portico Clock, 19th c., rosette and palmette‑decorated columns and bezel, h. 19 3/4 in., w. 10 1/4 ion., w. 6 1/4 in. [$1000/1500]

23. Swiss Tortoiseshell and Gilt Bronze Carriage Clock, early 20th c., dial marked “Gubelin/Lucerne”, h. 9 in., w. 4 1/2 in., d. 3 3/4 in. [$400/600]

24. Pair of Wedgwood Black Basalt Sphinxes, c. 1840‑45, impressed “Wedgwood” and “Etruria”, h. 9 in., w. 7 in., d. 4 in. [$500/700] Provenance: Del Ray Simmons Antiques, Atlanta, 2008.

Additional information at www.nealauction.com

27. Wedgwood Black Basalt Covered Urn, late 19th/early 20th c., impressed circular “WEDGWOOD & BENTLEY: ETRURIA”, swags, sibyl finial, h. 6 1/2 in., dia. 5 3/4 in. [$300/500]

25. Extensive Coalport Apple Green and Gilt Dinner Service, 1852‑1880, several pieces with 1852 registry marks, others with “A.D.1780” marks, incl. 5 covered tureens, h. 5 3/4 in. to 10 1/2 in., w. 7 in. to 12 1/4 in.; 7 platters, l. 10 1/2 in. to 16 1/2 in.; pair of cake dishes, w. 9 1/2 in.; dome; 26 dinner plates, dia. 10 in.; and 12 soups, dia. 10 1/2 in. (50 pcs.) [$800/1200]

26. Wedgwood Yellow Jasperware Coffee Cann and Saucer, c. 1805, each impressed uppercase mark with illegible letter, basalt Egyptianesque ornamentation, h. 2 1/2 in., dia. 4 3/4 in. [$400/600]

Provenance: Lolly Chase Antiques, Millis, MA, 2004.

Provenance: Earl Buckman Antiques, Dallas, 2005.

30. Two Chinese Export Mandarin Palette Porcelain Tankards, 18th c., Qianlong, dragon handles, decorated with figural cartouches on an iron red diaper ground with smaller floral spray or landscape cartouches, h. 5 1/8 in. and 5 in.; together with large “chicken‑skin” example, raised gilt borders, lacking handle, h. 5 5/8 in. (3 pcs.) [$600/800]

28. Pair of Wedgwood Black Basalt Figural Oil Lamps, 19th c., impressed ‘C’ and uppercase mark, woman reading and woman pouring vessel, h. 8 1/2 in., w. 7 1/2 in., d. 4 1/4 in. [$500/800]

Provenance: Harbor View Antiques, Stamford, 2003; Irene Feddern, 2004; and Steve’s Antiques, 2003. 29. Wedgwood Majolica Figural Centerpiece, 19th c., impressed uppercase mark, merboy holding coral vessel, h. 15 in. [$800/1200]

33. Chinese Export Mandarin Palette Porcelain Garniture Vase, 18th c., Qianlong, lobed body decorated with domestic scenes and bird in landscape cartouches on an iron red and gilt y‑diaper ground, h. 9 1/8 in. [$400/600] 31. Four Chinese Export Mandarin Palette Porcelain Covered Tea Caddies or Teapoys, 18th c., Qianlong, stem feet with openwork applied wave scrolls, decorated with figural scenes on various diaper grounds, h. 5 in. to 5 1/2 in.; together with another example, lacking lid, h. 4 in. (5 pcs.) [$600/900] Provenance: Henry Moog, Atlanta, 2002 and 2004; Lyons & Harper, 2005; Harbor View Antiques, Stamford, 2004; and Northeast Auction, Aug. 2005.

Provenance: Sue O’Donnell, 2004. 32. Chinese Export Mandarin Palette Porcelain Wash Bowl, 18th c., Qianlong, decorated with a female holding a bird with acolytes at her side, reserved on a vibrant iron red and gilt y‑diaper ground with sepia bird in landscapes and purple flower sprays, h. 4 in., dia. 10 1/2 in. [$400/600] Provenance: Michael Higgins, Atlanta, 2001.

34. Gilt Bronze‑Mounted Chinese Famille Rose Porcelain Bowl, 19th c., porcelain decorated with alternating figural and floral panels, bronze scroll handles, reticulated rim, stem food, square plinth base, h. 12 1/4 in., w. 16 in., d. 11 5/8 in. [$1200/1800]

35. Indo‑Portuguese Inlaid Rosewood and Tortoiseshell Collector’s Cabinet, late 18th c., one long drawer over two short drawers, mahogany secondary wood, scalloped bracketed base, h. 13 3/4 in., w. 19 in., d. 12 in. [$4000/6000]

36. Pair of Empire Rouge Marble and Gilt Bronze Candle Vases, early 19th c., Neoclassical‑form cassolettes with pierced, convertible candle lids, continuous frieze of Bacchic putti, tall plinth base, h. 12 in., dia. 3 7/8 in. [$2000/3000]

37. Pair of Charles X Patinated Bronze and Sienna Marble Medici Urns, 19th c., tall pedestal base, h. 14 3/4 in., w. 5 in., d. 5 in. [$1000/1500] 38. Neoclassical‑Style Gilt and Patinated Bronze Lamp, fluted column, on tall plinth, h. (to socket) 32 in., w. 6 in., d. 6 in. [$700/900]

40. George III Tortoiseshell Sarcophagus Form Tea Caddy, interior with two lidded compartments, on ball feet. h. 5 in., w. 8 1/2., in d. 5 in. [$1000/1500]

41. George III Tortoiseshell Tea Caddy, domed cover, interior with two lidded compartments, on ball feet. h. 5 in., w. 6 1/2., d. 4 1/4 in. [$1000/1500]

39. Continental Bronze Figure of the Lion of St. Mark, rouge marble base, h. 7 1/2 in., w. 9 1/2 in., d. 4 in. [$300/500]

43. Late Georgian Sterling Silver Figural Centerpiece, marks rubbed, with addorsed figures of maidens with laurel wreaths, plinth with cast flowers and leaves, foliate bracketed shell feet, with cut glass center bowl, overall h. 14 7/8 in., w. 12 1/8 in., wt. 45.95 troy ozs. [$1200/1800]

42. Pair of George II Sterling Silver Candlesticks, Ebenezer Coker, London, 1760, rococo shell decoration, removable bobeches, h. 10 3/8 in., wt. 42.45 troy ozs. [$1200/1800]

45. Suite of George II Sterling Silver Castors, incl. large and near pair of smaller, Jabez Daniell, London, 1757, each footed baluster form with pierced cover and flame finial, h. 8 3/8 in. and 6 3/8 in., total wt. 17.57 troy ozs. [$500/750]

44. Antique English Sterling Silver Gilt Cup and Cover in the Georgian Taste, Edward Barnard & Sons, London, 1896, h. 11 3/4 in. [$1000/1500]

46. Pair of French First Standard Silver Two‑Light Candelabra in the Rococo Taste, h. 7 5/8 in., w. 8 1/8 in., wt. 56.35 troy ozs. [$1200/1800]

47. George III Tortoiseshell Tea Caddy, early 19th c., sarcophagus form, lid with blank cartouche, interior with two lidded compartments, ball feet, h. 5 3/4 in., w. 7 1/2 in., d. 4 1/2 in. [$1000/1500]

Additional information at www.nealauction.com

50. Sir William Beechey, R.A. (British, 1753‑1839), “’The Little Gleaner’, Portrait of Charlotte Earle Beechey (1801‑1849), the Artist’s Daughter”, oil on canvas, unsigned, “Barbizon House, London” label, “Newhouse‑Galleries Inc., New York” labels with artist and title, handwritten label with biographical information on the sitter and “M. Grieve Co., New York‑London” stamps on reverse of frame, 36 in. x 28 in., antique gilt frame with plaque identifying artist and sitter. [$2500/3500]

48. English Brass‑Mounted Mahogany Tantalus, mid‑19th c., cut crystal decanters, Classical frieze, h. 12 1/2 in., w. 14 1/2 in., d. 5 1/2 in. [$300/500]

Provenance: Barbizon House, London; Newhouse‑Galleries Inc., New York; Neal Auction Company, Oct. 2, 1993, lot 513; Collection of the late Drs. Arnold and Helene Gerall, New Orleans.

49. English Chinoiserie Tole Peinte and Brass‑Mounted Terrarium, 19th c., urn finial and dolphin‑mounted hinged top, seeded glass case, molded base, cabriole legs, pad feet, h. 58 in., w. 24 3/4 in., d. 18 1/2 in. [$600/800]

52. Restauration Carved Mahogany Center Table, early 19th c., dished black marble top, reverse tapered molded standard, incurvate triangular base, casters, h. 29 1/2 in., dia. 38 in. [$800/1200]

53. Pair of Restauration Brass‑Mounted Mahogany Bergeres, early 19th c., scrolled back, lappet carved arms, saber legs, casters, h. 39 in., w. 26 in., d. 19 in. [$1200/1800]

51. British School, 19th c., “Portrait of Three Children with Dog”, oil on canvas, unsigned, 46 1/4 in. x 38 3/8 in., framed. [$3000/5000]

54. Italian Rococo Carved Walnut Chest of Drawers, likely 17th/18th c., plank top, four drawers with grapevine motif, elaborately carved acanthine stiles, bracketed base, h. 47 3/4 in., w. 62 in., d. 26 in. [$2000/3000]

56. Neoclassical Carved and Painted Daybed, 18th c., outswept arms with carved lyre splats, swag and cameo carved seat rail, tapered blocked legs, h. 30 1/2 in., w. 93 in., d. 28 3/4 in. [$1500/1800]

55. Biedermeier Parcel Ebonized and Inlaid Center Table, early 19th c., segmented veneered top, urn and scroll blocked frieze, incurvate triangular stretcher shelf, eagle head mounts, foliate carved legs, hairy paw feet, h. 30 1/4 in., dia. 32 in. [$600/800]

57. Three Régence Carved Walnut Side Chairs, 18th c., arched foliate carved crest rail, padded back and seat, scroll and foliate carved seat rail, knees and feet, h. 40 1/4 in., w. 20 3/8 in., d. 18 in. [$700/900]

58. Neoclassical‑Style Brass and Bronze‑Mounted Mahogany Jardinière, 20th c., shaped brass gallery, copper liner, scrolled supports, figural mount, incurvate triangular base, casters, h. 33 1/2 in., dia. 17 1/2 in. [$300/500]

59. Empire Bronze‑Mounted Mahogany Meridienne, 19th c., splayed legs with floral mounts and roundels, green velvet upholstery, h. 37 in., w. 64 in., d. 24 in. [$800/1200]

60. Robert Jupe‑Style Exotic Woods Inlaid Mahogany Extension Dining Table, early 20th c., stamped “CASA MUZARD”, segmented top with crank extension mechanism, reeded standard, shaped legs, lobed feet, h. 32 in., dia. 54 1/2 in. [$4000/5000]

Provenance: Lucullus Antiques, New Orleans; Williamson‑LeBlanc Collection, Cornstalk Fence House, New Orleans.

61. American Late Federal Carved Mahogany Sideboard, early 19th c., possibly Duncan Phyfe, New York, arched backsplash, bowfront top flanked by raised plinths with drawers, figured paneled doors below long drawer above recessed cabinet doors, flanked by small drawers and bottle drawers, reeded tapered legs, brass ball feet, h. 50 1/2 in., w. 76 1/2 in., d. 26 1/2 in. [$1500/2500] Note: A nearly identical Duncan Phyfe sideboard dated to 1807 was illustrated in The Antiquarian, March 1930. Ref.: Kenny, Peter M. et al. Duncan Phyfe: Master Cabinetmaker in New York. New York: The Metropolitan Museum of Art, 2011, p. 78, fig. 78.

62. American Late Classical Carved Mahogany Bookcase, c. 1840, probably New York, flared cornice, dentilated bracketed frieze, Gothicized paneled glazed doors, adjustable shelf interior, molded blocked feet, h. 90 1/2 in., w. 63 1/4 in., d. 21 1/4 in. [$1500/2500]

63. American Classical Bronze‑Mounted Mahogany Box Sofa, early 19th c., New York, rounded crest rail, columnar supports, turned floral and wreath carved front legs, casters, h. 33 1/4 in., w. 84 in., d. 27 1/2 in. [$3000/5000]

64. American Classical Mahogany Curule Footstool, early 19th c., saddle seat, chamfered stretcher, h. 15 1/2 in., w. 21 1/2 in., d. 14 3/4 in. [$300/500]

67. American Carved Oak Two‑Part Cabinet, mid‑19th c., attr. to Alexander Roux, New York elaborately carved scrolled acanthine crest, turned finials, arched double‑scrolled cornice, egg and dart molded cartouche glazed doors, flanked by caryatid stiles, scalloped and beaded shelves, lower case with two foliate frieze drawers, hunt and harvest relief‑carved doors, stepped base, h. 104 1/2 in., w. 57 1/2 in., d. 22 1/2 in. [$4000/6000]

65. American Classical Mahogany Armchair, 19th c., tablet crest rail, concave rectangular reeded back slat, S scroll arms with boss terminals, caned seat, reeded sabre legs, h. 32 1/2 in., w. 20 in., d. 23 in. [$400/600]

66. American Late Classical Carved Rosewood Portfolio Stand, c. 1840, scalloped spurred top, blind fret bossed supports, turned stretchers, scrolled feet, h. 42 in., w. (closed) 25 in., w. (open) 42 3/4 in., d. (closed) 25 1/2 in., d. (open) 27 1/2 in. [$1500/2500]

Note: The elegant and exuberantly carved two-part cabinet offered here shares many similar aspects with the cabinetry of Alexander Roux, most notably the carved trophy relief panels on the lower portion of the cabinet. Among mid-19th century New York cabinetmakers, Roux was most known for incorporating animal figures in his elaborate pieces and often used themes of hunt and harvest, adhering to the French Renaissance Revival tradition. Roux displayed a sideboard with hunt and harvest carvings at the Crystal Palace Exhibition of 1853 in New York and was commissioned to make a pair of related sideboards for the Astor family. This cabinet is closely related to a sideboard in the collection of the Metropolitan Museum of Art in New York and a similar oak two-part cabinet sold in these rooms as lot 266 on June 28, 2014. Ref.: The Metropolitan Museum of Art. metmuseum.org/toah/ works-of-art/1993.168. Accessed October 21, 2019.

Additional information at www.nealauction.com

68. Rare American Rococo Carved and Laminated Rosewood Sofa, c. 1850‑1860, attr. to John Henry Belter, New York, elaborately carved floral and urn serpentine high crest with scrolled acanthus and dolphin motif, cornucopia uprights, serpentine fruit and floral‑carved seat rail, foliate cabriole legs, casters, h. 53 3/4 in., w. 91 in., d. 34 in. [$40000/60000]

Note: This sofa and the armchair in the following lot are remarkable examples among a rare group of seated furniture by New York cabinetmaker John Henry Belter, all with highly ornate carvings and extensive sculptural crests. The two lots are some of the most elaborate examples of Belter’s work, and show distinctive design elements unique among Belter’s seated furniture, including the floral urn and dolphin design within the crest. A sofa held in the Victoria and Albert Museum in London that belonged to industrialist Sir Alfred Owen features an intricate floral crest and similar overall proportions that are closely related to the sofa offered here. Other related sofas are conserved by the Museum of the City of New York, the Virginia Museum of Fine Arts, Richmond, the Milwaukee Art Museum, and the Metropolitan Museum of Art. The sofa and armchair offered here are also closely related to a suite of seated furniture sold in these rooms on September 24, 2016 from The Service Collection, Estate of Grant A. Oakes, Warren, OH. Ref.: Victoria and Albert Museum. Collections. collections.vam.ac.uk/item/O59258/sofa-belter-johnhenry/. Accessed October 21, 2019. The Victoria and Albert Museum example is also featured on the cover of Eileen and Richard Dubrow’s publication American Furniture of the 19th Century.

70. American Gothic Carved Rosewood Center Table, c. 1840, New York, octagonal Egyptian‑style marble top, molded shaped apron, inset spandrel flanked Gothicized arches, cluster column supports, molded paneled base, casters, h. 30 1/4 in., w. 41 1/4 in., d. 41 1/4 in. [$4000/6000]

Note: Various aspects of the center table in the present lot, including the octagonal marble top, pendant frieze, Gothicized arches, and cluster column supports, relate to known examples of Gothic Revival center tables based on a design attributed to New York architect Alexander Jackson Davis. In 1845, Davis designed Belmead, the Gothic Revival home of builder Philip St. George Cocke of Powhatan County, Virginia, and also designed the furniture for the interiors of the home, including a related center table now conserved by The Art Institute of Chicago. Alexander Jackson Davis-designed tables were typically made by prominent New York firms such as J. & J. W. Meeks or Alexander Roux.

69. Rare American Rococo Carved and Laminated Rosewood Armchair, c. 1850-1860, attr. to John Henry Belter, New York, elaborately carved urn and floral high crest with dolphin decoration, foliate and acorn stiles, floral cornucopia uprights, serpentine seat rail, acanthine cabriole legs, h. 44 1/2 in., w. 27 in., d. 32 in. [8000/12000]

Ref.: Davies, J. B. “Gothic Revival Furniture of Alexander J. Davis,” The Magazine Antiques. May 1977, p. 1021; Howe, Katherine S. and David B. Warren. The Gothic Revival Style in America, 1830-1870, p. 41. The Art Institute of Chicago. “Belmead Center Table.” artic.edu/ artworks/156073/belmead-center-table. Accessed October 22, 2019.

71. American Federal Painted, Stenciled, and Parcel Gilt Sofa, early 19th c., acorn and leaf motif crest rail, caned back and sides, outswept turned legs, cuffs and casters, h. 32 1/2 in., w. 78 in., d. 30 in. [$1000/1500]

72. American Renaissance Gilt‑Incised, Parcel Ebonized Walnut and Marquetry Pedestal, late 19th c., urn form top, reverse‑tapered standard, plinth base, h. 41 1/2 in., w. 12 in., d. 12 in. [$700/900] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

73. English Carved Mahogany Metamorphic Trolley, mid‑19th c., pierced stretcher, blocked base, scrolled feet, casters, h. (open) 47 1/2 in., h. (closed) 32 1/2 in., w. 45 in., d. 21 1/8 in. [$700/1000]

74. English Aesthetic Ebonized and Parcel Gilt Footstool, late 19th c., passementerie‑upholstered seat, tapered spiral turned legs, finialed stretcher, h. 20 in., w. 17 in., d. 17 in. [$250/500]

75. Regency Mahogany Canterbury, early 19th c., finialed turned stiles, slatted divider, frieze drawer, turned legs, casters, h. 21 1/2 in., w. 19 1/4 in., d. 13 3/4 in. [$250/350]

77. Continental School, 1831, “Still Life and Nature Morte with Peaches, Fruit and Birds in a Naturalistic Setting”, oil on canvas, indistinctly signed and dated lower left, 19 1/2 in. x 24 in., framed. [$1500/2500]

78. Eugene Henri Cauchois (French, 1850‑1911), “Still Life with Melon, Grapes and Peaches”, oil on canvas, signed lower right, 27 5/8 in. x 41 1/2 in., framed. [$2000/3000]

76. 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. Basilius Besler (German, 1561‑1629), “Poma Amoris Fructu Luteo”, “Ranunculus Varieties”, “Solanum Poniferum”, “Colocasia” and “Nicstiana Varieties”, 5 hand‑colored copperplate engravings, from Hortus Eystettensis, sights 20 in. x 16 in., framed alike. (5 pcs.) [$700/1000]

79. Antoine Bouvard, Sr. (French, 1870‑1956), “Venetian Canal” and “Venetian Canal with View of Santa Maria della Salute”, 2 oils on canvas, signed “Marc Aldine” lower left and right respectively, each 8 1/2 in. x 10 1/2 in., framed alike. (2 pcs.) [$2500/3500]

81. Fine Swiss Inlaid Changeable Cylinder Music Box on Stand, 19th c., B. A. Bremond, Geneva, 3 cylinders (dia. 2 1/4 in.), 24 aires, case with integral base, with storage drawer, with chromolithograph list of songs, and original directions for changing cylinders, h. 35 1/2 in. w. 42 1/2 in., d. 17 in. [$2500/3500]

85. Henry Charles Fehr (British, 1867‑1940), “Cold Spring”, bronze, signed and “© ASB” inscribed on self‑base, h. 48 1/2 in., marble base, overall h. 49 1/2 in. [$2000/3000]

82. Bronze Bust of Napoleon, “1815”, royal crest and title plaque on self‑base, indistinct signature inscribed on truncation, h. 14 1/2 in., w. 6 1/2 in., d. 5 1/4 in. [$800/1200]

83. Bronze Bust of Statesman, h. 8 3/8, w. 5 1/4 in., d. 3 in., on plinth with marble base, overall h. 12 in. [$800/1200] 84. Tiffany Favrile Glass “Jack‑in‑the‑Pulpit” Vase, early 20th c., base etched “L. C. Tiffany Favrile 2170 N “ h. 19 1/2 in., w. 10 1/2 in. [$8000/12000]

86. Pair of Large Chippendale‑Style Carved Limewood Two‑Light Sconces, 19th c., h. 48 in., w. 29 in., d. 10 in. [$2000/3000]

Additional information at www.nealauction.com

87. Pair of English Gilt Bronze Double Argand Lamps, c. 1830, griffin supports, h. 17 1/4 in., w. 17 in., d. 7 1/2 in. [$1200/2000]

89. Pair of Napoleon III Gilt and Patinated Bronze Candlesticks, late 19th c., fluted shaft, tripartite paw foot base, now mounted as lamps, h. (to. socket) 26 in., dia. 8 in. [$1200/1800]

90. Tiffany Studios Table Lamp, c. 1900, geometric domed shade in butterscotch leaded‑glass, marked “TIFFANY STUDIOS NEW YORK 1436”, bronze converted oil‑lamp base in “Pine Needle” design, marked with the monogram “TGDCO” (Tiffany Glass and Decorating Company), over “TIFFANY STUDIOS/ NEW YORK/D443/19”, fitted with three‑arm fixture, h. 21 3/4 in., shade dia. 16 in. [$4000/6000]

92. Mauser Sterling Silver Centerbowl in the Neoclassical Taste, act. Mount Vernon, NY, 1892-1913, ret. Brand-Hier Co., everted rim with cornucopiae and reticulated detail, h. 3 7/8 in., dia. 14 3/4 in., wt. 43.55 troy ozs. [1000/1500]

93. Fine Louis Philippe Silver Figural Tureen, c. 1840, Charles‑Antoine‑Amand Lenglet, Paris, 32 rue Bourg‑Labbé, act. 1823‑1842, French export marks for 1840‑1879; domed cover with floral and foliate finial, circular body with sauvagesse busts with floral garlands, rocaille cartouche engraved with coronet of a duke, bracketed paw feet, h. 9 1/4 in., w. 10 1/2 in., wt. 76.85 troy ozs. [$6000/8000]. Note: A silver tea urn by Lenglet featuring “indienne” busts with floral garlands and a similar floral finial sold Christie’s, Paris, Dec. 17, 2009, lot 4.

88. English Gilt and Patinated Bronze Three‑Piece Argand Lamp Garniture, 19th c., font with pineapple finial and swan handles, paneled standard, Greek key cut shades, central lamp h. 20 in., w. 19 in., d. 9 in. [$1500/2500]

91. Pair of Tiffany & Co. Makers Georgian Revival Sterling Silver Gilt Tazzas, c. 1905, designed by Paulding Farnham, marked on bases and numbered 16084‑576, rims formed of openwork scrolling foliage, topped with standing anthemia, centers engraved with contemporary monograms, spiral fluted baluster stems, domed bases overlaid with acanthus and palmettes, h. 8 3/4 in., wt. 83 oz. 10 dwt. [$5000/8000]

Provenance: Sotheby’s, American Paintings, Furniture, Folk Art and Silver, New York, September 27, 2011, lot #12, the monogram is that of Katharine van Rensselaer Fairfax.

Note: Paulding Farnham designed a large centerpiece in this style for the Paris Exposition of 1900, sold Sotheby’s, New York, January 20, 1998 (The Masco Collection), lot 42, now in the Dallas Museum of Art. Another version, completed in 1904, is illustrated by John Loring in Tiffany’s 150 Years, pp. 124‑5.

94. Boston Coin Silver Ewer, Jones, Lows & Ball, act. 1835‑1841, marked “JONES, LOWS & BALL” in rectangle, “BOSTON” in rectangle, and with eagle punch, vase form with gadroon border, drop‑weighted cover, scroll handle and repousse cartouche engraved with phoenix, h. 13 1/4 in., wt. 48.20 troy ozs. [$1200/1800]

95. Antique American Sterling Silver Repousse Ewer, Davis & Galt, Philadelphia, act. 1888‑1915, grape, grape leaf and grapevine motif, h. 15 3/8 in., wt. 47.50 troy ozs. [$1200/1800]

97. Black, Starr & Frost Sterling Silver Pierced Cake Basket, act. New York, 1874 to present, footed form with swing handle, gadroon and shell border, floral and foliate decoration, h. (to top of handle) 12 1/8 in., l. 15 3/8 in., wt. 45 troy ozs. [$1000/2000]

100. American “Medallion” Pattern Sterling Silver Punch Ladle, Hotchkiss & Schreuder, Syracuse, NY, wc. 1857‑1895, pattern introduced 1867, l. 13 in., wt. 6.65 troy ozs. [$300/500] Provenance: Schwitz Collection, Franklin, LA.

98. American Sterling Silver‑Mounted Intaglio Glass Covered Candy Dish, Gorham cover with date mark for 1893, neoclassical decoration, h. 8 1/4 in., dia. 7 1/4 in. [$250/350]

101. Anthony Rasch Coin Silver Soup Ladle, act. New Orleans 1820‑1858, in upturned fiddle typt pattern, engraved armorial on reverse of handle, l. 12 5/8 in., wt. 6.90 troy ozs. [$400/600]

Ref.: Soeffling, D. Albert. Silver Medallion Flatware, pp. 106‑111.

103. Ambroise Louis Garneray (French, 1783‑1857), “Vue de la Nouvelle‑Orléans”, c. 1830s, color aquatint, from Vues des Pricipaux Ports Étrangers, sight 15 in. x 18 1/2 in., framed. [$400/600]

104. James Abbott McNeill Whistler (American, 1834‑1903), “Billingsgate”, 1859, etching on paper, signed and dated in plate, pencil‑titled lower margin under mat, sheet 9 7/16 in. x 13 5/8 in., framed. [$300/500] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

96. Good Group of English and American Silverplate Serving Trays, incl. circular gallery tray, Israel Freeman & Son, London, gadroon rim, dia. 22 5/8 in.; English tea tray, gadroon and shell border, 27 5/8 in. x 18 1/4 in.; and Reed and Barton “Provincial” presentation tea tray, 28 in. x 18 in. [$150/250]

99. American Coin Silver Sugar and Creamer, Bigelow Brothers & Kennard, Boston, act. 1847‑1867, marked “BIGELOW, BRO’s & KENNARD” in rectangle, “Pure Silver Coin” in rectangle and “BOSTON” in rectangle, paneled pyriform bodies with flat chased decoration, scroll handles and feet, sugar h. 7 7/8 in., total wt. 33.15 troy ozs. [$500/700]

102. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Mardi Gras on Royal St., Old New Orleans”, 1940, etching, pencil‑signed, titled and inscribed “Ed./100” lower margin, dated and inscribed in plate lower left, sheet 15 in. x 12 1/2 in., framed. Ill.: Isbell, Reed W. Morris Henry Hobbs ‑ A Catalogue Raisonné of Etchings, Engravings & Lithographs. McLean, VA: Coffee Street Publishing, 2017, p. 142. [$800/1200]

105. Pierre Auguste Renoir (French, 1841‑1919), “Le chapeau épinglé (La fille de Berthe Morisot et sa cousine)”, c. 1894, etching, signed in plate lower left, sheet 10 in. x 8 in., framed. [$300/500]

Additional information at www.nealauction.com

106. Paris Gilt and Bleu de Roi Porcelain Navette Form Corbeille, 19th c., waisted standard, rectangular base, h. 10 3/4 in., w. 13 1/4 in., d. 7 1/4 in. [$800/1200]

108. Large Antique Sevres‑Style Polychrome and Gilt Porcelain Dresser Box, late 19th c., hinged cover, painted genre scene, signed “Mallet”, interior of lid with manuscript commemoration of a royal wedding between The Duke of Richelet(sic) and Anne‑Marie‑Joseph of Lorraine in 1734, h. 4 1/2 in., w. 13 in., d. 7 1/2 in. [$700/1000]

107. Pair of Paris Gilt and Bleu Royale Porcelain Vases, 19th c., swan’s neck handles, square plinth bases, h. 9 3/4 in. [$500/750]

109. Wedgwood Rosso Antico Covered Teapot, c. 1805, impressed uppercase mark and ‘RK’, Egyptianesque ornamentation, crocodile finial, h. 4 5/8 in., w. 93/4 in., d. 7 in.[$1800/2500] Provenance: Harbor View Antiques, Stamford, CT, July 2005.

110. Wedgwood Rosso Antico Covered Sugar, c. 1805, impressed uppercase mark, Egyptianesque ornamentation, crocodile finial, h. 4 in., 2. 6 1/2 in., d. 5 1/2 in. [$500/1000]

Provenance: Skinner, Sept. 9, 2006, lot 485.

111. Wedgwood Rosso Antico Bowl, c. 1810, impressed uppercase mark, Egyptianesque fretwork and ornamentation, h. 2 5/8 in., dia. 7 5/8 in.[$400/600] Provenance: Earl Buckman Antiques, Dallas, 2005.

112. Wedgwood Rosso Antico Creamer, c. 1805, impressed uppercase mark, Egyptianesque fretwork and ornamentation, h. 2 3/4 in., w. 6 1/4 in., d. 4 5/8 in. [$200/400] Provenance: Skinner, Boston, Sept. 9, 2006.

114. Large Pair of Chinese Famille Rose Porcelain Vases, 19th c., Buddhist lion handles, shoulders with applied qilong, foliate rims, bodies decorated with alternating figural and bird, butterfly and flower panels on gilt ground with scrollwork and butterflies, h. 17 1/2 in., mounted as lamps, adjustable h. (extended, incl. finial) 36 1/2 in.[$1000/1500]

113. Chinese Export Famille Rose Porcelain Punch Bowl, 18th c., Qianlong, exterior painted with flower sprays within leaf garland surrounds, base with “Swan Tavern / Yorktown, VA” label, h. 5 5/8 in., dia. 13 1/8 in., wood stand, overall h. 7 1/2 in. [$500/700]

Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

115. Chinese Blue and White Porcelain Hawthorn Pattern Covered Jar, 18th c., Kangxi, decorated with prunus blossoms on a cracked ice ground, base with “E & J Frankel” label, h. 8 in. [$800/1200] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

116. Chinese Export Famille Rose Porcelain Punchbowl, 18th c., Qianlong, finely enameled with bead and floral bands, h. 5 1/4 in., dia. 13 in., wood stand, overall h. 7 1/2 in.[$800/1200] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

117. Chinese Export Imari Porcelain “Great Wall” Plate, 18th c., decorated with the crenellated, twisting wall, buildings, trees, and flowers, dia. 8 7/8 in.[$300/500] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA, acquired Philip Suval, NYC, Sept. 1988.

118. Pair of Swedish Carved and Painted Side Chairs, late 18th c., square shaped backs, reeded splats, tapered legs, bulbous H stretcher, h. 33 1/2 in., w. 17 1/2 in., d. 16 in. [$600/900] Provenance: Lucullus Antiques, New Orleans, LA.

119. Pair of Italian Carved and Painted Armchairs, 19th c., arched crest rail, scrolled shaped arms, shaped skirt and cabriole legs, hoof feet, h. 45 in., w. 25 1/2 in., d. 29 in. [$800/1200] 120. Pair of Louis XV‑Style Brass‑Mounted Kingwood Rafraichissoirs, 19th c., marble top, bottle wells flanked by dished compartments, frieze drawer, two shelves, shaped cabriole legs, brass casters, h. 31 in., w. 24 in., d. 18 in. [$1200/1500]

121. Italian Renaissance Walnut Hall Bench, 18th c., broken pediment crest rail, centered winged lion bust, reticulated trophy splat flanked by putti, relief‑carved shaped seat, central mask carved apron, opposing winged dragons, scrolled feet, h. 48 1/2 in., w. 34 in., d. 19 in. [$800/1200]

122. Four Louis XVI Carved Créme Peinte Fauteuils, c. 1780, square tapered back, scrolled arms, stop fluted tapered legs, h. 35 in., w. 23 1/4 in., d. 23 in. [$1500/2500] Provenance: Lucullus Antiques, New Orleans, LA.

123. George III Mahogany Canterbury, early 19th c., slatted dividers, lower drawer, tapered legs, casters, h. 18 3/4 in., w. 18 in., d. 12 1/8 in. [$300/500]

Provenance: Taylor B. Williams Antiques, Chicago, IL, 1991; Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

125. Continental Bronze‑Mounted Onyx Pedestal, late 19th/early 20th c., square top, bulbous capital, shaped base, block plinth, h. 42 in., w. 14 in., d. 14 in. [$500/750]

124. Monumental English Rococo Cast Iron Console, mid‑19th c., labeled “James Yates/ Rotherham/ Registered March 22, 1842/ #1148”, serpentine variegated marble top, scrolled acanthine apron centered by mythological mask, exuberant foliate and C scrolled cabriole legs, pierced stretcher, heavily scrolled feet, h. 33 1/2 in., w. 60 1/2 in., d. 25 1/2 in. [$2500/3500]

127 Continental Neoclassical Parcel Gilt Mahogany Settee, 19th c., pedimented crest rail, scrolled arms, palmette decoration, flared legs, h. 41 1/2 in., w. 72 in., d. 28 1/2 in. [$2500/3500]

126. Antique Biedermeier‑Style Parcel Gilt and Ebonized Fruitwood Vitrine, molded pedimented top, stepped cornice, glazed case, shelf interior, two doors flanked by “Egyptianesque” colonnettes on blocks, conforming base, block feet, h. 76 1/2 in., w. 45 1/2 in., d. 18 1/2 in. [$700/900]

128. Pair of Italian Rococo Carved Fruitwood Armchairs, later 18th/early 19th c., shell and foliate carving, scrolled seat rail, cabriole legs, h. 36 3/4 in., w. 24 5/8 in., d. 22 in. [$500/1000] Additional information at www.nealauction.com

129. Antique Continental Chinoiserie Bookcase, molded cornice, bolection frieze, two glazed doors over two “pillowed” doors, fluted stiles, blocked base, h. 84 1/2 in., w. 50 in., d. 17 in. [$2500/3500]

130. Pair of Continental Stenciled, Painted and Parcel Gilt Mirrors and Consoles, mirror with molded cornice, blocked surround, beveled mirror plate; console with faux marbre demilune top, lined jardinière interior, caryatid supports, mirrored back, conforming base, h. 107 in., w. 45 in., d. 21 in. [$6000/8000]

132. Group of Quimper Faience Tableware, 20th c., marked, incl. jardinière, h. 3 1/2 in., w. 11 1/2 in., d. 8 in.; plateau, h. 2 in., w. 8 1/4 in., d. 8 1/4 in.; candleholder, h. 9 1/2 in.; 2 pitchers, h. 7 1/4 in. and 6 1/4 in.; 2 plates, dia. 8 1/4 in.; 2 egg cups, h. 3 in., dia. 4 in.; menu board, h. 4 3/4 in.; basket, h. 5 in., dia. 2 3/4 in.; bell, h. 3 1/2 in.; square dish, w. 3 3/8 in.; and knife rest, l. 3 5/8 in. (14 pcs.) [$700/1000]

133. Group of Four English Polychrome and Gilt Porcelain Vessels, 19th c., incl. “Imari” compote, probably Coalport, h. 4 1/4 in., l. 12 1/4 in.; Chamberlain Worcester “Imari” teapot, h. 6 in., w. 9 3/4 in.; “Imari” urn, probably Spode, h. 6 in.; and “Bengal Tiger” covered sugar, w. 7 1/4 in. [$400/600]

Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

135. Chinese Export Mandarin Palette Porcelain Covered Tea Caddy or Teapoy and Matching Saucer, 18th c., Qianlong, decorated with a young boy fanning insects and a male and female couple, cannister h. 5 1/2 in., dish dia. 4 3/4 in.[$200/400] Provenance: Brenda Ginsberg, Boca Raton, 2002.

137. Two Chinese Export Mandarin Palette Porcelain Teapots, 18th c., Qianlong, decorated with figural scenes, one with associated lid, other lacking cover, h. 5 1/8 in., w. 7 1/2 in. and h. 4 in., w. 7 5/8 in.[$200/300] Provenance: Harbor View Antiques, Stamford, 2003 and Dick Hoepfinger, 2001.

139. Chinese Export Famille Verte Porcelain Cup and Saucer, late 18th/19th c., decorated with central deer and crab roundels and banded with rural scenes with horses and pigs, cup h. 2 1/2 in., saucer dia. 5 7/8 in. [$150/250] Provenance: Harbor View Antiques, Stamford, 2002.

131. Very Rare Italian Giltwood Figural Table, 18th c., shaped faux marbre top, maiden‑form support rock form base, scrolled feet, h. 36 in., w. 24 1/2 in., d. 25 in. [$6000/8000]

134. Chinese Export Polychrome Porcelain “European Subject” Covered Bowl, 18th/19th c., painted with famille rose Western figures and ships cartouches, magenta bird‑and‑flowers, and grisaille landscapes, h. 6 1/2 in., dia. 8 7/8 in. Note: lacking handles. [$500/750]

136. Three Chinese Export Blue and White Porcelain “Nanking” Dishes, 18th c., Qianlong, incl. octagonal soup, w. 9 in.; barbed rim plate, dia. 9 1/2 in.; and octagonal platter, w. 11 in. [$400/600] Provenance: (first two) Leonard Dipsiner, Atlanta, 2004 and (last) Carriage Trade Antiques, Blowing Rock, NC, 2001.

138. Pair of Chinese Export Famille Rose Porcelain Armorial Warming Dishes, 19th c., decorated with the arms of Sandilands with motto “Spero Meliora” above eagle and monogram “S”, rims with figural, avian, fish, and animal vignettes, h. 1 3/4 in., w. 10 3/4 in., d. 9 5/8 in. Note: Extensive restoration. [$200/400] Provenance: Century House Antiques, Charleston, Dec. 2002.

140. Four Chinese Export Mandarin Palette Porcelain Cream Pitchers, 18th c., Qianlong, decorated with figural scenes on various diaper grounds, h. 4 1/8 in. to 4 1/2 in.; together with armorial example, painted with the arms of Maitland, h. 4 1/8 in. (5 pcs.)[$200/400] Provenance: Del Ray Simmons, Atlanta, 2008; Michael Higgins, 2001; (two) Northeast Auction, Aug. 2005; and Henry Moog, Atlanta, 2002.

141. Four Chinese Export Mandarin Palette Porcelain Shaped Dishes, 18th c., Qianlong, each pin tray, spoon rest, or undertray with central figural scene, incl. 2 oblong, l. 5 in. and 5 1/8 in., w. 3 1/2 in., and 2 hexagonal, l. 5 in., w. 4 1/2 in. [$150/250]

Provenance: Henry Moog, Atlanta, 2011; Worldwide Gallery Antiques, Fredericksburg, 2014; Bull & Bear Antiques, Chesapeake, 2004; and Michael Higgins, 2005.

145. Chinese Export Famille Rose Porcelain Bowl or Basin, 19th c., interior decorated with female figures in a garden, h. 4 1/2 in., dia. 14 3/4 in. [$150/250]

142. Chinese Export Mandarin Palette Porcelain Cachepot, 18th c., Qianlong, decorated with figural panels and sepia and grisaille landscapes, h. 4 1/4 in., dia. 5 3/4 in. [$200/300]

146. Chinese Export Mandarin Palette Porcelain Bowl, 18th c., Qianlong, decorated with large figural panels and sepia and grisaille cartouches, h. 4 in., dia. 9 in. Note: Restoration. [$200/300]

143. Chinese Export Mandarin Palette Porcelain Shaped Dish, 18th c., Qianlong, decorated with a mother breast-feeding her child on a terrace, cavetto with sepia landscapes and floral cartouches, h. 1 1/2 in., w. 10 3/4 in., d. 7 5/8 in. [$200/300]

147. Pair of Chinese Export Mandarin Palette Porcelain Cups and Saucers, 18th c., Qianlong, decorated with domestic scenes on an iron red and gilt y‑diaper ground with magenta landscape and sepia and grisaille bird and branch cartouches, cup h. 2 1/2 in., dish dia. 4 3/4 in.; together with smaller example, cup h. 1 7/8 in., saucer dia. 3 1/2 in. (6 pcs.) [$250/350]

144. Chinese Export Porcelain Bowl and Two Saucers, 18th c., famille rose bowl h. 3 1/8 in., dia. 7 in.; famille rose saucer dia. 5 in.; and grisaille saucer dia. 4 5/8 in. (3 pcs.) [$150/250]

148. Chinese Export Imari Porcelain Jardinière, 18th c., Kangxi/Qianlong, octagonal low bowl decorated with a fenced garden planted with peony, chrysanthemum and bamboo, h. 4 in., w. 15 1/4 in., d. 10 3/4 in. [$200/400] Provenance: Hazel Giles Antiques, Glenville, NC, 2003.

Provenance: Harborview Antiques, Stamford, 2003 and James Eckerling, 2003.

149. Chinese Export Imari Porcelain Jug and Associated Cover, 18th c., Kangxi/ Qianlong, decorated with chrysanthemum and lotus sprays, jug h. 5 1/8 in., h. (with lid) 6 1/4 in. (2 pcs.) [$200/400]

150. Good Matched Set of Three Chinese Export Mandarin Palette Porcelain Saucer Dishes, 18th c., Qianlong, decorated with central roundel of figures in a courtyard encircled by black cell diaper, iron red and gilt y‑diaper, and brown and gilt key‑fret bands, dia. 4 3/4 in. [$250/350]

Provenance: Henry Moog, Atlanta, 2003 and 2011.

151. Group of Chinese Export Porcelain, early 19th c., incl. palace ware cup in Rockefeller pattern, h. 2 3/4 in.; brown Fitzhugh dish, dia. 5 5/8 in.; brown, sepia, and gilt leaf‑form dish, l. 4 3/8 in.; and armorial condiment dish, w. 4 1/8 in. (4 pcs.) [$200/400]

152. Chinese Export Polychrome Painted, Leather Clad Camphorwood Trunk, early 19th c., brass nailhead trim, h. 16 in., w. 35 1/2 in., d. 18 in. [$300/500]

Provenance: (first and third) Henry Moog, Atlanta, 2004; Ron Barber, 2004; and Dannette Darrow, Binghampton, NY, 2003.

Provenance: Reputedly, Sotheby’s, Jan. 1989, lot 47; Paul Naughton, Brimfield, 2002.

153. Pair of Gilt Bronze‑Mounted Chinese Export Verte‑Imari and Anhua Decorated Porcelain Plates, Qing Dynasty (1644‑1911), painted with central floral sprays encircled by bands of floral cartouches and anhua floral scrolls, bronze rim with pair of birds, 3 leaf and shell scroll feet, h. 4 3/4 in., w. 10 1/8 in, d. 9 3/8 in. [$300/600]

154. Bronze‑Mounted Chinese Export Imari Porcelain Bowl, Qing Dynasty (1644‑1911) and later, painted with flower sprays, foliate handles, reticulated foliate rim and base, foliate scroll feet, h. 10 3/4 in., w. 19 in., d. 13 3/4 in. Note: restoration. [$1500/2500]

Additional information at www.nealauction.com

157. Grand Tour Sienna Marble and Patinated Bronze Medici Urn, 19th c., tall plinth base, h. 16 in., dia. 7 3/4 in. [$400/600]

155. Pair of Neoclassical‑Style Bronze Urns, 19th c., continuous frieze of Classical figures, black marble plinth bases, h. 10 in., w. 5 in., d. 5 in. [$700/1000]

156. Empire Gilt Bronze and Verde Antico Marble Encrier, 19th c., one cover marked “EM”, gallery with classical figures, toupie feet, h. 4 in., w. 24 in., d. 6 1/4 in. [$1000/1500]

159. Georg Jensen “Acorn” Sterling Silver Flatware Service, designed 1915 by Johann Rohde, incl. 11 forks, l. 7 3/8 in., 12 knives, l. 9 in., 12 salad forks, 12 soup/dessert spoons, 12 teaspoons, 12 grapefruit spoons, 12 butter knives, 4 cocktail forks, salad serving fork and spoon, gravy ladle, 2 tine cold meat fork, l. 7 7/8 in., 4 tine cold meat fork, l. 9 1/2 in., pierced berry spoon and cake server, l. 10 1/4 in. (94 pcs.) [$5000/7000]

162. Four Kirk Sterling Silver Architectural Repousse Service Plates, marked “S KIRK & SON INC”, engraved with crest and motto “Mediocria Firma” (“moderation is strength”), dia. 11 in., wt. 87.30 troy ozs. [$3000/4000]

166. Group of Georg Jensen “Acorn” Sterling Silver Serving Pieces, incl. serving fork and spoon, l. 9 in., cheese plane, cheese knife, letter opener and sugar tongs. [$400/600]

158. Venetian Baroque‑Style Painted and Parcel Gilt Pedestal, molded circular top, foliate carved caryatid tapered standard, outswept scrolled feet, h. 55 1/4 in., w. 19 in., d. 21 1/4 in. [$600/900]

160. Kirk Sterling Silver Architectural Repousse Footed Bowl, marked “S. KIRK & SON CO”, 1896‑1924, h. 5 5/8 in., dia. 9 1/8 in., wt. 29.15 troy ozs. [$1200/1800]

161. Gorham Sterling Silver Coffee and Tea Service, incl. coffee pot, teapot, covered sugar, creamer and waste bowl, each octagonal paneled vase form with urn finial, coffee pot h. 10 in.; WITH complementary Black, Starr & Frost sterling octagonal tea tray, 26 in. x 26 1/2 in., total wt. 168.45 troy ozs. [$2500/3500] Provenance: Sotheby’s Parke‑Bernet, NY, 1971.

163. Group of Antique and Vintage Tiffany Sterling Silver Serving Pieces, incl. “Grapevine” cold meat fork, l. 8 7/8 in. and serving spoon, l. 8 5/8 in., “Florentine” crumber, l. 12 7/8 in., “Faneuil” serving spoon, l. 9 5/8 in., “English King” gravy ladle, l. 7 1/4 in., and “Marquise” sardine fork, l. 5 5/8 in., total wt. 20.30 troy ozs. [$600/900]

167. Twelve Georg Jensen “Acorn” Sterling Silver Salad Forks, l. 6 1/2 in., wt. 20 troy ozs. [$500/700]

164. Group of Tiffany “Shell and Thread” Sterling Silver Serving Pieces, incl. serving spoon, l. 9 3/4 in., serving fork, l. 8 1/2 in. and gravy ladle, l. 7 1/4 in., total wt. 11.95 troy ozs. [$300/500]

165. Tiffany & Co. Makers Hammered Sterling Silver Gentleman’s Travel Toiletry Set, 1st half 20th c., incl. toothbrush holder, soap box, talcum canister, 2 bottles and a jar, total wt. 22.75 troy ozs. [$400/600]

168. Two Christofle “Collection Perrier Jouet” Silverplate Champagne Coolers, each h. 9 1/4 in., w. 11 3/4 in., with boxes and dust covers. [$1500/2500]

169. Pair of French 1st Standard Silver Covered Vegetable Tureens and Circular Platters, bound reed and acanthus decoration, tureen h. 6 1/2 in., w. 10 5/8 in.; platter dia. 11 3/4 in., total wt. 119.60 troy ozs. [$3000/5000]

172. Italian Giltwood and Painted Metal Six‑Light Chandelier, vasiform standard, scroll arms, tassel hung, electrified, h. 31 in., dia. 35 in. [$1200/1800]

170. Louis Philippe 1st Standard Silver and Cut Glass Sucrière, c. 1830, h. 10 3/8 in. [$300/500]

173. Louis XVI‑Style Bronze and Cut Crystal Sixteen‑Light Chandelier, 20th c., hung with pendalogue pendants, h. 37 in., dia. 28 in. [$1200/1800]

174. Pair of Regency‑Style Tole Peinte Candle Lamps, Frederick Cooper, Chicago, adjustable shade, lion standard, h. 33 1/2 in., w. 7 1/2 in., d. 7 1/2 in. [$400/600] 175. English Bronze and Leaded Glass Hall Lantern, c. 1920, hexagonal form, cast with portrait busts, figure, urns, and griffins, electrified, h. 27 in., dia. 13 in. [$800/1200]

176. Antique French Bronze‑Mounted Mahogany Barometer, 19th c., inscribed “Levasseur Opticien a Rouen”, with thermometer, with bronze mount of “Le Coq Gaulois”, h. 39 1/2 in., w. 11 1/2 in., d. 2 1/4 in. [$200/400]

177. French Gilt and Patinated Bronze Figural Mantel Clock, 19th c., figure personifying astronomy, accompanied by her instruments, tall plinth base with a frieze of symbols of arts and sciences, h. 16 1/2 in., w. 13 3/4 in., d. 5 in. [$1500/2500]

171. Georg Jensen “Acorn” Pattern Sterling Silver Partial Flatware Service, pattern #62, designed by Johann Rohde 1915, incl. 4 each: forks, l. 7 1/2 in., knives, l. 9 in., and butter knives, and 8 teaspoons, l. 5 3/4 in.; together with 8 Jensen “Acanthus” sterling grapefruit spoons and a bottle opener; and 11 Jensen “Pyramide” sterling demitasse spoons; total wt. (weighable) 26.80 troy ozs. (40 pcs.) [$600/800]

178. Antique Louis XVI‑Style Gilt and Enameled Bronze Automaton Birdcage Clock, c. 1890, stamped “BOUHON & Cie.”, dial signed “Ch.les LeRoy/a PARIS”, after the Directoire and Empire designs by Jaquet Droz and Courvoisier, elaborate cage with rotating feeder trays, surmounted by dolphin cartouches, ceiling medallion with bleu royale reserve, mounted with stars, h. to finial 25 in., dia. 15 in., dial dia. 8 in., Note: Now lacking clock and automaton movement, and original bird. [$1200/2000]

Note: Bouhon & Cie., also recorded under Bouhon Freres, were prominent French bronziers specializing in fine bronze fire surrounds and fire fittings, sometimes working with Francois Linke. The firm participated in the 1878 and 1900 Paris Expositions Universelles 179. French Restauration Gilt and Patinated Bronze Figural Candlestick, c. 1830, figure holding basket, pedestal base, marble plinth, now mounted as a lamp, h. (to finial) 30 in., dia. 4 3/4 in. [$500/800]

180. George IV Sterling Silver Platter, Philip Rundell, London, 1823, act. 1819‑1823, shaped oval with foliate gadroon and engraved crest, 19 in. x 14 3/8 in., wt. 80.30 troy ozs. [$2000/2500]

Additional information at www.nealauction.com

21 21

181. George IV Sterling Silver Platter, Philip Rundell, London, 1823, act. 1819‑1823, shaped oval with foliate gadroon border and engraved crest, 20 in. x 15 in., wt. 98 troy ozs., en suite with preceding lot. [$2500/3500]

182. Elizabeth II Sterling Silver Tea and Coffee Service, London, 1969, incl kettle‑on‑stand, h. (to top of handle) 14 in., teapot, coffee pot, open sugar and creamer, paneled forms with urn finials, total wt. 144.80 troy ozs. [$2500/3500]

183. George III Sterling Silver Coffee Pot, Daniel Smith & Robert Sharp, London, 1769, act. 1768‑1774, mark Grimwade #508, domed cover with bud and leaf finial, pyriform body with spiral foliate and scroll decoration, gadroon and shell foot rim, h. 11 3/4 in., wt. 33.95 troy ozs. [$1000/1500]

185. Near Pair of George III Sterling Silver Sugar Casters, London, maker CB untraced, 1787 and 1798, paneled baluster form, h. 9 1/8 in., wt. 29.95 troy ozs. [$800/1200]

184. Pair of George III Sterling Silver Sauce Tureens, Robert Hennell I and Samuel Hennell, London, 1807, oblong with “French” gadroon, urn finials, loop handles and ball feet, engraved crest, h. 5 1/2 in., w. 7 3/4 in., total wt. 35.55 troy ozs. [$1000/1500] 187. Pair of George III Sterling Silver Master Salts, Benjamin Smith II & James Smith III, London, 1810, mark reg. 1809, everted bound reed, leaf and berry rim, beaded foot rim, foliate bracketed paw feet, retain traces of gilt wash interior, h. 2 in., dia. 3 1/2 in., wt. 11.10 troy ozs. [$300/500]

186. George III Sterling Silver Wine Funnel, Joseph Bradley, London, 1783, act. 1776‑1785, mark reg. 1776, in two sections, beaded borders, l. 4 3/4 in., dia. 3 1/8 in., wt. 1.70 troy ozs. [$300/500]

188. Pair of Crested George III Sterling Silver Tumbler Cups, London, 1813, possibly Thomas Wallis II, reeded rim, h. 2 3/8 in., dia. 2 3/4 in., wt. 5.75 troy ozs. [$300/500]

190. American Brilliant Cut Glass and Sterling‑Mounted Claret Jug, late 19th/early 20th c., floral repousse mounts by Jacobi & Jenkins, Baltimore, act. 1895‑1907, h. 11 in. [$800/1200] 189. Pair of Georgian Sterling Silver Butter Shells, Henry Bailey, London, act. 1757‑1769, l. 5 in.; together with a pair of coquiform salt cellars, Samuel Herbert, London, 1749, mark ent. 1747, w. 2 7/8 in., total wt. 8.65 troy ozs. [$250/350]

192. Set of Twelve Tiffany Sterling Silver Demitasse Cup Frames and Saucers with Lenox Porcelain Liners, total wt. (weighable) 50 troy ozs. [$1000/1800]

191. Tiffany “Winthrop” Sterling Silver Bread Plates, dia. 6 1/4 in., wt. 55.80 troy ozs. [$2500/3500]

193. Gorham “Chantilly Duchess” Sterling Silver Coffee and Tea Service, date marks for 1956 and 1957, incl. coffee pot, h. 10 7/8 in., teapot, covered sugar, creamer and waste bowl, total wt. 88.55 troy ozs. [$1200/1800]

194. Gorham “Chantilly Duchess” Sterling Silver Tea Tray, 25 1/2 in. x 17 1/8 in., wt. 116.50 troy ozs. [$1500/2500]

195. French Grand Tour Mother of Pearl Etui, 19th c., spring loaded shell, interior fitted with thimble, perfume vial, scissors, and toothpick; oval medallions depicting Place de la Madeleine, Notre Dame Cathedral, Palais de l’Industrie, and the Panthéon, on onyx base. h. 10 1/2 in., w. 5 in., w. (open) 6 3/4 in., d. 3 3/4 in. [$600/900]

196. Regency Carved Mahogany Console Table, early 19th c., variegated gray marble top, frieze drawer, scrolled acanthus supports, paw feet, plinth base, h. 36 in., w. 37 1/2 in., d. 18 in. [$1000/1500]

197. Two Antique Louis XV‑Style Carved Fruitwood Fauteuils, shaped floral carved crest rail, caned back and seat, padded arms, floral carved apron, foliate carved cabriole legs, h. 40 1/2 in., w. 28 1/4 in., d. 25 in. [$300/500]

198. Charles X Carved Mahogany Center Table, early 19th c., banded tooled leather top, four frieze drawers, hexagonal baluster standard, outswept scroll supports, blocked base, paw feet, h. 29 1/4 in., dia. 45 in. [$1200/2000]

Provenance: Schwitz Collection, Franklin, LA.

