LIVE AUCTION
Friday, April 21, 11 a.m.
LOTS 1-428
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Provenance:
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4. Antique Louis XV-Style Bronze Mounted Kingwood and Parquetry Occasional Table, turtle top, serpentine blind frieze drawer, cabriole legs, sabots, h. 29 in., w. 31 1/2 in., d. 21 in. [$700/1000]
5. Antique Louis XV-Style Bronze-Mounted Kingwood Bureau Plat, inset tooled leather top with acanthine corners, serpentine frieze with three drawers, reverse with faux drawers, cabriole legs, sabots, h. 30 in., w. 65 in., d. 32 in. [$600/900]
1. Louis XVI-Style Giltwood Overmantel Mirror, 19th c., reticulated floral crest, foliate finials, arched beveled mirror plate, beaded surround and liner, acanthus and pinecone corners, h. 75 in., w. 48 in. [$800/1200]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
3. Antique Louis XVI-Style Inlaid and Bronze-Mounted Kingwood Dressing Table, divided mirrored back, two glove drawers, kneehole frieze drawers, tapered legs, h. 57 in., w. 40 1/2 in., d. 21 1/2 in. [$800/1200]
2. Two Antique Louis XV-Style Verte Peinte and Parcel Gilt Chairs, incl. one armchair and one side chair, serpentine rosette crest, scrolled arms, foliate apron, cabriole legs, scrolled toes, armchair h. 39 1/2 in., w. 27 in., d. 22 in., side chair h. 38 in., w. 22 in., d. 19 in. [$800/1200]
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6. Louis XVI-Style Creme Peinte and Parcel Gilt Trumeau Mirror, molded cornice, village scene reserve, egg and dart molding, h. 73 in., w. 40 in. [$1000/1500]
7. Antique Louis XV-Style Giltwood Console, associated marble top, rocaille frieze, beaded cabriole legs, foliate feet, floral stretcher, h. 35 in., w. 43 1/2 in., d. 19 1/2 in. [$800/1200]
8. Louis XVI-Style Bronze-Mounted Mahogany Console Table, rouge marble top, blocked frieze centered by putto reserve, tapered legs, foliate cuffs, h. 32 1/2 in., w. 43 1/2 in., d. 23 1/2 in. [$1000/2000]
9. Louis XV-Style Gilt Bronze Three-Tier Desserte, shaped marble tops, acanthine scrolled supports, paw feet, h. 41 in., w. 37 in., d. 24 in. [$1500/2500]
10. Pair of Louis XV-Style Carved Giltwood Settees, reticulated floral crest, scrolled crest rail, serpentine seat rail, cabriole legs, scrolled toes, h. 39 in., w. 62 1/2 in., d. 29 in. [$1000/2000]
11. Napoleon III Bronze-Mounted, Ebonized and Boullework Parlor Cabinet, late 19th c., shaped top with egg and dart edge, arched glazed panel doors, stiles mounted with mythological masks, conforming plinth base, h. 44 in., w. 74 1/2 in., d. 20 1/4 in. [$5000/7000]
12. Napoleon III Inlaid and Ebonized Parlor Cabinet, late 19th c., shaped top, conforming case with Chinoiserie decoration, paneled doors flanked by double column supports and convex glass panel cabinet doors, blocked base, h. 43 1/2 in., w. 75 in., d. 18 in. [$2000/3000]
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17. Napoleon III Gilt Bronze “William Tell” Mantel Clock, 19th c., caped figure holding a crossbow, silk thread striking bell movement, h. 19 in., w. 12 1/2 in., d. 4 1/4 in. [$700/1000]
18. Antique Empire-Style Brass Clock, 19th c., striking bell movement marked “GS Medaille d’Or”, h. 3 3/4 in., w. 5 1/2 in., d. 6 in. [$700/1000]
15. French Bronze Vernis Martin Mantel Clock, 19th c., Japy Freres striking gong movement, h. 13 1/4 in., w. 9 1/4 in., d. 5 in. [$400/600]
16. Antique French Morbier Tall Case Clock, walnut case, h. 90 1/2 in., w. 17 1/2 in., d. 11 in. [$500/700]
13. Continental Rococo Giltwood Overmantel Mirror, 19th c., floral swagged rocaille crest, foliate and ribbon-molded surround, h. 74 in., w. 46 1/2 in. [$1200/1800]
14. Pair of Louis XVI-Style Painted and Parcel Gilt Trumeau Mirrors, cabochon cornice, swagged chinoiserie reserve, cartouche mirror plate, foliate decoration, h. 94 in., w. 44 in. [$1000/2000]
Provenance:
Provenance:
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20. 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, overall 25 in. x 21 1/2 in. x 1 1/2 in. [$4000/6000]
21. Christophe Fratin (French, 1801-1864), “Elephant with Howdah and Rider”, bronze, signed on self-base, h. 23 in., w. 19 in., d. 6 1/2 in. [$2000/3000]
Estate of Angela Gross Folk, Bernardsville, NJ.
19. Attributed to Edward Darley Boit (American, 1842-1916), “Villerville”, oil on canvas, signed lower right, faintly titled lower left, Paris canvas stamp en verso, 15 in. x 21 3/4 in., framed, overall 20 7/8 in. x 27 1/2 in. x 3 1/4 in. [$1500/2500]
22. Thomas Couture (French, 1815-1879), “Portrait of Monginot”, chalk on paper, initialed lower right, unfinished portrait of a woman en verso, inscribed lower left and right, “Sotheby’s, NY” labels on backing board and reverse of frame, 24 in. x 17 1/4 in., framed with artist and title plaque, overall 33 3/4 in. x 29 in. x 2 in. [$2000/3000]
Sotheby’s, New York, Oct. 29, 2002, lot 43.
23. Thomas Couture (French, 1815-1879), “Portrait of a Young Woman in Profile”, oil on canvas, initialed mid-right, “Roberts Art Gallery, Toronto” plaque on reverse of frame, 19 in. x 16 5/8 in., framed, 26 3/4 in. x 24 1/2 in. x 2 1/2 in. [$2500/3500]
24. Thomas Couture (French, 1815-1879), “Portrait of a Girl”, oil on canvas, initialed lower right, 15 3/4 in. x 12 3/8 in., unframed. [$2000/3000]
Note: Thomas Couture was born in 1815 approximately thirty miles north of Paris in Senlis, France. He had very little ambition or interest in education growing up, much to his father’s displeasure. He was, however, considered a talented artist at a young age. His family moved to Paris when he was eleven years old, and he later enrolled at the industrial arts school, École des Arts et Métiers. He then studied in the atelier of artist Antoine-Jean Gros who became a father figure to Couture. In 1831, he was admitted to the École des Beaux Arts, but his relationship with the organization eventually become strained because of Couture’s strong independent streak and break with the educational ideals of the institution.
Couture painted his most well-known work “Les Romains de la décadence” which was an allegory of the French Monarchy overthrown in the 1848 Revolution. After the success of this and other influential works, Couture set up a popular independent studio of his own where he taught Edouard Manet, Pierre Puvis de Chavannes, Marcellin Desboutin, Anselm Feuerbach and William Morris Hunt among others. It is believed that Couture set up his atelier in opposition to the École des Beaux Arts. Couture caused further conflict by publishing a book of his own teachings and methods titled Méthode et Entretiens d’Atelier which championed an informal art education. He writes in the preface to the book, “I now see that I might have avoided many of my labors…the desire to put upon canvas that which captivated me, guided me better than words which seemed useless. It was instinct in me, and to follow the dictates of my heart was easy…”
Couture was also a talented portrait painter and was commissioned to produce a great number of them in his lifetime after the success of his early history paintings. He primarily painted aristocrats and powerful political figures, but he also drew and painted charming and detailed portraits of fellow artists, women and children. In his Methode et Entretiens d’Atelier he focuses a chapter on the methods of painting portraiture where he writes “… make all your forms and lines in accordance with that which constitutes beauty, keeping within the limits of truth, and you will obtain a result astonishing to every one.” Couture’s interest in portraiture waned later in his life most likely because of his bitterness and dislike for the upper-class patrons he was used to flattering in his work. He much preferred to draw likenesses or even quick painted studies of his friends, students and family.
In the portraits offered in these lots, Couture captured the likenesses of two unidentified young women and a student of his, artist Charles Monginot. While these works are not as studied as his more formal commissioned portraits, in all of them there is an endearing spontaneity—a spark of light—that conveys the fleeting expression of each sitter.
Ref.: Couture, Thomas. Conversations on Art Methods
Translated by S. E. Stewart. G.P. New York: Putnam’s Sons, 1879.
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25. French School, 19th c., “Reading Tea Leaves”, oil on canvas, unsigned, 37 1/4 in. x 33 7/8 in., framed, overall 41 in. x 38 in. x 2 1/2 in. [$300/500]
26. Continental School, 19th c., “Winter Palace Scene”, oil on canvas, unsigned, 13 in. x 19 in., framed, overall 20 3/4 in. x 26 1/2 in. x 4 in. [$400/600]
27. Continental School, late 19th/early 20th c., “Women Laundering”, oil on canvas, unsigned, 26 1/8 in. x 30 1/4 in., framed, overall 31 3/4 in. x 35 3/4 in. x 1 1/2 in. [$1000/1500]
28. Continental School, 19th c., “Village Road with Water Mill”, oil on canvas, faintly inscribed “m. hobbema / 1663” lower left, 32 in. x 47 1/2 in., framed, 36 3/4 in. x 52 1/4 in. x 2 1/4 in. [$2000/3000]
30. French School, 19th c., “Portrait of a Lady with Fan”, oil on canvas, initialed “C.M.” lower right, “Eugene Stahl, Paris” label, “De Mouchelles, Detroit, MI” label and inscribed “Stahl” on stretcher, 76 1/2 in. x 49 1/2 in., unframed. [$1500/2500]
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29. Thomas Barker of Bath (British, 1769-1847), “Washing Sheep”, oil on canvas, unsigned, handwritten partial label with artist name and title on stretcher, 27 5/8 in. x 41 1/4 in., framed with artist and title plaque, overall 48 5/8 in. x 35 1/2 in. x 2 3/4 in. [$1000/1500]
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35. Continental School, 19th c., “Scholar with Ruff”, oil on canvas, unsigned, 32 5/8 in. x 27 7/8 in., framed, overall 37 1/4 in. x 32 in. x 2 in. [$500/800]
33. Gilbert Munger (American, 1837-1903), “Castle on the Hill”, oil on panel, signed lower left, 14 1/2 in. x 21 3/8 in., framed, overall 27 3/8 in. x 34 1/2 in. x 3 3/4 in. [$800/1200]
34. Eugene Quinton (French, 1853-1892), “The Young Archer”, 1888, patinated bronze, signed, dated and “F. Barbedienne, Fondeur, Paris” and “654” inscribed on self-base, h. 38 1/2 in., w. 20 1/2 in., d. 15 3/4 in. [$1000/1500]
Provenance: Estate of Angela Gross Folk, Bernardsville, NJ.
31. Pair of Carved Marble Figures of Maidens with Putti, each draped maiden with cherub attendant, h. 38 1/2 in., w. 11 in., d. 10 in., bronze bases, overall h. 41 in. [$2000/4000]
32. Continental School, 19th c., “Genre Scene”, oil on panel, unsigned, 19 7/8 in. x 17 1/2 in., framed, overall 22 1/2 in. x 20 in. x 1 1/8 in. [$300/500]
Provenance:
Provenance:
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37. Edouard Charles Armand-Dumaresq (French, 1826-1895), “Pierre Cambronne of Waterloo”, watercolor and pastel on paper, signed lower right, 2 handwritten period labels with artist and sitter on backing board, 12 in. x 9 3/4 in., framed, overall 26 in. x 20 3/8 in. x 1 1/2 in. [$500/700]
39. John Theodore Heins (British, 1697-1756), “Portrait of Margretta Marsham”, 1726, oil on canvas, signed and dated “Heins Fec. 1726” lower left, inscribed “Margretta Marsham 1726” upper left, 30 1/8 in. x 24 3/4 in., framed, overall 41 3/4 in. x 35 3/4 in. x 1 3/4 in. [$1000/1500]
Neal Auction Company, June 8, 2002, lot 466.
40. Rembrandt Van Rijn (Dutch, 1606-1669), “The Crucifixion: Small Plate (Bartsch 80; Biorklund 35-11; New Hollestein 143)”, etching, signed in plate, watermark visible, 3 5/8 in. x 2 5/8 in., unframed. [$3000/5000]
The Little Studio, Port Washington, NY, c. 1970s.
36. Edouard Charles ArmandDumaresq (French, 1826-1895), “Soldier with Rifle”, 1860, watercolor on paper, signed and dated lower left, 14 1/4 in. x 9 3/4 in., framed, overall 20 3/4 in. x 16 1/4 in. x 1 1/8 in. [$500/700]
38. Cast Stone and Marble Bust of Napoleon Bonaparte with Imperial Eagle, unsigned, h. 28 in., w. 20 in., d. 14 in. [$1000/2000]
Provenance:
42. Giovanni Battista Piranesi (Italian, 1720-1778), “A Pianta dell’Avanzo di Parete...”, “A Pianta di un Seplocro sulla Via Tiburtina...”, “A Pianta di Fabbrica Magnifica Sepolcrale...”, “Trovasi Questa Fabbrica...”, “A Spaccato del Mausleo di Ottaviano Augusto...”, “A Due Frammento di Tavoli...”, “A Questa Pianta di Forma Quadrata...”, “Iscrizioni de Sodati Pretriani” and “A Frammento di Marro di Gran Coperchio...”, 1756/1757, 9 etchings, from Le Antichita Romane, published by Angelo Rotili, Rome, sheets 22 in. x 31 1/2 in. to 22 1/4 in. x 17 in., unframed. (9 pcs.) [$1000/1500]
Note: Sold to benefit Friends of the New Orleans Public Library.
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44. Directoire-Style Painted Iron and Slate Top Dining Table, octagonal top, conforming frieze, tapered spindled legs, flat bar feet, h. 29 5/8 in., w. 50 in., d. 49 1/2 in [$1000/2000]
45. Empire-Style Bronze-Mounted Mahogany Bookcase, stenciled “Hopilliart & Leroy, Paris”, blocked cornice, stiles surmounted by Classical busts and ending in paired feet, glazed panel doors, shelf interior, ball feet, h. 96 1/2 in., w. 108 in., d. 20 in. [$3000/5000]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
43. Large Marble Figural Group of Woman and Child on the Seashore, h. 68 1/2 in. [$3000/5000]
41. Italian Patinated Bronze of “Dancing Faun of Pompeii”, inscribed “Chiurazzi/Napoli” on self-base, h. 31 1/2 in., w. 12 1/2 in., d. 11 1/8 in. [$1000/1500]
46. Pair of French Neoclassical Bronze-Mounted Mahogany Demilune Tall Commodes, early 19th c., galleried inset marble top, upper case with tambour door and fitted interior, lower case with shelf interior, tapered legs, brass cuffs, h. 43 3/4 in., w. 24 1/2 in., d. 12 1/2 in. [$4000/6000]
Provenance: Parc Monceau Antiques, Atlanta, GA.
47. Antique Italian Neoclassical Burl Walnut Secretaire, stepped hinge top, drop-front writing drawer with fitted interior, over four drawers, conforming bracketed base, h. 49 in., w. 66 in., d. 27 1/2 in. [$2000/3000]
49. Pair of Continental BronzeMounted Marble Pedestals, stepped capital, floral paneled standard, bracketed plinth base, h. 43 1/2 in., w. 16 in., d. 16 in. [$1000/1500]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
50. Pair of Antique Italian Rococo-Style Giltwood Armchairs, pierced rocaille crest, heart-shaped padded back, scrolled arms, conforming apron, cabriole legs, h. 48 in., w. 30 in., d. 25 in. [$800/1200]
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51. Antique Italian Rococo-Style Carved Oak Mirror, extensive rocaille surround, cushion mirror plate, h. 53 in., w. 45 in. [$500/700]
52. Large Continental Reverse Painted Glass and Giltwood Mirror, blocked reeded bolection surround, scroll and foliate trellis motif, h. 84 in., w. 48 in. [$500/700]
48. Pair of Italian Rococo-Style Carved Giltwood Oval Mirrors, draped surround surmounted by a floral swag crest, h. 49 in., w. 33 in. [$800/1200]
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57. Continental Giltwood Twelve-Light Chandelier, foliate and scroll-carved design, h. 30 in., dia. 29 in. [$700/1000]
58. Four Empire-Style Gilt and Patinated Bronze Two-Light Sconces, arrow backplate, mounted with a medallion of a centurion, h. 19 1/2 in., w. 10 in., d. 4 in. [$700/1000]
55. Louis XVI-Style Bronze EightLight Chandelier, standard with female busts, foliate arms, h. 41 in., dia. 34 in. [$1500/2500]
56. Continental Six-Light Chandelier, acanthus-carved standard, foliate arms, h. 26 in., dia. 31 in. [$500/700]
53. French Bronze Five-Light Bouillotte Lamp, red tole shade, h. 22 in., dia. 13 in. [$400/600]
54. Diminutive Louis XV-Style Bronze Five-Light Chandelier, 19th c., foliate arms, electrified, h. 12 in., dia. 16 in. [$500/700]
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61. Louis XVI-Style Bronze SixteenLight Chandelier, vasiform standard cast with trophees and female busts and masks, foliate arms, h. 52 in., dia. 36 in. [$1500/2500]
62. Continental Iron Eight-Light Pricket Chandelier, suspension chains, fleur-de-lis decoration, h. 53 in., w. 50 in., d. 15 in. [$400/600]
59. Neoclassical-Style Bronze Eight-Light Chandelier, vasiform standard, mounted with female busts and grotesque masks, h. 36 in., dia. 35 in. [$1500/2500]
60. Pair of Louis XVI-Style Bronze Five-Light Sconces, flame and urn backplate, foliate arms, h. 18 in., w. 13 in. d. 9 1/2 in. [$600/900]
63. French Provincial Fruitwood Table, early 19th c., foldover plank top, tapered legs, h. 30 in., w. 62 1/2 in., d. 27 3/4 in. [$700/1000]
64. Antique French Provincial Two-Part Mixed Woods Document Cabinet, upper case with arched cornice, cartouche-paneled doors, fluted stiles, deep lower case with paneled doors, interior fitted with document drawers, h. 93 in., w. 65 in., d. 39 in. [$1000/1500]
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65. Antique French Provincial Carved Walnut Games Table, inset needlepoint top, frieze with drawer and shell decoration, foliate cabriole legs, h. 27 1/2 in., w. 32 in., d. 32 in. [$600/900]
66. Regence Bronze-Mounted Carved Walnut Commode, early 18th c., molded top, quarter column stiles, three drawers, paneled returns, h. 35 in., w. 50 1/2 in., d. 25 in. [$1200/1800]
67. French Provincial Carved Walnut Buffet a Deux Corps, 18th c., arched cornice, frieze carved with a drafter’s medallion, scrolled cartouche doors, medial drawers, serpentine apron, cabriole legs, h. 94 in., w. 55 1/2 in., d. 23 in. [$1500/2500]
69. Antique Louis XV-Style Painted and Parcel Gilt Trumeau Mirror, pastoral reserve with courting couple, raised paneled stiles, rocaille decoration, h. 63 1/2 in., w. 48 in. [$1000/1500]
68. Pair of Regence-Style Carved Oak Fauteuils, illegibly signed, serpentine crest rail, caned back and seat, scrolled arms, rocaille cabriole legs, h. 41 in., w. 23 in., d. 20 in. [$800/1200]
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74. Antique French Provincial Oak Buffet, plank top, cartouche paneled doors, paneled stiles, h. 39 in., w. 54 in., d. 26 1/4 in. [$500/700]
70. Antique Louis XVI-Style BronzeMounted Kingwood and Parquetry Games Table, foldover swivel top, baize playing surface, serpentine frieze drawer fitted with gaming pieces, cabriole legs, sabots, h. 31 in., w. 32 1/2 in., d. 24 in. [$700/1000]
71. Louis XV Carved Walnut Chaise Percee, 18th c., rocaille crest rail, caned back and seat, leather cushions, scrolled arms, dovetailed serpentine seat rail, cabriole legs, h. 34 1/2 in., w. 23 in., d. 15 in. [$400/600]
72. French Provincial Carved Walnut Panetiere, 19th c., turned finials, serpentine crest, turned slats, cartouche paneling, disc feet, h. 28 in., w. 35 in., d. 18 1/4 in. [$700/1000]
73. Pair of Louis XV-Style Carved Walnut Fauteuils, 19th c., serpentine crest rail, padded arms, rocaille seat rail, cabriole legs, h. 44 in., w. 27 1/2 in., d. 24 in. [$1500/2500]
75. Antique Louis XV-Style Painted and Parcel Gilt Trumeau Mirror, molded cornice, rocaille surround, paneled stiles, courting couple reserve, h. 67 in., w. 36 1/2 in. [$800/1200]
76. Louis XV Provincial Fruitwood Commode, 18th c., molded top, two frieze drawers, whorl medallions, cartouche-paneled doors, serpentine apron, cabriole legs, h. 42 in., w. 54 1/2i n., d. 23 1/2 in. [$1200/1800]
Provenance:
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81. Clarence Millet (American/ Louisiana, 1897-1959), “The Red Barn”, oil on canvas laid on board, signed lower right, signed and titled en verso, 13 1/2 in. x 15 1/8 in., framed, overall 16 1/8 in. x 17 7/8 in. x 1 1/8 in. [$2000/4000]
Neal Auction Company, Apr. 13, 2019, lot 185.
