Premier Collections: Art & Interiors LIVE SeptemberAUCTION9&10,2022 Neal Auction
in observance of Labor Day AUCTION Friday,
Early American and Federal Furniture from a Mississippi Antiquarian Jewelry from the Estate of Legendary New Orleans Performer Chris Owens And Property of Others
Preview,
Rare Acadian Furniture and Southern Paintings from the Estate of Reuel Lacy “Sonny” and June Ann Anderson, Baton Rouge, Louisiana Fine Rugs and Carpets from the Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, Louisiana Fine Rugs and Carpets from a McIlhenny Family Estate Collection, New England
Fine Furniture, Paintings, Decorative Objects and Rare Antique Weapons from a New Orleans Estate Collection
Saturday,
Beginning Monday, August 29, 10 a.m. to 5 p.m. Saturday September 3, 10 a.m. to 5 p.m. Monday, September 5 September 9, beginning at 1:00 p.m., lots 1-261 September 10, beginning at 11:00 a.m., lots 261-692
Special
Neal Auction Company Auctioneers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 | 504.899.5329 | www.nealauction.com LA Auc. Lic., Neal Auction Co. #AB-107 Leckert #1514, Carroll #1874, Fagan #1935, Robinson #2155 EXHIBITION
Please note that we will be closed
Property from the Collection of Mr. and Mrs. Stephen A. Moses, 4417 St. Charles Avenue, New Orleans, Louisiana
Additional Property from the Estate of Highly Acclaimed New Orleans Artist, Furniture Maker, Designer and Collector Mario Villa (1953-2021)
FEATURING: Premier Collections: Art & Interiors September 9 & 10, 2022
MR. AND MRS.
COLLECTION OF Antiquarian Stephen Moses is renowned for his expertise in 18th century English furniture, silver and porcelains, and antique jewelry. For decades he ran Waldhorn Antiques, founded by his greatgrandfather Moise Waldhorn in 1881, and operating at 343 Royal Street for more than 100 years.
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Stephen and his wife, Dee’s personal collection encompasses period English furnishings and fine antique English and Chinese Export porcelains as well as contemporary art. The objects comprising the collection were juxtaposed with great style in their elegant residence, 4417 St. Charles Avenue. Neal Auction Company is pleased to present the Moses Collection.
STEPHEN A. MOSES
3 Session One Friday, September 9, 1 p.m. lots 1-260
Provenance:[$700/1000]Nahan Galleries, New Orleans, LA. 4. After Pablo Picasso (Spanish, 1881-1973), “Sculpteur avec Son Modèle, Sa Sculpture et un Bol d’Anémones”, “Sculpteur, Modèle, Sculpture et Poisson Rouge”, “Jeune Sculpteur Finissant un Plâtre”, “Sculpteur au Repos avec Marie-Thérèse et Sa Représentation en Vénus Pudique” and “Sculpteur au Repose avec Modèle, Démasqué et Sa Représentation Sculptée”, 5 reproduction lithographs, inscribed and signed in plate, each pencil-numbered lower left, 1 from edition of 320, 2 from edition of 325 and 2 from edition of 340, from Suite Vollard, sights 12 1/2 in. x 8 1/2 in., framed alike. (5 pcs.) [$300/500]
1. Continental Brass and Amethyst Geode Center Table, manner of Jacques Duval-Brasseur, organic-form base, glass top, wired for lighting, h. 30 in., dia. 54 in. Provenance:[$1500/2500]Dallas, TX Estate.
Neal Auction is pleased to present select property from the Collection of Mr. and Mrs. Stephen A. Moses, lots 1-90
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3. After Pablo Picasso (Spanish, 1881-1973), “Scène de Famille”, 1967, lithograph on wove paper, signed á pochoir in green lower right, pencil-numbered “45/500” lower left, inscribed in plate, “Richard de Bas” and publisher’s watermarks visible, from La Flûte Double suite, published by Au Vent d’Arles, Saint-Paul de Vence, printed by Daniel Jacomet, Paris, sheet 21 1/2 in. x 16 5/8 in., framed.
2. After Pablo Picasso (Spanish, 1881-1973), “Faune et Femme Nue”, 1967, lithograph on wove paper, signed á pochoir in green lower right, pencilnumbered “63/500” lower left, inscribed in plate, “Richard de Bas” and publisher’s watermarks visible, from La Flûte Double suite, published by Au Vent d’Arles, SaintPaul de Vence, printed by Daniel Jacomet, Paris, sheet 16 5/8 in. x 21 1/2 in., framed. NewProvenance:[$700/1000]NahanGalleries,Orleans,LA
8. Regency Worcester Porcelain Centerbowl, early 19th c., mazarine blue ground with floral reserves, h. 5 1/8 in., dia. 12 7/8 in.; note restoration. [$150/250]
7. Near Pair of Regency Worcester Porcelain Covered Urns, c. 1800-1810, mazarine blue ground with floral reserves, gilt finials and dolphin handles, h. 13 in. [$2000/3000]
9. Regency Worcester Porcelain Potpourri Basket, early 19th c., mazarine blue ground with floral and gilt anthemia, h. 4 1/2 in., dia. 4 in.; together with a similarly decorated Worcester porcelain plate, dia. 8 1/2 in. (2 pcs.) [$400/600]
6. Continental Carved Giltwood Mirror, early 18th c., arched rocaille crest, foliate sides, scrolling acanthus and shell base, h. 44 in., w. 20 1/2 [$1200/1800]in.
10. Chelsea Porcelain Mazarine Blue Square Baluster Vase and Cover, 18th c., gold anchor mark, hipped lid with knopped finial, peacock reserves, gilt diapering, h. 14 1/4 in. Provenance:[$400/600]Manheim Galleries, Neal Auction Company, Feb. 27, 2002.
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5. After Marc Chagall (Russian/ French, 1887-1985), “Danseuse au Flutiste”, offset lithograph, numbered “II 144/500” and printed signature lower margin, 26 1/2 in. x 19 1/4 in., framed; and “Bouquet de Fleurs devant une fenêtre ouverte”, offset lithograph, numbered “III 66/500” and printed signature lower margin, title and artist inscribed en verso, 20 in. x 26 in., framed. (2 pcs.) [$300/500]
17. Pedro Friedeberg (Mexican, b. 1936), “Queen of Sheba’s Throne”, gilt and painted wood mixed media, signed on underside, h. 18 3/4 in., w. 13 1/4 in., d. 7 7/8 in; accompanied by a copy of a certificate of authenticity from the artist. (2 pcs.) Provenance:[$2000/3000]Neal Auction Company, Aug. 1, 1998, lot 105.
15. Antique Gustavian Creme Peinte and Carved Giltwood Looking Glass, blocked and interlaced molded surround with laurel swags, h. 36 in., w. 29 5/8 in. [$700/1000]
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12. Dr. Wall MochaTeapot,“Kakiemon”WorcesterPorcelainTeapotStandandCup , c. 1785, marked, teapot h. 6 in., stand dia. 5 1/4 in., cup h. 2 1/2 in. (3 pcs.) [$300/500]
11. Pair of Dr. Wall Worcester “Blue Scale” Porcelain Coffee Cups, c. 1770-1780, square mark, h. 2 7/8 in. [$150/250]
13. Dr. Wall (1st Period) Worcester Imari “Old Mosaic” Porcelain Cake Dish, c. 1765-1770, marked, l. 9 1/4 in. [$200/300]
14. Dr. TeapotWorcesterWallPorcelainStand , late 18th c., crescent mark, dia. 5 1/2 [$150/250]in.
16. Pedro Friedeberg (Mexican, b. 1936), “Angel”, gilt and painted wood with mixed media, unsigned, h. 19 1/2 in., w. 8 3/4 in., d. 11 in. Provenance:[$2500/3500]Neal Auction Company, Aug. 1, 1998, lot 107.
26. Chinese Export Blue and White Porcelain Octagonal Platter, 18th c., decorated with central waterscape with pagodas, buildings, bridge, boats, and people with rocks and trees, wide upturned rim with moth motifs, floral sprays and brocades, h. 1 1/4 in., w. 14 1/2 in., d. 11 3/4 in. [$200/300]
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19. Chinese Export Blue and White Porcelain Octagonal Platter, 18th c., well decorated with willow, peony and rock within fenced garden, wide upturned rim with floral meanders, brown washed rim, h. 1 1/2 in., w. 16 1/4 in., d. 13 1/4 in. [$400/600]
28. Three Chinese Export Blue and White Porcelain Octagonal Platters, 19th c., variously decorated with birds or waterscapes, moth and brocade borders, l. 12 1/4 in., 13 in. and 14 1/4 in., w. 9 in., 10 1/4 in., and 10 3/4 in. [$200/300]
18. Two Chinese Export Blue and White Porcelain Covered Vegetable Tureens, 19th c., pine cone finials, shaped oval bodies, similarly decorated with waterscape scenes with pagodas, buildings, and bridges, h. 5 in. and 5 1/4 in., w. 11 1/8 in. and 11 1/4 in., d. 8 7/8 in. and 9 1/4 in. [$400/600]
20. Two Chinese Blue and White Porcelain Sauceboats, 19th c., twisted vine handles, decorated with landscapes, one with Jianding wax export seal, h. 2 1/2 in., w. 7 1/8 in., d. 3 7/8 in.; together with 2 tureen bottoms, h. 2 1/8 in., w. 7 1/4 in., d. 4 1/4 in. and 4 1/2 in. (4 pcs.) [$200/300]
21. Chinese Export Blue and White Porcelain Octagonal Platter, Qing Dynasty (1644-1912), decorated with central waterscape with figures, wide, upturned rim with shaped diapered border with floral cartouches and sprays, brown washed rim, h. 2 in., w. 16 in., d. 13 1/4 in. [$300/500]
24. Chinese Export Blue and White Porcelain Octagonal Deep Dish Platter, decorated with peony sprays, cell diaper cavetto, shaped border with brocades and flower sprays, h. 2 3/8 in., w. 14 3/4 in., 11 1/4 in. [$300/500]
27. Chinese Export Blue and White Porcelain Octagonal Platter, 19th c., decorated with waterscape with pagodas, wide upturned rim with brocade, diaper and floral border, h. 1 3/8 in., w. 14 3/4 in., d. 11 3/8 in. [$200/300]
23. Chinese Export Blue and White Porcelain Octagonal Platter, 19th c., decorated with village seascape, wide upturned rim with brocade balls, floral sprays and brocade borders, h. 1 1/4 in., w. 16 1/4 in., d. 13 in. [$300/500]
22. Chinese Export Blue and White Porcelain Octagonal Platter, well crisply decorated with landscape and seascape vignettes, cell diaper cavetto with floral cartouches, upturned wide rim with intricate textile patterns and leafy floral and fruit vines, h. 1 1/2 in., w. 17 7/8 in., d. 14 7/8 in. [$300/500]
25. Chinese Export Blue and White Porcelain Deep Dish Octagonal Platter, 19th c., decorated with central village waterscape, rim with shaped border with florals and brocades, h. 2 5/8 in., w. 14 1/2 in., d. 11 1/4 in. [$300/500]
Provenance:
33. Chinese Export Famille Rose Decorated Blue and White Porcelain Tankard, 18th c., painted with figural scene and sepia bird-and-flower vignettes within incised slipmolded cartouches, h. 4 1/2 in.; together with Chinese Export Famille Rose decorated blue and white porcelain tankard, 18th c., enameled with floral swags and medallions, h. 5 1/8 in. (2 pcs.) [$150/250]
Provenance: Estate of Dorothy Mintz (1920-2014), New Orleans; Neal Auction Company, Sept. 2014, lot 146.
37. Chinese Export Famille Rose Decorated Blue and White Butter Tub, 18th c., oval body and cover painted with flower sprays, h. 3 1/4 in., w. 5 1/4 in., d. 4 1/4 in.; together with blue and white mocha cup and saucer, 19th c., saucer dia. 4 1/2 in.; and Canton blue and white gravy boat, h. 2 7/8 in., l. 7 1/2 in., w. 4 in. (4 pcs.) [$150/250]
Estate of Dorothy Mintz (1920-2014), New Orleans; Neal Auction Company, Sept. 2014, lot 1223.
Provenance:[$200/300]
31. Clobbered Chinese Export Porcelain Bowl, Qing Dynasty (1644-1911), vibrantly enameled with extensive waterscape with pavilions, boats, birds, and trees, h. 5 1/8 in., dia. 12 1/4 in. [$200/300]
36. Group of Chinese Export Famille Rose Porcelain, 18th and 19th c., incl. 3 small shaped dishes or spoon rests, dia. 3 3/4 in.; l. 5 in.; and l. 5 1/2 in.; covered tea caddy, h. 5 in.; and rose medallion saucer, dia. 6 in. (5 pcs.) [$400/600]
35. Chinese Export Famille Rose Porcelain Sugar Bowl, 18th c., twisted vine handles, painted with figural scenes and sepia landscapes, h. 4 in., w. 6 1/8 in., d. 4 3/8 in. [$150/250]
34. Chinese Export Imari Porcelain Covered Teapot, 18th/19th c., decorated with antiques, flowers and brocade patterns, chain connecting loop handle to low-domed lid, h. 4 1/8 in., w. 7 1/4 in.
29. Chinese Export Famille Rose Pseudo Tobacco Leaf-Shaped Dish, h. 7/8 in., w. 7 1/2 in., d. 5 5/8 in. [$250/350]
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32. Gilt Clobbered Chinese Export Imari Porcelain Octagonal Platter, 18th c., boldly overpainted with gilt flowers on a landscape with flowers and rocks, h. 1 1/4 in., w. 15 1/4 in., d. 11 1/4 in. [$200/300] Neal Auction Company, Aug. 2005, Lot 1027.
30. Clobbered Chinese Export Porcelain Punch Bowl, Qing Dynasty (1644-1911), later colorfully washed and decorated seascape panels on apple green sharkskin textured ground with butterflies and flowers, h. 4 1/2 in., dia. 11 1/8 in.; together with another example, painted with fenced garden scene, h. 5 in., dia. 11 1/2 in. (2 pcs.) [$400/600]
41. Minton Polychrome and Gilt Porcelain ShellForm Cake Dish, c. 1830, floral pattern, reticulated rim, l. 10 in., w. 9 in. [$100/200]
43. William and Mary Banded Oak Dresser Base, c. 1760, plank top, bank of six drawers flanked by arched paneled cabinet doors, bracketed base, h. 32 in., w. 91 in., d. 20 1/2 in. [$800/1200]
42. William and Mary Inlaid Oak Chest, early 18th c., compass star and geometric inlay, two short over two long drawers, drop pulls, paneled sides, bun feet, h. 36 1/4 in., w. 36 1/8 in., d. 21 in. [$1200/1800]
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39. Meissen Marcolini Period Oyster Shell-Form Porcelain Footed Dish, 18th c., marked, puce fishscale border, polychrome floral reserve, h. 1 3/4 in., w. 5 1/2 in., d. 4 in. [$300/500]
40. Pair of Antique English Polychrome and Gilt Porcelain Cachepots, Coalport or Worcester, 19th c., rose ground, floral reserves, gilt paw feet, h. 3 3/4 in., dia. 3 3/4 in. [$400/600]
38. William & Mary Burl Walnut and Marquetry Cushion Mirror, c. 1685, floral corners, antique mirror plate, h. 28 1/2 in., d. 26 1/2 in. [$1500/2000]
Note:[$2000/3000]Ararecabriole leg example of the form.
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45. William and Mary Banded Oak Dresser Base, c. 1770, two banks of drawers centered by an arched door and two drawers, bail pulls, inset columnar stiles, serpentine base, bracket feet, h. 32 3/4 in., w. 61 1/2 in., d. 21 1/4 in. [$1000/1500]
47. Pair of Antique French Porcelain Footed Vases in the Louis XVI Taste, c. 1915-1925, pseudo-Sevres marks in underglaze blue, decorated with scarlet roses en treillage, h. 14 in. [$400/600]
48. English Imari Porcelain Shell-Form Cake Dish, c. 1790-1800, l. 7 7/8 in., w. 7 3/8 in. [$250/350]
44. Pair of English Benchmade Walnut Double Bow Wheelback Windsor Armchairs, arched crest rail, spindled back centered by a pierced motif, shaped seat, cabriole legs, pad feet, custom cushions, h. 40 in., w. 22 1/2 in., d. 22 in. [$300/500]
46. William and Mary Oak Welsh Dresser, c. 1740, ogee cornice, scrolled reticulated apron pierced with quatrefoils, three shelves, small cartouche cabinets, dresser base with three deep drawers, conforming apron, cabriole legs, pad feet, h. 85 1/2 in., w. 83 1/4 in., d. 20 in.
Provenance: Estate of Bruce Blakemore Poitevent.
54. Two Imari Palette Ironstone Cake Dishes, c. 1830s, marked, floral motif with good gilt, dia. 10 3/4 in. and 10 1/4 in., note: staple repair to smaller dish. [$150/250]
Collection of Roswell J. Weil. Exhibited New Orleans Museum of Art, 1994, “The Masons: A Staffordshire Dynasty, Ironstone China from the Collection of Roswell J. Weil”. Ill. Exhibition catalogue no. 12.
55. Rare Early Mason’s Ironstone “Chinese Garden” Pattern Cabaret Tea Service, c. 1813-1820, impressed marks, molded basketweave borders, incl. a teapot, h. 5 1/2 in.; lidded sugar, h. 5 1/2 in.; and “trio” (teacup, coffee cup and saucer), dia. 5 3/4 in. (5 pcs.)
56. Spode Polychrome and Gilt Ironstone Footed Bowl, impressed mark, floral decoration, gilt and mazarine blue handles, h. 7 in., dia. 11 3/4 in. [$200/300]
52. Two Spode Ironstone Cake Dishes, c. 1810, pattern 2375, Imari palette, finely gilt, one navette shape, other oval. [$300/500]
Provenance: Estate of Moise Steeg, New Orleans.
Provenance:[$300/400]
50. Four Regency Imari Porcelain Saucers, c. 1810-1830, largest dia. 6 in. [$150/250]
49. Regency Coalport Porcelain Oval Platter in the Imari Palette, c. 1815, well with floral center and gilt diapering, mazarine blue ground border with floral and foliate roundels and gilt accents, h. 9 in., w. 12 in. [$200/300]
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53. Three Spode Ironstone Dishes, c. 1810-1820, decorated in the Imari palette, incl. pair of luncheon plates, impressed marks, dia. 9 1/2 in.; and soup plate, impressed mark, blue Copeland & Garrett Late Spode mark, dia. 9 1/2 in. (3 pcs.) [$150/250]
51. Pair of English Imari Palette Porcelain Plates, 19th c., floral motif, dia. 8 3/8 in. [$200/300]
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65. Four Kashmir Lacquer Boxes, 19th c., incl. domed letter box, largest 6 in., w. 9 1/2 in., d. 4 in. [$100/200]
57. John & William Ridgway Ironstone Platter, 1814-1830, marked “Stone China J & W R”, floral reserve, l. 14 1/2 in., w. 12 1/2 in. [$200/300]
61. Japanese Imari Porcelain Plate, Meiji Period (1868-1911), painted with floral roundel and landscape cartouches on dense floral ground, “Stone Lantern / Highlands, NC” label, dia. 9 1/4 in.; together with 2 cups, one with Fuki Choshun marks, h. 2 5/8 in. (3 pcs.) [$100/150]
58. Group of Five English Polychrome and Gilt Ironstone Plates, incl. John Ridgway plate, marked, dia. 10 1/4 in.; Mason’s “Franklin” plate, marked, dia. 8 7/8 in.; Coalport plates, marked, dia. 8 in.; “Amherst Japan” plate, marked, dia. 8 1/4 in.; and unmarked plate, dia. 8 in. (5 pcs.) [$200/300]
62. Three Pairs of Georgian-Style Bell Metal Candlesticks, tallest h. 10 in. [$300/500]
64. Antique Mason’s Ironstone Vase, now mounted as a table lamp, green ground, the reserves depicting landscapes, brass base, h. (incl. socket) 17 [$300/500]in.
63. Pair of Monumental Antique Victorian Brass Pricket Candlesticks, baluster form, h. 19 1/2 in., dia. 8 1/2 in. [$250/350]
60. Large Japanese Arita Porcelain Vase, c. 1860-80, enameled with figural and landscape scenes on exotic bird and floral ground, Hichozan Shimpo marks, h. 30 in. [$300/500]
59. Regency Spode Stone China Sauce Tureen Stand, c. 1810-1820, marked, puce diapering, floral reserves. l. 9 1/4 in., w. 6 1/4 in. [$200/300]
73. Battersea “Halcyon Days” Enamel and Brass Clock, 20th c., beveled glass, visible escapement, h. 4 1/2 in., w. 3 1/4 in., d. 2 1/2 in. [$200/300]
67. George III Mahogany Canterbury, c. 1810-1820, slatted dividers, turned uprights, base with drawer, turned legs, casters, h. 18 in., w. 18 1/2 in., d. 14 in., note: old repair to one foot. [$300/500]
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71. Queen Anne Walnut and Yew Tea Caddy, c. 1730-1740, herringbone inlay, molded corners, “shagreen” paper lining, h. 5 in., w. 9 1/2 in., d. 5 1/2 in. [$300/500]
66. MahoganyGeorgian-StyleWallShelf, benchmade, probably by Arthur Brett & Sons, Norwich, Gothicized reticulated supports, four graduated shelves, h. 31 1/4 in., w. 20 1/4 in., d. 7 1/2 in. [$400/600]
68. Antique English Hardwood and Ebonized Bucket, 19th c., with brass handle and liner, h. 13 in., dia. 11 in. [$200/400]
72. Charles Lotten (American, 1935-2021) Art Glass Teardrop Paperweight, signed and dated “Charles Lotten 1988”, h. 3 3/4 in., w. 4 1/4 in., d. 3 in. [$100/200]
69. William IV Rosewood and Yew-Banded Mirror, c. 1830-1840, doublebanded surround, h. 28 in., w. 23 1/2 [$400/600]in.
70. Antique English Mahogany and JewelryTunbridge-BandedBox , mid-19th c., fitted interior with removable jewelry tray, h. 3 in., w. 7 1/2 in., d. 5 in. [$200/300]
78. Robert Gordy (American/New Orleans, 1933-1986), “River Bathers”, silkscreen, signed and numbered “22/25” lower margin, 26 3/4 in. x 32 in., framed. Provenance:[$500/700] Neal Auction Company, Oct. 5, 1997, lot 1139A.
75. Continental Bronze-Mounted Turquoise Overlay Cut-to-Clear Glass Vase, early 20th c., with liner; together with Continental white cut-to-clear and gilt goblet, h. 13 1/4 in. and 7 1/2 [$300/500]in.
Provenance: Arthur Roger Gallery, New Orleans, LA, 1991; Sydney Besthoff III, New Orleans, LA; Neal Auction Company, Dec. 7, 2008, lot 718.
77. Venetian Etched Glass Mirror, segmented surround, applied[$1200/1800]rosettes.
76. Antique French Polychrome and Gilt Porcelain Vase, 19th c., cobalt blue ground, reserved with pastoral scene and courting couple, scrollwork handles, h. 11 in., now mounted as table lamp, overall h. 22 1/2 in. [$400/600]
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80. Terry Weldon (American/New Orleans, b. 1947), “Meditation Stone”, 1990, painted cast stone, unsigned, label with artist, title and date on base, h. 17 in., w. 17 in., d. 17 in., wood pedestal base, overall h. 52 in. (2 [$300/500]pcs.)
79. George Valentine Dureau (American/New Orleans, 1930-2014), “Lann Sawyer”, 1986, gelatin silver print, signed and titled lower margin, label with artist, title and date and “Arthur Roger Gallery” artist biography on backing board, 9 in. x 9 in., framed. [$400/600]
74. French Majolica Asparagus Cradle Serving Dish, unmarked, 4 in., w. 16 in., d. 11 1/2 in. [$150/250]
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81. Sandi Stein (American/Texas, b. 1946), “Self Portrait II”, limestone, incised initials on underside of self-base, h. 28 1/4 in., w. 6 5/8 in., d. 6 3/8 in.
Provenance:[$150/250]
Provenance: Grace Borgenicht Gallery Inc, New York; Sydney Besthoff III, New Orleans, 1998; Neal Auction Company, Dec. 7, 2008, lot 734. 83. George V Sterling Silver Beaker, Edward Barnard & Sons Ltd., London, 1929, also marked for retailer Wagland, Windsor, tapered body with reeded banding, h. 3 7/8 in.; together with a Gucci sterling silver and green enamel letter opener, l. 6 3/4 in.; total wt. 9.8 troy ozs. [$400/600] 84. Pair of Kentucky Sterling Silver Julep Cups, Benjamin N. Trees, Lexington, KY, act. 1950s/1960s, tapered form with reeded rims, h. 3 3/4 in., wt. 8.60 troy ozs. [$400/600] 85. Extensive English Gold Plated Flatware Service, John Turton & Co., Ltd. (successor to John Turton, act. 1876-1898, Sheffield), incl. 12 each: dinner forks (l. 8 in.), luncheon/dessert forks (l. 6 7/8 in.), salad forks, dinner knives (l. 9 1/2 in.), butter knives (fh), soup spoons, iced tea spoons, and demitasse spoons; 23 5 o’clock teaspoons, soup ladle, stuffing spoon, salad serving fork and spoon, carving fork, gravy ladle and sugar tongs. (138 [$400/600]pcs.)
Foster Goldstrom Gallery, Dallas, TX; Sydney Besthoff III, New Orleans, 1985; Neal Auction Company, Dec. 7, 2008, lot 736. 82. Danita S. Geltner (American/ New York, b. 1952), “Holiday”, 1987, mixed media wall sculpture, signed, titled and dated twice en verso, h. 73 1/2 in., w. 13 1/2 in., d. 3 1/2 [$500/800]in.
89. Linda Miller (American/California, 20th c.), “M & M’s Plain Chocolate Candies”, 1983, mixed media soft wall sculpture, signed and dated en verso, bag approx. 28 in. x 54 in., each candy approx. dia. 8 in. Provenance:[$400/600] Acquired from the artist, 1983. 90. Contemporary Chrome Two-Light Floor Lamp, swing-arm pendulum arms, H-form base, h. 75 [$500/700]in. 91. Saryk Bokhara Rug, West Turkestan, c. 1900, 4 ft. 10 in. x 6 ft. 10 in., Provenance:[$150/250]restorations.Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA. 92. Qashqai Rug, Southwest Persia, c. 1900, 4 ft. 4 in. x 6 ft. 3 in., areas of wear. Provenance:[$300/500] Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA. 93. Kuba Rug, Northeast Caucasus, c. 1890, 4 ft. x 4 ft. 5 in., partial Provenance:[$800/1200]ends.Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA. 94. Mir Saraband Rug, Northwest Persia, c. 1920, 4 ft. 3 in. x 6 ft. 8 in., damaged areas. Provenance:[$300/500] Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA. 86. Persian Rug, red ground, foliate design, 4 ft. 3 in. x 6 ft. 9 in. [$200/300] 87. Antique Persian Rug, dark blue ground, floral design, 3 ft. 6 in. x 6 ft. 3 [$300/500]in. 88. Persian Rug, cream ground, floral design, 3 ft. x 5 ft. [$150/250]
Lots 91-119 are from the Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.