199. Italian Marquetry and Fruitwood Commode, 19th c. and later, shaped black marble top, conforming case, two drawers with dolphin decoration, compass star on returns, shaped apron, four raised scrolled feet, h. 32 1/2 in., w. 50 in., d. 25 in. [$3000/4000]

200. Italian Carved, Painted and Parcel Gilt Center Table, 19th c., later variegated marble top, lappet and scroll apron, fluted baluster standard, foliate scroll keyed supports, blocked floral base, h. 31 in., dia. 39 5/8 in. [$3000/4000]

202. Vittorio Amadeo Preziosi (Maltese, 1816‑1882), “Market near Mihrimah Sultan Mosque”, 1875 and “Street Scene, Kemer, Turkey”, 1875, 2 watercolors on paper laid on board, former signed, dated and inscribed “Souvenir de l’Artiste a son amie W.H. Wrench” lower right, localized lower left. latter signed and inscribed “Souvenir de l’Artiste” lower right, localized and dated lower left, 11 3/4 in. x 15 3/8 in. and 15 3/8 in. x 11 3/4 in., framed alike. (2 pcs.) [$7000/10000] Note: Born in Malta to a noble family, Amedeo Preziosi studied at the Ecole des Beaux-Arts in Paris before traveling to Istanbul in the 1840s to begin his career as a painter. Mainly working in watercolor, Preziosi quickly became known for his captivating scenes of local architecture and people in Turkey and Romania.

The beautifully rendered paintings presented here depict two street scenes in Istanbul neighborhoods, one of which includes the Mihrimah Sultan Mosque in the distance. With its iconic windows and minaret, the Mihrimar Sultan Mosque, which is located in the Edirnekapi neighborhood of Istanbul, was designed by architect Mimar Sinan in the 16th century and commissioned by Princess Mihrimah, the daughter of Suleiman the Magnificent.

201. Alexander Juliard (French, b. 1817), “Portrait of a Seated Young Lady Holding a Book”, 1846, oil on canvas, signed and dated lower left, 51 in. x 38 1/4 in., original carved giltwood frame.[$3000/5000]

Preziosi captures both of the street scenes with intricate detail, including figures and animals, as well as depicting traditional Turkish residential architecture with second floor projections and lattice covered windows. A strong sense of light and shadow, as well as delicate brushwork, produce a lasting impression of the city of Istanbul as it would have existed in the late 1800s.

Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

Additional information at www.nealauction.com

203. Sebastian Theodorus Voorn Boers (Dutch, 1828‑1893), “Still Life and Nature Morte with Flowers, Grapes, Citrus, and a Basket of Fowl on a Table”, 1855, oil on canvas, signed and dated lower left, 20 1/2 in. x 25 in., framed. [$1500/2500]

204. Continental School 19th c. “The Recital,” oil on canvas, indistinctly signed lower right, 36 5/8 in. x 48 1/4 in., period frame. [$3000/5000]

205. Continental School 19th c., “Battle Scenes,” 2 oils on paper laid on panel, both unsigned, one pencil‑inscribed, and wax seal en verso, each 6 3/8 in. x 8 3/4 in., framed alike. (2 pcs.) [$1200/1800]

207. Pair of Empire‑Style Bronze‑Mounted Cassolettes, late 19th c., ram’s head mounts, hoof feet, h. 16 in., w. 7 1/2 in., d. 7 1/2 in. [$2000/3000]

206. Pair of Continental Giltwood Figures of Angels, taller h. 20 in., w. 9 1/2 in., d. 9 in. [$800/1200]

208. Large Grand Tour Bronze Urn, 19th c., scrollwork handles, reliefs of Classical figures, mounted on variegated green marble base, h. 20 1/4 in., w. 11 1/2 in., d. 9 in. [$600/900]

209. Pair of Antique Italian Carved and Polychromed Blackamoor Torcheres, male and female figures, elaborately decorated, tall drapery carved pedestals, h. 89 in., w. 19 in., d. 22 in. [$8000/12000]

210. Continental Bronze‑Mounted Marble Table Lamp, baluster body, scroll handles, h. (to socket) 23 in., w. 10 in., d. 7 in. [$200/300]

211. Pair of Continental Carved Giltwood Hall Lanterns, 19th c., grape and scroll design, electrified, h. 35 in., w. 16 in., d. 16 in. [$2000/3000]

212. Large English Patinated Bronze Single‑Light Argand Lamp, c. 1820, cut glass shade, body with leaves and palmettes, electrified, h. 18 1/2 in., w. 17 1/2 in., d. 10 1/4 in., [$2000/3000]

213. Fine American Rococo Carved Rosewood Cabinet, c. 1845, New York, reticulated crest, two mirror-back shelves with scrolled supports, marble top, frieze drawer above two mirrored doors, serpentine base , h. 63 in., w. 18 in., d. 40 in. [$800/1200] 214. Four American Classical Carved Mahogany Side Chairs, early 19th c., New York, foliate carved reeded stiles, cornucopia‑carved slats, saber legs, h. 32 1/2 in., w. 18 3/4 in., d. 19 in. [$1200/2000]

Note: The high-style chairs offered here are closely related to a well-documented group of klismos chairs attributed to New York cabinetmaker Duncan Phyfe. Featuring a similar foliate scrolled back, cornucopia-carved rail, and overall form, comparable chairs are conserved in the Philadelphia Museum of Art, Winterthur Museum, and the Metropolitan Museum of Art. Ref.: Feld, Stuart P. and Elizabeth Feld. The World of Duncan Phyfe. Hirschl & Adler Galleries, New York, 2011, p. 72, fig. 33.

215. American Classical Carved Mahogany Work Table, c. 1820, Philadelphia, labeled “Philadelphia...Isaac Pugh,” shaped top, two drawers, foliate‑carved saber legs, brass paw feet, casters h. 30 in., w. 17 1/2 in., d. 14 in. [$600/900]

217. American Classical Carved and Stenciled Mahogany Dressing Table, early 19th c., Philadelphia, turned mirror supports, superstructure with bolection drawer, marble top, gadrooned apron, stenciled standard, foliate carved hairy paw feet, h. 75 in., w. 36 1/4 in., d. 22 1/2 in. [$1200/2000]

216. American Classical Carved Mahogany Pier Table, 19th c., Philadelphia, associated marble top, ribbon carved accents, frieze drawer, scroll supports with lamb’s tongue, paw terminals, mirrored back, shaped base, beehive feet h. 35 in., w. 44 3/4 in., d. 17 1/4 in. [$2000/3000]

219. American Classical Carved Mahogany Armchair, 19th c., scrolled back, lappet‑carved arms and legs, scrolled feet, h. 36 in., w. 24 in., d. 21 1/2 in. [$400/600]

218. American Classical Mahogany Two‑Part Dining Table, c. 1820, Baltimore, each section with drop-leaf top with reeded edge, frieze drawer, bulbous turned standard, reeded sabre legs, brass paw feet, casters, h. 29 in., l. 133 1/4 in., d. 54 in. [$4000/6000]

220. American Federal Inlaid Mahogany Sideboard, late 18th/ early 19th c., shaped top, conforming case centered by drop-front fitted secretary with baize writing surface, over a long drawer, flanked by a drawer and cabinet to each side, tapered legs, h. 41 1/4 in., w. 66 1/4 in., d. 24 1/8 in. [$3000/5000] Provenance: Israel Sack NY 1944; Estate of Stephen G. Henry, Jr. Baton Rouge LA.

221. American Classical Bronze‑Mounted and Inlaid Mahogany Beau Brummel, c. 1810‑1820, attr. to John Seymour, Boston, mirrored back, easel top, fitted side drawer, lower work basket, reeded legs, paw feet, h. 45 3/4 in., w. 19 1/2 in., d. 16 in. [$1000/1500]

222. Regency Carved Mahogany Architect’s Desk, early 19th c., shaped backsplash, inset leather top with adjustable lift writing surface, four drawers, turned legs, casters, h. 33 in., w. 41 3/4 in., d. 26 1/4 in. [$800/1200]

Provenance: Didier, Inc.; Estate of David A. Wojciechowski; Neal Auction Company, April 13, 2019, lot 280.

Additional information at www.nealauction.com

223. George III Sterling Silver Hot Water Urn, George Smith (II) and Thomas Hayter, London, 1794, act. 1791‑1804, urn form, with knop finial, lion’s mask and ring handles, flat chased and brightwork decoration, engraved crest of the Tarleton family of Church Hill, Liverpool, with motto “POST NUBILA PHOEBUS” (“after the clouds sunshine”), spigot with urn‑form finials, plinth base, ball feet, retains fitted liner and iron heating element, h. 19 3/4 in., wt. 114.10 troy ozs. [$3000/5000]

224. Victorian Sterling Silver Tea Service, incl. teapot, A.B. Savory & Sons (William Smily), London, 1863, associated open sugar and creamer, Elkington & Co., Birmingham ,1861, teapot h. 5 1/2 in., total wt. 43.35 troy ozs. [$1000/1500]

Note: Sir Bannastre Tarleton, 1st Bt. (1754‑1833) served as a British cavalry officer in the Revolutionary War.

225. American Classical Carved Giltwood Overmantel Mirror, early 19th c., exuberant acanthus corner mounts, foliate surround, divided mirror plate, h. 26 in., w. 48 in. [$800/1200]

227. Pair of Antique Empire‑Style Gilt and Patinated Bronze Three‑Light Candelabra, after a design by Thomire. (2 pcs.) [$1800/2500]

228. French Rococo Revival Gilt and Patinated Bronze Six‑Light Gasolier, mid‑19th c., foliate canopy, vasiform standard, three addorsed Classical female terms, scroll and acanthus arms, electrified, h. 52 in., dia. 42 in. Note: One frosted glass shade is associated. [$7000/10000] Provenance: Lucullus Antiques, New Orleans; 511 St. Ann Collection, Historic Pontalba, New Orleans.

226. Rare American Federal Giltwood and Eglomisé Mirror, early 19th c., surmounted by a carved eagle and floral urns hung with a wire and spherule garland, spherule cornice, shell-carved frieze, cluster column supports, blocked base, h. 35 in., w. 15 1/4 in. [$800/1200] Provenance: Israel Sack, Boston, MA; Valdemar F. Jacobsen Antiques, Cold Spring Harbor, NY, 1993; Estate of Stephen G. Henry, Jr. Baton Rouge, LA.

229. Pair of Empire Bronze‑Mounted Tole Peinte Sconces, early 19th c., each with Classical bust terms, h. 18 3/4 in., w. 5 1/4 in., d. 9 1/4 in. [$700/1000] Provenance: Sotheby’s, London, 2007.

230. Antique French Tole Peinte Lamp, floral decorated, adjustable height, h. 18 1/2 in., w. 11 in., d. 5 3/4 in. [$600/800]

231. French First Standard Silver Gilt and Cut Glass Center Bowl in the Restauration Taste, 19th c., maker’s mark untraced, h. 4 1/2 in., dia. 11 1/4 in., wt. 27.25 troy oz. [$1000/1500]

233. Cased Set of Twelve French First Standard Silver Coffee Spoons and Sugar Tongs, G. Marmuse, Paris, 3rd qtr. 19th c., retain some gilt wash details, fitted gilt tooled leather case, marked for retailer Louis Delarue, Rouen; together with cased set of 6 Victorian sterling teaspoons and sugar tongs, Charles Lias, London, 1846, bright‑cut decoration, combined wt. 13.85 troy ozs. [$300/500]

232. Antique Cased French Silver Fish Serving Fork and Knife, maker CD untraced, with 1st standard hollow handle and silverplate blade, l. 10 1/8 in. and 11 1/4 in., in fitted case marked for retailer A. la Gerbe d’Ory, Avignon. [$200/400]

235. Fine American Classical Coin Silver Coffee and Tea Service, Thibault & Brothers, Philadelphia, act. 1810‑1836, incl. coffee pot, 2 teapots, covered sugar and creamer, with panther finials, eagle’s head spouts and acanthus decoration, coffee pot h. 12 1/4 in., total wt. 165.45 troy ozs. [$3000/5000] Provenance: Neal Auction 1990s.

234. Rare Anthony Rasch Coin Silver Flatware Service, c. 1821‑1836, act. New Orleans 1820‑1858, marked “A.RASCH.” in rectangle, incl. 12 table forks, 12 tablespoons, 12 teaspoons, and 2 master salt spoons, upturned fiddle pattern, monogrammed on reverse “DK” in script for Duncan Kenner, l. 8 3/8 in., total wt. 44.80 troy ozs. (38 pcs.)[$4000/6000] Provenance: Descended in the Family of Duncan Kenner (18131887), Ashland Plantation; Neal Alford Company, Nov. 5, 1988, lot 126 127 & 128.

Ref.: Hollan, Catherine B. Philadelphia Silversmiths and Related Artisans to 1861. pp. 199‑201. 236. Savannah Coin Silver Presentation Tureen, cartouche engraved “The Democrats of Savannah/ To/Franklin Pierce/President of the United States/from 1853 to 1857” and “In grateful memory of/his/Faithful Adherence/to/the Constitution/of/his Country”; by George B. Sharp for Bailey & Co., Philadelphia, act. 1844‑1870, marked “BAILEY & Co” in arc over “136” over “CHESTNUT ST PHILA” in complementary arc, over trademark; grape, grape leaf and vine handles, floral and rocaille chasing, h. 9 in., l. 15 1/8 in., wt. 65 troy ozs. [$12000/18000] Note: Part of a seven‑piece dinner service presented to former President Franklin Pierce by Georgia Senator Robert Toombs on behalf of the citizens of Savannah. The soup tureen and a detail of the covered vegetable dish are illustrated in Telfair Museum of Art: Collection Highlights, pp. 296‑297 237. Good Group of Antique American Sterling Silver Serving Pieces, incl. George B. Sharp, Philadelphia, berry scoop, pat. 1863; Reed & Barton “Les Six Fleurs” salad serving fork and spoon, pat. 1901; Whiting “Heraldic” asparagus fork, pat. 1880; Baker‑Manchester “Lafayette” berry spoon, pat. 1898; and vintage motif grape shears; total wt. 23.50 troy ozs. [$400/600]

238. Whiting “Lily” Sterling Silver Flatware Service, pat. 1902, incl. 9 forks (l. 7 5/8 in.) 8 knives (l. 9 1/8 in.), 7 forks (l. 6 3/4 in.), 4 knives (l. 8 7/8 in.), 20 dessert spoons, 8 bouillon spoons, 7 butter knives (hh), 7 teaspoons, 6 cocktail forks and 4 tablespoons. (80 pcs.) [$2500/3500] 239. Louisiana Classical Cuban Mahogany Tester Bed, c. 1830‑1845, canted cornice ring‑turned baluster posts, paneled headboard surmounted by a naturalistic carved rolling pin rail, tapered legs, brass ball feet, h. 115 in., l. 84 in., w. 60 in. [$15000/25000] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

Note: The Creole-style high-post bed in the present lot exhibits many features distinctive to Louisiana beds made during the American late Classical period. The bed’s combination of baluster-form and stacked ring posts, matching volute-carved rolling pin, and bulbous brass ball feet are indicative of the blend of French, Anglo, and West Indies influence unique to Louisiana furniture. The motifs of the bed shown here are apparent on earlier Louisiana beds, however, by the 1830s, Louisiana cabinetmakers were applying exuberant proportions to these earlier forms.

240. Louisiana Carved Mahogany Daybed, c. 1820‑1835, outswept returns, ring-turned baluster supports, tapered ring-turned legs, brass ball feet, h. 33 1/2 in., l. 72 in., w. 28 in.[$1500/2500]

Provenance: Bunkie, Avoyelles Parish, LA. (Tony Griffin); 511 St. Ann Collection, Historic Pontalba, New Orleans.

Ill.: Holden Jack. et. al. Furnishing Louisiana. The Historic New Orleans Collection, 2010. p. 389, fig. 18.

Ref.: Holden, Jack, et al. Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835. The Historic New Orleans Collection, 2010, pp. 368, 382-386, fig. 13.

Additional information at www.nealauction.com

241. Monumental American Classical Carved Mahogany Armoire, c. 1840, probably New Orleans, stepped molded cornice with egg and dart molding, two doors, ogee door surround bordered by turned decoration, lower drawer, scrolled bracket feet, h. 102 in., w. 65 in,. d. 27 in. [$3000/5000] Provenance: Beauregard-Keyes House, New Orleans; 511 St. Ann Collection, Historic Pontalba, New Orleans.

243. American Classical Stenciled, Gilt and Carved Mahogany Pier Table, c. 1830, New York, marble top, molded frieze, incurvate apron, blocked corners, Ionic capitals, marble columns, three part mirrored back, shaped lower plinth, foliate carving, bracket feet, h. 34 1/2 in., w. 41 in., d. 17 in. [$1500/2500]

242. American Late Federal Mahogany Plantation Desk, early 19th c., leaf carved pediment above two glazed doors, foldover slanted writing surface, two frieze drawers, spiral turned legs, h. 75 in., w. 35 1/2 in., d. 21 1/2 in. [$700/1000]

245. Rare Louisiana Inlaid Mahogany and Acajou Moucheté Armoire, late 18th c., later dentil‑molded cornice, chamfered case, doors with flush panels, with spandrel oak and acorn motif, shelf interior, scalloped apron, cabriole legs, h. 85 1/2 in., w. 51 1/2 in., d. 21 in., [$10000/15000]

244. American Classical Brass-Mounted Mahogany Sideboard, early 19th c., New York, retail label “Sypher & Co....593 Broadway, N.Y.”, molded fluted backsplash, keyed baluster gallery, one long drawer flanked by two side drawers, four cabinet doors, turned reeded legs, brass ball feet, h. 51 1/2 in., w. 71 3/4 in., d. 23 1/2 in. [$2000/3000]

Note: The distinctive armoire in the current lot features acajou moucheté, also known as plum pudding mahogany, and acorn and leaf-inlaid flush panel doors—a unique configuration among documented Louisiana armoires. An armoire from the Houmas House collection of Dr. George Crozat features flush panel doors with a similar arrangement of inlay in each flush panel corner. Ref.: Poesch, Jessie J. Early Furniture of Louisiana, 1750-1830. Louisiana State Museum, 1972, pp. 60-61, fig. 43

246. American Classical Mahogany Chest, early 19th c,. reeded stiles, four drawers, reeded legs, brass ball feet, h. 46 in., w. 45 in., d. 21 1/4 in., [$500/1000] Provenance: Didier, Inc., New Orleans.

248. American Late Classical Carved Mahogany Library Chair, 19th c., New York, C-scroll mounted crest rail, tufted back, outswept acanthus carved padded arms, foliate carved scroll feet, casters, h. 40 1/2 in., w. 30 in., d. 34 in. [$700/1000]

247. American Classical Stenciled, Carved and Rosewood-Banded Mahogany Games Table, early 19th c., probably New York, foldover swivel top, ring-turned and foliate-carved legs, turned and blocked stretcher centered by lyre support, outswept paw feet, casters, h. 29 1/2 in., w. 36 in., d. 18 in. [$1500/2500]

249. Louisiana Cypress Kitchen Table, 19th c. and later, three board top, tapered legs, side stretchers, h. 29 in., w. 72 in., d. 35 1/2 in. [$1500/2500]

250. William Weeks Hall (American/Louisiana, 1894‑1958), “After Rain/Louisiana Landscape,” oil on canvas, signed, titled, inscribed “New Iberia, La” and “The Pennsylvania Academy of the Fine Arts, One Hundred and Twenty‑Ninth Annual Exhibition in Oil and Sculpture 1934,” exhibition label with artist and title on stretcher, 36 in. x 29 3/4 in., framed. [$12000/18000] Note: William Weeks Hall was a prominent artist, art critic, photographer, gardener and lecturer, and he was the last private owner of Shadows-on-the-Teche, his family home located on Bayou Teche in New Iberia, LA. Hall won a scholarship in 1913 to the Pennsylvania Academy of Fine Art, where he was a student until 1918. He also studied abroad in London and Paris from 1920 to 1922, following his service in World War I. Hall became the sole owner of the Shadows at the age of twenty-five, and the remainder of his life, with only brief interruption, was spent restoring and preserving the property. Shadows-on-the-Teche was built by Hall’s greatgrandfather, David Weeks, in the 1830s, and Hall used family papers and a complete set of construction records to restore the home to its original appearance, including an extensive period garden. He often invited famous writers, artists and filmmakers for weekend visits to the Shadows, and several movies were filmed on site. When Hall died in 1958, he bequeathed the home to the National Trust for Historic Preservation.

Hall’s coveted paintings are rarely offered at auction, particularly those with such an outstanding exhibition history and provenance. “After the Rain/Louisiana Landscape” was once owned by Hunt Henderson, the noted New Orleans art collector who inherited the Henderson Sugar Refinery that his father had founded in 1876. Henderson, his wife Jeanne, and his son Charles, lived at 1410 Second Street and were known for their collection of nineteenth and twentieth century art. Hunt and Jeanne Henderson were both trustees of the Isaac Delgado Museum, and Henderson’s sister, Sarah Fink Henderson, was also a financial supporter and served as president of the Arts and Crafts Club of New Orleans. As Hall both exhibited at the Delgado Museum in 1928 and taught classes at the Arts and Crafts Club, it is not at all surprising that the Hendersons would have purchased works by Hall, one of the most talented Louisiana artists of the twentieth century.

251. William Weeks Hall (American/Louisiana, 1894‑1958), “Still Life of Flowers,” oil on canvas,, unsigned, inscribed on stretcher, 40 in. x 53 in., framed. [$6000/8000]

252. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Autumn Afternoon New York,” oil on canvas board, signed lower right, signed and titled en verso, 18 in. x 20 in., framed. [$7000/10000]

Note: Sponsored by a mysterious benefactor, Alexander John Drysdale moved to New York City in 1901 and remained there for a three-year period of study at the Art Students’ League. In addition to taking art classes, Drysdale found himself immersed in the cultural richness of the city, where he gleaned insight from fellow artists such as Helen Maria Turner, Robert Henri, John Singer Sargent, and William Merritt Chase. Drysdale found inspiration in their rapid painting techniques and mastery of color. He would employ those methods in developing his own unique style – one that has become indelibly associated with his landscapes. The painting offered here is from that finite and rare body of work he produced while in New York. “Autumn Afternoon: New York” showcases the artist’s early implementation and experimentation with the skills that he would later hone to develop his trademark aesthetic. Characterized by quick, loose brushstrokes and powerful dark colors, this landscape serves as a fascinating precursor to the bayou scenes for which the artist would become renowned. Ref.: Buechner, M. D., Howard A. Drysdale (1870-1934) Artist of Myth and Legend. Metairie, LA: Thunderbird Press, Inc., 1985. pp. 7-19.

253. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Cows in a Pasture,” 1890, oil on canvas, signed and dated lower left, 14 in. x 20 in,. framed. [$4000/6000] Additional information at www.nealauction.com

254. Joseph Rusling Meeker (American/ Louisiana, 1827‑1889), “Bayou Marsh with Hunters at Campsite at Dusk,” 1885, oil on canvas laid on masonite, signed and dated lower left, “Saint Louis Art Museum” label en verso, 13 5/8 in. x 23 5/8 in., framed. [$12000/18000] Provenance: Ex‑collection Saint Louis Art Museum, St. Louis, MO.

Note: Throughout his travels in the southern United States in the 1860s and 70s, Joseph Meeker created a vast number of sketches that he then brought to his studio in St. Louis, where he completed his archetypal atmospheric landscape paintings. Based on French Barbizon and American Tonalism styles, Meeker’s painting technique in the painting offered here depicts an expansive sky, clouds reflecting the colorful sunset, and lush trees and greenery. Meeker’s landscapes, filled with marshy wetlands and Spanish moss, reflect Louisiana topography and seldom feature human figures. The inclusion of hunters in this spectacular landscape denotes a rare and special composition in Meeker’s oeuvre.

255. Louisiana Creole Carved Cherrywood Armoire, late 18th/early 19th c., cove-molded cornice, flush paneled doors, stop-fluted stiles and center stile, interior with later belt of drawers, serpentine and volute apron, cabriole legs, h. 89 in., w. 62 1/2 in., d. 23 1/4 in. [$15000/25000] Ill.: Holden, Jack, et al. Furnishing Louisiana: Creole and Acadian Furniture 1735-1835. New Orleans: The Historic New Orleans Collection, 2010, p. 136, fig. 9.

Note: The cherrywood armoire in the present lot is part of a group of émigré-attributed armoires, all with flush panel doors, illustrated in Furnishing Louisiana: Creole and Acadian Furniture 1735-1835. Flush panel doors are a common feature of Louisiana armoires made by émigré cabinetmakers who settled in Louisiana from St. Domingue after the 1804 revolution. A small number of St. Domingue flush panel armoires still survive, including an armoire shown in a 1978 catalogue from the Schwarz Gallery of Philadelphia. The armoire here, found in an attic in St. Tammany Parish, exhibits distinctive stop-fluted stiles and a uniquely shaped apron. Ref.: Holden, Jack, et al. Furnishing Louisiana: Creole and Acadian Furniture 1735-1835. New Orleans: The Historic New Orleans Collection, 2010, pp. 129, 134-138.

256. Fine Empire Gilt and Patinated Bronze “Au Bon Sauvage” Mantel Clock, c. 1800, attr. to Jean‑Simon Deverberie (1764‑1824), figure personifying America draped with pearls and quiver, holding a bow, a spear in her other hand piercing an alligator, silk‑thread movement, the out‑swept base mounted with serpents and garlands, toupie feet, h. 19 1/4 in., w. 15 in,. d. 6 1/8 in. [$25000/35000] Reference: Kjellberg Pierre. Encyclopedie de La Pendule Francaise... Paris Les Editions de l’Amateur, 1997, pg.

257. Clarence Millet (American/New Orleans, 1897‑1959), “View of St. Louis Cathedral from Chartres St.” and “View of Cabildo from Jackson Square,” 2 oils on canvas board, signed lower right and left, respectively, each 8 in. x 10 in., framed alike. (2 pcs.) [$6000/8000]

258. Clarence John Laughlin (American/Louisiana, 1905‑1985), “The Enigma (Windsor Plantation),” 1945, silver gelatin print mounted to board, signed and titled lower margin of backing board, print date (June 19 1945) negative and batch number in Laughlin’s hand en verso of backing board, 19 7/16 in. x 15 1/16 in., framed. [$4000/6000]

260. Clarence John Laughlin (American/ Louisiana, 1905‑1985), “The Luminous Columns (#7) (Houmas House Plantation),” 1945, silver gelatin print mounted to board, signed and titled lower margin of backing board, print date (July 22 1945) negative and batch number in Laughlin’s hand en verso of backing board, 14 1/2 in. x 19 3/16 in., framed. [$3000/5000]

259. Clarence John Laughlin (American/ Louisiana, 1905‑1985), “The Luminous Columns (#3) (Madewood Plantation),” 1945, silver gelatin print mounted to board, signed and titled lower margin of backing board, print date (June 18 1945), negative and batch number in Laughlin’s hand en verso of backing board, 14 1/16 in. x 19 1/6 in., framed. [$3000/5000]

261. Clarence John Laughlin (American/Louisiana, 1905‑1985), “The Guardian (Oak Alley Plantation),” 1946, silver gelatin print mounted to board, signed and titled lower margin of backing board, print date (June 22 1946), negative and batch number in Laughlin’s hand en verso of backing board, 19 3/16 in. x 13 15/16 in., framed.[$3000/5000]

Ill. Laughlin Clarence John. Ghosts along the Mississippi. New York: American Legacy Press, revised edition 1987, pl. 53.

Note: Clarence John Laughlin has often been credited as the first surrealist photographer working in the United States. Frequently misunderstood, he sought to use the camera not as “a recording device” but as “an extension of the 3rd eye.” Laughlin developed an interest in architecture, while working as a photographer for the United States Engineering Office located in the French Quarter of New Orleans. He combined this realist and formal form of photography with Surrealism, Symbolism, Romanticism and his love of literature to create images that are in turn mysterious, beautiful and bizarre; often employing enigmatic titles to enhance the etherealness of the images. Most famous are his photos of decaying plantation homes of the South. These images embody one of his main artistic aims - to show the links of human consciousness with material reality. These plantations symbolically embody the fears, desires and compulsions of the Old South that linger into the present day. Equally important is the historic preservation aspect of the photos, as many of the ruins photographed by Laughlin are now completely gone - leaving only these images as an important historical record. Laughlin’s ultimate goal with his art was to elevate the ruined buildings beyond mere objects and find the human lives caught within them: “My desire is to create a purely visual poetry…to probe the intangible psychological jungle in which every object is enmeshed.” Ref.: Parr, Leslie Gale. “Clarence John Laughlin.” 64 Parishes Encyclopedia of Louisiana. Oct. 21, 2016. www.64parishes.org. Accessed Oct. 14, 2019

262. [NEW ORLEANS SCENIC PHOTO ALBUM] c. 1892‑94, comprising 30 albumen prints taken by Philip Ohlsen, with handwritten identifications, including views of Custom House on Canal St., Old Spanish Fort, Hunting Camp, Negro Camp and Lighthouse in Milneburg, Fountain in Washington Square Iced Over, View in Mandeville, Fountain in Lafayette Square Iced Over, Three Oaks Poultry Ranch, Chalmette, Poydras Plantation, Canal St. Ferry House, Chalmette Cemetery, Monuments in Metairie Cemetery, rare view of Monument of Battle of Liberty Place, St. Roch Chapel Covered in Vines, Railroad Views, Dueling Oak at City Park, Turning Bridge at Bayou St. John, St. Roch Cemetery, London Ave. Pumping Canal, and other scenic views, sheets 4 1/2 in. x 7 1/2 in. or 7 1/2 in. x 4 1/2 in. [$5000/10000

Additional information at www.nealauction.com

orn in 1751 in Havana, where his ancestors had immigrated from Spain in 1574, Sebastián Nicolás Calvo de la Puerta y O’Farrill (later the Marqués de Casa-Calvo) lived in a remarkable time. Trade routes, travel and a sense of interconnectedness across the Atlantic, Caribbean and Mexico transformed the world and those inhabiting it. Research into CasaCalvo has been furthered recently by Gilbert Din’s extensive and enlightening biography of 2016. Din notes: “Much of what is presently known in the United States about Casa-Calvo has come from scattered American sources…The writers of the prominent American documents, Thomas Jefferson, James Madison, and William C.C. Claiborne, among others, regarded him as an adversary and disparaged him at the same time they schemed to seize adjacent territory in the Mississippi Valley from the crumbling Spanish Empire.” Din’s new research sheds light on Casa-Calvo as an important and loyal Spanish subject – an elegant gentleman, nobleman and military governor who was committed to protecting Spanish interests. The significant portrait offered here represents the only known image of the Marqués. Casa-Calvo joined the military and became a cadet in a troop of dragoons led by Alejandro O’Reilly at the age of twelve. Studying all subjects military, Casa-Calvo earned his first officer’s rank six years later and was appointed Captain of his company of dragoons by O’Reilly during an expedition to New Orleans to contain a rebellion in 1769. He also served in the sieges of Mobile in 1780 and Pensacola in 1781 under the command of Bernardo de Gálvez. CasaCalvo continued to rise in the Spanish Army throughout his life, attaining the ranks of Lieutenant Colonel, Brevet Colonel, and Brigadier General by 1794. At the end of the war with the British, Casa-Calvo, who had inherited his parents’ substantial fortune and property in Cuba along with his brothers, spent time in Spain serving under King Carlos III and officially obtaining his title of Marqués in 1785. In 1789, Casa-Calvo returned to Cuba during a time of relative peace and was able to spend time with his family as well as petition for further career advances. He then joined the Spanish troops in Saint Domingue, where he acted as governor of Bayaja and gained valuable administrative and wartime experience. In 1763, the Cession of Louisiana from France to Spain had effected an extremely important and formative time period for the Mississippi River region. Early governors under Spanish rule, such as Antonio de Ulloa, Alejandro O’Reilly, and Luis de Unzaga, met challenges maintaining order among the mostly French citizens and implementing new Spanish laws. Additional struggles included managing relationships with Britain and the early colonists who would eventually become citizens of the United States. In 1777, Bernardo de Gálvez became Governor of Louisiana, inheriting the numerous difficulties of this pivotal position. He was particularly engaged with British and American traders, each of whom wanted to maintain use of the important post of New Orleans and avail themselves of the route up and down the vast Mississippi River. Gálvez faced additional challenges when King Carlos III attempted to retake the British territories of Baton Rouge, Mobile, and Pensacola. The Spanish Army and Navy mounted an ultimately successful campaign using troops from Spain, Cuba, and Louisiana to overtake the British, at the same time secretly helping the American Revolutionary War by supplying goods and funds. Esteban Rodríguez Miró, who had served in the Spanish Army under Gálvez, became the next governor of Louisiana in 1785, followed by Francisco Luis Héctor de Carondelet, Manuel Gayoso de Lemos, and Francisco Bouligny. Under these governors, Spain became uneasy about American expansion and the border issues between Spanish West Florida and the United States. In light of these concerns, Spain agreed to Pinckney’s Treaty of 1795 which established a border between the United States and the Spanish colonies and gave the United States rights to utilize the Mississippi River, including the port of New Orleans, for trading purposes. By 1799, Casa-Calvo’s military knowledge and expertise had elevated him to amidst the highest ranking officials in the Spanish colonies. Casa-Calvo attained the rank of Brigadier General in 1794 and earned valuable experience fighting in New Orleans, Mobile, and Saint Domingue. Therefore, it is not surprising that when the governorship of Louisiana became vacant due to the illnesses of Gayoso and Bouligny, Captain General Salvador de Muro y Salazar, the Marqués de Someruelos, appointed Casa-Calvo as the interim military governor, taking responsibility not only for military issues, but also political and diplomatic duties. Working with the often contentious Nicolás María Vidal and Juan Ventura Morales, Casa-Calvo navigated a delicate political system while also governing the city of New Orleans and bolstering the Louisiana military. In 1801, Governor Salcedo arrived in New Orleans, and subsequently Casa-Calvo was relieved of his official duties governing the colony and returned to Havana following a brief visit to Mexico City and Veracruz. After two years spent in Havana as the colonel of a regiment, Casa-Calvo was recalled to New Orleans to help ensure the smooth transition of the Louisiana Purchase. He was then the highest-ranking Spanish official remaining in New Orleans and oversaw all details pertaining to the removal of ships, troops, personnel, and records from the region. Din writes of Casa-Calvo: “On returning to New Orleans, he wanted to be perceived differently from his 1799-1801 stay, when he was the interim governor. This time impressing the inhabitants was important and, for this purpose, a personal entourage of about twelve soldiers and several servants accompanied him. He flaunted his wealth by bringing his ornate Spanish carriage from Havana and at least a pair of spirited thoroughbreds to pull it through the streets of New Orleans.“ Casa-Calvo’s final task was to survey the Louisiana-Texas border. With Spain holding territories west of Louisiana in addition to the Florida territories, the issue of where to draw the border between Texas and Louisiana was of critical concern to both Spain and the United States. A joint force of Spanish and American engineers, including expert cartographer Nicolas de Finiels, was 32

created and the expedition began in October of 1805. This group surveyed the land surrounding the border, which had been declared at the Sabine River, and this demarcation remains there to this day permanently deciding the shape of the state of Louisiana. As a strident supporter of Spanish interests, Casa-Calvo faced difficulties with the American governor William C.C. Claiborne, who ordered his departure from Louisiana in 1806. For his work with the Louisiana Purchase and surveying of the Louisiana/Texas border, King Carlos IV promoted Casa-Calvo to the rank of Mariscal de Campo, the equivalent of a Major General, in 1807 at El Escorial, the royal residence just outside of Madrid. Casa-Calvo never returned to Cuba; he died in 1820 in Paris and is buried at Père Lachaise Cemetery, although his descendants remain in Cuba and the United States to this day. Of the twelve Spanish Colonial governors of Louisiana, all were high ranking officials in the Spanish military and many were noblemen. As such, when a portrait was painted of one of these prominent figures, the splendid uniform denoting the sitter’s rank was meticulously recorded. An expert on Spanish Colonial military uniform, René Chartrand writes: “Rank and corps was determined by the type, styles and metal colours of the buttons, buttonholes and of the embroidery. In this case [painting offered here], there is a single row of gold embroidery (of the specific pattern for generals) edging the collar, cuffs and lapels, which is the distinction of general officers holding the rank of Mariscal de Campo.” As noted, Casa-Calvo permanently received this rank in 1807, and his depiction here likely represents a brevet appointment to this higher position during his governorship of Louisiana. Casa-Calvo was known to delight in dress uniform and enjoy formal attire as befitting his rank and wealth. His uniform included a dark blue jacket faced with scarlet, matching scarlet breeches and ornately trimmed waistcoat, tricorn hat, walking stick and the key single row of gold embroidery on his jacket. Salazar notably depicted the insignia of the Order of Santiago on Casa-Calvo’s coat. The Order of Santiago, a quite distinguished designation, is a religious and military order that existed from the 12th through 19th centuries and was rarely awarded to those living outside of Spain. By the year 1771, Casa-Calvo had applied for the Order of Santiago, a lengthy process which required an official genealogy report on the five previous generations of the applicant’s ancestors, as well as a substantial fee and promised future military service. CasaCalvo was awarded the order in 1772 by dispatch, allowing him to wear the Order of Santiago insignia. The Marqués de Casa-Calvo is the singularly known recipient of this order to have served in the Louisiana Spanish Colonial government. Salazar’s elegance of brushwork is evident in this portrait, particularly in the lace edging of the jabot and cuffs, strikingly similar to that of the lace trimmings in the artist’s portraits of Dr. Robert Dow, Charles Trudeau, and the Mendez family. The pose of the figure corresponds to a position of the subject in many Salazar portraits, with one hand tucked into the waistcoat, and Salazar’s characteristic use of red is on clear display in the sumptuous uniform. The level of detail and additional number of accessories often directly correlate to the importance of the sitter in Salazar’s work, and in this particular instance, they also would seem to have special meaning regarding Casa-Calvo’s role as governor at the time of the painting. The silver encrier ties to his role as a high-ranking government official and nobleman who engaged in lengthy correspondence to maintain his properties in Cuba and military position. Bishop Luis Ignacio Maria Peñalver y Cárdenas (to whom Casa-Calvo was related through his 1781 marriage to the Bishop’s niece, María Luisa Peñalver y Navarrete, a native of Havana) has a silver encrier among his effects in his Salazar portrait, while Dr. Robert Dow was similarly painted with a quill and volumes of books. In the painting presented here, the books to the left of the sitter on the lowest shelf appear to be a set of Reflexiones Militares, by Álvaro Navia Osorio, the Marqués de Santa Cruz de Marcenado published from 1724-1730. In this noteworthy portrait, Salazar created a lasting image of the affluence and nobility of the Marqués de Casa-Calvo, a multi-faceted individual who spent much of his life fighting to protect Spanish interests in the colonies and figured prominently in an era of historical trans-Atlantic travel and trade. Casa-Calvo devoted his life to military service while navigating in stylish fashion the delicate politics of Colonial and early American Louisiana. While devotedly Spanish in his origins, Casa-Calvo developed the makings of a true New Orleanian during his years in Louisiana, fully on display in an accounting of a public ball on January 8, 1804: “…American rowdiness had produced a great commotion when the newcomers demanded more of their own kind of quadrilles, and the new governor [Claiborne] had attempted futilely to quell the unrest. Meanwhile, Casa-Calvo with his natural savoir faire offered several alarmed ladies his protection and served them gumbo all the while he somehow continued playing cards.” Ref.: Chartrand, René. Men-at-Arms: The Spanish Army in North America, 1700-1793. Oxford: Osprey Publishing, 2011; Din, Gilbert C. An Extraordinary Atlantic Life: Sebastián Nicolás Calvo de la Puerta y O’Farrill, Marqués de Casa-Calvo. Lafayette: University of Louisiana at Lafayette Press, 2016; Gontar, Cybèle, ed. Salazar: Portraits of Influence in Spanish New Orleans, 1785-1802. New Orleans: MPress Printing, 2018; Holmes, Jack D. L. “The Marqués de Casa-Calvo, Nicolas de Finiels, and the 1805 Spanish Expedition through East Texas and Louisiana.” The Southwestern Historical Quarterly. Vol. 69, No. 3 (Jan., 1966), 324-339; Quintera, Gonzalo. Bernardo de Gálvez: Spanish Hero of the American Revolution. Chapel Hill: The University of North Carolina Press, 2018.

Neal Auction Company would llike to express their gratitude to Cybèle Gontar, René Chartrand, Gilbert Din, Jorge Auñón Prieto Calvo de la Puerta, and The Historic New Orleans Collection for their assistance with the research and cataloguing of this lot.

263. Jose Francisco Xavier de Salazar y Mendoza (Mexican/Louisiana, 1750‑1802), “Portrait of an Important Spanish Colonial Official, likely Sebastián Nicolás Calvo de la Puerta y O’Farrill, Marqués de Casa-Calvo (1751 1820),” oil on canvas, unsigned, 42 in. x 32 3/4 in. framed. [$100000/150000]

264. Jacques Guillaume Lucien Amans (French/Louisiana, 1801‑1888), “A Creole Gentleman,” 1841, oil on canvas, signed and dated upper left, 36 1/4 in. x 29 in., original frame.[$2500/4000] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

Ill.: Bruns, Thomas Nelson Carter. Mrs. comp. Louisiana Portraits. New Orleans: The National Society of the Colonial Dames of America in the State of Louisiana Historical Activities Committee, 1975, p. 296.

265. Attributed to Charles Giroux (French/New, Orleans 1828‑1885), “Bayou Landscape with Cypress Trees,” oil on cradled panel, unsigned, 9 1/2 in. x 4 5/8 in., period frame.[$3000/5000]

Provenance: Palmetto Hall The Jay P. Altmayer Collection, Mobile, AL. 266. American School, 19th c., “The Delta Queen,” oil on canvas, unsigned, titled and inscribed en verso, 14 1/8 in. x 36 1/8 in., framed. [$3000/5000] “A stranger to this mode of travelling would find it difficult to describe his impressions upon descending the Mississippi for the first time in one of these steam boats…the fare is sumptuous and everything is in style of splendor, order, and regularity, far exceeding that of most city taverns.” - Timothy Flint, History and Geography of the Mississippi Valley, 1832

An exciting body of work by a previously undocumented 19th century maritime artist specializing in the portraiture of paddlewheelers has recently been identified. These steamboats hold a special place in the history and culture of the South. Historically, they were the main commercial and transportation portal of the South via the Mississippi River, allowing people and goods to be connected with neighboring states previously isolated. Culturally, they embodied a new era of progress and luxury transportation prior to the interstate highway and rail systems. Powered by a steam engine and propelled with stern or side wheels, paddlewheelers were sometimes deemed “floating palaces,” often drawing a crowd to the dock with their luxurious design and entertainment.

Six paintings of paddllewheelers have been identified by the hand of this artist: the “Eclipse,” “Eleanora,” “Fuegla,” “New Orleans River Company Express,” “Challenge,” and the “Bayou Belle.” With the “Delta Queen” and the aforementioned portraits, the artist works in a meticulous fashion with extreme attention to the details of the figures, railings, and ship accessories. The stylized renderings make this artist’s hand easy to identify, and the materials used and style of ship depicted dates this artist to roughly the 1870s. Ref.: Busch, Jason T., et al. Currents of Change: Art and Life Along the Mississippi River 1850-1861. Minneapolis, MN: The Minneapolis Institute of Arts in collaboration with the University of Minnesota Press, 2004.

267. Knute Heldner (Swedish/Louisiana, 1877‑1952), “On the Road to Market”, 1936, oil on canvas board, signed lower left, signed, titled, dated, inscribed and “The Farish Art Store, Inc., New Orleans” label en verso, 15 3/4 in. x 20 in., framed. [$2000/3000]

268. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Live Oak and Pirogue”, oil wash on board, signed lower right, 19 1/2 in. x 30 in., framed. [$3000/5000]

270. 270. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “New Orleans (Harbor)”, 1938, watercolor on paper, signed, titled and dated upper left, 8 15/16 in. x 11 15/16 in., matted.[$1000/1500] Provenance: Descended in the family of the artist.

269. Marjorie Liebman (American/Tennessee, 1911‑2007), “Harbor”, oil on canvas, signed lower right, 25 in. x 30 in., framed.[$800/1200]

271. Morris Henry Hobbs (American/ New Orleans, 1892‑1967), “New Orleans (Patio)”, 1943, watercolor on paper, signed, dated and titled lower right, 13 13/16 in. x 10 1/8 in., matted.[$800/1200] Provenance: Descended in the family of the artist.

Provenance: John Stoakley, Memphis, TN, c. 1980s.

Note: An important Southern abstract expressionist, Marjorie Liebman studied under Hans Hofmann at the Art Students’ League in New York, as well as at the Chicago Art Institute and Washington University before receiving her BFA from the University of Mississippi and beginning her career in her native Memphis.

By 1953, Liebman’s work had been recognized throughout the United States, and she had been the subject of a solo show at the prestigious Betty Parsons Gallery in New York. The same year Liebman, along with fellow artists Adele Lemm, Dorothy Sturm, Nancy Glazer and art educator Mildred Hudson, founded the group Art Today, whose goal was to support contemporary art in the Memphis area. In addition to working with Art Today, Liebman also was a great proponent of the Memphis Brooks Museum, helping to build the collection and acquire works by fellow abstract expressionists such as Mark Rothko and Jackson Pollock. The abstraction of shape and color in the rare canvas offered here suggests a sense of controlled chaos. The composition, slightly tilted with a high horizon line and lines jutting into the sky, emphasizes the expressionistic atmosphere and foreshadows Liebman’s later work in abstraction.

272. Clarence Millet (American/New Orleans, 1897‑1959), “Southern Night”, oil on canvas, signed lower left, signed and titled en verso and on backing paper, “Southern States Art League” label with artist and title on stretcher, 26 1/4 in. x 26 1/4 in., original frame. [$12000/18000]

273. Alberta Kinsey (American/New Orleans, 1875‑1952), “French Quarter Patio with Figure”, oil on canvas, signed lower right, 13 7/8 in. x 19 1/2 in., framed. [$1200/1800] Provenance: Neal Auction Company, Nov. 21, 2014, lot 670.

274. Will Henry Stevens (American/Louisiana, 1881‑1949), “No. 25, Rise and Turn”, 1947, pastel on paper, pencil‑signed and dated lower left, pencil‑titled en verso, handwritten label with title and “Richard York Gallery” exhibition catalogue and article from 1987 on backing, 18 in. x 16 in., framed. [$3000/5000]

275. Marie Atkinson Hull (American/ Mississippi, 1890‑1980), “Autumn Landscape”, oil on canvas board, signed lower right, 12 1/8 in. x 16 1/4 in., framed. [$2500/3500] Additional information at www.nealauction.com

276. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Deep Woods ‑ Biloxi”, oil on canvas board, signed lower left, signed and titled en verso, 12 in. x 16 in., framed. [$2500/3500]

277. Mildred Nungester Wolfe (American/ Mississippi, 1912‑2009), “The Traveler”, watercolor on paper, pencil‑signed lower left, 14 in. x 18 in., framed. [$800/1200]

279. Ellsworth Woodward (American/New Orleans, 1861‑1939), “Evening Rothenburg”, oil on board, signed lower left, titled en verso, “Jean Bragg Gallery” label with artist and title on backing paper, 22 in. x 14 in., framed; accompanied by copy of certificate of authenticity. (2 pcs.) [$4000/6000]

278. Anne Wells Munger (American/Mississippi, 1862‑1945), “Bit of Esplanade Ave.”, pastel on board, signed lower left, pencil‑titled and inscribed en verso, 11 in. x 8 in., framed. [$2000/3000]

Provenance: Jean Bragg Gallery, New Orleans, 2004.

Note: Ellsworth Woodward was known for his dedication to the arts and depictions of familiar scenes of life in New Orleans and the surrounding areas. He also traveled extensively and completed, in watercolor and oil, varied views of cities and landscapes he visited in the United States and abroad. In the work offered here, Woodward illustrates the city of Rothenburg, Germany in the evening. The painting was likely completed after a summer spent in Europe in 1896, the same year May Mount wrote in Some Notables of New Orleans: “[Woodward’s] Bavarian pictures are as full of poetry as of the true expression of art.” In this work, the sun is setting as people meet beside the Plönlein or “little square,” one of the most popular gathering places in the old town. The distinctive architecture of the medieval Bavarian community has changed very little since the time of this painting, owing to some of the earliest laws prohibiting demolition and new construction. The scene may seem familiar to many as these exact buildings were used as template for the classic animated film Pinocchio. Ref.: Bragg, Jean Moore and Saward, Susan, PhD. Painting the Town: The Woodward Brothers Come to New Orleans. New Orleans: Jean Bragg Gallery, p. 230.

280. George Louis Viavant (American/Louisiana, 1872‑1925), “Nature Morte: Squirrel”, 1918, watercolor on paper, signed and dated lower left, 25 3/4 in. x 17 3/4 in., period frame. [$4000/6000]

Provenance: Neal Auction Company, Oct. 4, 2003, lot 1071.

282. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Courtyard Garden”, 1925, signed and dated lower right, partial “Seebold / Art Dealer” label on stretcher, 26 1/8 in. x 21 in., framed. [$4000/6000]

Provenance: Acquired directly from the artist; thence by descent in the O’Kelley and Kerrigan Families, Pass Christian, MS and New Orleans, LA.

281. Louisiana School, 19th c., “Portrait of a Lady”, oil on canvas, unsigned, 30 in. x 25 1/8 in., framed. [$2000/3000] Provenance: W.E. Groves Collection.

Note: While Alexander John Drysdale is primarily known for his misty, atmospheric landscapes, on rare occasions he painted portraits, seascapes, plantation houses, and French Quarter scenes. In such paintings, Drysdale maintained his technique, using hazy brushwork and a green and blue palette while experimenting with new subject matter. In the painting presented here, the location quite possibly is the courtyard behind Drysdale’s studio at 322 Exchange Place in downtown New Orleans. The square top buildings with chimneys are a common architectural feature on that street, and Drysdale rented a studio there from the 1920s until the end of his life. While uncommon, paintings of particular New Orleans buildings were absolutely a part of Drysdale’s oeuvre, and this scene shows a rare glimpse into the artist’s daily life.

283. William Aiken Walker (American/South Carolina, 1838‑1921), “Wash Day, Cabin Scene”, oil on academy board, signed lower left, pencil‑titled “Cabin”, inscribed and partial “F.W. Devoe & Co., NY” label en verso, 9 1/4 in. x 12 1/4 in., framed. [$8000/12000] Provenance: Neal Auction Company, July 16, 2016, lot 358.

Note: To be included in John Fowler’s forthcoming catalogue raisonne on William Aiken Walker

284. William Aiken Walker (American/South Carolina, 1838‑1921), “Man on a Mule”, oil on academy board, signed lower left, “Christie’s” labels en verso, 8 in. x 12 in., framed.[$6000/8000] Provenance: Christie’s, New York, Rockefeller Center, Mar. 16, 1990, lot 52.

Note: To be included in John Fowler’s forthcoming catalogue raisonne on William Aiken Walker

287. Clarence Millet (American/New Orleans, 1897‑1959), “Vegetable Vendor, Dumaine at Royal Street” and “Fruit Vendor at Courtyard Gate, French Quarter”, 2 oils on canvas board, signed lower left and right respectively, each 8 in. x 10 in., framed alike. (2 pcs.) [$6000/8000] Provenance: French Quarter confectioner Frank Anton Klorer (1876‑1946), New Orleans, LA; thence by descent; Neal Auction Company, Sept. 10, 2011, lots 366 and 367.

285. William Aiken Walker (American/ South Carolina, 1838‑1921), “Male Cotton Picker”, oil on academy board, signed lower left, 12 3/8 in. x 6 1/4 in., framed. [$6000/8000]. Note: To be included in John Fowler’s forthcoming catalogue raisonne on William Aiken Walker

286. William Aiken Walker (American/ South Carolina, 1838‑1921), “Female Cotton Picker”, oil on academy board, signed lower left, 12 3/8 in. x 6 1/4 in., framed. [$6000/8000] Note: To be included in John Fowler’s forthcoming catalogue raisonne on William Aiken Walker

288. Newton Reeve Howard (American/New Orleans, 1912‑1984), “Bayou Landscape with Fishing Camp”, 1980, oil on panel, signed and dated lower left, 11 in. x 14 in., framed. [$2500/3500] Note: Newton Howard was a 1929 graduate of the Tulane University School of Architecture. Finding it difficult to obtain work as an architect during the Depression and having had an interest in art since childhood, he enrolled at the Art Institute of Chicago. He eventually returned to his native New Orleans with the Works Progress Administration, serving as the supervisor for the construction of Monkey Hill in Audubon Park. He later worked at Fitzgerald Advertising as an art director, pursuing his passion for fishing, duck hunting and conservation whenever possible. Many of Howard’s paintings reflect these often solitary hobbies. The work presented here depicts a fishing camp on an island, with no visible connection to a larger landmass. A dock from the camp leads to an endless background of calm green with no delineation between water and sky. Howard paints the scene as a lovely haven from the outside world and its intrusions. Additional information at www.nealauction.com

289. George Rodrigue (American/Louisiana, 1944‑2013), “Ode to Clopha and Coco”, 1993, oil on canvas, signed lower right, titled, inscribed and artist stamps on stretcher, artist label with title and artist stamps on reverse of frame, 24 in. x 30 in., framed. [$30000/50000] Ill.: Rodrigue, George and Lawrence S. Freundlich. Blue Dog. New York: Viking Studio Books, 1994, ch. 10.

Note: George Rodrigue never abandoned a subject or his heritage, continuing to paint Cajun scenes even during the height of his Blue Dog series. The captivating painting from 1993 offered here demonstrates this point, as it could easily date to twenty years earlier in the artist’s career. Rodrigue returned to his earlier, dark palette and classic bayou landscape to depict a timeless tale…

“It [Ode to Clopha and Coco] illustrates the Cajun tale of the fisherman who all his life had stalked the most powerful and wily alligator in the bayou. Each day, for many years, fisherman and alligator pitted their skills and strength against one another. They had learned one another’s greatness and the hunt had given dignity to their lives. Then one day, the fisherman caught the alligator. He strung him up to dry. Now the fisherman had his trophy, but his life was hallow without his companion spirit.” - George Rodrigue Ref.: Rodrigue, George and Lawrence S. Freundlich. Blue Dog. New York: Viking Studio Books, 1994, ch. 10.