77. William Ousley (American/Louisiana, 1866-1953), “The Old Tree at Ousley’s Landing at Bagdad, LA”, 1933, oil on canvas, signed lower right, signed, titled, dated and heavily inscribed en verso, 24 3/4 in. x 15 1/8 in., framed, overall 29 1/4 in. x 19 3/4 in. x 1 3/4 in. [$1000/1500]
78. William Ousley (American/Louisiana, 1866-1953), “West Fork of the Calcasieu River, SW LA”, oil on canvas, signed lower right, inscribed lower center, signed, titled and heavily inscribed en verso, 20 1/4 in. x 38 1/4 in., framed, overall 25 1/4 in. x 43 3/8 in. x 2 1/2 in. [$1200/1800]
79. Don Reggio (American/Louisiana, b. 1950), “19th Century Acadian à la W.H.B.”, 2007, oil on canvas, signed lower right, signed, titled and dated en verso, 12 in. x 24 in., framed, overall 16 3/4 in. x 28 3/4 in. x 1 1/4 in. [$800/1200]
80. Louisiana School, 20th c., “Shade Tree”, oil on masonite, signed “Goble” lower left, 20 in. x 24 in., framed, overall 22 3/4 in. x 26 7/8 in. x 1 3/8 in. [$800/1200]
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82. Robert Malcolm Rucker (American/Louisiana, 19322001), “Birch Trees”, oil on canvas board, signed lower left, 19 7/8 in. x 15 7/8 in., framed, overall 22 5/8 in. x 18 3/4 in. x 2 in. [$1000/1500]
83. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou”, oil wash on board, signed lower left, 2 artist biographies on backing paper, 8 1/8 in. x 20 3/16 in., framed, overall 11 3/4 in. x 23 5/8 in. x 1 1/2 in. [$1200/1800]
84. Alexander John Drysdale (American/Louisiana, 1870-1934), “Bayou Landscape at Sunset”, 1915, oil wash on board, pencil-signed and dated lower left, 20 in. x 30 in., framed, overall 24 7/8 in. x 34 7/8 in. x 1 1/4 in. [$1500/2500]
85. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Bayou with Cypress and Oak Trees”, 1916, oil wash on board, signed and dated lower left, “W.E. Seebold, New Orleans, LA” label on backing board, 15 7/8 in. x 20 in., framed, overall 21 3/4 in. x 25 3/4 in. x 2 in. [$2500/3500]
Provenance:
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89. Alexander John Drysdale (American/Louisiana, 1870-1934), “Bayou Landscape with Sunset”, oil wash on board, signed lower right, 20 in. x 29 7/8 in., framed, overall 22 1/2 in. x 32 1/2 in. x 1 in. [$1500/2500]
90. Alexander John Drysdale (American/Louisiana, 1870-1934), “Live Oak on the Bayou”, oil wash on board, signed lower left, 7 1/8 in. x 20 in., framed, overall 9 1/4 in. x 22 1/4 in. x 1/4 in. [$1000/1500]
Historic Albania Plantation, Jeanerette, LA.
87. Alexander John Drysdale (American/Louisiana, 1870-1934), “Bayou Landscape with Oak Tree and Waterlilies”, oil wash on board mounted to heavy board, signed lower left, 19 3/4 in. x 29 7/8 in., framed, overall 27 3/4 in. x 37 in. x 1 in. [$1500/2500]
Provenance: Neal Auction Company, June 22, 2019, lot 418.
88. Alexander John Drysdale (American/Louisiana, 1870-1934), “Bayou Landscape with Pirogue”, oil wash on board, signed lower left, 9 7/8 in. x 20 in., framed, overall 12 1/2 in. x 22 5/8 in. x 1 in. [$1200/1800]
86. Alexander John Drysdale (American/Louisiana, 1870-1934), “Louisiana Landscape with Moss-Laden Live Oaks and Cabin”, 1897, oil on canvas, signed and dated lower left, 20 in. x 25 in., framed, overall 23 3/4 in. x 28 7/8 in. x 2 in. [$6000/8000]
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91. Walter Inglis Anderson (American/ Mississippi, 1903-1965), “Purple Gallinules”, watercolor and graphite on paper, unsigned, artist estate stamp lower right, 2 handwritten labels with title on backing paper, 8 3/8 in. x 11 in., framed, overall 17 in. x 19 in. x 1 1/4 in. [$8000/12000]
92. Walter Inglis Anderson (American/ Mississippi, 1903-1965), “Redhead Scaups”, watercolor and graphite on paper, unsigned, artist estate stamp lower right, 8 1/4 in. x 10 7/8 in., framed, overall 13 7/8 in. x 16 1/8 in. x 2 1/2 in. [$8000/12000]
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93. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Mallard and Scaup”, watercolor and graphite on paper, unsigned, artist estate stamp lower right, 2 handwritten labels with title on backing paper, 8 1/2 in. x 11 in., framed, overall 17 in. x 19 in. x 1 1/4 in. [$10000/15000]
94. Walter Inglis Anderson (American/ Mississippi, 1903-1965), “Boat-Tailed Grackles”, watercolor and graphite on paper, unsigned, artist estate stamp lower right, 2 handwritten labels with title on backing paper, 11 in. x 8 3/8 in., framed, overall 19 1/2 in. x 16 1/2 in. x 1 1/4 in. [$8000/12000]
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96. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Horn Island”, watercolor and graphite on paper, unsigned, artist estate stamp lower right, 7 in. x 10 7/8 in., framed, overall 15 3/4 in. x 18 7/8 in. x 1 1/4 in. [$7000/10000]
95. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Hermit Crabs”, watercolor and graphite on paper, unsigned, artist estate stamp lower right, 2 handwritten labels with title on backing paper, 8 1/4 in. x 11 in., framed, overall 17 in. x 19 in. x 1 1/4 in. [$8000/12000]
97. Walter Inglis Anderson (American/ Mississippi, 1903-1965), “Biloxi Beach Scene”, linocut, unsigned, 19 1/4 in. x 37 7/16 in., framed, overall 21 3/4 in. x 40 in. x 1 in. [$3000/5000]
Provenance: Neal Auction Company, Apr. 17, 2022, lot 695. Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson Jackson: University Press of Mississippi, 2007, p. 83.
98. [Early Louisiana History], Baudry des Lozieres, Louis Narcisse. Voyage a la Louisiana, et sur le Continent de l’Amerique Septentrionale, fait dans les annees 1794-1798, Paris, Dentu, 1802, octavo (7 3/4 in. x 4 3/4 in., engraved folding map by Collin (9 1/2 in. x 14 in.), full calf, gilt lettering, Field 99, Howes B243, Sabin 3979; together with an oak box, h. 6 1/4 in., w. 11 1/2 in., d. 10 1/5 in., and a pair of bookends. [$800/1200]
Provenance: William Armstead Robinson III, Shreveport, LA
99. Double Hemisphere World Map, “Mappe-Monde Geo Hydrographique du Globe”, Gerard Valck, Amsterdam, 17th c., hand-colored engraved map, with vignettes of the four seasons, 16 6/8 in. x 20 1/2 in. (neat lines), framed. [$1000/1200]
Provenance: William Armstead Robinson III, Shreveport, LA.
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100.
La Maison Tellier, Paris, Ambrose
1934, folio (13 in. x 10 1/2 in.), number 260 of 325 examples, paper wraps, with 19 etchings (2 in color) after Edgar Degas monotypes, pages loose as issued. [$700/1000]
102.[Degas/Vollard Livre d’Artiste], Louys, Pierre Mimes des Courtisanes de Lucien, Paris, Ambroise Vollard, 1935, quarto (12 3/4 in. x 10 in.), with 22 (4 in color) etchings after monotypes by Edgar Degas, this copy numbered “L”, one of 20 hors-commerce copies aside from the edition of 305, half-leather, with original slip-case, marbled end papers, Rives paper. [$700/1000]
Livre d’Artiste], Degas, Paris, Bernheim-Jeune & Cie. Editeurs, 1918, reprint of the 1914 edition by Vollard, folio (14 3/4 in. x 10 1/2 in.), with 98 illustrations (4 in color), number 233 from an edition of 275 on papier Japon, full inlaid purple leather with gilt tooling, the endpapers and slipcase cover of handmade marbled paper. [$700/1000]
Provenance: Dedication from Paris, 1964 to known art collector “Francois L. Schwarz.”
103.
Illustrated
Cardinal, Paris, Auguste Blaizot & Fils, 1938, with 32 etchings (6 in color) after monotypes by Edgar Degas, folio (13 in. x 10 in.), original paper wraps, Rives paper, edition of 350, this one printed for M. Paul Haasen, one of the printers; together with three plates from a 1948 edition of La Famille Cardinal. [$700/1000]
La
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105. [Turkish World War I Prints], Krausz, Wilhelm Victor, Bildnesse und Skizzen aus der Turkei im Welkrieg, Wein, 1916, folio (19 3/4 in. x 16 in.), with 31 (of 34) passepartout leaves, each with one to three mounted color plates, loose, as issued, blind-stamped linen folder. [$300/500]
[Edgar Degas
Book], Halevy, Ludovic,
Famille
104. [Edgar Degas Illustrated Book], Halevy, Ludovic, La Famille Cardinal, Paris, Auguste Blaizot & Fils, 1938, with 32 etchings (6 in color) after monotypes by Edgar Degas, folio (13 in. x 10 in.), original paper wraps, Rives paper, number 135 of the edition of 350. [$700/1000]
[Edgar Degas Illustrated Book], Maupassant, Guy de,
Vollard,
101. [Degas/Vollard
Provenance:
26
106. Pair of George II-Style Carved Giltwood Consoles, inset marble top, extensive rocaille decoration, cabriole legs, paw feet, h. 34 1/2 in., w. 51 in., d. 21 in. [$5000/7000]
109. Fine George III Inlaid Mahogany Chest-on-Chest, early 19th c., stepped cornice, upper case with chamfered stiles, five drawers, lower case with three drawers, flared legs, satinwood banding and string inlay, h. 75 in., w. 41 1/2 in., d. 21 1/4 in. [$1000/1500]
110. Antique George III-Style Mahogany Sofa, serpentine crest and seat, incurvate uprights, tapered legs, h. 36 in., w. 78 in., d. 32 in. [$1000/1500]
111. Antique Georgian-Style Mahogany Breakfront Bookcase, stepped cornice, geometric glazed doors, paneled lower cabinet doors flanked by pedestals with three drawers, h. 87 1/2 in., w. 81 1/2 in., d. 18 in. [$4000/6000]
107. Antique George III-Style Carved Mahogany Sideboard, 19th c., stamped “GILLOWS · LANCASTER…”, serpentine top, conforming case with long frieze drawer, tapered legs, spade feet. h. 36 1/2 in., w. 78 in., d. 28 1/4 in. [$1800/2500]
108. George III Figured Mahogany Slant-Front Desk, late 18th/early 19th c., fall-front lid, fitted interior, four graduated beaded drawers, bracket feet, h. 44 1/2 in., w. 39 1/2 in., d. 20 in. [$700/1000]
Estate of Warren A. Goldstein, Esq., New Orleans.
Provenance: The Hawfield, Blakeney, Gloucestershire, U.K. (See accompanying documents found in drawer.
Note: A photo of the desk inside the Hawfield country house can be viewed at www.theforestreview.co.uk/news/ historic-house-on-marked-for-ps29m-212606
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112. Fine Antique George III-Style Inlaid Mahogany Cylinder Secretary Bookcase, mid-to-late 19th c., stamped “Maple & Co. Ld”, London, dentil-molded cornice, arched glazed doors, cylinder lid with patera inlay, fitted interior with sliding leather writing surface, kneehole configuration of drawers, tapered legs, spade feet, h. 91 in., w. 46 1/2 in., d. 27 3/4 in. [$3000/5000]
114. English Cast Iron Pub Table, 19th c., “Slavery Abolished” model, mahogany top, reticulated frieze decoration with masks, cabriole legs surmounted by caryatids with Union Jack shields, paw feet, h. 29 1/2 in., dia. 25 in. [$800/1200]
115. George III Inlaid Walnut and Oak Chest of Drawers, early 19th c., banded drawers, two drawers over three long drawers, bracket feet, h. 36 in., w. 37 in., d. 20 1/4 in. [$1000/1500]
116. Antique Georgian Mahogany Demilune Sideboard, brass galleried top, frieze drawer, paneled cabinet doors, tapered legs, spade feet, h. 49 in., w. 80 in., d. 27 1/4 in. [$1000/1500]
113. Twelve Sheraton-Style Carved Mahogany Dining Chairs, 19th c., incl. 2 arms and 10 sides, shield backs with entwined foliate scrolls, molded arms, floral blocked tapered legs, spade feet, armchair h. 38 in., w. 22 1/2 in., d. 19 in., side chair h. 37 in., w. 20 in., d. 17 in. [$2000/3000]
Provenance:
Provenance:
Provenance: The Schoenberger Collection, 1812 Palmer
Provenance:
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117. George III Mahogany Slant-Front Desk, early 19th c., fall-front lid, fitted interior, four graduated drawers, bracket feet, h. 42 1/4 in., w. 36 in., d. 18 1/2 in. [$700/900]
119. Large Handel Bronze and Leaded Glass Table Lamp, c. 1915, stylized floral base and magnoliadesign shade both marked “HANDEL”, five cluster Hubbell sockets, with acorn pulls, h. 30 1/2 in., dia. 24 1/2 in. [$2500/3500]
120. Pair of American Cut Glass Three-Light Sconces, 20th c., ropetwist arms, foliate-etched hurricane shades, h. 23 in., w. 12 in., d. 15 in. [$400/600]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
124. Continental Patinated Metal Three-Light Chandelier, h. 24 in., dia. 27 in.; together with pair of patinated metal two-light sconces, fitted with removable copper jardiniere, h. 15 in. w. 13 in., d. 11 in. [$600/900]
121. Large American Blown Glass Hall Lantern, 19th c., foliate chains, green tinted glass, electrified, h. 31 in., dia. 18 in. [$400/600]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
122. American Victorian Gilt and Patinated Metal Four-Arm Gasolier, foliate canopy, rope-form supports, central Cupid figure, h. 34 in., dia. 25 in. [$500/700]
Avenue, New Orleans.
123. Large American Blown Glass Hall Lantern, 19th c., h. 26 in., dia. 18 in. [$400/600]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
118. Antique Georgian-Style Mahogany Piecrust Tea Table, dished top, bird cage support, fluted standard, foliate tripod base, pad feet, h. 31 in., dia. 25 in. [$500/700]
Provenance:
Provenance:
Provenance:
29
125. Regency-Style Bronze Eight-Light Gasolier, late 19th c., tiered form with faceted prisms, foliate designs, floral-etched shades, h. 45 in., dia. 34 in. [$800/1200]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
126. Monumental Antique Louis XV-Style Gilt Bronze and Cut-Crystal Forty-Two Light Chandelier, canopy issuing scrolled tendrils, foliate and vasiform standard, scrolled foliate arms, extensively hung with prisms, electrified, h. 63 in., dia. 45 in. [$10000/20000]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
127. Antique Louis XVI-Style Gilt Bronze and Cut-Crystal Sixteen-Light Figural Chandelier, bowknot canopy, over floral wreath, the standard surmounted by bids amongst clouds, scrolled floral mounts, h. 52 in., dia. 34 in. [$8000/12000]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
128. Pair of Louis XVI Gilt Bronze FourLight Figural Sconces, each fluted backplate with cherub holding olive branch arms, electrified, h. 22 in., w. 19 in., d. 15 in. [$700/1000]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
Note: Born in England in 1781, John Wesley Jarvis’ family settled in Philadelphia in the mid-1780’s. Around 1796 he started an apprenticeship under Edward Savage and moved with Savage to New York in 1801. A year later Jarvis set out on his own as an engraver and miniature and portrait painter, eventually becoming the leading portraitist in New York City between 1800 and 1820. Though he considered his home to be New York, Jarvis traveled and had extended residencies in Charleston, Baltimore, and New Orleans among other cities. At the peak of his success in 1814, he was commissioned to paint a series of portraits of military heroes from the War of 1812 for New York City Hall, a job he took over from Gilbert Stuart after Stuart had disagreements with the patrons of the project.
Jarvis was known for his ostentatious style, consumption of alcohol and recklessness with his finances. In the early 1820’s he suffered a debilitating stroke while in New Orleans that left him partially paralyzed, and he spent the remainder of his life with his widowed sister Elizabeth Jarvis Child (1782-1853) in New York until he died in 1840.
The pair of paintings presented here are of his sister and later caretaker, Elizabeth and her husband Lewis Child (1781-1829). They are likely preparatory sketches by Jarvis who completed at least one other more detailed portrait of his sister that is conserved in collection of the Princeton University Art Museum. These works, executed with looser brushstrokes and with visible graphite outlines, serve as fascinating glimpses into the famed portraitist’s creative process, and the sensitivity with which he renders the kind dignity and soft features of his sister perhaps reflect the fondness he had for the sibling who would take care of him in the last years of his life.
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129. Attributed to John Wesley Jarvis (British, 1781-1840, active Louisiana, 1821-1834), “Elizabeth Jarvis Child (1782-1853)” and “Lewis Child (1781-1829)”, 2 oils on canvas, both unsigned, typewritten label with sitters’ information and remnant label attached to backing boards, 20 1/8 in. x 16 in., framed alike, overall 23 5 /8 in. x 18 5/8 in. x 1 5/8 in. [$1000/1500]
130. George Louis Viavant (American/Louisiana, 1872-1925), “Nature Morte: Blue Crab”, 1920, watercolor on paper mounted to board and affixed to frame, signed, dated and inscribed “N.O.” lower left, sight 15 3/8 in. x 9 3/8 in., framed, overall 22 1/2 in. x 16 1/2 in. x 1 1/4 in. [$5000/8000]
131. George Louis Viavant (American/Louisiana, 1872-1925), “Nature Morte: Crawfish”, 1920, watercolor on paper mounted to board and affixed to mat, signed, dated and inscribed lower left, 19 1/4 in. x 12 1/4 in., framed, 22 1/2 in. x 16 1/2 in. x 1 1/4 in. [$5000/8000]
Note: William Henry Buck emigrated from Norway to the United State around 1865. He arrived in New Orleans circa 1870 where he worked as a clerk for a cotton factory. During the late 1870s and early 1880s, Buck studied with Richard Clague and was one of his closest followers. By 1880, Buck had opened his own studio at 26 Carondelet Street in New Orleans, where he was instrumental in defining the easel-sized painting market. Buck created the most expansive known body of work in the nineteenth century portraying the rivers, lakes, bayous and environs of New Orleans and its surrounding areas. His passion for capturing the Louisiana landscape is evident in the exquisite and subtle luminosity and carefully composed compositions of his works. While his rural bayou landscapes are perhaps his best known, a handful of urban scenes of New Orleans also appear in the artist’s oeuvre, though very rarely do they surface at auction.
This recently discovered work is the only known painting by Buck of New Orleans’ most famous landmark setting. Buck’s take on the iconic scene is a charming, light-filled composition with a slightly skewed perspective and hints of the famous bayou painter’s classic style. The blue sky with puffy clouds, the delicate brushwork of the foliage and the detail of the architecture present a scene as detailed as it is timeless. The path in the garden invites the viewer into the square, where the statue of Andrew Jackson, erected in 1856 and silhouetted against the backdrop of St. Louis Cathedral, takes center stage in place of the artist’s characteristic moss-draped oak. As beautiful as it is historic, this painting places Buck at the very heart of not only the Louisiana bayou but also the ever-changing city he called home, portraying a unique glimpse of life in New Orleans during an exciting period of growth and transformation.
Ref.: Lewis, Richard Anthony. “William Henry Buck.” 64 Parishes. www.64parishes.org. Accessed Mar. 9, 2023; Wiesendanger, Martin and Margaret. 19th Century Louisiana Paintings from the Collection of W.E. Groves. Gretna, LA: Pelican Publishing Company, 1971.
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132. William Henry Buck (Norwegian/Louisiana, 1840-1888), “Jackson Square, New Orleans”, oil on board, signed and inscribed “Sketch by Buck. N.O.” lower right, 9 in. x 12 in., framed, overall 13 in. x 15 7/8 in. x 2 1/4 in. [$40000/60000]
[$20000/30000]
Provenance: Neal Auction Company, Jan. 30, 2010, lot 324.
Note: In the early twentieth century, American Impressionism started flourishing in the Midwest, centered in Indianapolis and South Indiana’s Brown County art colony (which had ties to Chicago). Inspired and encouraged by the artists T.C. Steele, William Forsyth and John Ottis Adams—collectively known as the Hoosier Group—the next generation of artists were motivated to paint landscapes of the world around them.
Robert Grafton and his friend and fellow Indiana artist, Louis Oscar Griffith, often visited New Orleans where they were captivated by the historic buildings and waterways that made up the city as well as the lively art community which was largely centered in the French Quarter. In the painting offered here, Grafton used thick, lush brushwork to beautifully render the reflections of the boats in the water of the New Basin Canal. Luggers were small single sail wooden boats used regionally to bring seafood (mainly oysters) from the coast to the city, and they were extremely important to the economy of New Orleans during the 1914 to 1920 period in which Grafton painted. As shipping and refrigeration technology evolved, the canal became less and less important, and by 1950 it was completely filled in to create the Lafitte Corridor, Pontchartrain Express Way and West End Boulevard. Grafton’s painting captures the vibrancy and color of a very particular time in the city’s history.
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133. Robert Wadsworth Grafton (American, 1876-1936, active Louisiana, 1916-1920), “Reflections of Luggar’s Landing, New Basin Canal”, 1918, oil on canvas board, signed and dated lower right, artist name inscribed en verso, 16 in. x 20 in., framed, overall 23 3/4 in. x 27 7/8 in. x 3 1/4 in.