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97. Kazak Rug, Southwest Caucasus, c. 1900, 3 ft. 10 in. x 6 ft. 5 in., oxidized blacks, areas of wear, nicks to perimeter. [$400/600]
Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.
Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.
99. Turkish Kuba Rug, Turkey, 20th c., 4 ft. 4 in. x 6 ft. 7 in. [$400/600]
102. Tekke Ensi Rug, West Turkestan, c. 1900, 3 ft. 11 in. x 4 ft. 6 [$500/700]in. Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.
103. Kurdish Runner, West Persia, c. 1895, 3 ft. 5 in. x 11 ft. 1 in., areas of wear, added machine fringe, reselvedged. Provenance:[$500/700] Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA. 100. Kuba Runner, Northeast Caucasus, c. 1890, 3 ft. 11 in. x 12 ft. 7 in., nicks to selvedges, restored area on one side. Provenance:[$3000/5000]Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA. 104. Baku-Style Rug, Turkey, 20th c., 4 ft. 1 in. x 6 ft. [$250/350] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA. 95. Gendje Rug, Southwest Caucasus, c. 1900, 4 ft. 1 in. x 6 ft. 2 in., areas of wear, oxidized browns. Provenance:[$400/600] Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA. 96. Kuba Lesghi Rug, Northeast Caucasus, c. 1890, 4 ft. 1 in. x 5 ft. 7 in., nicks to Cockerham,Provenance:[$1500/2500]sides.CollectionofDr.andMrs.WalterD.NewOrleans,LA.
101. Salor Bokhara Rug, West Turkestan, c. 1895, 3 ft. 8 in. x 6 ft. 3 in., nicks to selvedges. Provenance:[$300/500] Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.
98. Bidjar Rug, North Persia, c. 1890, 3 ft. 5 in. x 4 ft. 3 in., losses to fringe. Provenance:[$800/1200]Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.
18 113. Kuba Lesghi Rug, Northeast Caucasus, c. 1920, 3 ft. 9 in. x 5 ft. 9 in., oxidized blacks, wear to edges, fold wear. Provenance:[$500/700] Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.
115. Qashqai Rug, Southwest Persia, c. 1890, 4 ft. 5 in. x 6 ft. 5 in., areas of wear, small, restored area. [$600/900] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.
110. Tekke Mafrash, West Turkestan, c. 1950, 1 ft. 6 in. x 3 ft. 10 in., areas of wear, nick to one side. [$400/600] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.
108. South Persian Kilim, South Persia, c. 1920, 2 ft. 5 in. x 6 ft. 7 in., areas of wear. Provenance:[$100/200] Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.
107. Ersari Chuval, West Turkestan, c. 1895, 3 ft. 7 in. x 5 ft. 8 in., areas of wear, holes. Provenance:[$400/600]Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.
116. Marasali Shirvan/Daghestan Prayer Rug, East Caucasus, c. 1900, illegibly dated-possibly 1323 AH/1906 AD, 4 ft. 2 in. x 4 ft. 7 in. [$1500/2500] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.
109. Baluch Rug, East Persia/West Turkestan, c. 1920, 2 ft. 6 in. x 4 ft. 4 in., areas of wear, oxidized blacks, re-wrapped selvedges. [$200/300] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.
111. Baluch Bag Face, East Iran, mid19th c., 2 ft. x 3 ft. 1 in., minor end losses, oxidized browns. [$1500/2500] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA. 112. Kazak Rug, Southwest Caucasus, c. 1900, 4 ft. 5 in. x 6 ft. 7 in., oxidized browns, small restored and re-piled areas. Provenance:[$600/900]Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.
105. Shiraz Kilim, Southwest Persia, c. 1925, 3 ft. 10 in. x 8 ft. 10 in., wear to perimeter. [$300/500] Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.
106. Serab Runner, Southwest Persia, c. 1925, 3 ft. 6 in. x 16 ft. 4 in., restored area to one side, wear a nd repairs to [$800/1200]selvedges. Provenance: Collection of Dr. and Mrs. Walter D. Cockerham,Orleans,NewLA.
114. Saryk Ensi Rug, West Turkestan, c. 1890, silk highlights, 4 ft. 5 in. x 5 ft. 6 in. Provenance:[$2500/3500]Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA.
19 Lots 120-175 are from a McIlhenny Family Estate Collection, New England
121. Karabagh Rug, Southwest Caucasus, c. 1910, 4 ft. 2 in. x 5 ft. 11 in., small restoration to one side. [$500/700] 122. Avar Rug, Northeast Caucasus, c. 1900, 3 ft. 1 in. x 4 ft. 10 in., minor losses to ends, small re-piled and restored areas. [$600/900] 123. Avar Rug, Northeast Caucasus, c. 1900, 3 ft. 2 in. x 5 ft. 7 in., fraying and losses to ends, damaged area in field. [$800/1200] 124. Shiraz Rug, South Persia, c. 1920, 4 ft. x 7 ft. 4 in., missing outer guard stripe border, reselvedged, areas of wear, re-piled and restored areas. [$400/600]
117. Khamseh Rug, Southwest Persia, c. 1895, 4 ft. 9 in. x 7 ft. 11 in., areas of wear, patch on one side, dog-eared corner, losses to ends. [$300/500]
125. Kazak Cloud Band Rug, Southwest Caucasus, late 19th c., 4 ft. 9 in. x 8 ft. 1 in., re-piled areas [$2000/3000] 126. Kazak Eagle Rug, Southwest Caucasus, c. 1910, 5 ft. 8 in. x 7 ft. 6 in., partial ends, oxidized blacks, areas of minor wear. [$1000/2000]
Provenance: Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA. 118. Samarkand/Khotan Rug, East Turkestan, c. 1930, 2 ft. 7 in. x 4 ft., areas of wear. Provenance:[$200/300]Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA. 119. Kuba Seychour Rug, Northeast Caucasus, c. 1890, 3 ft. 10 in. x 5 ft. Provenance:[$2500/3500]Collection of Dr. and Mrs. Walter D. Cockerham, New Orleans, LA. 120. Soumak-Style Carpet, Afghanistan, c. 1960, 6 ft. 3 in. x 10 ft. Provenance:[$500/700] from a McIlhenny Family Estate Collection, New England
127. Pair of Caucasian Kilim Panels, Caucasus, c. 1900, 1 ft. 9 in. x 3 ft. 5 in. and 1 ft. 11 in. x 3 ft. 5 in., restorations, stains. [$300/500] 128. Soumak Rug, Caucasus, c. 1920, 5 ft. 2 in. x 6 ft., one corner restored, some localized wear. [$700/900]
133. Kurd Bidjar Rug, North Persia, c. 1925, 4 ft. 4 in. x 10 ft. 5 in., losses to ends, nicks to sides, areas of wear and [$500/700]oxidation. 134. Karabagh Rug, North Persia, c. 1925, 4 ft. 11 in. x 7 ft. 3 in., areas of wear, small hole, minor color runs. [$300/500]
Note: This atypical weaving is quite large, suggesting that it was a possible commission.
137. Navajo Rug, c. 1930, corn stalk design, 4 ft. 6 in. x 8 ft. 6 in., mounting Velcro sewn top edge, verso. [$800/1200
138. Navajo Third Phase Chiefs Variant Weaving, c. 1920, 3 ft. 6 in. x 5 ft. 2 in., few small restorations, minor selvedge damage, some [$800/1200]fading. 139. Navajo Rug, c. 1930, 5 ft. x 5 ft. 5 in., minor selvedge damage, thin spots where warp is visible. [$400/600]
140. Navajo Regional Rug, c. 1930, 3 ft. 10 in. x 5 ft., few stains, minor selvedge damage. [$300/500]
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136. Navajo Third Phase Chief’s Variant Blanket, c. 1910-1940, incorporating a single corn stalk, 5 ft. x 9 ft. 10 in., some stains, minor losses, mounting sleeve sewn top edge, verso. [$1500/2500]
129. Shirvan Rug, East Caucasus, c. 1900, 3 ft. 11 in. x 4 ft. 7 in., even wear, small areas of re-piling. [$600/900]
135. Navajo Saddle Blanket, c. 1950, 2 ft. 5 in. x 3 ft. 11 in., minor pale stain. [$200/300]
130. Shirvan Kilim, East Caucasus, c. 1900, 6 ft. 3 in. x 7 ft. 10 in., oxidized browns/blacks, areas of wear and restorations. [$500/700]
131. Soumak Rug, Caucasus, c. 1920, 3 ft. 10 in. x 5 ft. 10 in., oxidized blacks, areas of wear, losses to perimeter, restorations. [$300/500]
132. Ningxia Carpet, West China, c. 1875, 6 ft. 1 in. x 10 ft. 6 in., even overall wear. [$1000/2000]
Note: The blanket’s bands probably evolved from the many Third Phase chiefs variants that were woven after the turn of the century.
149. Afshar Rug, South Persia, c. 1925, 4 ft. 7 in. x 5 ft. 10 in., areas of wear, large, restored area in field, other small restorations. [$300/500]
150. Heriz Carpet, Northwest Persia, c. 1910, 9 ft. 9 in. x 13 ft., areas of wear, tinted areas, re-piled areas, partial ends. [$2000/3000]
146. Turkish Kilim, Central Anatolia, c. 1920, 3 ft. 2 in. x 4 ft. 5 in., minor end fraying. [$300/500]
148. Bidjar Rug, North Persia, late 19th c., wool foundation, 4 ft. 6 in. x 5 ft. 6 in., partial ends and sides, reselvedged, area of damage to one end. [$300/500]
143. Navajo Third Phase Chiefs Variant Weaving, c. 1910, 4 ft. 7 in. x 6 ft. 2 in., small pale stain. [$1500/2500]
151. RunnerKurdish , West Persia, c. 1925, 3 ft. 6 in. x 12 ft. 10 in., reduced in length, losses to ends, re-wrapped selvedges, even [$500/700]wear. 152. Soumak Carpet, Southwest Caucasus, late 19th c., 8 ft. x 9 ft. 3 in., oxidized blacks. [$800/1200]
144. Woman’sNavajoManta, c. 1910, 4 ft. 1 in. x 5 ft. 9 in., probably re-dyed red at some point with the center originally being [$800/1200]white.
141. Navajo Handspun Child’s Blanket, c. 1920, 2 ft. 8 in. x 4 ft. 3 in., some selvedge damage, some minor restorations. [$800/1200]
21
142. Navajo Wearing Blanket-Style Weaving, c. 1910, 4 ft. 6 in. x 5 ft. 9 in. [$1000/1500]
147. Bidjar Rug, North Persia, late 19th c., foundation,wool4 ft. 2 in. x 7 ft. 2 [$800/1200]in.
145. Navajo Third Phase Chiefs Variant Weaving, c. 1910, 4 ft. 7 in. x 6 ft. 3 in., some restorations at ends. [$2000/4000]
22 157. Shiraz Kilim, Southwest Persia, c. 1920, 4 ft. 7 in. x 5 ft. 5 in., minor nicks, stains. [$200/300] 158. Shiraz Kilim, Southwest Persia, c. 1940, 4 ft. 5 in. x 6 ft. 4 in., minor wear to one end. [$200/300] 159. Turkish Kilim, Turkey, c. 1940, 4 ft. 5 in. x 12 ft. 3 in. [$500/700] 160. Shiraz Kilim Mafresh/Cargo Bag, Southwest Persia, c. 1925, 1 ft. 7 in. x 3 ft. x 1 ft. 7 in. [$300/500] 161. Quashqai Rug, Southwest Persia, late 19th c., 5 ft. 1 in. x 7 ft. 6 in. 3 [$1000/2000] 162. Bidjar Rug, North Persia, c. 1900, 4 ft. 9 in. x 7 ft. 10 in., wool foundation, losses to both ends, damaged areas at one end. [$800/1200] 163. Veramin Kilim, Northwest Persia, c. 1920, 5 ft. 8 in. x 12 ft. 2 in., minor end losses, wear to edges. [$600/900] 164. Afshar Rug, Southwest Persia, c. 1930, 4 ft. 8 in. x 5 ft. 10 in., sewn slits to one side. [$600/900] 153. Kurdish Bidjar Runner, North Persia, late 19th c., 4 ft. 4 in. x 12 ft., tears, wear extreme wear to one end, [$100/200]stains. 154. Eastern European Kilim, East Europe, c.1970, 6 ft. 9 in. x 9 ft. 6 [$600/900]in. 155. Qashqai Rug, Southwest Persia, late 19th c., 4 ft. 3 in. x 5 ft. 6 in., partial ends. [$800/1200] 156. Qashqai Rug, Southwest Persia, late 19th c., 5 ft. 7 in. x 8 ft. 8 in., areas of wear, restored area in [$500/700]field.
167. EmbroideredVernehKilim, Southwest Caucasus, c. 1920, 4 ft. 11 in. x 6 ft. 1 in., smallwearrestorations,toedges.[$800/1200]
172. Tekke Ensi Rug, West Turkestan, c. 1930, 3 ft. 10 in. x 5 ft., areas of wear, small holes, re-wrapped selvedges. [$100/200]
168. Afshar Rug, Southwest Persia, c. 1900, 5 ft. 5 in. x 9 ft., areas of wear, small crude repair, fold [$700/900]wear.
166. Shiraz Kilim, Southwest Persia, c. 1900, 5 ft. 6 in. x 5 ft. 4 in., reduced in [$200/300]size.
165. Camel Verneh Rug, Southwest Caucasus, c. 1900, 6 ft. x 7 ft. 10 in., minor wear. [$2500/3500]
175. Kyrgyz Felt Rug, Uzbekistan, c. 1910, 5 ft. 6 in. x 12 ft. 2 in., stains. [$400/600] Provenance: from a McIlhenny Family Estate Collection, New England
170. Ersari Beshir Rug, West Turkestan, late 19th c., 4 ft. 6 in. x 8 ft. 10 in. [$1000/2000] 171. Turkish Kilim, Anatolia, c. 1925, 2 ft. 10 in. x 5 ft. 3 in., restorations, color [$100/200]runs.
23 169. Afshar Rug, Southwest Persia, c. 1900, 4 ft. x 5 ft. 7 in., minor wear to [$600/900]perimeter.
173. Yomud Ensi Rug, West Turkestan, c. 1925, 4 ft. 8 in. x 5 ft. 3 in., areas of wear, color [$300/500]re-wrappedbleeding,selvedges. 174. Tekke Rug, West Turkestan, c. 1925, 3 ft. 8 in. x 6 ft. 2 in., areas of wear, re-wrapped selvedges, losses to [$200/300]ends.
24
180. Chris Owens’ 14 kt. Yellow Gold, Turquoise, Lapis and Diamond Ring, center cabochon turquoise, wt. approx. 2.00 cts.; 8 cabochon lapis, total wt. approx. 4.00 cts.; accented with numerous round diamonds, total wt. approx. 1.50 cts.; size 9.5. Provenance:[$1800/2500]Estate of Legendary New Orleans Performer Chris Owens.
179. Chris Owens’ 18 kt. Yellow Gold, Ruby and Diamond Ring, mounted with 7 marquise shape rubies, total wt. approx. 5.25 cts.; accented with numerous round diamonds, total wt. approx. 2.00 cts.; size Provenance:[$2500/3500]4.25.Estateof Legendary New Orleans Performer Chris Owens.
176. Chris Owens’ 14 kt. Yellow Gold Charm Bracelet, mounted with 25 charms, approx. 160.0 dwt., incl. 1 18 kt. yellow gold charm (Switzerland), 20 14 kt. yellow gold charms (Jamaica, Coliseum, Mallorca, Makuta with Black Star Sapphire, Bullfighter, Coin with Jade Disc, Puerto Rico, Gondola, Pagoda, Arc de Triomphe, Napoli, Amsterdam, Globe, Oahu with Jade, Coin with Symbols, Berlin, Coral with Pearls, Wien Opera, Harbor, and Anniversary mounted with diamond and ruby), 1 gold plate charm (Mercedes), 1 low karat charm (Mug) and 2 base metal charms (Dragon and Bell); l. 8 in. Provenance:[$7000/9000]Estate of Legendary New Orleans Performer Chris Owens.
178. Chris Owens’ 14 kt. Yellow Gold, Lavender Jade, Ruby and Diamond Ring and Pendant on Chain, ring mounted with center cabochon lavender jade, wt. approx. 4.50 to 5.00 cts.; numerous diamonds, total wt. approx. 0.50 ct.; and 12 rubies, total wt. approx. 0.50 ct.; size 7; pendant mounted with cabochon lavender jade, wt. approx. 6.50 cts.; numerous diamonds, wt. approx. 0.65 ct.; and 10 marquise shape rubies, total wt. approx. 3.00 cts.; vine gold chain l. 20 in. (2 pcs.) NewProvenance:[$3000/5000]EstateofLegendaryOrleansPerformerChrisOwens.
177. Chris Owens’ 18 kt. Yellow Gold Charm Bracelet, mounted with 21 charms, approx. 123.5 dwt., incl. 5 18 kt. yellow gold charms (Belém Tower, Christo Redentor, Denmark Little Mermaid, Martinique and Belgique), 11 14 kt. yellow gold charms (Anguilla, Pedro Dog, King Apollo VII, Barbados, Sombrero, Parthenon, St. Thomas, Rope with Balls, Singapore, Nefertiti, and New York World’s Fair), 1 10 kt. yellow gold charm (Trinidad), 2 9 kt. yellow gold charms (Bruxelles and Westminster Abbey), and 2 low kt. charms (clover and pyramid); l. 8 in. Provenance:[$6000/8000]Estate of Legendary New Orleans Performer Chris Owens.
188. Chris Owens’ Group of Gold Jewelry, incl. 14 kt. yellow gold “SO” ring, size 5; 14 kt. yellow gold chain; 10 kt. yellow gold chain; and 14 kt. yellow gold watch strap. (4 pcs.) Provenance:[$2500/3500]Estate of Legendary New Orleans Performer Chris Owens.
187. Chris Owens’ Yellow Gold, Diamond and Ruby Ring, center cabochon star ruby, wt. approx. 2.00 to 2.50 cts.; mounted with numerous round diamonds, total wt. approx. 0.35 ct.; size 5; note: Provenance:[$800/1200]losses.Estateof Legendary New Orleans Performer Chris Owens.
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Provenance:[$1800/2500]Estate of Legendary New Orleans Performer Chris Owens.
181. Chris Owens’ 18 kt. Yellow Gold, Coral and Diamond Ring, center cabochon coral, wt. approx. 12.00 cts.; accented with numerous round diamonds, total wt. approx. 1.20 cts.; size 6. [$1500/2500] Provenance: Estate of Legendary New Orleans Performer Chris Owens. 182. Chris Owens’ Platinum and Diamond Ring, set with numerous round, pear, marquise and baguette diamonds, total wt. approx. 2.65 cts.; size 7.50. Provenance:[$2500/3500]Estate of Legendary New Orleans Performer Chris Owens.
186. Chris Owens’ 14 kt. Yellow Gold, Diamond and Ethiopian Opal Ring, center bezel set opal, wt. approx. 2.50 to 3.00 cts.; accented with 4 round diamonds, wt. approx. 1.00 ct.; size 9.5. Provenance:[$800/1200]Estate of Legendary New Orleans Performer Chris Owens.
185. Chris Owens’ Group of 14 kt. Yellow Gold, Amethyst, Diamond and Pearl Jewelry, incl. straight line amethyst bracelet, l. 7 1/2 in.; amethyst, pearl and diamond earrings, l. 1 in.; and amethyst, pearl and diamond ring, size 6.5; amethyst total wt. approx. 30 cts. (3 pcs.)
183. Chris Owens’ 14 kt. White Gold, Pearl and Diamond Ring, central pearl, approx. 12.50 mm; surrounded by numerous diamonds, total wt. approx. 15.00 cts.; size 8.75. Provenance:[$4000/6000]Estate of Legendary New Orleans Performer Chris Owens. 184. Chris Owens’ 14 kt. Yellow Gold, Citrine and Diamond Ring, center pear shape citrine, wt. approx. 10.00 cts.; accented with 6 round diamonds, wt. approx. 0.36 cts. Provenance:[$1500/2500]Estate of Legendary New Orleans Performer Chris Owens.
189. Oscar Friedman 14 kt. Rose Gold, Morganite and Diamond Pendant on 14 kt. Rose Gold Chain, center pear shape modified brilliant cut morganite, wt. approx. 3.61 cts., 16.40 x 9.40 mm; bezel and link with 24 baguette and 31 round brilliant cut diamonds, total wt. approx. 0.93 cts., I-K color, VS2 to I2 clarity; chain l. 18 in. [$1200/1800]
192. 18 kt. Rose Gold and Diamond Ring, center prong-set cushion diamond, wt. approx. 1.56 cts.; bezel and shoulders with 0.47 ct.; size 7. [$3000/5000]
195. 14 kt. Yellow Gold and South Sea Pearl Necklace, 37 round/off round white pearls, 11.00-13.00 mm; scalloped bead clasp; l. 18 in.; AIGL report. [$1200/1800]
190. Oscar Friedman 14 kt. Rose Gold, Morganite and Diamond Ring, center rectangular cushion mixed cut morganite, wt. approx. 4.54 cts., 12.00 x 8.00 mm; bezel and shoulders with 12 baguette and 22 round brilliant cut diamonds, total wt. approx. 0.62 ct., H-I color, SI to I1 clarity; size 6.75; Florida Diamond Appraisers Report. [$1000/1500]
193. 18 kt. White Gold, Rose Gold and Diamond Necklace, numerous mixed cut diamonds, total wt. approx. 7.71 cts., l. 24 in. [$3000/5000]
194. 14 kt. White Gold, South Sea Pearl and Diamond Ring, center round white pearl, approx. 15.50-16.00 mm; bezel with 61 round diamonds, total wt. approx. 2.23 cts., G-H color, VS to SI clarity; size 5.75; GAL report. [$3000/4000]
196. 14 kt. White Gold and Tahitian Pearl Necklace, 31 near round gray cultured pearls, 13.07-15.18 mm; plunger style bead clasp; l. 18.5; AIGL and GIA [$1200/1800]reports.
26
191. Pair of 14 kt. Rose Gold, White Gold, Morganite and Diamond Earrings, 2 pear shape faceted cut morganites, total wt. approx. 10.61 cts., 21.60 x 5.35 mm; bezel and posts with 86 round brilliant cut diamonds, total wt. approx. 1.78 cts., G-H color, SI1 to SI2 clarity; l. 1 5/8 in.; GGA report. [$2000/3000]
205. 14 kt. Yellow Gold, Opal and Diamond Ring, center bezel set pear shape opal, wt. approx. 7.52 cts.; shoulders with numerous round brilliant cut diamonds, total wt. approx. 0.52 cts., H-I color, VS to SI clarity; size 7.75; IAS report. [$1000/2000]
27
204. 18 kt. Yellow Gold, Diamond and Gemstone Ring, center with 16 gemstones; shoulders with 12 round diamonds; size 6.25. [$300/500]
203. 18 kt. Yellow Gold and Diamond Ring, 20 round brilliant cut diamonds, total wt. approx. 2.40 cts., 3.10 x 3.00 mm, G-H color, SI2 to I1 clarity; size 6.25; GGA report. [$2000/3000]
200. Pair of 18 kt. Yellow Gold and Diamond Stud Earrings, 2 round diamonds, total wt. approx. 1.32 cts.; bezels with numerous round diamonds, total wt. approx. 0.28 cts. [$1000/2000]
198. American Victorian 14 kt. Yellow Gold, Black Enamel and Half Pearl Flexible Cuff Bracelet, mid-19th c., adjustable, retains buckle, slide and fringe [$1500/2000]
202. 18 kt. Yellow Gold and Diamond Ring, center bezel set round brilliant cut diamond, wt. approx. 0.97 ct., K/L color, I clarity; size 9.75; IAS [$1500/2500]report.
199. 18 kt. Yellow Gold and Diamond Pendant on Chain, central marquise shape diamond; bezel with 12 round diamonds; l. 18 in. [$1000/2000]
201. 18 kt. Yellow Gold and Diamond Earrings, mounted with 79 channel set baguette cut diamonds, total wt. approx. 10.00 cts., F color, VS1 to VS2 clarity; l. 1 1/4 in.; SGL report. [$8000/10000]
197. 14 kt. Yellow Gold and Golden South Sea Pearl Necklace, 33 round cultured pearls, 12.00-15.00 mm; scalloped bead clasp; l. 18 in.; AIGL report. [$1200/1800]
212. Oscar Friedman 14 kt. White Gold and Diamond Necklace, central prong set round brilliant cut diamond, wt. approx. 1.65 cts., 7.34-7.38 x 4.71 mm, G color, SI3 clarity; mounted with 222 prong set graduated round brilliant cut diamonds, total wt. approx. 19.67 cts., G-H color, SI1 to SI3 clarity; l. 16 3/4 in.; SGL report. [$20000/30000]
28
207. 18 kt. Yellow Gold, White Gold and Diamond Ring, center bezel set round brilliant cut diamond, wt. approx. 1.07 cts., 6.65 x 6.60 mm, G color, I1 clarity; stylized floral surround with 8 bezel set round brilliant cut diamonds, total wt. approx. 0.35 ct.; size 6.25; GGA report. [$1500/2500]
209. Pair of 18 kt. White Gold and Diamond Stud Earrings, 2 round brilliant cut diamonds, total wt. approx. 4.14 cts., 8.60 mm, I color, I1 clarity; screw on posts and backings; AIGL report. [$7000/9000]
211. 14 kt. White Gold and Diamond Bracelet, mounted with 48 round brilliant cut diamonds, total wt. approx. 11.24 cts., 3.60-4.20 mm, H-J color, SI1 to I1 clarity; l. 7.5 in.; AIGL report. [$8000/10000]
206. 14 kt. White Gold, Yellow Gold, Opal and Diamond Pendant on 14 kt. Gold Chain, center bezel set oval cabochon cut opal, wt. approx. 11.06 cts., 21.53 x 7.28 mm; bezel and link with 37 round brilliant cut diamonds, total wt. approx. 0.48 ct., G-H color, SI1 to SI2 clarity; chain l. 18 in.; GGA report. [$2000/3000]
208. Platinum and Diamond Ring, central prong-set round brilliant cut diamond, wt. approx. 1.19 cts., approx. 6.70-6.58 x 4.20 mm, K color, I-1 clarity; stylized asymmetric bezel with 42 mixed cut diamonds, total wt. approx. 0.92 ct., G-I color, VS-1 to SI-1 clarity; size 6.5; AIG report. [$2500/3500]
210. Oscar Friedman 18 kt. White Gold and Diamond Ring, center cushion modified brilliant cut diamond, wt. 1.51 cts., 6.95 x 6.34 x 4.29 mm, F color, VS1 clarity; shoulders with 2 Cadillac cut diamonds, total wt. approx. 0.58 ct., F color, VVS2 clarity; size 6.25; SGL and GIA reports. [$12000/18000]
220. 18 kt. White Gold, Emerald and Diamond Ring, center oval mixed cut emerald, wt. approx. 2.77 cts., 11.00 x 8.20 x 5.33 mm; inner bezel with 14 prong set round brilliant cut diamonds, total wt. approx. 0.85 ct., F-H color, I-1 to I-2 clarity; outer bezel with 42 prong set round brilliant cut diamonds, total wt. approx. 0.32 ct., F-H color, SI-2 to I-2 clarity; shoulders with 32 prong set round brilliant cut diamonds, total wt. approx. 0.45 ct., F-H color, SI-2 to I-2 clarity; size 7; AIGL report. [$2500/3500]
214. 14 kt. White Gold and Diamond Necklace, mounted with numerous prong-set graduated round diamonds, largest center diamond wt. approx. 0.44 ct., total wt. approx. 9.47 cts.; l. 17 in. [$4000/6000]
215. Edwardian Platinum Top, Gold Back Diamond Brooch, c. 1890-1910, asymmetrical scroll design, set with numerous old European cut diamonds, center stone approx. .50 ct., total diamond wt. approx. 2 cts., color H-I, clarity VS2-SI1. [$1500/2000]
218. Pair of 18 kt. White Gold and Diamond Stud Earrings, 2 central prong set diamonds, total wt. approx. 1.12 cts.; halos and removable spiral jackets set with numerous diamonds, total wt. approx. 2.05 cts. [$2000/3000]
213. 14 kt. White Gold and Diamond Bangle Bracelet, mounted with 58 round diamonds, total wt. approx. 5.60 cts.; hinged clasp opening; dia. 2 1/2 in. [$2500/3500]
216. 18 kt. White Gold and Diamond Necklace, mounted with 55 graduated round diamonds, largest center diamond wt. approx. 0.42 ct., total wt. approx. 4.41 cts.; adjustable length box chain; l. 16 1/2 in. [$2500/3500]
29 219. Oscar Heyman and Brothers Platinum, Emerald and Diamond Ring, c. 1962, serial number 62506, set with an emerald-cut emerald, approx. 2.50 cts., in a ballerina setting with 33 tapered baguette cut diamonds, totaling approx. 3.30 cts., G-H color, VS clarity; accompanied by Oscar Heyman Certificate of Authenticity dated August 9, 2019. Note: Emerald of good color but abraded and Provenance:[$3000/5000]chipped.EstateofIris Brittain Rayford (1934-2018).