290. George Rodrigue (American/Louisiana, 1944‑2013), “Acadian Landscape”, 1996, acrylic on canvas, signed lower left, inscribed en verso, artist stamp with date on stretcher, 16 in. x 20 in., framed. [$12000/18000] Provenance: Galerie Blue Dog, Carmel, CA.

291. George Bauer Dunbar (American/New Orleans, b. 1927), “Coin du Lestin”, gold leaf on red and black clay, signed lower center, 48 in. x 42 in., framed. [$18000/25000]

292. George Bauer Dunbar (American/New Orleans, b, 1927), “Heart”, moongold leaf on red and black clay, signed lower center, 25 1/2 in. x 21 7/8 in., framed. [$6000/8000]

293. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Becalmed”, 1959, oil on masonite, signed lower right, signed and dated en verso, partial “Ruth White Gallery, New York, NY” label on stretcher, 30 in. x 24 in., framed. [$12000/18000]

294. Pat Trivigno (American/Louisiana, 1922‑2013), “Tabby Cat on Textiles”, 1994, oil on canvas, signed and dated lower right, 42 in. x 29 in., framed. [$1800/2500]

295. Henry Casselli (American/New Orleans, b. 1946), “The Angel Gabriel”, 1974, oil on paper, pencil‑signed, titled and dated upper center, 29 5/8 in. x 22 1/4 in., framed. [$3000/5000]

297. Henry Casselli (American/New Orleans, b. 1946), “Po‑Boy Fruit Stand”, charcoal on paper, signed upper left, 15 1/4 in. x 22 3/4 in., unframed. [$1200/1800]

296. Henry Casselli (American/New Orleans, b. 1946), “Untitled: Angel Series”, 1974, oil on paper, signed and dated lower left, 29 3/4 in. x 22 1/4 in., framed. [$2500/3500]

298. Hunt Slonem (American/Louisiana, b. 1951), “Cockatoos”, 1993, oil on canvas, signed, titled and dated en verso, 48 in. x 48 in., framed. [$8000/10000] 299. Hunt Slonem (American/Louisiana, b. 1951), “All Eyes”, 2015, oil on panel, signed, titled and dated en verso, 21 3/8 in. x 17 1/2 in., framed. [$2000/3000]

300. David Harouni (Iranian/New Orleans, b. 1962), “Untitled (Face within a Face)”, oil on gallery‑wrapped canvas, signed lower left, 48 in. x 48 in., unframed. [$5000/8000]

301. Ashley Longshore (American/New Orleans, b. 1975), “Box of Chocolates”, 2011, acrylic and heavy resin on gallery‑wrapped canvas, signed lower right, 36 in. x 60 in., unframed. [$6000/8000]

302. George Rodrigue (American/Louisiana, 1944‑2013), “Portrait of My Past”, 1996, oil and acrylic on canvas, signed lower right, artist stamp en verso, inscribed, artist stamps and “Christie’s” label on stretcher, titled and labels on frame, 24 in. x 30 in., framed. [$60000/80000]

303. George Rodrigue (American/Louisiana, 1944‑2013), “Blue Dog Oak”, 2012, acrylic on canvas, signed lower left, artist label with title and date on frame, 24 in. x 36 in., framed. [$60000/80000]

Ref.: “Portrait of My Past.” George Rodrigue. www.georgerodrigue.com/portrait-of-my-past/. Accessed Oct. 15, 2019.

Ref.: Rodrigue, Wendy. “Blue Dog Oak (Old Friends).” Life & Legacy: Musings of an Artist’s Wife. Nov. 23, 2012. www.wendyrodrigue.com. Accessed Oct. 15, 2019.

Note: By the mid-1990s, George Rodrigue was fully engaged with his Blue Dog series, exploring new meanings within his work. While in many ways harkening to the visual vocabulary of his Cajun series and earlier loup-garou paintings, his Blue Dogs in this time period allowed the artist the opportunity to expand his experimentation with color, shape, and texture. In the aptly titled and important canvas “Portrait of My Past” offered here, Rodrigue places the Blue Dog in the foreground of the scene and reflects on the transformation from Tiffany to the Blue Dog by including an image of his original model in the background. “The spirit of Tiffany sits beneath the oak tree, a reflection of Rodrigue’s early style, as she once sat beneath the artist’s easel while he painted.” Combining his roots in the Acadian landscape with Tiffany and the new direction of his Blue Dog series, “Portrait of My Past” epitomizes Rodrigue’s statement: “Blue Dog, I’ve discovered, has become the story of my life.”

Note: The subject of a blog by Wendy Rodrigue in late 2012, “Blue Dog Oak” by George Rodrigue offered here: “...reunites George Rodrigue’s favorite subjects in acrylic colors blended adeptly, as though oils. Unlike his dark oaks of the early 1970s, Rodrigue’s trees today glow with intense hues; yet the rules remain as the hard edges and almost puzzle-like structure control his composition. The Blue Dog stands framed, surrounded by a pattern of sky and shadowed ground, the stylized fur beneath its ears echoing the oak’s pointed moss. Without negative spaces, the painting’s structure defies reality. The spaces between the branches create interesting shapes, clearly a self-imposed challenge for the artist. Rodrigue paints the dog as though it’s a Cajun person. Glowing in blue rather than white, it stands strong with the tree. For Rodrigue, the tree and dog represent his best friends in art, the shapes he made his own. Over the years, they grow and change on his canvas just as he does in life. As with his paintings of Cajun folk life, the light shines from beneath the tree. For the Cajuns, this represents their hope, a longing to make a home for themselves in the swamps of southwest Louisiana following their deportment from Nova Scotia in 1755. In recent paintings, however, Rodrigue paints the light not with the hope of the Cajun people, but rather with a general hope, a brighter future for all, as represented by the now omnipresent Blue Dog.”

Additional information at www.nealauction.com

304. George Rodrigue (American/ Louisiana, 1944‑2013), “Cajun and Blue Dogs under the Oaks with Flowers and Swirls”, pen and ink on rice paper, signed lower right, 9 in. x 12 1/2 in., framed. [$4000/6000]

305. José‑Mariá Cundín (Spanish/New Orleans, b. 1938), “Portrait of a Maiden”, 1981, oil on panel, signed and dated lower right, 19 3/4 in. x 15 1/2 in., artist‑enhanced frame. [$2000/3000]

307. José‑Mariá Cundín (Spanish/New Orleans, b. 1938), “Soldier” and “Baldomero”, 1969, 2 mixed medias on board, former unsigned, latter signed and dated lower right, each 7 3/4 in. x 6 in., framed together. [$2000/3000]

306. José‑Mariá Cundín (Spanish/New Orleans, b. 1938), “The Corrupt”, 1970, double‑sided oil on canvas, signed and dated upper left, sight 20 1/2 in. x 17 1/2 in., framed. [$4000/6000]

308. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Sheep and Pine Trees”, c. 1943, watercolor and pencil on paper, unsigned, estate stamp upper left, 25 in. x 19 in., framed. [$20000/30000] “The sheep grazed at right angles but kept getting closer. They stopped with heads up, then started, ran away, then stopped. Then strung out in a line, walked determinedly westward—then stopped and started, all in perfect harmony with the interrupted lines of pine trees behind them. Animals always move in relation to their surroundings. Harmony is not just a word. It is literally true.” – Walter Anderson

In 1941, following a tumultuous period in his life, Walter Anderson moved into his wife’s family summer home in Gautier, Mississippi. The house was known as Oldfields, and Anderson hoped to reconnect to nature and find spiritual and mental healing. He found himself transfixed by the idea of covering the walls of Oldfields with murals; however, his father-in-law, with whom he had a strained relationship, forbade him from directly painting on the surface of the walls. As an alternative, Anderson decided to create large watercolors on 25 x 19 inch paper which he would then tack to the walls. These “murals,” whose uniting theme was the “beginning of the world,” featured scenes of flora and fauna harmoniously interconnected through a palette of primary colors and fluid lines, as is featured in the masterwork offered here. Ref.: Maurer, Christopher. Fortune’s Favorite Child: The Uneasy Life of Walter Anderson. Jackson: University Press of Mississippi, 2003, pp. 195-196 Ill.: Maurer, Christopher. Fortune’s Favorite Child: The Uneasy Life of Walter Anderson. Jackson: University Press of Mississippi, 2003, illustration p. 12.

309. Newcomb College Art Pottery High Glaze Vase, early 20th c. , decorated with tall pine tree design, h. 12 1/2 in., mounted as a lamp, bronze base, h. (to socket) 19 in., Note: Base drilled, decorator and registration marks obscured by felt . [$4000/6000]

310. Newcomb College Art Pottery Vase, 1925, decorated by Anna Frances Simpson, with low relief carved “Moon and Moss” design, matte glaze with blue, green and white underglaze, base marked with Newcomb cipher, Joseph Meyer’s potter’s mark, reg.no. PD26, h. 10 1/2 in., dia. 5 in. [$5000/7000]

312. Newcomb College Art Pottery Vase, 1930, decorated by Sadie Irvine with a relief‑carved design of Cherokee roses motif, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Jonathan Brown Hunt’s potter’s mark, reg no. sc56, shape no. 50 5, h. 6 1/2 in., dia. 5 1/2 in. [$1000/1500]

316. Newcomb College Hammered Copper Bowl, 1919‑1923, May Ashbury Jones, floriform shaped bowl, unmarked, h. 2 3/4 in., dia. 9 3/8 in. [$500/700]

313. Newcomb College Art Pottery Vase, 1931, decorated by Sadie Irvine with relief‑carved landscape in the “Moon and Tall Pines” design, semi‑matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Jonathan Hunt’s potter’s mark, reg.no. SX44, and shape no. 330, h. 9 1/8 in. [$6000/9000]

317. Newcomb College Hammered Copper Box, 1923‑1925, Rosalie Roos Weiner, monogrammed “W”, h. 3 1/2 in., w. 4 1/2 in. [$300/500] Ill.: Bragg, Jean and Savard, PHD Susan. The Newcomb Style. Jean Moore Bragg, New Orleans, p. 157.

320. Newcomb College Art Pottery Vase, c. 1895‑1897, hand thrown form, drip glaze, impressed marks “D”, Newcomb cypher, and “G”, attributed to Jules Gabry, h. 5 1/4 in., dia. 4 1/2 in. [$500/700]

311. Newcomb College Art Pottery Vase, 1932, decorated by Sadie Irvine with relief‑carved “Moon and Moss” design, matte glaze with blue and green underglaze, base marked the Newcomb cipher, decorator’s mark, Kenneth Smith’s potter’s mark, and reg. no. UA44, h. 4 1/4 in. [$2500/3500]

314. Newcomb College Art Pottery Lidded Jar, 1919, decorated by Anna Frances Simpson with relief‑carved Cherokee roses motif, matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, and shape no. 100, lid and base marked with reg. no. KL73, h. 6 7/8 in. [$8000/12000]

318. Newcomb College Pierced Brass Door Bell Plate, c. 1935, Juanita Marie Mauras, initial M within a circle, stylized arches, h. 3 5/8 in., w. 1 7/8 in., original box; Accompanied by a Certificate of Authenticity form Jean Bragg Gallery, dated Dec. 2011. [$300/500] 321. Newcomb College Decorated Bavarian Porcelain Plate, c. 1924, decorated by Marion Muenzenberger Bitter, pale yellow border with ring of stylized gilt swallows, base marked “Thomas Bavaria”, dia. 10 9/16 in.; together with copy of Muenzenberger’s Newcomb college transcript. [$400/600]

315. Newcomb College Brass Mailbox, early 20th c. , hand wrought brass with pierced oak tree decoration, scrolled newspaper holder, h. 12 in., w. 8 1/2 in., d. 4 1/2 in. [$800/1200]

319. Tiffany Gilt Bronze “Zodiac” Desk Clock and Blotter Ends, early 20th c. , stamped “TIFFANY STUDIOS/NEW YORK”, clock h. 2 3/4 in., w. 4 in., d. 4 1/4 in., blotter ends 19 1/4 in. x 2 in. [$800/1200]

322. Four Newcomb College Brass Desk Blotter Corners, c. 1923‑1935, Rosalie Roos Weiner, with hammered copper “W” monogram, h. 5 in., w. 5 in.; together with Newcomb College copper luggage tag, raised lettering “RMRoos”, l. 1 3/4 in., h. 3 1/4 in.; accompanied by a certificate of authenticity from Jean Bragg Gallery, dated Dec. 2011. (5 pcs.) [$400/600] Note: All illustrated, Bragg, Jean and Savard, PHD Susan. The Newcomb Style. Jean Moore Bragg, New Orleans, 2002, p. 157.

Additional information at www.nealauction.com

323. Althea Dodson Tanner (American/New Orleans, 1919‑2014), “Mardi Gras in New Orleans”, 1988, acrylic on canvas, faintly signed lower right, handwritten label with artist, title and date en verso, 34 in. x 30 in., framed. [$1000/1500]

Note: New Orleans native, Althea Tanner, had a long and illustrious career as an artist, taking part in over 100 exhibitions nationally and internationally and frequently winning awards and placing in juried shows. Despite her decorated standing, works of hers rarely appear at auction. An inventive and innovative artist, she was fearless in employing any and all media from watercolor to clay and even wrote poetry. Her abstract canvases, such as the one offered here, showcase her mastery of color and composition. Aptly entitled “Mardi Gras in New Orleans”, Tanner captures the frenetic energy of a jubilant crowd in her oranges, purples and greenish grays. These dynamic fields of color are cropped and contained by a white and gray border which serves to anchor the composition and create a sort of windowpane through which to view the festivities.

324. Althea Dodson Tanner (American/New Orleans, 1919‑2014), “Western Image #18”, mixed media on canvas, unsigned, handwritten label with title on stretcher, 32 in. x 30 in., framed. [$1000/1500]

326. John Clemmer (American/New Orleans, 1921‑2014), “Sandcasting”, 1975, oil on canvas with bronze and Portland cement, signed and dated mid‑right, artist label with title en verso, 30 1/4 in. x 55 3/4 in., framed. [$5000/8000]

325. James Rogers Lamantia (American/Louisiana, 1923‑2011), “Landscape”, 1972‑73, oil on masonite, signed and dated twice en verso, 24 in. x 18 1/4 in., framed. [$1800/2500]

327. George Bauer Dunbar (American/New Orleans, b.1927), “Untitled: Surge Series”, palladium leaf on black clay, signed lower right, 12 1/2 in. x 15 3/4 in., framed. [$6000/8000]

Note: Local artist John Clemmer first attended classes at the New Orleans Art School, where he studied under Enrique Alferez, Xavier Gonzales, and Paul Ninas. He would later go on to become the director of that school. Clemmer also enjoyed a career as an art professor at the Tulane University School of Architecture. As an artist he was unafraid to experiment as John R. Kemp notes, “[h]e constantly moved back and forth between the abstract and figurative, the visible and purely imaginative, with forays into cubism, hard-edged geometric forms, the figure, traditional still lifes, portraits, and impressionistic landscapes.” This penchant for experimentation is expertly showcased in the lot offered here. In this mixed media work dating from 1975, Clemmer combines the architectural and monochromatic gravitas of cement with light and colorful abstract canvas panels resulting in a truly unique and innovative work. Ref.: Kemp, John R. “John Clemmer” 64 Parishes. Sept. 12, 2012. https://64parishes.org. Accessed Oct. 15, 2019

328. George Bauer Dunbar (American/ New Orleans, b.1927), “Heart”, gold leaf on red clay, signed lower right, 14 in. x 12 in., framed. [$4000/6000]

329. George Rodrigue (American/Louisiana, 1944‑2013), “Bear It All”, 1995, oil on canvas, signed lower left, artist stamp on stretcher, 20 in. x 16 in., framed. [$20000/30000]

Note: The mid-1990s saw George Rodrigue painting around the clock, trying to please his ever-growing collector base and pay the bills. Unhappy with the pace and pressure, he decided to spark some fun in his routine and take a rebellious approach by exploring the Blue Dog imagery in new ways. One result of those explorations is a charming group of paintings depicting the Blue Dog in a bear suit. Inspired by a real-life stuffed bear of his childhood, immortalized in a boyhood photograph, the Blue Dog morphed into a different character entirely, retaining primarily the iconic Blue Dog eyes gazing at the viewer. While most of the paintings in this rare series have an abstract background, “Bear It All” retains the Louisiana landscape and oak tree. Ref.: Rodrigue, Wendy. “Blue Dog Man, 1996-1999.” Life & Legacy: Musings of an Artist’s Wife. Dec. 9, 2009. www.wendyrodrigue.com. Accessed Oct. 15, 2019.

330. George Rodrigue (American/Louisiana, 1944‑2013), “Bobby Charles”, oil on canvas, signed lower right, signed, titled and “George Rodrigue Gallery” card en verso, 30 in. x 24 in., framed. [$25000/35000]

Note: Robert Charles Guidry (1938-2010), known as Bobby Charles, was born in Abbeville, LA and pioneered the south Louisiana musical genre “swamp pop.” He wrote hits such as “Walking to New Orleans” (recorded by Fats Domino) and “See Ya’ Later Alligator” (recorded by Bill Haley and the Comets). Charles appeared at the legendary “Last Waltz” concert in 1976, where he performed “Down South in New Orleans” with The Band and Dr. John. Charles returned to the studio in 1987, recording an album called Clean Water - the same year George Rodrigue created the portrait on offer here, which was utilized as the cover image of the record. According to Rodrigue, Charles wanted to be immortalized not just through his music, but also with an image of the strongest and longest love he had ever known – maternal love. Behind the adult Bobby in a rocking chair with his guitar (most likely inspired by a famous photograph of Charles in the collection of the Louisiana State Museum), Rodrigue painted the baby Bobby swaddled in the arms of his mother. Ref.: Rodrigue, Wendy. “Who Dat! …. Plus Voodoo, Cow Heads, and DC Mardi Gras.” Life & Legacy: Musings of an Artist’s Wife. Jan. 25, 2010. www.wendyrodrigue.com. Accessed Oct. 15, 2019.

Courtesy of the Louisiana State Museum

331. George Rodrigue (American/Louisiana, 1944‑2013), “Morning Glories Red, Blonde, Brunette (Triptych)”, 1987, 3 oils on canvas, each signed lower right, 2 signed en verso, each 48 in. x 36 in., overall 48 in. x 108 in., each canvas framed alike.(3 pcs.)[$100000/150000] Provenance: Upstairs Gallery, Beverly Hills, CA, 1988.

Note: Conceived as a monumental triptych, “Morning Glories Red, Blonde, Brunette” premiered at a solo exhibition of George Rodrigue’s work at the Upstairs Gallery in Beverly Hills in 1988. The three figures are highlighted in white against an expansive landscape, anchored by Rodrigue oaks with morning glory vines and tree limbs connecting each of the three individual canvases. The vines form a swing for the blonde in the center canvas, while the redhead rests on a wooden bench and the brunette on a low-hanging branch. The hat and basket at lower left and right ground the composition, while the outward gaze of the blonde figure invites the viewer into the scene. A rare, multi-paneled tour de force by Rodrigue, “Morning Glories Red, Blonde, Brunette” captures the artist’s distinctive style through its scale, striking color and skillful composition. Ref.: “Morning Glories Red, Blonde, Brunette.” George Rodrigue. www. georgerodrigue.com/morning-glories-red-blonde-brunette. Accessed Oct. 15, 2019. Additional information at www.nealauction.com

332. James Michalopoulos (American/New Orleans, b.1951), “Full Moon Filibuster”, oil on canvas, signed lower left, inscribed “7621” en verso, 31 in. x 23 in., framed. [$4000/6000] Provenance: Michalopoulos Gallery, New Orleans, 2007.

333. David Harouni (Iranian/New Orleans, b.1962), “Untitled (Face)”, oil on gallery‑wrapped canvas, signed lower right, 60 in. x 47 3/4 in., unframed. [$4000/6000]

335. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “16 Blow Up”, 1978, oil on canvas, signed and dated lower right, 56 3/4 in. x 37 in., framed. [$15000/25000]

334. Doug MacCash (American/New Orleans, 20th c.), “DeSoto Park in Winter”, 1984, mixed media on canvas, signed and dated lower left, signed and dated en verso, signed and titled on stretcher, 30 1/4 in. x 40 1/2 in., framed. [$1800/2500]

Note: “In the early 1980s I made 30 or 40 mod New Orleans landscape paintings like this one. Mostly I painted the tiny triangular parks and other street features along Esplanade Avenue. I liked to include small isolated people in them. The paintings were supposed to be a little edgy (literally) with a hint of existential angst. But they were also just a touch tongue-incheek. One critic said that those paintings were too much like “My Darling New Orleans.” Another, who liked them much better, said that they were like Henry Mancini album covers. Both critics were correct. This “Desoto Park” painting is one of the least abstract of the bunch, with the most naturalistic colors and authentic perspective.” – Doug MacCash 336. Elemore Morgan, Jr.(American/ Louisiana, 1931‑2008), “Iris in Bloom”, 2005, gouache on paper, initialed and dated lower right, pencil‑signed, titled and dated en verso, 22 3/8 in. x 14 7/8 in., framed. [$3000/5000]

337. William Dunlap (American/ Mississippi, b.1944), “Watershed Runoff”, 1989, mixed media on paper, signed and dated lower right, titled lower left, 30 1/4 in. x 79 1/4 in., framed. [$2000/3000]

339. Will Henry Stevens (American/Louisiana, 1881‑1949), “Hills and Trees”, pastel on paper, unsigned, typewritten label with artist and title en verso, 10 in. x 13 13/16 in.; “Landscape with Trees”, pastel on paper mounted to board, unsigned, typewritten label with artist and title en verso, 13 7/8 in. x 11 15/16 in.; “Untitled”, pastel on paper, pencil‑signed lower left, partial pastel portrait sketch en verso, 12 in. x 14 in., unframed. (3 pcs.) [$2000/3000] 338. Jane Garner (American/New Orleans, 20th c. ), “A Fine Morning”, 1984, oil on three‑panel wood screen, signed, titled and dated at center, overall 85 3/4 in. x 85 1/2 in. [$800/1200]

Provenance: Robert P. Coggins Collection, Marietta, GA.

Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

341. William Posey Silva (American, 1859‑1948), “Winter”, oil on canvas board, signed lower right, partial title en verso, “Karsner’s Art Shop, Savannah, GA” label on frame, 6 in. x 8 in., framed. [$700/1000]

340. Will Henry Stevens (American, 1881‑1949), “Untitled (Abstract Composition in Green and Grey)”, c. 1935‑1938, gouache, graphite and pastel on paper, signed lower center, “Fay Gold Gallery, Atlanta, GA” label with artist, title and date on backing, 29 7/8 in. x 22 1/8 in., framed. [$2000/3000]

342. Frank Henry Shapleigh (American, 1842‑1906), “Old Homestead on Silver Lake, Madison, N.H. “, 1901, oil on canvas, signed and dated lower right, signed and titled en verso, 18 in. x 30 1/4 in., framed. [$3000/5000]

343. William Aiken Walker (American/South Carolina, 1838‑1921), “Ruins of Spanish Lighthouse, Anastasia Island, St. Augustine, Florida”, pastel on board, later signature lower left, pencil‑titled en verso, “WYES‑TV Auction” labels with artist, title and inscriptions on backing paper, 9 3/8 in. x 12 1/4 in., framed. [$2000/4000] Note: To be included in John Fowler’s forthcoming catalogue raisonne on William Aiken Walker

344. Walter Chaloner (American, 1852‑1922), “An Orange Grove in Florida”, watercolor on board, signed lower right, inscribed en verso, 15 in. x 19 in., framed. [$1000/1500]

345. Clementine Hunter (American/Louisiana, 1886‑1988), “Haulin’ Cotton”, oil on masonite, monogrammed lower left, 8 1/2 in. x 32 1/2 in., framed with brass artist plaque. [$3000/5000]

346. Alexander John Drysdale (American/New Orleans, 1870‑1934), “A Louisiana Cypress Swamp”, 1914, oil wash on board, signed and dated lower left, titled and inscribed “friday noon” en verso, 15 1/2 in. x 20 in., framed. [$2500/3500]

347. John T. Scott (American/New Orleans, 1940‑2007), “Jazz on a T‑Bone”, painted metal and mixed media, unsigned, h. 47 in., w. 60 in., d. 20 in. [$4000/6000] Additional information at www.nealauction.com

349. George Rodrigue (American/Louisiana, 1944‑2013), “Destination Anywhere (City of New Orleans Train Series)”, 2010, remastered digital print, pencil‑signed, inscribed “Artist Proof” and personalized lower margin, sheet 24 in. x 30 in., unframed. [$2500/3500]

348. George Rodrigue (American/Louisiana, 1944‑2013), “Richard’s Oak”, direct image transfer on canvas, signed lower left, signed in plate lower right, 25 in. x 30 in., framed. [$5000/8000] 350. CAC Subscribers Issue Prints “Six Louisiana Artists Portfolio 1”, 1981, 6 hand‑pulled screen prints, featuring works by Franklin Adams, George Dureau, Ida Kohlmeyer, Jim Richard, Clifton Webb, and Terry Weldon, includes cover letter, each pencil‑signed, titled and No. “XXIII/XXX”, published by the Contemporary Arts Center and printed by Weldon Workshop, New Orleans, sheets 30 1/4 in. x 22 1/2 in.to 22 1/2 in. x 30 1/4 in., with original pencil‑number folio cover, unframed. [$1000/1500]

351. John James Audubon (American, 1785‑1851), “Brown Pelican”, Plate 278, chromolithograph, from The Birds of America, Bien edition, sheet 25 1/2 in. x 38 7/8 in., framed. [$5000/7000]

352. George Wilkins Kendall (American, 1809‑1867) and Carl Nebel (German, 1805‑1855), The War between the United States and Mexico Illustrated, embracing Pictorial Drawings of All the Principal Conflicts, New York and Philadelphia, Appleton & Co., 1851, folio (22 in. x 16 3/4 in.), first edition, cloth binding, paper title label, with 12 hand‑colored lithographs, heightened with gum arabic, by Bayot, after Nebel, one map titled “Map of the Operations of the American Army in the Valley of Mexico in August and September 1847”. [$5000/7000]

353. Louisiana Carved Mahogany Armoire, late 18th/early 19th c., stepped canted ogee cornice, chamfered case, two flush panel doors, medial belt of three drawers, highly carved spurred apron, cabriole legs, h. 83 1/2 in., w. 58 in., d. 24 in. [$4000/6000]

354. American Classical Carved Mahogany Reclining Reading Chair, early 19th c., tufted back, shaped supports, lappet carved, scrolled arms, blocked apron, turned feet, casters, h. 42 1/2 in., w. 26 1/2 in., d. 34 in. [$1000/1500]

355. American Classical Mahogany Dressing Chest, 19th c., partial “Meeks & Sons, New York” label, blocked bolection molded mirror on columnar supports with acorn finials, superstructure with glove drawers, bolection frieze drawer over three drawers flanked by columns, turned feet, h. 75 in., w. 43 in., d. 22 1/2 in. [$1200/1800]

Note: The labeled Joseph Meeks & Sons chest offered here is nearly identical to a form illustrated as #40 on the well-known broadside published by the firm in 1833. The Meeks broadside is considered by many scholars of American furniture to be a marker of the beginning of “Grecian Plain” style. Ref.: Kenny, Peter M. et al. Duncan Phyfe: Master Cabinetmaker in New York. New York: The Metropolitan Museum of Art, 2011, pp. 90-93.

356. Pair of American Renaissance Bronze‑Mounted and Incised Walnut and Burl Parlor Chairs, c. 1870, possibly Herter Brothers New York, architectonic crest centered by a classical medallion, tufted back, scrolled roundel arms with carved pendants, turned and tapered legs, India Comb Rubber casters, h. 44 1/2 in., w. 30 in., d. 24 in.[$1000/1500] Provenance: By repute, commissioned for Milton Latham Thurlow Lodge in Menlo Park, CA, 1872.

357. American Renaissance Gilt‑Incised, Inlaid and Parcel Ebonized Walnut Center Table, late 19th c., New York, shaped rouge marble top, conforming frieze, architectural supports and stretcher, scrolled legs, casters, h. 30 in., w. 42 in., d. 25 1/2 in. [$1500/2500] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

358. American Renaissance Ebonized, Parcel Gilt and Marquetry Parlor Cabinet, late 19th c., New York, architectonic mirrored superstructure with two shelves, lower case with raised paneled cabinet doors, blocked feet, h. 92 1/2 in., w. 44 1/4 in., d. 16 1/2 in. [$2000/3000]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

359. Antique English Mother‑of‑Pearl, Gilt, Lacquered and Papier-Mache Chair, scalloped crest, concave back, floral motif, caned seat, cabriole legs, h. 34 in., w. 19 1/4 in., d. 23 3/4 in. [$600/900]

360. Antique George III‑Style Mahogany Secretary Bookcase, dentilated coved cornice, glazed doors, shelf interior, fall front fitted desk compartment with leather writing surface, two short drawers over three long drawers, bracketed ogee feet, h. 87 1/4 in., w. 45 in., d. 21 1/2 in.[$1500/2500]

361. George III Carved Mahogany Chest‑on‑Chest, early 19th c., Greek key molded cornice, fluted canted corners, upper case with three small drawers, three graduated drawers, lower case with four graduated drawers, molded base, bracket feet, h. 74 3/8 in., w. 44 in., d. 22 1/2 in. [$1500/2500]

Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

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362. Attributed to William Edward West (American/Kentucky, 1788‑1857), “Portrait of Stephen Minor (1760‑1815)”, oil on canvas, unsigned, 36 1/8 in. x 28 in., period frame. [$30000/50000] Provenance: Stephen Minor and Katherine Lintot Minor (1770‑1844); to their son, William John Minor (1808‑1869); to his son, William Robert Minor (1834‑1913); to his daughter, Charlotte Duncan Minor Payne (1887‑1979); thence by descent.

Biography of Stephen Minor

Stephen Minor, often referred to as “Don Estevan” in Spanish Colonial Louisiana, arrived in New Orleans from Pennsylvania in 1780 and soon earned the rank of Captain in the Spanish Army. An intelligent man who had been educated at Princeton, Minor quickly rose in the ranks of the army, eventually became aide to Governor Gayoso, and then acted as Civil Governor for the Natchez district from 1797-1798. William Dunbar, an early scientist and explorer of the Louisiana territory, wrote of Minor, “This gentleman was aidemajor of the post of Natchez, and attended the governor [Gayoso] officially, almost perpetually, and was certainly more intimately acquainted with his motives and actions than anyone here, his secretary only excepted, who is a Spaniard [Joseph Vidal].” Governor Gayoso trusted Minor with a variety of important administrative tasks, including soothing tensions between the colonists and the nearby Native Americans, serving as a defense attorney, acting as interpreter, and aiding the Natchez militia in New Orleans when foreign invasion was feared. Minor owned many properties in the Natchez area, including the plantation home Concord, which had previously been owned by Governor Gayoso, Daniel Clark, Jr., and William Lintot. He was married three times, and his descendants still live in Mississippi and Louisiana. A daughter from his second marriage, Mary Minor, married William Kenner; their son, Stephen Minor Kenner founded the town of Kenner, Louisiana in 1855.

Estill Curtis Pennington, author, William Edward West (1788-1857) Kentucky Painter There are three phases in the life and career of William Edward West (1788-1857). In his earliest years he travelled downriver from Lexington, Kentucky to Natchez and New Orleans and back in the company of farmer/distiller Jacob Spears, becoming the first in a series of artists who made a journey we might call the Kentucky/ Mississippi itinerancy (Southern Quarterly, Autumn, 1986). At that time the deep South, especially Natchez, had strong ties to the Bluegrass region. One of Natchez’s most prominent citizens, Judge Edward Turner, had lived and studied law, in Lexington, where he married Mary West, a connection of the artist. West painted Turner and several members of his extended circle of family and friends, including Stephen Minor, Catherine Surget Bingaman, and Sarah Buckholtz Richards.

West had honed his skills as a portraitist by making copies after several well-known artists, notably Thomas Sully, with whom he worked in Philadelphia 1809-1817. Perhaps not an actual copy, the signed and dated 1809 portrait of Stephen Minor, in the style of Jose Francisco Xavier de Salazar y Mendoza of New Orleans (1750-1802), exists from this time period. This Minor portrait is also an example of West’s use of local soils and minerals in his paints, as noted by Sarah Lewis Flannery in the November, 1983, Antiques magazine. William Edward West was always a vivid colorist. As a follower of Sully he was a student of the nascent American Romantic style, characterized by strong color, flattering compositions, and great attention to detail in the sitter’s clothing. However, at that point in his

career, West was not especially adept at anatomical detail. Seeking further instruction, he departed for Italy in 1819 and enrolled in the Academy at Florence, beginning the second phase of his career. Soon, he received a commission from America to paint Lord Byron, the English Romantic poet, an encounter which proved to be one of the most important in his life. By 1824 he had left Florence and was dining out in Paris and London on stories of Byron, whose death in 1824 made West the last artist to portray him. From 1825 to 1837, West lived in London, painting glamorous high style portraits of elegant ladies in fancy dress, as well several historical genre paintings drawing upon legends of the medieval past. Thereafter his style was marked by a pronounced, and very coy, curvilinearity. His women were meant to be alluring; the critic John Neal found his rendering of eyes to be “wonders—iridescent, clear and changeable.” Sadly, his fortunes were also changeable. Having speculated in railway stock he went broke in 1837 and to redeem himself returned to America where patrons in Baltimore awaited. Yet again he had a serious brush with history when he painted the wedding portraits of the young Robert E. Lee and his wife Mary Ann Randolph Custis. He began the third phase of his career much in demand, and when all his debts in England were repaid, he moved on to New York. Once established at 8 Bond Street, he entered the social circles of the Delanos, Astors, Van Rensselaers and Schuylers. During this time he mingled “little with younger artists, but was the favored guest of a

Ref.: Arthur, Stanley Clisby. Old Families of Louisiana. Gretna, LA: Pelican Publishing Company, 1998; Holmes, Jack D. L. “Stephen Minor: Natchez Pioneer.” The Journal of Mississippi History XLII (Feb. 1980): 17-26; Rowland, Dunbar, Ed. “Stephen Minor.” Encyclopedia of Mississippi History II (1907): 247-249. Ill.: Bruns, Thomas Nelson Carter, Mrs., comp. Louisiana Portraits. New Orleans: The National Society of the Colonial Dames of America in the State of Louisiana, Historical Activities Committee, 1975, p. 187

few attached families, until the infirmities of age induced his return to his nearest living kindred in Nashville, Tennessee” as the historian Henry Tuckerman observed.

Tuckerman’s observation was not altogether accurate. While West did move to Nashville, he continued an active painting career. His gothic memorial to the friendship of Elizabeth Young and Anna Mercer, painted in 1852, brought him back into the deep South where he began. He returned to Natchez and once again painted members of the Turner family. It seems altogether likely that he painted the copy offered here of his earlier portrait from 1809 of Stephen Minor during this last visit. The coloring and exquisite modeling and contouring of the subject’s face and anatomy are very much in accord with the Turner, Young and Mercer portraits. It also echoes copies made of military figures in Baltimore, notably the copies he made of Gilbert Stuart portraits of Samuel Smith and Henry Lee. As to his commission, John Minor, whom I believe West painted in New Orleans during his stay, is the most likely source. William Edward West was good company, a fine raconteur of tall tales and family histories. That he delighted his close friends and maintained close ties with them is clear from one of Edward Turner’s letters to him. “We all want to see you…write me soon...you know how much I appreciate a good long letter from you.” No doubt West also appreciated the work bestowed upon him by the Turner and Minor families.

363. Everett B. D. Fabrino Julio (St. Helena, 1843‑1879, active Louisiana, 1870‑1878), “Theodore Shute (1806‑1885)” and “Rachel Ann Lee Shute (1807‑1897)”, 1871, 2 oils on canvas, signed, dated and inscribed “N.O. LA.” mid‑left and right respectively, each 30 in. x 25 in., period ornate carved wood frames. (2 pcs.) [$10000/15000]

Note: Although primarily known for his Louisiana landscape and grand history paintings, Everett Julio also painted portraits, which are exceedingly rare to discover today. One of the premier painters of 1870s New Orleans, Julio worked alongside artists such as Paul Poincy and Andres Molinary. The sitters depicted here, Theodore and Rachel Ann Lee Shute were a prominent New Orleans family of merchants, specifically owning a grocery store at 102 Camp Street. They had connections to the Barrow family of Highland Plantation in West Feliciana. Their son, James Davies Shute, served in the Confederate Army before marrying Anna Eliza Barrow Sillers in 1874; the couple had five children. With his skilled brushwork, Julio portrayed the couple in a direct, sensible, and proud manner, perhaps subtly commenting on the characteristics of his sitters’ personalities. Ref.: Pennington, Estill Curtis. Downriver: Currents of Style in Louisiana Painting 1800-1950. Gretna, LA: Pelican Publishing Company, 1991

365. John James Audubon (American, 1785‑1851), “American Bison or Buffalo, Male”, Plate 56, hand‑colored lithograph, from The Viviparous Quadrupeds of North America, Philadelphia, J.T. Bowen, 1843‑1848, sheet 21 5/16 in. x 27 1/8 in., unframed. [$5000/7000]

364. Thomas L. McKenney (1785‑1859) and James Hall (1793‑1868), History of the Indian Tribes of North America, with Biographical Sketches and Anecdotes of the Principal Chiefs.., Philadelphia, Rice & Hart, 1854 and 1855, 3 volumes, royal octavo, original tooled leather, all edges gilt, with 119 (of 120) hand‑colored lithographs, after Karl Bodmer, Charles Bird King, and others, printed and colored by J.T. Bowen.[$5000/7000] Provenance: Anna Watson, Cross Keys Plantation, Tensas Parish, LA; her daughter‑in‑law, Lucy Watson; present owner.

366. John James Audubon (American, 1785‑1851), “Glossy Ibis”, Plate 387, hand‑colored aquatint with engraving, from The Birds of America, Havell edition, elephant folio paper watermarked “J.Whatman/1837”, sheet 25 1/4 in. x 38 1/4 in., framed. [$7000/10000]

367. John James Audubon (American, 1785‑1861), “Nine‑Banded Armadillo, Male”, Plate 146, hand‑colored lithograph, from The Viviparous Quadrupeds of North America, Philadelphia, J.T. Bowen, 1843‑1848, sheet 21 in. x 27 1/4 in., framed.[$4000/6000] Provenance: Swann, New York, June 14, 2007, lot 215.

368. John James Audubon (American, 1785‑1851), “Trumpeter Swan”, Plate 406, hand‑colored aquatint with engraving, from The Birds of America, Havell edition, elephant folio paper watermarked “J.Whatman/1838”, sheet 26 in. x 39 1/2 in., unframed. [$40000/60000] Provenance: Christie’s, Important American Furniture and Folk Art, Jan. 27, 2012, lot 12.

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369. John James Audubon (American, 1785‑1851), “White Heron”, Plate 386, hand‑colored aquatint with engraving, from The Birds of America, Havell edition, elephant folio paper watermarked “J.Whatman/1837”, sheet 25 3/8 in. x 38 in., unframed. [$30000/50000] Provenance: Sotheby’s, Important Americana, New York, Jan. 11, 2011, lot 12.

370. John James Audubon (American, 1785‑1851), “Blue Jay”, Plate 102, hand‑colored aquatint with engraving, from The Birds of America, Havell edition, elephant folio paper watermarked “J.Whatman/1836”, sheet 37 1/2 in. x 25 3/8 in., unframed. [$22000/28000] 371. John James Audubon (American, 1785‑1851), “Louisiana Heron”, Plate 217, hand‑colored aquatint with engraving, from The Birds of America, Havell edition, “J. Whatman/Turkey Mill/1834” watermark, sheet 26 5/8 in. x 39 1/4 in., framed. [$50000/70000]

372. John James Audubon (American, 1785‑1851), “Red‑shouldered Hawk”, Plate 56, hand‑colored aquatint with engraving, from The Birds of America, Havell edition, elephant folio paper watermarked “J.Whatman/1837”, sheet 38 in. x 25 1/2 in., unframed. [$5000/7000]

374. John James Audubon (American, 1785‑1851), “Louisiana Hawk”, Plate 392, hand‑colored aquatint with engraving, from The Birds of America, Havell edition, elephant folio paper watermarked “J.Whatman/1837”, sheet 25 1/2 in. x 38 1/4 in., unframed. [$2500/3500]

373. John James Audubon (American, 1785‑1851), “Wild Turkey”, Plate 287 from The Birds of America, Bien edition, 1858, sheet 39 in. x 26 in., framed. [$5000/7000]

375. John James Audubon (American, 1785‑1851), “Long Tailed Deer”, Plate 118, hand‑colored lithograph, from The Viviparous Quadrupeds of North America, Philadelphia, J.T. Bowen, 1843‑1848, sheet 21 1/2 in. x 27 1/2 in., unframed. [$2000/3000]

377. John James Audubon (American, 1785‑1851), “Large Tailed Skunk”, Plate 102, hand‑colored lithograph, from The Viviparous Quadrupeds of North America, Philadelphia, J.T. Bowen, 1843‑1848, sheet 27 1/2 in. x 21 1/4 in., unframed. [$1200/1800]

376. John James Audubon (American, 1785‑1851), “Common Mouse, Male, Female & Young”, Plate 90, hand‑colored lithograph, from The Viviparous Quadrupeds of North America, Philadelphia, J.T. Bowen, 1843‑1848, sheet 21 1/4 in. x 27 1/2 in., framed. [$4000/6000]

378. John James Audubon (American, 1785‑1851), “Black Squirrel”, Plate 34, hand‑colored lithograph, from The Viviparous Quadrupeds of North America, Philadelphia, J.T. Bowen, 1843‑1848, sheet 27 1/4 in. x 21 1/2 in., unframed. [$1000/1500]

379. John James Audubon (American, 1785‑1851), “Swamp Hare”, Plate 37, hand‑colored lithograph, from The Viviparous Quadrupeds of North America, Philadelphia, J.T. Bowen, 1843‑1848, sheet 21 1/4 in. x 27 1/2 in., unframed. [$1000/1500]

380. John James Audubon (American, 1785‑1851), “Canada Otter, Male”, Plate 122, hand‑colored lithograph, from The Viviparous Quadrupeds of North America, Philadelphia, J.T. Bowen, 1843‑1848, sheet 21 1/8 in. x 27 1/8 in., unframed. [$700/1000]

382. Rare Pair of Documents Signed by Explorers William Clark and Meriwether Lewis, the first, a manuscript Justice of the Peace appointment of H.M. Guyol, signed “William Clark”, as Governor of Missouri Territory, St. Louis Oct. 10th 1817, with paper seal, 7 3/4 in. x 7 1/2 in.; the second a partially‑printed appointment of Thomas Oliver as Judge Advocate of the 2d Regiment of Militia, 1809, signed “Meriwether Lewis” as Governor and Commander in Chief of the Territory of Louisiana, with paper seal, 7 3/4 in. x 12 1/2 in., framed together with portraits after the paintings of Charles Wilson Peale. [$20000/30000]

Note: William Clark and Meriwether Lewis are best known for their roles as leaders of the Lewis and Clark Expedition from May 1804 to September 1806, the first American expedition to cross the western portion of the United States. President Thomas Jefferson commissioned the expedition shortly after the Louisiana Purchase in 1803 to explore and to map the newly acquired territory, to find a practical route across the western half of the continent, and to establish an American presence in this territory before Britain and other European powers tried to claim it. The campaign’s secondary objectives were scientific and economic: to study the area’s plants, animal life, and geography, and to establish trade with local American Indian tribes. The expedition returned to St. Louis to report its findings to Jefferson, with maps, sketches, and journals in hand.

381. Theodore “Fonville” Winans (American/ Louisiana, 1911‑1992), “Oysterman”, 1934, silver gelatin print, signed and dated lower right, 20 in. x 16 in., framed. [$1500/2500] 383. Dominique Edouard Seghers (American/New Orleans, 1848‑1911), “Plan of a Property / Second District”, 1898, watercolor on paper, signed and dated mid‑right, sight 55 1/2 in. x 34 in., framed; together with Henry Howard Louisiana’s Architect, Robert S. Brantley, signed first edition. (2 pcs.) [$2000/3000] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

Note: The property depicted, 438 Dauphine St., was designed by Henry Howard in 1851 for Damian Casas. The ground floor was a bar and store, with a private residence on the two upper floors. The building still stands. Seghers was a surveyor, draftsman and architect who is known for his watercolors of New Orleans buildings, which were used in real estate transactions. Ref.: Brantley, Robert S. Henry Howard: Louisiana’s Architect, pp. 90‑91, ill. p. 90; Encyclopaedia of New Orleans Artists, 1718‑1918.

384. Acadian Homespun Woven Blanket, 19th c., two pieces sewn, light brown ground, 5 ft. 6 in. x 6 ft. 10 in. [$700/1000]

385. Antique Map of Louisiana, “Carte de la Louisiane et Pays Voisins, Paris, 1757”, by Bellin, 8 3/4 in. x 12 in., framed. [$400/600]

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386. Antique American Cast Iron Jockey Hitching Post, 19th c., square plinth, h. (overall) 46 in., w. 22 in., d. 20 in. [$1500/2500]

387. American Cast Iron Sugar Kettle, 19th c., h. 15 in., dia. 25 in.[$700/1000] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

389. American Cast Iron Sugar Kettle, 19th c., flared rim, h. 16 in., dia. 36 in.[$700/1000]

388. American Cast Iron Sugar Kettle, early 19th c., flared rim, h. 17 in., dia. 32 1/2 in. [$500/700] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

390. Pair of Painted Cast Iron Garden Urns, 19th c., foliate scrolled handles, leaf‑molded rim, lobed body, plinth base, h. 21 1/2 in., w. 31 1/2 in., d. 22 1/2 in.[$300/500]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

392. Antique Cast Iron Garden Figure of Victory, h. 61 in.; together with an associated cast iron stand, h. 24 in., w. 19 1/2 in., d. 19 1/2 in. [$1500/2500] 391. Rare Plantation Cast Iron Sugar Kettle, 19th c., rolled rim, two handles, h. 19 in., dia. 33 in. [$500/1000]

Provenance: Thomas Wilmot Klein, noted antiquarian, St. Francisville, LA.

393. American Classical Carved, Gilded and Stenciled Mahogany Armoire, early 19th c., attr. to Joseph Meeks and Sons, New York, flared cornice, blocked lyre decorated frieze, columnar supports, paneled doors and side cabinets, fitted interior, foliate carved hairy paw feet, h. 89 in., w. 61 in., d. 28 in. [$4000/6000]

Note: The arched frieze and distinctive columnar supports on this armoire are closely related to an important secretary bookcase attributed to Joseph Meeks & Sons conserved by the Metropolitan Museum of Art. The overall form of this armoire is similar to a form illustrated as #28 on the well-known broadside published by Joseph Meeks & Sons in 1833. Ref.: The Metropolitan Museum of Art. “Secretary Bookcase.” metmuseum.org/art/collection/search/3158. Accessed October 13, 2019; The Metropolitan Museum of Art. “Broadside.” metmuseum.org/art/collection/search/339865. Accessed October 23, 2019.

395. Pair of Antique Southern Mixed Woods Campeche Chairs, shaped high crest, scrolled arms, shaped stretchers, curule base, h. 37 3/4 in., w. 23 1/2 in., d. 28 in. [$1500/2500]

394. Louisiana Cypress Huntboard, early 19th c., four board top, one end with frieze drawer, opposite end with spandrel brackets, chamfered tapered legs, h. 30 in., w. 57 1/2 in., d. 30 3/4 in. [$1500/2500]

396. Signed Robert E. Lee Carte de Visite, c. 1865, the famed “Floppy Tie” image, using the original 1864 negative by Vannerson, signed in ink under the image, backstamp reading “THE “LEE” PHOTOGRAPHIC GALLERY, 920 Main Street, over the RICHMOND MUSICAL EXCHANGE John W. Davies”, image 3 1/2 in. x 2 1/4 in., mount 4 2/8 in. x 2 1/2 in. [$2500/3500] 397. [Benjamin Butler Civil War Broadside], dated “Headquarters Department of the Gulf, New Orleans, May 1, 1862” and signed in print “Major General Butler. By Command of Geo. C. Strong, A.A. Gen., Chief of Staff.”, 22.3/4 in. x 8 1/2 in. [$800/1200]

398. [Confederate Commission Signed by Louisiana Governor Moore], partially printed document appointing Lewis A. Evans Lieutenant in the Carroll Dragoons, March 3, 1862; signed by Moore, with paper stamp, sight 14 1/2 in. x 13 1/2 in., matted and framed. [$600/900]

400. Thomas Griswold & Sons Confederate Light Horse Cavalry Officer’s Saber, c. 1861, New Orleans, stamped “Thomas Griswold & Sons” on the ricasso, the other side etched “ABG”, blade etched “O.L.H” (Orleans Light Horse), the other side “RIGHT MAKES RIGHT”, also decorated with cotton plants, acorns and geometric motifs, iron scabbard with brass throat, blade 33 in. [$25000/30000] Provenance: The Confederate and Civil War estate collection of Fred Donaldson.

399. Robert E. Lee Signed Carte de Visite, from the photograph taken by Michael Miley, signed in black ink, image 3 3/4 in. x 2 1/4 in., mounted and framed. Note: Verso backstamp unexamined, but attributed to Boude & Miley, Lexington. [$800/1200]

401. Boyle and Gamble Confederate Staff and Field Officer’s Sword and Scabbard, Richmond, Virginia, cast brass guard with “CS” and star, notch at top of knucklebow, brass and leather scabbard with foliate mounts, blade 30 in Reference: Albaugh, William A. A Photographic Supplement of Confederate Swords, Wilmington, Broadfoot Publishing, 1999, pg. 11. [$7000/10000]

Note: The Orleans Light Horse Cavalry was an independent small organization, acting primarily as an elite escort company. The sword was found by Fred Donaldson in the hands of the Pollack family, whose relative was probable owner Quartermaster Sgt. John F. Pollack, a member of the Orleans Light Horse. Interestingly, the initials A.B.G. match another possible owner, Arthur Breese Griswold, also a member of the Orleans Light Horse.

402. Randall Lee Gibson (1832‑1892) Colt 1851 Navy Model Single Action Revolver, matching visible serial number 72112, .36 caliber, 7 1/2 in. octagonal barrel, one‑line barrel address and fixed front bead sight, tiger maple grips, scroll engraved frame, cylinder and barrel, backstrap inscribed “R.L. Gibson, Capt 1st La Arty”, modern soft‑sided zippered case. (2 pcs.)[$15000/25000] Provenance: Brigadier General Randall Lee Gibson; Private Collection.

Note: Randall Lee Gibson was a prominent politician in Louisiana and served as the first president of Tulane University’s board of administrators. Gibson’s formative years were spent at his family’s sugar plantation in Terrebonne Parish. He later graduated from Yale University, and he pursued a law degree from the University of Louisiana (later Tulane University). During the Civil War, Gibson served as a brigadier general in the Confederate States Army. Fighting in the Battle of Shiloh, then all the following campaigns of the Army of Tennessee, he finished the war at the Battle of Spanish Fort in 1865. Gibson later found success practicing law in New Orleans. In 1874, he was elected to the United States House of Representatives and the United States Senate in 1882. Gibson’s time in office is noted for his progressive policies relating to levee improvements, flood control along the Mississippi River and increased funding to public schools. In his position as president of Tulane University’s board of administrators, Gibson played a pivotal role in managing Paul Tulane’s large endowment and formally changing the public University of Louisiana into the private Tulane University of Louisiana. The gun offered here bears an inscription relating to Gibson’s service as a captain of the 1st Louisiana Artillery. Ref.: Gibson, Randall Lee. http://bioguide.congress.gov. Accessed Oct. 20, 2019.

403. Louisiana Confederate Gold and Enamel Fenner’s Battery Uniform Badge, enameled cannon wheel, engraved, verso. “F.M. Hall”, overlaid with crossed cannons, one engraved “FENNER’S BATTERY; a Pelican in Her Piety, and a cannonball pyramid, with crescent and star pendant, dia. 1 in., h. 1 3/4 in. [$800/1200]

Note: Fenner’s Battery was organized May 16, 1862, at Jackson, Mississippi, from men of the disbanded 1st Louisiana Infantry Battalion. The battery was commanded by Captain Charles E. Fenner; a future Louisiana Supreme Court Justice. Fenner’s Battery saw action in the following campaigns: Jackson Siege, Chattanooga Siege, Atlanta Campaign, Mill Creek Gap, Rocky Face Ridge, Resaca, New Hope Church, Atlanta Siege, Nashville, and Mobile. Fenner’s Battery was disbanded at Meridian, Mississippi on May 10, 1865. F. M. Hall served as a corporal in the battery and survived the war.

404. [Confederate Imprint, Broadside], “A Proclamation/ to all soldiers in this department absent from their commands without leave/ Headquarters, Demopolis, April 16, 1864”, a long and detailed statement of amnesty for deserters relating the option to return, by May, 20th, to their commanding officers or the Post at Meridian, MS, by command of Lieut. Gen. Polk, 10 1/4 in. x 8 3/4 in. [$600/900]

405. New Orleans Double Barrel Percussion Shotgun by Jean Baptiste Revol, 19th c., lock plates marked “REVOL & FILS/NEW ORLEANS”, iron mounts, underlever, checked wrist, barrel length 33 3/4 in. [$1000/1500] Additional information at www.nealauction.com

407. American Rococo Cast Iron Hallstand, mid‑19th c., foliate scrolled body, centered by an adjustable oval mirror, six double hooks, umbrella and cane holder with inset drip pan, foliate base, h. 76 1/2 in., w. 28 1/2 in., d. 14 in.[$500/1000] 406. Anglo‑Colonial Carved Mahogany Armchair in the Regency Taste, 19th c., tablet back, shaped slat, heavily scrolled arms, sabre legs, h. 36 in., w. 23 in., d. 20 in. [$300/500]

Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

409. American Federal Inlaid Mahogany Bowfront Chest of Drawers, early 19th c., four beaded graduated drawers, shaped apron, “French” feet, h. 37 1/2 in., w. 40 5/8 in., d. 22 in.[$700/1000] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

410. Regency Mahogany Etagere, early 19th c., superstructure with scrolled crest and supports, three graduated shelves, console base with molded edge, frieze drawer, scrolled supports, plank base, h. 66 in., w. 44 in., d. 20 in. [$800/1200]

408. American Classical Carved Mahogany Sofa Table, early 19th c., possibly Boston, drop‑leaf top, each side with frieze drawer and faux drawer, scrolled trestle base, ogee feet, casters, h. 29 1/2 in., w. 37 1/2 in., d. 24 in. [$800/1200]

411. Louis XVI‑Style Carved Beechwood Metamorphic Chaise, arched crest rail, winged armchair and seat fold forward to create chaise, fluted tapered legs, mohair upholstery, h. 42 1/2 in., w. 30 1/2 in., d. (open) 78 in. [$500/700]

413. Twelve Continental Walnut Side Chairs, 19th c., rectangular tall backs and chamfered blocked legs and stretchers, flat bun feet, h. 42 1/4 in., w. 20 1/2 in., d. 19 1/2 in. [$1500/2500] 412. Pair of Italian Renaissance‑Style Oak Stools, shaped curule base, paw feet, h. 20 in., w. 23 1/2 in., d. 19 in. [$300/500]

415. Swedish Verdigris and Parcel Gilt Center Table, 19th c., raised inset marble top, spherule and foliate carved, tapered legs, urn‑mounted stretcher, tapered foliate carved feet, h. 29 3/4 in., w. 37 1/4 in., d. 20 1/4 in. [$1800/2500] 414. Italian Rococo Carved Fruitwood Fall‑Front Desk, 19th c., fitted interior, leather writing surface, small false drawer flanked by two drawers, over one long drawer, scalloped apron, raised cabriole legs, h. 37 in., w. 38 in., d. (open) 30 in., d. (closed) 17 in [$500/800]

416. Italian Rococo Carved, Painted and Parcel Gilt Console, 18th c., serpentine top, rocaille apron, cabriole legs, hoof feet, h. 32 in., w. 50 in., d. 27 1/2 in. [$3000/4000]

417. Régence Bronze‑Mounted Walnut Bombé Commode, 18th c., serpentine rouge marble top, conforming base, paneled sides, two smaller drawers over two long drawers, sabot feet, h. 31 in., w. 45 3/4 in., d. 24 in. [$1500/2500] 418. British School, 19th c., “Portrait of a Girl Seated with Flowers”, oil on canvas, unsigned, 36 1/4 in. x 28 in., rosewood veneer frame. [$1500/2500]

420. Pair of French Gilt and Patinated Bronze Medici Urns, 19th c., tall base mounted with troubadours, now fitted as lamps, h. (to socket) 20 in., dia. 4 3/4 in. [$1000/1500] 419. Henry Schouten (Belgian, 1867‑1927), “Horse and Donkey”, oil on canvas, signed lower right, signed and inscribed en verso, 18 in. x 25 3/4 in., framed.[$1500/2500] Provenance: S.A.R.L. Marion Chauvy M., Paris, 2001.