34
137. Don Wright (American/Louisiana, 1938-2007), “French Quarter Scene”, 1978, oil on canvas board, signed and dated lower right, 12 in. x 16 in., framed, overall 17 1/2 in. x 21 1/2 in. x 1 1/2 in. [$1000/1500]
134. Robert Wadsworth Grafton (American, 1876-1936, active Louisiana, 1916-1920), “Young Woman before a Mirror in a Blue Silk Robe”, 1916, oil on canvas laid on panel, signed and dated lower left, partial sketch en verso, 30 in. x 25 1/2 in., framed, overall 36 1/4 in. x 31 5/8 in. x 2 1/4 in. [$4000/6000]
135. George Frederick Castleden (British/Louisiana, 18611945), “Jackson Square, New Orleans”, 1927, oil on canvas board, signed lower left, inscribed and dated en verso, 9 7/8 in. x 7 7/8 in., framed, overall 12 1/2 in. x 10 1/2 in. x 3/4 in. [$1000/1500]
136. Alberta Kinsey (American/Louisiana, 1875-1952), “Street Vendor”, oil on canvas board, signed lower right, “Farish Art Store, New Orleans, LA” label on reverse of frame, 13 in. x 9 1/4 in., framed, overall 15 5/8 in. x 11 7/8 in. x 1 3/8 in. [$700/1000]
35
138. Morris Henry Hobbs (American/Louisiana, 1892-1967), “Boats and Dock on the Mississippi, New Orleans”, 1938, watercolor on paper mounted to board, signed, dated and inscribed “New Orleans” lower right, “Pickwick Galleries, Winnetka, IL” label on backing paper, 9 7/8 in. x 13 7/8 in., framed, overall 17 in. x 21 in. x 3/4 in. [$1000/1500]
139. Morris Henry Hobbs (American/Louisiana, 1892-1967), “Blue Tugboat on the Mississippi, New Orleans”, 1938, watercolor on paper mounted to board, signed, dated and inscribed “New Orleans” lower right, “Pickwick Galleries, Winnetka, IL” label on backing paper, 8 7/8 in. x 11 7/8 in., framed, overall 16 in. x 19 in. x 1 in. [$1000/1500]
140. Warner Hoople (American/Texas, 1904-1989), “Slade Oil & Gas, Inc., McCrary No. 1”, 1958, watercolor on paper, pencil-signed and dated lower center, titled and dated lower right, titled en verso, 20 in. x 26 1/4 in., framed, overall 28 3/8 in. x 34 1/2 in. x 2 1/4 in. [$2000/3000]
141. Alfred Ernest Lang (American/ New Hampshire, 1879-1950), “Florida Landscapes”, 3 oils on canvas board, 2 signed lower right, one signed lower left, each 8 7/8 in. x 10 7/8 in., unframed. (3 pcs.). [$800/1200]
142. Joe Selby (American/Florida, 1893-1960), “USCGC Unalga”, 1932, gouache on board laid on panel, signed and dated lower right, label with title on backing board, 13 1/2 in. x 23 1/4 in., framed, overall 27 1/4 in. x 33 1/8 in. x 1 3/4 in. [$1500/2500]
Provenance:
Provenance:
36
148. William IV Carved Mahogany Piano Stool, c. 1830-1840, needlepoint seat, lotus standard, incurvate triangular plinth base, scrolled feet, h. 18 in., dia. 17 in. [$300/500]
149. Fine English Regency Carved Mahogany Console Table, 19th c., stamped “Edwards & Roberts”, arched backsplash with urn and griffin decoration, shaped top with gadrooned edge, paneled frieze with foliate swags, floral-carved scrolled supports, incurvate plinth, h. 59 in., w. 72 in., d. 25 in. [$3000/5000]
145. George III Mahogany Concertina Action Games Table, late 18th c., foldover top with reeded edge, baize playing surface, entwined scrolled brackets, chamfered legs, h. 28 3/4 in., w. 35 1/4 in., d. 17 1/4 in. [$700/1000]
Waldhorn & Adler, 343 Royal St., New Orleans.
146. Antique Inlaid and Carved Oak Welsh Dresser, 19th c., cornice with pierced hearts and scrollwork, plate shelves flanked by paneled cabinets and short drawers, base with four drawers, paneled doors, cabriole legs and pad feet, h. 83 in., w. 72 in., d. 18 1/4 in. [$2000/3000]
143. Irish George III String Inlaid Mahogany Serpentine Sideboard, late 18th c., brass gallery with urn finials, deep drawer with cellarette fitting, baize-lined frieze drawer, scrolled brackets, tapered legs, h. 51 in., w. 69 1/2 in., d. 26 3/4 in. [$1500/2500]
Waldhorn & Adler, 343 Royal St., New Orleans.
144. Antique Georgian-Style Carved Mahogany Library Armchair, heavily scrolled arms, foliate cabriole legs, h. 39 in., w. 28 in., d. 25 1/2 in. [$700/900]
147. Anglo-Colonial Tropical Hardwood Wardrobe on Stand, 19th c., ogee cornice, paneled doors, base with two drawers, anthemion blocks and lobed baluster legs, h. 77 in., w. 53 in., d. 22 in. [$800/1200]
150.
Inlaid Mahogany Two Pedestal Extension Dining Table, banded top, lobed pedestals, sabre legs, casters, h. 29 in., w. (open) 128 in., d. 45 in. [$800/1200]
151. Eight Chippendale-Style Carved Mahogany Dining Chairs, incl. two armchairs and six side chairs, serpentine crest rail, entwined splat, cabriole legs, ball and claw feet, blue damask upholstery, armchair h. 38 in., w.22 1/2 in., d. 19 in.; side chair h. 38 in., w. 22 1/2 in., d. 19 in. [$1000/1500]
152. Fine Chippendale-Style Inlaid and Burl Walnut Highboy, late 19th/ early 20th c., broken arch cornice centered by a flame finial, upper case with six drawers, lower case with three drawers, cabriole legs, ball and claw feet, h. 95 in., w. 52 in., d. 24 1/2 in. [$800/1200]
Provenance: Bocage Historic Home, Darrow, LA
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
Ref.: Hecht, Eugene. George Ohr The Greatest Art Potter on Earth, New York, Skira Rizzoli, 201, pg. 58
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153. Regency Carved Mahogany Etagere Console, early 19th c., four-tiered superstructure with turned supports, flared turned legs, h. 69 1/2 in., w. 48 in., d. 15 in. [$1200/1800]
154. English Renaissance Revival Carved and Inlaid Mahogany Center Table, late 19th c., segmented marquetry top, foliate standard, gadrooned plinth, acanthine paw feet, h. 29 1/2 in., dia. 36 in. [$1000/1500]
155. English Aesthetic Giltwood Mirror, late 19th c., floral and anthemion surround, later beveled mirror plate, h. 57 in., w. 46 in. [$1000/1500]
Regency-Style
156. Two Miniature George Ohr Art Pottery Jugs, brown glaze, unmarked, h. 7/8 in. and 3/4 in. [$800/1200]
marks, reserved with
and maidens, pink rim, dia. 13 1/2 in.; and bowl, reserved with courting couples, interior painted with flowers, blue ground, h. 4 1/4 in., dia. 11 1/2 in. [$300/500]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
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159. James Michalopoulos (American/ Louisiana, b. 1951), “Elegia”, oil on canvas, unsigned, artist label en verso, 48 in. x 24 in., framed, overall 49 1/4 in. x 25 1/4 in. x 1 3/4 in. [$3000/5000]
Ill.: Michalopoulos, James. Michalopoulos New Orleans: Cattywompus Press, 2003, p. 114
160. James Michalopoulos (American/ Louisiana, b. 1951), “Tender for Tchopitoulas [sic]”, 1994, oil on canvas, signed lower left, signed, titled, dated and inscribed en verso, 35 3/8 in. x 48 in., framed, overall 36 1/2 in. x 48 7/8 in. x 3/4 in. [$4000/6000]
158. Pair of Royal Worcester Polychrome Porcelain Figures of Water Carriers, 19th c., marked, h. 18 in. and 16 1/2 in. Note: both lacking vessels at base. [$200/300]
157. Paris Polychrome and Gilt Porcelain Tableware, incl. platter, impressed
putti
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161. James Michalopoulos (American/Louisiana, b. 1951), “September Two”, 1996, oil on canvas, signed lower left, signed, dated and artist label en verso, titled, inscribed and label with title on stretcher, 28 in. x 22 in., framed, overall 29 in. x 22 7/8 in. x 1 in. [$3000/5000]
162. Hunt Slonem (American/Louisiana, b. 1951), “Dutch Bunny”, 2005, oil on board, signed, titled and dated en verso, 12 in. x 10 in., framed, 20 7/8 in. x 18 3/4 in. x 1 1/2 in. [$4000/6000]
163. Hunt Slonem (American/Louisiana, b. 1951), “Citrons”, 2006, oil on canvas, signed, titled and dated en verso, “PintArt, Acapulco” label on backing paper, 47 1/2 in. x 47 5/8 in., framed, overall 50 1/2 in. x 50 3/8 in. x 1 3/8 in. [$5000/7000]
164.
and dated en verso, “PintArt, Acapulco” label en verso, 29 3/4 in. x 23 5/8 in., framed, overall 30 3/4 in. x 24 1/2 in. x 1
40
167. Hunt Slonem (American/ Louisiana, b. 1951), “Cherry Conure”, 2003, oil on canvas, signed, titled and dated en verso, “PintArt, Acapulco” stamp on backing paper, 48 in. x 71 3/4 in., framed, overall 50 3/8 in. x 74 1/2 in. x 2 in. [$6000/8000]
165. Hunt Slonem (American/Louisiana, b. 1951), “Untitled”, oil on canvas board, unsigned, 29 1/2 in. x 39 1/2 in., framed, overall 30 1/4 in. x 40 3/8 in. x 1 in. [$4000/6000]
166. Hunt Slonem (American/ Louisiana, b. 1951), “Ocelots”, 2009, oil on canvas, signed, titled and dated en verso, 62 in. x 77 in., framed, overall 63 3/4 in. x 79 1/8 in. x 2 5/8 in. [$8000/12000]
Hunt Slonem (American/Louisiana, b. 1951), “Lories II”, 2006, oil on panel, signed, titled
in. [$4000/6000]
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168. Hunt Slonem (American/Louisiana, b. 1951), “Whisper”, 2006, oil on canvas, signed, titled and dated en verso, “PintArt, Acapulco” label on backing paper, 40 in. x 29 1/2 in., framed, overall 42 1/2 in. x 32 1/4 in. x 1 3/8 in. [$4000/6000]
169. Hunt Slonem (American/
and “Iberica de
Mexico City” label en verso, 24 1/8 in. x 20 5/8 in., framed, 28 3/8 in. x 24 7/8 in. x 1 1/4 in. [$4000/6000]
170.
171. Elemore Morgan, Jr. (American/Louisiana, 1931-2008), “Winter: Tee Robe Road”, 2000, acrylic on masonite, initialed lower left, signed, titled and dated on brace, 18
Exh.: “Art and Life in Louisiana: Elemore Morgan, Sr. & Elemore Morgan, Jr.”, The Ogden Museum of Southern Art, New Orleans, 2006.
Note: Known as one of the South’s premier landscape painters, Elemore Morgan Jr. captured the coastal prairies of southwest Louisiana with his vibrant and large-scale paintings. Morgan was born in Baton Rouge and raised on his grandfather’s farm in what was then a rural area. His father was a noted photographer who often allowed his son to accompany him on his artistic travels throughout the state, inspiring in Morgan an early love of Louisiana. Morgan studied art at Louisiana State University under Caroline Durieux, Ralston Crawford and David Le Doux, before serving in the United States Air Force in the Korean War. In 1954, he continued his education at the Ruskin School of Art at Oxford University, graduating in 1957. Morgan returned to Louisiana and began teaching at then Southwestern Louisiana University in Lafayette in 1965. His thirty-two-year tenure at the school would see Morgan influence and mentor hundreds of artists, even as he continued to paint and further his own successful career. Morgan found inspiration in the oak trees, terraced fields, stormy skies, vernacular architecture and vast spaces of the marshes. The majority of his en plein air paintings focused on a thirty-mile square area between Kaplan, Abbeville and Maurice, Louisiana. In the work offered here, Morgan depicts Tee Robe Road in Kaplan, highlighting the atmospheric effect of humid air under a winter sun. Following in the footsteps of the Fauvists with their use of color and the Impressionists with their emphasis on light, Morgan’s gestural paintings are a lasting legacy for Louisiana and future generations of American landscape artists.
Ref.: “Elemore Morgan, Jr.” Arthur Roger Gallery. www.arthurrogergallery.com. Accessed Mar. 9, 2023; Marszalek, Keith I. “The Ogden Mourns the Loss of Artist Elemore Morgan, Jr.” The Times-Picayune. May 20, 2008. www.nola.com. Accessed Mar. 9, 2023.
Provenance: David Lusk Gallery,
Note: Michael Crespo was born in New Orleans in 1947. He received his Bachelor of Fine Arts from Louisiana State University and Master of Fine Arts from City University of New York. He returned to LSU as a member of the faculty, where he spent thirty-five years as a beloved professor and eventually served as the director of the School of Art. He sadly passed away in 2010 after losing his battle with cancer. Crespo’s work is often referred to as “mysterious” and “haunting.” He distilled his subjects down to their quintessential forms, which he overlayed on simple, dark backgrounds. In the painting offered here, a graceful heron is suspended in an inky backdrop, flying over the horizon as if hovering in outer space. Luminous and focused brushstrokes pierce the darkness to illuminate the bird, imbuing it with a sense of ethereal calm. As his widow Libby Johnson has said: “Michael lived his life with the consciousness of places only he could see. Those places live in his work.”
Ref.: Ronco, Savanna. “The Mysteries of Michael Crespo.” Sacannaronco’s Blog. Oct. 31, 2012. www. savannaronco.wordpress.com. Accessed Mar. 9, 2023.
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172. Michael Crespo (American/Louisiana, 1947-2010), “1000 Herons Rising”, 2004, oil on linen, signed en verso, titled on stretcher, “David Lusk Gallery, Memphis, TN” label with artist, title and date on reverse of frame, 58 5/8 in. x 50 3/4 in., framed, overall 68 1/2 in. x 60 5/8 in. x 2 in. [$2500/3500]
Memphis, TN.
in. x 94 3/4 in., unframed. [$10000/15000]
Louisiana, b. 1951), “Amazons”, 1999, oil on panel, signed, titled, dated, dedicated “For Angelina”
Marcos,
Hunt Slonem (American/ Louisiana, b. 1951), “Lories”, 1998, oil on canvas, signed, titled, dated and dedicated “For Angelina” en verso, 37 in. x 36 5/8 in., framed, 43 in. x 42 5/8 in. x 1 1/4 in. [$4000/6000]
173. George Rodrigue (American/Louisiana, 1944-2013), “Black Louisiana”, oil on canvas, signed lower left, signed, titled and artist stamps on stretcher, artist stamps and business card on reverse of frame, 12 in. x 22 in., framed with artist plaque, overall 19 3/4 in. x 29 3/4 in. x 3 in. [$15000/25000]
Provenance: Acquired from the artist; Roland Begneaud Family Collection, Lafayette, LA.
174. George Rodrigue (American/Louisiana, 1944-2013), “Boudreaux in a Barrel”, 1972, oil on canvas, signed lower left, signed and inscribed en verso, titled, inscribed and artist stamps on stretcher, exhibition label with title and date on reverse of frame, 36 in. x 28 in., framed with artist and title plaque, overall 43 1/2 in. x 35 1/4 in. x 2 1/4 in. [$60000/80000]
Provenance: Acquired from the artist; Roland Begneaud Family Collection, Lafayette, LA.
Ill.: Acadia Parish Schools, Crowley High School. Mais, Jamais de la Vie! A Collection of Folklore from the Parish of Acadia. Crowley High School, Crowley, La.: 1976, cover; Freundlich, Lawrence S. George Rodrigue: A Cajun Artist. New York: Penguin Studio Rodrigue, 1996, p. 83, pl. 57; Art in America, Feb. 1973, p. 7; Rodrigue, George. The Art of George Rodrigue. New York: Harry N. Abrams, 2003, p. 61; Rodrigue, George. The Cajuns of George Rodrigue. Birmingham: Oxmoor House Inc., 1976, p. 97. Exh.: Munchick & Franks Fine Arts Ltd., London, Feb. 10-17, 1973; “George Rodrigue Retrospective Exhibition”, Pensacola Museum of Art, Pensacola, FL, Apr. 2 – May 15, 2004; “Blue Dog: The Art of George Rodrigue”, Dixon Gallery and Gardens Museum, Memphis, TN, July 29 – Oct. 14, 2007; “Rodrigue’s Louisiana: Forty Years of Cajuns, Blue Dogs, and Beyond Katrina”, New Orleans Museum of Art, New Orleans, LA, Mar. 1 – June 8, 2008; “George Rodrigue: Cajuns and Blue Dogs / Paintings from Louisiana Family Collections 1971-2008”, Louisiana State Museum Wedell Williams Aviation and Cypress Sawmill Museum, Patterson, LA, July 17 – Nov. 29, 2008; “Blue Dogs and Cajuns on the River”, Louisiana State University Museum of Art, Baton Rouge, LA, July 23 – Sept. 18, 2011; “Blue Dogs in Texas”, Amarillo Museum of Art, Amarillo, TX, Aug. 10 - Oct. 14, 2012.
Note: Roland Begneaud (1925-1997) was a pharmacist and engineer who opened Begneaud’s Pharmacy in the Oil Center of Lafayette in 1963, as a second location to the original founded by his father, Arista Begneaud, at the corner of South Buchanan and Congress Streets in 1939. In 1972, Dickie Hebert, childhood friend of George Rodrigue, worked as a pharmacist for Begneaud and introduced the two. By this time, Rodrigue had opened a small gallery on Pinhook Road in Lafayette, where he painted daily, and had begun to receive early recognition for his work. Begneaud recognized the talent of the emerging artist as well as the potential in investing in his work. Over the next ten years, he amassed the largest private collection of Rodrigue Cajun paintings to date, including some extraordinary classics such as “Boudreaux in a Barrel” offered here. This painting is one of Rodrigue’s most widely exhibited and illustrated works - an instantly recognizable star of the artist’s iconic and legendary oeuvre.
Rodrigue first began utilizing photographs to add people into his Louisiana landscapes in the early 1970s upon the discovery of his mother’s photo album – answering his own question: “What would a person look like who walked out from behind one of my oak trees?” This painting was inspired by a photograph of the artist’s parents, aunt and uncle. Rodrigue’s mother, Marie Courregé Rodrigue stands on the far right, with his father, George Sr., in the middle. The figures are framed with the lines of an oak tree, so that they are locked into the landscape as if they were cut out and pasted there – a transplanted people just as the Cajuns were throughout their history. First from France and then from Canada, the group made a home for themselves in the swamps and prairies of south Louisiana following the Grand Dérangement of 1755. Rodrigue committed to “graphically interpret his Cajun culture” on his canvases, and his paintings from this era are laden with symbolism. As with all of Rodrigue’s compositions, there is nothing haphazard or done by chance, and displacing even one element, one hard edge or one shape destroys the composition. The tree, cut off at the top, creates a sliver of sky and a light in the distance, referencing the hope of the Acadians to make a home for themselves in a new land. The figures in white are illuminated as though under a spotlight, rather than the canopy of the tree, breaking the rules of art, as Rodrigue intended them to shine from within – to glow with their culture in a timeless expression of respect, love and recognition of the artist’s own roots.
As Wendy Rodrigue has beautifully said of this painting: “So despite the fun in George’s title and the horseplay of its models, the dichotomy is clear. The painting is serious — in its subject, its symbolism, its strong design, and especially in the deliberate, focused way in which it’s painted. As a result, ‘Boudreaux in a Barrel’ is not only a classic Rodrigue, but also a defining piece of both Cajun and American art.”
Ref.: Rodrigue, George. The Cajuns of George Rodrigue. Birmingham: Oxmoor House, Inc., 1976; Rodrigue, Wendy. “Blue Dog: In the Beginning, 1984-1989.” Musings of an Artist’s Wife. Oct. 19, 2009. www.legacyarttour.org. Accessed Mar. 9, 2023.
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175.
George Rodrigue
(American/Louisiana, 1944-2013), “Felix and Annabelle”, 1974, oil on canvas, signed lower left, signed, titled, artist stamp and inscribed on stretcher, exhibition label with title on reverse of frame, 24 in. x 36 in., framed with artist plaque, overall 31 3/4 in. x 43 3/4 in. x 2 1/2 in. [$25000/35000]
Provenance: Acquired from the artist; Roland Begneaud Family Collection, Lafayette, LA.
Ill.: Rodrigue, George. The Cajuns of George Rodrigue. Birmingham: Oxmoor House, 1976, p. 93.
Exh.: “George Rodrigue: Cajuns and Blue Dogs / Paintings from Louisiana Family Collections 1971-2008”, Louisiana State Museum Wedell Williams Aviation and Cypress Sawmill Museum, Patterson, LA, July 17 - Nov. 29, 2008.
Note: When George Rodrigue decided to graphically interpret his home state of Louisiana, he focused on the live oak tree as his symbol, pushing it to the front of the canvas and cropping it at the top. With a raised horizon line, the light shines from beneath the trees illuminating the rich surface of the bayou. The light also originates from the figures that inhabit Rodrigue’s bayous, clothed in white against the dark oaks. To Rodrigue, this light symbolized the hope of the Cajun people for their new home in Louisiana. In this work, two friends who became lovers sit beneath the romantic and enduring oaks where, according to legend, Evangeline waited for her Gabriel.
176.
George Rodrigue
(American/Louisiana, 1944-2013), “Louisiana Oaks”, 1971, oil on canvas, signed lower left, signed and dated en verso, signed, dated and artist stamps on stretcher, 9 in. x 12 in., framed, overall 15 3/4 in. x 18 3/4 in. x 1 5/8 in. [$12000/18000]
Provenance: Acquired from the artist; Private Collection, FL.
Note: Returning to Louisiana from studies at the Art Center College of Design in Los Angeles in 1967, George Rodrigue worked to refine his unique vision of his home state. Combining his recent studies in school with his reflections on past artistic interpretations of the Louisiana landscape, Rodrigue spent 1968 to 1971 focusing on the bayous of Acadiana. The very early works included elements such as small figures or cabins. However, Rodrigue quickly dropped these components in favor of focusing on the oak tree, a graphic element that became a hallmark for the artist. The painting offered here from 1971 has a rich surface that depicts a landscape clearly both familiar and beloved by the artist. Saturated in rich, dark colors, Rodrigue’s bayou is a carefully arranged composition dominated by the silhouetted oak tree in the background and the diagonal dark river or coulee in the foreground. This canvas and others from the period are significant windows into the development of a series of works that would define Louisiana landscape painting in the late twentieth century.
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177. George Rodrigue (American/Louisiana, 1944-2013), “Hat in Hand”, 1980, oil on canvas, signed lower left, signed and dated en verso, titled, inscribed and artist stamps on stretcher, exhibition label with title and date on reverse of frame, 36 in. x 24 in., framed, overall 44 1/2 in. x 3 3/4 in. x 2 1/2 in. [$20000/30000]
Provenance: Acquired from the artist; Roland Begneaud Family Collection, Lafayette, LA.
Exh.: “George Rodrigue: Cajuns and Blue Dogs / Paintings from Louisiana Family Collections 1971-2008”, Louisiana State Museum Wedell Williams Aviation and Cypress Sawmill Museum, Patterson, LA, July 17 - Nov. 29, 2008.