217. Pair of 14 kt. White Gold Oval Hoop Earrings, mounted with 58 prong set round diamonds, total wt. approx. 6.34 cts. [$3000/5000]
225. 18 kt. White Gold, Emerald and Diamond Ring, center octagonal step -ut emerald, wt. approx. 7.28 cts.; double bezel set with numerous round diamonds; size 7; GIA report. [$2500/3500]
230. 18 kt. Yellow Gold, Emerald and Diamond Ring, center bezel-set octagonal step-cut emerald, wt. 6.04 cts., 11.30 x 10.30 x 7.23 mm; shoulders with 2 bezel set trapezoid cut diamonds, total wt. approx. 0.38 ct., F color, VS1 clarity; size 6; SGL and GIA reports. [$7000/9000]
228. 18 kt. White Gold, Yellow Gold, Emerald and Diamond Ring, center bezel-set octagonal step-cut emerald, wt. approx. 2.16 cts., 9.60 x 6.60 x 3.90 mm; bezel and supports with 28 round brilliant cut diamonds, total wt. approx. 0.59 cts., F-G color, VS1 to SI1 clarity; size 6.75; AIGL report. [$1500/2500]
222. Platinum, Emerald and Diamond Ring, center octagonal stepcut emerald, wt. 2.51 cts., 9.59 x 7.27 x 4.68 mm; halo and shoulders with 40 round brilliant cut diamonds, total wt. approx. 0.61 ct., F-G color, VS1 to VS2 clarity; size 6.75; AIGL and GIA reports. [$2500/3500]
227. Art Deco 18 kt. White Gold, Diamond and Emerald Ring, center round prong-set diamond, wt. approx. 1.28 cts.; bezel and shoulders with numerous round diamonds and emeralds, size 7. [$3000/5000]
221. 18 kt. White Gold, Emerald and Diamond Earrings, 2 prong set oval brilliant mixed cut emeralds, total wt. approx. 7.20 cts., 11.22 x 9.12 x 5.28 mm and 11.31 x 9.11 x 6.19 mm; bezels with 48 round brilliant cut diamonds, total wt. approx. 1.11 cts., G-H color, VS2 to SI1 clarity ; posted French clip backings; GIA and AIGL reports. [$6000/8000]
224. 18 kt. White Gold, Emerald and Diamond Earrings, 2 center oval brilliant step-cut emeralds, total wt. approx. 5.01 cts.; double bezel mounted with numerous round brilliant cut diamonds; GIA report. [$3000/5000]
226. 18 kt. White Gold, Diamond and Emerald Ring, center prong-set heart shape diamond, wt. approx. 1.21 cts.; flanked by 2 prong-set heart shape emeralds, total wt. approx. 0.85 ct.; bezels with numerous round diamonds; size 7. [$2500/3500]
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223. 18 kt. White Gold, Emerald and Diamond Ring, center prong-set emerald-cut emerald, wt. approx. 1.45 cts.; bezel and band mounted with numerous round brilliant cut diamonds, total wt. approx. 0.46 ct., G-H color, SI2 to I1 clarity; size 6.5; IAS report. [$1000/2000]
229. Oscar Friedman 18 kt. Yellow Gold, Emerald and Diamond Ring, center square emerald-cut emerald, wt. approx. 3.00 cts., 8.35 x 7.53 x 7.75 mm; bezel and shoulders with green enamel inlay and 46 round diamonds, total wt. approx. 1.11 cts., F-G color, VS-SI clarity; size 6.5; GAL report. [$2500/3500]
238. 14 kt. White Gold, Sapphire and Diamond Ring, center prong-set oval mixed-cut natural blue sapphire, wt. approx. 1.55 cts.; bezel with 26 prong set round brilliant cut diamonds, total wt. approx. 0.60 ct., F-H color, VS-2 to SI-2 clarity; size 6.75; AIGL report. [$800/1200]
236. 14 kt. White Gold, Sapphire and Diamond Necklace, mounted with 139 channel set square cut natural blue sapphires, total wt. approx. 27.72 cts.; bordered by 556 bead set round brilliant cut diamonds, total wt. approx. 2.24 cts., E-F color, SI-2 to I-1 clarity; l. 16 1/2 in.; AIGL report. [$4000/6000] 239. 14 kt. White Gold, Tanzanite and Diamond Ring, center prong-set oval mixed-cut tanzanite, wt. 6.34 cts., 14.00 x 10.00 x 6.63 mm; double bezel with 38 prong set round brilliant cut diamonds, total wt. 3.46 cts., F-H color, SI2 to I1 clarity; size 7. [$4000/6000]
231. Oscar Friedman 18 kt. Yellow Gold, Emerald and Diamond Ring, central bezel-set octagonal step-cut emerald, wt. approx. 2.23 cts., 8.70 x 6.30 mm; mounted with 44 round brilliant cut diamonds, total wt. approx. 0.55 ct., 1.20-2.80 mm, G-I color, VS2-SI1 clarity; size 6.75; AIGL report. [$1500/2500]
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235. Pair of Platinum, Sapphire and Diamond Earrings, mounted in a stylized floral design, 2 center bezel-set round diamonds, total wt. approx. 2.32 cts.; bezels and links set with numerous blue sapphires and diamonds; l. 1 1/4 in. [$3000/5000]
232. 18 kt. Yellow Gold, Emerald and Diamond Ring, center oval mixedcut emerald, wt. approx. 1.04 cts.; bezel with 12 round brilliant-cut diamonds, total wt. approx. 0.50 ct., G-H color, VS to SI clarity; size 7; GAL report. [$1000/2000]
233. 18 kt. Yellow Gold, Emerald and Diamond Ring, center bezel-set pear shape emerald, wt. approx. 1.57 cts.; bezel and shoulders with numerous round diamonds, total wt. approx. 1.02 cts.; size 6. [$2000/3000]
237. 18 kt. White Gold, Aquamarine, Sapphire and Diamond Ring, center prong set oval mixed cut aquamarine, wt. approx. 1.29 cts.; inner bezel mounted with 17 tapered cut sapphires, total wt. approx. 1.17 cts.; outer bezel and shoulders with 52 round diamonds, total wt. approx. 0.30 ct., G-H color, VS to SI clarity; size 6.25; GAL report. [$1200/1800]
234. Yellow Gold, Emerald, Diamond and Enamel Ring, center cushion step-cut emerald, approx. 7.18 x 6.82 mm; mounted with 4 diamonds; black enamel accents; size 6.5; GIA report. [$1500/2500]
242. 18 kt. Yellow Gold, Ruby and Diamond Bracelet, mounted with 135 prong-set round cut rubies and 14 prong-set baguette cut rubies, total wt. approx. 13.92 cts.; accented with 34 prong set tapered baguette cut diamonds, total wt. approx. 1.61 cts., H color, SI2 clarity; l. 7 1/4 in.; SGL report. [$5000/7000]
240. 14 kt. Yellow Gold, Tanzanite and Diamond Pendant on 14 kt. Yellow and White Gold Chain, center prong-set triangular modified brilliant-cut tanzanite, wt. approx. 3.87 cts., 11.40 x 11.10 mm; surround mounted with 279 round brilliant cut diamonds, total wt. approx. 2.24 cts., 1.00-1.80 mm, H-I color, SI2 to I2 clarity; chain l. 18 in.; AIGL report. [$4000/6000]
244. Platinum, Ruby and Diamond Ring, center prong-set heart shape brilliant step-cut Burmese ruby, wt. exact 2.35 cts., 7.64 x 8.36 x 4.86 mm; double halo and shoulders with 60 round brilliant cut diamonds, total wt. approx. 1.15 cts., E-F color, VS1 to VS2 clarity; size 7; AIGL and GIA reports. [$4000/6000]
243. 18 kt. White Gold, Yellow Gold, Ruby and Diamond Ring, center prong-set oval brilliant, faceted cut ruby, wt. exact 1.14 cts., 8.27 x 6.60 x 2.09 mm; bezel and shoulders with 46 round brilliant cut diamonds, total wt. approx. 0.83 ct., F-G color, VS2 to SI1 clarity; size 6.75; GGA and GIA reports. [$1800/2500]
245. Tag Heuer Stainless “Monaco” Chronograph Watch, ref. CW2113-0, 39mm, automatic, blue dial, calendar, blue leather band with Tag Heuer deployant clasp, no box or papers [$1000/1500]
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241. 18 kt. Yellow Gold, Tanzanite and Diamond Ring, center oval faceted cut tanzanite, wt. approx. 5.82 cts., 11.78 x 8.74 mm; bezel and shoulders with 58 round brilliant cut diamonds, total wt. approx. 0.69 ct., G-H color, SI1 to SI2 clarity; size 7; GGA report. [$2500/3500]
251. Pair of Painted Cast Iron Campagna Urns, acanthine handles, egg and dart body, painted metal foliate base, h. 43 in., w. 31 in., d. 22 in. [$2000/3000]
249. American Painted Cast Iron Garden Bench, early 20th c., triple seat back centered by an arched anthemion reserve, diaper pattern seat, reticulated acanthine and star aprons, cabriole legs, scrolled toes, h. 32 1/2 in., w. 55 1/4 in., d. 19 [$700/1000]in.
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250. Six American Painted Cast Iron Lyre-Back Garden Armchairs, 19th c., rosette crest, foliate seat back, reticulated seat, cabriole legs, X-stretcher, h. 31 in., w. 21 in., d. 20 in. [$1000/1500]
252. Pair of American “Gothic” Pattern Cast Iron Garden Benches, 19th c., quatrefoil seat back, reticulated arms and seat rail, splayed legs, h. 33 in., w. 54 1/4 in., d. 19 1/2 in. [$2000/3000]
248. Robert 1936),and(American/Texas,Willson1912-2000)ElioRaffaeli(Italian,b. “At Rest”, 1990, glass, signatures incised on base, h. 17 in., w. 8 in., d. 5 in. [$1000/1500]
246. Four Mario Villa (Nicaraguan/ New Orleans, 1953-2021) Glass Sculptures, incl. three pairs of wings, h. 6 1/2 in., w. 9 1/2 in.; and standing figure, h. 14 in. [$200/300]
247. Robert Willson (American/Texas, 1912-2000) and Elio Raffaelli (Italian, b. 1936), “Untitled”, glass, signatures incised on base, h. 17 in., w. 8 7/8 in., d. 7 9/16 [$800/1200]in.
259. Large Patinated Bronze Garden Figure of a Crane, fitted as a fountain, h. 56 in. [$700/1000]
257. French Cast Iron Figural Group of Ariadne on the Panther, after a model by Johann Heinrich von Dannecker, h. 38 in., w. 47 in., d. 15 in. [$1500/2500]
256. Pair of American Painted Cast Iron Horse-Head Hitching Posts, 19th c., fluted standard, pedestal base, h. 45 in., w. 6 1/4 in., d. 6 [$600/900]in.
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260. Patinated Bronze Hexagonal Planter in the Asian Taste, decorated with figures of warriors, h. 19 1/2 in., dia. 23 [$1000/1200]in.
253. Antique Painted Cast Iron Garden Ornament, modeled as a floral bouquet and Neoclassical urn, shaped plinth, h. 51 in., w. 29 in., d. 14 in. [$800/1200]
258. Decorative Carved Marble Garden Figure of an Egret, h. 28 1/2 in., w. 9 in., d. 21 [$800/1200]in.
254. Antique Painted Cast Iron Garden Ornament, modeled as a floral bouquet and Neoclassical urn, shaped plinth, h. 51 in., w. 29 in., d. 14 in. [$800/1200]
255. Antique English Patinated Metal Garden Figure, modeled as a boy holding a fruit basket, h. 38 in., w. 19 in., d. 13 [$1000/1500]in.
35 Session Two Saturday, September 10, 11 a.m. lots 261-692
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261. Clementine Hunter (American/Louisiana, 1886-1988), “Picking and Hauling Cotton”, oil on board laid on board, monogrammed lower right, 18 in. x 24 in., framed. [$4000/6000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
Note:[$4000/6000]Thislothas been authenticated by renowned Clementine Hunter expert Tom Whitehead. 263. Clementine Hunter (American/ Louisiana, 1886-1988), “Saturday Night Fight”, oil on board, monogrammed lower right, 9 in. x 16 in., unframed. Note:[$4000/6000]Thislothas been authenticated by renowned Clementine Hunter expert Tom Whitehead. 264. Clementine Hunter (American/Louisiana, 1886-1988), “Wash Day”, oil on canvas, monogrammed lower right, “J.B. Johnston, Jr.” stamped on stretcher, Sloans Auction sticker and newspaper clipping on backing paper, 16 in. x 20 in., framed. Provenance:[$3000/5000]Sloans & Kenyon Auction, Apr. 26, 2009, lot 1401.
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
262. Clementine Hunter (American/Louisiana, 1886-1988), “Melrose Plantation”, oil on board, monogrammed lower right, 15 3/4 in. x 23 3/4 in., framed.
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
267. Clementine Hunter (American/Louisiana, 1886-1988), “Unfinished Quilt”, fabric, monogrammed in thread lower right, 86 in. x 67 3/4 in., unframed. [$800/1200]
266. Clementine Hunter (American/Louisiana, 1886-1988), “Cotton Picking”, oil on canvas board, monogrammed lower right, 18 in. x 24 in., framed. [$4000/6000]
265. Clementine Hunter (American/Louisiana, 1886-1988), “Zinnias”, oil on canvas, monogrammed lower right, 30 in. x 24 in., framed. [$5000/7000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
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Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
268. Clementine Hunter (American/Louisiana, 1886-1988), “Flowers”, oil on board, monogrammed lower right, 8 in. x 12 in., Note:[$2500/3500]framed.Thislothasbeen authenticated by renowned Clementine Hunter expert Tom Whitehead.
Provenance: Collection of Allison Kendrick, The Carroll-Crawford House, New Orleans.
270. Clementine Hunter (American/ Louisiana, 1886-1988), “Pecan Picking”, oil on board, monogrammed lower right, 12 in. x 16 in., [$3000/5000]framed.
271. Clementine Hunter (American/Louisiana, 1886-1988), “Baptism”, oil on board, monogrammed lower right, 12 in. x 16 in., framed. Note:[$3000/5000]Thislothas been authenticated by renowned Clementine Hunter expert Tom Whitehead.
272. Amish Wedding Hearth Rug, 19th c., Lancaster, PA, decorated with dinner ware, cats, horse and flowers; linen backed, on stretcher, 39 1/2 in. x 58 1/4 [$1000/1500]in
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
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269. Clementine Hunter (American/Louisiana, 1886-1988), “The Wash Tub”, oil on panel, monogrammed lower right, inscribed with artist and title en verso, pencil-inscribed with title and artist biography label on backing paper, 6 in. x 8 in., framed. Note:[$1500/2500]Thislothas been authenticated by renowned Clementine Hunter expert Tom Whitehead.
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276. Early American Painted Pine Step-Back Cupboard, 18th c., upper case fitted with two shelves, paneled lower cabinet, splayed legs, h. 51 1/2 in., w. 24 in., d. 24 [$700/900]in.
278. Early American Pine and Cherrywood Hutch, 18th c., plank top, scalloped upper case fitted with three shelves, paneled cabinet door, h. 74 in., w. 42 in., d. 16 1/2 in. [$800/1200]
279. Acadian Cypress Cabinet, early 19th c., shaped backsplash, plank top, paneled cabinet doors, plinth base, h. 42 1/2 in., w. 44 in., d. 19 1/2 in. [$1000/1500] Provenance: Estate of Reuel Lacy “Sonny” and June Ann Anderson, Baton Rouge, LA.
274. Vernacular Southern Carved Mixed Woods Sideboard, 19th c., serpentine superstructure with incised floral decoration and spindled shelf, over short drawers, case with banks of drawers centered by inset cabinet door with applied star, toupie feet, h. 62 3/4 in., w. 65 5/8 in., d. 24 1/4 in. [$2000/3000]
275. Rare Southern Pine Merchant’s Desk, early 19th c., flared cornice, upper case with two shelves, fall-front door, alcove fitted with three small drawers, en suite with stool, desk h. 71 1/2 in., w. 23 1/2 in., d. 16 1/2 in. (2 pcs.) [$800/1200]
277. Early American Pine Blanket Chest, 18th c., hinged top, dove-tailed corners, interior with secret compartment, casters, h. 20 in., w. 39 3/4 in., d. 21 in. [$300/500]
273. Southern Pine Huntboard, 19th c., four drawers, stretcher base, h. 38 in., w. 38 5/8 in., d. 24 1/2 in. [$500/800]
286. Mary Kirk Kelly (American/Alabama, 1918-2013), ceramic sand pear, ugli fruit, and peach, all signed, largest h. 5 1/2 in. [$200/300]
283. Mary Kirk Kelly (American/Alabama, 1918-2013), ceramic cabbage leaf plate, and a melon bowl, both signed, plate 6 1/2 in. x 7 in. [$150/250]
Provenance: From the personal collection of Mary Kirk Kelly.
285. Mark Kirk Kelly (American, Alabama, 1918-2013), ceramic coconut, gourd, and jicama, all signed, largest h. 8 1/2 in. [$300/500]
Provenance: From the personal collection of Mary Kirk Kelly. 280. Large Acadian Cypress Huntboard, 19th c., Opelousas, LA, plank top, frieze drawers, tapered legs, h. 30, w. 117 in., d. 34 in. Note: feet have been repaired/raised. [$2000/3000]
Provenance: Estate of Reuel Lacy “Sonny” and June Ann Anderson, Baton Rouge, LA. 281. Acadian Cypress Butcher Block, 19th c., Maurice, LA, cross section with remnants of bleu and gros rouge peinte, cylindrical legs, h. 31 in., dia. 32 1/2 in. [$1000/1500]
Provenance: From the personal collection of Mary Kirk Kelly.
287. Walter Inglis (American/Mississippi,Anderson1903-1965), “Buck Rabbit”, hand-colored woodblock print on wallpaper, colored by Johnnie Merle Jones, artist names and inscription on backing paper, 34 in. x 19 1/4 in., framed. [$700/1000]
282. Mary Kirk Kelly (American/Alabama, 1918-2013), two ceramic gourds, the multi-color signed and dated 1987, the other signed, taller 6 1/4 in.
288. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Doe Rabbit”, hand-colored woodblock print on wallpaper, colored by Johnnie Merle Jones, artist names and inscription on backing paper, 34 in. x 19 1/4 in., framed. [$700/1000]
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284. Mary Kirk Kelly (American, Alabama, 1918-2013), ceramic grapefruit slice, grapefruit, pomelo, orange, and a lemon cup, all signed, largest h. 4 1/2 in. [$200/300]
Provenance: Estate of Reuel Lacy “Sonny” and June Ann Anderson, Baton Rouge, LA.
Provenance:[$400/600]
Provenance: From the personal collection of Mary Kirk Kelly.
From the personal collection of Mary Kirk Kelly
290. Caroline Wogan Durieux (American/Louisiana, 1896-1989), “Smiling Spider”, 1975, enhanced color lithograph, pencil-signed, titled and dated lower margin, sheet 16 in. x 20 in., unframed. [$700/1000]
293. George Rodrigue (American/Louisiana, 1944-2013), “Dependence: Black”, 2003, silkscreen, signed lower left, inscribed “Artist Proof” lower right, edition of 45 plus artist proofs, 19 1/2 in. x 19 1/2 in., framed with title plaque. Ill.:[$2500/3500]Rodrigue,George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Harry N. Abrams Inc., 2008, p. 203. 294. George Rodrigue (American/Louisiana, 1944-2013), “Circle of Life”, 2004, silkscreen, signed lower left, inscribed “P.P. 4/4” lower right, printer’s proof edition, dia. 33 1/2 in., framed with title plaque. Ill.:[$2000/3000]Rodrigue,George and Wendy Wolfe Rodrigue George Rodrigue Prints: A Catalogue Raisonné 1 970-2007. New York: Harry N. Abrams Inc., 2008, p. 201.
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292. Robert Gordy (American/ New Orleans, 1933-1986), “Female Nude”, 1983, monotype, pencil-signed and dated lower margin, 26 in. x 24 in., framed. [$1500/2500]
289. Caroline Wogan Durieux (American/Louisiana, 1896-1989), “Victory”, electron print, signed, titled and numbered “8/10” lower left, pencil-inscribed “8” lower margin, sheet 20 in. x 16 in., unframed. [$800/1200]
291. Caroline Wogan Durieux (American/Louisiana, 1896-1989), “Committee of the Whole”, 1978, clichéverre, signed and dated lower right, titled and numbered “6/0” lower left, sheet 16 in. x 19 7/8 in.,[$800/1200]unframed.
42 299. George 2013),(American/Louisiana,Rodrigue1944“Mardi Gras ‘96: Black”, 1999, silkscreen, signed lower right, inscribed “Artist Proof” lower left, edition of 120 plus artist proofs, 27 in. x 21 in., framed with title plaque. Ill.:[$1500/2500]Rodrigue,George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 19702007. New York: Harry N. Abrams Inc., 2008, p. 166. 300. George Rodrigue (American/ Louisiana, 1944-2013), “Argus”, 2002, silkscreen, signed lower right, inscribed “Artist Proof” lower left, edition of 390 plus artist proofs, created for the Mardi Gras Krewe of Argus, 21 in. x 32 in., framed with title plaque. [$1500/2500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Harry N. Abrams Inc., 2008, p. 172. 301. George Rodrigue (American/ Louisiana, 1944-2013), “We Are Marching Again”, 2006, silkscreen, signed lower right, open edition, sheet 23 in. x 18 in., unframed. [$1000/1500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 235. 302. George 1944-2013),(American/Louisiana,Rodrigue “The Youngsville Heritage Oak”, 2011, silkscreen, pencilsigned lower left, 24 in. x 32 in., [$800/1200]unframed.
295. George 2013),(American/Louisiana,Rodrigue1944“A Garden Party”, 1998, silkscreen, signed lower right, inscribed “Artist Proof” lower left, edition of 90 plus artist proofs, 30 in. x 21 in., framed with title plaque. Ill.:[$2000/3000]Rodrigue,George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 19702007. New York: Harry N. Abrams Inc., 2008, p. 120.
297. George Rodrigue (American/Louisiana, 1944-2013), “She Loves Me, She Loves Me Not, She Loves Me”, 2001, silkscreen, signed lower left, inscribed “P.P. 1/10” lower right, printer’s proof edition, 14 in. x 31 in., framed with title plaque. [$1500/2500]
Ill.: Rodrigue, George and Wendy Wolfe Rodrigue George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Harry N. Abrams Inc., 2008, p. 157. 298. George Rodrigue (American/Louisiana, 1944-2013), “I Married Someone Like Me”, 2000, silkscreen, signed lower left, numbered “P.P. 8/10” lower right, printer’s proof edition, 15 in. x 22 in., framed with title plaque. [$1500/2500]
Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Harry N. Abrams Inc., 2008, p. 174.
296. George 2013),(American/Louisiana,Rodrigue1944“Hot Dog Chili”, 2000, silkscreen, signed lower right, numbered “P.P. 3/10” lower left, printer’s proof edition, 32 in. x 18 in., framed with title plaque. Ill.:[$1500/2500]Rodrigue,George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Harry N. Abrams Inc., 2008, p. 154.