421. Pair of Italian Grand Tour Carved Marble Recumbent Lions, 19th c., after Canova, Egyptian marble bases, h. 5 1/4 in., w. 8 1/2 in., d. 3 in. [$2500/3500]

422. George III Tortoiseshell Tea Caddy, early 19th c., lid with blank cartouche, interior with two lidded compartments, ball feet, h. 4 7/8 in., w. 6 1/4 in., d. 3 3/4 in. [$1000/1500] 423. George III Tortoiseshell Tea Caddy, early 19th c., lid with cartouche engraved “PEA”, interior with two lidded compartments, ball feet, h. 5 in., w. 7 in., d. 4 in. [$1000/1500]

424. Regency Brass-Inlaid Rosewood Tea Caddy, c. 1810, lion mask handles, fitted interior with two lidded tea compartments, ball and claw feet, h. 8 in., w. 12 in., d. 6 in. [$700/900]

425. New York Coin Silver Repousse Water Pitcher, John L. Westervelt, Newburgh, NY, act. 1845‑1905, ret. Wendell & Feltman, Albany, NY, act. 1860‑1864, vase form with tooled borders, scroll handle and floral repousse, h. 11 1/4 in., wt. 30.35 troy ozs. [$1000/1500] 426. Chinese Export Silver Solitaire Tea Service, 19th c., possibly “KC” (undocumented), incl. teapot, sugar and creamer, each with repousse dragons pursuing flaming pearls, teapot h. (incl. handle) 6 1/2 in., wt. 25 troy ozs. [$1800/2500] Additional information at www.nealauction.com

427. Pair of American Sterling Silver Compotes, Graff, Washbourne & Dunn, New York, act. 1899‑1961, with neoclassical chasing, h. 4 5/8 in., dia. 8 in., wt. 21.5 troy ozs. [$500/1000]

430. George III Chinoiserie Tall Case Clock, early 19thc., brass dial, signed “SHAW/ Botesdale”, dark orange ground, gilt decoration, h. 84 in., w. 17 in., d. 8 1/2 in. [$1500/1800]

428. Victorian Sterling Silver‑Mounted Claret Jug, Walter & Charles Sissons, Sheffield 1889, cover with lion rampant finial, scroll handle with Elizabethan bust, elaborately chased, glass decorated in ivy motif, h. 10 7/8 in., wt. 25 troy ozs. [$600/900] 429. Chinese Export Silver Tankard, 19th c., marked, possibly “LW” for Luen Wo, Canton, or “IW” for Ying We, Shanghai, relief‑decorated with a continuous battle scene, h. 5 1/4 in., w. 7 in., d. 4 1/4 in., wt. 12 troy ozs. [$1800/2500]

431. Pair of English Carved Oak Hall Chairs, 19th c., shaped crest rail, cabochon centered scrolled back, molded seat, acanthus blocked carved apron, tapered legs, h. 38 in., w. 18 3/4 in., d. 19 in. [$800/1200]

432. Regency Inlaid Mahogany Pedestal Server, early 19th c., reeded top, two drawers, one door on each side, interior with blind drawers, molded blocked base, h. 38 in., w. 43 in., d. 22 in. [$700/1000] Provenance: Royal Antiques.

433. William and Mary Walnut Chest of Drawers, 18th c. and later, molded top, four paneled drawers, bead‑decorated drawer dividers, molded base, bracket feet, h. 36 in., w. 38 1/2 in., d. 21 1/4 in. [$500/700]

434. Continental Carved, Painted and Parcel Gilt Console, 18th c. and later, scagliola top, conforming case, intertwined foliate motif, single drawer, bellflower accents, tapered fluted legs, shaped feet, h. 30 1/2 in., w. 72 in., d. 19 in. [$1500/2500]

435. Pair of Louis XVI‑Style Carved and Painted Bergeres, early 19th c., shaped gadrooned finialed crest rails, fluted scrolled padded arms, tapered fluted legs, h. 39 in., w. 26 3/4 in., d. 27 1/2 in. [$1200/1800]

436. Pair of Italian Rococo Carved Fruitwood Armchairs, 18th c., serpentine foliate carved backs, scrolled arms, foliate decorated apron and knees, cabriole legs, “Spanish” feet, h. 39 1/4 in., w. 23 in., d. 18 in. [$500/1000]

437. Antique Dutch Carved and Bronze‑Mounted Walnut Bookcase, shaped cornice centered by a fruit and foliate basket, arched glazed doors and sides, fluted and reeded stiles surmounted by Corinthian capitals, bombe base with lower drawer, shaped apron centered by an urn, hairy paw feet, h. 93 in., w. 55 1/2 in., d. 20 in. [$1500/2500] 438. Pair of Continental Painted Petite Commodes, 19th c., scalloped galleried top, open shelf, opposing cabinet doors, shaped apron, cabriole legs, scrolled toes, h. 31 in., w. 17 1/2 in., d. 13 1/2 in. [$800/1200]

440. Pair of Italian Carved Walnut and Needlepoint Stools, 19th c., scrolled “os de mouton” H stretcher base, h. 16 in., w. 22 in., d. 17 in. [$600/800] 439. Four Directoire‑Style Parcel Gilt Fruitwood Chairs, late 19th c., scrolled crest rail, feather crowned lion mask splats, caned seat, tapered legs, spade feet, h. 33 1/2 in., w. 19 in., d. 17 in. [$800/1200] 442. Pierre Audoin (French, 1768‑1822), “L’Imperatrice en Grand Costume”, c. 1808, hand‑colored engraving, from Le Sacre de L’Empereur Napoléon, sight 19 1/2 in. x 11 7/8 in.; Philippe Benoist (French, 1813‑c.1879), “Colonne de la Grande Armée”, c. 1860s, hand‑colored lithograph, from Paris Dans Sa Splendeur, sight 11 in. x 15 in.; AND “Palace du Louvre”, hand‑colored lithograph, sight 15 in. x 11 in., all framed. (3 pcs.) [$400/600]

441. French Provincial Carved Fruitwood Buffet Bas,19th c., molded top, two frieze drawers over two doors, fluted corners, spurred apron, shaped feet, h. 40 1/2 in., w. 54 in., d. 24 1/2 in. [$1000/1500]

Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

446. Wedgwood Rosso Antico Tripod Censer, c. 1805, impressed uppercase mark, foliate ornamentation, dolphin legs, h. 4 in. [$300/500]

444. Paris Polychrome and Gilt Porcelain Wash Basin and Ewer, 19th c., paneled octagonal form, black ground, floral motif, basin l. 15 in., w. 9 5/8 in.; ewer, h. 9 3/4 in. (2 pcs.) [$250/350] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

443. Paris Polychrome and Gilt Porcelain Three‑Piece Garniture, mid‑19th c., associated, incl. center vase and pair of flare vases, floral reserves, h. 8 1/2 in., w. 14 1/2 in., d. 7 in. and h. 13 3/4 in., w. 11 in., d. 5 1/4 in. [$400/600]

445. Twelve Limoges Porcelain Dinner Plates, signed WM Guerin and Co., Limoges France, floral and gilt decoration, dia. 10 7/8 in. [$400/600]

447. Wedgwood Rosso Antico Creamer, 19th c., impressed uppercase mark and ‘RK’, Egyptianesque ornamentation, h. 2 1/4 in., w. 5 in., d. 3 1/2 in.; together with Wedgwood rosso antico creamer, late 19th/early 20th c., impressed uppercase mark, ‘2’ and possibly “S”, Egyptianesque ornamentation, h. 2 1/2 in., w. 5 in., d. 3 3/4 in. [$300/500] Provenance: Earl Buckman Antiques, Dallas

Provenance: Harbor View Antiques, Stamford, CT, 2006.

448. Ten Chinese Export Mandarin Palette Porcelain Saucer Dishes 18th c., Qianlong, each variously painted with a central figural scene on a gilt scrollwork, magenta diaper, iron red diaper, or black cellwork ground with further landscape cartouches, one with barbed rim, dia. 4 3/4 in. to 5 in. [$500/700] Provenance: (two) Henry Moog, Atlanta, 2002; Ron Barber, 2003; (three) Harbor View Antiques, Stamford, 2003; Vista Interiors, 2004; (two) Antique & Artisan Center, Stamford, 2005; Michael Higgins, Atlanta, 2006. Additional information at www.nealauction.com

449. Chinese Export Famille Rose Porcelain Cann, 18th c., Qianlong, painted with a continuous landscape featuring a noble woman and her attendant, h. 4 7/8 in.; together with export armorial saucer, 18th c., central monogram, dia. 5 1/2 in. (2 pcs.) [$150/250]

450. Chinese Export Famille Rose Porcelain “Tobacco Leaf” Vase, 18th c., Qianlong, cylindrical gu‑form body painted with flowers and tobacco leaves, h. 5 3/4 in. [$150/250] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

451. Chinese Export Famille Rose Porcelain Punch Bowl, 19th c., decorated with alternating figural and floral panels, h. 6 in., dia. 14 1/2 in. [$500/800]

452. Twelve Copeland for Tiffany and Company Dessert Plates, gilt and foliate borders, dia. 8 3/4 in. [$250/350]

Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

453. French Gilt and Patinated Bronze Figural Encrier, late 19th c., variegated fossilized marble urn-shaped inkwell flanked by figure of Cupid, h. 6 1/2 in., dia. 4 3/4 in. [$300/500]

454. “Grand Tour” Bronze Model of the Colonne de Juillet (July Column), 19th c., on marble base, h. 12 1/4 in., w. 5 in., d. 5 in. [$400/600]

458. Pair of Neo‑Grec Bronze Urns, early 20th c., continuous frieze of Classical figures, paw feet, now fitted as lamps, h. (to socket) 24 in., w. 7 3/4 in., d. 5 1/2 in. [$700/900]

459. Pair of Decorative Empire‑Style Carved Mahogany and Bronze Brackets, each in the form of classical portico, h. 20 1/2 in., w. 12 1/2 in., d. 4 1/4 in. [$400/600]

462. Italian Della Robbia Plaque of the Madonna, dia. 21 1/2 in., d. 3 3/4 in. [$400/600]

463. Pair of Jacob Petit Paris Porcelain Sultan and Sultana Room Scenters, mid‑19th c., marked “JP”, h. 5 in., w. 4 in. [$150/250]

455. “Grand Tour” Bronze Model of the Colonne de Juillet (July Column), 19th c., on marble base, h. 10 1/4 in., w. 3 1/2 in., d. 3 1/2 in. [$250/350]

456. Grand Tour Gilt Bronze Model of the Vendome Column, 19th c., surmounted by Napoleon, marble base, h. 12 1/2 in., w. 4 1/2 in., d. 4 1/2 in. [$500/700]

460. Neoclassical‑Style Bronze Urn, tripartite base, h. 20 3/4 in., w. 10 in., d. 8 3/4 in. [$400/600]

464. Italian Carved and Polychromed Urn, with putto and foliate design, h. 17 3/4 in., w. 13 3/4 in., d. 10 1/2 in. [$300/500]

457. Grand Tour Bronze Model of the Vendome Column, c. 1900, marble base, thermometer glass now lacking, h. 10 1/2 in., w. 3 3/4 in., d. 3 3/4 in. [$150/250]

461. Empire‑Style Bronze‑Mounted Encrier, central ink pot, paw feet, h. 8 in., w. 18 in., d. 10 3/4 in. [$500/700]

465. Pair of Large Continental Giltwood Candlesticks, 19th c., foliate designs, tripartite base, h. 47 in., dia. 10 1/2 in. [$800/1200]

466. Four Asian Enameled Silver Tazzas, unmarked, probably early 20th c., pierced well with phoenix and foliage, h. 3 1/8 in., dia. 6 3/8 in., wt. 41 troy ozs. [$800/1200] 467. Fine English Gilt and Patinated Bronze Two‑Light Argand Lamp, c. 1830-1850, likely Messenger & Sons, probably for the Mexican market, flaming urn font, wreathed eagle and rattlesnake standard, foliate base, claw and ball feet, etched glass shades, h. 30 1/2 in., w. 17 in., d. 13 1/4 in. [$2500/3500]

468. Fine American Gilt Bronze Three‑Piece Argand Lamp Garniture, 19th c., tripartite base with Classical masks, paw feet, Greek key cut shades, double lamp, h. 21 in., w. 19 in., d. 9 in. [$1500/2500]

Provenance: Neal Auction Co, 1980s; 511 St. Ann Collection, Historic Pontalba, New Orleans.

470. Continental Illuminated Leaf from a Book of Hours, probably 15th c., ink, gouache, and gilt on vellum, depicting the Visitation, richly colored floral motif border, recto Latin script “Deus in adiutorium meum intende Domine, ad”, sight 5 1/2 in. x 8 1/4 in., double sided frame. [$1000/1500] 469. Pair of Napoleon III‑Style Carved Giltwood Two‑Light Sconces, 19th c., torch‑form backplate, spreadwinged swans standard, h. 21 in., w. 11 1/2 in., d. 5 in. [$800/1200]

471. Black Forest Oak Music Stand, late 19th c., floral finial, shaped top, faux bois and fern accented case, two doors with trophée panels, divided interior, whimsical cluster carved feet, h. 45 in., w. 24 in., d. 18 in. [$2000/3000]

472. Continental Carved Mahogany Chaise de Bureau, early 20th c., incurvate back, lion head terminals, serpentine “faux” crocodile seat cover, nailhead trim, h. 31 1/2 in., w. 26 1/2 in., d. 23 in. [$300/500]

473. Rowland Fade (British, b. 1939), “Abstract Compositions”, 1974, 3 mixed medias on paper, all signed and dated upper or lower right, sights 12 1/2 in. x 10 1/2 in., framed alike. (3 pcs.) [$300/500]

475. Venetian Brass Hippocampus Gondola Ornament, oval base, h. 12 in., w. 13 1/2 in., d. 3 in. [$400/600] 474. KPM Gilt and Bleu de Roi Porcelain Portrait Vase, c. 1900, fully marked, with portrait of King Frederick II, h. 19 3/4 in., w. 11 in., d. 8 3/4 in. [$800/1200]

476. David Lucas (British, 1802‑1881), “The Grand Canal”, c. 1853, hand‑colored engraving, after James Duffield Harding (British, 1798‑1863), sight 24 1/4 in. x 28 3/4 in.; Henry Le Keux (British, 1812‑1896), “The City of Venice”, c. 1850, hand‑colored engraving after Samuel Prout (British, 1783‑1852), sight 22 1/4 in. x 28 1/2 in.; and “Basilica di San Marco”, c. 1898, hand‑colored engraving, sight 25 3/4 in. x 34 3/4 in., framed. (3 pcs.) [$700/1000] Additional information at www.nealauction.com

477. Continental Painted and Parcel Gilt Trumeau Mirror, 19th c. and later, bowknot cartouche with foliate frame depicting romantic reserve of fishermen and wash ladies, mirror plate flanked by tassels and urn panels, h. 59 1/2 in., w. 43 1/2 in. [$1500/2000]

478. Louis Philippe Carved and Incised Giltwood Overmantel Mirror, mid‑19th c., floral corners, incised bolection, ogee liner, old mirror plate, h. 72 1/2 in., w. 41 1/2 in. [$1500/2500]

Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans. 479. Bronze Figural Group of “Reveil de la Nature”, after Emile Louis Picault, signature inscribed and title on self‑base, h. 34 1/2 in. [$2500/3500]

480. Erté (Romain De Tirtoff) (Russian/ French, 1892‑1990), “An Evening in 1922”, 1980, patinated bronze, signed, dated, numbered “88/250”, and stamped “RKP INT. CORP” on self‑base, h. 17 1/4 in., w. 7 3/4 in., d. 8 1/2 in.; accompanied by a Certificate from Dyansen Gallery. [$1500/2500] Provenance: Dyansen Gallery, New York.

481. Bronze Figure of the Venus de’ Medici, after the antique in The Uffizi, Florence, inscribed “Chivrzzi Napoli” on self‑base, h. 24 1/2 in., w. 8 in., d. 5 in., marble base, overall h. 25 in. [$600/800] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

482. Ernst Hegenbarth (Austrian, 1867‑1944), “Victory”, 1908, patinated bronze, signed and dated on self‑base, h. 14 3/4 in., w. 4 3/4 in., d. 4 1/4 in. [$300/500]

483. Contemporary Decorative Shell Mirror, attached crest, Greek key surround, sconce arms, electrified, h. 58 in., w. 37 1/2 in., d. 8 in. [$1200/1800]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

484. Joseph Honoré Maxime Pellegrin (French, 1793‑1869), “Barque Zephyr, Capt. Ernest Lane Leaving Marseilles for Palermo, Dec. 22 1856”, watercolor on paper, unsigned, labels with title and artist attribution on backing, sight 17 1/2 in. x 26 1/2 in., framed with title plaque. [$1000/1500] Provenance: Marine Arts Gallery, Salem, MA, 1981.

Note: Along with fellow artists Nicolas Cammillieri and various members of the Roux family, Joseph Pellegrin helped to transform the bustling seaport of Marseilles into a center of marine painting. Pellegrin was admired for his technical accuracy and clear, soft color palette. Adhering to the preferred style of the time and region, he concentrated on the characteristics of the particular vessel, only briefly detailing the background. As with all accomplished ship portraitists, he had a true understanding of the workings of a ship and the sea, and his precise depictions made him popular with ship owners and mariners. Ernest Lane, captain of the ship depicted here, was from the small fishing village of Annisquam, MA. He was a member of a prominent sea-faring family; his brother and nephews were all captains of ships working out of nearby Gloucester Harbor. Lane later served in the Navy during the Civil War. Ref.: Archibald. Dictionary of Sea Painters. Suffolk: Antique Collector’s Club Ltd., 1980. Smith. “American Ship Portraits and Marine Painting, Introduction.” Resource Library, Jan. 8, 2009.

485. After John James Audubon (American, 1785‑1851), “American Flamingo”, 1971, offset lithograph, from Birds of America Amsterdam edition, “G. Schut & Zonen” watermark, sheet 39 5/8 in. x 27 3/8 in., framed. [$700/1000]

486. Clarence John Laughlin (American/Louisiana, 1905‑1985), “The Apparition (No. 9)”, 1946, silver gelatin print mounted on board, signed, titled and dated on board, signed, titled, inscribed, negative and batch numbers and print date (2/12/76) in Laughlin’s hand and artist stamp en verso of board, 13 3/4 in. x 10 13/16 in., framed. [$1000/1500]

487. Clarence John Laughlin (American/Louisiana, 1905‑1985), “The Repulsive Bed”, 1941, silver gelatin print mounted on board, signed, titled and dated on board, initialed, titled, inscribed, negative and batch numbers, print date (3/23/73) in Laughlin’s hand and artist stamp en verso of board, 10 1/8 in. x 13 3/8 in., framed. [$1000/1500] 488. Clarence John Laughlin (American/ Louisiana, 1905‑1985), “The Exuberant Domes (Brighton Pavillion)”, 1966, silver gelatin print on board, signed, titled and dated on board, titled, print date (5/13/66), negative and batch numbers in Laughlin’s hand and artist stamp en verso of board, 13 7/8 in. x 11 1/16 in., framed. [$800/1200]

489. Debbie Fleming Caffery (American/Louisiana, b. 1948), “Maria”, 1996, ed. 1/25, “Men Waiting at Cantina”, 1996, ed. 1/10 and “Dancers”, 2005, ed. 2/10, 3 silver gelatin photographs, all pencil‑signed, titled, dated and edition en verso, sheets 24 in. x 20 in. to 20 in. x 24 in., unframed. (3 pcs.) [$600/800]

490. Debbie Fleming Caffery (American/Louisiana, b. 1948), “Heidi”, 2005, ed. 5/10, “Untitled” and “Ana”, 2005, ed. 2/10, 3 silver gelatin photographs, 2 pencil‑signed, titled, dated and edition en verso, one unsigned, sheets 24 in. x 20 in., unframed. (3 pcs.) [$600/800]

492. George Rodrigue (American/Louisiana, 1944‑2013), “Double Blue Dog Pin”, “Pair of Blue Dog Earrings” and “Blue Dog Charm Bracelet”, sterling silver, each marked “©Rodrigue” and sterling, 1 3/4 in. x 1 7/8 in., 1 1/4 in. x 1 in. and 1 1/4 in. x 7 in. respectively. (3 pcs.) [$700/1000]

493. George Rodrigue (American/Louisiana, 1944‑2013), “Double Blue Dog Pin”, “Pair of Blue Dog Earrings” and “Blue Dog Pendant”, sterling silver vermeil, each marked “©Rodrigue” and sterling, 1 1/4 in. x 1 in. to 1 3/4 in. x 1 7/8 in. (3 pcs.) [$600/900]

491. Debbie Fleming Caffery (American/Louisiana, b. 1948), “Smoke, Patoutville, Louisiana”, 2000, ed. 2/25, “Jet Streams Through Burning Cane”, 1999, ed. 3/25 and “Sunset Burning Cane #2 Patoutville”, 2007, ed. 4/25, 3 silver gelatin photographs, each pencil‑signed, titled, dated and edition en verso, sheets 24 in. x 20 in. to 20 in. x 24 in., unframed. (3 pcs.) [$800/1200]

494. George Rodrigue (American/Louisiana, 1944‑2013), “Blue Dog Pin ‑ Full Body”, sterling silver vermeil, marked “©Rodrigue” and sterling, a rare early prototype, 1 3/4 in. x 1 1/8 in. [$500/700]

495. George Rodrigue (American/ Louisiana, 1944‑2013) and Douglas Magnus (American/New Mexico, b. 1946), “Blue Dog Pin: Full Body”, 1999, sterling silver with 14 kt. gold aura, signed “Rodrigue” on front, marked “©GR 1999”, sterling, 14k and Magnus hallmark, 1 3/4 in. x 1 1/5 in. [$400/600]

496. George Rodrigue (American/ Louisiana, 1944‑2013), “Blue Dog Pendants”, one sterling silver vermeil and one sterling silver, each marked “©Rodrigue” and sterling, 1 1/4 in. x 7/8 in. and 1 5/8 in. x 1 in. (2 pcs.) [$250/350]

Additional information at www.nealauction.com

498. Ron Fritts (American/New York, 20th c.), “N‑303”, Mylar and Plexiglass, signed lower right, titled and artist studio label en verso, h. 42 in., w. 42 in., d. 10 in. [$700/1000]

Provenance: Collection of Sunny Norman.

499. Pal Kepenyes (Hungarian/ Mexican, b. 1952), “Estandarte”, patinated metal, unsigned, h. 78 1/2 in. [$1200/1800]

Provenance: Bryant Gallery, Jackson/New Orleans, May 2011.

500. Jim Richard (American, Louisiana, b. 1943), “Warrior”, 2005, oil on linen, signed, titled and dated en verso, 76 1/8 in. x 40 1/8 in., label with artist, title and date on stretcher, unframed. [$3000/5000]

497. Lin Emery (American/New Orleans, b. 1926), “Four Triangular Petal Forms”, c. 2005, polished aluminum kinetic sculpture, h. 32 in., motorized pedestal, overall h. 64 1/2 in. [$20000/30000]

Provenance: Arthur Roger Gallery, New Orleans, LA.

501. Phil Sandusky (American/ Louisiana, b. 1957), “Yellow House with Alizarin Boarded Windows”, 2008, oil on canvas, signed and dated lower left, “Cole Pratt Gallery, New Orleans, LA” label with artist and title en verso, 18 in. x 24 in., framed. [$700/1000]

503. Jason Bouldin (American/ Mississippi, b. 1965), “Portrait of a Lady”, 2013, oil on canvas, signed, dated and inscribed en verso, 43 in. x 54 in., framed. [$3000/5000]

Note: The fourth son of artist Marshall Bouldin, Jason Bouldin began painting as a young boy in his father’s studio in Clarksdale, Mississippi. Bouldin majored in art history at Harvard University and received his Bachelor of Fine Arts degree in 1989, studying painting with his father during the summers. After an additional two-year apprenticeship with his father, Bouldin began his career as a portrait painter, receiving commissions throughout the United States and concentrating on important Mississippi figures, present and past. The painting offered here displays Bouldin’s mastery of soft brushwork and palette – a modern interpretation of the style of past portraitists such as John Singer Sargent and William Merritt Chase.

502. Nicole Charbonnet (American/Louisiana, b. 1966), “Japanese Plums”, oil on canvas, signed lower right, 11 in. x 13 in., framed. [$1000/1500]

Note: Contemporary artist and New Orleans native Nicole Charbonnet received her M.F.A. from Boston University in 1991. She is represented by several galleries and has been included in numerous exhibitions locally and nationally. Charbonnet’s current works are mixed media and highly textural. She builds layers of paper, pigment and fabric over long periods of time, often adding iconography from popular culture. She has commented: “The superimposition of textures, images, words, loose, watery washes of paint and veils of translucent fabric or paper, creates a visual threshold in my work which is something to look at as well as to look through. These surfaces retain or reveal a “memory” of preexisting stages or structures. The result is a palimpsest, in which some images, colors, textures are obfuscated, while others remain visible, however shaped or shaded by previous or subsequent gestures, images or events.” The still life offered here is an early work from the 1980s, which through the layering of paint, line and color perhaps foreshadows Charbonnet’s later work in abstraction.

Ref.: “Nicole Charbonnet Bio.” https://nicolecharbonnet.com/bio.htm. Accessed Oct. 15, 2019.

505. Larry Leach (American/ Louisiana, b. 1945), “Landscape with Trees”, 1974, oil on canvas, signed lower left, signed, titled and dated en verso, 30 in. x 36 in., framed. [$800/1200]

504. Jim Blanchard (American/New Orleans, b. 1955), “St. Charles Hotel”, watercolor on paper, signed lower right, information on hotel attached on reverse of frame, 30 1/4 in. x 43 1/4 in., framed. [$4000/6000]

Note: Louisiana artist Jim Blanchard has long been known for his meticulously thorough depictions of historic New Orleans buildings and Louisiana plantations. Based on archived information and maps, Blanchard replicates the buildings, such as the historic St. Charles Hotel, in finely detailed watercolor brushwork, capturing the nuances of the architecture as well as including figures to add to the ambience of the scene.

The St. Charles Hotel, built in 1837, was erected on St. Charles Avenue in downtown New Orleans; the first building existed there until destroyed by fire in 1851. The beautiful building, which included a wide expanse of columns with Corinthian capitals, a cupola and a large dome, also boasted an octagonal bar room in the basement where clients could both do business and socialize. Although rebuilt in 1853 and again in 1896, the original St. Charles Hotel remains an iconic New Orleans building known only through archived materials and kept alive in the public’s eye through carefully researched paintings such as the one offered here.

506. Knute Heldner (Swedish/Louisiana, 1877‑1952), “Bayou Scene”, oil on canvas, signed lower left, 13 in. x 15 in., framed. [$1200/1800]

507. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Landscape with Cypress Trees”, 1914, oil wash on board, signed and dated lower right, 18 in. x 23 7/8 in., framed. [$2000/3000]

508. William Ousley (American/Louisiana, 1866‑1953), “The West Fork of Calcasieu River, S.W. La., No. 712”, 1933, oil on canvas, signed lower right, titled lower center, signed, titled, dated and extensively inscribed en verso, 17 1/2 in. x 34 in., framed. [$1000/1500]

509. Earl Hébert (American/Louisiana, 1942‑2006), “Courir de Mardi Gras”, 1995, oil on canvas, signed and dated lower right, 18 in. x 24 in., framed; together with signed copy of book Zydeco Shoes and signed brochure. [$2500/3500]

Note: Before he was an artist, Earl Hébert was a successful restaurateur and owner of Lafayette’s The Beef & Ale Steakhouse and (the now legendary) Judge Roy Beans Saloon. His artistic endeavors began in the 1970s as he taught himself to paint as a hobby. In the 1980s, an event changed his outlook on art entirely. Hébert took a trip to France and encountered the works of Monet, Gaugin and Matisse. He was so inspired that he vowed to paint fifty works a year for the rest of his life. By 1989, he was exhibiting his art in Jackson Square and working as a fulltime artist. It did not take long for him to be recognized and acknowledged as an important chronicler of Louisiana culture. Hébert took cues from the French masters he so admired, employing strong light and primary bright colors to create rambunctious compositions bursting with life. In the painting offered here, “Courir de Mardi Gras” showcases these qualities, as well as the artist’s own delight in the Acadian tradition.

Additional information at www.nealauction.com

510. Clementine Hunter (American/Louisiana, 1886‑1988), “Flower Garden”, oil on canvas board, monogrammed lower right, 16 in. x 20 in., framed. [$4000/6000]

513. Charles Reinike, Jr. (American/Louisiana, 1906‑1983), “Seignouret‑Brulatour Courtyard, 520 Royal St.”, “French Quarter Street Scene”, “Little Theatre, 6th block St. Peter St.”, and “The Old Store, Bourbon St.”, 4 watercolors on paper, 3 signed lower right, one signed lower left, each titled en verso of matting, each 7 1/2 in. x 11 in., framed alike. (4 pcs.) [$1800/2500]

511. Clementine Hunter (American/Louisiana, 1886‑1988), “Releasing Red Bird”, oil on canvas, monogrammed lower right, 16 in. x 12 in., framed. [$2000/3000]

514. John Lapsley (American/Alabama, 1915‑2005), “Ice Delivery”, 1965, oil on canvas, signed and dated lower right, signed, titled and dated en verso, 22 in. x 26 1/4 in., framed. [$1800/2500]

517. Newcomb College Art Pottery High Glaze Vase, 1929, decorated by Sadie Irvine with incised lines, green and light green glaze, base marked with Newcomb cypher, decorator’s mark, Jonathan Hunt’s potter’s mark, reg. no. RN69, shape no. 24, h. 5 1/4 in., dia. 4. [$600/900]

516. George Valentine Dureau (American/New Orleans, 1930‑2014), “Winged Figure”, watercolor and charcoal on paper, signed lower center, 20 in. x 15 1/8 in., framed. [$400/600]

512. Clementine Hunter (American/Louisiana, 1886‑1988), “My Brother Smoking Behind the Trees”, oil on canvas board, monogrammed lower right, 16 in. x 12 in., framed. [$2000/3000]

515. Robert Gordy (American/New Orleans, 1933‑1986), “Floats”, 1968, marker and ink on paper, signed and dated upper right, “Galerie Simonne Stern, New Orleans, LA” label with artist and title and “Tampa Bay Art Center” label on backing, 16 1/2 in. x 21 11/16 in., framed. [$800/1200]

518. Pair of American Federal Bronze Andirons, early 19th c. possibly New York, spherule tops, hexagonal standard, spurred legs, ball feet, h. 18 in., w. 12 in., d. 20 1/4 in.; together with set of fireplace tools. (4 pcs.) [$500/700] Provenance: Collection of noted Antiquarian James D. “Don” Didier.

520. Neoclassical‑Style Patinated Bronze Ewers, 20th c., putto‑mounted handles, continuous relief of cavorting cherubs, marble base, h. 2 1/4 in., w. 10 3/4 in., d. 6 in. [$700/1000] Provenance: Schwitz Collection, Franklin, LA.

519. Continental Bronze Fire Fender and Pair of Andirons, fender with recumbent lions and adjustable rail, h. 11 1/2 in., w. 41 in. to 52 in., d. 4 1/2 in.; Renaissance Revival andirons, h. 25 in., w. 11 in., d. 23 in. [$700/1000] Provenance: Schwitz Collection, Franklin, LA.

521. Neoclassical‑Style Rouge Marble and Gilt Bronze‑Mounted Vase, 19th c., now mounted as a lamp, h. (to socket) 23 in., w. 6 in., d. 6 in. [$700/900]

522. Grand Tour Sienna Marble Model of the Temple of Vespasian, black slate base, h. 11 in., w. 5 in., d. 5 in. [$300/500]

523. Three Diminutive Bronze‑Mounted Hardstone Boxes, on ball feet, largest h. 2 1/2 in., w. 4 3/4 in., d. 3 in.; together with small agate book‑form match holder. [$500/1000]

524. French Gilt and Patinated Bronze Figural Encrier, 19th c., maiden holding tea tray, hinged head revealing inkwell, detachable arm with wax seal, marble base, h. 5 in., w. 3 1/2 in., d. 5 in. [$300/500]

525. Two Empire Gilt Bronze Figural Ring Holders, early 19th c., bird finials, one with porphyry base, taller h. 6 in. [$250/500]

526. Continental Silver‑Mounted Mother‑of‑Pearl Etui Case, 19th c., octagonal form, spring‑loaded lid, foliate design, h. 4 3/4 in., dia. 2 in. [$200/400] Provenance: Ex‑collection Mark Matz.

527. Continental Verde Antico Marble Pedestal, fluted shaft, octagonal base, h. 42 1/4 in., top dia. 11 3/4 in. [$300/600] 528. Continental Bronze Mirrored Plateau, cartouche form, scroll feet, h. 2 1/4 in., w. 21 in., d. 14 in. [$400/600]

529. Continental Carved Limewood Figural Bracket, late 18th/early 19th c., cherub bust, over pendant fruit and scroll, h. 34 in., w. 7 in., d. 4 1/4 in. [$300/500] 530. Pair of Empire‑Style Bronze Seven‑Light Candelabra, 19th c., decorated with palmettes, acanthus and scrolls, electrified, h. 28 in., dia. 10 in. [$800/1200]

531. Pair of Italian Neoclassical-Style Porcelain Vases, now mounted as lamps, black ground, figural vignettes, h. (to socket) 13 in. [$400/600]

Provenance: Schwitz Collection, Franklin, LA.

533. Neoclassical-Style Argenté Brass Five‑Light Bouillotte Lamp, columnar standard, paw feet, reticulated silvered tole shade, adjustable h. 22 1/2 in. to 29 in., dia. 15 1/2 in. [$500/750]

532. Pair of Continental Porcelain‑Mounted Gilt Bronze Two‑Light Candelabra, floral branch arms centered by exotic birds, h. 18 in., w. 13 in., d. 8 in. [$700/900]

534. Neoclassical‑Style Giltwood Torchere, ram’s head mounts, tripartite base, hoof feet, h. 54 1/4 in., dia. (top) 7 5/8 in., dia. (base) 20 1/2 in. [$300/500]

535. French Gilt Bronze Three‑Light Bouillotte Lamp, adjustable green tole peinte shade, electrified, h. 29 in., dia. 14 in. [$300/500] Additional information at www.nealauction.com

538. Fine Set of Four French Panel‑Cut Crystal Covered Sweetmeat Urns, knob finials, lids and rims with fruiting grapevine motif, square bases, h. 10 1/2 in. [$500/750] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans. 537. Neoclassical‑Style Gilt Bronze‑Mounted Cut Glass Compote, 19th c., mounted with beribboned garlands and frieze with lion‑drawn chariots, putti, and pairs of phoenix birds, h. 9 1/4 in., dia. 9 5/8 in.[$800/1200] 536. Antique Baccarat‑Style Cut Crystal Six‑Light Chandelier, vasiform standard, shepherd’s crook arms, swag and prism hung, faceted ball pendant, h 54 in., dia. 33 in. [$1500/2500]

539. French Gilt and Enameled Opaline Glass Vase, 19th c., attr. to Jean Francois‑Robert, Baccarat, polychrome floral decoration, applied mask handles, h. 19 1/4 in., Note: base drilled. [$1000/1500]

540. Diminutive French Bronze Cartel Clock, c. 1900, urn finial, dial flanked by female terms, h. 10 1/2 in., w. 4 1/2 in., d. 2 1/4 in. [$700/900] 541. Louis XV‑Style Carved Fruitwood Writing Table, 19th c., inset tooled leather top, molded surround, scalloped apron, frieze drawer, cabriole legs, bronze foliate hoof feet, h. 25 1/4 in., w. 21 1/8 in., d. 28 1/2 in. [$500/700] 542. Antique English Mother-of-Pearl Inlaid Papier-Mâché Tea Caddy, interior with two lidded compartments. h. 4 3/8., in w. 8 1/2., in d. 6 in. [$500/700]

544. A George III Tortoiseshell Tea Caddy, c. 1790, Sheffield plate plaque and escutcheon, fitted interior with two lidded compartments, height 4 3/8 in., width 6 5/8 in., depth 3 3/4 in. [$400/600]

543. Three Late Georgian Tortoiseshell Card Cases, early 19th c., largest 4 in. x 2 3/4 in. [$400/600]

546. Pair of Empire Tole Peinte Sconces, 19th c., font in the form of a female term, electrified, h. 18 in., w. 5 in., d. 5 in., d. 8 in. [$500/800]

547. Pair of Monumental Continental Cast Iron Urns, 19th c., egg and dart rim, lobed body fluted standard, plinth bases, h. 47 1/2 in., dia. 43 1/2 in. [$1000/2000]

545. Two Late Georgian Tortoiseshell Coin Purses, larger 5 in x 2 1/2 in. [$300/500]

548. Large Pair of American Cast Iron Deer Garden Statues, opposing, both in upright stance, raised self‑base, taller h. 60 in., w. 38 in., d. 23 in., shorter h. 57 1/4 in. w. 41 in., d. 21 in. [$2500/3500] 549. Pair of Chinese Polychrome Decorated and Incised Orange Lacquer Tables, rectangular tops, pierced frieze and straight legs decorated with dragons pursuing the flaming panel, stretchered base, h. 31 3/4 in., w. 22 3/4 in., d. 17 in. [$1000/1500]

550. Chinese Hardwood Low Table, probably huanghuali, waisted rectangular top, scroll frieze, curved legs, scroll feet, h. in., w. in., d. in. [$1000/1500]

552. Large Chinese Carved Hardwood Stand, 19th/early 20th c., waisted circular top, openwork frieze of flaming pearls and cloud scrolls, dragon scroll legs, low shelf, h. 41 1/2 in., w. 17 in., d. 17 in. [$300/500]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

551. Good Chinese Hardwood Table‑Form Stand, Qing Dynasty (1655‑1911), probably Hongmu, h. 3 1/4 in., w. 13 1/4 in., d. 9 in. [$400/600] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

553. Antique Serapi Carpet, red ground, central medallion, spandrels, stylized floral design, 9 ft. 3 in. x 14 ft.[$2000/3000]

554. Persian Tabriz Carpet, red ground, central medallion, overall stylized foliate design, 8 ft. 11 in. x 12 ft. 9 in. [$3000/4000]

555. Antique Heriz Carpet, red orange ground, blue border, central medallion, stylized floral design, 9 ft. x 12 ft. 3 in.[$2000/3000]

556. Persian Bactairie Carpet, stylized floral design in reds and blues, 7 ft. 2 in. x 10 ft. 2 in. [$2500/3500]

557. Persian Carpet, green and olive ground, overall floral design, 8 ft. x 11 ft. 2 in. [$800/1200]

558. Persian Heriz Carpet, rust and blue ground, central medallion, serrated spandrels, 9 ft. 11 in. x 13 ft. 9 in. [$1000/1500]

559. Fine Persian Esfahan Carpet, cream, blue and red ground, central medallion and spandrels, vining foliate design, 11 in. 10 in. x 17 ft. 7 in. [$6000/8000]

560. Antique Turkish Carpet, red ground, blue border, repeating design, 8 ft. 8 in. x 11 ft. 2 in. [$2000/3000]

Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

Provenance: Williamson‑LeBlanc Collection, Cornstalk Fence House, New Orleans.

Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

Additional information at www.nealauction.com

561. Antique Persian Kurdish Kilim, red, brown and cream ground, 3 ft. 8 in. x 9 ft. 4 in. [$1000/1500]

562. Large Semi‑Antique Persian Carpet, red and cream ground, overall foliate design, 10 ft. 6 in. x 20 ft. 2 in. [$2000/3000]

563. Semi‑Antique Persian Hall Runner, red ground, overall stylized foliate design, 6 ft. 6 in. x 15 ft. 9 in. [$1000/2000]

564. Antique Heriz Carpet, red and blue ground, central medallion and spandrels, 7 ft. 4 in. x 10 ft. 5 in. [$800/1200]

565. Antique Sarouk Rug, red ground, overall stylized floral design, 9 ft. x 11 ft. 3 in. [$1000/1500]

566. Semi‑Antique Persian Malayer Carpet, red, blue and brown ground, stylized foliate design, 4 ft. 10 in. x 7 ft. 9 in. [$1000/1500]

567. Antique Persian Malayer Center Hall Runner, red and blue ground, central medallion, 4 ft. 5 in. x 11 ft. [$1800/2400]

568. Antique Persian Belouch Center Hall Runner, red ground, repeating design, 4 ft. 5 in. x 9 ft. 10 in. [$1000/1500]

569. Pair of Gothic Cast Iron Garden Benches, 19th c., pierced quatrefoil seat back, downswept arms, reticulated seat and apron, trestle base, h. 33 1/2 in., w. 55 in., d. 20 1/2 in. [$2500/3500]

570. American Cast Iron Garden Bench, 19th c., scrolled crest, horse shoe motif back, pierced scrolled seat, scrolled cabriole legs, h. 36 1/2 in., w. 45 1/2 in., d. 21 in. [$1000/1500]

571. Platinum and Diamond Solitaire Ring, set with European cut diamond center stone, approx. 1.60 ct., I‑J color, VS1 clarity, very minor chips to girdle, and 8 small full cut diamonds and 2 baguettes in shanks; together with platinum and diamond wedding band set with alternating full cut and single cut round diamonds, band width 2.5 mm. [$8000/10000]

572. 18 kt. White Gold and Diamond Ring, central prong set round cut diamond, wt. approx. 2.00 cts.; gallery and shoulder with numerous pave set round cut diamonds, total wt. approx. .69 ct., size 7. [$4000/6000]

573. 18 kt. White Gold and Diamond Eternity Ring, recessed channel set with numerous princess cut diamonds, flanked by raised rows of pave set round cut diamonds, total wt. 6.03 cts., size 7. [$4000/6000]

574. Lady’s 18 kt. White Gold and Old Mine Cushion Cut Diamond Solitaire Ring, set with approx. 2.50 ct. diamond, J‑K color, VS-1 to VS-2 clarity; and 38 small full cut diamonds, total approx. wt. .35 ct. [$7000/10000]

575. Platinum and Diamond “Unity” Ring, central bezel set round brilliant cut diamond, 1.50 cts., H color, I‑2 clarity, 7.00 ‑ 7.00 x 4.20 mm; gallery and shoulder with 55 prong and channel set round brilliant and baguette cut diamonds, total wt. .88 ct., F‑H color, S1‑2 to I‑1 color; size 6.75; AIG report. [$3500/4500]

576. 18 kt. White Gold and Diamond Ring, central prong set round brilliant cut diamond, 1.04 cts., D color, SI‑3 clarity, 6.90 ‑ 6.79 x 3.66 mm.; gallery, bridge and shoulders set with 42 round brilliant cut diamonds, total wt. .69 ct., D‑E color, VS‑2 to SI‑1 clarity, 1.5‑2.0 mm.; size 6.5; EGL (center stone) and AIGL reports. [$4000/6000]

577. 18 kt. White Gold and Diamond Solitaire Ring, prong set round brilliant cut diamond, wt. approx. 5.10 cts., J color, I-2 clarity, size 7; AIG report. [$20000/25000]

578. Pair of 18 kt. White Gold and Diamond Hoop Earrings, both fronts with 28 bezel set round cut diamonds, total wt. approx. 5.88 cts., dia. 1 1/2 in. [$3000/5000]

Provenance: Descended in the Family of Eva Goldsmith Waldhorn (1895‑1980), New Orleans.

579. Pair of 18 kt. White Gold and Diamond Stud Earrings, 2 central prong set round cut diamonds, total wt. approx. 1.88 cts.; galleries with numerous pave set round cut diamonds, total wt. approx. .51 ct.. [$1500/2500]

581. Art Deco‑Style Platinum and Diamond Bracelet, reticulated framework with numerous pave, prong and bezel set round cut diamonds, l. 6 7/8 in. [$7500/9500]

580. Pair of Large Platinum and Diamond Stud Earrings, 2 prong set round brilliant cut diamonds, individually: approx. 2.25 cts., I color, I‑1 clarity, 8.50 ‑ 8.40 x 5.2 mm, and approx. 2.46 cts., H color, and I‑2 clarity, 8.70 ‑ 8.60 x 5.40 mm, total diamond wt. approx. 4.71 cts., AIG report. [$18000/22000]

582. Fine Lady’s Platinum and Diamond Wristwatch, 17 jewel Swiss movement signed M & W Ullmann, set with 99 baguette diamonds totaling 14.31 cts., G‑H color, VS-1 clarity. [$8000/10000] Provenance: Descended in the Family of Eva Goldsmith Waldhorn (1895‑1980), New Orleans. Additional information at www.nealauction.com

585. Belle Epoque Rhodium Plated 14 kt. White Gold and Diamond Bar Brooch, lattice gallery with 7 prong set old European cut diamonds, total wt. approx. .32 ct., G‑I color, S1‑2 to I‑1 clarity; and 8 prong set old European cut diamonds, total wt. approx. .16 ct., J‑L color, SI‑1 to I‑1 clarity; l. 2 1/4 in.; AIG report. [$500/700]

583. 18 kt. White Gold and Diamond Lariat‑Type Drop Necklace, bar spaced with 79 graduating prong set round cut diamonds, total wt. approx. 15.24 cts., choker l. 16 3/4 in., drop l. 3 in. [$10000/15000]

584. 18 kt. White Gold and Diamond Necklace, diamond chain set with various cut larger stones, incl. radiant, marquise, princess, and oval, within diamond framework, total wt. approx. 21.35 cts., l. 36 in. [$12000/18000]

588. Platinum, Yellow Sapphire and Diamond Ring, central prong set modified brilliant cut sapphire, wt. 4.21 cts., 9.95 x 7.37 x 5.41 mm; bezel surround and shoulders with 40 prong set round brilliant cut diamonds, total wt. approx. .45 ct., F‑H color, VS‑2 to SI‑1 clarity; size 7; GIA (sapphire) and AIG reports. [$2500/3500]

589. 18 kt. White Gold, Yellow, Pink and White Diamond “Unity” Ring, central yellow gold prong set cushion cut diamond, wt. 5.10 cts, Fancy Light Yellow color, SI‑2 clarity, 11.10 x 8.85 x 6.03 mm; surrounded by 24 rose gold prong set round brilliant cut diamonds, total wt. approx. .50 ct., white to faint pink color, SI‑1 to I‑1 clarity; outer bezel and shoulders with 68 prong set round brilliant cut diamonds, total wt. approx. 1.25 cts., F‑H color, SI‑1 to I‑1 clarity; size 6.75; GIA (center diamond) and AIG reports. [$35000/45000]

590. 18 kt. White Gold and Yellow and White Diamond “Unity” Ring, central yellow gold prong set oval cut diamond, wt. approx. 5.26 cts., Fancy Yellow color, SI‑3 clarity, 12.40 x 8.50 x approx. 5.88 mm; flanked by 2 prong set princess cut diamonds, total wt. approx. 2.05 cts., G‑H color, SI‑3 to I‑1 clarity, 5.30 x 5.20 x approx. 3.90 mm; shoulders set with 8 prong set round brilliant cut diamonds, total wt. approx. .34 ct., H‑I color, VS‑1 to VS‑2 clarity; size 6.25; AIG report. [$20000/25000]

592. 14 kt. Yellow Gold and Diamond Tennis Bracelet, 37 prong‑set round brilliant cut diamonds, each approx. 3.5 mm, total wt. approx. 6.00 cts., J‑K color, SI‑1 to S1‑2 clarity, box clasp and safety chain, l. 7 1/4 in.; copy of Dennis Jewelry Co., San Antonio, TX appraisal. [$3000/5000]

593. 14 kt. Yellow Gold and Diamond Flexible Bracelet, set with 126 full cut diamonds, total wt. approx. 3.78 cts. [$2500/3500]

594. 14 kt. Yellow and White Gold and Diamond Tennis Bracelet, set with 54 full‑cut diamonds, total wt. approx. 1.00 ct., J‑K color, I clarity. [$1000/1500]

596. 14 kt. Yellow Gold and Diamond Solitaire Ring, set with full cut diamond, approx. 1.9 cts., J‑K color, SI-1‑to SI-2 clarity, together with 14 kt. yellow gold and baguette jacket, note flaw at girdle. [$5000/7000]

597. 14 kt. Yellow Gold and Diamond Solitaire Ring, set with full cut diamond, approx. 1.00 ct., J‑K color, SI-1 to S-I2 clarity. [$2000/3000]

587. 471 ct. Citrine Quartz, VVS clarity, presented on a brass stand. [$4000/6000]

591. 14 kt. Rose Gold and Diamond “Eternity” or “Tennis” Bracelet, ribbons of 243 invisible set princess cut diamonds, total wt. approx. 17.46 cts., G‑I color, SI‑2 to I‑2 clarity, l. 7 1/2 in., w. 5/16 in.; AIG report. [$7500/9500]

595. Tiffany & Co. 14 kt. Yellow Gold and Diamond “New Orleans Saints 2009 Championship” Pendant, bead‑set with 59 round brilliant cut diamonds, total wt. 1.35 cts., G‑H color, VS1‑VS2 clarity, top and bottom bezel with raised letters “WORLD” and “CHAMPIONS”, reverse marked “Tiffany & Co. 585” h. 1 in., w. 1 in., d. 1/3 in., together with gold chain marked “585” and “Tiffany & Co.”, l. 18 in. (2 pcs.) [$8000/12000]

586. 14 kt. White Gold and Diamond Stickpin, set with.80 ct. full cut diamond, I‑J color, VS2‑SI1 clarity. [$1000/2000]

598. 14 kt. Yellow Gold and Diamond Ring, set with 9 princess‑cut diamonds total wt. approx. .80 ct.; together with 14 kt. yellow gold and pave diamond ring, set with 24 full cut diamonds, total wt. approx. .75 ct. [$1000/1500]

602. Platinum, Emerald and Diamond Ring, prong set octagonal step cut emerald, wt. 3.61 cts., 10.05 x 7.92 x 6.00 mm; surround and shoulders with 30 prong set round brilliant cut diamonds, total wt. approx. .80 ct., F‑G color, VS‑2 to SI‑1 clarity; size 6.75; GIA and AIGL reports. [$4000/6000]

599. 14 kt. Yellow Gold, Cabochon Emerald and Diamond Ring, set with oval cabochon emerald, approx. 7.8 cts., and 14 Old Mine cut diamonds total wt. approx. 3.5 cts., J‑K color, SI1‑I2 clarity, Note: crazing to emerald. [$3000/5000]

603. 18 kt. White Gold, Emerald and Diamond Semi‑Rigid Link Necklace, 24 prong set emerald standard step cut emeralds, total wt. approx. 38.19 cts., each approx. 8.00 x 6.00 x 3.90 mm; encircled and linked with 768 prong and channel set round brilliant cut diamonds, total wt. approx. 17.27 cts., F‑H color, S1‑2 to I‑1 clarity; l. (interior) 18 in., l. (exterior) 21 1/2 in.; AIG report. [$25000/35000]

606. Pair of 18 kt. White Gold, Emerald and Diamond Dangle Earrings, central prong set rectangular step cut natural emeralds, total wt. 6.25 cts., each 9.50 x 7.50 x 5.10 mm; frames, suspensions and posts with 216 prong set round brilliant and baguette cut diamonds, total wt. 4.42 cts., G‑I color, VS‑2 to SI‑1 clarity; l. 1 3/4 in.; AIG report. [$6000/8000]

600. Platinum, Diamond and Emerald Eternity Ring, comprised of 17 bezel set round cut diamonds flanked by triangle cut emeralds, size 8. [$1800/2500]

601. 18 kt. White Gold, Emerald and Diamond Ring, central oval mixed cut emerald, 3.58 cts., 11.76 x 9.51 x 4.80 mm; gallery and shoulders with numerous prong set round and marquis cut diamonds, total wt. approx. 2.49 cts.; size 7.5; GIA (emerald) report. [$2500/3500]

604. Platinum, Tsavorite Garnet and Diamond Necklace, 176 prong set oval mixed cut tsavorite garnets, total wt. approx. 43.66 cts.; 410 prong set round brilliant cut diamonds, total wt. approx. 3.10 cts., D‑F color, I‑1 to I‑3 clarity; l. 17 3/4 in.; AIG report. [$8000/12000]

605. Pair of Vintage Art Moderne‑Style 18 kt. White Gold, Chrysoprase and Diamond Dangle Earrings, 2 prong set oval cabochon cut chrysoprases, total wt. approx. 31.65 cts., 18.00 x 14.00 x 8.10 mm.; 14 prong set marquise and oval cut emeralds, total wt. approx. 5.60 cts.; and 44 prong set round brilliant cut diamonds, total wt. approx. .84 ct., J‑L color, I‑1 to I‑2 clarity; l. 2 3/8 in.; AIG report. [$2000/3000]

607. Natural Emerald Specimen from Muzo Mine, Boyacá Province, Columbia, comprising emerald, quartz and calcite, weight 155 grams. [$400/600] 608. Pair of Art Deco‑Style Platinum, Diamond and Ruby Dangle Earrings, 2 bezel set round cut diamonds, total wt. approx. 3.08 cts., suspended from ribbon‑form standards with center rows of invisible set rubies flanked by round cut diamonds, l. 1 1/2 in.. [$5000/7000]

609. Art Deco‑Style Platinum, Ruby and Diamond Flexible Link Bracelet, 44 invisible set square cut rubies, total wt. approx. 5.57 cts., 2.50 x 2.50 x 1.63 mm; 11 floret surrounds with 187 prong and bezel set round brilliant cut diamonds, total wt. approx. 4.42 cts., E‑F color, VS‑2 to SI‑2 clarity; l. (excl. concealed clasp) 7 in.; AIG report. [$4500/5500]

610. Platinum, Ruby and Diamond Ring, central prong set oval mixed cut ruby, 1.40 cts., 7.76 x 5.85 x 3.60 mm; surround and shoulders with 35 prong and channel set round brilliant and baguette cut diamonds, total wt. approx. 1.96 cts., F‑H color, VS‑2 to SI‑1 clarity; size 7.5; GIA (ruby) and AIG reports. [$2500/3500] Additional information at www.nealauction.com

611. Platinum, Rubellite and Diamond Pendant, prong set pear mixed cut rubellite, wt. 35.75 cts., 30.23 x 22.87 x 9.27 mm; bezel surround with 44 bead set round brilliant cut diamonds, total wt. approx. 1.87 cts., F‑H color, SI‑1 to I‑1 clarity; l. (excl. bail) 1 5/8 in.; platinum chain, l. 18 1/4 in., GIA and AIG report. [$7000/9000]

612. Platinum, Yellow Gold, Ruby, Diamond and Black Enamel Wedding Band, set with numerous round faceted rubies and diamonds. [$1000/1500]

613. 18 kt. Yellow Gold, Ruby, Pink Sapphire and Diamond Ring Reminiscent of a “King Cake”, tiered oval wreath with 16 prong set round mixed cut rubies and sapphires, total wt. approx. 1.46 cts.; and 14 prong set round brilliant and single cut diamonds, total wt. approx. 1.00 ct., F‑I color, SI‑1 to SI‑2 clarity; flexible sizer, size (as is) 7; AIG report. [$700/900]

Provenance: Descended in the Family of Eva Goldsmith Waldhorn (1895‑1980), New Orleans.