Note: Jolie Blonde was a source of repeated inspiration for George Rodrigue throughout his career, much like the oak tree or Blue Dog. The artist first depicted the emblematic image in 1974 and followed with more than one hundred versions of the iconic Cajun figure. Seated, standing, holding a flower or wearing a hat, Jolie Blonde paintings highlight Rodrigue’s distinctive graphic style and creatively unite portraiture and legend. In the 1920s, a prisoner in Port Arthur, Texas wrote a beautiful waltz as he pined for his lost love. The song “Jolie Blonde” became the Cajun national anthem recorded by many musicians over the years. Rodrigue provided the famous figure a visual image, however, first from his imagination and later utilizing models, such as in this painting from 1980. A beautiful Jolie Blonde is framed within the Louisiana landscape, glowing in classic Rodrigue fashion against the dark oaks and framed by blazing red azaleas. As intended by the artist, the canvas reveals little about the model, but rather represents a timeless moment in Acadiana.
Ref.: Rodrigue, Wendy. “From Jolie Blonde to Bodies: Paintings of Women.” Musings of an Artist’s Wife. Dec. 15, 2009. www.legacyarttour.org. Accessed Mar. 9, 2023; Rodrigue Wendy. “Portraits: The Kingfish and Uncle Earl.” Musings of an Artist’s Wife. Dec. 6, 2009. www.legacyarttour.org. Accessed Mar. 9, 2023.
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Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
Provenance:
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178. Fine American Rococo Carved Rosewood Bedroom Suite, mid-19th c., stenciled “A. Roux, French Cabinetmaker, Nos. 479 & 481 Broadway, New York”, for Alexander Roux, incl. bedstead, night stand, armoire and dresser; bedstead with figural cherub crest; armoire with mask and floral scroll crest and mirrored door; lobed finials, foliate paneled decoration, bedstead h. 80 in., l. 76 in., w. 60 1/2 in.; dresser h. 105 in., w. 49 in., d. 21 in.; night stand, h. 31 in., w. 18 1/2 in., d. 18 in.; armoire h. 109 in., w. 52 in., d. 23 in. [$20000/30000]
179. Monumental American Rococo Carved Burl Walnut Sideboard, mid-to-late 19th c., attr. to Alexander Roux, New York, robustly carved acanthus crest centered by a mask cartouche, foliate mirror surround flanked by latticework brackets, shaped variegated marble top with gadrooned surround, incised frieze drawers, cartouche cabinet doors, stepped conforming base, h. 119 in., w. 94 1/2 in., d. 25 in. [$10000/15000]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
180. Monumental American Rococo Carved Rosewood Triple Door Wardrobe, mid-19th c., attr. to Alexander Roux, New York, scrolled crest centered by acanthus medallion, mirrored doors with foliate decoration, foliate scrolled stiles, serpentine blocked base fitted with deep drawers, birdseye maple interior, h. 109 in., w. 100 in., d. 23 1/2 in. [$5000/7000]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
Provenance:
Provenance:
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181. American Rococo Carved Rosewood Center Table, mid-19th c., probably Alexander Roux, New York, turtle top with inset variegated marble and foliate edge, acanthine apron centered by a medallion, scrolled legs with rosette sprays, rocaille stretcher, casters, h. 29 1/2 in., w. 50 in., d. 33 in. [$6000/9000]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
183. American Renaissance Carved Walnut Sofa, mid-19th c., likely Alexander Roux, New York, arched high back with elaborately carved foliate crest centered by a cabochon scrolled medallion, guilloche crest rail, lobed finials, barley twist supports and stretchers, padded arms with lion’s head supports, floral-blocked feet, h. 56 in., w. 84 in., d. 26 in. [$1000/2000]
182. American Rococo Carved Rosewood Duchesse Dressing Table, mid-19th c., probably Alexander Roux, New York, mirror with floral surround, acanthus supports, serpentine marble top, frieze drawer carved with flower basket, fitted interior, floral scrolled cabriole legs, X-stretcher centered by a lobed finial, h. 73 in., w. 45 in., d. 24 in. [$5000/7000]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
mid-tolate 19th c., New York, surmounted by a rocaille crest, spire finials, turned supports, mirror back, shaped shelves, serpentine top, conforming frieze drawer, mirrored cabinet doors flanked by alcove shelves, cabriole legs, h. 111 in., w. 64 in., d. 22 in. [$4000/6000]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
c.,
Prudent Mallard, New Orleans, closely related to the Lansdowne group, later urn and foliate crest, arched cornice, lobed finials, egg and dart molding, mirrored door, ribbon-molded surround, shelf interior with medial belt of drawers, base with deep drawer and rounded corners, h. 114 in., w. 59 in., d. 25 in. [$5000/7000]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
c., attr. to retailer Prudent Mallard, New Orleans, closely related to the Lansdowne group, later crest, lobed finials, egg and dart molding, mirrored doors, ribbon-molded surround, shelf interior, stiles with foliate scrolled brackets, conforming base, disc feet, h. 114 in., w. 72 in., d. 26 1/2 in. [$6000/9000]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
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185. American Rococo Carved Rosewood Single-Door Armoire, mid-19th
attr. to retailer
186. American Rococo Carved Rosewood Double-Door Armoire, mid-19th
184. American Rococo Carved Rosewood Etagere Cabinet,
[$500/700]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
190.
c., labeled “J. & J.W. Meeks Makers, No. 14 Vesey St., New York”, lobed finials, arched beaded crest centered by a foliate cabochon medallion, acanthine brackets, mirrored door, chamfered base with deep drawer, bracket feet, h. 99 in., w. 50 in., d. 25 in. [$5000/7000]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
188. American
Work Table, 19th c., hinged sarcophagus top, fitted interior, two lower drawers, cabriole legs, h. 30 in., w. 24 in., d. 18 1/2 in. [$600/900]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
[$2000/3000]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
63 in. [$2500/3500]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
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189. Fine American Rococo Giltwood Mirror, mid-19th c., probably New York, scrolled acanthus and latticework crest, beaded surround, scrolled acanthus pendants, h. 51 in., w.
187. American Rococo Carved Rosewood Corner Etagere, mid-19th c., New York, cabochon crest, extensive scrolled acanthus decoration, gadrooned shelves with mirrored backs, scrolled base, h. 63 1/2 in., w. 24 in., d. 17 in.
Rococo Carved Rosewood
American Rococo Carved Rosewood Armoire, mid-19th
191. American Rococo Carved Rosewood Armoire, mid-19th c., New York, scrolled fruit and foliage crest, lobed finials, arched cornice, foliate accents, mirrored door, birdseye maple interior, base with deep drawer, scrolled bracket skirt, h. 106 in., w. 50 in., d. 25 in.
192. American Rococo Carved Rosewood Bookcase, mid-19th c., stenciled “E.W. Hutchings, 475 Broadway, N.Y.”, broken arch cornice, turned finials, foliate decoration, arched glass doors, shelf interior, paneled lower cabinets, plinth base, disc feet, h. 112 in., w. 58 in., d. 22 in. [$1500/2500]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
193. Rare American Mahogany Arts and Crafts Cigar Humidor, c. 1911, attr. to William Woodward (1859-1939), New Orleans, with label “NC WW Lounge 1911”, rectangular top with raised block corners and brass nail heads, cedar-lined interior with central well, the frieze with rectangular plaques, slatted sides, square channeled legs, stretcher with open coffer, on block feet, h. 27 3/4 in., w. 19 1/2 in., d. 22 in. [$800/1200]
Provenance: Janvier Family, St. Francisville, LA; Neal Auction, New Orleans, Oct. 22, 2002, lot 624
194. Pair of
Brackets, cartouche backplate, acanthus scrolls with female bust terminals, h. 15 in., w. 4 in., d. 11 1/2 in. [$400/600]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
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American Bronze Figural
195. Antique Carved Alabaster Pedestal, 19th c., h. 38 3/4 in., w. 14 in., d. 14 in. [$500/750]
196. Pair of Baroque-Style Carved Marble Pedestals, 20th c., with lion masks, garlands and cherubs, h. 44 in., w. 15 1/2 in., d. 15 1/2 in. [$1500/2500]
Ref.:
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198. Pair of Continental Patinated Brass Five-Light Torcheres, scroll base, on triangular plinth, h. 75 in., w. 18 in., d. 19 in. [$700/1000]
200. Continental Cast Stone Classical Relief Plaque, 20th c., h. 24 in., w. 45 in., d. 2 1/2 in. [$400/600]
201. Continental Carved Marble Classical Relief Plaque, depicting Hermes, Orpheus, and Eurydice, after the panel now in the Museo Archeologico di Napoli, h. 46 1/2 in., w. 37 1/2 in., d. 2 in. [$800/1200]
202. After Luca Della Robbia (Italian, 1400-1482), “Trumpeters with Dancing Children” from the Cantoria Frieze, c. 1911, plaster cast, wood, from P.P. Caproni & Bro., Boston, MA, h. 41 in., w. 38 1/2 in., d. 7 in. [$1000/1500]
Caproni & Bro. Catalogue of Plaster Reproductions, 1911, p. 109
203. Continental Cast Stone Portrait Bust and Pedestal, bust on socle base, h. 19 1/2 in., w. 8 in., d. 10 1/2 in., painted stone pedestal, total h. 59 in. [$500/700]
199. Pair of Louis Philippe Gilt and Patinated Bronze “Winged Victory” Figural Six-Light Candelabra, 19th c., after a design by Pierre-Philippe Thomire (1751-1843), pedestal with palmette collar, wreaths and classical masks, stepped base, h. 34 in., w. 11 in., d. 16 in. [$1200/1800]
197. Continental Patinated Bronze Figural Pilaster, h. 67 in., w. 17 in., d. 7 in. [$600/900]
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209. Antique French Cast Iron Napoleonic Fireback, 19th c., cast with relief of garland-bearing angels, over portrait medallion, h. 32 1/2 in., w. 39 1/2 in. [$800/1200]
210. George III Tortoiseshell Tea Caddy, 19th c., incurvate body, canted corners, interior with two lidded compartments, h. 6 1/2 in., w. 7 3/4 in., d. 5 in. [$1000/1500]
205. Six Antique Continental Boxes, various forms, with gilt metal, enamel, one with micromosaic, largest h. 2 3/8 in., w. 3 1/4 in., d. 2 1/2 in. [$500/700]
206. Seven Antique French Etui a Billets Doux/ “Love Letter” Holders, 19th c., various materials incl. gilt metal, enamel, tortoiseshell, Vernis Martin, one with wax seal, longest 5 1/2 in. [$500/700]
207. Seven Antique French Objets de Vertu, incl. a Louis XVI silver-gilt mounted jasper snuff box; a shagreen octagonal etui; two engraved and silver mounted crystal perfume bottles; a hardstone wax seal; a two-sided portrait holder; and a gilt-metal mounted shagreen and mother-of -pearl calendar book, with month pages, pencil, and a 1821 calendar; calendar 3 1/2 in. x 2 1/2 in. [$800/1200]
208. Pair of Continental RococoStyle Bronze Fire Screens, h. 31 in., w. 26 in., d. 9 in. [$600/900]
204. Eleven French Copper Pots and Pans, various forms and sizes, largest h. 5 in., dia. 12 3/4 in. [$500/700]
211. Important American Rococo Carved and Laminated Rosewood Sofa, c. 1850-1860, New York, attr. to the “birdpattern maker”, reticulated grapevine crest rail, triple-arched tufted back, molded arms, serpentine floral seat rail, cabriole legs, casters, h. 44 in., w. 83 1/2 in., d. 35 in. [$15000/25000]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
Provenance:
Note: Closely related to Belter’s “Tuthill
“Patent
[$3000/5000]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
214.
Rosewood “Multi-Form” Tables, mid-19th, attr. to Charles Baudouine, New York, convertible to center table, pair of consoles or pair of foldover games tables, serpentine top, floral apron, scrolled legs and stretchers, casters, h. 29 1/2 in., w. 50 1/2 in., d. (closed) 17 1/4 in., d. (open) 54 1/2 in. [$7000/10000]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
Note: This lot is identical to a “multi-form” rosewood table bearing the stenciled mark of Charles Baudouine (wc. 1829-1856) purchased in 1852 by J. Watson Williams and installed in his Utica mansion, Fountain Elms, now in the Munson-Williams-Proctor Institute. Another table nearly identical to this lot is in the Bayou Bend Collection, Houston.
Ref.: D’Ambrosio. Masterpieces of American Furniture from the Munson-Williams-Proctor Institute, p. 87, fig. 29; Tracy, et al. 19th c. America Furniture and Other Decorative Arts, fig. 133.
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213. American Rococo Carved and Laminated Rosewood Sofa, c. 1850-1860, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Rosalie”, serpentine floral crest, molded arms, floral seat rail, cabriole legs, casters, h. 37 in., w. 62 in., d. 29 in.
Rare Pair of American Rococo Carved
212. Pair of American Rococo Carved and Laminated Rosewood Meridiennes, c. 1850-1860, attr. to John Henry Belter, New York, floral crest, scrolled reticulated crest rail with grapevine motif, tufted back, trumpeted arm, molded floral cluster seat rail, cabriole legs, casters, h. 38 1/2 in., w. 43 in., d. 27 in. [$10000/15000]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
King” and
Model” patterns. See Dubrow American Furniture of the Nineteenth Century
Provenance:
Provenance:
Provenance:
Provenance:
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217. Pair of American Rococo Carved and Laminated Rosewood Armchairs, 19th c., attr. to J & J.W. Meeks, New York, in the pattern commonly referred to as “Henry Ford”, acanthus and floral crest, gadrooned reticulated crest rail, tufted back, molded arms, serpentine seat rail, cabriole legs, casters. [$1000/1500]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
218. English Rococo Revival Carved Rosewood and Needlepoint Firescreen, mid-19th c., pierced rocaille crest, cartouche surround with floral and pheasant reserve, scrolled trestle base, casters, h. 52 1/2 in., w. 37 1/2 in., d. 19 in. [$500/700]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
216. American Rococo Carved Rosewood Center Table, 19th c., attr. to J. & J.W. Meeks, New York, shaped marble top, reticulated beaded frieze and floral scrolled apron, C-scroll supports, shaped stretcher surmounted by lobed finial, disc feet, h. 30 in., w. 47 in., d. 30 1/4 in. [$1000/1500]
Bocage Historic Home, Darrow, LA
215. American Rococo Carved and Laminated Rosewood Parlor Suite, mid-19th c., attr. to J. & J.W. Meeks, New York, in the pattern commonly referred to as “Henry Clay”, incl. sofa, 2 armchairs and 4 side chairs, reticulated grapevine crest rail, tufted back, molded arms, serpentine seat rail, cabriole legs, casters, sofa h. 51 in., w. 65 1/2 in., d. 36 in.; armchair h. 48 1/2 in., w. 27 in., d. 30 in.; side chair h. 42 1/2 in., w. 19 1/2 in., d. 25 in. [$5000/7000]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
220. Monumental English Carved Mahogany Sideboard, early 20th c., labeled “Allen & Appleyard, Liverpool”, mirror back with foliate scroll crest centering anthemion, shaped base with paneled doors, incised stiles, conforming plinth, figured woods throughout, h. 107 in., w. 90 in., d. 29 1/2 in. [$2500/3500]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
223.
219.
Revival Carved Rosewood Sunderland Table, mid-19th c., gadrooned folding top, lobed baluster supports, scrolled and blocked trestle base, shaped stretcher, casters, h. 29 in., w. 39 in., d. (closed) 19 in., d. (open) 36 in. [$800/1200]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
221. American Renaissance Carved Oak Library Table, late 19th c., possibly R.J. Horner, New York, foliate carved top with two frieze drawers, griffin supports, shaped plinth base, h. 28 1/2 in., w. 55 in., d. 37 in. [$2000/3000]
Provenance: By repute, Paul Morphy Chess Club, New Orleans.
222. American Renaissance Gilt and Verdigris Bronze-Mounted, Parcel Ebonized and Gilt Incised Burl Walnut Parlor Cabinet, mid-to-late 19th c., stenciled “Henry Turner, Boston, Mass.”, scrolled paneled backsplash surmounted by an urn finial, trapezoidal top, frieze drawer, paneled cabinet door with classical reserve, foliate apron, disc feet, h. 63 in., w. 41 1/4 in., d. 17 1/4 in. [$1200/1800]
Ebonized and Gilt-Incised Table, late 19th c., attr. to Kimbel & Cabus, New York, top with chamfered corners, frieze drawer, turned bracketed supports surmounted by floral panels, trestle base, casters, h. 29 1/4 in., w. 36 in., d. 23 1/4 in. [$800/1200]
Estate of Angela Gross Folk, Bernardsville, NJ
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American Aesthetic
English Rococo
56
225. Harold Hitchcock (British, 1914-2009), “A Summer Morning”, 1971, watercolor on board, monogrammed and dated lower left, signed, titled and dated en verso and on backing board, “Robert Fisher LTD, London” label with artist on backing board, 21 1/8 in. x 30 in., framed, overall 26 1/2 in. x 35 1/4 in. x 1 1/2 in. [$600/800]
226. Bruce Bordelon (American/Louisiana, b. 1940), “Rocky Shore”, 1998, oil on canvas, signed and dated lower left, 36 in. x 48 in., unframed. [$1000/1500]
227. Barry Stone Bailey (American/ Louisiana, 1952-2021), “Asymmetric Still Life on Table”, 2013, mixed media on wood, signed and dated on reverse of tabletop, h. 30 in., w. 9 1/2 in., d. 13 in. [$800/1200]
228. Jean Seidenberg (American/Louisiana, 19302022), “Two Seated Figures”, 1961, oil on canvas, signed and dated upper right, 46 in. x 40 1/8 in., framed, overall 46 7/8 in. x 41 in. x 2 in. [$1000/2000]
Provenance: Collection of New Orleans Artist and Conservator Lillian Louise Beeson (1933-2021).
224. Ray George Ellis (American/Pennsylvania, 1921-2013), “Lunch at McGarvey’s (Annapolis, Maryland)”, 1982, oil on canvas, signed lower right, pencil-titled and typed label with artist and title on stretcher, “Lambremont Art Care, New Orleans, LA” label on reverse of frame, 20 in. x 23 7/8 in., framed with artist and title plaque, overall 28 1/2 in. x 34 3/8 in. x 2 in. [$3000/5000]
Ill.: Ellis, Ray and Walter Cronkite. South by Southeast. Birmingham: Oxmoor House, Inc., 1983, pl. 9.
229. Attributed to Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997), “Male Figure” and “Female Figure”, 2 charcoals and Raffaelli crayon on paper, each signed lower right, one with partial sketch en verso, 19 7/8 in. x 11 in. and 25 3/8 in. x 17 7/8 in., framed alike, each overall 28 1/4 in. x 19 1/4 in. x 3/4 in. (2 pcs.). [$700/1000]
Provenance:
Provenance:
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230. Noel Rockmore (American/Louisiana, 1928-1995), “People in the City”, 1962, oil on canvas, signed and dated lower center, 46 1/2 in. x 40 in., framed, overall 53 3/4 in. x 47 3/8 in. x 1 1/4 in. [$2000/3000]
Provenance: Estate of Angela Gross Folk, Bernardsville, NJ
233. Noel Rockmore (American/Louisiana, 1928-1995), “Street Scene”, 1966, oil on masonite, signed and dated lower right, artist information label attached en verso, 20 in. x 39 3/4 in., unframed. [$2000/3000]
Provenance: Collection of Sandra Zahn-Oreck (1940-2021).
231. Noel Rockmore (American/Louisiana, 1928-1995), “Untitled: One Wrecking Ball”, 1964, oil on masonite, signed and dated lower left, artist information label attached en verso, 20 in. x 30 in., unframed. [$1200/1800]
Collection of Sandra Zahn-Oreck (1940-2021).
232. Noel Rockmore (American/Louisiana, 1928-1995), “Untitled: Two Wrecking Balls”, 1964, oil on masonite, signed and dated lower right, artist information label attached en verso, 20 in. x 30 in., unframed. [$1200/1800]
Collection of Sandra Zahn-Oreck (1940-2021).
235.
19512021), “Vic and Nat’ly”, 1988/1989, 3 color pencil and markers on paper, each signed and dated lower right, each dated and label with dialogue for characters en verso, 7 7/8 in. x 14 in. to 9 3/4 in. x 14 3/16 in., unframed. (3 pcs.) [$1000/1500]
10 3/4
x 8 in. to 10 3/4 in. x 8 1/2 in., framed together, overall 17 in. x 35 1/4 in. x 1 5/8 in. [$600/800]
Lafitte” Davenport, Jr. (American/ Louisiana, b. 1972), “Gladys Knight and the Pips” and “Duke Ellington”, 2022, 2 markers on paper, each signed mid-right, both signed and dated lower right, each titled lower center, both initialed lower left, each signed and inscribed en verso, each 8 in. x 10 in., unframed. (2 pcs.) [$500/700]
8 in., unframed. (2 pcs.) [$500/700]
Provenance: Neal Auction Company, Oct. 3, 2004, lot 1233.
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Bunny Matthews (American/Louisiana,
236. Purvis Young (American/Florida, 1943-2010), “Triptych”, 3 oils on paper, 2 signed, each
in.
237. Bruce “Dapper Bruce
238. Bruce “Dapper Bruce Lafitte” Davenport, Jr. (American/ Louisiana, b. 1972), “Tyson Kickin’ Butt” and “Tyson Vs. Bonecrusher”, 2022, 2 markers on paper, each signed and dated lower right, both titled lower center, each initialed lower left, both signed and inscribed en verso, 8 in. x 10 in. and 10 in. x
239. Robert Gordy (American/Louisiana, 1933-1986), “Woman in Water”, 1970, color felt tip pen on paper, signed and dated lower center, label with artist, title and date on reverse of mat, 13 3/4 in. x 12 1/2 in., matted, overall 21 7/8 in. x 16 in. [$800/1200]
234. Noel Rockmore (American/Louisiana, 1928-1995), “Supper by the River”, 1962, oil on masonite, signed and dated lower right, 15 1/4 in. x 21 1/4 in., framed, overall 24 in. x 30 in. x 2 1/4 in. [$600/800]
Provenance: Estate of Angela Gross Folk, Bernardsville, NJ
Provenance:
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240. Enrique Alferez (Mexican/Louisiana, 19011999), “Portrait of the Artist’s Daughter”, graphite on paper, signed lower right, 24 in. x 18 in., framed, overall 31 1/4 in. x 24 1/4 in. x 1 in. [$400/600]
241. Pair of Tiffany & Co. Makers Sterling Silver Three-Light Candelabra in the Aesthetic Taste, mark for 1891-1902, pattern introduced 1900, engraved presentation “Sept. 7, 1907” on underside, h. 14 7/8 in., w. 15 in. wt. 119.05 troy ozs. [$6000/8000]
Provenance: Antiquest, Inc., New York, NY, 1995.