307. German Flintlock Muzzle Loading Sporting Gun, 19th c., lockplate signed “WEICHANDT A FRANCFORT”, octagonal barrel, walnut stock with patch box, muzzle end with bone, original ramrod, furniture with foliate engraving, barrel l. 23 in. [$800/1200]
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309. Thomas Smith Muzzle Loading Percussion Shotgun, c. 1830, barrel flat signed “THOMAS SMITH 55 PARLIAMENT ST. LONDON”, foliate engraved lockplate signed “THOMAS SMITH LONDON”, scroll behind trigger guard engraved “842”, guard with engraved hunting dog in pursuit, original ramrod, mahogany case with cleaner, screwdrivers, and two leather powder flasks (one Sykes), barrel l. 31 1/2 in. [$1000/1500]
306. Cased Pair of Belgian Percussion Dueling Pistols, 19th c., Belgian proof marks to barrel, burled walnut stock, the hammer, lockplates, pommel, and trigger guard with foliate designs, rifled octagonal barrel with fluting, fitted brass-inlaid rosewood case with numerous implements barrel l. 10 in., case h. 3 1/4 in. w. 19 1/4 in., d. 12 in. [$1200/1800]
304. Pair of Regency Flintlock Pocket Pistols, c. 1820, Edward Bond, London, marked “E. BOND/45/CORNHILL” and “LONDON”, Birmingham proof marks, turn-off barrels, with tool, checkered grips, barrel l. 1 1/4 in., housed in a later custom case. [$700/1000]
305. English Flintlock Overcoat Pistol, c. 1800, Thomas Mortimer, London, lockplate marked “T.Mortimer”, top barrel flat marked “Gun Maker to his Majesty, checkered grip, trigger guard engraved with trophy of arms and pineapple finial, original ramrod, barrel l. 3 in., in a later mahogany case. [$500/700]
308. Fine Belgian Double Barrel Percussion Shotgun, c. 1850, marked “M.L. Chaumont Fournisseur du Roi des Pays Bas”, hammers, lockplates, and trigger guard chased with foliate design, walnut stock also foliate carved, with a void cartouche, period ramrod, barrel l. 31 in. [$1000/1500]
303. Ketland Officer’s Flintlock Pistol, early 19th c., marked “Ketland & Co” on the lockplate, “London” on the top flat, two proof marks to side, octagonal iron barrel, brass furniture, walnut stock, original ramrod, barrel l. 8 3/4 in. [$500/700]
313. Japanese Short Sword, 19th c., lacquered scabbard, shagreen hilt with gilt mounts, kozuka with gilt handle depicting a dragon and Mt. Fuji, blade l. 15 1/2 in., total l. 23 1/2 in. [$1000/1500]
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310. Edward London Percussion Muzzle Loading Sporting Gun, 19th c., barrel marked “E. LONDON, GUN & RIFLE MAKER, 51 LONDON WALL, LONDON”, London proof marks, top of breech with a portrait of a dog, the lockplate engraved with pheasants in a landscape, foliate engraved trigger guard, original ramrod, oak case with cleaner, two brass powder flasks, and original paper label, barrel l. 30 1/2 in. [$800/1200]
314. American Renaissance Carved Mahogany Center Table, 19th c., manner of R.J. Horner, New York, top with foliate border, corners mounted with mythological masks, frieze centered by lion’s masks, bulbous-turned foliate supports surmounting floral blocks, turned stretcher, compress, h. 30 in., w. 42 in., d. 28 in. [$700/1000]
315. American Rococo Carved Oak “Eagle” Parlor Suite, mid-to-late 19th c., incl. four armchairs and two side chairs, each crest surmounted by a large spread-winged eagle, rocaille crest rail, foliate surround, button tufted back, acanthine cabriole legs, side chairs with ball and claw feet; armchairs with scrolled feet, armchair h. 45 in., w. 33 in., d .29 1/2 in., side h. 48 in., w. 22 3/4 in., d. 26 1/2 in. [$2500/3500]
311. Japanese Tanto, 19th c., shagreen scabbard, lacquered hilt with floral mounts, gilt kozuka handle with reserves of crickets and dragonflies, blade l. 11 in., total l. 19 in. [$1000/1500]
312. Japanese Tanto, 19th c., tang and kozuka blade signed, lacquered scabbard and shagreen hilt, gilt foliate mounts, kozuka handle with a figure possibly at a forge, blade l. 10 1/2 in., total l. 18 in. [$1000/1500]
316. American Rococo Carved Mahogany Sideboard, c. 1850-1860, made for the Southern market, serpentine backsplash with cabochon crest, shaped molded top, foliate-decorated pedestal cabinets, plinth base, h. 62 1/4 in., w. 85 1/4 in., d. 25 1/2 in. Provenance:[$1500/2500]Estate of Reuel Lacy “ Sonny” and June Ann Anderson, Baton Rouge, LA.
318. American Renaissance Ebonized and Marquetry Center Table, c. 1870, probably New York, shaped top, blocked tapered legs, incised stretcher, h. 28 in., w. 48 1/2 in., d. 26 1/2 in. [$700/900]
317. American Renaissance Parcel Gilt, Marquetry and Rosewood Parlor Cabinet, c. 1860-1870, New York, possibly Pottier & Stymus or a related firm, shaped top with foliatebanded edge, blocked frieze, fluted foliate stiles with Ionic capitals, paneled doors, conforming base, h. 42 in., w. 51 in., d. 21 in. [$2000/3000]
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Note: This stylish rosewood cabinet, featuring intricate marquetry and incised decoration, is closely related to the work of prestigious nineteenth century New York cabinetmakers such as Pottier & Stymus, Alexander Roux, and Leon Marcotte. This cabinet shares similar features with an impressive New York tripartite cabinet in collection of the Munson-Williams-Proctor Institute in Utica, NY and is related in overall form to an Alexander Roux cabinet held in the same collection. Ref.: D’Ambrosio, Anna Tobin, et al. Masterpieces of American Furniture from the MunsonWilliams-Proctor Institute. University of Syracuse Press, 1999, pp. 104-109.
319. American Renaissance Carved Oak Center Table, 19th c., manner of R.J. Horner, New York, top with foliate carved border, corners with mythological masks, frieze centered by lion’s masks, bulbous turned foliate supports surmounting floral blocks, incurvate stretcher shelf, paw feet, h. 29 in., w. 42 in., d. 27 1/2 in. [$800/1200]
Provenance: Long Island Estate; Christie’s, New York, Jan. 19, 2007, lot 324.
323. Jean Joseph Vaudechamp (French/Louisiana, 1790-1866), “Young Boy Leaning on Table with Bookplate”, oil on canvas, unsigned, 44 in. x 33 3/4 in., [$6000/8000]framed.
Note: “Damn the torpedoes, full speed ahead!” The painting offered here depicts the August 5, 1864 Battle of Mobile Bay. At the time, Mobile was one of only two functioning ports in the Confederacy. The bay was guarded by torpedoes and a small flotilla, including the ironclad CSS Tennessee (represented on the right). While navigating the hostile waters, the USS Tecumseh sank upon striking a torpedo, prompting a widespread hesitation of the advancing Union fleet. Rear Admiral David G. Farragut, undeterred, shouted at his men, “Damn the torpedoes! Four bells. Captain Drayton, go ahead! Jouett, full speed!,” which with its generations of recounting has been transformed into the famous catchphrase above.
Note: Before Jean Joseph Vaudechamp traveled to New Orleans, he studied at the Ecole des Beaux-Arts under Anne-Louis Girodet (1767-1824) and established himself as a portrait painter in Paris. Vaudechamp soon made a name for himself depicting wealthy, fashionable citizens of Paris, and in 1831, he traveled to New Orleans, where portraitists were highly sought within the Creole community. In his monograph on the artist, William Keyse Rudolph notes that: “By 1833, Vaudechamp’s style had crystallized. For the remainder of his time in New Orleans, he rarely experimented with more complex compositions…exceptions to the rule, like a series of portraits of the Forstall and Freret families, are just as revealing as the more traditional works.” In the portrait of a young boy offered here, Vaudechamp employed a neutral background, yet deviated from his traditional compositional pose for his sitters by adding layers of additional complexity. The standing boy leans his arm on a table, perhaps the same table seen in Vaudechamp’s portrait of James P. Freret and his son William P. Freret, and he rests his hand on a black and white bookplate. A similar bookplate device can be found in several of Vaudechamp’s portraits of children, such as the one of Mathilde Freret and Eugénie Freret from 1837 and the group portrait of the Forstall children of 1836. The young boy’s formal attire and the lavish dimensions of the portrait indicate the wealth of his family. According to family lore, this lot and the following lot of a Louisiana gentleman descended in the Bouchereau side of the family of Confederate General John C. Pemberton (1814-1881) and hung for many years in the family apartment in the Pontalba.
322. Attributed to Samuel Lovett Waldo (American, 17831861) and William Jewett (American, 1792-1874), “Louisiana Gentleman”, oil on panel, unsigned, 2 “Waldo & Jewett, New York, 1834” stencils en verso, 36 in. x 28 in., framed. [$3000/5000]
321. Southern School, 19th c., “Mobile Bay, Aug. 5, 1864”, oil on canvas, unsigned, titled lower left, 10 in. x 14 in., framed. [$2000/3000]
Ref.: Rudolph, William K. Vaudechamp in New Orleans. New Orleans: The Historic New Orleans Collection, 2007 320. Pair of American Renaissance Carved Rosewood Armchairs, later 19th c., manner of Daniel Pabst, Philadelphia, incised crest rail with floral relief carving, columnar stiles, foliate scrolled arms, scalloped seat rail with incised scrolled brackets, lobed tapered legs, casters, h. 42 in., w. 28 1/4 in., d. 24 1/2 in. [$1600/1800]
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Ref.: “Mobile Bay.” American Battlefield Trust www.battlefields.org. Accessed Mar. 3, 2022.
325. Bror Anders (Swedish/Louisiana,Wikstrom1854-1909), “L’isle Derniere”, 1890, oil on canvas, signed and dated lower right, canvas stamp en verso, 10 in. x 16 in., framed with title plaque. [$1500/2500]
Ref.: Lewis, Richard Anthony. “Adolph Rinck”. 64 Parishes www.64parishes.org. Accessed Aug. 9, 2022.
Note: Bror Anders Wikstrom began his working career as a sea captain, later forsaking maritime life for the arts. He arrived in New Orleans from Sweden around 1883 and is perhaps best remembered as a designer for elaborate Mardi Gras productions through the 1890s. Wikstrom also was highly popular during his lifetime for his Louisiana landscapes, portraits and historical subjects. His lifelong love of marine life and the sea are evident in the work offered here, as he provides a fleeting and captivating glimpse into the storied Isle Dernière in 1890. In the 1840’s Isle Dernière (L’isle Derniere) or “Last Island” on the Gulf of Mexico approximately five miles south of the mainland was a popular summer resort for residents of southern Louisiana and in particular the New Orleans area. Train and steamboat connections from the French Quarter made the island with its continuous breeze an ideal destination to escape the oppressive summer heat. Isle Dernière featured a carousel, approximately 100 vacation homes and John Muggah’s Ocean House Hotel which housed a restaurant, ballroom and offered bowling and billiards. On August 10, 1856, an unnamed hurricane, often referred to as the “Last Island Hurricane,” struck the island with a force equal to that of a Category 4 storm today devastating the island, its inhabitants and visitors. It is believed approximately 200 of the 400 people on the island perished and every building on the island was destroyed in the storm. The hurricane split Isle Dernière into two areas and much of the land eroded, leading to the island’s name to be pluralized as Isles Dernières or “Last Islands.” Subsequent hurricanes and storms have contributed to the continual erosion so that all that remains now is the “Isles Dernières Chain,” five small islands, three of which comprise the Terrebonne Barrier Islands Refuge, home to nesting waterbirds.
Ref.: Dobie, Ann B. “Bror Anders Wikstrom.” 64 Parishes. www.64parishes.org. Accessed Aug. 9, 2022. Trickey, Erick. “A Hurricane Destroyed This Louisiana Resort Town, Never to Be Inhabited Again.” Smithsonian Magazine. Jan. 4, 2017. www.smithsonianmag.com. Accessed Aug. 9, 2022.
47 324. Adolph Rinck (French/New Orleans, 1802-1895), “Bayou Scene with Deer”, 1877, oil on canvas, signed and dated lower right, “P.J. Ulrich, Manufacturer and Importer, New York” label on stretcher, 35 3/8 in. x 47 in., framed. [$20000/30000]
Note: Son of a Hessian officer, Louis Nicolas Adolphe Rinck was born in Metz, France in 1802. He studied at the Ecole des Beaux Arts in Paris in the 1830s and moved to New Orleans in 1840, where he established himself alongside Jean-Joseph Vaudechamp and Jacques Amans as a sought-after portraitist of the city’s elite, including Judah Touro, Charlotte Euphemie Mathilde Grevemberg, and Jean Baptiste Dejan. Rinck’s portraits are included in Louisiana’s most revered public and private collections. Rinck resided in New Orleans for over thirty years and eventually moved in 1871 with aspirations to travel back to Europe. Records indicate that he relocated to New York where he remained until his death 1895. The monumental painting on offer here is an incredibly rare and particularly impressive example of Rinck’s work in the genre of landscape. Dating to 1877, the canvas would have been painted after the artist left Louisiana, either from memory of his home in Algiers or perhaps during a return visit back to the South. Rinck masterfully renders the smallest of details within the expansive scene from the turkey vultures atop the tree to the silhouette of a menacing alligator in the waterway. His signature is framed by small whitecap mushrooms and palmetto plants. Weeds and wildflowers punctuate the foreground while a buck and doe draw the eye to the waterline. In comparison to the works of his contemporaries such as Richard Clague and William Henry Buck, Rinck’s interpretation of Louisiana flora and fauna is idyllic, highlighting the harmonic splendor of the undisturbed landscape and its occupants. The resulting masterwork is a tremendous addition to the known oeuvre of this celebrated artist.
330. American School, 19th c., “Portrait of Mrs. Charles Turner Howard (Florastile Boullemet, 1823-1902) with Harry Turner Howard (1856-1930) and Frank Turner Howard (18551911)”, oil on canvas, unsigned, 28 in. x 29 1/8 in., framed. [$1500/2500]
326. Southern School, 19th c., “Steamboat Henry Lee”, oil on canvas, unsigned, 28 1/8 in. x 36 in., framed. [$4000/6000]
331. American School, 19th c., “Portrait of a Lady in Ermine Stole”, oil on canvas, unsigned, 17 1/4 in. x 12 1/2 in., framed. [$500/700]
332. John James Audubon (American, 17851851), “Pied Duck”, Plate CCCXXXII, hand-colored engraving with aquatint, from Birds of America, Havell edition, “J. Whatman 1836” watermark visible, sheet 25 1/4 in. x 38 in., framed. [$1200/1800]
Provenance: Estate of Reuel Lacy “Sonny” and June Ann Anderson, Baton Rouge, LA.
48 329. Andres (American/NewMolinaryOrleans,1847-1915), “Portrait of Gentleman from the Howard Family”, oil on canvas, signed upper right, 24 1/8 in. x 20 1/8 in., framed. [$800/1200]
327. Southern School, 19th c., “River Scene with Barge and Paddleboat”, oil on canvas, signed “S. Hankinson” lower right, 16 in. x 22 1/8 in., framed. [$2500/3500]
Provenance: Estate of Reuel Lacy “Sonny” and June Ann Anderson, Baton Rouge, LA. 328. C.R. Parker (American/ Louisiana, 1799-1849), “Richard Pindell of Kentucky”, oil on canvas, initialed mid-right, 30 1/4 in. x 25 in., framed. [$1200/1800]
Ill.: Bruns, Mrs. Thomas, ed. Louisiana Portraits. New Orleans: The National Society of the Colonial Dames of America in the State of Louisiana, 1975, p. 205.
336. Trevor James (American, 20th c.), “River Landscape”, oil on canvas, signed lower right, 20 1/4 in. x 24 1/8 in., [$700/900]framed.
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340. Francis Hopkinson Smith Maryland,(American/1838-1915), “The Gardens of Glion”, watercolor and gouache on board, signed lower left, “Henry Ruth Fine Arts, Kansas City, MO” label with artist and title on backing paper, 19 1/2 in. x 27 1/2 in., framed. [$1800/2500]
333. John James Audubon (American, 1785-1851), “Sora or Rail”, Plate CCXXXIII, handcolored engraving with aquatint, from The Birds of America, Havell edition, “J. Whatman 1836” watermark visible, sheet 35 1/2 in. x 37 7/8 in., [$800/1200]Provenance:framed. Estate of Reuel Lacy “Sonny” and June Ann Anderson, Baton Rouge, LA. 334. Antique Botanical Prints, 6 hand-colored engravings, unsigned, from Phytanthoza Iconographia, 3 with inscribed notes in margin, each with copy of text on backing board, sights 14 in. x 9 in., framed alike. (6 [$600/900]pcs.)
338. David Wu 1890-1968),(Chinese/American,Ject-Key “Country Road”, 1963, oil on canvas board, signed and artist stamp lower right, titled, dated and inscribed en verso, 12 in. x 16 in., framed. [$2000/3000]
335. John James Audubon (American, 1785-1851), fascicle with 5 plates, No. 99, c. 1840, “Least Fly Catcher”, “Brewers Blackbird”, “Shattucks Bunting”, “Missouri Red Moustached Woodpecker” and “Nutall’s Whip-Poor-Will”, Plates 491-495, 5 hand-colored lithographs bound as issued, printed and hand-colored by J.T. Bowen, from The Birds of America, published in New York by J.J. Audubon and in Philadelphia by J.B. Chevalier, original wrapper cover, octavo, 10 5/8 in. x 6 3/4 in. [$400/600]
337. Charles Dormon Robinson (American, 1847-1933), “Eel River from Woods Pond, Humboldt Co. CA”, 1907, oil on canvas, signed lower right, titled and dated on stretcher, 12 in. x 18 1/4 in., framed. [$600/800]
339. Albert Sheldon Pennoyer (American/New York, 1888-1957), “Landscape”, pastel on paper, signed lower left, 17 1/2 in. x 23 1/2 in., framed. [$700/1000]
Note: Born into an immigrant Italian family in New York in 1902, Daniel Celentano contracted polio at a young age leaving him with only partial use of his legs and unable to attend school, forcing him to be homebound. His parents took note of his artistic talents and hired an art teacher and artist, the yet-to-befamous Thomas Hart Benton, to come to their home to tutor their son in painting. At the age of 12 Celentano had the distinction of being Benton’s first student. Much like his mentor, he would go on to create many murals for the WPA, mainly focusing on the everyday life of the residents of Manhattan and East Harlem. Differing from that aesthetic is the work on offer here, entitled “Charge.” While the subject is not his typical scene of quiet Americana, it skillfully showcases the lessons he learned early on from Benton, employing a flowing organic composition that guides the eye through the work using stylized, slightly elongated figures and areas of bright color. Perhaps falling more to the illustrative side than his mentor, Celentano preferred to use larger numbers of people in his compositions that allowed him to maximize the aforementioned techniques to their fullest, creating movement and a force not characteristically depicted in his daily observational works. Vibrant and exciting, “Charge” adds to the richness of Celentano’s oeuvre. Ref.: Meyers, Donald, et al. “Industry, Work, Society and Travails in the Depression Era”. Gustavus Adolphus College. Nov. 2019. www.gustavus.edu. Accessed Aug, 9, 2022. 341. Benjamin 1926),(American/Maine,Foster1852“Luminous Landscape with Creek”, oil on canvas, signed lower left, illegible handwritten label on stretcher, 18 in. x 22 1/8 in., framed. [$800/1200]
345. Daniel Celentano (American/New York, 1902-1980), “Charge”, oil on canvas, signed lower left and en verso, titled on stretcher, 15 in. x 19 in., framed. [$4000/6000]
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Provenance: Collection of Mrs. Giles Whiting, Carborough, NY; Collection of the Museum of the City of New York, NY; Bernard Dandenberg Galleries, Inc., New York, NY; Private Collection, LA; Questroyal Fine Art, New York, NY.
342. John Francis Murphy (American/New York, 1853-1921), “Landscape”, 1899, oil on canvas, signed and dated lower right, “Bernard Danenberg Galleries, Inc., New York, NY” label with artist and title and 2 typewritten labels detailing provenance on stretcher, 2 “Questroyal Fine Art, New York, NY” labels, one with artist, title and date on reverse of frame, 5 1/8 in. x 7 1/4 in., framed. [$1500/2500]
343. Ralph Albert Blakelock (American/New York, 1847-1919), “Hillside Landscape”, 1866, oil on canvas, signed and dated mid-left, “University of Nebraska Blakelock Inventory” label inscribed number “NBI-2122-II” and 2 “Questroyal Fine Art, New York, NY” labels, one with artist, title and date on backing board, 12 1/4 in. x 20 1/8 in., framed. Provenance:[$6000/8000]Private Collection, LA; Questroyal Fine Art, New York, NY.
344. Paul Desmond Brown (American, 1893-1958), “Lady Bronc Buster”, mixed media on tracing paper, signed lower left, 16 1/2 in. x 21 in.; and “Cowboys”, mixed media on tracing paper, label with artist lower right, label with artist biography on backing board, 10 in. x 20 in., both framed. (2 pcs.) [$1200/1800]
351. Tiffany Studios “Vine Border” Table Lamp, shade impressed “TIFFANY STUDIOS/NEW YORK”, base stamped “TIFFANY STUDIOS/NEW YORK/618”, leaded glass, patinated bronze, h. 18 1/2 in., dia. 12 1/4 in. [$8000/12000]
51 353. Pair of Tiffany Bronze and Green Glass Candlesticks, stamped “TIFFANY STUDIOS/NEW YORK/ 1307”, h. 4 3/4 in., dia. 4 3/4 in. Note: lacking one bobeche. [$500/700]
349. Five Copper Saucepans, graduated sizes, largest dia. 8 in. [$200/300]
350. Antique American Copper “Sulky” Weather Vane, 20th c., horse and sulky, over wind directions, h. 42 1/2 in., w. 28 in., d. 18 1/2 in., mounted on a wood base, total h. 44 in. [$500/700]
348. Fine Ship Model of the Mayflower by Fabio Wood, 2005, by Fabio Wood (Louisiana, b. 1949), carved and painted cypress, mahogany, nylon, and course canvas, self base, h. 46 in., w. 53 in., d. 10 in. [$2000/3000]
347. American Classical Fireplace Garniture, 19th c., incl. pair of andirons with spur legs, h. 20 in., w. 11 in., d. 24 in.; a wirework fender, h. 13 1/2 in., w. 42 in., d. 16 in.; a shovel, and a pair of tongs [$700/1000]
352. Tiffany Bronze “Zodiac” Inkwell, c. 1920, marked “TIFFANY STUDIOS/NEW YORK/842”, octagonal form, lid with crab design, with glass insert, h. 2 in., w. 4 in., d. 4 in. [$200/300]
346. Mario Villa (Nicaraguan/New Orleans, 1953-2021) Centerpiece, patinated metal and glass, h. 15 in.; together with a copper leaf-form wall applique, h. 16 in. [$150/250] Provenance: Estate of Highly Acclaimed New Orleans Artist, Furniture Maker, Designer, and Collector Mario Villa (1953-2021).
363. Pair of William IV Sterling Silver Mugs, London, 1837, Charles Gordon, act. 1828-1840, tapered form with reeded bands and gilt wash interior, h. 3 1/4 in., w. 4 1/4 in., wt. 10.60 troy ozs. [$400/600]
358. Pair of Dominick & Haff Sterling Silver Tazzas, New York, 1889, pattern 612, ret. Theodore B. Starr, New York, act. 1877-1924, everted floral repousse rims, entwined script monograms, h. 3 in., dia. 8 in., wt. 31.15 troy ozs. [$600/800] Theodore B. Starr Sterling Silver Kettle-on-Stand, c. 1900, New York, act. 1877-1924, flower, leaf and branch decoration on stippled ground, retains burner, h. (to top of handle) 10 1/2 in., w. 9 in., wt. 43.05 troy ozs. Tiffany & Co. Makers Sterling Silver Covered Mug, 1869-1891, pattern introduced 1875, decorated in the Persian taste, ivy leaf décor, domed cover with thumbpiece, loop handle, applied foot rim, gilt wash interior, h. 4 1/2 in., w. 4 1/2 in., wt. 7.30 troy ozs. [$300/500]
[$800/1200] 360.
362. Victorian Sterling Silver Salver, London, 1849, John Samuel Hunt, act. 1844-1867, mark reg, 1844, also marked “HUNT & ROSKELL/ LATE/ STORR MORTIMER & HUNT/ 4164”; reticulated grape and grapeleaf border interspersed with shells, flat chased well with engraved armorial (rubbed), reticulated grape and grapeleaf feet, dia. 10 1/4 in., wt. 17.95 troy ozs. [$400/600]
364. Wallace “Grande Baroque” Sterling Silver Coffee and Tea Service, pattern 4850-9, incl. coffee pot, teapot, covered sugar, creamer and waste bowl, coffee pot h. 10 5/8 in., total wt. 108.35 troy ozs.; TOGETHER WITH a Wallace “Baroque” silverplate oval tea tray, l. 28 1/2 in. [$1200/1800]
354. Mississippi Coin Silver Agricultural Premium Cup, c. 1859, engraved “Premium of the/ Miss. Ag. Bureau/ 1859”, made by Grosjean & Woodward for Tiffany & Co., New York, wc. 18531865; tapered body with beaded and Greek key molded rims, scroll handle, h. 3 3/4 in., wt. 4.25 troy ozs. [$600/900]
355. New Orleans Coin Silver Cream Pitcher, ret. Henry Peat Buckley (1822-1903), act. New Orleans, 18421903, 1853 successor to Young & Co., marked “H.P. BUCKLEY” in rectangle over “NEW ORLEANS” in rectangle; pear-shape with floral repousse and chased decoration, scroll handle, applied splayed foot with inverted papyrus and leaf border, h. 6 in. wt. 9.65 troy ozs. Ref.:[$600/900]
Crescent City Silver, pp. 102-103.
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359.
356. Art Nouveau Gorham Sterling Silver Tyg, pattern A1960, date mark for 1901, floral decoration, script monogram, engraved presentation “From Mother/Xmas 1901”, h. 8 in., width 10 1/2 in. wt. 51.60 troy ozs. [$1200/1800]
357. Tiffany & Co. Makers Sterling Silver Tyg, c. 1902-1907, pattern introduced 1897, h. 4 7/8 in., w. 5 5/8 in., wt. 11.75 troy ozs. [$300/500]
361. Victorian Sterling Silver Gilt Ewer, London, 1850, Edward, John & William Barnard, act. 1846-1851, chased with a frieze depicting Hebe serving wine to the gods at Olympus, neoclassical motifs throughout, the foot engraved “THE COUNCIL OF THE GODS/The golden goblet crowns with purple wine/Immortal Hebe fresh with bloom divine/Popes Homer’s Iliad”, h. 8 7/8 in., w. 4 in., wt. 10.73 troy ozs. [$400/600]
Note: The first Mississippi State Fair was held in November 1858, sponsored by the Mississippi Agricultural Society. The 163rd Mississippi State Fair will open October 6, 2022.