614. Pair of 14 kt. Yellow Gold, Cabochon Ruby and Diamond Earrings; together with pair of 14 kt. yellow gold and diamond panther earrings, both with clip and post backs. [$500/800]

615. Vintage 18 kt. Yellow Gold, Amethyst and Pearl Pendant, crown‑form support with central oval faceted amethyst, wt. approx. 5.50 cts., 13 x 11 mm; suspending 6 round pearls,.3 mm; h. (excl. bail) 1 1/4 in.; 18 kt. yellow gold link chain, stamped Italy, l. 18 in.; IA report. [$1000/1500]

616. 18 kt. White Gold, Coral and Diamond Ring, central cabochon marquise coral set within surround of 24 prong set round cut diamonds, l. 1 1/4 in., size 8. [$400/600]

618. 14 kt. White Gold, Sapphire and Diamond Necklace, 45 graduated prong set oval mixed cut blue sapphires, total wt. approx. 37.91 cts.; bezels with 540 prong set round brilliant cut diamonds, total wt. approx. 7.23 cts., G‑I color, I‑1 to I2 clarity; l. 17 1/2 in.; AIG report. [$4000/6000]

620. Pair of 14 kt. White Gold, Tanzanite and Diamond Dangle Earrings, comprised of 4 prong set round modified brilliant cut and 4 prong set oval modified brilliant cut tanzanites, total wt. approx. 11.81 cts., hoops and frames with 68 prong set round brilliant cut diamonds, total wt. approx. .78 ct.; l. 2 in.; GGL report. [$2500/3500]

621. Retro 14 kt. Rose Gold, White Gold, Sapphire and Diamond Brooch, set with 7 graduated cabochon sapphires and 16 European cut diamonds. [$2000/3000]

622. Platinum, Tanzanite and Diamond Ring, central prong set oval modified brilliant cut tanzanite, 13.17 cts., 16.01 x 12.04 x 9.47 mm; bezel and shoulders with 52 prong set round brilliant cut diamonds, total wt. 1.53 cts., F‑H color, S1‑1 to SI‑3 clarity; size 7.5; GIA (tanzanite) and AIG reports. [$4500/5500]

617. 14 kt. White Gold, Coral and Diamond Ring, central prong set oval cabochon coral, wt. approx. 4.13 cts.; tiered bezel and shoulders with 96 prong set round brilliant cut diamonds, total wt. approx. .91 ct., F‑H color, SI‑1 to I‑1 clarity; size 7; AIG report. [$1200/1800]

619. Platinum, Sapphire and Diamond Ring, central prong set oval mixed cut blue sapphire, 3.01 cts., 9.41 x 7.27 x 5.29 mm; bezel and shoulders with 38 prong set round brilliant cut diamonds, total wt. approx. 1.13 cts., F‑H color, S1‑1 to I‑1 clarity; size 7; GIA (sapphire) and AIG reports. [$3000/5000]

623. Two 18 kt. Yellow Gold, Sapphire and Diamond Rings . [$600/800]

624. Platinum, Aquamarine and Diamond Ring, central prong set oval cut aquamarine, 2.36 cts., approx. 9.80 x 7.8 mm, surround and shoulders with 28 round brilliant cut diamonds, total wt. .60 ct., G‑H color, VS clarity; size 7; IAS appraisal report. [$1200/1800]

627. Tahitian Pearl Necklace, 35 graduated round dark gray pearls, 11‑13 mm, 14 kt. white gold bead clasp, l. 17 3/4 in.; AIGL report. [$1200/1800] 625. Black Rhodium Plated 18 kt. Gold and Diamond Station Necklace, cable chain spaced with 39 bezel set round diamonds, total wt. approx. 7.85 cts., l. 59 1/4 in. [$3000/5000]

626. 14 kt. White Gold, Tahitian Pearl and Diamond Necklace, 11 round black pearls, 10‑11 mm; fringe with 356 prong and bezel set round brilliant cut diamonds, total wt. approx. 7.35 cts., G‑I color, S1‑2 to I‑1 clarity; gold links; l. 17 1/2 in.; AIG report. [$6000/8000]

628. Double Strand Necklace of 7.5‑8 mm. Pearls with 14 kt. Yellow Gold Clasp, together with 2 14 kt. yellow gold, mabe pearl and diamond enhancers. [$1500/2500]

629. Pair of Portuguese 18 kt. Yellow Gold, Half Pearl and Blue Enamel Earrings in the “Etruscan” Taste . [$300/500]

630. Six‑Strand Biwa Pearl Necklace with 14 kt. Yellow Gold and Carved Jadeite Clasp . [$400/600]

631. 18 kt. White and Yellow Gold, Enamel and Diamond Ring, twisted shank surmounted by a frog crouching above a lily pad, pave set with numerous round diamonds, total wt. approx. 1.04 cts., size 7.25. [$1800/2500]

632. Cartier 18 kt. Yellow Gold and Blue Enamel Ring, [$700/1000]

633. 14 kt. Yellow Gold, Blue Topaz Jewelry Suite, incl. ring, pair of earrings, pendant and bracelet. [$400/600]

634. Antique American 14 kt. Yellow Gold Mesh Buckle Bracelet, wt. 24 dwt. [$1000/1500]

635. Pair of Tiffany & Co. 18 kt. Yellow Gold Barbell Cufflinks, signed Schlumberger. [$800/1200]

636. Pair of Tiffany & Co. 18 kt. Yellow Gold Earrings, by Angela Cummings, dated 1981, leaf shape, clip back. [$800/1200]

637. 14 kt. Yellow Gold Rope Chain with Gold Nugget Pendant, wt. 15 dwt. [$500/750]

638. Mignon Faget 14 kt. Yellow Gold Oyster Shell Pendant on Chain; together with 14 kt. yellow gold and diamond pendant on chain. [$500/750]

639. 14 kt. Yellow Gold Solid Rope Chain, wt. 25 dwt. [$800/1200]

Additional information at www.nealauction.com

642. Gilt Metal and Moss Agate Irish Harp and Shamrock Bracelet and Brooch. [$150/250] 640. Two 14 kt. Yellow Gold and Gemstone Rings, one set with black opal and diamonds, the other with an opal. [$300/500]

641. 14 kt. Yellow Gold and Gem‑Set Slide Bracelet, comprised of 14 slides variously set with gemstones incl. opals, amethyst, topaz and diamonds. [$1200/1800]

643. 1996 U.S. Liberty $25 Coin, in 14 kt. yellow gold bezel on chain (unmarked and untested). [$800/1200]

646. Group of Silver Jewelry, incl. chatelaine with pencil, notepad and pillbox; and Native American silver and turquoise brooch. [$100/150]

644. 1926 U.S. Standing Lady Liberty $20 Coin. [$1200/1500]

645. Austrian Maria Theresa Thaler Coin, with rope bezel and rope chain. [$100/200]

647. Chinese Coral Figural Group of Eight Beauties or Meiren, trunk and branches intricately carved with figures in various poses wearing variously decorated long robes, one figure depicted holding a banner, another a pipa, and a third a fan, the furthermost left branch carved with the figure of a small boy, h. 13 1/2 in., w. 13 1/2 in., mounted within a wood stand carved with ruyi scrolls, overall h. 16 3/8 in. [$4000/6000]

648. Chinese Scholar’s Rock, modeled as a wide mountain range with various peeks and crevices, h. 15 3/4 in., w. 19 1/4 in., d. 9 in., fitted wood stand, overall h. 22 in., w. 20 3/8 in., d. 11 in. [$700/900]

Provenance: Acquired early‑to‑mid 1970s.

649. Chinese Stone Stele on Stand carved as a flame‑shaped mandorla enclosing a central Buddhist figure flanked by two acolytes, rectangular base carved with lions, h. 42 1/4 in., w. 19 1/2 in., d. 9 1/4 in. (2 pcs.) [$800/1200]

650. Large Pair of Chinese Gilt Decorated Powder Blue Porcelain Vases, branch handles suspending peaches, body with a continuous landscape featuring dwellings, figures, boats, and the sea, base with apocryphal Qianlong mark, h. 20 1/2 in. [$3000/4000]

652. Antique Chinese Blue and White Porcelain Jar, probably 17th/18th c., Kangxi, decorated with chrysanthemum and lotus flower panels on cracked ice ground with further lotus in reserve, h. 6 1/4 in.; together with associated antique cover, overall h. 7 in. [$400/600]

651. Chinese Famille Verte Decorated Powder Blue Ground Rouleau Vase, Qing Dynasty (1644‑1911), inset with rectangular panels painted with figures, blue ground gilt‑decorated with auspicious emblems, h. 16 3/4 in. Note: restoration. [$500/700]

653. Chinese Blue and White Porcelain Beaker Vase, Qing Dynasty (1644‑1911), probably 19th c., decorated with shaped bird‑and‑rock panels on a prunus and cracked ice ground, h. 12 1/8 in., now mounted as a lamp, h. (incl. finial) 29 1/4 in. [$300/500] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

654. Chinese Embroidered Blue Silk Panel Symbolic of Longevity, worked in satin stitch with the figures of Shoulau and Magu with a spotted deer, 103 3/4 in. x 55 1/4 in. [$800/1200]

655. Large Chinese Kesi Panel, 19th c., woven in slit‑weave technique with couched gold threads and enhanced with paint depicting a central court scene flanked by warriors battling, mounted to board, sight 17 7/8 in. x 66 3/4 in., framed. [$300/500]

656. Antique Chinese Brass‑Mounted Hardwood Chest, Qing Dynasty (1644‑1911), probably jichimu, square form on shaped base, h. 9 1/4 in., w. 11 1/4 in., d. 11 1/4 in., wood stand, overall h. 18 1/4 in. [$400/600]

657. Chinese Bronze Fan‑Form Lock, Qing Dynasty (1644‑1911), relief‑cast with 4 of the Eight Immortals, reverse with Buddhist emblems, h. 5 1/8 in., w. 1 1/2 in. [$300/500]

Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

658. Large Archaistic Chinese Patinated Bronze Basin, loop handles, splayed foot and rounded bowl relief‑decorated with taotie masks and scrollwork, basin interior copiously inscribed, h. 6 in., w. 22 3/4 in., d.18 in.. [$1200/1800]

659. Chinese Patinated Bronze Covered Censer, rectangular body cast with band of frolicking lion‑dogs, figural handles, pierced cover with dragon, base with apocryphal Xuande mark, h. 6 1/4 in., w. 12 1/2 in., d. 5 1/2 in. [$700/900]

661. Chinese Gilt Bronze Seal, 20th c., square body cast with chop of General Yan Xishan (1883‑1960) and surmounted by a recumbent Buddhist lion, h. 1 3/8 in., w. 1 5/8 in., d. 1 5/8 in. [$300/500]

664. Chinese Shoushan Soapstone Figure of a Luohan, carved seated with arms grasping raised knee, wearing long robes with incised decoration, h. 2 3/4 in., brocade stand, overall h. 4 in.; fitted brocade box. [$700/900]

660. Chinese Gilt Bronze Tripod Censer and Stand, 20th c., bombe body, loop handles, base with Xuande mark, h. 5 in., dia. 12 in., lotus leaf‑form stand, dia. 11 1/2 in., overall h. 6 1/2 in. [$1000/1500]

662. Chinese Rosewood Brush Pot, slightly waisted cylindrical body, h. 8 1/4 in., dia. 6 1/2 in. [$300/500] 663. Chinese Bamboo Brush Pot, carved with a continuous landscape featuring figures at leisurely pursuits, h. 7 in., dia. 6 in. [$300/500]

665. Chinese Polychrome Painted Soapstone Figure of Shoulao, 19th/early 20th c., carved standing on rockwork holding a sack of fruit, base with “E & J Frankel” label, h. 8 1/4 in. [$300/500] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

666. Chinese “Peking” Glass Octagonal Bottle Vase , h. 12 in. [$500/700]

Additional information at www.nealauction.com

667. Chinese Han or Han Dynasty‑Style Pottery Figural Group, modeled as a seated musician with a qin flanked by two smaller figures, h. 6 1/8 in., w. 5 7/8 in. [$200/400]

668. Two Chinese White Copper/Paktong Square Ink Boxes, Qing Dynasty (1644‑1911), larger cover incised with a garden scene featuring an amorous couple playing the qin and calligraphy, smaller with calligraphy, bases with hallmarks, h. 1 5/8 in. and 1 1/8 in., w. 3 7/8 in. and 2 1/2 in. [$400/600]

669. Chinese White Jade Pendant, carved to one side with a fish in flight above a pavilion and a pair of swimming fish, h. 2 3/4 in., w. 2 in. [$500/700]

670. Chinese White Jade Lotus Fondling Piece, carved as a lotus pod borne on a leafy stem with a lotus blossom, h. 3/4 in., w. 1 1/2 in., d. 1 1/2 in. [$200/300]

Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

671. Chinese Famille Verte Porcelain Baluster Vase, Qing Dynasty (1644‑1911), decorated with birds amid rockwork and flowers, h. 9 1/4 in., mounted as a lamp, h. (incl. finial) 24 in. [$400/600]

672. Pair of Chinese Famille Jaune Porcelain Bottle Vases, decorated with antiques and flowers, h. 15 in., now mounted as lamps, h. (to socket) 20 in. [$800/1200]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

675. Large Chinese Lacquer Figure of Avalokitesvara, modeled seated in dhyanasana wearing voluminous robes open at the chest and a serene downcast expression, removable hands, h. 35 1/2 in., w. 25 1/2 in. [$1000/1500]

676. Good Chinese Canton Enamel Brush Pot, Qing Dynasty (1644‑1911), probably 18th c., decorated with a continuous landscape featuring a nobleman and 5 figures running while carrying valuables, base with “E & J Frankel” label, h. 3 5/8 in., dia. 2 1/4 in. [$300/500] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

679. Pair of Chinese Cloisonné Enamel Sleeve Vases, decorated with pairs of red‑crested cranes with rocks, pine and prunus, h. 10 1/4 in. [$150/250]

673. Pair of Chinese White Glazed Porcelain Wig Stands, reticulated bodies with prunus and bamboo, h. 14 in., now similarly mounted as lamps, h. (incl. finial) 31 in. [$300/500]

677. Chinese Canton Enamel Dish, Qing Dynasty (1644‑1911), central fruit, flower and bat roundel encircled by flower and fruit cartouches on a yellow ground, exterior with dragons amid clouds on a blue ground, base with dragon roundel and “E & J Frankel” label, h. 1 1/2 in., dia. 8 5/8 in. [$250/350]

674. Chinese Hardstone “Gem” Embellished Gilt Filigree, Gilt Bronze and Cloisonné Enamel Figural Group of Magu, modeled holding a peach branch beside a fawn, h. 14 in., mounted to a wire inlaid stand, mounted to a wood stand as a lamp, overall h. (incl. finial) 28 1/2 in. [$500/700]

678. Set of Nine Chinese Canton Enamel Sweetmeat Dishes, Qing Dynasty (1644‑1911), each decorated with the figure of a seated Luohan, incl. round, dia. 7 1/8 in., and 8 shaped, w. 5 1/4 in., d. 3 1/2 in. [$300/500]

Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

680. Fine Japanese Hiramaki‑e Lacquer Box, 19th c. or earlier, cover decorated with a bird perched on a rock overlooking waves, h. 1 1/2 in., w. 2 1/8 in., d. 3 in.[$300/500] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

681. Antique Japanese Hiramaki‑e Lacquer Four‑Case Inroe, Meiji Period (1868‑1912) or earlier, decorated with figure amid seasonal grasses and rocks with birds in flight above, interior cover signed, h. 2 5/8 in., w. 2 in.; together with boxwood netsuke, carved with numerous entwined rabbits, h. 1 1 /8 in., and coral ojime (3 pcs.) [$500/700]

684. Japanese Mother‑of‑Pearl Inlaid Black Lacquer Ryoshibako, probably c. 1930, cover, sides, and interior tray inlaid with stylized mask, wheels, flowers, and symbols, base with seal, h. 5 1/2 in., w. 10 3/4 in., d. 14 1/4 in. [$400/600]

682. Japanese Hiramaki‑e Lacquer Accessory Box/Tebako and Footed Tray, probably late Meiji Period (1868‑1912), decorated with autumnal foliage, box h. 2 1/2 in., w. 4 1/2 in., d. 5 3/4 in.; together with 2 square footed trays, decorated with landscapes, h. 1 1/4 in., w. 11 in., d. 11 in. (4 pcs.) [$300/500]

685. Japanese Lacquer Picnic Set, Jubako, loop handles, hinged carrying case inlaid with mother‑of‑pearl roundels, interior fitted with 4 square trays, lockplate and latch, h. (excl. handles) 9 1/4 in., w. 5 1/4 in., d. 5 1/4 in.; together with Kutani porcelain cup, blue and white exterior, gilt interior with figures, h. 1 1/8 in. (2 pcs.)[$200/400] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA, Jubako acquired Diane Genre Oriental Art & Antiques, New Orleans, Jan. 1992.

683. Pair of Japanese Hiramaki‑e Lacquered Tortoishshell Brush Pots, Meiji Period (1868‑1912), one decorated with a cockerel, other with a peacock with mother‑of‑pearl embellished tail feathers, integral painted wood bases, h. 7 1/4 in., dia. 6 5/8 in. [$400/600]

686. Paul Jacoulet (French/Japanese, 1896‑1960), two woodblock prints, incl. “Une Belle de Palaos”, signed and sealed in plate, titled lower margin, ed. “no. 212/350” on reverse, sheet 18 1/2 in. x 13 3/8 in., triple matted and framed; and “Le Nid, Coree”, signed and sealed in plate, sheet 6 1/8 in. x 4 1/4 in., matted and framed. (2 pcs.)[$600/800] Provenance: Acquired directly from the artist, c. 1949.

690. Antique Islamic Silvered Copper Vessel, waisted body, loop handle, incised foliate bands, h. 4 1/4 in., w. 6 1/2 in., d. 4 3/4 in. [$150/250] 687. Monumental Japanese Imari Porcelain Charger, decorated with figural and landscape panels on a vibrant ground of birds, fish and textile patterns, raised gilt highlights, base with apocryphal Chenghua mark, h. 4 1/2 in., dia. 27 in., presented on an elaborate gilt bronze stand, overall h. 32 3/4 in. [$3000/4000]

Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

688. Three Korean Iron or Brass Candlestands, each with butterfly reflective backplate, incl. iron pair, h. 36 in., and brass single, h. 27 in. [$500/700] 689. Korean School, “Portrait of Confucian Scholar Sukhon Yi (1536‑1584)”, ink and color on paper, signed Yangu Jin, inscribed and sealed upper left, 26 3/4 in. x 18 1/2 in., silk‑mounted and framed. [$400/600]

691. Thai Carved Wood Figure of a Recumbent Deer, 20th c., naturally eroded surface, remnant paint, h. 15 3/4 in., w. 20 in., mounted to hardwood stand, overall h. 17 3/4 in., w. 20 1/2 in., d. 8 1/4 in. [$300/500]

692. Thai Carved Teak Wood Figure of a Recumbent Deer, 20th c., naturally eroded and textured surface, h. 10 1/4 in., l. 31 1/4 in., hardwood stand, overall h. 15 1/4 in. [$400/600]

Additional information at www.nealauction.com

Session Two Sunday, November 24, 10 a.m. 3923 Carondelet

693. Continental School, 19th c., “Uniformed Soldiers”, 2 oils on canvas, both indistinctly signed lower right, each 14 in. x 10 3/4 in., framed alike. (2 pcs.) [$400/600]

694. Continental School, 18th c., “Portrait of a Lady with Bird”, oil on canvas, indistinctly signed and dated lower center, 25 5/8 in. x 22 in., unframed. [$700/1000]

695. Continental School, 20th c., “Nude Study”, graphite on paper, signed “Reneé Descroix” lower right, 24 11/16 in. x 18 7/8 in., framed. [$400/600]

696. Louis‑Robert Cuvillon (French, 1848‑1931), “A Persian Belle”, watercolor on paper, signed lower right, “Knoedler Gallery, New York” label with artist and title en verso, sight 12 in. x 8 in., framed with artist plaque.[$400/600] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

697. Continental School, 19th c., “Still Life of Flowers in Urn with Parrot”, oil on canvas, unsigned, 38 in. x 28 in., framed. [$600/800] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

701. Robert Bénard (French, 1734‑1777), “Menuisier en Batiment, Cabinet et Bibliotheque”, engraving, sight 13 1/2 in. x 8 3/4 in., framed; together with 3 French architectural engravings, sights 14 1/2 in. x 9 1/4 in., framed alike. (4 pcs.) [$500/700]

698. Emanuel Sweerts (Dutch, 1552‑1612), “Narcissus Major & Minor”, “Hyacinth Varieties”, Tuberose Varieties” and “Narcissus Varieties”, c. 1612‑1647, 4 hand‑colored copperplate engravings, each with typewritten label with artist on backing, from Florilegium Amplissimum et Selectissimum, sights 15 1/2 in. x 9 1/2 in., framed alike. (4 pcs.) [$500/700]

699. Mark Catesby (British, 1683‑1749), “The Parrot of Carolina”, hand‑colored etching, from Natural History of Carolina, Florida and the Bahama Islands, sheet 12 1/2 in. x 18 1/2 in., framed. [$500/700]

Provenance: Taylor Clark, Baton Rouge, 1976; Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

702. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Old Saint Mary’s Toledo”, etching, pencil‑signed and titled lower margin, artist information label on backing, sight 3 1/2 in. x 2 3/4 in., “Leicester Eng.”, etching, pencil signed and titled lower margin, sight 5 1/2 in. x 3 in., “Twin Pines near Gill’s Rock, Wisc.”, etching, pencil‑signed, titled, “ed/50” and inscribed lower margin, sight 7 in. x 4 in., “Rue Traverse de la Fontaine, Brest”, 1930, etching, pencil‑signed, titled and “ed/100” lower margin, sight 9 1/2 in. x 7 1/2 in., AND “The Village Depot”, 1943, etching, pencil‑signed, titled and dated lower margin, artist information label on backing, sight 12 1/2 in. x 9 1/4 in., all framed. (5 pcs.) [$500/700] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

Ill.: Isbell, Reed W. Morris Henry Hobbs ‑ A Catalogue Raisonné of Etchings, Engravings & Lithographs. McLean, VA: Coffee House Publishing, 2017, pgs. 2, 21, 59 & 60

700. McKenney & Hall/Publishers, “Ap‑Pa‑Noo‑Se, A Saukie Chief” and “Mon‑Ka‑Ush‑Ka, A Sioux Chief”, 2 hand‑colored lithographs, from History of the Indian Tribes of North America, octavo editon, sights 10 in. x 6 1/4 in. and 10 1/4 in. x 6 1/2 in., framed alike. (2 pcs.) [$300/400]

703. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Geraldine” and “Violetta”, 1941, 2 etchings, both dated in plate, both 15 1/2 in. x 11 3/8 in., framed alike. (2 pcs.) [$200/300] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

Ill.: Isbell, Reed w. Morris Henry Hobbs ‑ A Calalogue Raisonné of Etchings, Engraving and Lithographs. Mclean, Va: Coffee Street. Publishing, 2017, pgs. 102 & 103

704. Alexandra Nechita (Romanian/ American, b. 1985), “An Angel by My Door”, 2006, hand‑embellished lithograph, signed and dated lower right, numbered “1/111” lower left, label with artist and title en verso, 42 in. x 15 3/4 in., framed. [$800/1200] Additional information at www.nealauction.com

705. Eugene Delcroix (American/New Orleans, 1891‑1967), “Old Brulatour Patio” and “Interior, Patio Royal”, 2 hand‑colored photographs, both signed lower right and titled on backing, 6 11/16 in. x 4 11/16 in., framed alike; together with C. Bennette Moore (American/New Orleans, 1879‑1939), “Pirates Alley, New Orleans”, black and white photograph, signed lower left, pencil‑titled lower margin, artist stamp en verso, 9 3/4 in. x 7 3/4 in., framed. (3 pcs.) [$300/500]

706. Theodore “Fonville” Winans (American/Louisiana, 1911‑1992), “Chikazola Shack”, 1933, silver gelatin print, signed and dated lower left, titled en verso, 16 in. x 20 in., framed.[$400/600] Provenance: Neal Auction Company, April, 13, 2002, lot 795; Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

707. C. Bennette Moore (American/New Orleans, 1879‑1939), “Brulatour Court, New Orleans”, “Little Theatre, New Orleans” and “Marchand Court, New Orleans”, one black and white and 2 hand‑colored photographs, 2 signed lower right, one signed lower left, each pencil‑titled lower margin and artist copyright stamp en verso, sheets 8 9/16 in. x 6 1/2 in. to 9 7/8 in. x 7 15/16 in., one framed. (3 pcs.) [$200/300]

708. Attributed to Clarence John Laughlin (American/Louisiana, 1905‑1985), “Ashland (Belle Hélène) Plantation”, silver gelatin print, unsigned, sight 18 1/4 in. x 14 7/8 in., framed. [$300/500]

709. Charles T. Yenni (American/ New Orleans, 1860‑1909), 3 vintage New Orleans photographs mounted on cardstock, each with “Charls T. Yenni, New Orleans” blind stamp on cardstock, each 9 5/8 in. x 7 1/8 in., framed alike. (3 pcs.) [$200/300] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

710. Kerri McCaffety (American/New Orleans, b. 1967), “Ursuline Convent”, 1997, Iris print on watercolor paper, pencil‑signed and titled on mat, pencil‑signed, titled, dated and “1/30” en verso, artist label with title on backing, 14 1/4 in. x 10 1/4 in., framed; “Allan’s Bed”, Iris print on watercolor paper, pencil‑signed, titled and “3/30” on mat, pencil‑signed and “3/30” en verso, 13 5/8 in. x 13 7/8 in., framed (2 pcs.) [$300/500]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, N.O.

712. Mottahedeh Blue Canton Porcelain Dinner Service, incl. 12 dinner plates, dia. 10 1/4 in.; 9 salad plates, dia. 8 5/8 in.; 12 bread and butter plates, dia. 7 in.; 12 tea cups; and 13 saucers, dia. 5 5/8 in. (58 pcs.) [$600/800] Provenance: Estate of Noted Antiquarian James D. “Don” Didier.

711. John Costin (American/Florida, b. 1955), “Brown Pelican” and “Great Blue”, 2 hand‑colored etchings, both pencil‑signed and numbered lower margin, each edition of 250, sights 40 in. x 28 1/8 in., framed alike. (2 pcs.) [$600/800]

713. Pair of Italian Bronze‑Mounted Jardinières, Classical figure and floral design, h. 11 1/4 in., w. 17 in., d. 12 in. [$800/1200] Provenance: Schwitz Collection, Franklin, LA.

714. Pair of Charles X Gilt and Patinated Bronze Candlesticks, c. 1830, griffin standards, marble pedestal base, h. 9 1/2 in., w. 4 3/4 in., d. 5 1/2 in. [$500/750]

715. French Gilt Bronze‑Mounted Glass Box, Neoclassical mounts, anthemion feet, h. 2 1/2 in., w. 4 1/2 in., d. 3 1/8 in. [$250/300]

716. French Git and Patinated Bronze Three Piece Desk Set, 19th c., incl. inkwell, h. 3 1/2 in., w. 3 in., d. 3 in.; blotter and pen. [$200/400]

717. Antique Diminutive French Gilt Bronze Urn on Malachite Plinth, 19th c., h. 6 1/4 in., dia. 3 1/4 in. [$200/400]

720. Group of Antique French 1st Standard Silver, incl. scissors snuffer, Durand a Paris, act. 1828‑1874; 12 teaspoons and 12 silver gilt teaspoons; total wt. 19.35 troy ozs. [$300/500]

718. Monumental Antique Continental Carved and Polychromed Horse and Rider Grouping, 19th c., two parts, solid wood construction, rider depicted in medieval clothing, horse h. 75 in., w. 73 in., d. 18 in., total h. 90 in., w. 73 in., d. 50 in. [$2500/3500] 719. Indian Turbo Marmoratus Shell Powder Flask, late 17th/early 18th c., with pinned geometric design, h. 6 1/2 in., w. 5 1/2 in., d. 5 1/2 in. [$700/1000]

721. Silver Coffee and Tea Service, probably Indian, marked “SILVER”, “GSW” and “92.5”, incl. coffee pot, teapot, sugar and creamer and tray; together with 6 silver saucers with inset Edward VII 1902 one rupee coin. [$500/700] 722. Set of Eight Silver Cordials, unmarked, each cast with dragon pursuing a flaming pearl, h. 3 7/8 in. [$250/350]

723. Good Group of Sterling Silver and Silverplate, incl. 2 Italian sterling trays with stiff leaf border, Algema di Dario Alfredo, Padua, 12 1/8 in. x 6 7/8 in; Japanese sterling dish, Yamato, Kobe, l. 12 7/8 and pair of Christofle silverplate and wood salt and peppers; total wt. (weighable) 40 troy ozs. [$500/750]

724. Pair of Napoleon III Gilt Bronze Two‑Light Sconces in the Louis XVI Style, 19th c., cherub playing pipes, foliate arms, h. 16 in., w. 10 in., d. 4 in. [$700/1000]

726. Six Contemporary Painted Armchairs, circular backs, shaped arms, tapered legs, h. 39 3/4 in., w. 24 in., d. 23 1/2 in. [$500/700]

725. Empire‑Style Bronze‑Mounted Six‑Light Chandelier, foliate arms, h. 23 in., dia. 24 in. [$700/1000]

727. Hollywood Regency Mirror‑Inset Chest of Drawers, mid‑20th c., piano hinged top with mirrored interior, one false drawer, two lower drawers, recessed block base, h. 30 in., w. 25 1/8 in., d. 16 1/4 in. [$400/600]

Additional information at www.nealauction.com

728. Chinese Nichols Carpet, light pink ground, blue border, floral and bird design, 11 ft. x 14 ft. 4 in. [$1000/1500]

729. Moroccan Carpet, red ground, gray and white elements, Swiss retail label, 5 ft. 7 in. x 11 ft. 7 in. [$500/700]

730. Chinese Art Deco Carpet, gray, blue and dark purple ground, floral and butterfly design, 12 ft. 11 in. x 17 ft. 4 in. [$600/900]

731. Large Contemporary Tibetan Carpet by Odegard, wool, teal and light yellow “paint brush” design, 11 ft. 8 in. x 15 ft. 10 in. [$800/1200] Provenance: Jacqueline Vance, New Orleans.

732. Pair of Rococo‑Style Gilt Bronze Four‑Light Girandole Mirrors, cartouche backplate with Chinoiserie pagoda, foliate candle arms, h. 36 in., w. 23 in., d. 8 in. [$2000/3000]

735. Afro Celotto (Italian/Venice, b. 1963) Murano Glass Vase, 2006, signed, dated and numbered “1/1” on base, h. 20 in., w. 9 in., d. 5 1/4 in. [$800/1200]

736. Dino Rosin (Italian/Venice, b. 1948), “Pebble”, calcedonia Murano glass, etched “Studio Resin”, h. 14 in., w. 9 1/4 in., d. 4 1/2 in. [$1000/2000] Provenance: Acquired Chicago, 2005.

733. Two-Light Brass Bouillotte Lamp, marked “Warren Kessler, New York”, basket weave circular base, urn form standard, tole peinte shade, h. 30 1/2 in., dia. 16 in. [$400/600]

737. Lalique Clear and Frosted Glass “Ingrid” Vase, c. 1990, etched “Lalique France 500”, h. 10 1/2 in., dia. 8 1/4 in. [$800/1200]

734. Neoclassical‑Style Gilt Bronze‑Mounted Cut Glass Caviar Bowl, 19th c., mounted with frieze of paired griffin and beribboned wreaths, h. 5 in., dia. 5 1/4 in. [$300/500]

738. Pino Signoretto (Italian/Venice, 1944‑2017), “Eye”, Murano glass, h. 12 in., w. 11 in., d. 8 1/2 in., accompanied by a copy of Certificate of Authenticity, Ma Re Glass, Venice, June 2007. [$700/900]

739. Lalique Frosted and Molded Glass “Champs Elysees” Bowl, c. 2004, marked “Lalique France”, h. 7 1/4 in., w. 17 3/4 in., d. 9 3/4 in., original box. [$700/900]

741. Toland Peter Sand (American, b. 1949), “Wedge”, 2003, clear and colored glass, signed, dated and inscribed “1697”, h. 9 1/2 in., w. 17 1/8 in., d. 4 3/4 in., presented on rotating base, overall h. 10 1/2 in.[$800/1200]

742. Archimede Seguso (Italian, 1909‑1999), “Untitled”, Murano glass, etched “SEGUS A.V.”, clear pedestal base, h. 19 in., w. 6 in., d. 3 3/4 in. [$1500/2500]

Provenance: Petris Gallery, Sausalito, CA, Mar. 2011.

Provenance: Acquired Venice, 1980.

740. Archimede Seguso (Italian, 1909‑1999) Iridescent Murano Glass Flare Vase, signed on base, h. 12 3/4 in., w. 11 3/4 in. [$800/1200]

Provenance: Vetrerai Artistica Archimede Seguso s.r.l., Venice, May 2007.

743. Stefano Toso (Italian, b. 1958), “Effetto”, blue, green and colorless glass, signed on base, black pedestal base, h. 21 1/2 in., w. 11 1/2 in., d. 5 in; accompanied by copy Certificate of Authenticity signed by the artist. [$700/900]

744. Stefano Toso (Italian/ Venice, b.1958), “Roman Dawn”, Murano glass, signed and titled on base, h. 26 1/2 in., w. 9 in., d. 4 1/2 in. [$700/900]

745. Lalique Frosted and Molded Glass “Verona” Bowl, marked “Lalique France”, decorated with birds, h. 7 1/2 i n., dia. 11 in., original box. [$500/700]

746. Lalique Molded Clear and Enameled Glass “Tourbillons” Vase, marked “Lalique France”, h. 8 in., dia. 7 3/4 in., original box. [$2000/4000]

747. Lalique Frosted and Molded Glass “Bacchantes” Vase, c. 1990, signed “Lalique France” on edge, h. 9 1/2 in., dia. 8 1/4 in. [$1000/1500]

748. Mariano Moro (Italian/Venice, b. 1957) for Ars Murano Glass Sculpture, signed, dia. 18 1/2 in., d. 3 1/2 in., presented on a metal armature, overall h. 21 1/2 in. [$600/800]

749. Mariano Moro (Italian/Venice, b. 1957) for Ars Murano Glass Sculpture, base signed, h. 14 1/4 in., w. 17 1/2 in., d. 6 1/4 in. [$500/700]

750. Mats Jonasson (Swedish, b. 1948), “Large Blue Mask”, glass, signed and numbered “37/49”, h. 12 in., w. 10 1/4 in.[$200/400]

751. Jan Erik Ritzman (Swedish, b. 1943) for Transjo Hytta Glass Vase, 2007, signed, with purple dancing figures, h. 9 in., dia. 5 3/4 in. [$400/600]

752. Monica Backstrom (Swedish, b. 1939) for Kosta Boda Glass Sculpture, signed, etched “731038 Kosta Boda Monica Backstrum Unique”, h. 11 1/4 in., w. 6 in., d. 4 in., accompanied by a copy of Certificate of Uniqueness signed by the artist. [$300/500]

753. Göran Wärff (Swedish, b. 1933) for Kosta Boda Glass “Euclides” Sculpture, signed, etched “7241054 Kosta Boda Boran Worft Unique”, h. 8 1/4 in., w. 7 in., d. 4 1/4 in., accompanied by a copy of Certificate of Uniqueness signed by the artist. [$300/500]

754. Josef Svarc Bohemian Cut Crystal “Thistles” Bowl, signed on base, h. 6 in., dia. 12 in. [$300/500]

Provenance: Acquired 1990.

Provenance: Nordiska Kristall, Stockholm, 2006.

Provenance: Acquired 2006.

Additional information at www.nealauction.com

757. Alfredo Barbini (Italian/Venice, 1912‑2007) Murano Glass Bowl, signed, h. 2 1/8 in., l. 9 in., w. 6 1/8 in. [$200/400] 755. Mariano Moro (Italian/Venice, b. 1957) for Ars Murano Glass Sculpture, signed on base, h. 14 in., w. 8 3/4 in. [$500/700]

759. Large Moser Glass Vase, 20th c., illegibly signed, h. 15 3/4 in., dia. 6 1/2 in. [$100/150]

763. Large Formia Murano Colorless Glass Fan Vase, labeled “Formia Vetri di Murano Made in Italy”, h. 9 1/4 in., w. 14 in., d. 10 in. [$100/150]

756. Loredano Rosin (Italian/Venice, 1936‑1992), “The Friars”, 1973, glass, signed on base, h. 13 1/2 in., l. 9 3/8 in., w. 9 1/2 in., d. 6 3/4 in. [$400/600]

760. Goran Wärff (Swedish, b. 1933) for Kosta Boda Glass Vase, signed on base, h. 10 7/8 in., w. 4 3/8 in., d. 3 1/2 in. [$100/150]

761. Frosted and Clear Glass “Victoire” Panel, 20th c., after the mascot design by Rene Lalique, signed Suzanne, 6 1/2 in. x 13 in, wood base, overall h. 7 in. [$200/300]

764. Gilt Bronze‑Mounted French or Austrian Art Glass Vase, late 19th/early 20th c., thick red, orange, mauve, and yellow swirl glass, Classical winged female and garland overlay, h. 5 5/8 in. [$200/400]

767. Neoclassical‑Style Gilt Metal-Mounted Cobalt Glass Vase, early 20th c., winged term handles, allegorical reliefs of painting and sculpture, h. 8 in., w. 5 1/2 in., d. 3 1/2 in. [$125/200]

766. Pair of Venetian Glass Table Lamps, 20th c., spiral molded ovoid standard, h. (to socket) 19 1/2 in. [$250/350]

758. Göran Wärff (Swedish, b. 1933) for Kosta Boda Glass Center Bowl, etched “7235013 Kosta Boda Lim. ed. 100 GÖRAN WÄRFF”, h. 3 1/8 in., l. 19 3/4 in., w. 13 1/8 in.; accompanied by a Certificate of Limited Edition. [$150/250]

762. G.D. Furlan Studio Murano Glass Plate in Honor of Giuseppe Furlan (1928‑1999), initialed “XHP”, etched “Omaggio a G. Furlan Mastro Vetraio”, signed, dia. 19 1/2 in. [$100/200]

765. Gallé Cameo Art Glass Blown Molded Glass Vase, c. 1900, marked, amber body with persimmon or loquat boughs, h. 8 1/8 in., dia. 6 1/4 in. [$1200/1800]

768. Mosaic of St. Basil’s Cathedral, probably Russian, 13 3/4 in. x 12 3/4 in., framed. [$200/400]

769. Le Corbusier, Charlotte Perriand, and Pierre Jeanneret Chromed Steel and Leather “LC2” Three Seat Sofa, Cassina, proper left arm marked with manufacturer’s logo, serial no. 94977, and Corbusier signature, h. 27 in., w. 71 in., d. 28 in. [$1200/1800]

771. Large Contemporary Satinwood Table, custom made by Dick Wickman, Wisconsin, urn‑form trestle legs, h. 29 1/4 in., w. 114 1/2 in., d. 54 in. [$800/1200]

773. Pair of Mies van der Rohe Chromed Steel and Leather “Barcelona” Chairs, Knoll, legs marked “Knoll Studio” and “Mies van der Rohe”, button‑tufted cream leather upholstery with “Knoll” labels, h. 30 in., w. 30 in., d. 30 in. [$2000/3000]

770. Pair of Le Corbusier, Charlotte Perriand, and Pierre Jeanneret Chromed Steel and Leather Petit Model “LC2” Armchairs, en suite with previou slot, Cassina, proper left arms marked with manufacturer’s logo, serial no. 95331 and 95379, and Corbusier signature, h. 27 in., w. 30 in., d. 27 in. [$1200/1800]

772. Contemporary Satinwood Sideboard, en suite with previous lot, custom made by Dick Wickman, Wisconsin, four drawers, adjustable shelves, h. 34 in., w. 72 1/2 in., d. 19 3/4 in. [$800/1200]

774. Four Mies van der Rohe “Brno” Armchairs, 1999, Knoll, labeled, Donghia mohair upholstery, h. 31 1/2 in., w. 23 in., d. 22 in. [$1200/1800]

776. Charles and Ray Eames Aluminum, Rosewood and Leather Lounge Chair and Ottoman, 1970s, Herman Miller, model no. 670 and 671, chair with manufacturer’s label, chair h. 31 in., w. 32 in., d. 34 in., ottoman h. 17 in., w. 25 3/5 in., d. 21 in. (2 pcs.) Note: chair with loose arm. [$1500/2500]

775. Six Ludwig Mies van der Rohe “Brno” Armchairs, 1999, en suite with previous lot, Knoll, labeled, Donghia mohair upholstery, h. 31 1/2 in., w. 23 in., d. 22 in. [$1800/3000]

777. Pair of Ludwig Mies van der Rohe Chromed Steel and Tufted Leather Barcelona Chairs, c. 1972, Knoll, upholstery tap labeled “Knoll International, Inc./ 320 Park Ave. NY”, h. 30 in., w. 30 in., d. 29 in. [$3000/5000]

778. Pair of Ludwig Mies van der Rohe Chromed Steel and Tufted Leather Barcelona Chairs, c. 1972, en suite with previous lot, Knoll, upholstery tag labeled “Knoll International, Inc./ 320 Park Ave. NY”, h. 30 in., w. 30 in., d. 29 in. [$2500/3500] Additional information at www.nealauction.com

779. Paul Frankl Rattan Coffee Table, oak top, h. 16 in., w. 30 in., d. 29 in. [$500/800] 780. Paul Frankl Rattan Pretzel Lounge Chair, six strand construction, h. 30 in., w. 34 in., d. 40 in. [$500/800]

781. Contemporary Leather Lounge Chair, button back, zebra skin sides, outswept tapered legs, h. 33 in., w. 30 in., d. 50 in. [$500/800]

783. Rare Complete Giant Clam Shell, tridacna giga, each half h. 11 in., w. 27 in., d. 19 in., overall h. 20 in. [$1800/2500]

784. Pair of Pompeian‑Style Bronze Covered Tureens, foliate and mask decoration, h. 14 in., w. 23 in., d. 12 1/2 in. [$1500/2000]

786. Adele Lemm (American/Tennessee, 1904‑1977), “Shell and Rockweed”, 1969, oil on linen, signed and dated lower right, signed, titled and “The Charleston Renaissance Gallery, Charleston, SC”, “Robert M. Hicklin, Jr., Inc., Spartanburg, SC” and “Greenville County Museum of Art, SC” labels en verso, 24 1/4 in. x 30 1/8 in., framed. [$3000/5000]

782. Eileen Gray E1027 Adjustable Chrome and Glass Table, c. 2000, Classic Con, marked with manufacturer’s logo, serial no. DA 17100, and Gray signature, adjustable h. 21 in. to 36 1/2 in., dia. 20 in. [$500/700]

785. Fred Trenchard (American/New Orleans, b. 1941), “Distressed Man”, 1969, mixed media on board, pencil‑signed, titled and dated lower right, “Galerie Simonne Stern, New Orleans, LA” label with artist, title and date on backing, sight 27 7/8 in. x 21 1/2 in., framed. [$800/1200]

Provenance: The Charleston Renaissance Gallery, Charleston, SC.

788. M. L. Snowden (American/ California, b. 1952), “Caldera”, 2005, patinated bronze, signed, titled “Cauldera [sic]”, numbered “21/45”, and foundry stamp on self‑base, h. 25 in., w. 40 in., d. 25 in., black marble base, overall h. 26 1/4 in.; accompanied by a copy of a Certificate of Authenticity, Angela King Gallery, July 2008. [$1500/2500]

787. Frederick Hart (American/ Maryland, 1943‑1999), “Dance of Life”, 1997, cast acrylic, signed, dated, and numbered “70/350”, h. 23 1/4 in., w. 8 in., d. 8 1/2 in. [$1800/2500]

789. Frederick Hart (American/Maryland, 1943‑1999), “Breath of Life”, 1990, cast acrylic, signed, dated, and numbered “147/350” on underside, signed mid‑right, h. 16 3/4 in., w. 13 1/2 in., d. 7 3/4 in. [$1500/2500]

790. Frederick Hart (American/ Maryland, 1943‑1999), “Herself”, 1984, cast acrylic, signed, dated and numbered “167” (of 300) on underside, signed on self‑base, h. 14 1/2 in., w. 17 3/4 in., d. 7 in.; accompanied by a Certificate of Authenticity. [$1200/1800]

791. John Palmer (American/Texas, b. 1974), “Tryptic No. 2”, painted wood, artist plaque with title on base, h. 37 1/8 in., w. 4 in., d. 4 in., wood pedestal, overall h. 63 1/8 in. [$500/700]

793. Mark Rossi (American, b. 1952), “Pair of Baby Cottontails”, bronze, both signed on underside, h. 2 1/4 in., w. 3 3/4 in., d. 2 3/4 in. and h. 2 1/4 in., w. 3 3/4 in., d. 2 1/4 in. (2 pcs.) [$800/1200] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

792. Shlomi Haziza (Israeli/ American, b. 1969), “Sausalito”, 2011, twisted cast acrylic, signed and artist label on self‑base, h. 49 1/2 in., w. 17 in., d. 15 in., acrylic pedestal with artist label, overall h. 85 in. [$600/800]

794. Michael Wilkinson (American, 20th c.), “Dream Fragment I”, 1989, acrylic, signed, dated and numbered “118/300” on self‑base, h. 17 in., w. 19 1/2 in., d. 10 in. [$800/1200]

795. Michael Wilkinson (American, 20th c.), “Song of the Cypress”, 1987, acrylic, signed, dated and numbered “121/300” on self‑base, h. 16 in., w. 23 in., d. 6 1/2 in. [$800/1200] 797. Monumental Antique George III‑Style Mahogany Partner’s Desk, three‑paneled inset leather top, six drawers, trestle base, sabre legs, brass cuffs, casters, h. 30 1/2 in., w. 122 in., d. 52 1/4 in. [$1000/1500] Provenance: London Shop, New Orleans.

796. Continental Art Deco Brass‑Mounted Parquetry and Fruitwood Drinks Cabinet, c. 1925, revolving door with mirrored galleried shelves, molded surround, tapered shaped feet, h. 33 1/2 in., w. 35 1/2 in., d. 18 in. [$500/700]

798. Edwardian Mahogany Bookcase, labeled Maple & Co., molded cornice, case fitted with two glazed doors over two paneled doors, square tapering legs, spade feet, approx. h. 75 in., approx. w. 40 in., approx. w. 17 in. [$800/1200] Provenance: Charlotte, NC Estate, acquired c. 1960s; thence by descent.

800. Regency‑Style Carved Mahogany Settee, rolled back with reeded and boss supports, upholstery with urn and floral embroidered silk panels with metallic trim on velvet, reeded apron, ring turned tapered legs, h. 39 in., w. 71 in., d. 32 in. [$1000/1500]

799. George III Inlaid Mahogany Sideboard, early 19th c., shaped top, conforming case, center concave drawer flanked by cabinets, urn and foliate stiles, tapered legs, spade feet, h. 36 1/2 in. w. 60 1/2 in., d. 26 in. [$1200/1800]

801. Chinese Chippendale‑Style Burled Walnut Chest-on-Stand, molded inset top, three drawers, molded bracketed base, shaped feet, h. 27 in., w. 34 in., d. 18 1/2 in. [$600/900] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

Additional information at www.nealauction.com

803. Royal Portrait of Queen Mary and King George V, 1913, oil on canvas, signed “T. Wheatley” and dated lower right, 34 1/4 in. x 58 in., framed. [$500/800]

802. British School, 1907, “Castle Ruins on a Cliff”, oil on canvas, signed “R. Turner” and dated lower left, 34 1/4 in. x 64 in., framed. [$1000/1500] 804. William Henry Williamson (British, 1820‑1883), “Ships near a Rocky Coast”, 1868, and “Ship near the Dock”, 1868, 2 oils on canvas, each signed and dated lower left, 10 in. x 18 in. and 9 1/2 in. x 18 in., framed alike. (2 pcs.) [$700/1000] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

805. Pair of Chinese Famille Rose Porcelain Vases, 19th c., Buddhist lion handles and Chilong mounted shoulders, decorated with figural and bird‑and‑flower panels, h. 13 1/4 in., now similarly mounted as lamps, h. (to socket) 17 in. Note: condition of one. [$300/500] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

806. Six Chinese Export Mandarin Palette Porcelain Teacups, 18th c., Qianlong, bowl‑form, variously decorated with figural scenes and sepia or magenta landscapes on gilt scrollwork, black diaper or iron red diaper grounds, h. 1 5/8 in. to 1 3/4 in., dia. 2 7/8 in. to 3 in. [$400/600]

Provenance: Henry Moog, Atlanta, 2002; (two) Antique & Artisan Center, Stamford, 2005; Harbor View Antiques, Stamford, 2005; Jeff Waddell, 2005; and Old World Antiques, 2005.

808. Four Chinese Export Famille Rose Mandarin Palette Tea Cups, 18th c., Qianlong, variously decorated with figural panels, h. 2 1/4 in. to 3 in.; together with pair of Imari‑style porcelain cups and saucers, 20th c., saucer dia. 4 3/4 in. [$150/250] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

809. Chinese Export Famille Rose Porcelain Cann, 18th c., Qianlong, decorated with floral sprays, bronze handle, h. 5 1/4 in. [$100/200]

807. Chinese Export Mandarin Palette Shallow Bowl, 18th c., decorated with a male and female couple and goats in a landscape, cavetto with sepia panels, h. 1 7/8 in., dia. 10 5/8 in. [$250/350]

812. Seven Grand Tour Plaster Intaglios, gilt frames, largest 9 in. x 12 1/4 in. [$300/500] Provenance: Schwitz Collection, Franklin, LA. 810. Four Grand Tour Plaster Intaglios, 19th c., mounted and framed, frame 10 3/4 in. x 10 3/4 in. [$300/500] Provenance: Schwitz Collection, Franklin, LA.

811. Five Grand Tour Plaster Intaglios, in three shadowbox frames, largest frame 14 3/4 in. x 12 in. [$300/500] Provenance: Schwitz Collection, Franklin, LA.

813. Three Continental Portrait Medallions, 19th c., largest bronze, dia. 9 in.; together with 2 antique wood tazzas, taller 11 in. [$100/150]

816. Empire Gilt and Patinated Bronze Figural Standard, 19th c., now fitted with a jardinière, h. 16 1/2 in., dia. 5 in. [$150/250]

814. Antique Grand Tour Sienna Marble Model of the Temple of Concord, h. 11 in., w. 3 3/4 in., d. 3 3/4 in. [$400/600] 815. Pair of French Gilt and Patinated Bronze Figures of Cherubs, 19th c., foliate base, h. 16 in., w. 4 in., d. 4 in. [$300/500]

817. Antique French Bronze‑Mounted Marble Desk Set, incl.: encrier with integral pen tray, letter holder, blotter, and notepad holder, tray h. 4 in., w. 15 in., d. 7 in. [$300/500]

819. English Inlaid Mahogany Sarcophagus-Form Box, 19th c., void interior, over single drawer, floral and ring handles, paw feet, h. 7 1/2 in., w. 14 in., d. 8 in. [$500/700]

818. Two Antique Continental Carved Walnut and Silverplate Reliquaries, foliate and bowknot design, cartouche form cases, taller h. 14 3/4 in., w. 9 3/4 in., d. 3 1/2 in. [$600/800]

820. Antique Neoclassical Tole Peinte Verriere, torch and cornucopia decoration, h. 4 1/2 in., w. 12 1/2 in., d. 7 1/2 in. [$150/250]

821. Antique English Inlaid Mahogany Tea Caddy; canted corners, interior with mixing bowl and two removable tea boxes, h. 5 5/8 in., w. 12 in., d. 5 3/4 in.; together with English brass inlaid, ebonized jewelry box, h. 6 in., w. 12 in., d. 9 in. [$500/700] Provenance: Schwitz Collection, Franklin, LA.

Provenance: Schwitz Collection, Franklin, LA.