242. Monumental Tiffany & Co. Makers Belle Epoque Sterling Silver Ewer, mark for 1891-1902, pattern introduced 1895, robustly cast with cavorting cupids, rosebuds and scrolls, h. 23 3/8 in., wt. 78.55 troy ozs. [$3000/5000]
Sotheby’s, New York, Jan. 21, 2012, lot 65.
243. Frank M. Whiting “Botticelli” Pattern Sterling Silver After-Dinner Coffee Service, early 20th c., incl. afterdinner coffee pot (h. 9 1/2 in.), open sugar and creamer; total wt. 28.55 troy ozs. (3 pcs.) [$300/500]
244. American Sterling Silver Tea and Coffee Service, Meriden Britannia, early 20th c., incl. kettle-on-stand (h. 13 1/2 in. to top of handle), coffee pot (h. 9 1/4 in.), teapot, covered sugar, creamer and waste, each with octagonal paneled body with flat-chased foliate scroll decoration, foliate scroll handles and spouts, and foliate bracketed paw feet; total wt. 145.85 troy ozs.; together with associated silverplate footed tea tray (27 in. x 17 1/2 in.); note kettle lacking burner. [$1500/2500]
245. Good English Victorian Sterling Silver Tea and Coffee Service, London, Martin Hall & Co. (Richard Martin & Ebenezer Hall), 1874-1875, kettle Goldsmiths & Silversmiths Co. Ltd., 1908; incl. kettle-on-stand (h. 13 1/2 in.to top of handle), coffee pot (h. 10 1/2 in.), teapot, open sugar and creamer, pots with bird, acorn and oakleaf finials and eagle’s head spouts, floral and scroll chasing throughout, C-scroll cartouches, scroll handles, reticulated skirts with scroll feet; total wt. 119.95 troy ozs. [$2000/3000]
[$500/700]
foliate repousse, applied flared foot with running curule-andcross banding, scroll handle, cover with later finial, h. 6 3/4 in., wt. 12.15 troy ozs. [$800/1200]
247. Extensive Reed & Barton “Marlborough” Pattern Sterling Silver Flatware Service, pat. 1906, incl. 36 forks (l. 7 1/4 in.), 20 forks (l. 7 3/4 in.), 41 salad forks, 22 oyster forks, 14 knives (l. 9 1/8 in.), 17 knives (l. 9 5/8 in.), 3 knives (l. 9 3/4 in.), 6 gumbo spoons, 12 cream soup spoons, 20 dessert spoons, 35 teaspoons, 23 iced tea spoons, 8 demitasse spoons (incl. 1 as-is), fruit spoon, 17 butter knives (fh), 7 tablespoons, berry/casserole spoon, 2 cold meat forks (l. 8 in.), 2 master butter knives, 2 jelly servers, 2 sugar shells, sugar spoon, bonbon spoon, gravy ladle, cream ladle, lemon fork, carving knife and fork (l. 8 5/8 in. and 10 1/4 in.), 2 pie servers and 3 cheese knives; total wt. (weighable) 319.85 troy ozs. (302 pcs.) [$4000/6000]
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246. Late Georgian Sheffield Plate Tea Tray, c. 1830, engraved crest, robust gadroon border with anthemion corners, foliate loop handles and scroll feet, 26 3/4 in. x 17 3/4 in.
248. New Orleans Coin Silver Syrup Pitcher, Adolphe Himmel (1825/6-1877), wc. 1869-1877 for Hyde & Goodrich 1828-1861, marked “HYDE & GOODRICH” in arc, over “H” over “NEW ORLEANS” in complementary arc, pyriform body with floral and
Ref.: Crescent City Silver, identical foot rim ill. pp. 43 and 52. Sold to Benefit the Angelina and Michael Bloise Endowed Fund at Ochsner Cancer Institute.
249. Pair of Gorham Sterling Silver Five-Light Candelabra, with removable candlearms, urnshaped candlecups, and reeded scrolling arms, weighted bases, h. 14 1/2 in. [$500/700]
250. Emilia Castillo, Taxco, Sterling Silver Fish-Form Bottle Opener, eye inlaid with mother-of-pearl and onyx, segmented flexible body, marked with rubbed registration number, extended length 6 3/4 in., standing h. 3 1/4 in., wt. 4.50 troy ozs. [$150/250]
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252. Fine American Classical Carved Mahogany Tester Bed, early 19th c., New York, molded tester, pineapple and foliatecarved posts, scrolled fruit and acanthus headboard, figured rails, foliate feet, casters, h. 106 in., l. 74 1/2 in., w. 54 1/2 in. [$2500/3500]
253. American Classical Carved Mahogany Metamorphic Armchair, early-to-mid 19th c., Boston, tufted back, foliate scrolled arms, tapered legs, casters, h. 44 1/2 in., w. 29 1/2 in., d. 28 in. [$1500/2500]
256. Pair of American Classical Carved Mahogany Games Tables, early 19th c., attributed to Henry Connelly, Philadelphia, chamfered foldover swivel top, dolphin lyre support, reeded sabre legs, foliate cuffs, casters, h. 30 1/4 in., w. 36 in., d. 19 in. [$2000/3000]
Estate of Angela Gross Folk, Bernardsville, NJ
254. Large American Classical Giltwood Pier Mirror, c. 1830-40, molded surround, later mirror plate, h. 74 in., w. 37 in. [$1000/1500]
255. Large American Classical Giltwood Pier Mirror, mid-19th c., flared surround, antique mirror plate, h. 78 1/2 in., w. 32 1/2 in. [$1000/1500]
251. Pair of American Classical Carved Mahogany Games Tables, c. 1820, attr. to Anthony Quervelle, Philadelphia, fold-over top, bolection frieze, foliate standard, shaped plinth, hairy paw feet, casters, h. 29 1/2 in., w. 36 in., d. (closed) 17 3/4 in. [$2500/3500]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
Provenance:
Provenance:
Provenance:
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257. American Classical Ebonized, Parcel Gilt, and Stenciled Mahogany Pier Table, c.1825-1830, New York, possibly J. & J.W. Meeks, marble top, blocked frieze, Ionic columns with marble standards, incurvate plinth, mirrored back, robustly carved foliate paw feet, h. 38 in., w. 39 1/2 in., d. 20 in. [$2500/3500]
Estate of Angela Gross Folk, Bernardsville, NJ
258. American Classical Carved Mahogany Sofa, c. 1825-1830, probably Philadelphia, tubular scrolled crest rail, foliate uprights, bolection seat rail, cornucopia bracketed paw feet, h. 34 1/2 in., w. 85 in., d. 24 1/2 in. [$1200/1800]
Estate of Angela Gross Folk, Bernardsville, NJ
259. American Late Classical Rosewood Washstand, mid-19th c., New York, molded chamfered marble top, frieze drawer, conforming case with paneled door, bracketed base, h . 30 in., w. 26 in., d. 18 3/4 in. [$300/500]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
260. Fine American Late Classical Rosewood Tester Bed, mid-19th c., molded tester with chamfered corners, cluster column posts, triple arched paneled headboard, paneled rails, conforming feet, casters, h. 121 1/2 in., l. 76 1/2 in., w. 65 in. [$8000/12000]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
261. American Gothic Carved Mahogany Cheval Mirror, mid-19th c., New York, likely J. & J.W. Meeks, foliate finial, spiral turned supports, applied quatrefoil decoration, base with turned pendants, bracket legs, casters, h. 87 1/2 in., w. 52 in., d. 24 in. [$2000/3000]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
Provenance: Bocage Historic Home, Darrow, LA
262. Associated Pair of American Gothic Carved Rosewood Side Tables, mid-19th c., New York, each serpentine top with inset sienna marble, spire pendants, pierced trestle base, shaped stretcher, h. 30 in., w. 26 in., d. 16 in. [$800/1200]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
263.
c., probably New York, pedimented foliate crest with pierced quatrefoils, blocked seat rail, tapered legs, casters, h. 40 1/2 in., w. 18 in., d. 20 1/2 in. [$500/700]
,
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
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265. Antique French Provincial Pine Door, South of France, sunburst motif, wrought iron hardware, h. 72 1/2 in., w. 39i n. [$700/1000]
266. Monumental Neoclassical-Style Patinated Bronze Garden Fountain, signed “S. Keliam”, four satyr-head spouts, over basin cast with cabochons, fruit scrolls and lion masques; octagonal base with standing full-figured classical maidens depicting Lasaone, Laloire, Veronica and Meranie, h. 87 in., dia. 52 in. [$8000/12000]
267. American Patinated Bronze Figural Pelican Fountain, 20th c., signed “S. David”, standing on wood pier, h. 78 in., w. 22 in., d. 39in. [$5000/7000]
American Gothic Carved Rosewood Hall Chair
mid-19th
264. American Cast Iron Sugar Kettle, 19th c., labeled “warranted 31 gal.”, wrought iron handle, h. 17 in., dia. 32 in. [$1000/1500]
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273. Large American Painted Cast Iron Campagna-Form Garden Urn, lobed floral rim, tall plinth pedestal base with laurel wreath, h. 48 in., dia. 30 in. [$700/1000]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
274. Antique American Painted Cast Iron Garden Suite, incl. table, two armchairs and three side chairs, table lacking glass top, grapevine motif, cabriole legs, ball and claw feet, table h. 29 in., w. 66 in., d. 32 1/4 in., armchair h. 32 in., w. 21 1/2 in., d. 17 in., side chair h. 33 in., w. 19 in., d. 17 in. [$800/1200]
268. American Patinated Bronze Figural Fountain of Resting Pelican on Pier, 21st c., signed “S. David”, h. 57 in., w. 22 in., d. 44 in. [$4000/6000]
270. Four Antique Cast Stone Garden Figures of the Four Seasons, on circular plinth base, h. 32 in. [$800/1200]
271. Decorative Patinated Metal Garden Figure, modeled as a putto with flute, h. 32 in. [$300/500]
272. Pair of Continental Inlaid Granite Figures of Dalmatians, seated form, plinth base, h. 39 1/2 in., w. 14i n., d. 23 in. [$3000/5000]
269. Pair of French Cast Iron Garden Statues, signed “A. Durenne”, modeled as Cupid holding a torchere, h. 65 in., w. 15 in., d. 10 in. [$1500/2500]
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275. Charles Alfred Meurer (German/ American, 1865-1955), “Trompe l’Oeil with Coins, Matches and Pipe”, oil on masonite, initialed and inscribed en verso, 15 1/4 in. x 18 5/8 in., framed, overall 20 in. x 23 1/8 in. x 1 1/2 in. [$3000/5000]
276. James D. Parks (American, 1907-1983), “Daydreaming”, oil on canvas board, signed lower right, “Aaron Galleries, Glenview, IL” label and handwritten label with title en verso, 28 in. x 21 7/8 in., framed with artist and title plaque, overall 31 3/4 in. x 25 5/8 in. x 2 1/8 in. [$1000/2000]
Provenance: Treadway Toomey Auctions, Oak Park, IL, Dec. 6, 2014, lot 603.
277. After Frank Lloyd Wright (American, 1869-1959), “Nakoma” and “Nakomis”, 1974, 2 patinated bronzes, inscribed “FLW” on sides, each marked “The Frank Lloyd Wright Foundation” with edition numbers 108A/500 and 108B/500, Shidoni Foundry, Nesuque, NM, cast from original terracotta sculptures, h. 17 1/2 in., w. 4 in., d. 7 in. and h. 12 in., w. 4 in., d. 5 in. [$800/1200]
Note: Born in Italy outside of Naples, Joseph Stella came to New York at the age of eighteen and immediately strayed from his original plans of becoming a doctor and instead pursued a career in modern art. Receiving a scholarship to study at the Arts Students League under William Merritt Chase and later Robert Henri, Stella refined his draftsmanship and use of composition under Chase’s strict tutelage. The greatest lesson he learned came from Henri and his advice to look for artistic subjects anywhere, “even the mundane.” This directive would serve Stella greatly in his observation of city life and the immigrant population he was part of at the time and led to the creation of some of his greatest canvases—particularly his series on the Brooklyn Bridge. After graduating from the Students League, Stella absorbed all he could about modern art studying Cubism, Fauvism and Dadaism, all the while still visiting and copying still lives of the great masters at the Museum of Modern Art—a favorite pastime of his mentor Chase.
Stella discovered his preferred style after a meeting with fellow Italians Umbertto Boccioni and Gino Severini and his subsequent exposure to Futurism. Raised in a small village, the move New York was a culture shock he never got over, and Futurism expressed everything about the modern bustling metropolis he found fascinating: newness, dynamism, speed and the embrace of all things mechanical. After his participation in the infamous Armory Show of 1913, Stella became a fixture in American modern art scene befriending the likes of Alfred Stieglitz, Francis Picabia and Marcel Duchamp, whom he assisted on a trip to a plumbing wholesale store to purchase what would become one of Duchamp’s most famous sculptures.
Throughout his career, Stella never lost the love for still lifes that he acquired from William Merritt Chase. His compositions were rooted in Futurist concepts, particularly the use of sharp lines (force lines) to lead the eye around the canvas. Stella also employed the bright strong colors he adapted from the Fauvists to complement the sense of rhythm and tension between his objects. His usage of heavy impasto blended with thin layers of paint was a method of brushwork taught to him by Chase as a means of adding depth and movement to the basic composition. The lot on offer here is a great example of these techniques showcasing the unique position Stella holds in American art as one who melded the teaching and academic processes of the nineteenth century with the new rebellious ideas of the twentieth.
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278. Joseph Stella (Italian/New York, 1877-1946), “Still Life”, oil on canvas, signed lower center, signed and titled en verso, signed and illegibly inscribed on stretcher, 10 in. x 11 in., framed, overall 15 in. x 15 3/4 in. x 2 3/4 in. [$4000/6000]
Ref.: Murawski, Michael. “Spotlight Essay: Joseph Stella.” Mildred Lane Kemper Art Museum. Nov. 2008. www.kemperartmuseum.wustl.edu. Accessed
Mar. 9, 2023.
[$2000/4000]
Provenance:
Provenance:
67
279. Grant Wood (American/ Iowa, 1891-1942), “Two Women”, graphite on paper, signed lower right, 15 5/8 in. x 7 1/4 in., framed, overall 22 3/8 in. x 14 1/4 in. x 1 in. [$4000/6000]
Neal Auction Company, Apr. 16, 2011, lot 294.
280. Feliciano Bejar (Mexican, 1920-2007), “Geometric Composition”, 1974, woven tapestry, signed and dated lower right, 72 1/2 in. x 69 3/4 in., unframed. [$400/600]
281. After Yves Tanguy (French, 1900-1955), “Feu à Éclat (Wittrock A)”, 1953, color lithograph, pencil-signed, dated “Mars 1953” and numbered “26/30” lower margin, edition of 50, signed and dated “1950” in plate lower left, “Arches” watermark visible, 17 3/4 in. x 15 5/8 in., matted, overall 28 in. x 23 in.
Swann Galleries, New York, NY, Sept. 24, 2015, lot 607.
282. Leon Bibel (Polish/American, 1913-1995), “Urban Turmoil”, 1936, pen and ink on paper, unsigned, artist estate stamp on reverse of mount, “Park Slope Gallery, Brooklyn, NY” label on backing paper, 10 1/2 in. x 8 in., framed, overall 19 in. x 16 3/4 in. x 1 in.; accompanied by a copy of a certificate of authenticity from the Estate of Leon Bibel and Park Slope Gallery, signed by Neysa Bibel with title and date. (2 pcs.) [$1000/2000]
283. Jacob El Hanani (Moroccan/ Israeli, b. 1947), “Old Jaffo”, 1970, oil and ink on canvas, signed and dated lower right, signed, titled, dated and inscribed en verso, sight 35 3/4 in. x 33 3/4 in., framed, overall 36 3/8 in. x 34 1/4 in. x 1 1/2 in. [$3000/5000]
284. Chuah Thean Teng (Chinese/Malaysian, 19122008), “At the Fruit Stall”, 1975, batik on cloth, signed lower right, label with signature, artist stamp, title and date and “Yahong Gallery, Penang, Malaysia” label attached en verso, 24 in. x 18 1/2 in., framed, overall 28 in. x 22 1/2 in. x 2 1/2 in.; accompanied by booklet Batik Painting by Teng. (2 pcs.) [$2500/3500]
285. Zao Wou-ki (Chinese/French, 1921-2013), “Paysage au Soliel”, 1950, color etching, signed lower right margin, inscribed “épreuve d’essai” lower left margin, “Guilde de la Gravure” blind stamp lower left, partial “BFK Rives” watermark visible, “Uptown Art Galleries, Oklahoma City, OK” label and artist biography on backing paper, 9 5/8 in. x 9 5/8 in., framed, overall 22 in. x 15 in. x 1 in. [$3000/5000]
286. Walasse Ting (Chinese/American, 1929-2010), “Woman with Fish”, acrylic on rice paper, artist stamp upper left, 2 “Dyansen Gallery, Boston” labels with artist and title on backing paper, 23 1/2 in. x 14 1/4 in., framed, overall 31 7/8 in. x 22 3/4 in. x 1 1/2 in. [$7000/10000]
Note: Walasse Ting was raised in Shanghai, China and although largely self-taught, he took classes at the Shanghai Art Academy as a teenager. At the age of seventeen, Ting left Shanghai to live in Hong Kong and then settled in Paris, France in 1952. There, he was exposed to the works of Henri Matisse and started experimenting in oils and printmaking mediums. At the same time, the avant-garde art scene in Paris was growing and Ting befriended CoBrA group members Pierre Alechinsky and Asger Jorn. The CoBrA group rejected the popular mid-century art trends such as naturalism and “sterile” abstraction and instead embraced surrealism with a childlike sense of play. In an exchange of skills, Ting helped Alechinsky learn traditional calligraphy techniques while the groups philosophies led Ting to experiment more with color and subject matter.
In 1963, Ting relocated to New York City where he would live and work the rest of his life. He also began working with what would become his life’s favorite painting subject –women. His depictions of nude women disarm the viewer with their bright cheery color palettes but confront the viewers gaze with the stark sensuality that references Courbet’s “Origin of the World.” The lot offered here is not as explicit as other Ting portraits. However, with her nude body coyishly covered by an ornate fan, her brightly colored accessories and her averted gaze, this painting is a great example of the raw intensity of Ting’s work. Ref.: Kuipers, Bert. “Ting’s Muse; The History of Walasse Ting.” Gallerease. Apr. 1, 2020. www.gallerease. com. Accessed Mar. 10, 2023; Sicard, D. “Walasse Ting.” Chinese New Art. www.chinesenewart.com. Accessed Mar. 10, 2023.
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Note: Born in 1916 in the western Australian wheatbelt, Guy Edward Grey-Smith joined the Royal Australian Air Force in 1936. Shortly after getting married in 1939, he was stationed in France during the onset of World War II when his plane was shot down, and he was captured as a prisoner of war. His wife Helen Grey-Smith, a designer and textile artist, sent him art materials while he was in captivity.
During this time his interest in art sparked, and after developing his creative voice through art therapy treatment during post-war rehabilitation, he enrolled in Chelsea School of Art in 1945 where he studied painting and pottery until he returned with Helen to Australia in early 1948. Following their homecoming, the couple had two children while Guy honed his focus on getting his and Helen’s art careers off the ground. They organized exhibitions and garnered enthusiastic supporters of his work throughout the 1950s. Meanwhile he developed a passion for artist labor rights, leading him to organize similarly disaffected Australian artists and eventually found the Western Australian branch of the Contemporary Art Society in 1966. It was also around this time that Grey-Smith discovered the work of Nicolas de Stael, the influence of which is apparent in the lot on offer here entitled “Rocks” with its thick, confident slabs of complementary colors. Its near complete abstraction of the terrain provides a view into the shift from figurative art to Abstract Expressionism.
This piece was originally part of The Vincent Price Collection, founded by famed actor and art collector Vincent Price in collaboration with Sears. Starting in 1962, Price was given “carte blanche” by Sears to source all the artwork being offered in the collection. The program’s aim was to make owning original artwork financially accessible to everyday Americans, and Price’s search lead him to find contemporary artist such as Grey-Smith who were relatively unknown to American audiences. Price evidently saw the skill in his body of work as several of his paintings were included in this collection.
Ref.: Davis, Annette. Guy Grey-Smith: Guy Grey-Smith’s Landscapes of Western Australia. Perth: Edith Cowan University, 1996.
portfolio set of 4 etchings and drypoints, each pencilsigned and numbered “24/150” lower margin, each with “1980 Jamie Wyeth” copyright stamp en verso, sheets 25 in. x 20 in., unframed in original linen hardcover folio. [$800/1200]
Provenance: Neal Auction Company, Feb. 4, 2012, lot 1003.
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287. Guy Edward Grey-Smith (Australian, 1916-1981), “Rocks”, 1962, oil on masonite, signed and dated lower right, “Vincent Price Collection, Sears, Roebuck and Co.” labels with title, artist and “NO 52522” on backing paper, handwritten labels with title and artist and inscribed en verso, 24 in. x 36 in., framed, overall 28 7/8 in. x 40 1/2 in. x 1 1/4 in. [$6000/8000]
288. James Browning “Jamie” Wyeth (American/ Pennsylvania, b. 1946), “Hen on Nest”, “91, 75, 93, 84 (Cows)”, “Bee Shadow” and “Runaway Pig”, 1980, “The Farm”
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289. Italian Art Moderne Giltwood and Specimen Marble Table, gameboard top, fluted flared standard, circular plinth base, h. 31 in., dia. 40 in. [$1500/2500]
291. Contemporary Acrylic and Glass Coffee Table, 20th c., Greek key legs, h. 16 1/2 in., w. 47 in., d. 32 in. [$700/900]
292. Art Moderne Lacquered Side Table, inset black marble top, stretcher shelf, cabriole legs, h. 26 in., w. 17 1/2 in., d. 10 1/2 in. [$500/700]
293. Contemporary Neoclassical-Style Painted Bed, benchmade, fluted posts with diamond finials, pedimented dentil-molded headboard, molded rails, h. 76 in., l. 77 in., w. 56 in. [$700/1000]
294. Attributed to Fontana Arte Bronze, Brass and Etched Glass Ten-Light Chandelier, 1930-40s, metal with incised designs, central frieze of thick plate glass with etched designs of marine life, h. 45 in., w. 53 in., d. 11 in. [$2000/3000]
290. Pair of French Art Moderne Lacquered Wood and Gilt Metal Lamp Tables, c. 1950, manner of Eugene Printz and Jean Durand, plinth top, spherule and scroll apron, arched base, h. 32 3/4 in., w. 45 in., d. 25 in. [$2000/3000] Provenance: Rago Auctions, June 15, 2014, lot. 713.