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368. Robert Malcolm Rucker (American/Louisiana, 19322001), “Steamboat on the River”, oil on canvas, signed lower left, 24 in. x 30 1/4 in., framed. [$1000/1500]
366. International “Prelude” Sterling Silver Flatware Service, pat. 1939, incl. 8 each: place forks (l. 7 1/4 in.), place knives (l. 9 1/8 in.), salad forks, cocktail forks, teaspoons and butter knives (fh); 7 soup spoons, iced tea spoon, 2 tablespoons, cold meat fork, gravy ladle, sugar shell, master butter knife (fh), jelly server, lemon fork, pickle fork and carving knife and fork; total wt. (weighable) 65.60 troy ozs.; together with a fitted wood storage case. (67 pcs.)[$800/1200]
369. Charles 1885-1944),(American/NewLongabaughOrleans, “Marsh - Grand Isle”, 1943, watercolor on paper, signed, titled and dated lower left, pencil-signed and titled on mat, 9 3/4 in. x 13 3/4 in., framed. [$600/800]
367. Norman Guthrie Rudolph (American/ New York, 1900-1985), “Brulatour Courtyard”, “Pirate’s Alley” and “Cathedral Chartres Street”, 3 oils, 2 signed lower left, one lower right, each 14 in. x 11 in., framed alike. (3 pcs.) [$800/1200]
370. Aaron Bohrod (American, 1907-1992), “Houses, New Orleans”, 1953, mixed media on board, signed lower right, titled, inscribed, partial label with artist and title and handwritten label with title and date en verso, 11 in. x 14 in., framed. [$1200/1800]
365. Wallace “Sir Christopher” Sterling Silver Flatware Service, pat. 1936, incl. 8 each: dinner forks (l. 7 3/4 in.), dinner knives (l. 9 3/4 in.), steak knives, salad forks, and teaspoons, total wt. (weighable) 39.45 troy ozs. (40 pcs.) [$800/1200]
371. Charles T. Baisley (American, 19th/20th c., active New Orleans, 1907-1916), “Bayou Bucktown”, oil on canvas, signed lower right, titled lower center, pencil-inscribed on stretcher, 12 1/8 in. x 16 in., framed. [$2000/3000]
Note: Charles T. Baisley was born in Boston and worked in New Orleans as an officer with the Whitney-Central National Bank and as an amateur painter from 1907 to 1916. His paintings were exhibited with the Art Association of New Orleans, and like many of his contemporaries, Baisley was drawn to the local landscape for inspiration. In the atmospheric work offered here, he captured an early 20th century view of Bucktown. In the mid-to-late 1800s, the banks of Orleans Parish on Lake Pontchartrain boasted many popular tourist destinations, including Spanish Fort, Milneburg and West End, while Jefferson Parish seemingly only had one, Bucktown. Originally this area, on the Jefferson Parish side of the 17th Street canal, was named “East End,” even though in true Louisiana fashion it lay just west of Orleans Parish’s “West End.” There are many theories proposed for the origins of the name Bucktown - perhaps so called for the deer or “buck” hunting available, because of the young “bucks” or riotous male youths who frequented the establishments there or due to a specific person named “Buck Oliver.” Regardless, the name Bucktown was adopted and remains to this day. Bucktown developed when the Jefferson & Pontchartrain Railroad linked the city of Carrollton and Metairie Road to the lake and a large pier where steamers could dock to take travelers to the north shore. In the early 20th century, wooden camps on stilts lined the 17th Street canal leading to Lake Pontchartrain or Bayou Bucktown, as referred to in the title of the painting. In Bucktown, tourists could rent boats for fishing trips or arrange deer hunting expeditions in the swamps of present-day Metairie and Kenner. The readily available fresh seafood and wild game of the area contributed to the opening of many notable historic Bucktown restaurants, including Brunings, Fitzgerald’s and Sid-Mar’s which unfortunately were all lost to hurricanes over the years. Ref.: Campanella, Richard. “Bucktown and the Lost Bayous of East Jefferson: Geographies of New Orleans.” Nola.com. Feb. 3, 2020. www.nola.com. Accessed July 27, 2022. Mahé, John A. II and Rosanne McCaffrey, eds. Encyclopædia of New Orleans Artists: 1718-1918. New Orleans: The Historic New Orleans Collection, 1987, p. 24. Swanson, Betsy. “The History of Bucktown, U.S.A..” New Orleans History. www.pontchartrain.net. Accessed Aug. 7, 2022.
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372. Alexander John Drysdale (American/Louisiana, 18701934), “Louisiana Bayou Landscape with Oak Trees”, oil wash on board, signed lower left, 10 in. x 29 7/8 in., framed. [$1500/2500]
373. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou with Live Oak”, oil wash on board, signed lower left, 20 in. x 29 3/4 in., framed. [$1000/1500]
Note:[$2000/3000]MaryBelle Johnson Woodward was the wife of New Orleans artist and Newcomb College professor, Ellsworth Woodward.
374. Mary Belle 1943),(American/Louisiana,Woodward1862“Bayou Barataria”, oil on canvas, signed lower left, titled lower right, 14 in. x 11 in., framed.
375. Clarence Millet (American/New Orleans, 1897-1959), “Keep Out: Construction of the Levee along the Mississippi River”, oil on canvas, signed lower right, 26 1/4 in. x 38 in., framed. Provenance:[$12000/18000]Acquired from the artist by his friend and cousin, Biloxi, MS; descended in the family; Neal Auction Company, May 22, 2010, lot 457.
378. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Water Hyacinth”, watercolor and graphite on paper, unsigned, 11 in. x 8 1/2 in., framed. [$10000/15000]
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376. Paul Richard Schumann (German/Texas, 1876-1946), “Morning Mist: Galveston, Texas”, 1943, oil on canvas board, signed lower right, handwritten label with artist and title en verso, pencil-inscribed with artist, title and date on backing paper, 11 3/4 in. x 9 in., framed. [$4000/6000]
Note: Known as the “Interpreter of the true Texas Gulf Coast,” Paul Richard Schumann spent his career studying the splendor of his maritime muse through the means of paint and canvas. In May of 1917, the San Antonio Express quoted Schumann, “In the Gulf of Mexico, we have a great deal more color than in the so-called Blue Pacific. The tropical colorings cannot be painted in words. The tints breathe warmth and are as delicate as anything one might imagine and they are ever changing. Every cloud finds its reflection of a different color, and the tints change with the depth of the water.”
Schumann was born in Germany in 1876 but his family moved to Galveston, Texas when he was a young boy.
In Galveston Schumann studied under artist and marine painter Julius Stockfleth until he developed his own impressionist style of painting en plein air, often utilizing his fingers and palette knife to capture the movement of the everchanging Gulf waters. Schumann was a prolific artist and taught private lessons in his studio thereby supporting his family. He was a member of the Southern States Art League, Galveston Art League, Texas Fine Arts Association, New Orleans Art Association and the Springfield, Illinois Art Association. The painting offered here is an archetypal work by Schumann depicting a sailboat with a smaller rowboat floating in the foreground as the men aboard the two vessels continue their daily toil. Shadows of other boats can be seen in the hazy distant horizon. Working with a palette knife, Schumann expertly captured the choppy waters and foggy skies.
377. Daniel Webster Whitney (American, 1896-1965), “Portrait of a Woman on Blue”, 1921, oil on canvas, signed and dated upper right, 26 in. x 23 in., framed. [$800/1200]
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385. AmericanDiminutiveFederal Inlaid Mahogany Open Bookcase, early 19th c., stepped cornice, paneled frieze, three adjustable shelves, plinth base, h. 73 1/2 in., w. 27 in., d. 12 in. [$700/1000]
383. American Federal Mahogany Work Table, c. 1810, probably Baltimore, outset corners, ring-turned stiles, two drawers, foliate-carved legs, ball feet, h. 30 3/4 in., w. 24 in., d. 20 in. [$400/600]
384. American Federal Banded and Inlaid Mahogany Console, c. 1810, New England, inset plank top, two short drawers over one long drawer, shaped brackets, tapered legs, h. 30 in., w. 35 1/2 in., d. 19 in. [$700/1000]
Provenance: Gift of the artist; Collection of Adele Jahncke, New Orleans, LA, c. 1916; thence by descent.
379. Will Henry 1949),(American/Louisiana,Stevens1881“Heaven of Our Bliss”, 1943, gouache on paper, pencilsigned and dated lower right, “Le Meiux Galleries, New Orleans, LA” label on backing paper, 28 in. x 21 7/8 in., otCompany,Provenance:[$6000/8000]framed.NealAuctionApr.7,2001,l450.
381. Gilbert Margeson (Canadian, 1852-1949), “Gloucester Fishermen on the Grand Banks”, oil on canvas, signed lower left, inscribed en verso, 36 in. x 30 in., framed; accompanied by 1980 letter from The Mariners Museum with information on the artist and [$1000/1500]subject.
380. Robert Wadsworth Grafton (American, 1876-1936, active New Orleans, 1916-1920), “Boats on the Basin Canal”, oil on canvas mounted to panel, signed and inscribed “To Adele” lower left, 12 in. x 14 in., framed. [$3000/5000]
382. Federal Polychrome Painted Sofa, early 19th c., vasiform arms supports, turned legs, brass cuffs, casters, h. 37 1/2 in., w. 64 in., w. 32 in. [$1000/1500]
389. American Classical Carved Mahogany Drop-Leaf Table, first quarter 19th c., probably Boston, top with reeded edge, reverse-tapered standard, incurvate plinths, scrolled feet, casters, h. 29 1/2 in., w. 58 1/2 in., d. 49 1/4 in. [$800/1200]
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387. American Federal Giltwood Mirror, early 19th c., molded surround with original gilt surface, foliate beaded banding, later mirror plate, h. 29 1/2 in., w. 20 1/2 [$300/500]in.
390. American Classical Carved and Inlaid Mahogany Sofa, early 19th c., probably Philadelphia, scrolled crest rail, out-swept foliate arms, acanthine bracketed paw feet, h. 32 in., w. 88 in., d. 22 1/2 in. [$800/1200]
Note: The Creole-style high-post bed in the present lot, illustrated in the April 1991 issue of The Magazine Antiques, exhibits many features specific to Louisiana beds made between 1830-1840. 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. This bed’s distinctively turned posts are nearly identical to the posts of a bed from the Holden Family Collection, illustrated in Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835. 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.
388. American Classical Mahogany Extension Dining Table, 19th c., circular top, conforming apron, cluster column standard, shaped base, lobed finials, casters, opens to receive four leaves, h. 29 1/4 in., dia. 49 3/4 [$1500/2500]in.
392. Fine Louisiana Carved Mahogany Tester Bed, c. 1830-1840, molded stepped tester, bulbous and ring-turned posts, rolling pin headboard with spherical finials, baluster legs, compressed ball feet, h. 107 1/2 in., l. 77 in., w. 53 1/2 [$4000/6000]in.
391. American Classical Carved Mahogany Banquet Table, early 19th c., probably Philadelphia or Baltimore, in two parts, each with drop leaf, frieze centering foliate panels, spiral-turned legs, ball feet, h. 29 in., w. 48 in., d. 92 1/2 in. [$1200/1800]
Provenance: Found in Cheneyville, LA. Ill.: H. Parrott Bacot, “Living With Antiques: The Sebastian Louis Kleinpeter House in Baton Rouge, Louisiana,” The Magazine Antiques, April 1991, pl. VII, p. 736.
386. American Federal-Style Inlaid Mahogany Sideboard, early 20th c., shaped top, conforming frieze drawers, pair of cupboards, tapered legs, h. 34 1/2 in., w. 75 1/2 in., d. 23 in. [$800/1200]
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396. Hunt Slonem (American/ Louisiana, b. 1951), “Mine”, 2021, oil on panel, signed, titled, dated, inscribed and gallery label with artist, title and date en verso, 10 in. x 8 in. (oval), framed. [$3000/5000]
397. Hunt (American/Louisiana,Slonem b. 1951), “Relay”, 2021, oil on panel, signed, titled, dated and inscribed en verso, 10 in. x 8 in., [$4000/6000]framed.
393. Hunt (American/Louisiana,Slonem b. 1951), “2 Blue”, 2021, oil on panel, signed, titled, dated and inscribed en verso, 18 1/8 in. x 15 in., framed. [$5000/8000]
394. Hunt 1951),(American/Louisiana,Slonemb. “Mink Stole”, 2021, oil on panel, signed, titled, dated and inscribed en verso, 9 7/8 in. x 7 7/8 in., [$4000/6000]framed.
398. Hunt Slonem (American/Louisiana, b. 1951), “Bunny”, 2019, oil on panel, signed, dated and inscribed en verso, 9 7/8 in. x 9 7/8 in., framed. [$4000/6000]
395. Hunt Slonem (American/Louisiana, b. 1951), “Ty”, 2021, oil on panel, signed, titled, dated and inscribed en verso, 10 in. x 8 in., [$4000/6000]framed.
404. Hunt Slonem (American/Louisiana, b. 1951), “Catelaya”, 1988, oil on canvas, signed, titled and dated en verso, 24 in. x 20 1/4 in., framed. [$4000/6000]
402. Hunt Slonem (American/ Louisiana, b. 1951), “Couple”, 2021, oil on panel, signed, titled, dated and inscribed en verso, 10 in. x 8 in., [$4000/6000]framed.
399. Hunt Slonem (American/ Louisiana, b. 1951), “Totem”, 2021, oil on panel, signed, titled, dated and inscribed en verso, 10 in. x 8 in., framed. [$4000/6000]
400. Hunt Slonem (American/ Louisiana, b. 1951), “Tell All”, 2021, oil on panel, signed, titled, dated and inscribed en verso, 9 3/4 in. x 7 7/8 in. (oval), [$4000/6000]framed.
401. Hunt Slonem (American/ Louisiana, b. 1951), “Peaches”, 2021, oil on panel, signed, titled, dated and inscribed en verso, 13 1/8 in. x 10 1/8 in., framed. [$4000/6000]
403. Hunt (American/Louisiana,Slonem b. 1951), “Green Singers”, 2005, oil on board, signed, titled and dated en verso, 20 in. x 16 in., framed. [$4000/6000]
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412. George III Mahogany Trolley/ Side Table, c. 1790, ring-turned supports, lower drawer, casters, h. 22 1/4 in., w. 20 1/2 in., d. 17 in. [$300/500]
407. Georgian-Style Carved Mahogany Library Steps, 20th c., spherule finials, turned spindles, six treads surmounted by a curved landing, shaped bracketed base, h. 66 3/4 in., w. 23 1/2 in., d. 38 1/2 [$1000/1500]in.
406. Georgian-Style Walnut Pedestal Desk, inset tooled leather top, each pedestal with bank of drawers, plinth base, h. 30 1/2 in., w. 54 1/2 in., d. 30 in. [$700/1000]
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405. Antique GeorgianStyle Burl Walnut Chest of Drawers, banded top, two short drawers over two long drawers, bracket feet, h. 30 1/2 in., w. 42 1/2 in., d. 18 in. [$1000/1500]
409. George III Mahogany Secretary Bookcase, late 18th c., broken arch pediment, paneled doors, candle slides, fall-front slant lid, fitted interior, five drawers, bracket feet, h. 92 1/2 in., w. 39 in., d. 22 in. [$1000/1500]
411. George III Mahogany Breakfront Bookcase, early 19th c., dentil-molded cornice, geometric glazed doors, three frieze drawers over paneled doors, bracketed base, h. 77 in., w. 53 1/2 in., d. 15 [$2000/3000]in.
410. George III Mahogany Chest-onChest, late 18th c., chamfered cornice, reeded stiles, upper case with two drawers over three graduated drawers, lower case with three graduated drawers, bracket feet, h. 73 1/2 in., w. 42 1/4 in., d. 21 3/4 [$1000/1500]in. Provenance: Estate of Reuel Lacy “Sonny” and June Ann Anderson, Baton Rouge, LA.
408. George III Mahogany Kneehole Desk, c. 1780, writing slide over drawer, banks of short drawers flanking recessed cupboard, bracket feet, h. 33 1/2 in., w. 37 1/2 in., d. 20 1/2 in. [$1000/1500]
415. George III Inlaid Mahogany Chest of Drawers, late 18th c., two short drawers over three long graduated drawers, bracket feet, h. 35 in., w. 37 3/4 in., d. 20 1/4 in. [$1000/1200]
414. Antique Georgian-Style Mahogany Dressing Table, fold-out top opens to fitted interior with mirror, h. 31 in., w. 36 in., d. 19 1/2 [$600/800]in.
420. Fine Antique Chippendale-Style Carved Mahogany Dining Table, demilune top with gadrooned edge, foliate-carved legs centered by anthemion petal medallions, robust ball and claw feet, casters, with three leaves, crank extension mechanism, h. 29 1/2 in., w. (closed) 71 1/2 in., w. (open) 143 in., d. 48 in. [$3000/5000]
419. Thirteen Antique Queen Anne-Style Mahogany Dining Chairs, incl. two armchairs and eleven side chairs, vasiform splat, turned stretchers, cabriole legs, pad feet, armchair h. 44 1/2 in., w. 21 3/4 in., d. 19 1/2 in., side h. 41 5/8 in., w. 19 1/2 in., d. 18 in. [$800/1200]
Provenance: Estate of Reuel Lacy “Sonny” and June Ann Anderson, Baton Rouge, LA.
417. Pair of Antique Chippendale-Style Carved Mahogany Demilune Console Tables, 19th c. and later, frieze drawers with foliate swag decoration, tapered legs, lobed feet, h. 34 in., w. 46 in., d. 23 in. [$1000/1500]
418. Georgian-Style Mahogany Two Pedestal Dining Table, top with foliate-carved edge, acanthus carved pedestals with ball and claw feet, with two leaves, h. 30 in., w. (closed) 80 in., w. (open) 118 1/2 in., d 48 in. [$1200/1800]
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413. Chippendale-Style Mahogany Stool, shaped seat, foliate cabriole legs, ball and claw feet, h. 18 1/4 in., w. 20 in., d. 14 1/2 in. [$200/300]
416. Pair of MahoganyChippendale-StyleChineseCarvedWallShelves , figural finial, reticulated pediment scrolled decoration, embellished shelves, foliate-mounted stiles, lobed pendant, h. 48 in., w. 36 in., d. 11 1/2 in. [$3000/5000]
421. Eight Antique Chippendale-Style Mahogany Dining Chairs, incl. 2 armchairs and 6 six side chairs, scrolled foliate crest rail, pierced splat with bellflower decoration, scrolled arms, cabriole legs, ball and claw feet, armchair h. 38 1/2 in., d. 23 1/2 in., d. 20 in., side h. 38 1/2 in., w. 21 1/2 in., d. 18 1/2 in. [$1000/1500]
Provenance: Estate of Reuel Lacy “Sonny” and June Ann Anderson, Baton Rouge, LA.
428. Gibbon, Edward, The History of the Decline and Fall of the Roman Empire, Edinburgh, Bell and Bradfute..., 1811, 12 vols., 4to (8 1/2 x 5 1/4 in.)., full leather, gilt lettering. [$250/350]
423. George III Burl Walnut Bookcase, early 19th c., stepped ogee cornice, doors with shaped beveled mirrors, shelf interior, one deep drawer over two short drawers surmounting two long drawers, bracket feet, h. 78 in., w. 43 in., d. 20 1/2 in. [$1500/2500]
427. English Rosewood Bracket Clock, c. 1840, backplate signed “J.T. BELL/London”, bail handle, engineturned dial, striking gong movement, h. 7 in., w. 5 in., d. 4 3/4 [$500/700]in.
430. Twain, Mark (Samuel Clemens), A Tramp Abroad, Hartford, Conn., American Publishing, 1880, first American edition, rebound in full calf, gilt lettering. [$300/500]
62 429. [Gardening], Nicholson, George/ editor. The Illustrated Dictionary of Gardening, a Practical and Scientific Encylopedia of Horticulture for Gardeners and Botanists, London, Upcott Gill, 18851888, 4 vols., octavo (10 in. x 8 in.), 1/4 leather, with gilt lettering, illustrated with numerous chromolithographs and b/w illustrations. [$400/600]
431. [Napoleonic Code], Code Civil des Francais, Edition Originale et Seule Officielle, Paris, L’Imprimerie de la Republique, J.J. Marcel, 1804; bound with Table Alphabetique des Matieres du Code Civil des Francais, 4to (8 x 5 in.), original calf binding, gilt lettering. [$400/600]
422. George III-Style Carved Mahogany Console Table, shaped top with guilloche edge, conforming fluted and rosette blocked frieze centered by a ram’s head panel, bellflower tapered legs, spade feet [$800/1200]
425. Georgian Marquetry Bracket Clock, early 18th c., elaborately engraved backplate signed “Jno Hocker/ Reading”, movement with seven bells, silvered chapter ring, putto spandrels, calendar window, and a window showing swing of the pendulum, on brass feet, h. 15 in., w. 11 1/2 in., d. 7 in. [$1500/2500]
424. French Fruitwood Morbier Tallcase Clock, 19th c., dial signed “BRAU a JONZAC”, brass repousse surround with fruit basket, h. 93 in., w. 20 in., d. 12 [$700/1000]in.
426. English Brass Mounted Ebonized Mantel Clock, 19th c., dial signed “C. Viner/Royal Exchange/ LONDON”, metal dial, flanked by barleytwist columns, striking bell movement, h. 10 1/4 in., w. 7 in., d. 5 1/2 in., note: lacking finial and hour hand [$800/1200]
438. Antique Neoclassical-Style Inlaid and Polychrome-Painted Kingwood Cartonnier, upper compartments with classical reserves, lower paneled doors, tapered legs, h. 54 in., w. 22 1/2 in., d. 14 1/2 in. [$1000/1500]
435. Italian Ebonized, Parcel Gilt and Micromosaic Side Table in the Neoclassical Taste, swag and drapery decoration, paw feet, h. 30 in., dia. 26 1/2 in. [$3000/5000]
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432. Biedermeier Fruitwood Parquetry Two-Part Encoignure, early 19th c., upper case with cartouche glass doors, shelf interior, tapered supports; lower case with demilune front, paneled doors, spade feet, h. 79 1/2 in., w. 42 in., d. 28 in. [$1000/1500]
433. Biedermeier Parcel Ebonized Fruitwood Secretaire à Abattant, early 19th c., chamfered corners, frieze drawer, fall-front lid, fitted desk interior, paneled lower doors, tapered legs, h. 62 in., w. 39 1/2 in., d. 17 [$800/1200]in.
434. Neoclassical-Style Gilt Bronze Side Table, inset black marble top, X-stretchers, paw feet, h. 26 in., w. 30 in., d. 19 [$700/900]in.
439. Pair of Empire Crème Peinte and Parcel Gilt Fauteuils, 19th c., square back, foliate decoration, tapered legs, h. 39 in., w. 26 in., d. 20 [$1500/2500]in.
436. Continental NeoclassicalStyle Parcel Gilt Mahogany Center Table, grey marble top, reverse-tapered standard, six-point star-shaped base, casters, h. 29 in. dia. 44 in. [$4000/6000]
437. Antique SecretaireBronze-MountedEmpire-StyleMahoganyaAbattant , marble top, mirrored fall-front lid opens to fitted interior, pier table base with columnar supports, h. 54 1/2 in., w. 32 in., d. 18 1/2 [$800/1200]in.
64 448. Giant Clam Shell, tridacna gigas, South Pacific, h. 15 in., w. 34 in., d. 24 in. [$1500/2500] 449. Giant Clam Shell, tridacna gigas, South Pacific, h. 11 in., w. 26 in., d. 19 in. [$800/1200] 445. Empire Mahogany Lady’s Work Table, c. 1815, lift top with inset mirror, fitted interior, curule base, incised stretcher, h. 27 1/2 in., w. 22 in., d. 16 1/4 [$500/700]in. 447. Pompeian-Style Patinated Bronze Prancing Horse, marble base, h. 15 in., w. 6 1/2 in., d. 15 in. [$800/1200] 441. Empire-Style Bronze-Mounted Mahogany Chaise Longue, scrolled back, lion and dolphin mask mounts, turned and tapered feet, h. 33 in., l. 80 in., d. 35 in. [$3500/5500] 442. Antique Italian NeoclassicalStyle Fruitwood and Marquetry Desk, kneehole configuration of drawers, tapered legs, h. 30 1/2 in., w. 51 in., d. 34 1/2 in. [$5000/7000] 443. Antique Empire-Style BronzeMounted Mahogany Bergère, reeded crest rail, foliate scrolled and padded arms, tapered legs mounted with winged caryatids, paw feet, h. 43 in., w. 31 in., d. 24 [$1500/2500]in. 444. Pair of Neoclassical-StyleFrenchPainted and Parcel Gilt Pedestals, stepped fluted circular top, pierced frieze with ram’s head mounts, tripod supports, dished lower shelf, hoof feet, h. 48 in., dia. 15 in. [$800/1200] 440. Pair of BronzeNeoclassical-StyleFrenchGiltGueridons , inset circular marble top, lion’s mask mounts, X-stretchers, paw feet, h. 30 in., dia. 34 in. [$3000/5000]
446. Empire Bronze-Mounted Fruitwood and Burlwood Bookcase, early 19th c., stepped cornice, columnar stiles, grillework doors, two frieze drawers centered by a letter drawer, paneled cabinet doors, turned feet, h. 93 in., w. 61 in., d. 26 in. [$1500/2500]
452. George III Tortoiseshell Tea Caddy, 19th c., inlaid lid, interior with two lidded compartments, ball feet, h. 6 in., w. 5 1/4 in., d. 4 1/4 in. [$1000/1500]
450. French Gilt and Patinated Bronze Compote, 1905, Raoul Bernard, signed with Susses Freres stamp, central medallion depicting Orion riding a dolphin, h. 3 1/4 in., dia. 9 1/4 in. [$500/700]
453. George III Tortoiseshell Tea Caddy, 19th c., chamfered top, interior with two lidded compartments, ball feet, h. 5 1/4 in., w. 5 1/4 in., d. 3 1/2 in. [$1000/1500]
456. Antique English Burlwood Tea Caddy, marked “LUND 24 FLEET St., LONDON”, with two lidded, removable compartments, mixing bowl, h. 6 3/4 in., w. 13 in., d. 6 1/2 in. [$250/350]
455. George III Tortoiseshell Tea Caddy, early 19th c., pagoda-form top, shaped front, interior with two lidded compartments, on embossed brass-ball feet, h. 5 3/4 in., w. 8 1/8 in., d. 5 in. [$1000/1500]
458. Welsh Carved and Inlaid Oak Settle, c. 1740, Carmarthen, high paneled back decorated with foliate motif, molded scrolled arms, plank seat, paneled returns, stretcher base, h. 54 in., w. 79 3/4 in., d. 25 in. [$1000/1500]
459. Eight William and Mary-Style Carved Walnut Dining Chairs, 20th c., incl. two armchairs and six side chairs, serpentine crest rail, spindled back, turned legs and stretcher, rush seat, armchair h. 42 1/2 in., w. 21 in., d. 17 in.; side h. 37 in., w. 19 in., d. 15 1/2 in. [$1000/1500]
460. Diminutive William and Mary Herringbone Banded Walnut Chest of Drawers, early 18th c., molded top, two short drawers over two long drawers, molded base, bulbous incised feet, h. 32 in., w. 33 in., d. 17 1/4 in. [$700/1000]
454. George IV Green Tortoiseshell Tea Caddy, 19th c., interior with two lidded compartments, bun feet, h. 5 in., w. 7 in., d. 4 in. [$1000/1500]
451. George IV Tortoiseshell Tea Caddy, 19th c., domed top, interior with lidded compartment, h. 5 in., w. 4 1/2 in., d. 3 in. [$800/1200]
65 457. William and Mary Marquetry and Burl Walnut Chest-on-Stand, 18th c., upper case with two short drawers over two long drawers; lower case with long drawer, shaped apron, cabriole legs, pad feet, h. 55 1/2 in., w. 42 1/2 in., d. 24 in. [$1000/1500]
468. Continental School, 19th/20th c., “Fishing Boat Returning with Catch”, oil on canvas, signed “W. Meyer” lower left, 25 1/4 in. x 35 in., framed. [$1200/1800]
464. Pair of Antique George II-Style Inlaid Walnut Side Chairs, vasiform splat, shell-carved legs, ball and claw feet, h. 38 1/2 in., w. 20 1/2 in., d. 18 in. [$1500/2500]
462. English Carved Walnut Drop-Leaf Table, late 18th/early 19th c., plank top, balusterturned legs, brass cuffs, casters, h. 28 in., w. (closed) 28 1/4 in., w. (open) 48 1/2 in. [$700/1000]
467. Continental School, early 19th c., “Padre Andrea Villani (1706-1792)”, oil on canvas, inscribed “P. Villani” upper left and “1792” upper right, 34 in. x 24 in., [$600/800]framed.