825. George III Sterling Silver Sugar & Creamer, Robert Hennell I & Samuel Hennell, London, 1808, act. 1802‑1810, shell and reeded scroll borders, lobed lower body, ball feet, sugar h. 4 1/2 in., w. 8 1/2 in., wt. 24.70 troy ozs. [$700/1000]

822. George III Sterling Silver Brandy Saucepan, London, 1807, possibly Solomon Houghton, act. 1792‑1818, molded borders, engraved crest, turned wood handle, w. 10 1/2 in., wt. 10.95 troy ozs. [$300/500] 823. Antique Irish Sterling Silver Hot Water Jug, Dublin, marks rubbed, vasiform with elaborate chasing and beaded borders, h. 12 5/8 in., wt. 28.30 troy ozs. [$800/1200]

826. George V Sterling Silver Tea Service, Edward Barnard & Sons, Ltd., London, 1927, incl. teapot, sugar and creamer, inverted pyriform bodies, beaded borders, scroll handles, teapot h. 7 1/4 in., total wt. 32.60 troy ozs. [$600/900]

824. Regency Sterling Silver Sauce Tureen, Benjamin Smith II, London, 1818, ovoid with robust neoclassical details, h. 7 in., w. 8 3/8 in., wt. 30.30 troy ozs. [$800/1200]

827. Pair of Hester Bateman Sterling Silver Butter Shells, London, 1782, each coquille form dish with beaded border and conch feet, l. 6 1/4 in., wt. 7.55 troy ozs. [$500/750]

830. Antique English Silverplate Caviar Serving Dish, 19th c., cut glass bowl, stand with garland swags and masks, h. 4 7/8 in., dia. 8 1/8 in. [$250/350]

828. Elizabeth II Sterling Silver Trophy Cup, Mappin & Webb, Sheffield, 1966, with presentation inscription “HARD LUCK TROPHY/ TENTH ANNUAL BAHAMAS INTERNATIONAL/ TUNA MATCH/June 1967/WEST END GRAND BAHAMA/Club Oceanico de Costo Rica/Roger T. Stone Captain/James W. Burks/Matthew W. Stirling”, h. 7 3/8 in., w. 9 3/8 in., wt. 13.50 troy ozs. [$200/400]

829. English Arts and Crafts Sterling Silver‑Mounted Glass Claret Jug, Walter & Charles Sisson, Sheffield, 1898, act. 1892‑1936, h. 10 3/4 in. [$300/500]

Additional information at www.nealauction.com

831. Pair of Georgian‑Style Silverplate Five‑Light Candelabra, convertible to single candlestick, urn‑form candle cups with removable bobeches, central candlearms with removable urn finial, stiff leaf and bead decoration throughout, h. 25 7/8 in. [$600/900] 832. Victorian Sterling Silver Fish Service, John Gilbert, Birmingham, mid‑1860s, incl. 6 fish forks and 6 fish knives, engraved scroll decoration, knife l. 9 in. [$400/600] 834. Pair of Antique English Silverplate Corinthian Columnar Candlesticks, Hawksworth, Eyre & Co., Sheffield, act. c. 1853‑1930s, removable bobeches, h. 10 /12 in. [$400/600]

833. Group of Antique and Vintage Sterling Silver Tableware, incl. solitaire coffee pot, Edinburgh, 1809, h. 8 3/8 in.; dinner bell with mother‑of‑pearl handle, Mappin & Webb, Sheffield, 1911, h. h. 5 1/4 in.; Old Newbury Crafters footed bowl, dia. 7 1/8 in.; Reed & Barton footed bowl, w. 6 1/4 in.; Watrous dish, dia. 6 in.; and 3 Towle reticulated nut dishes, w. 4 1/4 in.; total wt. 46.60 troy ozs. [$700/900]

Provenance: Marshall Field & Company Antique Silver Collection.

835. Antique Rococo‑Style Silverplate Dressing Mirror, easel back, 25 in. x 18 1/2 in. [$300/500]

836. Empire Tole Peinte and Gilt Metal Two-Light Argand Sconce, 19th c., h. 13 1/2 in., w. 11 in., d. 10 1/2 in.; together with pair of Empire‑style green and gilt metal sconces, h. 12 in., w. 7 in., d. 10 in. [$200/400]

837. Chippendale‑Style Parcel Gilt Burl Walnut Mirror, Colonial Williamsburg Reproduction, plume crest, scrolled surround and pendant, h. 46 1/2 in., w. 28 1/2 in. [$500/700] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

839. Napoleon III Patinated and Gilt Bronze Portico Clock, 19th c., rosette‑mounted pediment, fluted columns, movement marked by retailer “Black Starr & Frost/ New York”, h. 20 in., w. 10 1/2 in., d. 5 in. [$800/1200]

838. Continental Neoclassical Ebonized and Parcel Gilt Pier Mirror, early 19th c., blocked cornice, reserve with opposing winged maidens, old mirror plate, ebonized rabbet, columnar surround, h. 39 1/4 in., w. 25 3/8 in. [$150/250]

840. Napoleon III Gilt Bronze Figural Mantel Clock, 19th c., allegorical figure of “Harvest”, case mounted with grain and grapes, silk‑thread movement, h. 15 1/2 in., w. 10 1/4 in., d. 3 3/4 in. [$800/1200]

841. English Carved Oak Tall Case Clock, 19th c., dial with moon phase, striking gong movement, beveled glass pendulum window, h. 97 in., w. 24 in., d. 15 in. [$800/1200]

842. Pair of Asian Bronze and Cloisonné Enamel Lamps, raised phoenix and flower decoration on a wave ground, h. (incl finial) 34 in. [$300/500]

843. William IV Carved Rosewood Canterbury, 19th c., turned finials and supports, serpentine shelves, reticulated dividers, shaped base with a drawer, casters, h. 41 in., w. 22 in., d. 14 in. [$400/600]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

846. Regency‑Style Inlaid Mahogany Dining Table, banded top, reverse tapered triangular standard, conforming base, bronze paw feet, casters, h. 31 3/4 in., dia. 64 in. [$1000/1500] 845. Eight Georgian‑Style Carved Oak and Mahogany Side Chairs, early 20th c., shaped crest rail, pierced splat, square molded legs, stretchers, h. 38 1/2 in., w. 22 in., d. 17 in. [$800/1200]

844. Antique Queen Anne‑Style Herringbone Banded Burled Walnut and Oak Chest‑on‑Stand, 19th c., upper case with molded cornice, three over three drawers, molded waist, stand with three drawers, scalloped molded skirt, bulbous turned legs, shaped stretcher, bun feet, h. 62 in., w. 39 in., d. 21 1/2 in. [$500/700] 847. Louis XVI‑Style Carved, Painted and Chrome‑Mounted Carving Trolley, revolving dome, frieze fitted with dish ring, fluted legs, pierced stretcher, casters, h. 44 in., w. 35 in., d. 29 in. [$1000/1500]

848. English Paint Decorated Armchair, 19th c., urn and swag back, tufted seat, tapered spade feet, casters, h. 35 in., w. 22 in., d. 21 in. [$250/350]

850. George III Mahogany Linen Press, early 19th c., molded cornice, cartouche paneled doors, interior with linen drawers, base with two short drawers over two long drawers, flared feet, h. 80 in., w. 48 in., d. 22 3/4 in. [$700/1000]

849. Chippendale‑Style Mahogany Armchair, bowed back, scrolled fretwork supports, fretwork front legs, stretchered base, casters, h. 38 1/2 in., w. 27 in., d. 31 in. [$300/500]

852. Regency‑Style Mahogany Drum Table, inset leather top, faux drawer, frieze with one drawer, vasiform reeded standard, sabre legs, cuffs, casters, h. 29 in., dia. 34 in. [$800/1200] 851. Antique English Oyster Veneer Chest, molded top, three graduated drawers, bracket feet, h. 31 3/4 in., w. 37 5/8 in., d. 17 1/2 in. [$400/600]

855. Pair of Louis XIV‑Style Carved Mahogany Fauteuils à la Reine and Stools, high rectangular backs, scrolled arms, tapered legs, shaped bun feet, X‑stretcher, fauteuil h. 47 1/4 in., w. 25 1/2 in., d. 25 1/4 in.; footstool h. 16 1/2 in., w. 22 3/4 in., d. 18 1/2 in. [$800/1200]

853. George III Oak Linen Press, early 19th c., molded cornice, paneled doors, shelf interior, lower case with four drawers, bracket feet, h. 74 1/2 in., w. 49 in., d. 21 in. [$700/1000]

854. Regency Inlaid Mahogany Breakfast Table, early 19th c., tilt top, turned standard, four sabre legs, foliate brass cuffs, casters, h. 28 in., dia. 42 1/2 in. [$700/900]

Provenance: Schwitz Collection, Franklin, LA.

Additional information at www.nealauction.com

856. Pair of Louis XVI‑Style Brass Inlaid, Bronze‑Mounted and Ebonized Vitrines, 20th c., egg‑and‑dark molded cornice, glazed case with glass shelf interior, serpentine apron, turned feet, h. 60 3/4 in., w. 30 1/2 in., d. 16 1/2 in. [$1200/1800]

857. Pair of Antique Louis XVI‑Style Carved and Crème Peinte Settees, 20th c., finialed caned backs, scrolled padded arms, caned seat, beaded and lamb’s tongue decoration, fluted tapered legs, h. 41 in., w. 66 in., d. 27 in. [$2000/3000] Provenance: Ray and Martha Ann Samuels Collection.

859. Pair of Dutch Marquetry and Mahogany Bookcases on Stands, foliate crest, arched cornice, glazed doors, lower case with two drawers, shaped stretcher, tapered supports, bun feet, h. 92 1/4 in., w. 50 1/2 in., d. 17 in. [$2000/3000]

858. Antique Louis XVI‑Style Brass‑Mounted Mahogany Bouillotte Table, galleried marble top, two frieze drawers, two candle slides, tapered fluted legs, brass cuffs, h. 29 1/8 in., dia. 25 5/8 in. [$400/600]

860. Antoine Bouvard, Sr. (French, 1870‑1956), “Villa on Venice Canal”, oil on canvas, signed “Marc Aldine” lower right, 10 3/4 in. x 13 3/4 in., framed. [$1500/2500] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

861.Continental School, 19th c., “Tromp L’oeil Composition with Center Medallion, Putti and Sphinxes”, oil on canvas, unsigned, 25 1/2 in. x 67 1/2 in., framed. [$1000/1500]

863. Alphonse Cornet (Belgian/French, 1814‑1874), “Lady Reading on a Balcony”, oil on panel, signed lower left, 16 1/2 in. x 13 3/8 in., framed. [$600/800] 862. Continental School, 19th c., “Courting Couple at the Well”, oil on canvas, unsigned, 39 in. x 21 in., framed. [$700/1000]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

865. Philip Richard Morris (British, 1836‑1902), “The Drifted Net”, oil on canvas, signed lower left, 26 in. x 54 1/4 in., framed with artist and title plaque. [$400/600]

864. Manner of George Morland (British, 1763‑1804), “Barnyard Scene”, oil on canvas, unsigned, “California Palace Legion of Honor” label with artist and title on stretcher, 39 in. x 52 in., framed. [$1000/1500] Provenance: Mills Estate, San Francisco, CA.

866. H.C. Buttler (British, 19th c.), “English Village Scenes”, 1889, 2 oils on canvas, both signed and dated lower left, each 16 in. x 24 in., framed alike. (2 pcs.) [$2000/3000] 869. Pair of French Patinated Bronze and Marble Four‑Light Figural Candelabra, c. 1900, male and female figures holding vases with foliate branches, h. 30 1/2 in., w. 9 1/2 in., d. 7 1/2 in. [$700/1000]

868. French Gilt and Patinated Medici Urn, late 19th c., tall inlaid marble pedestal base, h. 13 1/2 in., w. 5 1/2 in., d. 5 3/4 in. [$400/600]

867. Patinated Bronze Figure of an Eagle, after Jules Moigniez, green variegated marble base, h. 30 in., w. 23 1/2 in., d. 16 1/2 in. [$1000/1500]

Provenance: Schwitz Collection, Franklin, LA.

870. Pair of French Tole Peinte Verrieres, gilt, lyre and cornucopia decoration, lion’s mask handles, h. 5 3/4 in., w. 11 in., d. 8 in. [$300/500]

Provenance: Schwitz Collection, Franklin, LA.

871. Pair of Beaux Arts Patinated Metal Ewers, c. 1900, scroll handle, mounted with Neptune mask and dolphins, h. 19 3/4 in., w. 10 in., d. 6 in. [$800/1200]

872. Pair of Empire‑Style Bronze Three‑Light Wall Sconces, scroll arms, electrified, h. 10 in., w. 10 in., d. 9 in. [$400/600]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

873. Pair of Continental Patinated Bronze Busts of Arabs, inscribed “ETRA / 13/25” on truncation, heights 17 1/2 in. and 18 1/2 in. (2 pcs.) [$700/1000]

876. American Classical Carved Mahogany Sofa, early‑to‑mid 19th c., New York, bolection crest rail bordered by foliate and rosette carved terminals, out scrolled arms, stepped blocked bolection apron, scrolled feet, h. 33 in., w. 92 in., d. 26 1/2 in. [$700/1000] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

874. Continental Carved, Painted and Parcel Gilt Mirror, late 18th/early 19th c., beaded and scrolled surround, aged mirror plate, h. 45 1/2 in., w. 35 1/2 in. [$500/800]

875. Louis XVI Giltwood Mirror, 18th c., bowknot crest flanked by urn finials, keyed lamb’s tongue surround, bellflower tassels and swag, frosted mirror plate, h. 61 in., w. 21 in. [$800/1200]

877. American Classical Mahogany Mirror‑Door Armoire, mid‑19th c., ogee and coved cornice, ogee molded mirrored door, interior with medial belt of drawers, base with frieze drawer, bracket feet, h. 94 1/2 in., w. 51 in., d. 27 1/2 in. [$1000/1500] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

Additional information at www.nealauction.com

878. Federal Mahogany Two‑Part Dining Table, early 19th c., Baltimore, blocked apron, ring turned reeded legs, toupie feet, swing leg, hl 29 in., w. 48 1/2 in., d. (closed) 21 in., d. (open) 83 in. [$800/1200]

879. American Late Classical Carved Mahogany Tester Bed, mid‑19th c., possibly C. Lee, shaped tester, cluster column posts, scrolled headboard, shaped rails, molded feet, h. 108 in., l. 75 in., w. 57 in. [$4000/6000] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans. 880. American Rococo Carved Rosewood Armoire, mid‑19th c., broken‑arch cornice centered by robustly carved fruit, paneled doors, bird’s eye maple interior, serpentine base, h. 95 1/2 in., w. 64 in., d. 22 1/2 in. [$1500/2500] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

881. American Rococo Carved Rosewood Dresser, mid‑19th c., probably New York, foliate and phoenix‑carved mirror surround, shaped marble top, conforming case with four drawers, foliate feet, h. 88 in., w. 49 in., d. 24 1/4 in. [$1500/2500] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

882. American Rococo Carved Rosewood Washstand, mid‑19th c., shaped marble top, fruit‑carved doors flanked by architectonic stiles, conforming base, h. 31 in., w. 40 3/4 in., d. 22 in. [$400/600] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

883. 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. one armchair and three side chairs; fruit and foliate carved crest rails, shaped backs with S scroll supports, serpentine seat rails, cabriole legs, castes, armchair h. 43 in., w. 24 1/2 in., d. 29 in.; side chair h. 37 1/2 in., w. 18 in., d. 24 in. [$1500/2500]

884. American Renaissance Carved Rosewood Extension Dining Table, late 19th c., demilune ends, paneled frieze, scrolled and bulbous‑turned base, incl. 5 original leaves and 2 later leaves, h. 29 1/2 in., l. 184 in., d. 59 3/4 in. [$3000/5000]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

886. Eight Chippendale‑Style Carved Mahogany Dining Chairs, en suite with preceding lot, armchair labeled “Georgian Furnishing Co., New Orleans”, incl. two armchairs and six side chairs, serpentine foliate crest rail, pierced splat, scrolled acanthine arms, cabriole legs, ball and claw feet, armchair h. 39 1/4 in., w. 26 in., d. 23 in.; side chair h. 39 in., w. 23 1/4 in., d. 22 1/2 in. [$1000/2000] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans. 885. Eight Chippendale‑Style Carved Mahogany Dining Chairs, h. 39 in., w. 23 1/4 in., d. 22 1/2 in. [$1000/2000] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

888. Group of Antique and Vintage Sterling Silver Flatware, incl. Gorham “Versailles” soup ladle (l. 12 in.) and 2 tablespoons; Tiffany “Japanese” sugar shell, pat. 1871; Victorian gravy ladle; and 12 Mexican demitasse spoons, total wt. 22.80 troy ozs. [$400/600] Provenance: Schwitz Collection, Franklin, LA. 887. American Late Classical Mahogany Breakfast Table, 19th c., New York, drop‑leaf top, ogee frieze, square bulbous baluster support, molded plinth, shaped base, blocked feet, h. 29 1/4 in., w. 42 in., d. (open) 55 in., d. (closed) 25 3/4 in. [$700/900]

890. Good Group of American Sterling Silver Table Ware, incl. pair of Gorham shell‑form bonbons, w. 9 1/8 in.; Carrington, Thomas & Co., Charleston tray, late 19th c., l. 12 1/8 in.; 2 small Gorham trays, l. 7 5/8 in. and 9 in.; Alvin tray, l. 9 in; and butter dish with removable liner; total wt. 72.40 troy ozs. [$1000/1500]

891. Group of Vintage American Sterling Silver Serving Pieces, incl. circular tray, dia. 12 in.; bread tray, l. 11 5/8 in.; and gravy boat with undertray, l. 8 3/8 in.; total wt. 36.90 troy ozs. [$500/700]

892. Group of Antique and Vintage American Sterling Silver, incl child’s bowl, plate and cup, engraved 1909 presentation; together with silverplate feeding spoon; 2 small trays, saucepan, 6 individual salt and peppers, and 2 wood‑lined playing card or cigarette boxes; total wt. (weighable ) 24 troy ozs. [$400/600]

895. Group of American Sterling Silver Table Ware, incl. 6 S. Kirk & Son bread plates, dia. 6 in.; La Pierre bowl, dia. 9 1/2 in. and 6 matching bowls, dia. 5 1/2 in.; total wt. 45.95 troy ozs. [$600/800] 894. Durgin “Fairfax” Sterling Silver Partial Flatware Service, pat. 1910, incl. 6 forks (l. 7 1/8 in.), 5 knives (l. 8 5/8 in.), 4 teaspoons, 5 ice teaspoons and 4 tablespoons, total wt. (weighable) 24.15 troy ozs. [$400/600]

889. Kirk “Calvert ‑ Old Maryland Plain” Pattern Sterling Silver Coffee and Tea Service, marked “S. KIRK & SON INC.”, incl. coffee pot (h. 10 7/8 in.), teapot, covered sugar and creamer, total wt. 77.75 troy ozs. [$800/1200]

893. Four Vintage American Sterling Silver Serving Bowls, incl. 2 by Gorham, dia. 9 in. to 9 5/8 in., total wt. 46.60 troy ozs. [$500/750]

896. American Sterling Asparagus Dish with Mazarine, Frank M. Whiting, act. 1878‑1940, shaped oval with cast foliate scroll border, removable scrollwork mazarine, l. 13 1/2 in., w. 9 1/2 in., wt. 25.80 troy ozs. [$500/700]

897. Gorham “Buttercup” Sterling Silver Flatware Service, pat. 1899, incl. 12 forks, l. 7 in., 12 knives, l. 8 5/8 in., 12 salad forks, 12 soup spoons, 15 teaspoons, 3 tablespoons, pierced tablespoon, cold meat fork, l. 8 1/8 in., gravy ladle, and sugar spoon; together with Frank M. Whiting “Lily” sterling flatware, pat. 1910, dinner fork, salad fork, 5 teaspoons and knife handle; and John Polhamus “Oriental” coin silver fork, l. 6 1/8 in., pat. 1855, ret. Hyde & Goodrich; total wt. (weighable) 87.10 troy ozs. (78 pcs.) [$1200/1800] Additional information at www.nealauction.com

899. Decorative Silverplate Figural Wine Trolley, fitted with three coasters, each mounted with a cherub, turned wood bottom with silverplate button, movable carriage, w. 15 1/2 in. [$300/500]

898. American Sterling Silver Repousse Presentation Water Pitcher, c. 1910, grape and grape leaf decoration, grapevine handle, cartouche engraved with cipher, “June 5” and “1910”, h. 14 7/8 in., wt. 36.85 troy ozs. [$800/1200]

903. Phillip Anthony Sage (American/ Louisiana, b. 1942), “Decatur Street”, 1978, “Lafitte’s Blacksmith Shop”, 1979 and “F.W. Tilton Hall”, 1980, 3 etchings on paper, each pencil‑signed, titled, inscribed “Artist Proof” and numbered “68/200” lower margin, each signed and dated in plate, sights 5 3/4 in. x 7 in. to 12 in. x 14 1/2 in., framed; together with Joseph Pennell (American, 1857‑1926), “Delphine’s, New Orleans”, etching on paper, pencil‑signed and titled lower margin, sight 7 in. x 9 3/4 in., framed. (4 pcs.) [$200/300]

906. Leticia Tarrago (Mexican, b. 1940), “La novia”, color aquatint, pencil‑signed, titled and numbered “34/100” lower margin, blind stamp, sheet 19 in. x 23 1/2 in., framed. [$150/250]

908. George Rodrigue (American/ Louisiana, 1944‑2013), “Group Therapy: Split‑Font”, 1995, silkscreen, signed lower left and numbered “9/35” lower right, sheet 29 in. x 22 5/8 in., unframed. [$1200/1800]

Ill.: Rodrigue, George and Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 142.

900. Pair of Late Georgian Sheffield Plate Telescopic Candlesticks, early 19th c., rubbed mark “PATENT” in serrated rectangle, reeded banding, removable bobeches, h. 6 3/4 in. [$200/400]

901. Antique Prints of Venice, “Chiesa del Rendentore”, “Chiesa di St. Zacheria”, “Basilica di Santa Maria della Salute” and “Palazzo Ducale”, 4 hand‑colored engravings, sights 7 1/2 in. x 9 in. to 7 1/2 in. x 9 in., framed alike. (4 pcs.) [$500/700] Provenance: Lucullus Antiques, New Orleans.

902. John James Audubon (American, 1785‑1851), “Cotton Rat”, Plate 30, hand‑colored engraving from The Viviparous Quadrupeds of North America, Bowen edition, sheet 21 3/16 in. x 27 3/8 in., unframed. [$600/900]

904. Clarence Millet (American/New Orleans, 1897‑1959), “Autumn Landscape with Rolling Hills”, oil on canvas board, signed lower left, 14 in. x 20 in., original frame. [$3000/5000]

905. Louis Oscar Griffith (American/ Indiana, 1875‑1956, active New Orleans, 1916‑1917), “Creole Courtyard, New Orleans, La”, color aquatint on paper, pencil‑signed and numbered “31/100” lower margin, pencil‑signed, titled and inscribed on backing, sheet 17 3/16 in. x 14 13/16 in., framed. [$100/150]

907. George Rodrigue (American/ Louisiana, 1944‑2013), “The Emerald Coast”, 2010, silkscreen, pencil‑signed and inscribed “Artist Proof” lower margin, edition of 90 plus artist proofs, sheet 18 in. x 40 in., unframed. [$1500/2500]

909. George Rodrigue (American/ Louisiana, 1944‑2013), “Codex Blue Dog”, 1991, silkscreen, signed lower right and numbered “43/90” lower left, sheet 31 in. x 25 in., unframed. [$1000/1500] Ill.: Rodrigue, George and Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007 New York: Abrams, 2008, p. 51.

910. George Rodrigue (American/Louisiana, 1944‑2013), “Love Among the Ruins”, 1994, silkscreen, signed lower left and numbered “25/90” lower right, sheet 22 in. x 34 in., unframed. [$1000/1500] Ill.: Rodrigue, George and Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 101.

911. George Rodrigue (American/Louisiana, 1944‑2013), “Don’t Like Bein’ Blue”, 1993, silkscreen, signed lower right and numbered “18/120” lower left, sheet 17 1/2 in. x 25 1/8 in., unframed. [$1000/1500] Ill.: Rodrigue, George and Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p.78.

912. George Rodrigue (American/ Louisiana, 1944‑2013), “Baby George and Boogie Bear”, 1995, silkscreen, signed and numbered “31/90” lower left, sheet 31 1/2 in. x 23 1/4 in., unframed. [$1000/1500]

Ill.: Rodrigue, George and Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 105.

913. George Rodrigue (American/ Louisiana, 1944‑2013), “We Blues Dem Away (Ain’t Dat Super)”, 2010, silkscreen, pencil‑signed and numbered “769/5000” lower margin, sheet 35 in. x 28 in., unframed. [$800/1200]

915. Louisiana Painted Cypress Pirogue, 19th c., molded hull, two seats, tether holes at bow and stern, h. 8 in., l. 166 1/2 in., w. 27 in. [$1000/2000]

914. George Rodrigue (American/Louisiana, 1944‑2013), “Washington Blue Dog”, 1993, lithograph, signed lower left, signed in plate lower right, sheet 20 1/2 in. x 25 in., unframed. [$700/1000] Ill.: Rodrigue, George and Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 213.

918. American Classical Mahogany Dressing Chest, early‑to‑mid 19th c., arched mirror on columnar supports, with spherule finials, ogee glove drawers, marble top, ogee frieze drawer over three graduated drawers, scrolled supports and feet, h. 83 in., w. 47 3/4 in., d. 27 1/4 in. [$500/1000] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

916. American Federal Mahogany Poster Bed, early 19th c., baluster‑turned head posts, shaped headboard, reeded foliate foot posts, blocked feet, h. 80 1/2 in., l. 75 in., w. 55 1/2 in. [$800/1200]

917. American Late Classical Mahogany Pier Table, early‑to‑mid 19th c., marble top, scroll supports, blocked base, mirrored back, scroll feet, h. 37 3/4 in., w. 39 1/2 in., d. 19 1/2 in. [$1000/2000] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

Provenance: Estate of Noted Antiquarian James D. “Don” Didier.

919. Louisiana Cypress Garde Manger, 19th c., molded cornice, paneled door, shelf interior, arched legs. [$800/1200]

920. Louisiana Cypress Trestle Table, plank top, scalloped apron, shaped supports, stretcher bar. [$500/1000]

Additional information at www.nealauction.com

921. Four Antique Louisiana Cypress Ladderback Side Chairs, 19th c., cowhide seats, tapered feet, h. 34 1/2 in., w. 18 3/4 in., d. 15 in. [$600/900]

923. Six American Late Federal Carved and Stenciled Hitchcock Chairs, early‑to‑mid 19th c., shaped crest rails, vasiform splats, plank seats, turned legs and stretchers, h. 32 in., w. 18 1/2 in., d. 18 in. [$500/1000]

925. Louisiana Cypress Side Table, 19th c., three board top, turned legs, turnip feet, h. 30 1/4 in., w. 30 in., d. 20 1/2 in. [$400/600]

926. Louisiana Cypress Garde Manger, 19th c., wellshaped cornice, two screened doors, shelf interior, tapered turned legs, traces of old gros rouge wash, h. 63 in., w. 45 1/4 in., d. 20 in. [$400/600] 927. Tropical Hardwood Plank Top Table, old slab top with four “butterfly” repairs, later base with H stretcher, h. 30 in., w. 84 1/2 in., d. 32 in. [$1000/1500] 928. American Federal Inlaid Walnut Tall Chest, late 18th/early 19th c., probably Pennsylvania, molded cornice, frieze with string inlay, three drawers over two drawers, four graduated drawers, fan inlaid serpentine apron, flared feet, h. 69 1/2 in., w. 45 3/4 in., d. 23 in. [$1200/1800] 929. Knute Heldner (Swedish/Louisiana, 1877‑1952), “Bayou Scene ‑ Man in Boat”, oil on canvas, signed lower left, handwritten label with artist and title on reverse of frame, 16 in. x 20 in., framed. [$1500/2500]

930. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Louisiana Live Oak”, 1913, oil wash on academy board, signed and dated lower right, 18 in. x 24 1/4 in., framed. [$2000/3000] Provenance: Neal Auction Company, Jan. 31, 2015, lot 253.

922. Louisiana Carved Cypress Table, early 19th c., three‑board top with rounded corners, tapered legs, h. 29 1/4 in., w. 66 in., d. 41 1/2 in. [$1000/2000]

924. Southern Carved Cypress Cupboard, 19th c., canted cornice, glazed doors, shelf interior; lower case fitted with a fold‑out work board over three drawers, bracket feet, h. 79 in., w. 28 in., d. 18 in. [$800/1200]

931. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Springtime in the Bayou”, 1911, oil wash on board, signed and dated lower left, 12 in. x 18 in., framed. [$2000/3000] Provenance: Neal Auction Company, Nov. 21, 2009, lot 460.

932. Clementine Hunter (American/Louisiana, 1886‑1988), “Fish Fry”, oil on canvas board, monogrammed mid‑right, inscribed en verso, photograph of artist holding painting on backing paper, 12 in. x 16 in., framed. [$3000/5000]

933. Clementine Hunter (American/Louisiana, 1886‑1988), “Joseph Leading Mary and Jesus”, oil on canvas board, monogrammed mid‑right, inscribed en verso, 14 in. x 18 in., framed. [$3000/5000]

934. William Aiken Walker (American/South Carolina, 1838‑1921), “Cabin Scene”, oil on board, signed lower right, pencil‑inscribed en verso, 6 1/4 in. x 12 1/4 in., framed. [$8000/12000] Note: To be included in John Fowler’s forthcoming catalogue raisonne on William Aiken Walker 935. William Aiken Walker (American/South Carolina, 1838‑1921), “Male Cotton Picker” and “Female Cotton Picker”, 2 oils on board, each signed lower left, both inscribed en verso, “Christie’s” labels on backing papers, each 8 1/4 in. x 4 3/8 in., framed alike. (2 pcs.) [$7000/10000] Provenance: Christie’s, New York, Mar. 12, 1992, lot 74.

Note: To be included in John Fowler’s forthcoming catalogue raisonne on William Aiken Walker

937. George Schmidt (American/Louisiana, b. 1944), “Rex Court”, oil on canvas, signed lower right, 81 in. x 122 in., unframed. (4 pcs.) [$7000/10000]

936. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Scene with Cypress Trees and a Live Oak”, oil wash on board, signed lower right, 10 1/8 in. x 30 3/8 in., framed. [$2000/3000]

Note: Local artist George Schmidt is known for his playful depictions of New Orleans’ cultural moments, both contemporary and historical. In his paintings of the past, he “recasts historic events or famous paintings with his own visual irony and playfulness.” These qualities resonate in his more recent works as well, and his keen eye for satire and social commentary is evident in the lot on offer here—a monumental painting of the Rex court that transcends time and maintains cultural relevance. Ref.: “George Schmidt”. 64 Parishes. Sept. 12, 2012. https://64parishes.org. Accessed Oct. 15, 2019. Additional information at www.nealauction.com

938. Clarence Millet (American/New Orleans, 1897‑1959), “On the Batture”, oil on canvas board, signed lower left, “Farish Art Store, New Orleans” stamp en verso, 14 7/8 in. x 18 in., framed. [$3000/5000]

939. Clarence Millet (American/New Orleans, 1897‑1959), “New Orleans Courtyard”, oil on canvas board, signed lower left, 7 7/8 in. x 9 in., framed. [$2000/3000]

941. Robert Malcolm Rucker (American/Louisiana, 1932‑2001), “Bayou Landscape with Cabin”, watercolor on paper, signed lower right, 11 7/16 in. x 15 5/16 in., framed. [$500/700] 940. Alberta Kinsey (American/New Orleans, 1875‑1952), “Magnolias in Vase”, oil on canvas, signed lower left, 19 1/8 in. x 16 1/4 in., framed. [$600/800]

Provenance: Evangeline Galleries, Inc., Lafayette, LA, 1981.

Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

942. Colette Pope Heldner (American/Louisiana, 1902‑1990), “Old Courtyard on St. Peter, New Orleans”, 1932, double‑sided oil on board, with Knute Heldner (Swedish/Louisiana, 1877‑1952) signed landscape with figure en verso, signed and inscribed “New Orleans” lower right, signed, titled and dated en verso (on Knute Heldner painting), 25 5/8 in. x 21 1/2 in., framed. [$1800/2500]

944. Marshall D. Smith (American/New Orleans, 1874‑1973), “Royal Street Court Yard, Old New Orleans”, oil on canvas, signed lower right, signed, titled and inscribed en verso, 30 in. x 30 in., framed. [$800/1200]

945. Knute Heldner (Swedish/Louisiana, 1877‑1952), “View through an Archway, New Orleans”, oil on board, signed lower left, 6 in. x 4 3/8 in., framed. [$800/1200]

943. Colette Pope Heldner (American/Louisiana, 1902‑1990), “View From My Balcony (The Green Shutter Book Shop)”, oil on board, signed, dated and inscribed “New Orleans” lower left, signed, titled, dated and inscribed en verso, 15 in. x 11 in., framed. [$1200/1800]

946. Emmitt Thames (American/Mississippi, b. 1933), “Winter Fence Repairs”, 1987, watercolor on paper, signed lower left, titled, dated, artist stamp and copyright en verso, 23 in. x 30 in., framed. [$700/1000]

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947. Emmitt Thames (American/Mississippi, b. 1933), “Private Property No Trespassing”, 1970, watercolor on paper, signed and dated lower right, 22 1/4 in. x 30 1/8 in., framed. [$700/1000]

948. Emmitt Thames (American/Mississippi, b. 1933), “Fallen Palm”, 1973, watercolor on paper, signed and dated lower left, signed, titled and dated en verso, 21 7/8 in. x 30 in., framed. [$700/1000] 949. Achille Perelli (Italian/New Orleans, 1822‑1891), “Nature Morte: Pompano”, 1877, watercolor on paper, signed, dated and inscribed “N.O.” lower left, sight 21 in. x 14 3/4 in., framed. [$2500/3500] Provenance: D. Benjamin Kleinpeter, Sr. Collection, Baton Rouge.

950. James Ralph Wilcox (American/ Florida, 1866‑1915), “River Landscape”, watercolor on paper, signed lower right, 10 in. x 20 7/8 in., framed. [$600/800]

952. American School, 19th c., “Boats along the Coast”, oil on board, signed “E.D.” lower right, 12 1/8 in. x 18 1/2 in., framed. [$600/800] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

953. Julia M. Massie (American/Louisiana, 1869‑1949), “French Quarter Courtyard”, oil on artist board, pencil‑signed lower right, inscribed en verso, 9 1/4 in. x 12 1/4 in., framed. [$500/700]

951. Colette Pope Heldner (American/ Louisiana, 1902‑1990), “Patio Little Green Shutter Inn”, oil on canvas, signed lower left, signed, titled and inscribed en verso, 36 in. x 25 in., framed. [$1000/1500]

954. Manville Chapman (American/New Mexico, 1903‑1978), “Chapel”, 1934, watercolor on paper, signed lower right, pencil‑titled on matting, handwritten label with date and inscription on backing, 4 in. x 5 15/16 in., framed; together with Brooks Willis (American/New Mexico, 1903‑1981), “Still Life with Flowers”, mixed media on paper, signed lower right, illegibly inscribed lower right, 18 in. x 12 in., framed. (2 pcs.) [$700/1000]

955. Charles Winfield Tice (American/New York, 1810‑1870), “Fruit Piece”, 1862, oil on canvas, unsigned, “Massachusetts Horticultural Society” label on stretcher, “Childs Gallery, Boston, MA” label, provenance and artist information on backing board, 25 1/4 in. x 30 1/4 in., framed with artist title and date plaque. [$1500/2500] Provenance: Newburg Bay Horticultural Society, New York, 1862; Charles Downing, Newburg, New York, 1863; Massachusetts Horticultural Society, 1885; Childs Gallery, Boston, NY, c. 1980; Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

Additional information at www.nealauction.com

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956. Chet Reneson (American, b. 1934), “Ducks in Flight”, acrylic on masonite, signed lower left, 13 in. x 17 in., framed. [$1200/1800]

957. Elliott Daingerfield (American, 1859‑1932), “Portrait of Helen McCarthy”, c. 1900‑1910, charcoal on paper, unsigned, “The Mint Museum of Art” label with artist and date, “Coggins Collection” label with artist and title and “North Carolina Museum of Art” 1971 exhibition label with artist and title on backing, 22 1/8 in. x 15 11/16 in., framed. [$1200/1800]

958. N. Henry Bingham (American, b. 1939), “Napoleon at Fontainebleau”, oil on panel, after Hippolyte Paul Delarouche (French, 1797‑1856), signed lower right, 16 in. x 12 in., framed. [$500/700]

959. American School, 19th c., “Hiawatha and Minnehaha”, oil on canvas, signed “Wikstrom” lower right, 30 1/4 in. x 20 in., framed. [$3000/5000] 960. Milne Ramsey (American, 1847‑1915), “Roman Aqueduct”, oil on canvas, unsigned, “Adelson Galleries, Inc., New York, NY” label with artist and title on backing board, partial “Chapellier Galleries, New York, NY” label on frame, 24 1/4 in. x 40 in., framed. [$700/1000]

961. Robert Malcolm Rucker (American/ Louisiana, 1932‑2001), “Steamboat on the River”, watercolor on paper, signed lower right, 11 1/16 in. x 14 15/16 in., framed. [$600/800] Provenance: Evangeline Galleries, Inc., Lafayette, LA, 1976.

962. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Scene at Sunset”, oil wash on board, signed lower left, 20 in. x 30 in., framed. [$1200/1800]

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963. Angela Gregory (American/New Orleans, 1903‑1990), “Study of Art Pottery Vases”, oil on board, initialed lower left, partial painting and inscription en verso, 16 in. x 17 in., framed. [$700/900]

964. Nestor Frugé (American/Louisiana, 1914‑2011), “French Quarter Courtyard with Lantern”, watercolor on paper, signed lower right, 15 1/2 in. x 11 1/4 in., framed. [$300/500]

966. Ellsworth Woodward (American/ Louisiana, 1861‑1939), “Winding Road and Trees, Little Compton, Rhode Island” (Boyer 98, fig. 27), “Cider Mill, after a watercolor by William Woodward” and “Seekonk River, R.I.”, 1888, one preliminary drawing and 2 etchings on paper, one pencil‑signed and one initialed “E.W.” lower margin, one signed and dated and one initialed “E.W.” in plate, 7 1/2 in. x 9 in. to 11 in. x 15 in., unframed. (3 pcs.) [$400/600] Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans.

965. Nestor Frugé (American/ Louisiana, 1914‑2011), “French Quarter Courtyard with Figure in Archway”, watercolor on paper, signed lower right, 15 in. x 11 1/4 in., framed. [$300/500]

967. Charles Whitfield Richards (American/Louisiana, 1906‑1992), “The Key Maker”, oil on canvas, signed lower right, “E L Bornstein” label en verso, 25 in. x 17 in., framed. [$500/700] 968. William Woodward (American/ Louisiana, 1859‑1939), “Poydras Market at Dryades St.”, 1904, etching, pencil‑signed, titled and dated lower margin, signed in plate lower right, sight 10 3/8 in. x 11 1/2 in., framed. [$400/600]

971. Adolph Kronengold (American/New Orleans, 1900‑1986), “Shrimp Boat”, watercolor on paper, signed lower center, 15 3/16 in. x 11 7/16 in., framed. [$500/700]

969. Louisiana School, early 20th c., “Contemplating the Placid Bayou”, pastel on paperboard, unsigned, 14 in. x 9 1/8 in., framed. [$500/800]

972. Adolph Kronengold (American/New Orleans, 1900‑1986), “Shrimp Boat”, watercolor on paper, signed lower right, 15 3/16 in. x 11 7/16 in., framed. [$500/700]

970. Louisiana School, 20th c., “Oak Alley Plantation”, oil on canvas, signed “Louie” lower right, 24 in. x 30 in., framed. [$500/700]

973. Nestor Frugé (American/Louisiana, 1914‑2011), “Street Scene” and “River Harbor with Boats”, 2 watercolors on paper, both signed lower right, 16 3/4 in. x 12 in. and 11 5/8 in. x 16 3/4 in., framed alike. (2 pcs.) [$400/600]

975. Alvin Batiste (American/Louisiana, b. 1962), “Princess Diana”, 1997 and “Big Moma Fay Praying to See a New Day”, 1998, 2 oils on panel, each signed and dated lower right, latter signed, titled and dated en verso, unframed. (2 pcs.) [$500/800]

976. Marcel Stockmans (American/Mississippi, 1936‑2009), “Sunday School Recess” and “Bayou Cotton”, 1983, 2 acrylics on board, signed and dated lower right and left respectively, both titled on label on backing paper, each 3 7/8 in. x 5 in., framed alike. (2 pcs.) [$250/350]

974. Shirley Rabe Masinter (American/ New Orleans, b. 1932), “Angel 1”, watercolor on paper, signed lower left, “Tilden‑Foley Gallery, New Orleans” label with artist and title on backing, 5 3/8 in. x 4 in., framed. [$400/600] Additional information at www.nealauction.com

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977. Darrell Loy Scott (American/Arkansas, 20th c.), “Get Out the Hoe”, 1993, acrylic on hardboard, signed and dated lower right, labels with artist and title en verso, 5 in. x 7 in., framed. [$500/800] 978. American School, 20th c., “Abstract Composition”, oil on canvas, unsigned, 51 in. x 42 in., unframed. [$1000/1500]

979. Grace Neville Carrothers (American, 1882‑1961), “Birch Trees”, 1928, oil on board, signed and dated lower right, artist biography en verso, 25 1/2 in. x 36 1/2 in., framed. [$1200/1800]

980. Jose Antonio Velasquez (Honduran, 1906‑c. 1983), “San Antonio de Oriente”, 1966, oil on canvas, signed, dated and inscribed lower right, 19 in. x 14 1/2 in., framed. [$600/800] Provenance: Neal Auction Company, Feb. 20, 2016, lot 762.

981. Three Vargas Family Waxwork Figures, “Cotton Picker”, “Chicken Seller” and “Man in Hat”, one with “Vargas” stamp and one with “Kate Latter’s Candies, New Orleans” label on underside, overall h. 4 1/2 in. to 7 1/2 in., with custom made domes. (3 pcs.) [$800/1200] Provenance: Jean Bragg Gallery, New Orleans, LA.

982. Pair of American Cast Iron Trade Signs, modeled as horse heads, h. 31 in., w. 14 in., d. 21 1/2 in. [$1000/1500]

984. Early American Cherrywood Tavern Table, 18th c., two board top, turned legs, chamfered stretchers, h. 27 1/8 in., w. 38 1/2 in., d. 27 1/2 in. [$400/600] Provenance: Collection of Hermann Gleason, San Antonio, TX.

985. American Slab Wood Carpenter’s Bench, converted to a decanting table, integrated side vice, two open bottle shelves, scrolled aprons and side supports, h. 31 in., w. 45 1/2 in., d. 16 in. [$700/1000]

983. Antique American Giltwood Mirror, mid‑to‑late 19th c., cove‑molded surround, aged mirror plate, h. 62 1/4 in., w. 39 in. [$600/900] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

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986. Three Acadian Hardwood Ladderback Side Chairs, 19thc., turned finials, shaped slats, ring turned tapered feet, tallest h. 37 3/4 in., w. 18 1/4 in., d. 14 3/4 in. [$500/700]

988. American Rococo Carved Rosewood Dressing Chest, mid‑19th c., palmette crest, arched cornice, conforming mirror plate, shaped marble top, three graduated drawers, plinth base, casters, h. 103 1/2 in., w. 52 in., d. 24 in. [$1000/2000] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

989. American Renaissance Carved Walnut Hall Mirror, late 19th c., architectonic crest centered by a maiden mask, arched cornice, marble top base with one drawer, h. 108 in., w. 34 1/4 in., d. 15 in. [$1000/1500]

987. American Rococo Carved Rosewood Bedstead, mid‑19th c., possibly New Orleans, headboard with cabochon cartouche, posts with lobed urn-form finials, scrolled brackets, molded rails and foot board, turned feet, h. 71 1/4 in., w. 63 in., d. 76 1/4 in. [$1200/1800]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

990. American Renaissance Carved Walnut and Burl Bookcase, late 19th c., surmounted by a palmette crest, glazed doors, shelf interior, base with two drawers, h. 100 1/2 in., w. 59 in., d. 18 in. [$1000/1500] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

991. American Rococo Carved Rosewood Bedstead, mid‑19th c., arched cornice, turned finials, paneled headboard with foliate decoration, floral‑carved footboard, h. 95 in., l. 74 in., w. 58 in. [$1500/2500] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

992. American Rococo Carved Rosewood Washstand, mid to late‑19th c., molded marble top, frieze drawer, paneled cabinet doors, serpentine apron, h. 30 1/4 in., 30 1/2 in., d. 16 1/2 in. [$300/500] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

994. American Federal Mahogany Bowfront Chest, early 19th c., possibly Philadelphia, reeded stiles, four graduated drawers, tapered turned reeded legs, spherule feet, h. 40 in., w. 40 3/4 in., d. 24 in. [$400/600]

993. American Classical Mahogany Pot Commode, 19th c., inset marble top, fluted column with door, shelf interior, blocked octagonal base, h. 28 1/2 in., w. 17 in., d. 17 in. [$400/600]

995. American Late Classical Carved Mahogany Secretary‑Bookcase, c. 1840, stepped cornice, glazed doors, shelf interior, foldover writing surface, bolection drawer, paneled cabinets flanked by scrolled supports, scrolled feet, h. 97 in., w. 56 1/4 in., d. 24 in. [$1000/1500]

Additional information at www.nealauction.com

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998. Belle Epoque Brass and Onyx Stand, late 19th c., onyx top with scalloped border, exaggerated scrolled legs mounted with cherubs, reticulated stretcher, foliate paw feet, h. 30 1/2 in., w. 13 in., d. 13 in. [$200/300] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

996. American Classical Carved Mahogany Candlestand, early 19th c., Philadelphia, banded tilt‑top, ring‑turned foliate standard, acanthus hipped saber legs, paw feet, h. 26 in., w. 23 1/2 in., d. 19 in. [$600/900]

997. Four Louis Philippe Rosewood Parlour Chairs, mid-19th c., incl. two armchairs and two side chairs, foliate carved crest rail, oval back, scrolled supports, cabriole legs, casters, side chair h. 37 in., w. 19 1/4 in., d. 17 1/2 in., armchair h. 40 in., w. 24 in., d. 23 1/2 in.[$1000/1500] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

999. After Frances Flora Bond Palmer (British/American, 1812‑1876), “High Water in the Mississippi” and “Low Water in the Mississippi”, 20th c., 2 reproduction color lithographs, sheets 23 3/4 in. x 32 in., framed. [$700/1000]

1000. John James Audubon (American, 1785‑1851), “White Fronted Goose”, Plate 380, chromolithograph, from The Birds of America, J. Bien edition, 1860, sheet 28 5/8 in. x 37 1/8 in., framed. [$500/700]

1001. John James Audubon (American, 1785‑1851), “Wild Turkey”, lithograph, later edition, sight 39 1/2 in. x 26 1/2 in., framed. [$600/900]

1003. Acadian Carved Walnut Armoire, early 19th c., stepped coved cornice, chamfered corners, paneled doors, later interior, serpentine apron, h. 83 1/4 in., w. 57 1/4 in., d. 24 3/8 in. [$2500/3500]

1002. John Gould (British, 1804‑1881), “Northern Puffin”, hand‑colored lithograph, from The Birds of Europe, 1832‑1837, sheet 20 15/16 in. x 14 1/2 in., framed. [$400/600]

1004. 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. [$1500/2500]

1005. American Late Classical Mahogany Games Table, early‑to‑mid 19th c., foldover swivel top, blocked concave frieze, lyre standard, scrolled base, h. 29 in., w. 44 in., d. 21 3/4 in. [$600/900] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

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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, 18301870. 1976, p. 13-14, figs. 2 & 4; Monkman, Betty C. The White House: Its Historic Furnishings and First Families, 2000, p. 103.

1008. American Classical Carved Mahogany Pier Table, 19th c., Philadelphia, white marble top, coved frieze with drawer, foliate carved scroll supports, shaped base, paw feet, h. 32 3/4 in., w. 34 1/4 in., d. 17 1/4 in. [$1500/2500]

1006. American Late Classical Mahogany Work Table, early 19th c., drop‑leaf top, two bolection drawers, reverse tapered octagonal standard, shaped base, bun feet, casters, h. 29 in., w. 17 3/4 in., d. (closed) 16 7/8 in., d. (open) 34 in. [$300/500]

1007. American Federal Carved Mahogany Candlestand, early 19th c., tilt‑top, baluster and ring‑turned standard, reeded saber legs, h. 29 in., w. 24 in., d. 16 in. [$400/600] Provenance: Didier Inc.

Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

1009. Jules Lion (French/New Orleans, 1810‑1866), “Portrait of V. I. Dupuy”, 1846, lithograph on paper, signed, dated and inscribed “N.O.” in plate, sheet 14 7/8 in. x 10 1/2 in., framed. [$500/700]

1010. Empire‑Style Bronze Figural Mantel Clock, 19th c., Roman oil lamp form, striking bell movement, h. 13 3/4 in., w. 9 in., d. 4 3/4 in. [$800/1200]

1011. French Gilt Bronze‑Mounted Verde Antico Marble Three‑Piece Clock Garniture, late 19th c., dial marked “Compan, Marseille”, surmounted by an eagle, h. 16 3/4 in., w. 12 1/4 in., d. 5 7/8 in.; pair of urns with loop handles and ram’s head mounts, h. 8 1/4 in. [$700/1000] Provenance: Schwitz Collection, Franklin, LA.

1012. Antique Empire‑Style Gilded Mahogany Trumeau Mirror, cove molded cornice, etched glass chariot reserve, columnar stiles, blocked base, foliate bun feet, h. 71 1/4 in., w. 38 in. [$500/700] 1013. Continental Bone and Mother‑of‑Pearl Inlaid and Ebonized Mirror, late 19th c., broken pediment crest, pilaster stiles, beveled mirror plate, h. 50 in., w. 34 1/2 in. [$500/1000]

1014. American Cast Iron Console Table, 19th c., stone top, reticulated frieze, scrolled base, h. 35 in., w. 58 1/4 in., d. 14 in. [$300/500]

Provenance: Schwitz Collection, Franklin, LA.

1015. Continental Marble Mortar on Stand, h. 45 1/2 in., w. 28 1/2 in., d. 28 1/2 in. [$800/1200] Provenance: Schwitz Collection, Franklin, LA.

1016. American Cast Iron Figural Hitching Post, 19th c., modeled as a boy standing on a hay bale, h. 44 in., w. 15 in., d. 15 in.; together with an associated lantern. [$700/1000]

1017. Large Cast Iron Garden Sculpture of a Classical Maiden, h. 59 in., w. 15 in., d. 16 in.; with cast iron plinth, overall h. 92 in., w. 24 in., d. 23 in. [$1000/2000]

Additional information at www.nealauction.com

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1018. Continental Copper Wine Cooler, late 18th/early 19th c., lobed basin, scrolled handles and feet, h. 15 in., w. 24 1/2 in., d. 21 in. [$400/600]

1020. French Provincial Painted Blanket Chest, 19th c., later brass carrying handles, hinged top, void interior with small open storage bin, h. 19 in., w. 50 in., d. 19 in. [$500/750]

1019. French Provincial Carved Walnut Commode Chair, 19th c., floral carved crest, caned back, hinged cane seat, deep carved apron, cabriole legs, h. 37 1/4 in., w. 19 3/8 in., d. 16 7/8 in. [$200/400]

1021. Empire‑Style Bronze‑Mounted Mahogany Bedstead, molded cornice, shaped inset panel, winged mounts, foot board with caryatid supports, turned feet, h. 65 in., w. 53 in., d. 79 in. [$400/600]

1023. Continental Neoclassical‑Style Carved Giltwood Tabouret, late 19th c., inset rouge marble top, reeded and fluted acanthus carved base, swag garland, hairy paw feet, h. 28 in., w. 20 1/2 in., d. 20 1/2 in. [$400/600]

1024. Antique Spanish Carved Fruitwood Trestle Table, plank top, wrought iron supports, h. 29 1/2 in., w. 47 3/8 in., d. 28 1/2 in. [$400/600]

1022. Rebecca Rebouché (American/New Orleans, 20th c.), “Seed Pods”, graphite on paper, signed lower right, sheet 11 5/8 in. x 16 in., framed. [$100/200]

1025. French Provincial Oak Buffet à Deux Corps, 18th c., cove‑molded cornice, two raised panel doors, conforming base with two doors, spurred shaped apron, cabriole legs, h. 97 in., w. 55 in., d. 25 in. [$1500/2500]

1026. Italian Carved Walnut Hall Table, 19th c., top with scalloped border and frieze, robustly carved scrolled supports decorated with masks and paw feet, shaped foliate stretcher, scrolled feet, h. 31 in., w. 87 in., d. 35 in. [$4000/6000]

1027. French Provincial Carved Walnut Buffet Bas, 18th c., molded top, frieze fitted with three drawers over paneled doors, plinth base, h. 36 in., w. 57 in., d. 25 in. [$400/600]

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1028. Benneson deJanes (American/ Georgia, b. 1935), “Pont Aven, France”, 1976, pastel on paper, signed and dated lower right, signed and titled en verso, 11 1/4 in. x 15 in., framed. [$300/500] Provenance: Schwitz Collection, Franklin, LA.

1029. George Bauer Dunbar (American/New Orleans, b. 1927), “Palm Grove”, 1959, mixed media on paper, signed and dated lower left and right, numbered “Imp I” lower left, 14 in. x 23 7/8 in., framed. [$200/300]

1031. Pair of Currier & Ives Prints, “Battle of New Orleans, Fought Jan. 8th, 1815”, 1842, 2 hand‑colored lithographs, sheets 11 in. x 14 in., framed alike. (2 pcs.) [$600/900] 1030. After John James Audubon (American, 1785‑1851), “Wild Turkey”, lithograph, later edition, 34 3/4 in. x 24 1/2 in., framed. [$500/700]

1032. Antique Prints of US Army Uniforms, Regulations for the Uniform of the Army of the United States with Illustrations, Philadelphia, Depot of the Quartermaster’s Department, 1888, folio (16 3/4 in. x 15 in.), with 12 chromolithographs after Henry Ogden, and 13 black and white plates, original pebbled brown cloth lettered in gilt. [$600/900]

1035. Knute Heldner (Swedish/ Louisiana, 1877‑1952), “St. Louis Cathedral”, etching, signed in plate lower left, sight 10 1/4 in. x 8 1/2 in., framed. [$100/150]

1033. Antique Prints of the Gardens at Versailles, “La Colonnade” and “Fontaine de L’Ecelade”, 2 hand‑colored engravings, sights 17 1/2 in. x 22 1/2 in., framed alike. (2 pcs.) [$400/600]

1036. Morris Henry Hobbs (American/ New Orleans, 1892‑1967), “Teto Chino”, etching, pencil‑signed, titled and “Ed/100” lower margin, sheet 7 1/8 in. x 5 1/8 in., framed. [$100/150]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

1039. American Aesthetic Enameled Glass and Silverplate Biscuit Stand, 19th c., reticulated leaf design, one barrel with crack, h. 13 1/2 in., w. 13 1/8 in., d. 7 1/4 in. [$150/250] Provenance: Estate of Gordon and Vera Noakes, Detroit, MI.