Provenance:
Provenance:
Provenance:
Provenance:
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297. Twelve Hungarian Cut-to-Clear Crystal Wine Glasses, by Ofnah, Hungary, with star and grapes design, h. 6 1/2 in. [$500/700]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
298. Group of Hungarian Cut-toClear Glass Bowls, various forms and colors, tallest h. 3 1/4 in. (28 pcs.) [$250/350]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
299. Group of Hungarian Cut-toClear Crystal Stemware, incl. 12 red wine, 10 white wine and 6 snifters, tallest h. 8 1/2 in. (28 pcs.) [$700/1000]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
300. Group of Hungarian Cut-to-Clear Crystal Glassware, incl. 4 martini, 6 champagne, 2 cordials, lidded jar, wine and others, tallest h. 8 in. (20 pcs.) [$300/500]
Provenance: The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
301. Three Art Glass Vases, green and gold vases marked “Orient & Flume”, other signed illegibly, tallest h. 10 3/4 in. [$400/600]
The Schoenberger Collection, 1812 Palmer Avenue, New Orleans.
296. Six Extra Large Baccarat Crystal “Harmonie” Tumblers, h. 4 5/8 in., dia. 3 1/2 in., with boxes, [$400/600]
295. Six Verner Panton-Style Chairs, after the original design from 1967, h. 33 3/4 in., w. 19 in., d. 21 in. [$700/1000]
Note:
Provenance:
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305. Chakaia Booker (American/ New Jersey, b. 1953), “Untitled”, 2021, lithograph and chine-collé on embossed paper, pencil-signed and dated lower right, pencil-numbered “89/100” lower left, printed with master printer Justin Sanz at Robert Blackburn’s printmaking workshop New York, published by Flint Institute of Arts, MI, 21 in. x 14 in., unframed; with Flint Print Club information sheet with artist, title, date and edition size. (2 pcs.). [$1200/1800]
306. Renee Stout (American/ Washington, D.C., b. 1958), “What The Oracle Said”, 2020, archival pigment print, pencil-signed, titled, dated and numbered “10/18” lower margin, 14 in. x 11 in., unframed. [$800/1200]
307. Alvin Demar Loving, Jr. (American/New York, 1935-2005), “Untitled”, etching, pencil-signed and inscribed “artist proof” lower margin, 25 3/4 in. x 23 3/8 in., unframed. [$1000/1500]
308. Albert Huie (Jamaican, 1920-2010), “Proverbial Portfolio”, 11 woodblock prints, all pencil-signed and titled lower margin, watermarks visible, 8 in. x 6 in. to 10 1/2 in. x 7 3/4 in., in original hardcover portfolio, overall 16 1/4 in. x 12 in. x 3/4 in. (11 pcs.) [$2000/3000]
302. Steve Kaufman (American, 1960-2010), “Einstein State II (Homage to Genius Series)”, 1996, handembellished screenprint on canvas, signed, numbered “164/195” and licensing stamps en verso, certificate of tirage and label from “Martin Lawrence Gallery, Los Angeles, CA” with artist, title and date attached to stretcher, 36 in. x 36 in., unframed. [$1500/2500]
Martin Lawrence Gallery, Lahaina, Hawaii
303. Herr Nilsson (Swedish, 20th c.), “Part Of Your World”, 2021, stenciled spray paint on paper, signed and numbered “2/14” lower right, 22 1/2 in. x 30 1/4 in., framed, overall 26 1/2 in. x 34 1/2 in. x 1 in. [$600/800]
Published by Rena Malaren to raise funds for the Clean Street Project.
304. Hank Willis Thomas (American/New York, b. 1976), “All Li es Matter”, 2019, screenprint on black woven paper, signed, dated and numbered “205/400” lower right, published by the Public Art Fund, New York, 24 in. x 18 in., unframed. [$2000/3000]
5/8
Provenance:
lower center in negative, 9 1/2 in. x 7 1/2 in., framed, overall 15 1/2 in. x 13 1/4 in. x 3/4 in. [$500/700]
Ill.:
73
313. Harry Morey Callahan (American, 1912-1999), “Cora Kelley Ward”, 7 gelatin silver prints mounted to board, each pencil-signed on mount, 4 1/2 in. x 3 3/4 in. to 6 3/4 in. x 5 3/8 in., unframed. (7 pcs.) [$3000/5000]
Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.
309. Seydou Keita (Malian, 1921-2001), “Untitled”, negative creation date 1956-1959, print date 1999, gelatin silver print, signed and dated en verso, 2 “Christie’s” labels, one with artist, on backing board, 7 in. x 5 in., framed, overall 12 1/4 in. x 8
in. x 1/2 in. [$2000/3000]
310. Theatrical Chicago Photography Studio, “Louis Armstrong the World’s Finest Trumpeter”, 1930, gelatin silver print, titled en verso, autographed, personalized and dated by Louis Armstrong mid-right, “Theatrical Chicago”
311. Ava Photography Studio of London, “Louis Armstrong”, 1931, gelatin silver print, autographed, personalized and dated by Louis Armstrong lower center, “Ava Studios” lower right in negative, 9 5/8 in. x 7 5/8 in., framed, overall 13 in. x 11 in. x 3/4 in. [$500/700]
312. Frank Relle (American/ Louisiana, b. 1976), “Clio”, 2011, c-print, signed, titled and dated lower margin, inscribed and numbered “6/15” en verso, signed and dated artist label attached to backing paper, 22 in. x 16 in., framed, overall 27 3/4 in. x 35 1/4 in. x 1 1/4 in. [$500/800]
New York Times, Mar. 14, 2014.
74
316. American Federal Inlaid Cherrywood Bowfront Serving Table, early 19th c., possibly Maryland, three frieze drawers, conch shell brackets, tapered legs, spade feet, h. 33 in., w. 54 1/2 in., d. 24 3/4 in. [$1000/1500]
317. Rare New England William and Mary Walnut Highboy, early 18th c., likely New Haven or Boston, stepped cornice, bolection frieze drawer, upper case with five drawers, lower case with three drawers, shaped apron, trumpet-turned legs, serpentine stretcher, bulbous feet, oak and white pine secondary woods, h. 67 in., w. 40 1/2 in., w. 21 3/4 in. [$8000/12000]
Provenance: Antiquarians Grace and Elliot Snyder, South Egremont, MA, 2011. Note: Bolection frieze drawer bottom includes pencil inscription “the Property of Hannah Jones, came from England in the year 1662.”
315. Pair of American Federal Tiger Maple Poster Beds, early 19th c., New England, large acorn finials, turned posts, arched paneled headboard, h. 80 in., l. 78 in., w. 39 in. [$1200/1800]
314. Federal Inlaid Mahogany Bowfront Chest of Drawers, late 18th c., likely New England, four graduated drawers, flared legs, serpentine apron, h. 35 in., w. 43 in., d. 23 in. [$800/1200]
42 3/4 in., w. 39 1/4 in., d. 21 in. [$2500/3500]
Provenance: Estate Antiques, Charleston, SC, 1992; thoroughly examined by expert John Bivens, Wilminton, NC, in 1991 (see accompanying document).
1/2 in. [$300/500]
Provenance: Neal Auction, Nov. 22, 2015, lot 1089. Sold to Benefit the Angelina and Michael Bloise Endowed Fund at Ochsner Cancer Institute.
319.
1750,
top
broken arch cornice,
finials, fan-carved drawers, scalloped apron, cabriole legs, pad feet, dovetailed case, pine secondary wood, h. 86 in., w. 38 1/2 in., d. 21 1/2 in. [$15000/25000]
Provenance: Kenneth E. Tuttle Antiques, Gardiner, ME, 2005. Note: In the 1730s, Boston cabinetmakers applied Queen Anne design features like the broken-arch cornice and cabriole legs to the flat-top William & Mary-style high chest. This distinctively American design became popular with cabinetmakers throughout New England. The fine example offered here, constructed of cherrywood, includes features such as pad feet, fan carvings, a dovetailed case, and drop-finials that are hallmarks of this quintessential New England form.
Ref.: “Chest of Drawers.” The Metropolitan Museum of Art. metmuseum. org/art/collection/search/4278. Accessed October 27, 2022.; “High Chest.” Historic New England. historicnewengland.org/explore/ collections-access/gusn/172354/. Accessed October 27, 2022.
Provenance: Descended
75
321. Southern Cherrywood Sugar Chest, early-to-mid 19th c., likely Kentucky or Virginia, hinged top, divided interior, paneled case, ring and baluster-turned legs, h. 30 1/2 in., w. 40 1/2 in., d. 18 in. [$1200/1800]
in the Flowers/ Rhoads family of Kentucky and Virginia (see accompanying document) Sold to Benefit the Angelina and Michael Bloise Endowed Fund at Ochsner Cancer Institute.
322. Southern Federal Cherrywood Sugar Chest, early 19th c., Tennessee, hinged top, paneled case, turned legs, h. 32 3/4 in., w. 38 in., d. 19 in. [$1000/1500]
318. Rare Virginia Federal Inlaid Black Walnut Chest of Drawers, c. 1800-1810, Shenandoah Valley, raised base with splayed bracket feet, yellow pine, poplar, walnut, and sycamore secondary woods, h.
Connecticut Queen Anne Carved Cherrywood Highboy, c.
bonnet
with
turned
320. Antique Southern “Gros Rouge” Yellow Pine Blanket Chest, early 19th c., molded hinged top, strap hinges, interior till, front monogram with “IB”, shoe feet, h. 22 1/2 in., w. 47 1/2 in., d. 21
76
329. Frank Anderson (American/New York, 1844-1891), “House along a Path”, 1869, oil on canvas, initialed and dated lower right, 14 in. x 20 1/4 in., framed, overall 17 5/8 in. x 23 3/4 in. x 1 3/4 in. [$3000/5000]
330. Hermann Fuechsel (German/American, 1833-1915), “Mountain Landscape with Lake”, oil on canvas, signed and illegibly dated lower left, canvas stamp en verso, 11 in. x 19 in., framed, 16 3/4 in. x 25 in. x 2 1/2 in. [$1500/2500]
323. Early New York View], after William Burgis (active 1722-1736), “Fort George with the City of New York from the SW.”, c. 1794, hand-colored engraving by John Carwitham, published by Carington Bowles, London, watermark “EDMEADS & PINE” with Strasburg lily over 1794, image 11 1/4 in. x 17 3/8 in., sheet 16 in. x 21 in., framed, overall 25 1/4 in. x 20 in. x 5/8 in. [$1000/1500]
324. John James Audubon (American, 1785-1851), “RedBellied Squirrel”, Plate XXXVIII, hand-colored lithograph, from The Viviparous Quadrupeds of North America, Bowen edition, sheet 27 1/2 in. x 21 1/2 in., unframed. [$600/900]
325. John Woodhouse Audubon (American, 1812-1862), “Rocky Mountain Goat”, Plate CXXVIII, handcolored lithograph, from Viviparous Quadrupeds of North America, Bowen edition, sheet 21 in. x 27 5/8 in., unframed. [$700/1000]
326. John James Audubon (American, 1785-1851), “White American Wolf”, Plate LXXII, handcolored lithograph, from The Viviparous Quadrupeds of North America, Bowen edition, sheet 21 1/2 in. x 27 1/4 in., unframed. [$700/1000]
327. John Woodhouse Audubon (American, 18121862), “Grizzly Bear”, Plate CXXXI, hand-colored lithograph, from The Viviparous Quadrupeds of North America, Bowen edition, sheet 21 1/4 in. x 27 1/4 in., unframed. [$1000/1500]
328. After Joseph Wolf (Prussian/British, 1820-1899), “Felis Rufa”, 1883, hand-colored lithograph, from A Monograph of the Felidae or Family of the Cats, printed by M. & H. Hanhart, London, published by Daniel Giraud Elliot (1835-1915), London, with corresponding text, sheet 18 3/4 in. x 23 5/8 in., unframed. [$500/700]
Note: David Johnson was a self-taught artist born in New York City in 1827. While Johnson did briefly take painting lessons with Jasper Cropsey, it is likely that his time with Cropsey was simply an opportunity for him to hone his already well-established talent. By that time, he had experienced several career milestones such as exhibiting with the National Academy of Design as well as the American Art Union. Johnson was an Associate of the National Academy of Design, then was later chosen as a full Academician. He also exhibited at the 1876 Centennial Exposition in Philadelphia where he won a first-class medal in art and at the 1877 Paris Salon.
The 1870s marked the peak of Johnson’s career and a shift in his style as his canvases began to reflect the influence of the French Barbizon School. Like many of his contemporaries, he spent time in popular locales of the Northeast including Lake George, White Mountains, and the Catskills as well as central New York state. He faithfully recorded many pastoral and river landscape scenes, such as the painting offered here which features his distinctive intertwined monogram that he adopted in the 1860s. This piece, entitled “Byram Lake, NY,” is reminiscent of Johnson’s later style with a hazy mountainous background and dark, lush
how the artist earned the nickname “American
77
333. David Johnson (American, 1827-1908), “Byram Lake, NY”, oil on board, monogrammed lower right, signed, titled and inscribed en verso, 7 3/4 in. x 11 3/4 in., framed, overall 11 3/4 in. x 15 7/8 in. x 1 5/8 in. [$3000/5000]
trees echoing the Barbizon School and perfectly showcasing
Rousseau.”
Ref.: American Paradise: The World of the Hudson River School. New York: The Metropolitan Museum of Art, 1987; “David Johnson (1827-1908).” Bedford Fine Art Gallery. www.bedfordfineartgallery.com. Accessed Mar. 10, 2023.
331. William Keith (Scottish/American, 1838-1911), “Wooded Landscape”, oil on canvas laid on board, signed and inscribed lower right, 11 3/4 in. x 23 3/4 in., framed, overall 15 5/8 in. x 27 1/2 in. x 1 1/2 in. [$1200/1800]
332. Arthur Diehl (American, 1870-1929), “The Watering Place”, oil on beaverboard, signed lower right, inscribed and “The Patricia Weiner Gallery, Cincinnati, OH” label with artist and title en verso, 11 1/2 in. x 17 in., framed, overall 14 in. x 19 5/8 in. x 1 in. [$1000/1500]
78
341. Indian Wool Carpet, beige ground, green accents, floral motif, 8 ft. x 10 ft. [$500/700]
342. Chinese Carpet, blue ground with dragons, cloud border, 9 ft. x 12 ft. 5 in. [$700/1000]
343. Antique Bakshaish Runner, Northwest Persia, 19th c., blue ground, allover herati pattern, rosette and serrated leaf border, 4 ft. 9 in. x 10 ft. 9 in. [$1000/1500]
344. Persian Hamadan Carpet, maroon ground, geometric designs, 4 ft. 4 in. x 7 ft. 6 in. [$1000/1500]
337. Pakistani Wool Carpet, salmon ground, stylized floral design, 6 ft. x 9 ft. 3 in. [$600/900]
338. Persian Carpet, red ground, cream border, floral design, 10 ft. 6 in. x 14 ft. [$1000/1500]
339. Persian Runner, red and cream ground, floral design, 5 ft. x 15 ft. 7 in. [$700/1000]
340. Persian Runner, blue ground, repeating medallions, 3 ft. 1 in. x 20 ft. [$600/900]
334. Semi-Antique Heriz Runner, red ground, repeating medallions, 2 ft. 4 in. x 13 ft. [$600/800]
335. Heriz Carpet, red ground, stylized design, 8 ft. 6 in. x 12 ft. [$700/1000]
336. Heriz Rug, red ground, stylized floral design, 7 ft. 8 in. x 10 ft. 10 in. [$700/1000]
79
349. Persian Kerman Carpet, red ground, blue border, central medallion, floral designs, 10 ft. x 13 ft. [$4000/6000]
350. Persian Mahal Carpet, red ground, cream border, central medallion, floral designs, 9 ft. 3 in. x 13 ft. [$3000/4000]
351. Persian Kerman Carpet, red ground, blue border, floral design, 9 ft. 5 in. x 13 ft. [$4000/6000]
352. Persian Heriz Carpet, red ground, central medallion, serrated spandrels, 7 ft. 8 in. x 11 ft. 6 in. [$2800/3400]
353. Persian Heriz Carpet, red ground, central medallion, 8 ft. 2 in. x 10 ft. 9 in. [$2800/3400]
345. Persian Hamadan Carpet, red ground, central medallions, 4 ft. 4 in. x 7 ft. 3 in. [$1000/1500]
346. Persian Qashqai Carpet, blue and red ground, repeating medallions, 4 ft. 3 in. x 9 ft. 5 in. [$1500/2000]
347. Persian Qashqai Carpet, red ground, triple medallions, 6 ft. 1 in. x 11 ft. 9 in. [$2400/3400]
348. Persian Kerman Carpet, blue and cream ground, floral design, 9 ft. x 12 ft. 5 in. [$4000/6000]
18 kt. Yellow Gold, Ruby and Blue Enamel Cross Pendant, Lalaounis Byzantine Collection, probably c. 1970s, bezel-set with 5 cabochon rubies (totaling approx. 2.00 cts.) with blue enamel accents, 2/12 in. (to top of bail) x 1 3/8 in., wt. 13.83 dwts.; on 18 kt. 3.00 mm. fancy link chain, l. 27 in., wt. 20.58 dwts.; accompanied by Boudreaux’s Fine Jewelrs appraisal report.
18 kt. Yellow Gold, Ruby, Sapphire and Green Enamel Cross Pendant, Lalaounis Byzantine Collection, probably c. 1970s, bezel-set with 5 cabochon rubies (totaling approx. 2.00 cts.) and 6 round faceted blue sapphires (totaling approx. 0.54 cts.) with green enamel accents, l. 2 5/8 in. (to top of bail) x 1 5/8 in., wt. 17.42 dwts.; on 14 kt. 3.25 mm. rope chain, l. 29 in., wt. 9.65 dwt. [$2000/3000]
80
357. 14 kt. White Gold and South Sea Pearl Necklace, strand of 37 graduated off round white cultured pearls, 10.00-14.00 mm, plunger style bead clasp, l. 18 1/2 in.; AIGL report. [$1500/2500]
358. 14 kt. Yellow Gold and Golden South Sea Pearl Necklace, strand of 37 graduated round cultured pearls, 10.00-14.00 mm, scalloped bead clasp, l. 17 1/2 in.; AIGL report. [$1500/2500]
359. Ilias Lalaounis (1920-2013)
[$3000/5000]
360. Ilias Lalaounis (1920-2013)
361. Bulgari 18 kt. Yellow Gold Fancy Link Chain, marked “BVLGARI ROMA”, l. 36 in., 36.88 dwts. [$3000/5000]
362. 14 kt. Yellow Gold, Diamond and Opal Pendant/Brooch, central oval cabochon opal, accented by numerous round diamonds; ornate pierced filigree design, l. 3 in., 12.40 dwts. [$1000/2000]
354. A & Furst 18 kt. Blackened Gold and Cognac Citrine Ring, marked, size 6.5. [$600/800]
355. Elizabeth Locke 18 kt. Yellow Gold and Carved Intaglio Bee Ring, signed, size 5.75 [$800/1200]
356. 14 kt. White Gold and Tahitian South Sea Pearl Necklace, strand of 31 graduated round greyish silver to dark grey “aubergine” pearls, 13.00-15.70 mm, scalloped bead clasp, l. 18 1/2 in.; GGA report. [$1500/2500]
363. 14 kt. White, Rose and Yellow Gold Diamond and Ruby Sacred Heart Pendant Brooch, custom made by Bernard & Grunning, New Orleans, set with 2 pear-shaped rubies, total wt. approx. .20 ct.; 12 round diamonds, total wt. approx. 0.12 ct.; engraved on back “to my darling wife, Dec. 25, 1951”; with removable platinum and diamond jacket set with approx. 160 diamonds, total wt. approx. 4.00 cts.; with original jewelers box from Bernard & Grunning. [$4000/6000]
Provenance: Estate of Clare Mistrot, Metairie, LA; Private collection New York.