463. Queen Anne Oak Drop-Leaf Table, early 18th c., circular top, two gate legs, tapered legs, pad feet, h. 28 in., w. 40 in., d. 43 [$500/700]in.
469. Continental School, 19th c., “Two Ladies Whispering Over a Wall”, oil on canvas, unsigned, 25 in. x 19 1/8 in., framed. [$1200/1800]
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470. Continental School, 19th/20th c., “Moonlight”, oil on canvas, signed “D. Ghyka” lower right, partial handwritten label with title on stretcher, 20 1/4 in. x 30 in., [$1200/1800]framed.
465. Set of Eight William and Mary-Style Carved Walnut Dining Chairs, incl. two armchairs and six side chairs, baluster turned legs and stretchers, fine silk upholstery with tassel fringe, arm h. 44 1/2 in., w. 20 in., d. 21 1/2 in.; side h. 43 1/2 in., w. 18 1/2 in., d. 18 in. [$1200/1800]
461. William and Mary Walnut and Seaweed Marquetry Cushion Mirror, 18th c., extensive foliate surround, antique mirror plate, h. 40 in., w. 33 in. [$800/1200]
466. After Bartolomé Esteban Murillo (Spanish, 1617-1682), “Madonna and Child”, late 18th/19th c., oil on canvas, unsigned, 30 in. x 22 in., framed. [$2500/3000]
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474. Dutch School, 19th c., “Barmaid and Patron”, oil on canvas, unsigned, 13 1/2 in. x 13 1/2 in., framed. [$2000/3000]
477. Georges Washington (French, 1827-1910), “Environs de Philippeville, Provence de Constantin (un Douair)”, oil on panel, signed lower left, titled en verso, 18 in. x 14 5/8 in., [$6000/8000]framed.
476. Georges Washington (French, 1827-1910), “Éclaireurs Arabes en Observation”, oil on panel, signed lower left, titled en verso, 18 in. x 14 3/4 in., framed. [$6000/8000]
Note: French artist Georges Washington studied at the Ecole de Beaux Arts in Paris under François-Edouard Picot and was highly influenced by the Romantic painters – Eugène Delacroix in particular – whose Orientalist scenes served as creative stimulus for his own work. Washington went on many voyages in his lifetime and drew inspiration from his trips to North Africa. His paintings of the local people within vast rural backdrops earned him great acclaim at the Paris salons. In the painting offered here, Washington depicts several nomadic horsemen finding respite from the relentless desert sun in a tropical oasis. This canvas showcases his distinctive and sensitive brushwork and ability to capture the blinding brilliance of the sunlight as it illuminates the vibrant robes, dazzling bridles and weaponry of the figures.
472. Pair of Bronze Figures of Seated Muses, after Etienne-Henri Dumaige, signature inscribed on each self-base, both h. 14 1/2 in., w. 6 1/2 in., d. 7 1/2 [$1000/1500]in.
475. Georges Washington (French, 1827-1910), “Horsemen by an Oasis”, oil on canvas, signed lower left, 18 1/4 in. x 21 3/4 in., framed. [$12000/18000]
473. Dutch School, 19th c., “Still Life with Bird and Fruit”, oil on canvas, unsigned, 32 in. x 28 in., framed. [$800/1200]
471. Bronze Figure of “Diana of Gabii”, after the antique now conserved in the Louvre, Paris, h. 20 1/2 in., w. 6 in., d. 6 in. [$600/800]
484. Continental School, 19th c., “Cobbler Shop”, oil on panel, unsigned, 16 1/4 in. x 25 1/2 in., framed. [$1500/2500]
481. Continental School, 20th c., “Bodegon”, oil on canvas, indistinctly signed lower right, indistinctly signed and titled en verso, 24 3/4 in. x 35 5/8 in., [$800/1200]framed.
478. Francesco Lord Mancini (Italian, 1830-1905), “Giro in Carrozza”, 1896, oil on canvas, signed, dated and illegibly inscribed lower right, 17 3/8 in. x 29 7/8 in., framed. [$1200/1800]
68 486. Continental School, late 19th/early 20th c., “Portrait of a Man”, oil on canvas, unsigned, “R.H. Macy & Co. Inc.” label on stretcher, 29 3/4 in. x 25 1/8 in., framed. [$1000/1200]
482. Continental School, late 19th/early 20th c., “Bringing Cows to Pasture”, oil on canvas, illegibly signed lower left, French stamp on stretcher, 33 3/4 in. x 45 1/4 in., [$800/1200]framed.
479. Bronze Figural Group of “Eagle Rock”, after Louis Albert Carvin, signature inscribed on self-base, h. 20 1/2 in., w. 22 1/4 in., d. 8 [$700/1000]in.
485. Jacques Madyol (Belgian, 1871-1950), “Portrait of a Woman”, 1912, oil on canvas, signed and dated lower right, 39 1/2 in. x 29 3/4 in., [$2500/3500]framed.
487. August Friedrich Siegert (German, 18201883), “Portrait of a Man”, oil on canvas, signed upper right, partial label on reverse of frame, 12 in. x 10 in., framed with artist plaque. [$800/1000]
480. Toni Bordignon (Italian, 1921-1998), “Venice Harbor”, oil on masonite, signed lower right, inscribed with artist and title en verso, label with artist and title on backing board, 18 1/4 in. x 38 1/4 in., framed. [$1000/1500]
483. Bronze Figural Group of “Return of the Bear Hunters”, after Evgeny Ivanovich Naps, signature and foundry inscribed in Cyrillic and dated 1879 and 1903 on self-base, h. 6 5/8 in., w. 12 in., d. 5 1/2 in., wood base, overall h. 7 1/4 in. [$1000/1500]
69
Provenance:[$400/600]
493. John Evan Hodgson (British, 1831-1895), “Village Scene with a Horse-Drawn Carriage”, 1882, oil on panel, signed and dated lower right, “Charles Roberson & Co., London” label and handwritten labels en verso, 23 1/4 in. x 36 in., framed. [$1000/1200] 494. British School, 18th c., “Portrait of Mrs. Mary Cotton, Daughter of Sir Sam Sleigh of Cornwall & Wife of Rowland Cotton, Esq.”, oil on canvas, unsigned, sitter identified lower right, 30 in. x 25 in., framed. [$1000/1500] 495. Jean Coulin (Swiss, 1822-1883), “Suzanne Francoise Licdet (1840-1876)”, 1850, oil on canvas, signed and dated lower right, partial pencil inscription on stretcher, 14 1/2 in. x 11 1/4 in., [$600/800]framed. Provenance: Neal Auction Company, May 20, 2006, lot 336. 488. R. Poggiali (Italian, 20th c.), “Portraits of Smokers”, 2 oils on canvas, both signed lower left, one with partial label on reverse of frame, both 15 13/16 in. x 11 7/8 in., framed alike. (2 pcs.) [$700/900]
489. Attributed to Henri Valton (French, 1810-1878), “The Day of the First Confession”, oil on canvas, unsigned, inscribed with artist and title on stretcher, 15 in. x 12 1/4 in., [$1000/1500]framed. 491. A.E. Wells (British, late 19th/early 20th c.), “Children Waiting in a Park”, 1885, oil on canvas, signed and dated lower right, 36 in. x 48 1/8 in., framed.
Estate of Reuel Lacy “Sonny” and June Ann Anderson, Baton Rouge, LA. 492. George Weissbort (British, 1928-2013), “Playing Cards”, 1972, oil on canvas board, signed and dated lower right, 36 in. x 48 in., [$1000/1500]framed. 490. Joseph Clark (British, 1834-1926), “Temptation”, oil on canvas, signed lower left, 16 1/4 in. x 12 1/4 in., framed with artist and title plaque. [$800/1200]
500. Antique Louis XVIStyle Bronze-Mounted Marble Pedestals, stepped top, floral plaques, raised base, h. 44 in., w. 16 1/2 in., d. 16 1/2 [$1200/1800]in.
497.
499. Louis XVI-Style BronzeMounted Mahogany Console Desserte, demilune molded variegated marble top, fitted frieze drawer, stopfluted supports, two galleried shelves, fluted tapered legs, brass cuffs, h. 35 in., w. 50 1/2 in., d. 20 1/2 in. [$1200/1800]
502. Pair of Louis XVI-Style Carved Giltwood Window Benches, foliate-carved incurvate crest rail centered by a floral wreath, bellflower seat rail, fluted tapered legs, one h. 29 in., w. 43 in., d. 20 in., other h. 24 in., w. 40 1/2 in., d. 21 1/2 in. [$1400/1800]
70 501. Pair of Louis XVI-Style Bronze and Polychrome Porcelain-Mounted Kingwood and Marquetry Cabinets, shaped marble top, foliate frieze, caryatid mounts, paneled center door with classical reserve, conforming base, tapered feet, h. 40 in., w. 55 1/2 in., d. 20 1/2 in. [$4000/6000]
498. Louis XVI-Style Bronze-Mounted Mahogany Writing Desk, early 20th c., inset leather top, foliate edge, blocked fluted frieze with center drawer, pedestals with three drawers mounted with mythological masks, foliate tapered legs, h. 32 in., w. 72 in., d. 34 1/2 in. [$3000/5000] Henri de Toulouse-Lautrec (French, 1864-1901), “Arrestation de Schlome Fuss”, 1897, lithograph, pencil-signed lower margin, monogrammed in plate lower left, sight 13 1/2 in. x 9 1/2 in., framed. [$1500/2500] Marcel Dyf (French, 1899-1985), “Riviere au Matin, Bourgogne”, oil on canvas, signed lower right, numbered “18” on stretcher, handwritten and printed labels with artist, title and inscription on reverse of frame, 23 5/8 in. x 28 3/4 in., framed with title plaque. [$5000/8000]
496.
71 510. Pair of Baccarat-Style Gilt Bronze and Cut Crystal Campagna Urns, maiden mask handles, rouge marble bases, h. 18 in., w. 9 in., d. 8 1/2 in. [$1000/1500]
503. Pair of Antique Louis XVI-Style Giltwood Console Tables, molded onyx top, shaped frieze centered by a swag medallion, blocked corners, acanthine tapered and fluted legs, h. 34 in., w. 32 in., d. 13 1/2i n. [$1000/1500]
505. Mario Villa (Nicaraguan/ New Orleans, 1953-2021), Patinated Metal Folding Stand, top with woven straps, stretchered base, h. 30 in., w. 32 in., d. 17 1/4 in. Provenance:[$400/600]
508. Gianni Versace for Rosenthal Porcelain “Medusa” Table Service, marked, incl. 8 rimmed bowls, dia. 12 in.; 3 rim soup bowls, dia. 8 7/8 in.; 2 chargers, dia. 12 in.; 2 dinner plates, dia. 10 1/2 in.; 2 salad plates, dia. 8 3/4 in.; 2 saucers, dia. 6 1/4 in.; and a mug, h. 3 3/4 in. (20 pcs.) [$400/600]
504. Louis XVI-Style Gilt Bronze Console Table, glass top, acanthine and floral frieze, entwined stretcher, foliate feet, h. 30 in., w. 39 1/2 in., d. 17 1/2 in. [$800/1200]
507. Four Gianni Versace for Rosenthal Porcelain “Medusa Blue” Service Plates, marked, dia. 12 in.; together with 4 original Versace boxes. [$200/300]
509. Collection of Gianni Versace for Rosenthal Porcelain Tableware, marked, forty-three pieces in various patterns incl. “Gold Ivy” (4 saucers, dia. 5 3/4 in.; 2 cups, h. 3 5/8 in.; bread and butter plate, dia. 7 1/4 in.; rim soup, dia. 8 7/8 in.; dinner plate, dia. 10 5/8 in.; and service plate, dia. 12 .), “Les Tresors de la Mer” (2 cups with 2 saucers, dia. 6 1/4 in.; 2 rim soup bowls, dia. 8 7/8 in.; 2 dinner plates, dia. 10 5/8 in.; and bread and butter plate, dia. 7 1/4 in.), “Barocco” (3 rim soup bowls, dia. 8 7/8 in.; cup with saucer, dia. 6 1/4 in.; salad plate, dia. 8 3/4 in.; and dinner plate, dia. 10 3/4 in.), “Le Roi Soleil” (2 service plates, dia. 12 in.; dinner plate, dia. 10 3/4 in.; salad plate, dia. 8 3/4 in.; and cup, h. 2 5/8 in.), “Russian Dream” (service plate, dia. 12 in.; dinner plate, dia. 10 3/4 in.; salad plate, dia. 8 3/4 in.; bread and butter plate, dia. 7 1/4 in.; and saucer, dia. 6 1/4 in.), “Le Voyage de Marco Polo” (cup with saucer, dia. 5 1/4 in.; bread and butter plate, dia. 7 in.; and plate, dia. 9 in.), and “Le Jardin de Versace” (dinner plate, dia. 10 3/4 in.; bread and butter plate, dia. 7 1/4 in.; and saucer, dia. 5 3/4 in.) (43 pcs.) [$300/500]
506.
Estate of Highly Acclaimed New Orleans Artist, Furniture Maker, Designer, and Collector Mario Villa (1953-2021). Pair of Venetian Carved, Painted and Parcel Gilt Armchairs, 18th c., incurvate seat back, sculptural scrolled arms, floral medallion seat rail, turned and tapered legs, h. 34 in., w. 25 in., d. 21 in. [$700/1000]
518. Fine Pair of Regency Carved Mahogany Torcheres, 19th c., dished top, foliate-carved spiral-reeded standard, stepped plinth base, h. 58 in., dia. 12 in. [$700/1000]
519. Regency Carved and Banded Mahogany Butler’s Desk, early 19th c., fitted secretary drawer, cartouche-paneled doors, exuberantly carved apron, foliate paw feet, h. 45 1/2 in., w. 44 1/2 in., d. 20 1/2 [$1200/1800]in.
516. Regency Inlaid Mahogany Games Table, early 19th c., foldover top, blocked frieze with patera inlay, gate leg, h. 29 1/2 in., w. 35 1/2 in., d. 17 1/2 in. [$500/700]
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513. Regency Inlaid and Parcel Gilt Rosewood Chiffonier, early 19th c., banded top, blocked frieze with blind escritoire drawer, grillework doors flanked by foliate columns, plinth base, h. 36 in., w. 42 1/2 in., d. 15 1/2 in. [$1000/1500]
511. Group of English Ironstone China, decorated in the Imari palette, incl. pair of covered tureens, h. 6 1/4 in.; footed center bowl, h. 6 in., dia. 9 1/2 in.; and pair of plates, dia. 9 3/4 in. (5 pcs.) [$200/300]
517. Regency Carved Mahogany Secretary Bookcase, early 19th c., anthemion petal crest, glazed doors, fitted secretary drawer, paneled doors, splayed legs, h. 93 1/2 in., w. 46 in., d. 21 1/2 in. [$1000/1500]
515. EgyptianesqueRegency-StyleInlaid, Parcel Ebonized and Gilded Mahogany Sideboard, shaped top, conforming frieze centered by a lion’s mask, four drawers, pharaoh mask mounts, tapered legs, paw feet, h. 39 in. w. 95 in., d. 32 in. [$2500/3500]
512. Four Giuseppe Battista Viero Faience Plates, marked “G.B.V. NOVE”, floral decoration, scalloped rim, dia. 9 1/4 in. [$150/250]
520. Regency-Style Inlaid Mahogany Extension Dining Table, banded top, reeded edge, two ring-turned pedestals with tripod legs, brass paw feet, incl. two leaves, h. 28 1/2 in., w. (open) 110 in., w. (closed) 62 in., d. 42 in. [$700/1000]
514. Regency Egyptianesque Inlaid and Ebonized Mahogany Stand, early 19th c., manner of Thomas Hope, sarcophagus-form case flanked by pharaoh masks, splayed legs, h. 31 1/2 in., w. 16 1/2 in., d. 16 1/2 in. [$1000/1500]
73 525. William IV Carved Mahogany Three-Tier Trolley, c. 1835, disc finials, galleried top, turned and fluted supports, center shelf fitted with long drawer, toupie feet, casters, h. 45 1/2 in., w. 47 in., d. 19 1/2 [$1000/1500]in. 526. Pair of English Parcel Gilded Walnut Mirrors, mid-19th c., molded surround, h. 38 1/2 in., w. 24 1/2 [$600/900]in. Provenance: Estate of Reuel Lacy “Sonny” and June Ann Anderson, Baton Rouge, LA. 528. Continental JewelEncrusted Malachite Box, h. 4 in., w. 12 1/2 in., d. 8 1/2 in. [$1000/1500] 521. Seven George IV Mahogany Dining Chairs, c. 1830, incl. two armchairs and five side chairs, shaped crest rail, scrolled arms, slip seats, turned legs, armchair h. 35 in., w. 21 1/2 in., d. 18 in., side chair h. 34 in., w. 18 in., d. 16 in. [$800/1200] 522. Four William IV Carved Mahogany Dining Chairs, c. 1830 c., incl. 1 armchair and 3 side chairs, incurvate crest rail, cabochon slat, ball-turned reeded and tapered legs, h. 34 in., w. 19 in., d. 18 in. [$600/900] 523. William IV-Style Parcel Ebonized and Gilded Mahogany Sofa Table, drop-leaf top, frieze drawer, fluted columnar standard, incurvate base, paw feet, h. 30 in., w. 39 in., d. 27 1/2 in. [$1000/1500] 524. William IV Mahogany Center Table, c. 1840, circular top, tapered standard, circular plinth, paw feet, casters, h. 29 in., dia. 50 [$1000/1500]in. 529. Four Vintage Louis Vuitton Suitcases, three largest 20 1/2 in. x 32 in. x 10 in.; fourth 8 1/2 in. x 18 1/2 in. x 27 3/4 [$3000/5000]in. 530. Pair of Louis Philippe Patinated and Gilt Bronze Six-Light Candelabra, now mounted as lamps, painted shades, h. 38 in., dia. 18 [$1000/1500]in. 527. Pair of Antique Continental Faux Marbre Columns, 19th c., probably Venetian, Corinthian capitals, circular bases, h. 58 3/8 in., dia. 9 1/4 in. [$800/1200]
12 in. [$2000/3000] 540. Pair of French Neoclassical Rouge Marble Trumpet Vases, 19th c., h. 22 in., dia. 8 1/2 in. [$1000/1500] 532. Louis XVI Giltwood Barometer, late 18th c., signed “Mossy a Paris/ Quai Pelletier No. 26”, spreadwing eagle crest, octagonal form, h. 37 in., w. 22 in., d. 2 1/4 in. [$700/1000] 535. Pair of Louis XV-Style Giltwood Jardinieres, heavily carved and scrolled body with floral basket finial, lined interior, h. 39 in., w. 24 in., d. 24 in. [$800/1200] 531. Bronze Figure of a Pharaoh, signed “A. Bourcher”, h. 40 1/2 in., w. 12 in., d. 12 in. [$1000/1500]
536. Pair of Antique Louis XV-Style Gilt Bronze Six-Light Candelabra, h. 29 in., dia. 14 in. [$1000/1500]
534.
538. Pair of MarbreGildedNeoclassical-StyleItalianandFauxObelisks , h. 60 in., w. 12 1/2 in., d. 12 1/2 [$1800/2200]in. Large Continental Rock Crystal Bowl, reeded body on conforming argenté wood base, h. 15 1/2 in., dia.
537. Carved Alabaster Figure of “Pauline Bonaparte as Venus Victrix”, after Antonio Canova, h. 13 in., w. 22 3/4 in., d. 7 1/2 in., wood stand, overall h. 16 1/2 in. [$1000/1500]
74 Four Italian Neoclassical Carved and Silvered Wood and Bronze-Mounted Wall Ornaments, h. 13 1/2 in., w. 9 in., d. 4 1/2 in. [$500/700]
541.
533. Pair of American Patinated Bronze Chenets in the Baronial Taste, h. 28 in., w. 13 in., d. 23 in. [$400/600] Pair of Venetian Etched Glass and Giltwood Prickets, h. 36 in., w. 7 in., d. 7 [$600/800]in.
539.
549. Antique French Provincial Walnut Panetiere, scrolled pedimented crest surmounted by urn-form finials, spindled case, cartouche center door, incised decoration, slatted interior, scrolled feet, h. 44 1/2 in., w. 30 1/2 in., d. 16 in. [$500/700]
547. French Provincial Fruitwood Draw-Leaf Farmhouse Table, early 19th c., plank top, plain frieze, tapered legs, h. 30 in., w. 80 1/2 in., d. 25 in. Provenance:[$700/900] Wirthmore Antiques, New Orleans.
542. Continental Marquetry Plaque, 19th c., depicting the meeting of Jesus and Pontius Pilate, mahogany frame, 15 1/2 in. x 22 in. [$400/600]
544. Pair Monumentalof Italian Carved Wood Torcheres, h. 64 1/2 in., dia. 15 in. [$1500/2500]
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543. French Art Nouveau-Style Three-Piece Fireplace Garniture, incl. fire fender and pair of andirons, urn finials, scrolled accents, trefoil corners, andirons h. 24 in., fender w. 51 in. [$500/700]
545. French Provincial Carved Walnut Draw Leaf Dining Table, plank top, extension leaves, serpentine foliate-carved frieze, cabriole legs, hoof feet, h. 32 in., w. (closed) 78 1/2 in., w. (open) 134 in., d. 39 in. [$800/1200]
546. Six Louis XV-Style Carved Oak Side Chairs, serpentine crest rail centered by a rosette, caned back and seat, cabriole legs, h. 40 1/2 in., w. 21 1/2 in., d. 19 in. [$700/1000]
548. French Provincial Carved Walnut Two-Part Cabinet, 19th c., Alsace-Lorraine, stepped cornice, paneled doors, centered by floral medallions, fiche hinges, scrolled pierced apron, blocked base, h. 91 in., w. 62 in., d. 25 1/4 in. [$1200/1800]
552. Pair of Louis XV-Style Bronze-Mounted Faux Marquetry and Kingwood Side Tables, gilt banded top, frieze fitted with writing slide and single drawer, cabriole legs, sabots, h. 29 1/2 in., w. 26 in., d. 17 1/2 in [$700/900]
555. Pair of Louis XV-Style Bronze-Mounted Kingwood Gueridons, shaped inset marble top, finialed X-stretcher, cabriole legs, sabots, h. 30 in., w. 28 in., d. 22 in. [$1200/1800]
553. Antique Louis XV-Style Kingwood and Parquetry Side Table, gameboard top reversing to inset leather surface, cabriole legs, h. 28 in., w. 26 in., d. 17 in. [$800/1200]
554. Louis XV-Style Bronze-Mounted Kingwood and Parquetry Low Table, shaped top, serpentine apron, cabriole legs, sabots, h. 20 in., w. 54 in., d. 29 in. [$1000/1500]
556. Antique Louis XV-Style Giltwood Mirror, scrolled crest centering a shell, undulating pierced foliate surround, h. 57 1/2 in., w. 37 in. [$1200/1800]
557. Pair of Regence-Style Giltwood Cushion Mirrors, exuberantly carved foliate surround, h. 95 in., w. 62 [$7000/10000]in.
550. Regence Carved Walnut Fauteuil, 18th c., serpentine shell-carved crest on diaper ground, caned back and seat, scrolled arms, conforming seat rail, cabriole legs, X-stretcher, h. 37 1/2 in., w. 25 in., d. 19 1/2 in. [$400/600]
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551. Louis XIV-Style Mahogany and Marquetry Serpentine Commode, 20th c., shaped top, conforming case with three drawers, paneled stiles, incurvate legs, h. 35 1/2 in., w. 49 1/2 in., d. 24 in. [$1000/1500]
558. Good Antique Silverplate and Tole Peinte Bouillotte Lamp, c. 1920, oval adjustable shade, oil lamp and dish-form base, h. 20 in., w. 12 in., d. 8 1/4 in. [$500/700]
559. Neoclassical-Style Bronze and Cut Crystal Chandelier, swan, palmette, and foliate mounts, faceted ball pendant, the interior fitted with 11 light fixtures, h. 51 in., with an additional 54 in. extension, dia. 54 in. [$1500/2500]
563. Custom Richard Keith Langham Velvet and Cut Velvet Banquette, 1840s cut velvet back, mohair velvet seat, bullion fringe skirt, h. 37 in., w. 104 in., d. 40 in. Provenance:[$700/1000]Collection of Allison Kendrick, The Carroll-Crawford House, New Orleans. Ill.: Costello, Sara Ruffin. About Decorating: The Remarkable Rooms of Richard Keith Langham. New York: Rizzoli, 2017, p. 222.
561. Antique Empire-Style Patinated and Gilt Bronze Seven-Light Chandelier, h. 31 in., dia. 20 [$1200/1800]in.
562. After Raoul Francois Larche (French, 1860-1912), “Loie Fuller, the Dancer”, late 20th c., gilt bronze table lamp, signed, with foundry mark “Collectiones, B.Ham” on base, h. 12 3/4 in. [$1000/2000]
565. American Leather Chesterfield Sofa, button tufted, brass nailhead trim, turned toupie feet, note: distressed leather with wear and discoloration, h. 31 in., w. 89 in., d. 40 in. [$1500/2500]
77 560. Louis XV-Style Bronze Twelve-Light Chandelier, bell-form, foliate arms ending in cherub busts, h. 33 in., dia. 32 in. [$1000/1500]
564. George Smith Linen-Upholstered Tiplady Knole Sofa, lobed finials, adjustable arms, boxed skirt, en suite with cushion and pillows, h. 42 in., w. 88 1/2 in., d. 35 1/2 in. [$700/1000]
570. Venetian Carved Walnut Cassone, 18th c., plank top, floral scroll reserves, blocked base, foliate feet, h. 27 in., w. 65 1/2 in., d. 22 1/2 in. [$800/1200]
575. Jake Lee (American, 19151991), “Seafood and Coca Cola, New Orleans”, watercolor on paper, signed lower right, artist label on backing board, 15 1/2 in. x 22 3/4 in., framed with title[$500/800]plaque.