1034. Charles Frederick Surendorf (American/Indiana, 1906‑1979), “Madison St. ‑ New Orleans”, 1948, linocut on paper, pencil‑signed, titled and inscribed “1st ed./100” lower margin, label with artist, title, date and edition on mat, sheet 15 7/16 in. x 11 9/16 in.; “From Pirate’s Alley ‑ New Orleans “, 1948, linocut on paper, pencil‑signed, titled, dated and inscribed “2 ed./100” lower margin, sheet 15 1/4 in. x 11 5/16 in., matted. (2 pcs.) [$400/600]

1037. Francis Luis Mora (Uruguayan/ American, 1874‑1940), “Reclining Nude”, etching, pencil‑signed lower right, signed in plate lower right, 5 3/4 in. x 6 3/4 in., framed. [$100/150]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

1040. Three Antique Sterling Silver‑Mounted Brilliant Cut Glass Scent Flasks, late 19th c., incl. oval with mounts by Sampson Mordan & Co., London, 1889, l. 4 1/2 in.; cylindrical with mounts by Whiting, l. 6 1/2 in.; and tapered with mounts by Gorham, l. 7 1/4 in. [$200/400]

1038. American Coin Silver Repoussé Water Pitcher, Ball, Thompkins and Black, NY, 1839‑1851, floral and foliate decoration, h. 11 7/8 in., wt. 31.80 troy ozs. [$700/1000]

1041. Group of Antique English and American Cut Glass Rouge Pots and Scent Bottles, variously mounted with sterling and vermeil, incl. one double scent bottle, l. 3 7/8 in. (8 pcs.) [$200/400] Additional information at www.nealauction.com

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1043. American Aesthetic Brass Six‑Light Gasolier, late 19th c., ribbed scroll and foliate design, foliate cut shades, electrified, h. 39 in., dia. 30 in. [$1000/1500]

1044. Pair of American Brass and Tole Peinte Carriage Lamps, 19th c., spreadwing eagle finials, beveled glass, electrified, h. 33 in., w. 8 1/4 in., d. 9 in. [$500/700]

1042. Handsome English Silverplate Tea Tray, shell and scroll border and handles, flat chased well, 29 1/2 in. x 18 3/4 in.; together with an English silverplate revolving breakfast tureen, fern decoration, strapwork monogram, retains pierced liner, h. 8 3/4 in. x 14 3/4 in. [$150/250]

1045. Large American Bronze and Cut‑Crystal Double Argand Lamp, c. 1840, marked “LOUIS VERON & Co./ PHILADELPHIA”, facet‑cut font and base, faceted prisms, electrified, h. 23 in., w. 19 in., d. 10 in. [$1000/1500]

1046. American Brass Sinumbra Lamp, 19th c., foliate fluted standard, stepped marble base, foliate cut glass shade, electrified, h. 30 in., dia. 12 in. [$700/900]

1047. Pair of Miniature American Brass Sinumbra Lamps, 19th c., Gothic cut glass shades, electrified, h. 18 3.4 in., dia. 7 1/2 in. [$400/600]

1048. American Tin Yacht Cabin Lantern, 19th c., unusual burner position allows light to shine through glazed floor, h. 24 in., w. 11 1/4 in., d. 13 in. [$150/250]

1049. Pair of Louis Philippe Bronze and Sienna Marble Six‑Light Candelabra, c. 1840, columnar standard, scroll and anthemion base, h. 26 in., dia. 10 in. [$500/750] Provenance: The Friedle‑Garrison Collection, New Orleans

1050. Antique Blown Glass Hurricane Shade, etched and cut fruit and flower motifs, h. 22 in. [$500/700] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

1051. Antique Continental Carved Giltwood Mirror, floral and faux bois carved surround, later beveled mirror plate, h. 40 in., w. 34 1/2 in. [$500/700]

1052. American Classical Carved Giltwood Mirror, early 19th c., ring turned and foliate decorated split‑baluster surround with blocked corners, lamb’s tongue liner, old mirror plate, h. 36 3/4 in., w. 58 1/4 in., d. 3 1/2 in. [$300/500] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

1053. French Gilt Bronze Mantel Clock, late 19th c., movement marked “F.L. HAUSBURG a PARIS”, beveled glass case, lion mask handles, h. 18 in., w. 8 in., d. 6 1/2 in. [$1000/1500]

1054. Louis Philippe Mahogany Sécrétaire à Abattant, c. 1840, black marble top, fall‑front door, fitted interior, lower cabinet doors, base drawer, molded feet, h. 56 3/8 in., w. 38 3/4 in., d. 17 1/2 in .[$500/1000] Provenance: Schwitz Collection, Franklin, LA.

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1055. American Classical Carved Mahogany Games Table, c. 1840, foldover swivel top with canted corners, ogee frieze, flared standards, molded base, casters, h. 30 1/2 in., w. 40 in., d. 19 3/4 in. [$800/1200]

1056. Antique American Carved Walnut Wing Chair, possibly New England, serpentine crest, acanthine cabriole legs, ball and claw feet, casters, h. 43 in., w. 34 in., d. 25 in. [$600/900]

1057. Leather Chesterfield Sofa, button tufted back, seat and arms, nailhead trim, bun feet, h. 27 in., w. 76 in., d. 32 1/2 in. [$1000/1500]

1058. Burl Walnut Vitrine Table, hinged top, beveled glass paneled case, tapered legs, stretchers, h. 28 in., w. 20 in., d. 18 in. [$700/1000

1059. Pair of Queen Anne Walnut Side Chairs, 18th c., shaped crest rail, vasiform splat, cabriole legs, pad feet, h. 38 1/2 in., w. 21 in., d. 21 in. [$400/600] 1060. George III Inlaid Mahogany Games Table, early 19th c., foldover top, gate leg, square legs, h. 29 in., w. 35 1/4 in., d. (closed) 17 in., d. (open) 33 3/4 in. Note: Condition ‑ gate leg needs repair. [$400/600]

1062. English Brass‑Bound Pine Mariner’s Trunk, early 20th c., domed top, studded strapwork leather handles, h. 16 in., w. 28 1/4 in., d. 15 1/4 in. [$200/400]

1061. Antique William & Mary‑Style Oyster Veneer Walnut Chest of Drawers, geometric inlaid molded top, three small drawers over three graduated drawers; lower drawer with alcoved starburst inlay, conforming base, bun feet, h. 36 1/2 in., w. 40 in., d. 21 3/8 in. [$800/1200] 1063. Antique English Oak Joint Stool, plank top, incised frieze, baluster turned legs, box stretcher, h. 18 1/4 in., w. 17 in., d. 11 3/4 in. [$100/200]

1064. Austrian Neoclassical Inlaid Mahogany Bureau à 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. Note: Veneer losses throughout. [$300/500] Provenance: The Sturm Collection, St. Thomas and Trinidad.

1067. Contemporary Variegated Marble Dining Table, shaped top, ebonized straight legs, stretchers, h. 28 1/2 in., w. 80 in., d. 48 1/2 in. [$500/700] 1066. Neoclassical‑Style Bronze‑Mounted Mahogany Gueridon, dished verde antico marble top, fluted Corinthian columns, incurvate triangular base, paw feet, h. 31 1/4 in., dia. 19 in. [$200/400]

1065. Regency‑Style Walnut Sofa, loose cushioned back, silk upholstery, tapered legs, casters, h. 42 in., w. 84 1/4 in., d. 32 in. [$800/1200]

1068. Six Antique Continental Carved Walnut Side Chairs, foliate crest, pierced shaped splat, floral‑carved knees, cabriole legs, turned stretchers, leather seats, h. 41 in., w. 20 in., d. 19 in. [$800/1200]

Additional information at www.nealauction.com

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1070. Continental Inlaid Fruitwood Chest-on-Stand, lozenge border, twelve drawers, prospect door with three hidden drawers, outswept stretcher base, h. 30 1/2 in., w. 30 1/2 in., d. 16 in. [$400/600]

1069. Belle Epoque Brass‑Mounted Wrought Iron Baker’s Table, later marble top, scrolled base, H stretcher, h. 28 3/4 in., w. 44 in., d. 32 in. [$600/900]

1072. Paris Bisque and Gilt‑Decorated Porcelain Posy Vase, 19th c., modeled as a Classical maiden holding a flower bud, h. 9 in. [$200/300] Provenance: Estate of Noted Antiquarian James D. “Don” Didier.

1071. Pair of Paris Gilt and Polychrome Porcelain Vases, early 19th c., each painted with central frieze of children at play, matte gilt Classical motifs banding shoulders and bases, h. 12 1/4 in. [$400/600]

1073. Spode “Imari” Porcelain Covered Jar or Ice Pail, 19th c., lid and body marked in red with pattern no. 967, decorated in Japanese style with fenced garden and flowers, h. 7 3/4 in., w. 9 5/8 in. [$500/700]

1074. American Turquoise Opaline Glass Drinks Set, incl. decanter, h. 10 1/2 in.; 2 champagne coupes, dia. 3 3/4 in.; 2 cordial glasses; 2 wine glasses; and highball glass, h. 6 1/2 in. (8 pcs.) [$150/250] Provenance: Lee B. Anderson Collection.

Provenance: Steven Postans Antiques, Sarasota, 2004.

1075. Pair of Scheibe‑Alsbach Polychrome and Gilt Porcelain Figures of Napoleonic Guards on Horseback, one marked, both stamped “Germany”, impressed “GARDE IMPERIALE”, h. 11 in. and 11 1/8 in., w. 7 3/4 in., d. 3 1/4 in. [$300/500]

1077. Pair of Antique Continental Brass Occasional Tables, each with inset marble top, beaded scrolled surround, tapered fluted legs, foliate scrolled legs, h. 26 1/2 in., dia. 26 1/2 in. [$800/1200] 1076. Empire‑Style Bronze‑Mounted Mahogany Bibliotheque, shaped top, 2 conforming shelves flanked by beveled glass doors, columnar supports, conforming base, h. 62 1/2 in., w. 71 in., d. 18 1/4 in. [$500/1000] Provenance: Schwitz Collection, Franklin, LA.

1079. American Renaissance Carved Walnut Server, late 19th c., arched crest, shelf superstructure, marble top, two frieze drawers, paneled cabochon cabinet doors, plinth base, h. 79 in., w. 46 1/2 in., d. 20 1/2 in. [$800/1200]

1080. American Rococo Carved Walnut Bedstead, mid‑19th c., attr. to Mitchell & Rammelsburg, Cincinnati, hardware marked MR”, arched palmette and cabochon crest, molded arched paneled headboard, shaped side rails, conforming foot board, foliate mounted corners, scrolled tops, blocked feet,h. 112 in., w. 82 in., w. 59 in. [$2000/3000]

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1078. American Renaissance Carved Walnut Pedestal, late 19th c., later black marble top, tapered form with egg and dart molding, swag and foliate decoration, h. 44 in., w. 20 in., d. 14 1/2 in. [$250/350]

1081. American Renaissance Rosewood Center Table, mid‑to‑late 19th c., shaped oblong top, block front frieze drawer, fluted tapered legs, shaped stretcher surmounted by a carved urn, blocked feet, casters, h. 30 in., w. 49 1/2 in., d. 28 in. [$400/600]

1082. American Rococo Walnut and Burl Secretary Bookcase, mid‑19th c., broken‑arch cornice surmounted by a foliate crest, turned finials, glazed doors, shelf interior, fall‑front door opens to fitted interior, three graduated drawers, plinth base, h. 107 in., w. 47 1/2 in., d. 20 1/2 in. [$1200/1800] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans

1083. American Renaissance Carved Walnut Writing Table, late 19th c., shaped inset leather top, frieze drawer, fluted tapered legs, finialed baluster stretcher, tapered feet, casters, h. 30 in., w. 39 1/2 in., d. 25 1/2 in. [$500/700] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

1084. American Aesthetic Carved, Ebonized and Gilt‑Incised Slipper Chair and Ottoman, late 19th., pierced floral crest rail, turned stiles, tapered legs, casters, h. 35 in., w. 19 1/2 in., d. 23 in.; ottoman with spindled apron, tapered legs, casters, h. 16 in., w. 21 1/2 in., d. 20 in. [$400/600] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans

1086. Ralph Lauren Waxed Leather Window Bench, labeled, out-scrolled arms, molded frame, brass nailhead trim, hairy paw feet, h. 32 in., w. 71 in., d. 25 in. [$800/1200] 1085. Anglo‑Colonial Carved and Painted Footstool, inset upholstered cushion, blocked corners, reeded turned tapered legs, h. 18 in., w. 23 1/2 in. d. 17 3/4 in. [$300/500]

1087. Regency Inlaid Mahogany Occasional Table, early 19th c., banded top, side frieze drawer, trestle base, turned stretcher, h. 29 in., w. 19 3/8 in., d. 14 1/8 in, h. 29 in., w. 19 1/2 in., d. 14 in. [$400/600]

1088. Antique English Inlaid Satinwood and Burlwood Lap Desk, marked “John Anderson, June 23rd, 1874”, hinged top, tooled leather writing surface, fitted interior, h. 7 in., w. 20 in., d. 10 in. [$300/500] Provenance: Schwitz Collection, Franklin, LA.

Provenance: Schwitz Collection, Franklin, LA.

1089. George III‑Style Carved Mahogany and Leather Armchair, early 20th c., arched crest rail, barrel back, shaped arms, shell carved knees, ball and claw feet, nailhead trim, h. 33 in., w. 26 in., d. 23 in. [$200/400] 1090. Antique Georgian‑Style Mahogany Corner Cupboard, 19th c., molded cornice, Gothicized glazed door, shelf interior, frieze drawer, paneled door, ogee bracket feet, h. 81 in., w. 34 1/2 in., d. 18 in. [$700/1000]

1091. Louis XVI‑Style Bronze‑Mounted Marquetry, Parquetry and Kingwood Commode, rouge marble top, two deep drawers, side compartments, shaped apron, cabriole legs, paw sabots, h. 35 in., w. 51 1/2 in., d. 21 3/4 in. [$800/1200] Provenance: Schwitz Collection, Franklin, LA.

1092. Pair of Napoleon III‑Style Silvered Metal‑Mounted and Ebonized Cabinets, molded marble top, frieze drawer, cabinet door opens to shelf interior, conforming plinth base, h. 41 in., w. 33 in., d. 16 in. [$1000/2000]

1093. Louis XIV‑Style Carved Walnut Bench, needlepoint upholstery, shaped apron, scroll carved stiles, turned H stretcher, scroll feet, h. 22 in., w. 32 in., d. 19 in. [$200/400]

Additional information at www.nealauction.com

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1094. Continental Bronze‑Mounted Mahogany Side Table, early 20th c., fabriclined tray top, lyre support, turned standard, lion’s paw feet, h. 29 1/2 in.,w. 22 1/2 in., d. 15 in. [$200/300]

1095. Pair of Louis XV/XVI‑Style Bronze‑Mounted Parquetry and Marquetry Petite Commodes, shaped top, candle slide, two drawers, stretcher shelf, cabriole legs, sabots, h. 32 in., w. 19 in., d. 13 1/4 in. [$500/700]

1096. Pair of Louis XVI‑Style Carved and Painted Fauteuils, 19th c., scrolled back, vasiform arm supports, turned tapered legs, h. 33 1/2 in., w. 22 1/2 in., d. 24 in. [$500/700]

1097. Pair of Louis XVI‑Style Carved and Painted Fauteuils, 19th c., square back, vasiform reeded supports, stop fluted tapered legs, h. 34 1/2 in., w. 22 3/4 in., d. 22 in. [$500/700]

1099. Billy Jernigan (American/Tennessee, 1928‑2008), “A Stroll in the Park”, mixed media on paper, initialed lower right, 13 3/4 in. x 16 1/2 in., framed; ACCOMPANIED BY copy of certificate of authenticity from Cole Pratt Gallery, New Orleans, LA. [$300/500]

1098. Sam Minot (American/Maine, b. 1962), “Storm Clouds Over the Mesa”, 1995, oil on board, signed and dated lower right, signed, titled and dated on label en verso, 11 in. x 14 in., unframed. [$400/600]

1100. Walter Lansil (American, 1846‑1925), “Fishing Boats at the Lido, Venice”, 1914, oil on canvas, signed lower left, signed, titled and dated en verso, 9 1/8 in. x 12 3/8 in., framed. [$400/600]

Provenance: Cole Pratt Gallery, New Orleans, 2003.

1102. Italian School, 1926, “Venetian Canal”, oil on canvas, signed “J. Maniaci” and dated lower right, 16 in. x 10 3/8 in., framed. [$300/500]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

1103. Juan Medina (Mexican/French, b. 1948), “Untitled”, oil on canvas, signed lower right, 36 in. x 28 3/4 in., framed. [$3000/5000]

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1101. Ronald Davis (American/California, b. 1937), “Composition in Indigo and Lime: Object Series”, 1982, acrylic and mixed media on paper, signed, dated and inscribed “G1” lower right, 11 1/2 in. x 15 1/2 in., framed. [$500/700]

1104. Antique Malayer Carpet, c. 1900, red and cream ground, overall floral design, 7 ft. x 13 ft. 5 in. [$1000/1500]

1105. French Aubusson窶全tyle Carpet, khaki ground, repeating foliate design in pink, yellow and green, 11 ft. 7 in. x 17 ft. 5 in. [$700/1000] 1108. Persian Carpet, cream ground, central medallion, vining foliate design, 8 ft. x 10 ft. 7 in. [$500/800]

1111. Two Persian Carpets, the first with red ground, three medallions, 5 ft. 4 in. x 9 ft. 7 in.; the second with teal, brown, and salmon ground, three medallions, repeating design, 4 ft. x 8 ft. 4 in. [$500/700]

1114. Pair of Antique Sevres窶全tyle Porcelain and Bronze Table Lamps, early 20th c., converted from candlesticks, cherub standard, bases with avian reserves, h. (to socket) 17 in. [$600/900] Provenance: Schwitz Collection, Franklin, LA.

1106. Persian Carpet, red ground, central medallion and spandrels, overall repeating design, 7 ft. 10 in. x 12 ft. 10 in. [$800/1200]

1109. An Antique Persian Rug, central medallion, spandrels, overall vining floral design, 4 ft. 2 in. x 6 ft. 9 in. [$500/700]

1112. French Aubusson窶全tyle Carpet, pink and cream ground, paneled design with floral sprays, 9 ft. 10 in. x 12 ft. 11 in. [$600/900]

1115. Continental Carved Giltwood Torchere, 19th c., fluted standard, tripartite base, electrified, h. (to socket) 84 in., dia. 15 in. [$400/600]

1107. Antique Persian Malayer Runner, blue and brown ground, repeating design, 3 ft. 5 in. x 12 ft. 3 in. [$600/1000]

1110. An Antique Persian Rug, red ground, teal border, stylized floral design, 3 ft. x 5 ft. [$500/700]

1113. Aubusson窶全tyle Carpet, beige ground, floral and acanthus motifs, 11 ft. x 16 ft. 2 in. [$500/700]

1116. Pair of Continental Cast Stone Term Pedestals, molded plinth top, shell, scroll and foliate motifs on dimpled ground, h. 14 3/4 in., w. 16 in., d. 16 in. [$500/700]

Additional information at www.nealauction.com

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1117. American Renaissance Carved Giltwood Pier Mirror, mid‑to‑late 19th c., foliate and floral crest, tulip, C‑scroll and beaded surround, h. 117 in., w. 34 in.; together with an associated marble top giltwood console, h. 20 1/2 in., w. 33 1/2 in., d. 14 in. [$500/1000]

1118. Spanish Contemporary Polychrome Mosaic Mirror, Martin Brown Mosaics, Barcelona, Spain, highly scrolled pediment and surround, two mirror plates centered by a beveled mirror plate, h. 69 in., w. 35 3/4 in. [$400/600]

1120. Nguyen Hung Trinh (Vietnamese, b. 1954), “Lonely [sic]”, 2008, oil on canvas, signed and dated lower left, “Viet Eye Gallery” stamps on reverse, 20 1/2 in. x 20 1/2 in., framed. [$300/500] Provenance: Viet Eye Gallery, Ho Chi Minh City, 2009.

1121. Japanese Oxblood‑Red Glazed Stoneware Vase, 20th c., base marked, h. 5 1/2 in. [$150/250]

Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA, acquired Diane Genre Oriental Art & Antiques, New Orleans, Dec. 1992.

1119. Continental Carved Giltwood Mirror, late 19th c., pierced foliate and scroll surround, beaded inner liner, h. 48 in., w. 36 1/4 in. [$400/600]

1122. Japanese Blue and White Porcelain Charger, probably 19th c., decorated with 3 central rabbit roundels encircled by chrysanthemum, bamboo and rabbit roundels, base with six-character mark, h. 2 1/2 in., dia. 12 1/8 in. [$200/300]

Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

1124. Antique Indian Painted Cotton Pichhavai or Pichhwai of Shri Nathji, probably 18th/19th c., mounted to board, 62 3/4 in. x 46 1/2 in., elaborate carved giltwood frame. [$1500/2500] Provenance: Acquired c. 1970, Benson Gallery.

1123. Japanese Fukagawa Koransha Imari Porcelain Charger, 20th c., decorated with central flower vase encircled by flower cartouches, base with orchid mark, h. 2 in., dia. 13 1/4 in. [$100/150]

Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

1126. Massive Chinese Carved and Painted Hardwood Table, waisted inset rectangular top, central reticulated frieze of dragons, bats, birds, flowers, and insects flanked by panels carved with stylized dragons, straight stretchered legs, h. 39 1/2 in., w. 140 1/2 in., d. 24 in. [$500/700]

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1125. Antique Indian Painted Cotton Pichhavai or Pichhwai of Shri Nathji, probably 18th/19th c., mounted to board, sight 35 3/4 in. x 32 1/2 in., elaborate mirrored glass embellished carved wood frame. [$1500/2500]

Provenance: Acquired c. 1970, Benson Gallery.

1127. Two Antique Pre‑Columbian or Pre‑Columbian‑Style Textile Fragments, 8 1/4 in. x 10 in., and 6 3/4 in. x 5 in., mounted and framed alike. [$200/300]

1129. Chesterfield Leather Sofa, button tufted back, seat and arms, nailhead trim, bun feet, h. 28 1/2 in., w. 76 in., d. 34 in. [$700/1000]

1130. Chesterfield Leather Armchair, button tufted back and arms, loose seat cushion, nailhead trim, bun feet, h. 27 1/2 in., w. 46 in., d. 32 in. [$400/600]

1131. Antique Map of New Orleans, 1872, hand‑colored lithograph, by Augustus Mitchell, 9 1/2 in. x 11 1/4 in., framed. [$200/300] 1132. [New Orleans Guide with Scarce Map], New Orleans Press. Historical Sketch Book and Guide to New Orleans and Environs, with Map, New York, Will Coleman, 1885, softcover, 324 pages, with folding map, 12 1/4 in. x 19 in. [$300/500]

1128. Two African Beaded Wood Male Fertility Figures, early 20th c., Cameroon, Bamileke Tribe, life‑size figures carved standing with slightly bent legs, h. 72 in. and 67 1/2 in., mounted to wood planks, overall h. 74 in. and 69 1/2 in. [$1000/1500] 1133. “Plantations on the Mississippi River from Natchez to New Orleans”, 20th c., printed replica of the original 1858 Persac map, published by Rand McNally in 1967, 52 in. x 30 1/2 in., framed. [$400/600]

1134. Newcomb College Calendar 1902‑1903, designed by Mary Frances Baker (active 1897‑1906), published by The Art Department, color woodcuts, signed in block, with 11 plates (including cover) showing activities around the school, 11 in. x 8 in. [$500/700]

1136. [Don Gilberto Guillemard], three manuscript notes signed, relating to Guillemard, designer of the Cabildo, Presbytere, and St. Louis Cathedral; incl.; note from Vicente Folch, Governor of West Florida (1796‑1811), relaying permission from the King for a leave of absence; a note to Manuel de Salcedo, Spanish Gov. of Louisiana (1801‑1803), from Guillemard, relaying legal news; and a note from Salcedo to Guillemard, relaying that the King doesn’t find it convenient to promote Guillemard to Colonel. [$300/500]

1137. Republic of Texas/ Louisiana Governor Edward White Signed Documents, three documents relating to stolen Texas scrip, incl.: partially printed document dated March 6, 1838, signed by Governor White, attesting to the signature of Thos. N. Morgan; a partially printed document, dated March 7, 1838, signed by Nathaniel Townsend, Consul for the Republic of Texas, for the port of New Orleans, attesting to the signature of Edward white; and a two page manuscript document, signed by associate judge Thomas N. Morgan, summarizing the theft of scrip. [$300/500]

1138. [Zachary Taylor Interest], autograph letter signed, from Richard Taylor, to General Zachary Taylor, Headquarters U.S.A., Texas, dated March 23, 1846, lengthy four‑page letter from the future politician and Confederate General to his father, future President of the US, relating his desire to attend medical school, workings of the family plantation, and noting his debt he owed his father for his “last crop of wild oats” and his “foolish and almost criminal behaviour”, one sheet, 4 pgs., 9 1/2 in. x 8 in. [$200/300]

1135. Map of the “City of New Orleans”, “Plan de la Nouvelle Orleans”, 1888, hand‑colored, after the original from 1731, 14 in. x 19 in., framed. [$300/500]

1139. 1908 Promotional Calendar by Crescent City Auto Company, colorfully displays two young girls driving a car wreathed with flowers, includes Crescent City Auto Company’s location at 213 to 223 South Rampart Street. 18 3/8 in. x 13 1/2 in.. [$400/600]

1140. Two Antique New Orleans Coffee Advertising Folios, varying print advertisements of New Orleans coffee brands including Morning Joy, and French Market, 1919, 1922‑1923. [$500/700] Additional information at www.nealauction.com

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1141. Antique Map of New Orleans Lakefront, “Plan of Proposed Improvements for the Lake Shore Front of the City of New Orleans...”, 1873, lithograph by D. Simon, New Orleans, drawn by Alex Debrunner, detailing locks, pumps, and canals, 18 in. x 52 in., framed. [$600/900]

1142. [Map] Harper’s Weekly Maps of Louisiana and Mississippi, 1866, lithographs, sight 15 in. x 9 1/2 in., framed. [$400/600]

1143. Vice‑President John C. Calhoun Manuscript Letter Signed, five pages, from an autograph album of L.A.E. Wickliffe, daughter of the Postmaster General, dated from Washington, May 18, 1832, giving advice and observations of life and society, 9 1/2 in. x 7 3/4 in. [$200/300]

1146. American Polychrome Leaded Glass Window Pane, anthemion centered foliate motif, cabochon mounted lattice pattern, molded frame, h. 36 1/4 in., w. 22 1/8 in. [$250/350]

1144. Three Antique Blown Glass Demijohns, 19th/20th c., incl. blue bottle, h. 15 1/2 in.; and 2 green bottles, h. 11 1/2 in. and 11 1/4 in. [$200/300]

1145. Three Green Blown Glass Demijohns, 19th/20th c., incl. wicker encased bottle, h. 19 1/2 in.; mold‑blown bottle, h. 11 1/8 in.; and other, h. 10 3/4 in. [$200/300]

1147. Carved Marble Figure of a Recumbent Lamb, h. 2 1/2 in., w. 9 in., d. 3 3/4 in. [$200/300]

1150. Antique Swiss Marquetry and Ebonized Cylinder Music Box, late 19th c., Nicole Freres, Geneva, 12 aires, cylinder dia. 3 in., h. 6 3/4 in., w. 21 1/2 in., d. 8 3/4 in. [$800/1200]

1149. Decorative Brass “Nautilus” Mechanical Clock, enamel dial with Roman numerals (lacking hands), works stamped “Made in France / 1824”, h. 11 1/2 in., w. 30 in. [$400/600]

1151. Victorian Inlaid Rosewood Music Box, 19th c. [$500/700]

1148. English Mahogany and Parcel Gilt Mirror, early‑to‑mid 19th c., spreadwing eagle with bellflower swags, dual lamb’s tongue surrounds, swagged masked pendant, h. 40 1/4 in., w. 20 3/4 in. [$300/500]

1152. Pair of Baccarat Crystal Table Lamps, c. 1960, fluted cylinder body, brass stepped base and cap, h. (incl. finial) 29 1/2 in.; later brass footed stand, h. 31 in. [$300/500]

1153. Pair of Steuben Glass “Floret” Bowls, etched marks, model #8059, designed 1954 by Donald Pollard, h. 3 1/4 in., dia. 7 7/8 in. [$200/300]

1155. Pair of Vintage Steuben Glass “Spiral” Bowls, etched marks, pattern #8060, designed 1954 by Donald Pollard, h. 3 5/8 in., dia. 7 in. [$200/300]

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1154. Pair of Vintage Steuben Glass “Sheared Rim” Vases, etched marks, model #8083, designed 1957 by George Thompson, h. 10 in. and 9 7/8 in. [$200/300]

1156. Pair of Continental Cut Crystal Compotes, 20th c., h. 7 3/4 in., dia. 7 3/4 in.; together with large Art Moderne crystal vase, h. 9 in., dia. 8 1/4 in. [$500/750] Provenance: Schwitz Collection, Franklin, LA.

1157. Lalique Crystal “Dampierre” Vase, marked “Lalique France”, h. 5 in., dia. 4 1/2 in. [$200/300]

1159. Continental School, late 19th/ early 20th c., “The Clandestine Meeting”, enhanced chromolithograph laid on canvas, unsigned, 34 1/2 in. x 22 1/4 in., framed with brass title and provenance plaque. [$400/600]

1160. Continental School, 19th c., “Jesus Carrying the Cross”, oil on canvas, unsigned, 27 in. x 21 3/4 in., framed. [$800/1200]

1158. After Bertel Thorvaldsen (Danish, 1770‑1844), “Night and Day”, bisque porcelain plaques, by Royal Copenhagen, Denmark, marked, with mounting wires, dia. 10 1/2 in. [$300/500]

1161. Giuseppe Uva (Italian, 1874‑1937), “Still Life with Flowers”, oil on canvas, signed lower right, 26 1/2 in. x 18 1/2 in., framed. [$800/1200]

1162. Continental School, 19th c., “Woman in Adoration”, oil on metal, unsigned, 19 in. x 15 1/4 in., framed. [$800/1200]

Provenance: Gift of Arthur A. Frank, Jr. to the Union League Civic and Art Foundation, 1962.

1165. Napoleon III‑Style Bronze‑Mounted, Boullework and Ebonized Parlour Cabinet, shaped inset marble top, cartouche‑paneled door with bone and mother-of-pearl inlay, shelf interior, foliate apron, scrolled legs, h. 48 1/2 in., w. 32 in., d. 16 1/2 in. [$1000/1500] Provenance: Schwitz Collection, Franklin, LA.

1163. Continental School, late 18th/early 19th c., “Hunters in the Woods”, oil on board, indistinctly signed lower right, 12 in. x 10 in., framed. [$200/400]

1164. Continental School, 19th c., “Semiramis, the Warrior Queen of Babylon, Receiving the Oracle’s Prophecy”, oil on canvas, unsigned, 86 1/2 in. x 85 1/2 in., unframed. [$600/900]

1166. Louis XVI‑Style Carved Giltwood Center Table, early 20th c., inset marble top, pierced frieze, foliate carved fluted tapered legs, caned stretcher shelf, toupie feet, h. 29 1/2 in., w. 35 in., d. 22 in. [$400/600]

1167. Louis XVI‑Style Marquetry and Mahogany Poudreuse, early 20th c., tripartite lift top with mirror and fabriclined wells, dressing slide, two drawers, cabriole legs, sabots, h. 29 1/2 in., w. 30 1/2 in., d. 19 1/2 in. [$700/100]

1168. Georgian Carved Oak Linen Press, 19th c., dentil‑molded cornice, paneled doors, fitted interior, lower case with four drawers, bracket feet, h. 88 in., w. 49 1/4 in., d. 22 5/8 in. [$700/1000] Additional information at www.nealauction.com

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1171. William and Mary‑Style Carved Walnut and Caned Armchair, pierced urn-carved crest, fluted uprights, shaped arms, “Spanish” feet, h. 53 in., w. 27 1/2 in., d. 22 1/2 in. [$200/400]

1169. George III Style Inlaid Mahogany Chest-on-Chest, stepped cornice, upper case with five drawers, lower case with three drawers, bracket feet, h. 72 1/2 in., w. 43 in., d. 22 in. [$800/1200]

1170. Regency‑Style Inlaid Mahogany Breakfast Table, oval tilt top, reeded standard and sabre legs, casters, h. 28 in., w. 58 in., d. 46 in. [$500/700]

1172. Louis XV‑Style Giltwood Fauteuil, early 20th c., foliate crest rail, scrolled seat rail, X stretcher, whorl feet, h. 37 1/4 in., w. 27 1/2 in., d. 27 1/2 in. [$300/500]

1173. Richard Dey De Ribcowsky (Bulgarian/ American, 1880‑1936), “Seascape”, oil on canvas, signed lower right, 40 in. x 64 in., framed. [$2000/3000]

1175. French School, 19th c., “Portrait of a Gentleman”, oil on canvas, unsigned, 30 3/8 in. x 25 1/4 in., framed. [$400/600]

1174. Charles C. McPhee (New Zealander, 1910‑2002), “Morning Light, Samoa”, 1950, oil on canvas laid on board, signed and dated lower right, signed and titled en verso, 16 in. x 19 3/4 in., framed. [$400/600]

1177. Francesco Moretti (Italian, 1833‑1917), “The Painting Lesson”, oil on canvas, signed and inscribed “Roma” lower left, 15 in. x 22 in., framed. [$800/1200]

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1176. Ramon Alorda y Perez (Spanish, 1848‑1899), “Two Catholic Priests”, watercolor on paper laid on board, signed lower left, 37 3/4 in. x 25 in., framed. [$400/600]

1178. After Rembrandt van Rijn (Dutch, 1606‑1669), “The Sampling Officials: Head of Syndic”, oil on canvas, unsigned, titled on stretcher and inscribed en verso, 29 3/4 in. x 25 in., framed. [$800/1200]

1179. Continental School, 19th/20th c., “Still Life of Poppies in Vase and Fruit”, oil on panel, indistinctly monogrammed lower right, handwritten label en verso, 15 1/2 in. x 23 1/4 in., framed. [$400/600]

1180. Emil Pap (Hungarian, 1884‑1949), “Apples for Sale”, oil on canvas, signed lower right, 39 1/2 in. x 29 3/4 in., framed. [$800/1200]

1181. Continental School, 19th c., “Mediterranean Landscapes”, 2 oils on canvas laid on board, each signed “M. Ferrazzi” lower right, both 8 3/4 in. x 12 1/4 in., framed alike. (2 pcs.) [$300/500]

1183. Louis Etienne Timmermans (French/ Belgium, 1846‑1910), “Harbor Scene with Windmill”, 1903, oil on canvas, signed and dated lower right, 15 in. x 21 3/4 in., framed. [$500/700]

1182. Georg Arnold‑Grabone (German, 1896‑1982), “Mountainous Landscape”, oil on canvas, signed lower left, “J. Eisenmann / München 23, Siegfriedstr. 25” stamp on stretcher, 23 3/4 in. x 31 3/4 in., framed. [$300/500]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

1184. Continental School, 19th c., “Courting Couple at a Spinet”, oil on canvas, unsigned, 16 1/4 in. x 12 5/8 in., framed. [$800/1200]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

1185. Paris Gilt Porcelain Navette-Form Corbeille, 19th c., h. 10 1/2 in., w. 13 5/8 in., d. 7 1/2 in. [$400/600]

Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

1186. Three Continental Porcelain Mouse‑Form Bonbonnieres, 19th c., probably St. Cloud, incl. pair, hinged lid with flower sprays, and single with harbor scene, h. 2 1/4 in., l. 3 in. [$400/600]

1188. Six Paris Porcelain Plates, 19th c., with Classical scenes, rubbed gilt borders, dia. 9 1/4 in. [$125/150]

1187. Paris Porcelain Tea Service, P.L. Dagoty, matte black ground with gilt Asian landscapes, incl. teapot, h. 5 1/4 in.; covered sugar with paw feet, h. 5 3/4 in.; creamer with swan handle, h. 5 3/4 in.; cup; and saucer, dia. 5 in.; tray, dia. 11 1/2 in. (6 pcs.) [$600/900]

Provenance: Schwitz Collection, Franklin, LA.

1189. Leeds Blue Feather Edge Creamware Platter, early‑to‑mid 19th c., marked, l. 18 in., w. 14 1/2 in. [$300/500] 1190. Staffordshire Salt Glazed Pottery Teapot, 18th/19th c., raised floral and shell decoration, h. 4 1/2 in., w. 7 1/4 in., w. 4 3/4 in. [$200/300] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

1192. Pair of Royal Worcester Dorothy Doughty Porcelain “Mountain Bluebirds” with Spleenwort Niger, 1964, marked, h. 9 3/4 in. and 9 1/4 in. [$150/250] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

1191. Pair of Royal Worcester Dorothy Doughty Porcelain “Audubon Warblers” with Palo Verdi, 1963, marked, h. 9 1/4 in., and 8 in. [$150/250] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA. 1193. Royal Worcester Dorothy Doughty Porcelain “Hooded Warbler” on Cherokee Rose, 1961, marked, h. 12 1/4 in. [$150/250] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

Additional information at www.nealauction.com

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1194. Two Silver‑Mounted Walking Canes, one with lion and scroll design; the other with tripartite form, marked “Sterling”, taller h. 37 1/2 in. [$200/400] 1195. Antique American Leather Trunk, hinged lid, brass nailhead trim, h. 8 1/2 in., w. 15 in., d. 9 in. [$125/175]

1196. Grand Tour Bronze Warwick Vase, h. 7 1/2 in., w. 11 in., d. 7 3/4 in. [$300/500]

1197. Frieze of Classical Busts, “bronze” patination, h. 21 in., w. 43 in., d. 2 1/2 in. [$300/500]

1198. Pair of Louis XV-Style Gilt Bronze Six‑Light Candelabra, foliate and scroll design, h. 23 1/2 in., dia. 14 in. [$600/900]

1199. English Inlaid Mahogany Decanter Box, 19th c., with six gilt decorated blown glass decanters, h. 8 1/4 in., w. 9 1/4 in., d. 6 1/4 in. [$250/350]

1200. Antique English Brass and Cast Iron Stone Scale, 19th c., marked “BRISTOL PARNAU”, h. 33 1/2 in., w. 29 in., d. 11 in. [$250/350]

1201. Pair of English Brass and Wrought Iron Andirons, 19th c., turned finial, penny feet, h. 23 in., w. 10 in., d. 25 in. [$200/400]

1202. English Silverplate Venison Dome, Martin, Hall & Co., Sheffield, early 20th c., reeded loop handle, straight gadroon borders and flat chased decoration, h. 12 in., w. 20 1/4 in., d. 16 1/8 in.; together with an associated American silverplate footed tray, l. 30 1/4 in., d. 20 1/4 in. [$150/250]

1203. American Gilt Metal Joan of Arc Figural Gas Table Lamp, 19th c., frosted and cut glass globe, h. 22 in., dia. 7 in.[$400/600] Provenance: The Friedle‑Garrison Collection, New Orleans.

1205. Pair of American Brass Hall Lights, 20th c., harp‑form, electrified, h. 36 in., w. 10 1/2 in. [$400/600]

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1206. American Brass Seven‑Light Chandelier, 19th c., central oil lamp and candlearms, now electrified, h. 46 in., dia. 33 in. [$700/1000]

1207. Antique Bronze Figural Lamp, hammered shade, bird talon base, electrified, h. 17 1/2 in., w. 10 in., d. 7 1/2 in. [$150/250]

1204. American Gilt and Patinated Bronze Four‑Light Gasolier, 19th c., possibly Cornelius, stylized foliate design, fish scale shades, electrified, h. 36 in., dia. 27 in. [$1000/1500]

1208. Argenté Columnar Table Lamp, h. (to top of finial) 37 3/8 in. [$200/300]

1210. Pair of Chippendale‑Style Giltwood Mirrors, acanthus crest, foliate surround, scrolled pendant, h. 58 in., w. 32 in. [$200/400]

1211. French Gilt Bronze Figural Clock, Classical maiden holding castanets, drum‑form case, oval marble base, h. 9 3/4 in., w. 5 1/2 in., d. 3 1/2 in. [$400/600] Provenance: Schwitz Collection, Franklin, LA.

1209. Pair of Bronze Bacchic Figures h. 14 1/2 in., w. 6 1/2 in., d. 7 in. and h. 14 in., w. 6 1/2 in., d. 6 in. [$500/700]. Provenance: Schwitz Collection, Franklin, LA

1213. Hiroshi Yoshida (Japanese, 1876‑1950), “Sacred Bridge”, woodblock print, signed and sealed in plate, pencil signed and titled lower margin, sheet 10 3/4 in. x 16 in., matted and framed; together with “Woman of a Shop”, 20th c., after Katsukawa Shunsho (Japanese, 1726‑1792), woodblock print, sight 10 3/4 in. x 7 1/2 in., double matted and framed (2 pcs.) [$300/500]

1212. Chinese Hardstone Tree Set in a Bronze and Cloisonné Enamel Pot, wrapped branches issuing colorful quartz, soapstone and jade flowers and branches, pot decorated with moths and lotus, h. (approx.) 20 in.; together with pair of bronze and cloisonné candle stands, h. 14 1/8 in. (3 pcs.) [$700/1000]

1216. Chinese Mother‑of‑Pearl and Soapstone Embellished, Polychrome Painted Black Lacquer Cabinet, early‑to‑mid 20th c., three quarter open shelf, shaped surround, two doors, shelf interior, bronze hinges and lock plate (lacking latch), h. 37 in., w. 25 1/2 in., d. 12 1/4 in. [$500/750]

1214. Japanese School, probably 20th c., “Six Immortal Poets”, ink, color and gilt on paper, 7 in. x 6 5/8 in., mounted as a two-panel landscape screen, 18 in. x 69 in. [$200/300] 1215. Japanese School, Meiji Period (1868‑1912), “Birds and Flowers of the Four Seasons”, 4 paintings, each ink and color on cloth, inscribed and sealed upper left, sight 47 1/2 in. x 17 1/2 in., framed alike. [$200/300]

1217. Asian Polychrome Painted Soft Wood Cabinet, four doors decorated with lotus flowers and foliage, h. 35 3/4 in., w. 28 3/4 in., d. 19 in. [$500/700]

1218. Decorative Cast Stone Garden Figure of Pan, flat molded top, figural tapered standard, molded base, h. 62 1/2 in., w. 14 in., d. 14 in. [$500/700]

1220. Vintage French Painted Wrought Iron Garden Suite, incl. six armchairs and table; chairs with arched back, scroll splats and arms, pierced seats, outswept legs, table with metal top, outswept T iron supports, chair h. 35 1/2 in., w. 20 1/4 in., d. 26 in., table h. 30 in., dia. 35 in. [$700/1000] 1219. Vintage Wrought Iron Garden Suite, incl. four chairs and table with associated glass top, scroll and leaf motif, table h. 29 1/2 in., w. 48 1/2 in., d. 30 1/2 in., chair h. 34 1/4 in., w. 19 1/2 in., d. 19 in. [$1000/1500] Additional information at www.nealauction.com

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1222. Painted Cast Iron Garden Figure of a Reclining Mermaid, h. 17 in., l. 38 in., d. 13 in. [$600/900]

1223. Decorative Painted Composite Figure of a Pelican, h. 35 in., w. 11 in., d. 22 in. [$400/600]

1221. Pair of Polychrome Cast Iron Cranes, taller h. 29 1/2 in. [$700/900]

1225. Glenna Goodacre (American, b. 1939), “Bust of a Woman with her Hair in a Chignon”, bronze, signed and numbered “40/200” on truncation, stone and wood base, overall h. 8 in.; together with 2 bronze busts, “Rose Beuret” after Auguste Rodin and “Carmela” after Emmanuel Villanis, each with marble bases, overall h. 10 3/4 in. and 9 3/4 in. respectively. (3 pcs.) [$400/600]

1229. Antique Cast Iron “Pocket Watch” Frame, advertisement sign, now fitted with convex mirror, h. 35 in., w. 21 1/2 in. [$150/250]

1226. American Vintage Motif .999 Fine Silver Overlay Water Pitcher, Matthews Co., Newark, act. 1906‑ c. 1936, pattern 913, h. 8 7/8 in. [$150/250]

Provenance: Schwitz Collection, Franklin, LA.

1230. New Orleans Folk Art Home Altar, polychrome wood with three niches, h. 24 1/2 in., w. 24 in., d. 12 1/2 in.[$400/600] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

1233. Civil War Battle Drawing of a Bridge, purported to be from General Beauregard’s papers in the Bull Run campaign, pen and ink, indicating loosened planks, a trap, and hidden cannons, 4 1/2 in. x 8 in. [$150/250]

1227. Pair of Sevres‑Style Polychrome and Gilt Porcelain Bottle Vases, 19th c., decorated with flower cartouches on a bleu de roi ground painted with foliage, h. 7 1/2 in. [$300/500] Provenance: Schwitz Collection, Franklin, LA.

1231. Judah P. Benjamin Autograph Letter Signed, 1834, two-page legal document regarding collection of a promissory note, 12 1/2 in. x 7 1/2 in. [$150/250]

1224. Pair of Polychrome Cast Iron Cranes, taller h. 29 1/2 in. [$400/600]

1228. Pair of German Gilt and Cobalt Porcelain Covered Urns, 20th c., marked “Rudolstadt”, peacock feather decoration, h. 13 3/4 in., dia. 5 3/4 in. [$400/600] Provenance: Schwitz Collection, Franklin, LA.

1232. Confederate Secretary of War Judah Benjamin Signed Document, partially printed, on Confederate States of America, War Department letterhead, dated Richmond, March 7, 1862, to “... Winchester, Donaldsonville Artillery, Yorktown, VA, in part; “You are respecfully referred to the foregoing Circular of this Department, in conformity with which you are authorized to enlist and muster into service a Company of Heavy Artillery. Respectfully, J.P. Benjamin, Sect. of War, 10 in. x 7 3/4 in., mounted on another sheet, Note: horizontal tear.[$200/300] Provenance: A manuscript note on the mount reads “An official Letter of the Confederate Government taken from the Rebel Genl. Magruders tent before Yorktown by William Duckstein of Company I Baxter’s Phila. Fire Zouaves and presented to his friend Robert F. Walsh May 5th, 1862

Provenance: Forest H. Sweet, American Historical Material, Battle Creek, Michigan, 1938.

1234. Five Confederate General Richard Taylor Telegrams, 1864‑1865, each sent to Taylor, from Jefferson Davis (2), P.G.T. Beauregard, Major General Howell Cobb, and Colonel George Brent; three partially written in cipher, and two of these with their translations. [$400/600]

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1235. Confederate General Beauregard Telegram, two partially printed documents, received from Macon, 22, 1864; to Lt. General Hardee, “Maybe I will leave for Macon by first train, Shermans first body must be moving on most direct roads to Atlanta‑those roads should be obstructed & all bridges & supplies destroyed in its front‑gunboats in Savannah River should prevent crossing as far up as practicable, GT Beauregard, each 4 1/2 in. x 8 in. [$150/250]

1236. Confederate Brigadier General Phillip Roddey Autograph Letter Signed, two pages, one sheet, dated from Mt. Hope, Alabama, Jan. 14, 1864, to General Hood, relating enemy positions, 8 in. x 7 3/4 in. [$150/250]

1237. Pierre G.T. Beauregard Autograph Note Signed, post war, to Judge W.W. Howe, New Orleans, dated July 21, 1883, thanking him “for the information contained in your favor of yesterday”, 8 in. x 5 in. [$100/150]

1238. Six Framed Groupings of Confederate Notes, incl. 50 cent notes; $50 notes; State of South Carolina notes; and others, largest frame 23 in. x 23 in. [$500/700]

1239. Three Framed Confederate Loan Bonds, incl. State of South Carolina and two CSA $1 000 bonds, largest frame 26 in. x 22 in. [$300/500] Provenance: Schwitz Collection, Franklin, LA

Provenance: Schwitz Collection, Franklin, LA.

1240. Two Framed Confederate Philatelic Groupings, with various Jefferson Davis stamps; together with Hubbell, Raynor Confederate Stamps, Old Letters and History, the Citadel ex libris noting the bokin was given by noted numismatist Grover C. Criswell, Jr. [$300/500]

1241. Pair of Confederate‑Style Reenactor Swords, 20th c., guards cast with “CS”, iron and brass scabbards, blade l. 33 in. [$400/600] Provenance: Schwitz Collection, Franklin, LA.

1242. Model 1853 Enfield Civil War Reenactor Rifle, 20th c., Armi Sport reproduction, full wood stock, leather sling, barrel l. 39 in. [$200/300]

Provenance: Schwitz Collection, Franklin, LA.

1244. Antique American Walnut and Glass Display Case, molded gallery, convex glass top, fold‑down mirrored rear door, velvet interior, h. 8 1/2 in, w. 31 1/2 in., d. 12 1/4 in. [$300/500] Provenance: Schwitz Collection, Franklin, LA.

1243. Roman, Alfred. The Military Operations of General Beauregard in the War Between the States 1861‑1865 Including a Brief Personal Sketch and a Narrative of His Services in the War with Mexico 1846‑48, Harper & Brothers, New York, 1884, two volumes, octavo, green cloth. [$100/150] 1246. American Oak Wooten Rotary Desk, late 19th c., labeled “Wooten Rotary Desk, PATENT”, molded top, three frieze drawers, two fitted lower rotating compartments, molded base, h. 31 1/2 in., w. 54 in., d. 32 in. [$500/1000]

1245. American Federal Mahogany Work Table, early 19th c., hinged top, two compartments centered by a deep drawer, turned and tapered legs, h. 27 1/2 in., w. 26 3/4 in., d. 13 1/2 in. [$200/300]

1247. American Late Classical Carved Mahogany Hat Stand, mid‑19th c. and later, pod finial, swan carved hooks, palm leaf and pineapple carved standard, paw feet, h. 87 in., w. 16 in., d. 16 in. [$300/500]

1248. Early Louisiana Carved Pine Side Chair and Cypress Washboard, probably 18th c., chair with hide seat, h. 35 in., w. 15 in., d. 14 in., washboard h. 23 in., w. 16 in., d. 2 1/2 in. Note: Condition. [$150/250] Provenance: By repute, San Francisco Plantation, Garyville, LA.

1249. Six American Vernacular Pine and Oak Hitchcock Chairs, 19th c., tablet crest, plank seat, stretchered turned legs, h. 33 1/4 in., w. 18 1/2 in., d. 17 in. [$400/600] Additional information at www.nealauction.com

125

1250. William Penn Brannan (American/Ohio, 1825‑1866), “Beatrice from Shelley’s Cenci”, 1849, oil on board, signed, titled, dated and inscribed en verso, partial “Detroit Publishing Company” label on frame, 11 in. x 9 1/4 in., framed. [$800/1200]

1251. Donald Allen Mosher (American/Massachusetts, 1945‑2014), “Church in the Country”, oil on canvas, signed lower left, 12 in. x 24 in., framed. [$1200/1800]

1252. George Gach (Hungarian/ American, 1909‑1996), “Ficherman [sic] at Bar Beach”, oil on masonite, signed lower right, titled and biographical information en verso, 11 3/4 in. x 23 3/4 in., framed. [$700/1000]

1253. American School, 20th c., “Trees along a Rocky Coast”, watercolor on paper, signed “E. Baldwin” lower right, 14 in. x 20 in., framed. [$150/250]

1256. Antique Painted Wood Bird Cage, four spring‑loaded doors, six feeding trays, h. 22 in., w. 30 in., d. 14 in. [$300/500]

1257. American Schoolgirl Sampler, signed “Mary Boston, Dec. the 16th, 1834, aged 9 Years”, floral border, sight 12 in. x 12 in., framed. [$400/600] 1254. Stefanie Trautweiller (Austrian, 1888‑1976), “Still Life of Flowers”, oil on canvas, signed lower right, artist biography on stretcher, 40 1/8 in. x 30 1/4 in., framed with artist plaque. [$300/500]

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

1255. Continental School, 19th c., “Traveler with Staff”, oil on canvas, unsigned, 20 1/2 in. x 14 in., framed.[$500/700]

Provenance: Hobart House Antiques, Haddam, CT, 1982; Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

1258. Three Antique Blown Glass Demijohns, 19th/20th c., incl. 2 green bottles, h. 14 in. and 13 1/2 in.; and 1 mold‑blown blue bottle, h. 12 in. [$200/300]

1259. American “Gothic” Pattern Cast Iron Garden Bench, 19th c., scalloped crest, interlocking arched back, scrolled arms, reticulated seat, foliate skirt, cabriole legs, h. 32 in., w. 42 1/4 in., d. 18 in. [$700/900]

126

1260. American Cast Iron Garden Urn, 19th c., outswept scrolled arms, acanthine body, plinth base; together with a related urn of the same size, h. 33 1/2 in., w. 33 1/4 in., d. 23 in. [$400/600]

1261. American Cast Iron Garden Bench in the “Passion Flower” Pattern, 19th c., reticulated back and seat, h. 32 in., w. 37 1/2 in., d. 28 in. [$1000/2000]

1262. Antique Cast Iron Garden Figure of a Maiden, in the Classical taste, naturalistic base, h. 55 in., w. 17 in., d. 22 in. [$2000/3000]

1263. American Cast Iron Hitching Post, 19th c., modeled as a tree trunk with grape vine decoration, h. 48 in., dia. 7 in. [$500/700]

1264. French Bronze‑Mounted Marble Mantel Clock, c. 1900, striking gong movement, dial flanked by female busts, h. 20 1/2 in., w. 19 1/4 in., d. 6 1/2 in. [$600/900] Provenance: Schwitz Collection, Franklin, LA.

1266. Pair of Paris Bisque, Polychrome and Gilt Porcelain Flare Vases, mid‑19th c., impressed “465” or “M”, molded with acanthus leaves and mounted with the figure of Cupid or Psyche, h. 14 in., w. 7 5/8 in., d. 5 1/4 in. [$500/700]

1265. Antique Gilt Brass Carriage Clock, c. 1900, with alarm, push‑button time indicator, beveled glass panels, h. 5 3/4 in., w. 3 3/4 in., d. 3 1/2 in., with glazed, leather carrying case, h. 7 in. [$250/350]

1268. Louisiana Cypress Farm Table, 19th c., three board top, mitered corner frieze, tapered legs, h. 30 1/2 in., w. 42 in., d. 29 3/4 in. [$300/500] 1267. American Pine and Poplar Cabinet, 19th c., shaped backsplash, three frieze drawers, paneled doors, shelf interior, turnip feet, h. 57 3/4 in., w. 47 1/2 in., d. 19 in. [$250/350] Provenance: Barker’s Antiques, Baton Rouge, LA.

1269. Rare American Renaissance Walnut Canopy Youth Bed, late 19th c., finialed arched canopy, broken pediment, paneled headboard, ring and baluster turned posts, spindled rails, bulbous turned feet, h. 89 in., w. 38 in., d. 54 in.; together with porcelain figure of a baby originally suspended from the top of the canopy. [$800/1200]

1270. Upholstered Circular Ottoman, skirted with bullion fringe, casters, h. 20 in., diameter 36 in. [$150/250]

1271. American School, late 19th c., “Still Life of Flowers”, oil on canvas, pencil‑inscribed “Cutler” on stretcher, 8 in. x 30 in., framed. [$300/500] Provenance: Schwitz Collection, Franklin, LA.

1272. American School, 19th c., “Portrait of a Boy”, oil on canvas, unsigned, 30 1/8 in. x 25 1/4 in., framed. [$500/700] Provenance: Peter Patout, New Orleans, LA.