1.32
1.95 cts., 9.30 x 7.40 x 5.00 mm; halo with 16 round brilliant cut diamonds, total wt. approx. 0.86 ct., F-G color, VS1-SI1
3.28
6;
81
369. Pair of 18 kt. Yellow Gold, Emerald and Diamond Earrings, two center prong set octagonal cut emeralds, total wt. approx. 7.04 cts.; double bezels set with 70 channel set baguette cut diamonds and 72 pave set round brilliant cut diamonds, total wt. approx. 2.48 cts., F-H color, VS1-SI2 clarity; SGL report. [$7000/9000]
370. Pair of 18 kt. White Gold, Emerald and Diamond Stud Earrings, 2 center oval brilliant step cut emeralds, total wt. approx. 3.64 cts.; bezels set with numerous round diamonds, total wt. approx. 1.49 cts.; GIA report. [$2000/3000]
365. 18 kt. Yellow Gold Ladies Rolex Watch, dial marked “Rolex/ Oyster Perpetual/Lady Datejust/ Officialy Certified Chronometer, band stamped “Rolex” and “750”, dia. 20 mm [$1500/2500]
366. 18 kt. Yellow Gold, Emerald and Diamond Ring, center bezel set oval mixed cut emerald, wt. approx.
clarity; size 6.75 ; AIGL report. [$1800/2500]
367. 18 kt. Yellow Gold, Emerald and Diamond Ring, center bezel set octagonal step cut emerald, wt. approx. 5.63 cts., 11.10 x 8.70 x 7.01 mm; flanked by six tension set round brilliant cut diamonds, total wt. approx.
cts., J-L color, VS2-SI2 clarity; size 6.5; AIG report. [$4000/6000]
368. 18 kt. Yellow Gold, Emerald and Diamond Ring, center prong set octagonal step cut emerald, wt. approx. 13.82 cts., 15.60 x 12.66 x 9.14 mm; ornate bezel set with 16 baguette cut, emerald cut, marquise cut and round brilliant cut diamonds, total wt. approx.
cts., H-I color, VS2-SI2 clarity; size
SGL report [$7000/9000]
364. Audemars Piguet 18k Gold Pocket Watch, serial #30647, 19 jewels, subsidiary seconds dial, dia. 1 5/8 in. [$700/1000]
371. Pair of Platinum, Emerald and Diamond Earrings, 2 center emerald cut emeralds, total wt. approx. 4.95 cts.; bezels with numerous round brilliant cut diamonds, total wt. approx. 1.25 cts.; GGA report. [$3000/5000]
375. Platinum, Emerald and Diamond Ring, center emerald faceted cut emerald, wt. approx. 1.02 cts., 6.75 x 5.00 mm; accented by 39 round brilliant cut diamonds, total wt. approx. 0.94 ct., G-H color, SI1-SI2 clarity; size 6.5; GGA report. [$1500/2500]
“Toi et Moi” Ring, prong set octagonal mixed cut emerald, wt. approx. 2.37 cts., 8.96 x 6.75 x 5.51 mm; prong set cushion brilliant cut diamond, wt. approx. 1.01 cts., 6.42 x 5.40 mm, J color, SI1 clarity; size 7; GGA and GIA reports. [$4000/6000]
373. Platinum, Emerald and Diamond Ring, center prong set rectangular step cut emerald, wt. exact 3.46 ct., 10.52 x 7.87 x 5.42 mm; bezel and shoulders set with 30 prong set round diamonds, total wt. approx. 0.76 ct., F-H color, SI1-I1 clarity; size 6.5; AIG and GIA reports. [$5000/7000]
374. 18 kt. White Gold, Emerald and Diamond Ring, center prong set octagonal step cut emerald, wt. approx. 4.95 cts., 10.02 x 9.19 x 7.31 mm; flanked by 2 rectangular step cut diamonds, total wt. approx. 0.29 cts., H color, VS1 clarity; size 7; GIA and SGL reports. [$2500/3500]
3.08 cts.; surrounded by approx. 454 round brilliant cut diamonds, total wt. approx. 7.29 cts., F-G color, VS2-SI1 clarity; l. 7 1/2 in.; GGA report. [$8000/12000]
82
376. Art Deco Style 18 kt. White Gold, Emerald, Diamond and Enamel Bracelet, mounted with 3 oval brilliant faceted cut emeralds, total wt. approx.
372. 18 kt. White Gold, Emerald and Diamond
377. Art Deco Style 18 kt. White Gold, Emerald, Diamond and Enamel Necklace, mounted with 5 octagonal step faceted cut emeralds, total wt. approx. 11.75 cts.; surrounded by approx. 478 round brilliant cut diamonds, total wt. approx. 11.03 cts., F-G color, VS2-SI1 clarity; accented with 4 black enamel links; l. 17 in.; GGA and GIA reports. [$15000/25000]
378. Pair of Oscar Friedman 18 kt. White Gold, Emerald and Diamond Earrings, 2 center prong set oval mixed cut emeralds, total wt. approx. 3.96 cts.; bezels with black enamel accents and mounted with 24 round brilliant cut diamonds, total wt. approx. 1.05 cts.; AIGL report. [$2500/3500]
379. 18 kt. White Gold, Emerald and Diamond Necklace, central octagonal step faceted cut emerald, wt. approx. 8.45 ct., 13.72 x 11.59 x 7.05 mm; bezel and three strands set with 117 marquise, princess, pear, oval, round and emerald cut diamonds, total wt. approx. 16.72 cts., G-I color, VS1-SI1 clarity; l. 18 in.; GGA and GIA reports. [$40000/60000]
381. 18 kt. Yellow Gold and Sapphire Cross Pendant, spurious “Cartier” inscription, mounted with 11 invisibly set square cut blue sapphires, total wt. approx. 1.20 cts.; l. (incl. bail) 1 1/4 in. Note: Not authenticated as Cartier. [$1500/2500]
Note: The Duchess of Windsor owned a Cartier charm bracelet of gem-set Latin crosses like the pendant offered here. It features in numerous photographs, notably some of the Cecil Beaton photographs of her wedding. The bracelet sold at auction in London on Nov. 30, 2010, lot. 17.
383. Platinum,
and
, center prong set oval mixed cut blue sapphire, wt. approx. 0.80 ct., 6.62 x 4.76 x 3.30 mm; double halo and shoulders set with 48 round diamonds, total wt. approx. 0.62 ct., G-H color, VS1-VS2 clarity; size 6.75; GIA and AIGL
0.37
83
382. 18 kt. White Gold, Diamond and Blue Sapphire Ring, center bezel set round diamond, wt. approx. 1.01 cts.; flanked by 4 marquise shape blue sapphires, total wt. approx. 0.79 ct.; openwork setting mounted with numerous round diamonds; size 7. [$1500/2500]
Blue Sapphire
Diamond Ring
reports. [$1200/1800]
384. Oscar Friedman 14 kt. White Gold, Blue Sapphire and Diamond Bracelet, mounted with 17 prong set pear shape mixed cut blue sapphires, total wt. approx. 11.91 cts., 6.40 x 4.70 x 2.96 mm; bezels with approx. 289 prong set round brilliant cut diamonds, total wt. approx. 2.32 cts., F-H color, SI2-I2 clarity; l. 6 3/4 in.; AIGL report. [$2000/3000]
385. Oscar Friedman 14 kt. White Gold, Blue Sapphire and Diamond Necklace, mounted with 45 oval shape mixed cut sapphires, total wt. approx. 35.08 cts., 6.00 x 4.00-7.00 x 5.00 mm; bezels set with approx. 670 round brilliant cut diamonds, total wt. approx. 7.07 cts., G-I color, SI3-I2 clarity; l. 17 in.; AIGL report. [$6000/8000]
386. 14 kt. White Gold, Star Sapphire and Diamond Ring, center oval cabochon cut star sapphire, total wt. approx. 15.96 cts., 16.21 x 13.27 mm; bezel and shoulders set with 68 round brilliant cut diamonds, total wt. approx. 1.05 cts., G-H color, SI2-I1 clarity; size 7; GGA report. [$1000/2000]
387. Platinum and Cabochon Ruby Man’s Ring, spurious “Cartier” inscription, serial number “10177”, center bezel set cabochon ruby, wt. approx. 3.50 cts., size 8.5; Note: moderate natural inclusions under magnification (proof of natural origin). Please note this item is not authenticated as Cartier. [$1000/2000]
388. Platinum, Cabochon Ruby and Diamond Ring, center prong set round cabochon ruby, wt. approx. 2.87 cts.; bezel with numerous round brilliant and marquise cut diamonds, total wt. approx.
ct., G-H color, VS clarity; size 5.75; IAS report. [$1200/1800]
380. Antique 14 kt. Yellow Gold, Artificial Sapphire and Seed Pearl Station Bracelet, c. 1920, set with 5 oval blue artificial sapphires, l. 7 in. [$400/600]
389. Art Deco Style Platinum, Diamond and Ruby Ring, bezel set round diamond, wt. approx. 1.21 cts.; openwork bezel set with numerous diamonds; shoulders set with numerous rubies; size 7. [$3000/5000]
390. 14 kt. White Gold, Red Sapphire and Diamond Ring, center prong set oval brilliant faceted cut sapphire, wt. approx. 3.60 ct., 9.58 x 7.62 x 5.89mm; flanked by 2 trillion cut diamonds, total wt. approx. 1.48 cts., J-K color, VS1-VS2 clarity; size 6; GGA and AGL reports. [$2500/3500]
391. Platinum, Ruby and Diamond Ring, center oval mixed cut ruby, wt. approx. 2.52 cts., 8.43 x 7.02 x 4.84 mm; bezel and openwork shoulders set with 120 round diamonds, total wt. approx. 0.61 cts., F-H color, VS1-SI1 clarity; size 6.5; AIGL and GIA reports. [$5000/7000]
392. Platinum, Ruby and Diamond Ring, center pear brilliant faceted cut Burmese ruby, wt. approx. 4.78 cts., 10.98 x 8.91 x 6.25 mm; bezel and shoulders set with 26 round brilliant cut diamonds, total wt. approx. 0.97 ct., F-G color, VS1-VS2 clarity; size 6.75; GGA and GIA reports. [$2500/3500]
393. 14 kt. White Gold, Ruby and Diamond Bracelet, mounted 63 oval, pear, and marquise faceted cut Burmese rubies, total wt. approx. 74.65 cts.; accented by 84 round brilliant cut diamonds, total wt. approx. 1.09 cts., G-H color, SI2-I1 clarity; l. 7 in.; GGA and GIA reports. [$7000/9000]
394. 14 kt. White Gold, Ruby and Diamond Bib Necklace, mounted with 146 oval and pear mixed cut Burmese rubies, total wt. approx. 187.94 cts.; bezels and butterfly links set with approx. 936 round brilliant cut diamonds, total wt. approx. 8.60 cts., G-H color, SI2-I1 clarity; l. 16 1/2 in .; GGA and GIA reports. [$20000/30000]
395. Pair of 14 kt. White Gold, Ruby and Diamond Dangle Earrings, mounted with 14 oval mixed cut rubies, total wt. approx. 15.64 cts.; bezels and butterfly links set with 294 round brilliant cut diamonds, total wt. approx. 2.14 cts., G-H color, SI2-I1 clarity; l. 2 1/4 in.; GGA and GIA reports. [$3000/5000]
396. 18 kt. Yellow Gold and Diamond Bracelet, set with 44 round brilliant cut diamonds, total wt. approx. 10.59 cts., 3.70-3.80 mm, G-I color, VS1-SI1 clarity; l. 7 1/4 in.; AIGL report. [$8000/10000]
398. 18 kt. White Gold, Yellow Diamond and Diamond Ring, center prong set cushion modified brilliant cut fancy yellow diamond, wt. approx. 0.33 ct., 3.68 x 3.66 x 2.62 mm; bezel and shoulders set with 24 round brilliant cut diamonds, total wt. approx. 0.30 ct., F-G color, VS1-VS2 clarity; size 6.75; GGA and GIA reports. [$800/1200]
84
397. 18 kt. Yellow Gold and Diamond Ring, center bezel set emerald cut diamond, total wt. approx. 2.18 cts.; size 6. [$8000/12000]
399. 18 kt. White Gold, Yellow Diamond and Diamond Ring, center cushion modified brilliant cut fancy light yellow diamond, wt. approx. 2.01 cts., 6.77 x 6.71 x 4.72 mm; shoulders and stylized asymmetric bezel set with 41 marquise, pear brilliant and round brilliant cut diamonds, total wt. approx. 0.83 ct., F-G color, VS1-VS2 clarity; size 6.5; GGA and GIA reports. [$8000/12000]
400. 18 kt. White Gold, Yellow Gold, Yellow Diamond and Diamond Ring, center cut cornered rectangular modified brilliant cut natural fancy intense yellow diamond, wt. approx. 3.40 cts., 8.84 x 7.32 x 5.23 mm; flanked by 2 emerald cut diamonds, total wt. approx. 1.03 cts., I-J color, IF clarity; size 6.75; GGA and 2 GIA reports. [$30000/40000]
approx. 7.50 cts., l. 1 1/4 in. [$3000/4000]
1.01
0.64 ct.,
85
405. Pair of 18 kt. White Gold and Diamond Earrings, stylized cuff design set with numerous baguette cut diamonds, flanked by 48 round diamonds, l. 3/4 in. [$2000/3000]
406. Pair of 14 kt. White Gold and Diamond Hoop Earrings, set with 54 round diamonds, total wt. approx. 5.57 cts., F-G color; dia. 1 1/4 in. with Guild Laboratories report. [$3000/5000]
401. Art Deco-Style Platinum and Diamond Ring, marked “HT & NY”, center bezel set diamond, wt. approx. 1.00 ct.; accented by numerous diamonds, total wt. approx. 1.25 cts.; size 6. [$2000/3000]
402. Art Deco-Style Platinum and Diamond Ring, center bezel set round brilliant cut diamond, wt. approx.
cts., H color, I1 clarity; accented by 58 baguette and round brilliant cut diamonds, total wt. approx.
F-G color, SI1-SI2 clarity; size 7; AIGL report. [$2500/3500]
403. 18 kt. White Gold and Diamond Ring, mounted with 3 central bezel set round diamonds, total wt. approx. 1.28 cts.; accented by numerous round diamonds; size 7. [$2500/3500]
404. Pair of 18 kt. White Gold and Diamond Earrings, stylized cascade design with numerous prong-set round shaped diamonds, total wt.
407. Pair of 18 kt. White Gold and Diamond Stud Earrings, 2 center round brilliant cut diamonds, wt. approx. 1.12 cts. and 1.04 cts. F color; halos set with 42 round diamonds, total wt. approx. 0.43 ct., E-F color; with Guild Laboratories report. [$3500/4500]
408. Pair of 18 kt. White Gold and Diamond Stud Earrings, 2 prong set round brilliant cut diamonds, total wt. approx. 2.02 cts., G-H color, I1-I2 clarity; GGA report. [$3000/5000]
409. 14 kt. White Gold and Diamond Bangle Bracelet, set with numerous marquise, round and pear shape diamonds, total wt. approx. 4.31 cts.; flexible opening; inner circ. 6 1/4 in. [$2000/3000]
410. 14 kt. White Gold and Diamond Bracelet, set with 45 round diamonds, total wt. approx. 9.23 cts., G-H color, SI-I1 clarity; l. 7 in.; with Guild Laboratories report. [$6000/8000]
411. 18 kt. White Gold and Diamond Bracelet, set with 37 graduated round brilliant cut diamonds, total wt. approx. 7.97 cts., 3.50-4.00 mm, G-H color, VS2-SI1 clarity; l. 7 in.; AIGL report. [$7000/9000]
412. 14 kt. White Gold and Graduated Diamond Necklace, set with 13 round diamonds, total wt. approx. 1.28 cts., H-I color, SI-I1 clarity; and 172 round diamonds, total wt. approx. 4.60 cts., G-H color, SI-I1 clarity; l. 17 in. with Guild Laboratories report. [$4000/6000]
413. 14 kt. White Gold and Diamond Necklace, set with 140 round diamonds, total wt. approx. 11.24 cts., G-H color, SI-I1 clarity; l. 16 1/2 in.; with Guild Laboratories report. [$6000/8000]
414. 14 kt. White Gold and Diamond Necklace, set with approx. 181 graduated round brilliant cut diamonds, total wt. approx. 9.52 cts., F-G color, SI2-I1 clarity, l. 17 1/4 in.; GGA report. [$8000/12000]
86
415. 18 kt. Rose Gold, Pink Diamond and Diamond Ring, center bezel set round brilliant cut Faint Pinkish Brown diamond, wt. approx. 0.90 ct., 5.96-6.05 x 3.87 mm, SI1; starburst style bezel set with numerous round diamonds, total wt. approx. 0.58 ct.; size 6.5; GIA report and copy of GGA report. [$6000/8000]
416. Pair of 18 kt. White Gold, Rose Gold and Pink Diamond Dangle Earrings, 2 center cushion modified brilliant cut pink diamonds, total wt. approx. 1.03 cts.; bezels and links set with numerous diamonds, total wt. approx. 0.80 ct.; l. 1 1/16 in.; 2 GIA reports. [$7000/9000]
417. 18 kt. White Gold, Rose Gold, Pink Diamond and Diamond Ring, center cushion modified brilliant cut fancy light pink diamond, wt. approx. 1.01 cts., 5.32 x 5.05 x 4.04 mm; shoulders and bezel set with numerous diamonds, total wt. approx. 0.60 ct.; size 6.5; GIA report. [$10000/15000]
418. 18 kt. Rose Gold, Pink Diamond and Diamond Bracelet, set with numerous prong set mixed shape pink diamonds, total wt. approx. 14.61 cts.; accented by numerous round brilliant cut diamonds, total wt. approx. 4.00 cts., G-H color, VS clarity; l. 7 in.; IAS and GIA reports. [$15000/25000]
419. 18 kt. White Gold, Rose Gold, Pink Diamond and Diamond Ring, center modified octagonal brilliant cut Fancy Pink-Brown diamond, wt. approx. 2.02 cts., 8.59 x 6.72 x 4.45 mm, VS2; shoulders set with old European cut diamonds, total wt. approx. 0.70 cts.; size 6.25; GIA report and copy of GGA report. [$35000/45000]
421. Pair of 14 kt. Rose Gold, White Gold, Morganite and Diamond Earrings, 2 center rectangular cushion faceted cut morganites, total wt. approx. 15.34 cts.; accented by 24 round brilliant cut diamonds, total wt. approx. 0.95 ct., G-H color, SI1-SI2 clarity; l. 2 in.; GGA report. [$1800/2500]
420. 18 kt. Rose Gold and Diamond Sunburst Ring, center rectangular cut diamond, wt. approx. 2.06 cts.; bezel and shoulders set with numerous round diamonds, total wt. approx. .69 ct.; size 6.75 [$3500/4500]
422. 14 kt. Rose Gold, Morganite and Diamond Pendant on 14 kt. Rose Gold Chain, pendant set with modified brilliant cut pear shape morganite, wt. approx. 3.88 cts.; accented by 36 round brilliant cut diamonds, total wt. approx. 0.18 ct.; chain l. 18 in.; AIGL report. [$1000/1500]
87
423. 18 kt. White Gold, Pink Sapphire and Diamond Ring, center octagonal step cut purplish pink sapphire; bezel set with numerous round diamonds; size 6.5; GIA report. [$1500/2500]
427. 18 kt. White Gold, Alexandrite and Diamond Ring, center prong set oval mixed cut natural alexandrite, wt. exact 1.08 ct., 6.00 x 5.69 x 3.81 mm; bezel and should set with 22 prong set round brilliant cut diamonds, total wt. approx. 0.48 ct., E-G color, SI1-I1 clarity; size 6.5; AIG and GIA reports.
[$2000/3000]
425. 14 kt. White Gold, Pink Sapphire and Diamond Necklace, set with approx. 68 pear brilliant faceted cut pink sapphires, total wt. approx. 31.81 cts.; bezels set with approx. 550 round brilliant cut diamonds, total wt. approx. 6.58 cts., G-H color, SI2-I1 clarity; l. 17 1/4 in.; GGA report. [$10000/15000]
424. 18 kt. Yellow and White Gold, Pink Sapphire and Diamond “Toi et Moi” Ring, central cushion brilliant faceted cut purplish pink sapphire, wt. approx. 2.83 cts.; central round brilliant cut diamond, wt. approx. 1.00 ct.; band set with 8 round brilliant cut diamonds, total wt. approx. 0.16 ct.; size 7; GGA and GIA reports. [$4000/6000]
426. 14 kt. White Gold, Aquamarine and Morganite Ring, center emerald cut aquamarine, wt. approx. 1.75 cts.; flanked by 2 morganites, total wt. approx. 0.70 ct.; size 6. [$600/800]
428. Platinum, Tanzanite and Diamond Ring, signed “HALLH”, center mixed cut tanzanite, wt. approx. 3.00 cts.; flanked by 2 bezel set diamonds, total wt. approx. 0.20 ct.; size 6. [$800/1200]
88
2023 AUCTION SCHEDULE
MAY 25 - UNRESERVED @ Neal - Online Auction
JUNE 15 - Premier Collections: American & English - Live Auction
JUNE 16 - Premier Collections: Global Collecting - Live Auction
JULY 20 - UNRESERVED @ Neal - Online Auction
SEPTEMBER 7 & 8 - Premier Collections: Fine Art & Interiors - Live Auction
OCTOBER 19 - UNRESERVED @ Neal - Online Auction
NOVEMBER 16,17 & 18 - Louisiana Purchase Auction™ - Live Auction
DECEMBER 7 - Mid-Century, Modern, Contemporary Art & Design - Online Auction
JAN 25 & 26 - Premier Collections: Fine Art & Interiors - Live Auction *
89
With Us!
Bold denotes Live Auction. Auction dates may be subject to change. Consign
Auctioneers of Antiques & Fine Art 4038
Confidential Absentee / Telephone Bid Form AUCTION DATE:
fax to: 504-617-6431 - email: bids@nealauction.com
VISA / MC / AMEX / DISCOVER - REQUIRED FROM ALL BIDDERS
I understand that Neal Auction Company undertakes the execution of absentee bids as a convenience for clients failure to execute bids, or for any error in the execution of bids. I have read and agree to the “Conditions of Sale” as stated in the catalogue. I understand that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchase made by cash, check or wire transfer within 15 days of the auction, the buyer’s premium shall be discounted 3% of this 25%. No exceptions.
PLEASE REVIEW THE GUIDELINES FOR BIDDING:
1. All absentee bids must be in our gallery by 5 P.M. CST the day prior to the auction.
2. In the event identical bids are submitted, the earliest bid received will take precedence.
3. A deposit must accompany all bids, A credit card number is required for securing bids.
FOR INTERNAL USE ONLY:
4. All property is sold “AS IS”. No statement regarding condition of any item, whether it is made orally at the auction or any other time, or in writing in the catalogue or elsewhere, shall be deemed to be a warranty, representation or assumption of liability.