571. Pair of Continental Carrara Marble Pedestals, h. 39 in., w. 10 in., d. 10 [$500/700]in.
569. Continental Carved and Burl Walnut Secretary Bookcase, late 18th/early 19th c., upper case with arched glazed cabinet, shelf interior, fall front scroll panel surround reveals bank of seven drawers, oxbow base with foldover writing surface, three drawers, bun feet, h. 83 in., w. 52 1/2 in., d. 29 in. [$1200/1800]
568. English Victorian Mahogany Center Table, c. 1860, stepped circular top, foliate standard, cabriole legs, scroll feet, h. 29 1/2 in., dia. 51 in. [$800/1200]
572. Spanish Wrought Iron Low Table, variegated marble top, foliate scrolled decoration, h. 19 1/2 in., w. 52 in., d. 30 in. [$500/700]
567. Baker Regence-Style Red Lacquer Chinoiserie Bureau Plat, top with inset leather panels, three frieze drawers, shaped apron, cabriole legs, compressed feet, h. 30 1/2 in., w. 68 1/4 in., d. 30 1/4 in. [$700/1000]
573. TableCarvedAnglo-ColonialandSilveredLow , inset upholstered top, foliate and floral decoration, cabriole legs, paw feet, h. 16 1/2 in., w. 47 in., d. 24 in. [$1000/1500]
574. Dell 1927-2017),(American/NewWellerOrleans, “Audubon Idyll #14”, 1986, oil on canvas, signed and dated lower right, 35 in. x 41 in., framed; accompanied by a copy of the original receipt. [$800/1200]
566. Pair of Antique Queen AnneStyle Red Lacquer Chinoiserie Side Chairs, serpentine scrolled crest rail, caned back centered by a vasiform splat, caned seat, cabriole legs, double pad feet, h. 44 in., w. 23 in., d. 20 1/2 in. [$600/900]
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582. (American/NewMichalopoulosJames Orleans, b. 1951), “Standard Portrait”, 1997, oil on canvas, signed lower left, signed, titled, dated and artist gallery label en verso, 48 in. x 36 in., framed. Gallery,Provenance:[$4000/6000]MichalopoulosNewOrleans,1997.
583. (American/NewMichalopoulosJames Orleans, b. 1951), “Ornery Fill-Up”, oil on canvas, signed “Mitchell” lower left, signed twice en verso, titled and artist stamp on stretcher, inscribed with artist and title on backing board, 23 3/4 in. x 30 in., Note:[$4000/6000]framed.NealAuction would like to thank Michalopoulos Gallery Director Tatianna Macchione for her assistance in the cataloguing of this lot.
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577. Bruce Bordelon (American/Louisiana, b. 1940), “The Market Place”, 2010, oil on canvas, signed and dated lower left, titled and inscribed on stretcher, 24 in. x 30 in., framed. [$800/1200]
579. Thelma Lynn Simmons (American/Louisiana, 1934-2022), “Southern Fried Chicken”, oil on canvas, signed, titled and inscribed en verso, 52 1/4 in. x 58 1/4 in., unframed. [$800/1200]
580. Terrance b.(American/NewOsborneOrleans,1976), “Untitled: New Orleans”, 2001, oil on canvas, signed and dated lower right, 20 in. x 24 in., unframed. [$2000/3000]
576. Bruce Bordelon (American/Louisiana, b. 1940), “Lovers of the Sea”, 2012, oil on canvas, signed and dated lower left, titled and 4 artist stamps on stretcher, 24 in. x 30 in., framed. [$800/1200]
578. Bruce Bordelon (American/Louisiana, b. 1940), “Electrified Peach House”, 1990, oil on canvas board, signed and dated lower left, 16 in. x 20 in., framed. [$600/800]
Note: Born in Benton, Louisiana in 1934, Thelma Lynn Simmons attended Louisiana Tech, Bossier Community College, University of Houston and the Glassell Museum of Fine Arts School. Simmons raised 3 children in Haughton, Louisiana and was a full-time bus driver and substitute teacher in Bossier Parish but also tended to her love of art by studying with artist Louis Sicard, Jr. Simmons moved to Houston, Texas from 1972 to 1982 where she received two certificates from The Museum of Fine Arts Houston. While residing there, she participated in several solo and group exhibitions, one of which traveled to New York City. In 1985, she was invited to show some of her work in Paris, where she initially intended to spend only two weeks. Instead, she purchased a home and stayed for over two years. Simmons returned to Louisiana in 1988 where she taught art in Caddo Parish, Bossier Parish public schools, Centenary College, Louisiana State University Shreveport and Bossier Parish Community College. Bright, saturated colors typify Simmons work. In the canvas presented here entitled “Southern Fried Chicken,” Simmons demonstrates the interconnection between land, particularly the swamp landscape of Louisiana, and the people that live off of it. The viewer is represented by the figure to the left of the scene, standing behind a translucent tree watching a woman slaughtering a chicken whose blood runs into the earth transforming into the red blooms in the forefront. The rich color and shape of these flowers mimic the flames around the pot while the smoke from the fire directs the viewer’s eye back to the woman in the center of the work creating a circle or cyclical reminder of life and death.
581. James Michalopoulos (American/New Orleans, b. 1951), “Tommy’s Visit”, 1995, oil on canvas, signed lower left, signed, dated and artist stamp en verso, titled and inscribed on stretcher, 29 3/4 in. x 40 in., [$5000/7000]framed.
584. James (American/NewMichalopoulosOrleans,b.1951), “Space Place”, 2001, oil on canvas, signed lower left, signed, titled, dated and artist label en verso, 48 in. x 36 in., framed. [$5000/8000]
587. Alan A. Gerson (American/ Louisiana, b. 1952), “Encounter IV Empire of Frogs”, 2008, oil on panel, initialed and dated lower right, pencilsigned, titled, dated twice and artist stamp en verso, 48 in. x 36 in., framed. [$1000/1500]
586. Clyde Connell (American/ Louisiana, 1901-1998), “Study for Heron Print”, oil on canvas, signed lower right, signed, titled and artist label on stretcher, 34 in. x 18 in., framed. [$2500/3500]
588. Woody Gwyn (American/Texas, b. 1944), “Llegamos con Tres Heridas”, oil on board mounted to panel, signed upper center, “Gerald Peters Gallery, Santa Fe, NM” label with artist and title on reverse of mount, 10 3/16 in. x 13 1/2 in., framed. Provenance:[$1000/2000]Collection of Wendy and the late George (1944-2013) Rodrigue.
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585. William (American/Louisiana,Hemmerling1943-2009), “Bywater an the Word”, mixed media on panel, signed lower right, titled lower center, 25 7/8 in. x 23 3/4 in., unframed. [$2000/3000]
Note: New Mexico-based artist Woody Gwyn is well-known for his meditative landscapes and seascapes which reflect the artist’s exceptional ability to balance realism with abstraction. By often focusing on a horizontal format, Gwyn encourages viewers to look at the world around them in new ways. As Lucy R. Lippard writes: “By compressing a landscape into a thin band, he concentrates its essence into a visual field we can comprehend, at the same time that it is about to escape us.” In “Llegamos con Tres Heridas (We Arrived with Three Wounds)” offered here, the artist’s emblematic landscape diverges into a composition featuring a figure and skull that remains evocative of earth and sky. The painting is from Gwyn’s series that combines imagery of figures, human and animal bones and aphorisms. The series can be beautifully described by a quote from Carlos Castaneda (included as the caption on one of the works): “The aim is to balance the terror of being alive with the wonder of being alive.” Much like Gwyn’s landscapes, this work is charged with the physical and metaphysical reflections that permeate the artist’s canvases. George and Wendy Rodrigue developed a friendship with Gwyn during their regular travels through New Mexico and selected the two works on offer here for their personal collection.
Ref.: “Artist Woody Gwyn.” Midland Reporter-Telegram. Jan. 17, 2006. www.mrt.com. Accessed Aug. 8, 2022. Rodrigue, Wendy. “Artist Friends: A Pilgrimage.” Musings of an Artist’s Wife Oct. 17, 2010. www.legacyarttour.org. Accessed Aug. 8, 2022. “Woody Gwyn.” Modernism www.modernisminc.com. Accessed Aug. 8, 2022. 589. Woody (American/Texas,Gwynb. 1944), “Manzana III”, oil on board mounted to panel, signed lower right, “Gerald Peters Gallery, Santa Fe, NM” label with artist and title on reverse of mount, 11 3/4 in. x 8 7/8 in., framed. Provenance:[$1000/2000]Collection of Wendy and the late George (1944-2013) Rodrigue. 590. Emery (American/Louisiana,Clark b. 1950), “Study - Gulf/Sun”, 1992, watercolor and mixed media on paper, pencil-signed and dated lower right, handwritten label with artist, title and date on backing board, sight 7 3/8 in. x 19 3/8 in., framed. [$800/1200]
591. Emery Clark (American/ Louisiana, b. 1950), “Study - Sun/ Lines”, 1992, watercolor and mixed media on paper, pencil-signed and dated lower right, handwritten label with artist, title and date on backing board, sight 7 3/8 in. x 19 3/8 in., framed. [$800/1200]
The work offered here was created in 1988, an exciting period in Rodrigue’s career with the early beginnings of the Blue Dog series and a commission by the Republican National Party for an official portrait of Ronald Reagan. While many of his Cajun paintings depict figures glowing in white against the dark oaks, this work instead features a quintet of cows set within the artist’s masterful and fully realized oak trees. On Rodrigue’s canvas, the most quintessential of subjects - a landscape with cows – becomes something entirely new and utterly charming.
593. George Rodrigue (American/Louisiana, 1944-2013), “Down Main Street”, 1988, oil on canvas, signed lower left, signed, titled and dated en verso, inscribed on stretcher, 24 in. x 36 in., framed. [$30000/50000]
594. José Basso (Chilean, b. 1949), “Luna Llena”, 2022, oil on canvas, signed lower right, label with artist, title and date on backing board, 40 in. x 60 in., framed. Provenance:[$20000/30000]Windsor Fine Art, New Orleans, LA, 2022.
Note: As a young artist returning to Louisiana from art school in Los Angeles in 1967, George Rodrigue visited the New Orleans Museum of Art to study the great American masters, both those of the Hudson River School and those who had worked closer to home in the style of the Barbizon School such as Richard Clague, William Henry Buck and Joseph Meeker. To Rodrigue, none of these artists captured the look or spirit of his Louisiana, so he determined to forge a new path in one of the most traditional genres of paintingthe landscape. He raised the horizon line, cropped the oak trees so the light shined from underneath the moss and branches and defined the tree’s distinctive shape with hard edges. In doing so, Rodrigue created his own graphic visual interpretation of Louisiana that he would continue to explore and refine over the next forty years.
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Ref.: “Jose Basso”. Windsor Fine Art www.windsorfineart.com. Accessed Aug. 9, 2022. “Jose Basso”. CK Contemporary www.ckcontemporary.com. Accessed Aug. 10, 2022. “ Jose Basso”. Galerie d’Orsay www.galerie-dorsay.com. Accessed Aug. 10, 2022. 592. Melissa Bonin (American/Louisiana, b. 1960), “La Grande Beauté”, 2015, oil on gallery-wrapped canvas, signed lower right, signed, titled, dated and inscribed en verso, from La Beauté series, 44 in. x 65 in., unframed. [$8000/12000]
Note: Jose Basso’s vast canvases dotted with quiet buildings and sparse horizons emanate a sense of meditative calm. Born in Chile in 1949, Basso graduated with a Fine Arts degree from the University of Chile and has been teaching art and exhibiting his works since 1975. His paintings strike the balance between the minimal and complex. While reverberating with color, his compositions of isolated homesteads are remarkably subdued. Informed by the proto-renaissance works of Giotto and futurist works of Carlo Carrà, Basso reflects on the importance of houses depicted throughout art history stating, “The house symbolizes the maternal uterus, the motherland, the mother earth…the nurturing abode.” This comparison of the home to the maternal provides a deeper context for his depictions. In this lot, a cluster of four houses with swathes of land stretching out on either side anchor the canvas. The sprawling land and sky give the buildings room to breathe, yet the warm light illuminating the structures quells any sense of aloneness. As Basso notes, “I want to make a kind of art that means something and it means something when it affects and seduces us, when it speaks from within its own silence.”
Ref.: Rodrigue, Wendy. “Blue Dog: In the Beginning, 1984-1989.” Musings of an Artist’s Wife. Oct. 19, 2009. www.legacyarttour.org. Accessed Aug. 9, 2022.
595. George Bauer Dunbar (American/New Orleans, b. 1927), “Heart”, gold leaf on black clay, signed lower right, 16 in. x 12 in., [$5000/7000]framed.
600. David Harouni (Iranian/New Orleans, b. 1962), “Miro in Blue” and “Miro in Green”, 2 pastels on paper, one laid on board, one pencil-signed lower right, 12 in. x 9 in. and 11 3/8 in. x 8 3/4 in., both framed. (2 [$1000/1500]pcs.)
597. David Harouni (Iranian/New Orleans, b. 1962), “Untitled: Face”, oil on gallery-wrapped canvas, signed lower right, 48 in. x 36 in., [$3000/5000]framed.
598. David Harouni (Iranian/New Orleans, b. 1962), “Untitled: Man with Bird”, oil on canvas, signed lower right, 47 5/8 in. x 29 5/8 in., framed. [$1500/2500]
596. George Bauer Dunbar Orleans,(American/Newb.1927), “Heart”, gold leaf on red clay, signed lower center, 14 in. x 12 in., framed. [$3000/5000]
599. David Harouni (Iranian/New Orleans, b. 1962), “Sleeping in Chair” and “Smoking Reclining Nude”, 2 oils on board, each pencil-signed lower right, 8 1/4 in. x 13 3/4 in. and 13 7/8 in. x 8 3/8 in., both framed. (2 pcs.) [$1000/1500]
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606. Joan Miró (Spanish, 1893-1983), “Untitled (M 1041)”, 1975, lithograph in colors, pencil-signed lower right, pencilnumbered “LXXI/LXXX” lower left, pencil-inscribed “Lithograph II” and “866”en verso, “Arches” watermark visible, from Joan Miró Lithographs, Volume II, Sheet 17 5/8 in. x 14 1/2 in., framed. [$1200/1800]
607. Pedro Friedeberg (Mexican, b. 1936), “Celestial Clock with Head of Jesus”, gilt, enamel and metal on wood, pencil-signed inside clock, h. 38 in., w. 21 in., d. 8 [$7000/10000]in. 608. Sergio Bustamante (Mexican, b. 1949), “Acrobat Sun”, ceramic, signed and numbered “88/100” on reverse of head, h. 29 1/4 in., w. 18 in., d. 9 in., rotating wood and painted canvas base, overall h. 33 in. [$1500/2500]
83 605. David Harouni (Iranian/New Orleans, b. 1962), “Head”, etching, pencil-signed lower margin, signed and personalized on backing paper, 6 in. x 4 in., sheet 15 1/4 in. x 11 1/2 in., framed. [$400/600]
603. David Harouni (Iranian/New Orleans, b. 1962), “Untitled: Head”, oil on unstretched canvas laid on board, signed lower left, 16 in. x 11 1/4 in., framed. [$700/900]
604. David Harouni (Iranian/New Orleans, b. 1962), “Untitled: Face”, mixed media on board, unsigned, 7 3/4 in. x 6 1/4 in., [$500/700]framed.
602. David Harouni (Iranian/New Orleans, b. 1962), “Man Reclining with Hands Behind Head”, mixed media on paper, signed lower right and en verso, 5 3/4 in. x 8 3/4 in.; and “Head Resting on Pillow”, oil on board, signed lower left, 4 3/4 in. x 8 in., both framed. (2 pcs.) [$800/1200]
601. David Harouni (Iranian/New Orleans, b. 1962), “Don Miquel, Mexico”, 1990 and “Miquel”, 1990, 2 oils on masonite, both signed lower right, i nscribed “1” and “2” en verso, both with handwritten labels on backing paper with artist name and title, one with date, each 8 in. x 7 in., framed. (2 pcs.) [$800/1200]
Sally’s artistic contributions were frequently eclipsed by Milton’s, albeit seemingly by her choice. From the beginning, she had great conviction in Milton’s artistic vision and was alongside him at every point promoting his career and helping to develop their what would become the prototypical “Avery Style.”
Exh.: “31st Annual Arts Festival Beth-El”, Temple Beth-El, St. Petersburg, FL, Jan. 24 - 26, 2004.
Note:[$8000/12000]SallyMichel Avery was born in 1902 and raised in Brooklyn, New York. At six years old, Sally decided she wanted to be an artist. After high school she studied at the Art Students League and spent her summers painting in Gloucester, which is where she met Milton Avery. After sharing their love of sketching the rocky shores of Massachusetts, Milton followed Sally to New York, and they married in 1926. Before Milton’s paintings started earning them an income in the 1950’s, Sally took commercial illustration jobs for department stores and publications to be able to financially support her family. After developing a good relationship with her employers, Sally, Milton, and their daughter March started taking long summer vacations across the country, Mexico, and Europe. During these vacations, Sally found the time to paint. “Sea Lions,” offered here, is likely based on a scene from one of these trips, with its flat yellow sand and whimsically depicted creatures clearly referencing the “Avery Style.”
Ref.: Oral History Interview with Sally Michel Avery. Nov. 3, 1967. Archives of American Art. Smithsonian Institution. www.aaa.si.edu. Accessed Aug. 10, 2022. “Sally Michel Avery: American, 1902-2003.” Taylor Graham. www.taylorandgraham.com. Accessed Aug. 10, 2022. 616. William Hook (American/New Mexico, b. 1948), “Late Sky”, acrylic on canvas, signed lower left, signed, titled, dated and numbered “2284” en verso, artist label with title and number “2284” and “Platte River Art Services” label on backing board, 30 in. x 30 in., framed. [$2000/3000] 609. Soren Vandegaard (American/ New Orleans, b. 1971), “Marie’s Chair”, 2007, acrylic and mixed media on cardboard, signed lower right, 26 5/8 in. x 18 7/8 in., shadow box frame without glass. [$600/800] Note: Neal Auction would like to thank Soren Vandegaard for his assistance in the cataloguing of this lot.
615. Sally Michel Avery (American, 1902-2003), “Sea Lions”, 1973, oil on canvas board, pencil-signed and dated lower right, signed, titled, dated and “Childs Gallery, Boston, MA” label with artist, title and date en verso, 22 in. x 28 in., framed.
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613. Nancy Renfro (American/ Texas, 1937-1993), “The Dance”, oil on canvas, signed lower left, inscribed “Webber” en verso, 50 in. x 40 in., framed. [$1500/2500]
610. Bruce “Dapper Bruce Lafitte” Davenport, Jr. (American/New Orleans, b. 1972), “Joe Louis”, “Go Joe” and “Brown Bomber”, 2020, 3 markers on paper, all titled lower center, signed and dated lower right, signed and inscribed en verso, each 12 in. x 9 in., unframed. (3 pcs.) [$600/800]
617. Peter Max (German/ New York, b. 1937), “Heart”, 2014, acrylic on paper, signed lower center, signed, dated and personalized on backing board, 9 in. x 11 in., framed. [$500/800]
611. Bruce “Dapper Bruce Lafitte” Davenport, Jr. (American/New Orleans, b. 1972), “Red Tails”, 2020, “State Job”, 2019 and “Dog Fight”, 2016, 3 markers on paper, all titled lower center, signed and dated lower right, signed and inscribed en verso, 14 in. x 11 in. to 12 in. x 9 in., unframed. (3 pcs.) [$600/800]
612. Lonnie B. Holley (American/ Alabama, b. 1950), “The Missing Tribe of Woman”, 1992, mixed media on paper, signed and dated lower right, titled en verso, 26 1/2 in. x 27 1/4 in., framed. [$1500/2500]
Stylistically similar, Sally’s and Milton’s paintings simplify the form into large planes color, while remaining true to the subject. Sally tended toward thicker layers of paint as she noted she lacked the “courage” Milton had to leave paintings looking unfinished. Likewise, she saw the importance of the projected effortlessness of this style, saying “I think a painting should look as if it just happened. It should be a miracle.”
614. Fred Garbotz (American/Florida, 20th c.), “Checkmate (Chess/ Backgammon Set)”, marine grade aluminum, glass and acrylic dice, unsigned, includes 2 boards, 1 stand, 32 chess pieces, 30 backgammon pieces, 5 dice, “Rockledge Design Studio, Cocoa, Fl” label on underside of stand, stand h. 2 3/4 in., w. 28 1/4 in., d. 28 1/4 in., chess pieces h. 2 5/8 in., dia. 1 1/4 in. to h. 3 in., dia. 1 1/4 in., backgammon pieces h. 1/8 in., dia. 1 in., accompanied by arts festival booklet with artist information. (71 pcs.) [$250/350]
Provenance: Galeria de La Habana, Cuba, June 23, 1963; Private Collection, Habana, 1978; thence by descent.
619. Francisco Bajen (Spanish, 1912-2014), “Cristos”, oil on canvas, signed lower right, partial label inscribed “Bajen” on stretcher, 36 3/8 in. x 26 in., framed. [$1500/2500]
623. Edward Povey (British/Texas, b. 1951), “Father and Son”, 2003, patinated bronze, signed, dated and numbered “9/50”, h. 12 3/8 in., w. 7 in., d. 10 1/2 in. [$400/600]
624. Lee Crum (American/ Arkansas, 20th c., active New Orleans, 1978-2005), “Woman in Archway”, 2004, archival pigment print on paper, pencil-initialed, dated and inscribed “AP” en verso, sheet 47 in. x 34 7/8 in., framed. [$1000/1500]
621. Rene Portocarrero (Cuban, 1912-1985), “Woman Plucking a Rooster”, 1947, pastel on paper, signed and dated lower left, sight 21 in. x 16 1/2 in., framed. [$6000/8000]
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625. Lee Crum (American/ Arkansas, 20th c., active New Orleans, 1978-2005), “Woman”, archival pigment print on paper, pencilsigned and artist blind stamp lower margin, sheet 23 7/8 in. x 20 in., framed. [$800/1200]
620. Bill Mack (American/ Minnesota, b. 1949), “Resurrection”, 2019, bonded bronze high relief, signed lower left, “Erin Taylor Editions, Minneapolis, MN” label with artist on backing paper, h. 46 3/4 in., w. 26 in., d. 7 in., framed. [$1000/1500]
626. Lee Crum (American/ Arkansas, 20th c., active New Orleans, 1978-2005), “Figure in Landscape with Aqueduct”, archival pigment print on paper, pencil-signed and inscribed “AP” lower margin, sheet 16 1/8 in. x 15 in., framed. [$600/800] 627. Lee Crum (American/ Arkansas, 20th c., active New Orleans, 1978-2005), “Figure and Tree”, 2001, archival pigment print on paper, pencil-signed, dated and inscribed “AP” en verso, sheet 45 5/8 in. x 34 3/4 in., framed. [$1200/1800]
622. Henri Manguin (French, 1874-1949), “Bouquet de Fleurs”, oil on panel, signed mid-right, handwritten label with artist en verso, 29 in. x 24 in., [$1500/2500]framed.
618. Peter (German/NewMaxYork, b. 1937), “Liberty Head”, lithograph, pencil-signed and numbered “248/300” lower margin, artist and paper manufacturer stamps lower right, sheet 20 in. x 18 in., framed. [$300/500]
“If I had been born one or two hundred years ago, I might have been a sculptor, but photography is a very quick way to see, to make sculpture.” – Robert Mapplethorpe In the fall of 1989, following the death of photographer Robert Mapplethorpe, Christie’s and Sotheby’s both hosted a week of auctions with objects from the late artist’s collection, including his own fine photography. The bronze bust of a satyr on offer here was featured in the Christie’s sale. This bust was the subject of Mapplethorpe’s 1988 photograph entitled “Italian Devil” and spoke to the artist’s keen interest in classical sculpture, Christianity, Greek mythology, and the dichotomy of good versus evil. The photograph is also an interesting parallel to Mapplethorpe’s 1985 self-portrait where he is wearing horns, conflating the imagery of Satan with Dionysus, the notoriously sensual and hedonistic Greek god. The bust serves as a fascinating vestige from one of the country’s most revered and controversial photographers.
630. Gilt Bronze Bust of a Satyr, after Morelli, artist name inscribed on truncation, h. 23 in., w. 19 in., d. 13 in., painted wood base, overall h. 24 1/2 in.
“For his part Newton has transformed – or at least profoundly influenced – the erotic fantasies of our time and his influence extends farther than he would have imagined, making him a kind of sorcerer’s apprentice, who has unleashed a perpetual motion of contemporary images.” – Karl Lagerfeld
From the late 1950s through the late 1990s, Helmut Newton permanently pushed the boundaries and altered the limits of fashion, photography and the way the camera lens views sexuality. Newton never referred to himself as an artist but as a “hired gun” doing what was necessary to accomplish the job, but his unique vision helped to shape the styles of such publications and fashion houses as Vogue, French Vogue, Elle, Yves-Saint Laurent and Chanel by not so subtly blending art, commerce and eroticism. His relationship with Playboy, however, was markedly different than the others. His photographic allusions to film noir and surrealist art were in stark contrast to what the pages of the “gentleman’s magazine” typically published. Further deviating from Playboy’s standard layouts, Newton’s photographs featured women with virtually no makeup and unstyled hair. When referring to “Two Playmates on Back Porch with Lemon Tree, L.A.” on offer here, Newton recalled, “…what interested me most was they came from small provincial towns, not big city girls… I placed the girls in all American settings – back yards, a house trailer…. I’m a B-Movie freak and some American life is like a B-Movie.” Newton’s bold, cinematic approach unveiled an alternative view of fantasy and voyeurism to the glossy, airbrushed world of Playboy Ref.: Hencz, Adam. “At the Centennial of Helmut Newton’s Birth Where does his Legacy Stand Today”. Artland Magazine. 2020. www.magazine.artland.com. Accessed Aug. 9, 2022. Newton, Helmut. “Helmut Newton’s Playmates”. Playboy. 34.9 (1987): 86. Note: Neal Auction would like to thank Matthias Harder, Director of the Helmut Newton Foundation, for his assistance with the cataloguing of this lot.