1273. Bertha Valkenburg (Dutch, 1862‑1929), “Interior Genre Scene”, watercolor on paper, signed lower left, sight 13 in. x 18 1/2 in., framed. [$300/500]

Additional information at www.nealauction.com

127

1274. Pair of Painted Plaster Canada Geese Decoys, 20th c., with iron spikes, later wood bases, tallest h. 27 1/2 in., w. 29 in., d. 12 in. [$300/500]

1274A. Five Carved Duck Decoys, 20th c., Southern or Mid‑Atlantic, one initialed “AJG”, one marked “Clarence Taylor Jr. Guildford VA 1972”, longest l. 17 in. [$300/500]

1275. American Classical Mahogany Side Chair, early 19th c., New York, incurvate tablet crest with string inlay, medial rail with shell and acanthine scrolls, sabre legs, seat upholstered in damask haircloth, h. 31 1/2 in., w. 19 in., d. 17 in. [$150/250]

1274B. Five Carved Duck Decoys, 20th c., Southern, one marked “Norman Parr 1951”, one marked “Herters mid 1960s”, one stamped “B. Chauvin Larose, LA”, longest l. 16 in. [$300/500]

1276. American Late Classical Carved Mahogany Center Table, early‑to‑mid 19th c., shaped Egyptian marble top, frieze with canted corners, scrolled supports and stretcher, compressed bun feet, now reduced in height, h. 18 3/4 in., w. 41 1/2 in., d. 24 in. [$200/400] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

Provenance: Didier, Inc., New Orleans.

1277. Two Graduated Antique Tole Peinte Trays, black with gilt decoration, on stand; together with a shaped tole peinte tray. (4 pcs.) [$150/250] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

1280. Bloor Derby Armorial Porcelain Partial Dinner Service, c. 1820-1840, with bishop’s mitre crest, incl. pair of covered vegetable tureens and 10 plates, 1 plate with rim ship, some crazing. [$400/600]

1279. French School, 1961, “Portrait”, oil on canvas, indistinctly signed and dated lower right, inscribed “6‑3‑61 / Portrait / No. 1” en verso, 16 in. x 10 3/4 in., framed. [$200/300]

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1278. Charles X Walnut Vitrine, 19th c., dished top with wood gallery and glass cover, medial tier, incurvate triangular plinth, turned legs, fattened bun feet, h. 33 1/ in., dia. 25 in. [$300/500]

Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

1281. Lowestoft Relief Molded Blue and White Cider Jug, 18th c., painter’s mark “S” inside foot rim, h 8 3/8 in., w 6 1/2 in. [$500/700] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

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PLEASE VISIT NEALAUCTION.COM TO REQUEST AND VIEW CONDITION REPORTS, REGISTER TO BID LIVE ONLINE, AND SUBMIT ABSENTEE/TELEPHONE BIDS CONDITIONS OF SALE; WAIVERS OF WARRANTY; LIMITATIONS OF LIABILITY Registering for and/or placing a bid at auction constitutes the acceptance of and agreement to these Conditions of Sale; WAIVERS OF WARRANTY; and LIMITATIONS OF LIABILITY (collectively, the “Conditions of Sale”). These Conditions of Sale are binding and enforceable on all bidders and buyers. 1. WARRANTY WAIVERS; LIABILITY LIMITATIONS. All lots are sold “AS IS, WHERE IS” – WITH ALL FAULTS and WITH NO EXPRESS OR IMPLIED WARRANTIES. No statement or description regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, value, size, or quality of a lot, whether made orally at the auction or at any other time, in electronic messages, online, in writing, or in a catalogue, website, correspondence, advertising, literature, or elsewhere, is or shall be construed to be a guarantee, an express or implied warranty, or assumption of liability, obligation, or responsibility. The bidder or buyer WAIVES any such warranty, WAIVES any warranty of fitness for ordinary use or for any intended use, and further WAIVES any warranty against redhibitory vices and defects, whether latent, hidden, or apparent, and whether imposed by the Louisiana Civil Code or any other applicable statute, law, jurisprudence, or legal authority. The buyer further WAIVES any rights or remedies in redhibition to a return or reduction of the purchase price for any lot, including for any lot with any defect rendering the lot useless, inconvenient, or of diminished usefulness. All sales are final, without exception.

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

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

Bears signature “ARTIST” - In our qualified opinion, although the work bears the signature or monogram of the artist, the work most likely is not that of the artist. 3. Discretionary Rescission. Notwithstanding the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale of a work of fine art on the basis of authenticity of authorship only under the following terms, conditions, and LIMITATIONS OF LIABILITY, all of which apply, and the buyer WAIVES and RELEASES any other rights, relief or remedies: A. Neal Auction Company shall not grant rescission of any lot identified by the terms “attributed to,” “signed,” “school of,” “manner of,” “after,” or “bears signature.” B. Neal Auction Company shall not grant rescission of any lot unless the buyer notifies Neal Auction Company in writing within 25 calendar days from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale. C. Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written document signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery. D. Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the original buyer, and any rights or interests of the original buyer are not transferrable, inheritable, or assignable. E. Neal Auction Company shall not grant rescission when: (a) there is a conflict of expert opinion as to the authorship; (b) expert opinion supported authorship at the time of auction, although expert opinion may have changed afterward; and (c) scientific or other tests, examinations, investigations, research, or processes that were unavailable, expensive, or impractical at the time of the auction have revealed since that time that the author, character, condition, kind, provenance, period, quality, or value Neal Auction Company believed to be accurate at the time of sale was inaccurate. In any dispute between Neal Auction Company and the bidder or buyer regarding authorship of a work of fine art, rescission of the sale and refund of the purchase price paid shall be the buyer’s sole recourse or remedy, if

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

2. At the fall of the auctioneer’s hammer, the bidder acknowledged by the auctioneer, whether in person or absentee, thereupon assumes the obligation to pay for the offered lot, and shall pay the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs. 3. Title to the offered lot shall pass to the bidder acknowledged by the auctioneer upon payment of the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs. The buyer thereupon assumes full risk, obligation, and responsibility for the lot. 4. At any time before the sale of a lot, Neal Auction Company reserves the right to withdraw the lot or any part of the lot, to combine lots, or to separate items within a lot. 5.

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

6. If the buyer fails to comply with any of these Conditions of Sale, Neal Auction Company reserves the right to (a) hold such defaulting buyer liable, obligated, and responsible for the total amount due and to commence legal proceedings to recover the entire amount along with interest, reasonable attorneys’ fees, expenses, and costs; (b) charge outstanding amounts to the buyer’s credit card; (c) apply any payments to outstanding amounts chosen by Neal Auction Company notwithstanding the instructions of the buyer; (d) cancel the sale, retaining as liquidated damages any payment made by the buyer; (e) resell the lot without reserve at public auction, online-only auction, or privately on seven calendar days’ notice to the buyer; (f) enforce specific performance of the sale; (g) require a deposit in future auctions; (h) exclude the buyer from future auctions or bidding on particular lots; (i) exercise the rights and remedies of a person holding security and/or privilege over property in Neal Auction Company’s possession, whether by pledge, security interest or any other mechanism, to the full extent allowed under Louisiana law, and Neal Auction Company may hold the property of the buyer as collateral security for the buyer’s obligations; (j) and/or take such other actions allowed by law in Neal Auction Company’s sole discretion. If Neal Auction Company resells the lot, the defaulting buyer shall be liable, obligated, and responsible for the payment of any deficiency in the purchase price and any damages, including but not limited to all costs and expenses of both sales, such as, by way of example only, storage, handling, insurance, repairs, illustrations, consultations, examinations, moving, shipping, promotions, advertising, reasonable attorneys’ fees, commissions, and incidental damages.

7. Virtually all lots offered have been subject to use over a considerable period of time. No mention of cracks, scratches, chips, tears, breaks, weaknesses, or any damages or wear will be included in oral, written, or electronic statements or descriptions in the catalogue, website, correspondence, advertising, or literature. Condition reports may be provided upon request, but condition reports may not mention all cracks, scratches, chips, defects, hazards, tears, breaks, weaknesses, or other damages or wear. Neal Auction Company makes no representations or warranties as to the accuracy or completeness of any information or description in a condition report or elsewhere, whether oral, written, electronic, or online. Neal Auction Company reserves the right to decline to provide a condition report for any specific lot, at its sole discretion. 8. Neither high nor low estimates in a catalogue, website, advertising, correspondence, literature, or elsewhere should be relied on as a representation, prediction, appraisal, guarantee, or warranty that a particular lot will sell for a particular price or that a particular lot has a particular value.

9. Neal Auction Company has absolute discretion to admit a bidder to the auction premises, to expel a bidder from the auction premises, or to refuse a bidder from participating in the auction. 10. Neal Auction Company and its auctioneers shall not be liable, obligated, or responsible for failure to recognize or execute any bids for any reason whatsoever, or for no reason. Bidders and buyers WAIVE and RELEASE any rights to damages, and equitable, declaratory, and injunctive relief arising out of the failure or rejection of any bid, or any errors or omissions relating to the bidding process. 11.

Interfering with the auction in any way is prohibited.

13.

Canvassing or solicitating on the auction premises is prohibited.

12. Bid rigging is strictly prohibited. Any agreement, understanding, or arrangement not to bid against another or otherwise to dampen the bidding is unlawful. The auctioneer reserves the right to bid on behalf of the consignor for the protection of the consignor if this illegal activity by two or more bidders is detected, disclosed, alleged, or suspected. 14. The auctioneer has the sole discretion as to the increments of bidding, the recognition of any bid, the acceptance of the final bid, and resolving any disputes among bidders.

15. Neal Auction Company represents the consignors only and is not acting as agent or representative of bidders or buyers. The payment of the buyer’s premium by the buyer does not indicate a dual agency relationship. Neal Auction Company is to be paid a fee or commission by the consignor pursuant to a separate written agreement between the consignor and Neal Auction Company. The consignor is the seller of the lot sold. Neal Auction Company is the consignment agent or representative, not the seller. 16. The successful bidder is obligated to pay the purchase price in full unless Neal Auction Company has consented in writing at the time of the bidder’s registration that the bidder is acting as an agent on behalf of an identified person and that said principal is obligated to pay the purchase price in full. Neal Auction Company reserves the right to require an advance deposit for such bids.

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

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

20.

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

19.

First time bidders are required to produce a valid state-issued identification card or passport.

21. Neal Auction Company may require a bidder or buyer at any time to produce financial, banking, or trade references and information.

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

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

25. Lots may be offered subject to a reserve, which is the confidential minimum hammer price below which the lot will not be sold, for the protection of the consignor. Such reserve will not exceed the low estimate for the lot. The auctioneer may open the bidding on any lot by placing a bid on behalf of the consignor, auctioneer, or an absentee bidder that is below the reserve. The auctioneer may continue to bid on behalf of the consignor, auctioneer, or absentee bidder up to the amount of the reserve, by placing consecutive bids or by bidding in response to other bidders. Neal Auction Company may sell a lot at a hammer price below the reserve at its discretion, subject to its agreement with the consignor. ABSENTEE/TELEPHONE/ONLINE BIDS 1. All absentee bids and/or telephone bids must be received by Neal Auction Company by 5 p.m. Central Time the Thursday prior to the auction. 2. All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at the discretion of Neal Auction Company. Each lot must have a minimum low estimate of $500 for telephone bidding. Absentee bids are accepted for any lots regardless of estimate, at the discretion of Neal Auction Company.

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

5. Neal Auction Company shall not be liable, obligated, or responsible for any failure, design flaw, error, act, omission, or negligence of third party sites or their agents. Bidders WAIVE and RELEASE any rights to damages and equitable, declaratory, and injunctive relief and remedies arising therefrom.

HANDLING AND STORAGE

Unless other arrangements are made and confirmed in writing by Neal Auction Company, all lots must be removed within 15 calendar days of the auction. On the first business day following that time period, any lots remaining in the Neal Auction Company gallery may be turned over to a storage facility, at Neal Auction Company’s discretion. The buyer will be responsible for all handling and storage charges. Handling charges shall be a minimum of $50 per lot. Storage costs shall be a minimum charge of $50 per month per lot. Storage charges accrue monthly and must be paid in full before any lots purchased by the buyer are released. At its discretion, Neal Auction Company may charge the full amount of any storage and handling charges, on a periodic basis, on the buyer’s credit card, including interest at the rate of one and one-half percent per month.

All purchased lots will be handled and stored at the buyer’s sole risk and peril. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for handling or storage, or for any damage to or loss of, any lot after the sale. The buyer WAIVES and RELEASES all such claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees). INTELLECTUAL PROPERTY RIGHTS

Neal Auction Company retains the copyright and other intellectual property rights to all photographs, video, illustrations, text, and other works in its catalogue, website, advertising, correspondence, literature, and elsewhere. Such photographs, video, illustrations, text, and other works may not be used, copied, published, exhibited, revised, or displayed without the prior written permission of Neal Auction Company. Neal Auction Company and the consignor make no representation or warranty that the buyer of a lot will acquire any copyright or other intellectual property right or interest in the lot. IMPORT/EXPORT

9. Neal Auction Company reserves the right to record any telephone bidding or conversation relating to said bidding, or any part thereof, and to publish said recordings. By participating in telephone bidding, the bidder consents to such recording and publication, notwithstanding the laws or regulations of the state or jurisdiction of the bidder.

Lots made of or incorporating endangered or protected wildlife materials, irrespective of age or amount of material, may require a license or certificate authorizing export from the United States as well as relevant authorizations from the country of import. It is the responsibility of the bidder or buyer to determine and be satisfied that the requirements of any applicable laws and regulations applying to the transportation, whether international or interstate, can be met before bidding. The inability of a buyer to transport lots containing endangered or protected wildlife material is not a basis for cancellation or rescission of the sale or discount of the purchase price. Although licenses may be obtainable to export certain types of endangered species, some types may not be exported at all, and other types may not be resold in certain states in the United States. Neal Auction Company cannot assist the bidder or buyer in attempting to obtain the appropriate licenses and/or certificates, and bidders and buyers can be given no assurance that an export license or certificate can be obtained. Each bidder should verify with an attorney or qualified shipping company if uncertain as to whether a lot is subject to export/import license and certificate requirements and any other restrictions or prohibitions on the interstate transportation or exportation from the United States. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for any oral, written, or electronic advice given or representations made by it or by any shipping company, legal counsel, or other person. Buyers WAIVE and RELEASE any and all claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) relating to such advice and representations.

PAYMENT

MANDATORY AND EXCLUSIVE FORUM SELECTION; CHOICE OF LAW

6. Prior to placing any absentee, telephone, or online bid, all bidders are required to complete the applicable Registration Form prior to such bidding.

7. In the event of ambiguity, uncertainty, or discrepancy, the lot number and not the lot description on any bid will be deemed to be the lot on which the bid is made. 8. If more than one absentee bid on a particular lot is received with the same maximum bid amount, and that bid amount is the highest and best bid for the lot, the lot will be sold to the bidder whose absentee bid was accepted first by Neal Auction Company after receiving it. If a bid placed on a lot by a bidder who is physically present at the auction is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is physically present at the auction. If a bid placed on a lot by a bidder who is present at the auction (in person or by telephone) is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is present at the auction (in person or by telephone).

1. The successful bidder (except a successful online bidder) shall pay a buyer’s premium in the amount of 25% of the hammer price on each lot up to and including $200,000, plus 15% of the hammer price greater than $200,000. For payments made by cash, check, or wire transfer (except by online bidders) within 15 calendar days of the auction, the buyer’s premium will be discounted to 22%. 2. The successful online bidder shall pay a buyer’s premium in the amount of 28% of the hammer price on each lot. A discount for payments made by cash, check, or wire transfer is not available for purchases made by online bidders. 3.

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

4. Unless exempt by law, the buyer will be required to pay Louisiana and local taxes, and, if applicable, any federal luxury or other tax, on the total purchase price. 5. Documentation of tax exemption must be provided upon registration. Billing name and address of a bidder must agree with that on the sales tax exemption certificate. 6. Payment in full of the purchase price must be made by the successful bidder in U.S. Dollars within 15 calendar days of the auction. Interest charges of one and one-half percent per month shall apply to invoices paid after this period expires. Neal Auction Company reserves the right to require payment in full of the purchase price immediately following declaration of the successful bidder. 7. VISA, MasterCard, Discover, and American Express are accepted for payment of invoices up to $25,000 per buyer. 8. Checks must be drawn on a U.S. bank. All lots shall be held by Neal Auction Company until the check clears.

9. The buyer’s signature on a registration form (or other writing with the buyer’s credit card number) gives Neal Auction Company permission to charge the buyer’s credit card the full amount of the buyer’s invoice if full payment is not received within 15 calendar days of the auction or, in Neal Auction Company’s discretion, to charge the buyer’s credit card later, with interest at the rate of one and one-half percent per month. PACKING, MOVING, SHIPPING, AND DELIVERY

Neal Auction Company may furnish information on packers, movers, or shippers for bidders or buyers making packing, moving, shipping, and delivery arrangements, but Neal Auction Company shall not be liable, obligated, or responsible therefore, and buyers retain packers, movers, and shippers at their own risk and peril. Shipping, moving, packing, and delivery arrangements and agreements are strictly between the buyer and the shipper, mover, or packer. Neal Auction Company shall not be liable, obligated, or responsible for any damage to property, including vehicles, or for any personal injuries of buyer or any third parties involved in packing, moving, shipping, or delivery. Buyers WAIVE and RELEASE Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any and all claims relating to packing, moving, shipping, and delivery of purchased lots, and any damage or injuries to persons or property arising therefrom.

Any action of any nature brought by a bidder or buyer against Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot in any court, whether federal or state, shall be brought exclusively in Orleans Parish, Louisiana. Every bidder and buyer agrees to submit to jurisdiction and venue in federal or state court in Orleans Parish, Louisiana, waives all objections or challenges to such jurisdiction or venue, and waives any rights to jurisdiction or venue in any other forum. Any dispute between the bidder or buyer and Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot shall be governed by the law of the State of Louisiana, notwithstanding any conflicts of laws principles. MISCELLANEOUS LEGAL PROVISIONS

If any part of these Conditions of Sale is held to be invalid, null, or unenforceable, that part shall be reformed so as to implement the intent of the parties as expressed herein, and any such holding shall not affect the remaining provisions of these Conditions of Sale, which shall remain in full force and effect, subject to reformation to implement the intent of the parties as expressed herein. The paragraph headings contained herein are for convenience of reference only and shall not affect the meaning or interpretation of these Conditions of Sale. All prior and contemporaneous representations, communications, and agreements, if any, between the bidder or buyer and Neal Auction Company (and any of its owners, officers, directors, representatives, insurers, agents, and employees) relating to any of the lots offered for sale or to the auction or sale are hereby superseded and merged into these Conditions of Sale, which are the entire and only contract between the bidder or buyer and Neal Auction Company relating to the subject matter herein. Any modifications, amendments, or waivers of these Conditions of Sale must be made in a writing signed by both Neal Auction Company and the bidder or buyer. In the event of any disputes arising out of the auction or sale of lots or these Conditions of Sale, Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated or responsible for any general, special, exemplary, incidental, or consequential damages (including but not limited to lost profits and attorneys’ fees). Every bidder and buyer WAIVES and RELEASES any rights to such damages. This LIMITATION OF LIABILITY does not, and is not intended to, enlarge or expand any rights or interests of a bidder or buyer that are restricted or limited elsewhere in these Conditions of Sale (including but not limited to the WARRANTY WAIVERS and LIABILITY LIMITATIONS set forth herein). These Conditions of Sale constitute a binding legal contract between Neal Auction Company and each bidder or buyer. Each bidder and buyer acknowledges having read and understood these Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY. All bidders and buyers further acknowledge that they enter into these Conditions of Sale of their own free will, with full authority, and under no duress or coercion.

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The Search for a Lost New Orleans Cabinetmaker, 1810–1825

THE CABILDO NOVEMBER 22, 2019 –AUGUST 15, 2020

Neal Auction Company Neal Auction Company Neal Auction Company Neal Auction Company

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Auctioneers Appraisers Antiques Fine ArtArtArt Auctioneers Appraisers Antiques Fine Auctioneers && Appraisers of of Antiques && Fine Art Auctioneers && Appraisers of of Antiques && Fine 4038 Magazine Street, New Orleans, Louisiana 70115 4038 Magazine Street, New Orleans, Louisiana 70115 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 s &AX s WWW NEALAUCTION COM s &AX s WWW NEALAUCTION COM

Confidential Absentee / Telephone Bid Form Confidential Absentee / Telephone Bid Form Confidential Absentee / Telephone Bid Form Confidential Absentee / Telephone Bid Form

15/06M 15/06M 16/08M 15/06M 16/08M 19/10M 15/06M 19/10M

PLEASE REVIEW GUIDELINES FOR AOR BSENTEE TELEPHONE BIDDING PLEASE REVIEW GUIDELINES F ABSENTEE & TELEPHONE BIDDING PLEASE REVIEW GUIDELINES FOR BSENTEE && TELEPHONE BIDDING : : : : PLEASE REVIEW GUIDELINES FAOR ABSENTEE & TELEPHONE BIDDING 4 ELEPHONE 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 4 ELEPHONE 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 !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 !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 !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 )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 ! 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 !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 ! 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 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 )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 First Last First Last Name: _________________________ Name: ____________________________________ Company: __________________________ Name: _________________________ Name: ____________________________________ Company: __________________________ Name: _________________________ Name: ____________________________________ Company: __________________________ Name: _________________________ Name: ____________________________________ Company: __________________________ Address: ______________________________________________________________________________________________________ Address: ______________________________________________________________________________________________________ Address: ______________________________________________________________________________________________________ Address: ______________________________________________________________________________________________________ #ITY ????????????????????????????????????????????? 0ROV 3TATE ??????????????????????? 0OSTAL #ODE ???????????????? #ITY ????????????????????????????????????????????? 0ROV 3TATE ??????????????????????? 0OSTAL #ODE ???????????????? #ITY ????????????????????????????????????????????? 0ROV 3TATE ??????????????????????? 0OSTAL #ODE ???????????????? #ITY ????????????????????????????????????????????? 0ROV 3TATE 0OSTAL #ODE : ??????????????????????? : ???????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealers must provide Neal Auction Company with proper documentation prior to bidding. Dealers must provide Neal Auction Company with proper documentation bidding. Dealers must provide Neal Auction Company with proper documentation prior to prior bidding. Dealers must provide Neal Auction Company with proper documentation prior to to bidding.

-534 02/6)$% -534 02/6)$% : : : : -534 02/6)$% -534 02/6)$% -534 0ROVIDE: -534 0ROVIDE: -534 0ROVIDE: -534 0ROVIDE: Cash Cash Credit Cash Cash 0AYMENT Credit 0AYMENT Credit 0AYMENT 0AYMENT Credit Check Check Card Check 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? Method: Card Method: Check Card Method: Method: Card 7IRE 7IRE 7IRE 7IRE Credit Card V-code:________ Credit Card V-code:________ )& 35##%33&5, PLEASE BILL MY CARD Credit Card V-code:________ Credit Card V-code:________ )& 35##%33&5, PLEASE BILL MY CARD )& 35##%33&5, PLEASE BILL MY CARD )& 35##%33&5, PLEASE BILL MY CARD .UMBER #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ?????????????????????????? .UMBER 4O #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ?????????????????????????? .UMBER 4O 4O #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ?????????????????????????? .UMBER 4O #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ??????????????????????????

,OT ,OT ,OT ,OT

$ESCRIPTION $ESCRIPTION $ESCRIPTION $ESCRIPTION

"ID !MOUNT OR 4ELEPHONE .O "ID !MOUNT OR 4ELEPHONE .O "ID !MOUNT OR 4ELEPHONE .O "ID !MOUNT OR 4ELEPHONE .O

I Iunderstand that Neal Auction Company undertakes execution of absentee bids as aasconvenience clients and is not responsible inadvertent failI understand that Neal Auction Company undertakes the execution of absentee a convenience for clients and is not responsible for inadvertent failI Iunderstand that Neal Auction Company undertakes the execution ofofabsentee bids as aabids convenience for clients and is not responsible forfor inadvertent failure understand that Neal Auction Company undertakes thethe execution absentee bids as convenience forfor clients and is not for inadvertent failI Iunderstand understand that Neal Auction Company undertakes the execution of absentee bids as aaconvenience convenience for clients and isresponsible not responsible for inadvertent failure understand that Neal Auction Company undertakes the execution ofabsentee absentee bids convenience for clients and is not responsible inadvertent failthat Neal Auction Company undertakes the execution of bids as aas for clients and is not responsible for inadvertent failure ure to execute or any in the execution Iread have read and agree to the â&#x20AC;&#x153;Conditions Saleâ&#x20AC;? as stated in the catalogue. understand thatthat ure to execute bids, or for any error in the bids. Iand have read and agree to the â&#x20AC;&#x153;Conditions Saleâ&#x20AC;? in the catalogue. I understand that or for any error in the of bids. IIIhave read and agree toto the ofof Saleâ&#x20AC;? asas stated instated the I understand to execute or for any error inexecution the execution of of bids. I have read and agree toâ&#x20AC;&#x153;Conditions the â&#x20AC;&#x153;Conditions of Saleâ&#x20AC;? as stated incatalogue. the catalogue. I understand toure execute bids, orbids, forbids, error inerror the ofexecution bids. I bids. have agree to the â&#x20AC;&#x153;Conditions of Saleâ&#x20AC;? as of stated inas the catalogue. I understand thatthat toure execute bids, orany forfor any error inexecution the execution ofof bids. have read and agree to the â&#x20AC;&#x153;Conditions ofof Saleâ&#x20AC;? as stated in the catalogue. understand that to execute bids, any error in the execution of bids. have read and agree the â&#x20AC;&#x153;Conditions Saleâ&#x20AC;? stated in the catalogue. III understand that a aabuyerâ&#x20AC;&#x2122;s premium will be charged each lot purchased at 22% up to and including $200,000 plus 10% of hammer price greater than $200,000. ForFor apremium buyerâ&#x20AC;&#x2122;s premium will be charged on lot purchased at 22% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For buyerâ&#x20AC;&#x2122;s premium will be charged onon each loteach purchased at 25% 22% up toup and including $200,000 plus 10% of the price greater than $200,000. For abuyerâ&#x20AC;&#x2122;s buyerâ&#x20AC;&#x2122;s premium will be charged on each lot purchased at25% 22% up toincluding and including $200,000 plus 10% of the hammer price greater than $200,000. aabuyerâ&#x20AC;&#x2122;s will be charged on each lot purchased at up to and $200,000 plus 10% of thethe hammer price greater than $200,000. For buyerâ&#x20AC;&#x2122;s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% ofhammer the hammer price greater than $200,000. For premium will be charged on each lot purchased at to and including $200,000 plus 15% of the hammer price greater than $200,000. For purchase made by cash, check or wire transfer within 15 days of the auction, buyerâ&#x20AC;&#x2122;s premium shall be discounted of 22%. No exceptions. purchase by cash, or wire transfer within 15 days of the auction, the buyerâ&#x20AC;&#x2122;s premium be discounted 2.5% of this No exceptions. purchase made bymade cash, check orcheck wire transfer within 15 days of the auction, thethe buyerâ&#x20AC;&#x2122;s premium shall beshall discounted 2.5% ofthis this 22%. No22%. exceptions. purchase made cash, check orwire wire transfer within 15 days of the auction, the buyerâ&#x20AC;&#x2122;s premium shall be discounted 2.5% of this 22%. No exceptions. purchase made by cash, check or wire transfer within 15 days of the auction, the buyerâ&#x20AC;&#x2122;s premium shall be discounted 3%2.5% of3% 25%. No exceptions. purchase made byby cash, check or wire transfer within 15 days of the auction, the buyerâ&#x20AC;&#x2122;s premium shall be discounted 3% ofthis this 25%. No exceptions. purchase made by cash, check or transfer within 15 days of the auction, the buyerâ&#x20AC;&#x2122;s premium shall be discounted of this 25%. No exceptions.

Signature Required Signature Required Signature Required Signature Required

Date Date Date Date

Internal Use Only: Approved _____________Registered ___________ Entered ____________ Fax Form on or before Friday, 1/31/15 For Internal Use Only: Approved _____________Registered ___________ Entered ____________ Fax Fax Form on or Friday, 1/31/15 ForFor Internal Use Only: Approved _____________Registered ___________ Entered ____________ Form on or before Friday, 1/31/15 For Internal Use Only: Approved _____________Registered ___________ Entered ____________ Fax Form on or before Friday, 1/31/15 Fax Form on or Friday,6/26/15 Fax Form on or Friday,6/26/15 Fax Form on or before Friday, 9/23/16 Fax Fax Form Form on or on or before Friday,6/26/15 Friday, 9/23/16 Fax Fax or E-mail Form form on or on orbefore before Friday,6/26/15 Thursday, 11/21/19 Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________

to 504-617-6431 504-617-9990 to 504-617-6431 or504-617-9990 504-617-9990 504-617-6431 504-617-9990 toto 504-617-6431 or 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 or 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 to 504-617-6431 504-617-9990 to to 504-617-6431 504-617-6431 oror bids@nealauction.com 504-617-9990

229 229 229 229

133

September 14 & 15, 2019 â&#x20AC;¢ Auction Results 134

0001 - $1,098 0002 - $448 0003 - $250 0004 - $732 0006 - $1,062 0007 - $366 0008 - $732 0010 - $671 0011 - $3,782 0012 - $3,584 0013 - $732 0014 - $1,500 0015 - $512 0016 - $125 0017 - $732 0018 - $488 0019 - $976 0020 - $732 0022 - $2,318 0024 - $732 0025 - $8,845 0026 - $3,050 0027 - $6,710 0028 - $4,880 0029 - $3,437 0030 - $2,500 0031 - $10,370 0032 - $5,120 0033 - $2,074 0034 - $2,176 0035 - $625 0036 - $1,250 0037 - $1,220 0038 - $1,792 0040 - $305 0041 - $3,782 0046 - $488 0047 - $2,684 0048 - $732 0049 - $1,342 0050 - $896 0052 - $1,220 0053 - $976 0055 - $1,098 0057 - $976 0058 - $976 0060 - $3,750 0061 - $1,464 0062 - $3,200 0063 - $488 0064 - $625 0065 - $488 0066 - $20,740 0067 - $18,300 0068 - $12,200 0069 - $448 0070 - $5,937 0071 - $5,120 0072 - $1,952 0073 - $732 0074 - $854 0075 - $1,098 0076 - $3,782 0077 - $976 0078 - $875 0080 - $2,562 0082 - $2,745 0084 - $2,375 0085 - $1,952 0086 - $1,220 0087 - $610 0089 - $2,250 0090 - $5,312 0091 - $6,710 0092 - $8,540 0095 - $1,098 0097 - $1,875 0098 - $9,150 0099 - $1,220 0100 - $3,416 0101 - $5,490 0102 - $1,098

0103 - $976 0104 - $976 0105 - $500 0106 - $732 0107 - $488 0108 - $1,920 0109 - $854 0111 - $4,270 0112 - $1,098 0113 - $4,880 0114 - $2,250 0115 - $2,074 0117 - $2,562 0118 - $1,024 0120 - $3,965 0121 - $1,875 0124 - $4,270 0126 - $610 0128 - $3,050 0129 - $875 0130 - $1,586 0131 - $1,830 0132 - $1,586 0133 - $1,220 0134 - $1,342 0135 - $896 0136 - $1,342 0137 - $8,540 0138 - $1,586 0139 - $2,318 0140 - $10,980 0141 - $4,575 0142 - $3,416 0143 - $2,074 0144 - $8,845 0145 - $3,660 0146 - $3,200 0147 - $3,660 0148 - $1,098 0149 - $3,416 0150 - $7,625 0152 - $1,536 0153 - $1,280 0154 - $960 0155 - $23,180 0156 - $18,300 0157 - $3,660 0159 - $1,830 0160 - $1,708 0162 - $625 0164 - $3,125 0165 - $1,708 0168 - $976 0170 - $2,304 0171 - $4,375 0172 - $2,432 0174 - $24,400 0175 - $6,250 0176 - $1,464 0177 - $1,037 0178 - $3,172 0179 - $1,000 0180 - $7,625 0181 - $1,220 0182 - $3,050 0183 - $4,575 0185 - $793 0186 - $854 0187 - $732 0188 - $549 0189 - $427 0190 - $854 0193 - $4,880 0194 - $6,100 0194A - $15,250 0195 - $103,700 0196 - $7,930 0197 - $976 0198 - $1,220 0199 - $2,176 0200 - $17,080 0201 - $6,405

0202 - $976 0203 - $5,185 0204 - $1,586 0205 - $854 0206 - $1,220 0207 - $2,318 0208 - $488 0209 - $732 0210 - $732 0211 - $2,560 0212 - $2,048 0213 - $732 0214 - $793 0215 - $1,125 0216 - $1,250 0217 - $732 0219 - $896 0220 - $14,000 0221 - $3,965 0222 - $854 0223 - $1,152 0224 - $366 0225 - $625 0226 - $256 0227 - $366 0228 - $305 0229 - $366 0230 - $1,708 0231 - $183 0232 - $250 0233 - $448 0234 - $305 0236 - $384 0237 - $244 0238 - $812 0239 - $4,270 0240 - $1,250 0241 - $768 0242 - $448 0243 - $244 0244 - $427 0245 - $244 0246 - $896 0247 - $750 0248 - $1,342 0249 - $576 0250 - $750 0253 - $384 0254 - $875 0255 - $427 0258 - $976 0262 - $1,250 0263 - $2,440 0264 - $732 0265 - $3,050 0266 - $1,664 0268 - $12,810 0269 - $3,840 0270 - $1,220 0272 - $3,050 0273 - $732 0275 - $1,220 0276 - $80,520 0278 - $7,015 0280 - $2,196 0282 - $854 0283 - $1,098 0284 - $2,806 0285 - $4,880 0286 - $1,098 0287 - $1,220 0288 - $305 0289 - $1,098 0290 - $85,400 0291 - $12,200 0292 - $3,660 0293 - $2,196 0294 - $39,650 0295 - $12,200 0298 - $1,024 0300 - $6,100 0301 - $3,050

0302 - $32,000 0303 - $31,720 0304 - $3,660 0306 - $5,440 0307 - $60,800 0308 - $36,600 0309 - $4,880 0310 - $6,100 0311 - $12,810 0312 - $5,000 0313 - $3,660 0314 - $3,840 0315 - $4,480 0320 - $1,792 0321 - $610 0323 - $8,125 0327 - $832 0328 - $704 0330 - $375 0332 - $1,125 0333 - $640 0334 - $915 0335 - $915 0336 - $22,570 0337 - $47,580 0338 - $33,280 0340 - $6,405 0343 - $244 0344 - $4,880 0345 - $3,355 0346 - $8,235 0348 - $1,586 0351 - $5,937 0352 - $1,408 0353 - $1,464 0354 - $793 0355 - $2,440 0356 - $5,760 0357 - $6,100 0358 - $610 0359 - $549 0360 - $1,220 0362 - $937 0363 - $1,037 0364 - $1,000 0365 - $1,830 0366 - $2,304 0367 - $61 0370 - $512 0371 - $366 0372 - $366 0374 - $3,520 0375 - $1,408 0376 - $2,688 0378 - $2,432 0379 - $2,625 0381 - $1,750 0383 - $9,455 0384 - $8,960 0387 - $6,400 0388 - $12,800 0389 - $5,760 0390 - $6,720 0391 - $5,185 0392 - $5,440 0393 - $9,150 0394 - $3,172 0395 - $2,125 0397 - $768 0398 - $500 0399 - $625 0401 - $2,806 0402 - $1,220 0403 - $3,416 0404 - $854 0405 - $1,280 0408 - $812 0410 - $488 0412 - $2,304 0413 - $1,750 0414 - $976 0415 - $640

0420 - $2,745 0421 - $640 0424 - $1,920 0426 - $768 0427 - $976 0429 - $854 0430 - $1,664 0431 - $312 0432 - $427 0434 - $1,037 0435 - $1,586 0436 - $8,640 0437 - $1,708 0441 - $488 0443 - $1,220 0444 - $854 0445 - $854 0447 - $640 0448 - $1,098 0449 - $671 0453 - $1,220 0454 - $610 0458 - $1,500 0460 - $2,684 0462 - $549 0463 - $1,792 0464 - $183 0465 - $1,216 0466 - $1,920 0467 - $732 0469 - $3,050 0470 - $3,660 0471 - $732 0472 - $3,965 0473 - $976 0474 - $1,098 0475 - $640 0476 - $1,464 0477 - $976 0478 - $1,830 0479 - $976 0480 - $610 0481 - $4,880 0482 - $3,712 0483 - $625 0484 - $732 0486 - $976 0487 - $854 0488 - $875 0490 - $6,080 0493 - $1,152 0494 - $610 0495 - $512 0497 - $366 0498 - $610 0499 - $3,965 0501 - $1,024 0502 - $1,586 0503 - $1,220 0504 - $305 0505 - $366 0506 - $250 0507 - $427 0508 - $960 0509 - $2,560 0510 - $2,432 0511 - $366 0512 - $1,187 0513 - $625 0515 - $576 0516 - $250 0517 - $1,830 0518 - $488 0519 - $2,196 0520 - $1,464 0522 - $832 0524 - $1,920 0525 - $896 0527 - $488 0528 - $366 0529 - $625 0531 - $427

0532 - $549 0533 - $488 0536 - $625 0538 - $366 0539 - $500 0540 - $500 0544 - $1,216 0546 - $640 0547 - $704 0548 - $640 0550 - $366 0552 - $732 0553 - $1,536 0555 - $1,037 0557 - $11,590 0558 - $2,806 0559 - $3,500 0560 - $2,562 0561 - $1,586 0563 - $1,952 0564 - $610 0565 - $2,048 0567 - $1,464 0569 - $896 0571 - $5,490 0572 - $9,760 0573 - $3,750 0575 - $854 0576 - $17,080 0577 - $4,062 0579 - $5,490 0581 - $2,187 0582 - $2,560 0584 - $2,500 0585 - $8,375 0586 - $976 0593 - $1,000 0595 - $250 0596 - $9,150 0597 - $2,684 0599 - $4,800 0602 - $2,250 0603 - $3,538 0608 - $3,456 0610 - $671 0611 - $1,875 0616 - $8,375 0617 - $3,750 0622 - $427 0623 - $384 0624 - $1,159 0625 - $671 0628 - $640 0629 - $1,342 0630 - $1,342 0632 - $183 0633 - $427 0634 - $1,792 0637 - $671 0638 - $305 0639 - $488 0641 - $448 0642 - $549 0643 - $448 0644 - $832 0645 - $384 0646 - $375 0647 - $1,152 0648 - $256 0649 - $256 0651 - $3,712 0652 - $512 0653 - $256 0654 - $192 0656 - $3,840 0657 - $256 0658 - $125 0660 - $1,000 0663 - $256 0666 - $256 0667 - $768 0668 - $256

0670 - $320 0671 - $244 0672 - $549 0673 - $187 0674 - $244 0675 - $192 0676 - $320 0678 - $427 0680 - $384 0681 - $488 0682 - $976 0683 - $976 0686 - $375 0687 - $976 0688 - $375 0690 - $896 0691 - $427 0692 - $244 0693 - $305 0694 - $427 0695 - $122 0696 - $192 0697 - $610 0699 - $1,220 0700 - $183 0701 - $640 0703 - $244 0704 - $488 0706 - $1,536 0708 - $896 0710 - $512 0711 - $976 0712 - $512 0713 - $793 0714 - $488 0715 - $3,375 0716 - $1,220 0717 - $2,875 0719 - $512 0721 - $384 0722 - $562 0723 - $576 0724 - $2,048 0725 - $875 0726 - $448 0727 - $384 0729 - $427 0731 - $488 0732 - $1,408 0733 - $244 0734 - $640 0735 - $250 0738 - $427 0739 - $732 0741 - $375 0742 - $512 0744 - $244 0745 - $183 0746 - $122 0747 - $256 0749 - $187 0750 - $704 0751 - $384 0752 - $610 0753 - $250 0754 - $187 0755 - $192 0756 - $192 0757 - $427 0758 - $750 0759 - $256 0760 - $512 0761 - $549 0762 - $312 0763 - $244 0764 - $437 0765 - $183 0766 - $488 0768 - $3,328 0769 - $832 0770 - $1,037 0771 - $1,088

0772 - $1,062 0775 - $4,880 0777 - $704 0779 - $3,625 0781 - $1,098 0782 - $1,125 0783 - $2,440 0784 - $671 0785 - $375 0787 - $3,125 0788 - $2,684 0789 - $488 0790 - $610 0792 - $6,400 0793 - $125 0794 - $256 0796 - $1,625 0797 - $384 0799 - $576 0800 - $375 0801 - $640 0802 - $1,152 0804 - $3,660 0805 - $2,562 0806 - $427 0806A - $375 0807 - $960 0808 - $1,098 0809 - $854 0810 - $1,037 0811 - $671 0812 - $305 0813 - $312 0814 - $832 0815 - $437 0816 - $937 0817 - $1,000 0818 - $937 0820 - $2,318 0821 - $768 0822 - $687 0823 - $2,816 0824 - $488 0825 - $732 0826 - $488 0827 - $625 0828 - $854 0830 - $488 0832 - $512 0833 - $427 0834 - $610 0835 - $366 0836 - $488 0838 - $732 0839 - $1,098 0840 - $305 0842 - $366 0843 - $192 0844 - $854 0845 - $384 0846 - $732 0847 - $896 0848 - $732 0849 - $549 0850 - $750 0851 - $2,304 0852 - $1,220 0854 - $244 0855 - $305 0856 - $640 0857 - $384 0859 - $366 0860 - $366 0861 - $3,660 0862 - $732 0863 - $488 0864 - $437 0865 - $4,392 0866 - $1,152 0867 - $640 0868 - $1,098 0870 - $2,074

0871 - $976 0872 - $2,440 0873 - $1,000 0874 - $187 0875 - $1,342 0876 - $218 0877 - $427 0878 - $3,294 0879 - $437 0880 - $854 0881 - $512 0883 - $305 0885 - $427 0888 - $375 0889 - $976 0890 - $244 0891 - $427 0893 - $640 0894 - $671 0897 - $576 0898 - $625 0899 - $1,536 0900 - $625 0904 - $562 0906 - $976 0907 - $750 0908 - $427 0909 - $610 0910 - $610 0911 - $512 0912 - $1,342 0913 - $1,088 0914 - $1,664 0915 - $671 0916 - $1,088 0917 - $366 0918 - $512 0919 - $256 0920 - $256 0921 - $183 0922 - $183 0923 - $640 0924 - $256 0925 - $704 0926 - $549 0927 - $671 0928 - $875 0930 - $1,792 0931 - $244 0932 - $366 0933 - $610 0934 - $384 0935 - $1,830 0936 - $1,464 0937 - $1,664 0939 - $1,280 0940 - $732 0941 - $671 0942 - $250 0947 - $500 0948 - $854 0949 - $488 0950 - $549 0951 - $384 0953 - $896 0954 - $305 0955 - $256 0957 - $320 0958 - $183 0959 - $366 0960 - $640 0961 - $192 0963 - $610 0964 - $488 0965 - $854 0966 - $1,220 0967 - $488 0968 - $384 0970 - $375 0971 - $793 0972 - $244 0973 - $488

0974 - $384 0975 - $183 0976 - $250 0977 - $312 0978 - $244 0979 - $192 0981 - $448 0982 - $125 0983 - $1,088 0984 - $1,024 0986 - $1,062 0987 - $343 0988 - $312 0991 - $183 0993 - $256 0994 - $3,538 0995 - $1,098 0996 - $3,294 0997 - $768 1000 - $250 1001 - $480 1004 - $512 1005 - $183 1007 - $427 1008 - $425 1011 - $366 1012 - $192 1013 - $244 1015 - $1,037 1016 - $128 1018 - $625 1019 - $549 1020 - $320 1022 - $256 1023 - $128 1024 - $352 1025 - $1,342 1026 - $854 1028 - $610 1030 - $610 1033 - $183 1035 - $812 1036 - $512 1040 - $1,220 1041 - $1,220 1042 - $375 1043 - $427 1045 - $152 1047 - $281 1048 - $915 1049 - $274 1050 - $625 1051 - $732 1052 - $854 1053 - $3,965 1054 - $1,098 1056 - $384 1058 - $250 1061 - $610 1062 - $416 1063 - $384 1064 - $352 1067 - $1,220 1068 - $406 1069 - $732 1070 - $256 1072 - $1,024 1075 - $384 1076 - $125 1078 - $305 1079 - $1,708 1080 - $976 1081 - $488 1082 - $915 1083 - $488 1084 - $768 1085 - $244 1086 - $183 1087 - $1,088 1088 - $512 1090 - $62 1093 - $488

1094 - $3,200 1095 - $2,196 1096 - $512 1098 - $366 1099 - $366 1100 - $640 1102 - $187 1103 - $562 1106 - $854 1107 - $500 1108 - $1,220 1109 - $812 1110 - $312 1111 - $500 1112 - $320 1113 - $768 1114 - $312 1115 - $122 1116 - $128 1117 - $576 1118 - $122 1120 - $256 1121 - $244 1122 - $244 1124 - $187 1126 - $320 1127 - $312 1128 - $183 1129 - $125 1130 - $122 1131 - $305 1132 - $244 1133 - $375 1134 - $488 1135 - $244 1136 - $244 1137 - $256 1138 - $320 1139 - $187 1140 - $187 1141 - $427 1142 - $187 1143 - $288 1144 - $305 1146 - $427 1147 - $610 1149 - $1,037 1150 - $610 1151 - $687 1152 - $448 1153 - $549 1154 - $549 1156 - $187 1157 - $128 1159 - $61 1160 - $1,037 1161 - $183 1162 - $1,024 1164 - $183 1166 - $768 1167 - $244 1168 - $610 1169 - $183 1170 - $312 1171 - $671 1172 - $256 1173 - $192 1174 - $549 1175 - $427 1176 - $366

Franklin Adams, 350 Jacques Guillaume Lucien Amans, 264 American School, 266, 952, 959, 978, 1253, 1271, 1272 Walter Inglis Anderson, 308 Georg Arnold-Grabone, 1182 Pierre Audoin, 442 John James Audubon, 351, 365-380, (aft) 485, 902, 1000, 1001, (aft) 1030

Rowland Fade, 473 Henry Charles Fehr, 85 French School, 1175, 1279 Ron Fritts, 498 Nestor Frugé, 964, 965, 973

Doug MacCash, 334 Shirley Rabe Masinter, 974 Julia M. Massie, 953 Kerri McCaffety, 710 Charles C. McPhee, 1174 Juan Medina, 1103 Joseph Rusling Meeker, 254 James Michalopoulos, 332 Clarence Millet, 257, 272, 287, 904, 938, 939 Sam Minot, 1098 Jules Moigniez (aft), 867 C. Bennette Moore, 707 Francis Luis Mora, 1037 Francesco Moretti, 1177 Elemore Morgan, Jr., 336 George Morland (mnr), 864 Mariano Moro, 748, 749, 755 Philip Richard Morris, 865 Donald Allen Mosher, 1251 Anne Wells Munger, 278

Phillip Anthony Sage, 903 Jose Francisco Xavier de Salazar y Mendoza, 263 Toland Peter Sand, 741 Phil Sandusky, 501 George Schmidt, 937 Henry Schouten, 419 Darrell Loy Scott, 977 John T. Scott, 347 Dominique Edouard Seghers, 383 Archimede Seguso, 740, 742 Frank Henry Shapleigh, 342 Pino Signoretto, 738 William Posey Silva, 341 Hunt Slonem, 298, 299 Marshall D. Smith, 944 M.L. Snowden, 788 Will Henry Stevens, 274, 339, 340 Marcel Stockmans, 976 Charles Frederick Surendorf, 1034 Emanuel Sweerts, 698

Carl Nebel, 352 Alexandra Nechita, 704

Althea Dodson Tanner, 323, 324 Leticia Tarrago, 906 Emmitt Thames, 946-948 Charles Winfield Tice, 955 Louis Etienne Timmermans, 1183 Stefano Toso, 743, 744 Stefanie Trautweiller, 1254 Fred Trenchard, 785 Nguyen Hung Trinh, 1120 Pat Trivigno, 294

B Monica Backstrom, 752 Alfredo Barbini, 757 Alvin Batiste, 975 Sir William Beechey, 50 Robert Bénard, 701 Philippe Benoist, 442 Basilius Besler, 80 N. Henry Bingham, 958 Jim Blanchard, 504 Jason Bouldin, 503 Antoine Bouvard, Sr., 79, 860 William Penn Brannan, 1250 British School, 51, 418, 802 H.C. Buttler, 866 C

Elliott Daingerfield, 957 Ronald Davis, 1101 Benneson deJanes, 1028 Eugene Delcroix, 705 Hisao Domoto, 17 Alexander John Drysdale, 252, 253, 268, 282, 346, 507, 930, 931, 936, 962 George Bauer Dunbar, 291, 292, 327, 328, 1029 William Dunlap, 337 George Valentine Dureau, 350, 516 E Lin Emery, 497 Erté, 18, 480

H William Weeks Hall, 250, 251 David Harouni, 300, 333 Frederick Hart, 787, 789, 790 Shlomi Haziza, 792 Earl Hébert, 509 Ernst Hegenbarth, 482 Colette Pope Heldner, 942, 943, 951 Knute Heldner, 267, 506, 929, 945, 1035 Morris Henry Hobbs, 102, 270, 271, 702, 703, 1036 Newton Reeve Howard, 288 Marie Atkinson Hull, 275, 276 Clementine Hunter, 345, 510-512, 932, 933 I Italian School, 1102 J Paul Jacoulet, 686 Japanese School, 1214, 1215 Billy Jernigan, 1099 Mats Jonasson, 750 Alexander Juliard, 201 Everett B.D. Fabrino Julio, 363 K George Wilkins Kendall, 352 Pal Kepenyes, 499 Alberta Kinsey, 273, 940 Ida Rittenberg Kohlmeyer, 293, 335, 350 Adolph Kronengold, 971, 972 L James Rogers Lamantia, 325 Walter Lansil, 1100 John Lapsley, 514 Clarence John Laughlin, 258-261, 486-488, (attr) 708 Larry Leach, 505 Adele Lemm, 786 Marjorie Liebman, 269 Jules Lion, 1009 Ashley Longshore, 301 Louisiana School, 281, 969, 970 David Lucas, 476

O William Ousley, 508 P Frances Flora Bond Palmer (aft), 999 John Palmer, 791 Emil Pap, 1180 Joseph Honoré Maxime Pellegrin, 484 Achille Perelli, 949 Ramon Alorda y Perez, 1176 Emile Louis Picault (aft), 479 Vittorio Amadeo Preziosi, 202 R Milne Ramsey, 960 Rebecca Rebouché, 1022 Charles Reinike, Jr., 513 Chet Reneson, 956 Pierre Auguste Renoir, 105 Richard Dey De Ribcowsky, 1173 Jim Richard, 350, 500 Charles Whitfield Richards, 967 Rembrandt van Rijn (aft), 1178 Jan Erik Ritzman, 751 Auguste Rodin (aft), 1225 George Rodrigue, 289, 290, 302-304, 329-331, 348, 349, 492-496, 907-914 Dino Rosin, 736 Loredano Rosin, 756 Mark Rossi, 793 Robert Malcolm Rucker, 941, 961, 961

U Giuseppe Uva, 1161 V Bertha Valkenburg, 1273 Vargas Family, 981 Jose Antonio Velasquez, 980 George Louis Viavant, 280 Emmanuel Villanis (aft), 1225 Sebastian Theodorus Voorn Boers, 203 W William Aiken Walker, 283-286, 343, 934, 935 Göran Wärff, 753, 758, 760 Clifton Webb, 350 Terry Weldon, 350 William Edward West (attr), 362 T. Wheatley, 803 James Abbott McNeill Whistler, 104 James Ralph Wilcox, 950 Michael Wilkinson, 794, 795 William Henry Williamson, 804 Theodore “Fonville” Winans, 381, 706 Mildred Nungester Wolfe, 277 Ellsworth Woodward, 279, 966 William Woodward, 968

Artist Index

George Gach, 1252 Jane Garner, 338 Ambroise Louis Garneray, 103 Charles Giroux (attr.), 265 Glenna Goodacre, 1225 Robert Gordy, 515 John Gould, 1002 Angela Gregory, 963 Louis Oscar Griffith, 905

•

Debbie Fleming Caffery, 489-491 Grace Neville Carrothers, 979 Henry Casselli, 295-297 Mark Catesby, 699 Eugene Henri Cauchois, 78 Afro Celotto, 735 Walter Chaloner, 344 Manville Chapman, 954 Nicole Charbonnet, 502 John Clemmer, 326 Continental School, 77, 204, 205, 693695, 697, 861, 862, 1159, 1160, 1162-1164, 1179, 1181, 1184, 1255 Alphonse Cornet, 863 John Costin, 711 José-María Cundin, 305-307 Louis-Robert Cuvillon, 696

November 23 & 24, 2019

Y Charles T. Yenni, 709 Hiroshi Yoshida, 1213

135

Notes:

136

Neal Auction Company John R. Neal (1940-2018), Founder Neal Alford President

Katherine Hovas Senior Vice President

Marc Fagan Vice President Consignments

Michelle LeBlanc Leckert, CAI Vice President

Bettine Field Carroll Vice President Business Development CONSIGNMENTS

ADMINISTRATION Director of Administration & Finance Michelle LeBlanc Leckert, CAI

Furniture & Decorative Arts Neal Alford; Polly Rolman-Smith

Client Services / Accounts Receivable Rebekah Abernathy

Paintings, Prints & Photography Marney Robinson; Sophie Hirabayashi; Beth Sherwood; Casey Foote

Database Management / Internet Auction Administrator Lisa Weisdorffer

Books, Maps & Natural History Prints Marc Fagan

Administrative Assistant / Social Media Coordinator / Junior Cataloger Cameron McHarg General Manager Jason Leckert

Graphics Director / Catalogue Design David Roberts Graphics Assistant Muffin Bernstein

Consignments Administrator / Condition Report Manager Matthew Cohn AUCTION SERVICES Director of Museum Services & Research Douglas Lewis, Ph.D., F.A.A.R.

Photography Jason Leckert Gerard Lewis Owen Murphy

Trust & Estates Advisor Henry G. McCall Senior Appraiser Fine Arts Amanda Mantle Winstead

OPERATIONS Director of Operations Stephen Dewey

EXHIBITION STAFF Cecile Ballard Cammie Mayer Margo Phelps

Asian Arts Bettine Field Carroll Inventory Coordinator Stephen Dewey

GRAPHICS

Operations Staff Corey Brown Charlie Clay Kelvin Gibson

Silver & Decorative Arts Katherine Hovas

Jerry Majors Benjamin Rhodes Marvin Varnado Yvette Semmes Carolyn Wogan

AUCTIONEERS Neal Alford #797 Michelle LeBlanc Leckert #1514 Bettine Field Carroll #1874 Marc Fagan #1935

Appraisals Marc Fagan CATALOGUE CONSULTANTS Paintings & Fine Arts Amie Strickland Furniture & Decorative Arts Josh Broussard; Doris Mollenkopf Newcomb Pottery & Decorative Arts Sally Main Silver Carey Mackie Decorative Arts & Victoriana Ann M. Masson Asian Arts Richerson Rhodes Jewelry Stephen A. Moses, GIA Graduate Gemologist