628. Helmut Newton (German/Australian, 1920-2004), “Two Playmates on Back Porch with Lemon Tree, L.A.”, negative creation date 1986, print date 1990, gelatin silver print, pencil-signed, titled, dated and numbered “3/10” en verso, pencil-inscribed with artist, title, date, numbered “3/10” and “Gallery for Fine Photography, New Orleans, LA” label on backing board, image 22 1/4 in. x 18 3/4 in., sheet 23 1/2 in. x 19 1/2 in., original frame; accompanied by 3 vintage Playboy magazines featuring the photo and models, copy of letter of provenance from A Gallery for Fine Photography, correspondence with Playboy and 2 exhibition posters. (8 pcs.) [$20000/30000]
Provenance: A Gallery for Fine Photography, New Orleans, LA, 1991. Ill.: Newton, Helmut. “Helmut Newton’s Playmates”. Playboy. Sept. 1987, Vol. 34, No. 9: 86.
631. After Ernest J. Bellocq (American/ New Orleans, 1873-1949), “Storyville Portrait”, negative creation date c. 1912, later gelatin silver print from glass negative on gold toned printing-out paper, printed by Lee Friedlander (American/Washington, b. 1934), “Collection of Lee Friedlander” stamp with pencil signature and inscribed with “PL-20” en verso, “A Gallery for Fine Photography, New Orleans, LA” label on backing board, 10 in. x 8 in., framed; accompanied by and illustrated in Friedlander, Lee and John Szarkowski. E.J. Bellocq Photographer from Storyville, the Red-Light District of New Orleans. New York: Random House, 1996, p. 48. [$1000/1500]
632. Joyce (American/Louisiana,Linde b. 1944), “Everything Changes”, 1995, gelatin silver print mounted to board, pencilsigned, titled and dated on mat, label with artist and title attached to hanging wire, 15 1/2 in. x 15 5/8 in., framed. [$400/600]
Provenance:[$2000/3000]The Collection of Robert Mapplethorpe, New York: “The Robert Mapplethorpe Collection”, Christie’s, New York, Oct. 31, 1989, lot 496; Collection of Dennis Schnagel, New York, NY.
86 629. [Helmut Newton Book], Helmut Newton, revised edition by June Newton, Taschen, 2009, 15 in. x 12 in., complete with folding stand, booklet, and original[$200/300]box.
635. Yousuf Karsh (Armenian/ Canadian, 1908-2002), “Ernest Hemingway”, negative creation date 1957, later print, gelatin silver print mounted to board, signed on mount, artist stamp with handwritten title on reverse of mount, label with title and date on backing board, printed full sheet, 19 5/8 in. x 15 7/8 in., framed. [$2000/3000]
638. Mario Villa (Nicaraguan/New Orleans, 1953-2021) Painted Stone Table Top, with lacquered Classical inspired gaming design, l. 45 1/4 in., w. 21 1/4 in. [$300/500]
Provenance: Estate of Highly Acclaimed New Orleans Artist, Furniture Maker, Designer, and Collector Mario Villa (1953-2021).
636. Yousuf Karsh (Armenian/ Canadian, 1908-2002), “Jean Sibelius”, negative ceation date 1948/49, later print, gelatin silver print mounted to board, signed on mount, pencilinscribed with artist, title and date on reverse of mount, label with artist and date on backing board, printed full sheet, 19 11/16 in. x 15 3/4 in., framed. [$700/1000]
639. Large Mario Villa (Nicaraguan/New Orleans, 1953-2021) Patinated Metal and Marble Table, verdigris marble top, exaggerated swag and mask apron, cylindrical legs, X-stretcher, h. 31 in., w. 82 in., d. 38 in.,[$3500/5000]
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640. Vincent Wolf Ming-Style Chrome Armchair, flared crest rail, scrolled arms, inset seat, stretchered base, en suite with attractive decorative seat cushion and pillow, h. 46 in., w. 25 in., d. 22 1/2 [$500/700]in.
634. Lew (American/California,Thomas 19322021), “Constructing the Phallus”, 1989, mixed media photo collage, pencil-signed and dated lower right, pencildedicated “For Adelle” lower left, 16 in. x 13 1/4 in., framed. [$1000/1500]
637. Pair of Mario Villa (Nicaraguan/New Orleans, 1953-2021) Patinated Metal Campeche-Style Chair Frames, arched crest rail, ball finials, trestle base, h. 44 in., w., 22 in., d. 32 in. [$700/1000]
Provenance: Estate of Highly Acclaimed New Orleans Artist, Furniture Maker, Designer, and Collector Mario Villa (1953-2021).
633. Lynda Frese (American/ Louisiana, b. 1956), “Treehouse”, 1994, digital collage print on paper, pencil-signed, titled, dated and inscribed lower margin, from Reconstituting the Vanished: Gender, Memory and Placemaking in the Delta South, 10 in. x 15 in., framed. [$400/600]
644. Eero Saarinen for Knoll Tulip Table, before 1969, Knoll Associates, 565 Madison Ave., NY label, walnut oval top, h. 20 in., w. 22 1/2 in., d. 15 1/4 in. [$500/700]
642. Pair of Eero Saarinen for Knoll “Tulip” End Tables, before 1969, Knoll Associates, 565 Madison Ave., NY label, walnut tops, h. 20 in., dia. 16 in. [$500/700]
641. Eero Saarinen for Knoll “Tulip” Coffee Table, before 1969, Knoll Associates, 565 Madison Ave., NY label, walnut top, h. 15 in., w. 54 in., d. 36 in. [$700/1000]
647. Pair of Modern Chrome and Glass End Tables, opaque glass tops, h. 24 in., w. 10 in., d. 18 in. [$400/600]
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649. Modern Cubist-Form Pedestal, faux gilt surface, h. 43 1/2 in., w. 18 in., d. 18 [$400/600]in.
643. Eero Saarinen for Knoll Tulip Stool, before 1969, Knoll Associates, 575 Madison Ave., NY label, h. 18 in., dia. 15 in. [$100/150]
646. Pair of Milo Baughman Leather and Chrome Lounge Chairs, cantilevered arms, padded leather, h. 34 in., w. 30 in. d. 36 in. [$700/1000]
648. Modern Chrome Pedestal, angled sides, h. 28 in., w. 24 in., d. 24 in., top surface 18 in. x 18 in. [$400/600]
645. Pair of Gastone Rinaldi Lounge Chairs, original buttoned faux leather seating pads, h. 31 1/2i n., w. 22 in., d. 26 in. [$500/700]
650. Pair of Stark-Style Louis Ghost Chairs, h. 36 1/2 in., w. 20 1/2 in., d. 22 in. [$300/500]
655. Decorative Pair of Chinese Famille Rose Porcelain Vases, stylized pink handles, bodies painted with floral bands and scenes with bats amid auspicious emblems, bases with apocryphal Qianlong marks, h. 12 1/2 in. [$400/600]
651. Decorative Pair of Chinese Blue and White Porcelain Hexagonal Covered Tea Caddies, 20th c., decorated with figures in landscapes, bases with Kangxi marks, h. 14 in., dia. 10 in. [$500/700]
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657. Chinese Amethystine Quartz Figural Group, carved as an entanglement of Buddhist lion cubs, h. 5 1/2 in., w. 5 1/4 in., d. 2 in., wood stand, overall h. 6 1/2 in., w. 6 in., d. 3 in. [$200/300]
652. Pair of Chinese IronMounted Blue and White Porcelain Tea Storage Jars, 20th c., bodies decorated with bands of floral scrolls and petal lappets, covers with strap closures, h. 13 1/2 in. [$1000/1500]
658. Chinese Silvered Metal Figural Censer, modeled as a lokapala kneeling on a circular plinth holding an urn above his head, h. 11 in., dia. 5 [$200/300]in.
659. Three Chinese Coral Carvings, incl. vase of flowers, h. 4 in., w. 4 7/8 in., wood stand, overall h. 5 in.; Beauty, h. 4 1/4 in., wood stand, overall h. 5 1/8 in.; and the Immortal Lu Dongbin with fly whisk, sword, and acolytes, h. 4 in., w. 4 in., wood stand, overall h. 5 1/8 in. [$4000/6000]
656. Chinese Rose Quartz Figural Group, carved as a lion and tiger in combat, h. 5 in., w. 5 1/4 in., wood stand, overall h. 6 1/2 in., w. 5 1/2 in. [$200/300]
654. Two Chinese Export Famille Rose Porcelain Platters, 19th/20th c., incl. shaped oval with loop handles and undulating rim, painted with central floral basket encircled by fish and water reeds, h. 1 1/2 in., w. 11 3/4 in., d. 10 in.; and round with petal lobed rim, decorated with floral sprays, h. 2 1/2 in., dia. 12 in. [$200/400]
653. Decorative Pair of Chinese Famille Verte Porcelain Vases, tubular faux bamboo handles, decorated with birds amid foliage and rocks, h. 21 3/4 in. [$1200/1800]
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662. Four Chinese Grayish White Jade Pendants or Plaques, incl. rectangular carved with lingzhi and seal, h. 1 7/8 in., w. 1 1/8 in.; rectangular with boat beneath pine and seal, h. 2 1/4 in., w. 1 3/8 in.; round with horses and seal, dia. 2 in.; and round with figure and peaches, dia. 2 1/8 in. (4 pcs.) [$800/1200]
661. Chinese Jadeite Scene, carved as a mountainous village with figures and buildings, h. 3 1/4 in., w. 8 1/4 in., wood stand, overall h. 4 1/2 in., w. 9 in., d. 2 in. [$400/600]
668. Pair of Chinese Cloisonne Enamel Buddhist Lions on Stands, modeled seated on haunches on rectangular draped plinths, female with brocade ball and male with cub, tiered wood stands, overall h. 28 1/2 in., w. 14 in., d. 21 in. [$1500/2500]
667. Pair of Chinese Mustard Yellow “Peking” Glass Bottle Vases, h. 10 in. [$400/600]
665. Two Chinese Jade Figural Groups, incl. white and russet duck and lingzhi, l. 2 1/8 in.; and green monkey and peach, l. 1 7/8 in.; together with mottled green pot, h. 1 5/8 in. (3 pcs.) [$600/800]
660. Chinese Jadeite Figural Group, carved as the bare-bellied Budai surrounded by children, h. 6 in., w. 8 1/4 in., d. 2 1/2 in., wood stand, overall h. 7 in., w. 8 in., d. 2 1/2 in. [$700/900]
663. Chinese Jade Locks and Plaque, incl. round celadon carved with peaches and seal, dia. 2 1/8 in.; brownish-white rectangular with peaches and calligraphy, h. 1 1/4 in., w. 2 in.; and white reticulated rectangular with lotus, h. 2 1/2 in., w. 1 1/4 in. (3 pcs.) [$600/800]
666. Chinese “Peking” Glass Vase, octagonal faceted body incised with flowers and calligraphy, base with apocryphal Qianlong mark, h. 7 1/4 in. [$600/900]
664. Three Chinese Jade Carvings, incl. white and russet three-legged toad, l. 2 1/4 in.; white and russet coiled dragon, dia. 2 1/8 in.; and brown and russet peaches on leafy branch, h. 1 1/2 in. (3 pcs.) [$600/800]
671. Chinese Hardstone Embellished Gilt Bronze Figure of Amitayus, Qing Dynasty (1644-1911), modeled seated in dhyanasana on a beaded lotus throne with hands resting in dhyana mudra, wearing a five-leaf diadem encircling a five-tiered jatamukuta, earrings, necklaces, armbands, anklets, and diaphonous doti, h. 7 1/2 in., w. 4 7/8 in., d. 3 5/8 in. [$1000/2000]
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675. Antique Chinese Mother-of-Pearl Inlaid Carved Hardwood Cabinet on Stand, paneled front, hidden side door, h. 49 1/2 in., w. 44 1/2 in., d. 23 in. [$700/900]
673. Chinese Carved and Painted Lacquer Eleven Panel Floor Screen, Qing Dynasty (1644-1911), recto carved with an elaborate village waterscape, verso with crane amid pink, rock and lingzhi, one panel inscribed, h. 106 in., w. 198 in. Note: lacking one panel. [$2000/3000]
672. China Trade School, 19th/20th c., “View of Whampoa Anchorage from Dane’s Island”, oil on canvas, indistinctly signed lower right, 25 1/2 in. x 31 3/4 in., framed. [$1600/1800]
676. Nepalese Gemstone and Metal Filigree Embellished Tazza or Offering Stand, set with emeralds and rubies, h. 3 in., dia. 10 in. [$600/800]
669. Decorative Chinese Red Lacquer Octagonal Covered Box, cover molded with pavilion in a mountain landscape, sides with lotus scrolls and foliage, slight bracket feet, base with apocryphal Kangxi mark, h. 5 1/2 in., dia. 15 1/2 in. [$500/700]
670. Pair of Chinese Tessellated Lapis Lazuli Bowls, h. 2 3/4 in., dia. 8 in., gold painted wood stands, overall h. 4 in. [$700/1000]
677. Antique Korean Brass-Mounted Hardwood Bandaji Chest, probably 19th c., fall front opening to bank of 3 small drawers over spacious void, massive lock, retains key, bail handles, h. 33 in., w. 40 in., d. 20 in [$500/700]
674. Pair of Chinese Hardwood Armchairs, horseshoe crest rail, pierced splat, woven seat, stretchered legs, h. 40 in., w. 25 1/2 in., d. 21 1/2 in. [$500/700]
92 688. Aubusson Carpet, cream ground, floral design in red, blue and green, 7 ft. 10 in. x 10 ft. 3 in. [$1600/2400] 681. Caucasian Carpet, repeating guls, trefoil border, 7 ft. 10 in. x 11 ft. [$700/1000] 682. Semi-Antique Heriz Carpet, red and blue ground, stylized floral design, 7 ft. 5 in. x 7 ft. 4 in [$700/1000] 683. Persian Malayer Carpet, red and teal ground, geometric medallions, 5 ft. 4 in. x 10 ft. [$1400/1800] 684. Persian Heriz Carpet, maroon, cream and red ground, 8 ft. 5 in. x 11 ft. 10 in. [$3000/4000] 685. Persian Mahal Carpet, red ground, central medallion, spandrels, 8 ft. 9 in. x 12 ft. 4 in. [$3000/4000] 686. Persian Mahal Carpet, red ground, central medallion, foliate design, 9 ft. 4 in. x 13 ft. [$3000/4000] 687. Persian Kerman Carpet, red ground, central medallion, 9 ft. 7 in. x 13 ft. 4 in. [$4000/6000] 691. Persian Tabriz Carpet, medallion,centralbrown, red and blue ground, 9 ft. x 12 ft. [$4000/6000] 692. Persian Tabriz Carpet, red ground, overall floral design, 9 ft. 8 in. x 15 ft. 8 in. [$4000/6000] 689. Aubusson Carpet, pale yellow ground, central medallion, 7 ft. 11 in. x 10 ft. 1 in. [$1600/2400] 690. MahalPersianCarpet, red ground, foliatemedallion,centraloveralldesign,9ft. 3 in. x 13 ft. 3 [$3800/5800]in. 678. Peshawar Hotan Carpet, wool, 9 ft. x 12 ft. [$1200/1800] 679. Serapi Carpet, wool, 9 ft. x 12 ft. [$1000/1500] 680. Antique Persian Rug, possibly a prayer rug variant, 4 ft. 11 in. x 6 ft. 3 in. [$500/700]
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94 CONDITIONS OF SALE; WAIVERS OF WARRANTY; LIMITATIONS OF LIABILITY
AUCTION BIDDING AND SALE
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.
20. Bids are required to be made in U.S. dollars.
13. Canvassing or solicitating on the auction premises is prohibited.
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.
ARTIST - In our qualified opinion, we believe the work is by the artist named.
19. First time bidders are required to produce a valid state-issued identification card or passport.
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.
18. Dealers must provide Neal Auction Company with proper documentation prior to bidding.
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.
3. Discretionary Rescission. Notwithstanding the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale of a work of fine art on the basis of authenticity of authorship only under the following terms, conditions, and LIMITATIONS OF LIABILITY, all of which apply, and the buyer WAIVES and RELEASES any other rights, relief or remedies: Neal Auction Company shall not grant rescission of any lot identified by the terms “attributed to,” “signed,” “school of,” “manner of,” “after,” or “bears signature.”
VISIT NEALAUCTION.COM TO REQUEST AND VIEW CONDITION REPORTS, REGISTER TO BID LIVE ONLINE, AND SUBMIT ABSENTEE/TELEPHONE BIDS B.A.E.D.C.
Neal Auction Company shall not grant rescission when: (a) there is a conflict of expert opinion as to the authorship; (b) expert opinion supported authorship at the time of auction, although expert opinion may have changed afterward; and (c) scientific or other tests, examinations, investigations, research, or processes that were unavailable, expensive, or impractical at the time of the auction have revealed since that time that the author, character, condition, kind, provenance, period, quality, or value Neal Auction Company believed to be accurate at the time of sale was inaccurate.
In any dispute between Neal Auction Company and the bidder or buyer regarding authorship of a work of fine art, rescission of the sale and refund of the purchase price paid shall be the buyer’s sole recourse or remedy, if any is available. Neal Auction Company (and its owners, officers, directors, representatives, agents, insurers, and employees) shall not be liable, obligated, or responsible for any damages (including compensatory, general, incidental, consequential, exemplary, or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorneys’ fees, or any other monetary, declaratory, equitable, or injunctive relief or remedy.
The buyer WAIVES and RELEASES any and all such damages, relief, and remedies.
5. No lots will be released before the end of 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.
Signed “ARTIST” - In our qualified opinion, the signature, monogram, or other indication of authorship is a signature of the artist.
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.
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 2.advance.
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.
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.
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.
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.
After ARTIST - In our qualified opinion, the work is a copy of a known work of the artist named.
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.
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.
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.
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.
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.
11. Interfering with the auction in any way is prohibited.
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.
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.
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.
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.
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.
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.
21. Neal Auction Company may require a bidder or buyer at any time to produce financial, banking, or trade references and information.
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:
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.
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.
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.
IMPORT/EXPORT Lots made of or incorporating endangered or protected wildlife materials, irrespective of age or amount of material, may require a license or certificate authorizing export from the United States as well as relevant authorizations from the country of import. It is the responsibility of the bidder or buyer to determine and be satisfied that the requirements of any applicable laws and regulations applying to the transportation, whether international or interstate, can be met before bidding. The inability of a buyer to transport lots containing endangered or protected wildlife material is not a basis for cancellation or rescission of the sale or discount of the purchase price. Although licenses may be obtainable to export certain types of endangered species, some types may not be exported at all, and other types may not be resold in certain states in the United States. Neal Auction Company cannot assist the bidder or buyer in attempting to obtain the appropriate licenses and/or certificates, and bidders and buyers can be given no assurance that an export license or certificate can be obtained. Each bidder should verify with an attorney or qualified shipping company if uncertain as to whether a lot is subject to export/ import license and certificate requirements and any other restrictions or prohibitions on the interstate transportation or exportation from the United States. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for any oral, written, or electronic advice given or representations made by it or by any shipping company, legal counsel, or other person. Buyers WAIVE and RELEASE any and all claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) relating to such advice and representations.
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.
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).
MISCELLANEOUS LEGAL PROVISIONS
3. Neal Auction Company intends to endeavor to protect the confidentiality of absentee/telephone bids.
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.
95
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.
9. Checks must be drawn on a U.S. bank. All lots shall be held by Neal Auction Company until the check clears.
3. In the event of any dispute, the Neal Auction Company sale record is conclusive.
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.
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.
BIDS
The paragraph headings contained herein are for convenience of reference only and shall not affect the meaning or interpretation of these Conditions of Sale.
ABSENTEE/TELEPHONE/ONLINE
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%.
8. VISA, MasterCard, Discover, and American Express are accepted for payment of invoices (except jewelry) up to $25,000 per buyer.
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.
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.
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).
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.
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.
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.
PAYMENT
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.
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.
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.
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.
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).
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.
INTELLECTUAL PROPERTY RIGHTS
Buyers WAIVE and RELEASE Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any and all claims relating to packing, moving, shipping, and delivery of purchased lots, and any damage or injuries to persons or property arising therefrom.
HANDLING AND STORAGE Unless other arrangements are made and confirmed in writing by Neal Auction Company, all lots must be removed within 15 calendar days of the auction. On the first business day following that time period, any lots remaining in the Neal Auction Company gallery may be turned over to a storage facility, at Neal Auction Company’s discretion. The buyer will be responsible for all handling and storage charges. Handling charges shall be a minimum of $50 per lot. Storage costs shall be a minimum charge of $50 per month per lot. Storage charges accrue monthly and must be paid in full before any lots purchased by the buyer are released. At its discretion, Neal Auction Company may charge the full amount of any storage and handling charges, on a periodic basis, on the buyer’s credit card, including interest at the rate of one and one-half percent per month. All purchased lots will be handled and stored at the buyer’s sole risk and peril. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for handling or storage, or for any damage to or loss of, any lot after the sale. The buyer WAIVES and RELEASES all such claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees).
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.
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.
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.
7. Payment for all jewelry purchases must be made by cash, check or wire transfer.
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.
4. Neal Auction Company reserves the right, in its sole discretion, to require that any advance bids be accompanied by a security deposit.
MANDATORY AND EXCLUSIVE FORUM SELECTION; CHOICE OF LAW
10. The buyer’s signature on a registration form (or other writing with the buyer’s credit card number) gives Neal Auction Company permission to charge the buyer’s credit card the full amount of the buyer’s invoice if full payment is not received within 15 calendar days of the auction or, in Neal Auction Company’s discretion, to charge the buyer’s credit card later, with interest at the rate of one and one-half percent per month.
IndexArtist•202210,&9September
O Terrance Osborne, 580 P C.R. Parker, 328 Albert Sheldon Pennoyer, 339 Pablo Picasso (aft), 2-4, R. Poggiali, 488 Rene Portocarrero, 621 Edward Povey, 623 R Nancy Renfro, 613 Adolph Rinck, 324 Charles Dormon Robinson, 337 George Rodrigue, 293-302, 593 Robert Malcolm Rucker 368 Norman Guthrie Rudolph, 367 S Paul Richard Schumann, 376 August Friedrich Siegert, 487 Thelma Lynn Simmons, 579 Hunt Slonem, 393-404 Francis Hopkinson Smith, 340 Southern School, 321, 326, 327 Sandi Stein, 81 Will Henry Stevens, 379 T Lew Thomas, 634 Henri de Toulouse-Lautrec, 497 V Henri Valton (attr), 489 Soren Vandegaard, 609 Jean Joseph Vaudechamp, 323 Mario Villa, 246, 346, 637-639 W Samuel Lovett Waldo (attr), 322 Georges Washington, 475-477 George Weissbort, 492 Terry Weldon, 80 Dell Weller, 574 A.E. Wells, 491 Daniel Webster Whitney, 377 Bror Anders Wikstrom, 325 Robert Willson, 247, 248 Fabio Wood, 348 Mary Belle Woodward, 374
96 A American School, 330, 331 Walter Inglis Anderson, 287, 288, 378 John James Audubon, 332, 333, 335 Sally Michel Avery, 615 B Charles T. Baisley, 371 Francisco Bajen, 619 José Basso, 594 Ernest J. Bellocq (aft), 631 Ralph Albert Blakelock, 343 Aaron Bohrod, 370 Melissa Bonin, 592 Bruce Bordelon, 576-578 Toni Bordignon, 480 British School, 494 Paul Desmond Brown, 344 Sergio Bustamante, 608 C Antonio Canova (aft), 537 Louis Albert Carvin (aft), 479 Daniel Celentano, 345 Marc Chagall (aft), 5 China Trade School, 672 Emery Clark, 590, 591 Joseph Clark, 490 Clyde Connell, 586 Continental School, 467-470, 481, 482, 484, 486 Jean Coulin, 495 Lee Crum, 624-627 D Bruce “Dapper Bruce Lafitte” Davenport, Jr., 610, Alexander611 John Drysdale, 372, 373 Etienne-Henri Dumaige (aft), 472 George Bauer Dunbar, 595, 596 George Valentine Dureau, 79 Caroline Wogan Durieux, 289-291 Dutch School, 473, 474 Marcel Dyf, 496 F Benjamin Foster, 341 Lynda Frese, 633 Pedro Friedeberg, 16, 17, 607 G Fred Garbotz, 614 Danita S. Geltner, 82 Alan A. Gerson, 587 Robert Gordy, 78, 292 Robert Wadsworth Grafton, 380 Woody Gwyn, 588, 589 H David Harouni, 597-605 William Hemmerling, 585 John Evan Hodgson, 493 Lonnie B. Holley, 612 William Hook, 616 Clementine Hunter, 261-271 J Trevor James, 336 David Wu Ject-Key, 338 William Jewett (attr), 322 K Yousuf Karsh, 635, 636 L Jake Lee, 575 Joyce Linde, 632, 633 Charles Longabaugh, 369 Charles Lotten, 72 M Bill Mack, 620 Jacques Madyol, 485 Francesco Lord Mancini, 478 Henri Manguin, 622 Gilbert Margeson, 381 Peter Max, 617, 618 James Michalopoulos, 581-584 Linda Miller, 89 Clarence Millet, 375 Joan Miró, 606 Andres Molinary, 329 Morelli (aft), 630 Bartolomé Esteban Murillo (aft), 466 John Francis Murphy, 342 N Evgeny Ivanovich Naps (aft), 483 Helmut Newton, 628, 629
ADMINISTRATION Director of Administration & Finance Michelle LeBlanc Leckert, CAI Client Services / Accounts Receivables Rebekah Abernathy Database Management / Internet Auction Administrator Lisa Weisdorffer Bookkeeper Katie Lasher Marketing & Social Media Cameron McHarg General Manager Jason Leckert Administrative Assistant Claire Whitmore GRAPHICS Graphics Director / Catalogue Design David Roberts Photography Jason Leckert Gerard Lewis OPERATIONS Operations Staff Charlie Clay Jerry Major Chris Favalora Decorative Arts Inventory Management Charlie Clay AUCTIONEERS Michelle LeBlanc Leckert #1514 Bettine Field Carroll #1874 Marc Fagan #1935 Marney Robinson #2155 CONSIGNMENTS Furniture & Decorative Arts Polly Rolman-Smith Paintings, Prints & Photography Marney Robinson; Sophie Hirabayashi; Beth Sherwood; Casey Foote; Renee Longon Books, Maps & Natural History Prints Marc Fagan Silver & Decorative Arts Katherine Hovas General Consignments Cameron McHarg Consignments Administrator Heather Munch AUCTION SERVICES Trust & Estates Advisor Henry G. McCall Appraisals Marc Fagan, Cameron McHarg CATALOGUE CONSULTANTS Asian Arts & Special Projects Bettine Field Carroll Newcomb Pottery & Decorative Arts Sally Main Silver Carey Mackie Decorative Arts & Victoriana Ann M. Masson Jewelry Stephen A. Moses, GIA Graduate Gemologist Ilana Picard, GIA Graduate Gemologist Adam Trepagnier Scott Gann Graphics Staff Stephanie Do Ouro Sarah Rose Janko Amanda Torres Marc Fagan Vice President Consignments Katherine Hovas Senior Vice President Michelle LeBlanc Leckert, CAI President John R. Neal (1940-2018), Founder