5. In the event of discrepancies, lot number and not lot description will take precedence.
90
STATE:
FIRST NAME: COMPANY: ADDRESS: CITY: PHONE: LAST NAME: EMAIL:
ALT PHONE: PAYMENT METHOD CREDIT CARD CASH / CHECK / WIRE
APPROVED _______________ REGISTERED _____________ ENTERED ________________ CLERK _______________ ACCOUNT # ________________________ CONFIRMED _______________
DATE: ZIP:
EXP: SECURITY
LOT NUMBER DESCRIPTION TELEPHONE #
BID AMOUNT
SIGNATURE REQUIRED:
CARD NUMBER:
CODE:
/
#
23-04M
Magazine Street,
Orleans, LA 70115 504.899.5329
WWW.NEALAUCTION.COM
New
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91 Auction Results • February 2 &
2023 0003 - 1342 0006 - 1830 0007 - 1342 0008 - 704 0009 - 2000 0010 - 549 0011 - 671 0012 - 2500 0015 - 1408 0016 - 1792 0019 - 704 0020 - 608 0021 - 448 0022 - 224 0023 - 640 0024 - 480 0025 - 384 0026 - 352 0027 - 1088 0028 - 1342 0029 - 305 0030 - 1792 0031 - 2440 0033 - 416 0034 - 1152 0035 - 896 0036 - 1792 0037 - 512 0038 - 448 0041 - 1664 0042 - 576 0044 - 1024 0045 - 2560 0046 - 5760 0049 - 10980 0050 - 2196 0051 - 2196 0052 - 1586 0053 - 427 0054 - 976 0056 - 768 0057 - 1024 0060 - 915 0061 - 1342 0063 - 896 0064 - 610 0065 - 1536 0066 - 1024 0067 - 416 0068 - 1216 0071 - 1708 0073 - 1830 0074 - 366 0075 - 671 0076 - 640 0077 - 732 0078 - 375 0079 - 1536 0080 - 2304 0081 - 213 0084 - 352 0085 - 768 0086 - 671 0087 - 1152 0088 - 4480 0089 - 732 0090 - 1408 0091 - 1024 0092 - 320 0093 - 512 0094 - 1024 0095 - 2806 0097 - 1830 0098 - 384 0100 - 1280 0101 - 3250 0102 - 640 0103 - 1250 0104 - 1342 0105 - 518.5 0106 - 1250 0107 - 960 0109 - 2684 0110 - 2440 0111 - 1220 0112 - 549 0113 - 1342 0114 - 1088 0115 - 1024 0116 - 10980 0117 - 1536 0118 - 1024 0119 - 7930 0120 - 732 0121 - 687 0122 - 832 0123 - 610 0124 - 1664 0125 - 610 0126 - 384 0127 - 1159 0128 - 704 0129 - 768 0130 - 305 0131 - 2440 0133 - 2684 0134 - 2562 0135 - 15360 0136 - 5440 0137 - 15860 0139 - 2048 0140 - 1342 0141 - 1220 0142 - 2928 0143 - 3538 0144 - 2074 0145 - 1792 0146 - 3712 0147 - 1159 0148 - 2806 0149 - 793 0152 - 1037 0154 - 1586 0155 - 1088 0156 - 488 0157 - 1830 0158 - 960 0159 - 384 0160 - 3840 0161 - 896 0162 - 704 0163 - 610 0164 - 915 0165 - 335 0166 - 366 0167 - 305 0168 - 488 0169 - 384 0170 - 1342 0171 - 1037 0172 - 732 0173 - 1464 0174 - 3050 0175 - 4270 0176 - 1830 0177 - 488 0178 - 20740 0179 - 518 0180 - 3050 0181 - 768 0182 - 1220 0183 - 10980 0184 - 4270 0185 - 3660 0186 - 274 0187 - 915 0188 - 1342 0189 - 1037 0190 - 9760 0191 - 305 0192 - 704 0193 - 1098 0194 - 2304 0195 - 1536 0196 - 26880 0197 - 10980 0198 - 5120 0199 - 1708 0200 - 1920 0201 - 1536 0202 - 4480 0203 - 610 0204 - 832 0205 - 9760 0206 - 1830 0207 - 610 0208 - 427 0209 - 480 0210 - 448 0211 - 375 0212 - 366 0213 - 244 0214 - 480 0215 - 576 0216 - 244 0217 - 396 0218 - 640 0219 - 704 0221 - 544 0222 - 512 0223 - 875 0224 - 2304 0225 - 1152 0226 - 3072 0228 - 3072 0230 - 4352 0233 - 704 0234 - 256 0235 - 480 0236 - 608 0237 - 192 0238 - 512 0239 - 274 0240 - 224 0241 - 896 0242 - 224 0243 - 256 0244 - 256 0245 - 256 0246 - 832 0247 - 576 0251 - 544 0252 - 183 0254 - 512 0254A - 896 0256 - 768 0257 - 2304 0258 - 5440 0259 - 4160 0260 - 1792 0261 - 5760 0262 - 2562 0263 - 2625 0264 - 1280 0265 - 7680 0267 - 37500 0268 - 562 0269 - 2562 0271 - 2562 0272 - 1216 0273 - 549 0276 - 192 0279 - 384 0280 - 1280 0281 - 1536 0282 - 1280 0283 - 1536 0284 - 1664 0285 - 187 0286 - 1536 0287 - 3328 0288 - 1088 0289 - 832 0290 - 1464 0291 - 43920 0292 - 8540 0294 - 10880 0295 - 3500 0296 - 3294 0297 - 1088 0298 - 2432 0300 - 1220 0301 - 610 0302 - 10370 0303 - 576 0304 - 640 0305 - 512 0306 - 384 0307 - 1024 0308 - 384 0309 - 384 0310 - 384 0312 - 1037 0313 - 1098 0314 - 34160 0315 - 23180 0316 - 25600 0317 - 5185 0319 - 20480 0320 - 1664 0321 - 8320 0322 - 2196 0323 - 13420 0324 - 5625 0325 - 1920 0326 - 1000 0329 - 11520 0330 - 488 0331 - 608 0332 - 416 0333 - 896 0334 - 32940 0337 - 13420 0338 - 1375 0340 - 7040 0341 - 544 0342 - 1830 0343 - 1792 0344 - 896 0345 - 1024 0346 - 1875 0347 - 625 0348 - 896 0349 - 1536 0350 - 3200 0351 - 1342 0352 - 396 0353 - 1216 0354 - 544 0355 - 244 0356 - 608 0357 - 608 0358 - 544 0359 - 793 0360 - 1037 0361 - 2074 0362 - 416 0363 - 457 0364 - 457 0365 - 1664 0366 - 549 0367 - 128 0368 - 1536 0369 - 549 0370 - 1920 0371 - 610 0372 - 288 0373 - 1152 0374 - 480 0375 - 288 0376 - 1464 0377 - 896 0378 - 1024 0379 - 1024 0380 - 1024 0381 - 2048 0382 - 2048 0383 - 5760 0384 - 7680 0385 - 2432 0386 - 1159 0387 - 2176 0388 - 4800 0389 - 1408 0390 - 32000 0392 - 2176 0393 - 2176 0394 - 640 0395 - 4480 0396 - 832 0397 - 1280 0399 - 1152 0400 - 768 0401 - 768 0402 - 768 0404 - 854 0405 - 1000 0406 - 1024 0407 - 11250 0408 - 448 0409 - 704 0410 - 250 0412 - 7500 0413 - 10980 0414 - 128 0416 - 256 0417 - 125 0418 - 320 0419 - 427 0420 - 1536 0421 - 768 0423 - 960 0424 - 396 0425 - 937 0426 - 416 0427 - 832 0428 - 640 0429 - 512 0430 - 384 0431 - 1408 0432 - 1024 0434 - 2432 0435 - 896 0436 - 512 0437 - 384 0438 - 2816 0439 - 640 0440 - 512 0441 - 2176 0442 - 1500 0444 - 512 0445 - 576 0446 - 640 0447 - 1500 0448 - 448 0449 - 610 0450 - 896 0451 - 488 0452 - 488 0453 - 384 0454 - 640 0455 - 8960 0456 - 512 0459 - 2560 0461 - 576 0462 - 219 0464 - 5120 0465 - 2196 0466 - 704 0468 - 320 0469 - 640 0470 - 457 0472 - 427 0473 - 512 0475 - 1792 0476 - 3840 0477 - 3712 0478 - 3200 0479 - 579 0480 - 1280 0481 - 1375 0482 - 854 0483 - 768 0486 - 1280 0487 - 544 0488 - 562 0489 - 832 0490 - 832 0491 - 832 0492 - 1664 0493 - 1220 0494 - 562 0495 - 7320 0496 - 488 0497 - 2048 0498 - 2816 0500 - 1408 0501 - 213 0502 - 480 0503 - 610 0504 - 427 0505 - 640 0506 - 732 0507 - 1037 0508 - 610 0509 - 671 0510 - 732 0511 - 793 0512 - 832 0513 - 832 0514 - 488 0516 - 793 0517 - 384 0518 - 366 0519 - 274 0520 - 768 0521 - 480 0522 - 1536 0523 - 192 0524 - 1024 0527 - 1024 0528 - 1280 0531 - 89 0532 - 29280 0533 - 4270 0534 - 549 0535 - 4480 0536 - 2562 0537 - 2432 0539 - 1024 0540 - 28160 0541 - 2048 0542 - 2048 0543 - 1750 0544 - 832 0546 - 256 0547 - 832 0548 - 768 0549 - 448 0550 - 640 0555 - 1536 0556 - 1536 0557 - 960 0558 - 832 0560 - 14080 0561 - 2176 0562 - 15860 0563 - 448 0566 - 2562 0567 - 6100
3,
CONDITIONS OF SALE; WAIVERS OF WARRANTY; LIMITATIONS OF LIABILITY
Registering for and/or placing a bid at auction constitutes the acceptance of and agreement to these Conditions of Sale; WAIVERS OF WARRANTY; and LIMITATIONS OF LIABILITY (collectively, the “Conditions of Sale”). These Conditions of Sale are binding and enforceable on all bidders and buyers.
1. WARRANTY WAIVERS; LIABILITY LIMITATIONS. All lots are sold “AS IS, WHERE IS” – WITH ALL FAULTS and WITH NO EXPRESS OR IMPLIED WARRANTIES. No statement or description regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, value, size, or quality of a lot, whether made orally at the auction or at any other time, in electronic messages, online, in writing, or in a catalogue, website, correspondence, advertising, literature, or elsewhere, is or shall be construed to be a guarantee, an express or implied warranty, or assumption of liability, obligation, or responsibility. The bidder or buyer WAIVES any such warranty, WAIVES any warranty of fitness for ordinary use or for any intended use, and further WAIVES any warranty against redhibitory vices and defects, whether latent, hidden, or apparent, and whether imposed by the Louisiana Civil Code or any other applicable statute, law, jurisprudence, or legal authority. The buyer further WAIVES any rights or remedies in redhibition to a return or reduction of the purchase price for any lot, including for any lot with any defect rendering the lot useless, inconvenient, or of diminished usefulness. All sales are final, without exception.
Each bidder and buyer agrees and acknowledges that: (a) the bidder or buyer is not relying on Neal Auction Company’s actual, perceived, or expressed skill, expertise, experience, knowledge, or judgment in deciding to purchase any lot; (b) no oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value is the cause of or reason behind the buyer’s purchase of any lot; (c) the buyer would have purchased any lot regardless of any oral, written, or electronic statement or description about attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value, made in a catalogue, website, correspondence, advertising, literature, or elsewhere; (d) Neal Auction Company did not know, nor should it have known that attribution, authenticity, authorship, character, condition, kind, period, provenance, size, quality, or expressed value is the cause or reason why the buyer decides to purchase any lot; (e) the buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; (f) Neal Auction Company did not know, nor should it have known, that any oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere would cause a pecuniary or nonpecuniary loss to any bidder or buyer; (g) the bidder or buyer has had the opportunity prior to bidding to make independent inspections of, and conduct due diligence on, all lots being offered; (h) there is no inspection or examination period after the auction bidding; (i) the bidder’s or buyer’s failure to be fully informed as to the attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value of a lot will not be grounds for any reduction of the purchase price or rescission of the sale; (j) Neal Auction Company shall not be liable, obligated, or responsible for the presence of lead-based paint or any other environmental or other hazard of any lot; (k) Neal Auction Company shall not be liable, obligated, or responsible to the buyer as to third parties who may claims rights to or interests in any lot; (l) the buyer is buying at the buyer’s sole risk and peril; (m) Neal Auction Company shall not be liable, obligated, or responsible for any errors or omissions in any oral, written or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere. Each bidder and buyer WAIVES and RELEASES any and all claims arising out of the matters expressed above. All such waivers, releases, and limitations of liability shall apply to Neal Auction Company and its owners, officers, directors, representatives, insurers, agents, and employees.
2. Fine Art. Subject to the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, with respect to authorship of works of fine art, the following phrases have the following meanings: ARTIST - In our qualified opinion, we believe the work is by the artist named. Attributed to ARTIST - In our qualified opinion, we believe the work may be ascribed to the artist named on the basis of style and period, but our opinion is less certain than in the previous category.
Signed “ARTIST” - In our qualified opinion, the signature, monogram, or other indication of authorship is a signature of the artist.
School of ARTIST - In our qualified opinion, the work is of the period of the artist named, by a student or a follower of the artist, but not by the artist.
Manner of ARTIST - In our qualified opinion, although the work is in the style of the artist named, it is actually of a later period.
After ARTIST - In our qualified opinion, the work is a copy of a known work of the artist named. Bears signature “ARTIST” - In our qualified opinion, although the work bears the signature or monogram of the artist, the work most likely is not that of the artist.
3. Discretionary Rescission. Notwithstanding the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale of a work of fine art on the basis of authenticity of authorship only under the following terms, conditions, and LIMITATIONS OF LIABILITY, all of which apply, and the buyer WAIVES and RELEASES any other rights, relief or remedies:
Neal Auction Company shall not grant rescission of any lot identified by the terms “attributed to,” “signed,” “school of,” “manner of,” “after,” or “bears signature.”
Neal Auction Company shall not grant rescission of any lot unless the buyer notifies Neal Auction Company in writing within 25 calendar days from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale.
Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written document signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery.
Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the original buyer, and any rights or interests of the original buyer are not transferrable, inheritable, or assignable.
Neal Auction Company shall not grant rescission when: (a) there is a conflict of expert opinion as to the authorship; (b) expert opinion supported authorship at the time of auction, although expert opinion may have changed afterward; and (c) scientific or other tests, examinations, investigations, research, or processes that were unavailable, expensive, or impractical at the time of the auction have revealed since that time that the author, character, condition, kind, provenance, period, quality, or value Neal Auction Company believed to be accurate at the time of sale was inaccurate.
In any dispute between Neal Auction Company and the bidder or buyer regarding authorship of a work of fine art, rescission of the sale and refund of the purchase price paid shall be the buyer’s sole recourse or remedy, if any is available. Neal Auction Company (and its owners, officers, directors, representatives, agents, insurers, and employees) shall not be liable, obligated, or responsible for any damages (including compensatory, general, incidental, consequential, exemplary, or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorneys’ fees, or any other monetary, declaratory, equitable, or injunctive relief or remedy. The buyer WAIVES and RELEASES any and all such damages, relief, and remedies.
AUCTION BIDDING AND SALE
1. The auctioneer shall have absolute discretion in determining the highest and best bid on each lot. The auctioneer may decide that any original bid is not commensurate with the value of the lot offered, or that any advance thereafter is not of sufficient amount, and the auctioneer may reject or refuse to recognize that bid or advance.
2. At the fall of the auctioneer’s hammer, the bidder acknowledged by the auctioneer, whether in person or absentee, thereupon assumes the obligation to pay for the offered lot, and shall pay the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs.
3. Title to the offered lot shall pass to the bidder acknowledged by the auctioneer upon payment of the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs. The buyer thereupon assumes full risk, obligation, and responsibility for the lot.
4. At any time before the sale of a lot, Neal Auction Company reserves the right to withdraw the lot or any part of the lot, to combine lots, or to separate items within a lot.
5. No lots will be released before the end of the auction.
6. If the buyer fails to comply with any of these Conditions of Sale, Neal Auction Company reserves the right to (a) hold such defaulting buyer liable, obligated, and responsible for the total amount due and to commence legal proceedings to recover the entire amount along with interest, reasonable attorneys’ fees, expenses, and costs; (b) charge outstanding amounts to the buyer’s credit card; (c) apply any payments to outstanding amounts chosen by Neal Auction Company notwithstanding the instructions of the buyer; (d) cancel the sale, retaining as liquidated damages any payment made by the buyer; (e) resell the lot without reserve at public auction, online-only auction, or privately on seven calendar days’ notice to the buyer; (f) enforce specific performance of the sale; (g) require a deposit in future auctions; (h) exclude the buyer from future auctions or bidding on particular lots; (i) exercise the rights and remedies of a person holding security and/or privilege over property in Neal Auction Company’s possession, whether by pledge, security interest or any other mechanism, to the full extent allowed under Louisiana law, and Neal Auction Company may hold the property of the buyer as collateral security for the buyer’s obligations; (j) and/or take such other actions allowed by law in Neal Auction Company’s sole discretion. If Neal Auction Company resells the lot, the defaulting buyer shall be liable, obligated, and responsible for the payment of any deficiency in the purchase price and any damages, including but not limited to all costs and expenses of both sales, such as, by way of example only, storage, handling, insurance, repairs, illustrations, consultations, examinations, moving, shipping, promotions, advertising, reasonable attorneys’ fees, commissions, and incidental damages.
7. Virtually all lots offered have been subject to use over a considerable period of time. No mention of cracks, scratches, chips, tears, breaks, weaknesses, or any damages or wear will be included in oral, written, or electronic statements or descriptions in the catalogue, website, correspondence, advertising, or literature. Condition reports may be provided upon request, but condition reports may not mention all cracks, scratches, chips, defects, hazards, tears, breaks, weaknesses, or other damages or wear. Neal Auction Company makes no representations or warranties as to the accuracy or completeness of any information or description in a condition report or elsewhere, whether oral, written, electronic, or online. Neal Auction Company reserves the right to decline to provide a condition report for any specific lot, at its sole discretion.
8. Neither high nor low estimates in a catalogue, website, advertising, correspondence, literature, or elsewhere should be relied on as a representation, prediction, appraisal, guarantee, or warranty that a particular lot will sell for a particular price or that a particular lot has a particular value.
9. Neal Auction Company has absolute discretion to admit a bidder to the auction premises, to expel a bidder from the auction premises, or to refuse a bidder from participating in the auction.
10. Neal Auction Company and its auctioneers shall not be liable, obligated, or responsible for failure to recognize or execute any bids for any reason whatsoever, or for no reason. Bidders and buyers WAIVE and RELEASE any rights to damages, and equitable, declaratory, and injunctive relief arising out of the failure or rejection of any bid, or any errors or omissions relating to the bidding process.
11. Interfering with the auction in any way is prohibited.
12. Bid rigging is strictly prohibited. Any agreement, understanding, or arrangement not to bid against another or otherwise to dampen the bidding is unlawful. The auctioneer reserves the right to bid on behalf of the consignor for the protection of the consignor if this illegal activity by two or more bidders is detected, disclosed, alleged, or suspected.
13. Canvassing or solicitating on the auction premises is prohibited.
14. The auctioneer has the sole discretion as to the increments of bidding, the recognition of any bid, the acceptance of the final bid, and resolving any disputes among bidders.
15. Neal Auction Company represents the consignors only and is not acting as agent or representative of bidders or buyers. The payment of the buyer’s premium by the buyer does not indicate a dual agency relationship. Neal Auction Company is to be paid a fee or commission by the consignor pursuant to a separate written agreement between the consignor and Neal Auction Company. The consignor is the seller of the lot sold. Neal Auction Company is the consignment agent or representative, not the seller.
16. The successful bidder is obligated to pay the purchase price in full unless Neal Auction Company has consented in writing at the time of the bidder’s registration that the bidder is acting as an agent on behalf of an identified person and that said principal is obligated to pay the purchase price in full. Neal Auction Company reserves the right to require an advance deposit for such bids.
17. Prior to placing any bid, all bidders must complete a standard Neal Auction Company Registration Form in use at the time of the auction.
18. Dealers must provide Neal Auction Company with proper documentation prior to bidding.
19. First time bidders are required to produce a valid state-issued identification card or passport.
20. Bids are required to be made in U.S. dollars.
21. Neal Auction Company may require a bidder or buyer at any time to produce financial, banking, or trade references and information.
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VISIT NEALAUCTION.COM TO REQUEST AND VIEW CONDITION REPORTS, REGISTER TO BID LIVE ONLINE, AND SUBMIT ABSENTEE/TELEPHONE BIDS
D. E. A. B. C.
22. All bidders are required to provide credit card information (such as but not limited to the type of card, card number, name as it appears on the card, billing zip code, expiration date, and security code).
23. All bidders are required to select, and notify Neal Auction Company of, a method of payment (cash, check, wire, or credit card) in writing at the time of registration.
24. Neal Auction Company reserves the right to describe or to make photographic, video, or audio recordings of the auction, or any part thereof, and to publish such descriptions, photographs and/or recordings.
25. Lots may be offered subject to a reserve, which is the confidential minimum hammer price below which the lot will not be sold, for the protection of the consignor. Such reserve will not exceed the low estimate for the lot. The auctioneer may open the bidding on any lot by placing a bid on behalf of the consignor, auctioneer, or an absentee bidder that is below the reserve. The auctioneer may continue to bid on behalf of the consignor, auctioneer, or absentee bidder up to the amount of the reserve, by placing consecutive bids or by bidding in response to other bidders. Neal Auction Company may sell a lot at a hammer price below the reserve at its discretion, subject to its agreement with the consignor.
ABSENTEE/TELEPHONE/ONLINE BIDS
1. All absentee bids and/or telephone bids must be received by Neal Auction Company by 5 p.m. Central Time the Thursday prior to the auction.
2. All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at the discretion of Neal Auction Company. Each lot must have a minimum low estimate of $500 for telephone bidding. Absentee bids are accepted for any lots regardless of estimate, at the discretion of Neal Auction Company.
3. Neal Auction Company intends to endeavor to protect the confidentiality of absentee/telephone bids. In the event that the identity of absentee/telephone bidders or buyers or of the amounts of absentee/ telephone bids is disclosed, Neal Auction Company shall not be liable, obligated, or responsible for such disclosure, and each bidder and buyer WAIVES and RELEASES Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any claims arising out of such disclosure.
4. Neal Auction Company reserves the right, in its sole discretion, to require that any advance bids be accompanied by a security deposit.
5. Neal Auction Company shall not be liable, obligated, or responsible for any failure, design flaw, error, act, omission, or negligence of third party sites or their agents. Bidders WAIVE and RELEASE any rights to damages and equitable, declaratory, and injunctive relief and remedies arising therefrom.
6. Prior to placing any absentee, telephone, or online bid, all bidders are required to complete the applicable Registration Form prior to such bidding.
7. In the event of ambiguity, uncertainty, or discrepancy, the lot number and not the lot description on any bid will be deemed to be the lot on which the bid is made.
8. If more than one absentee bid on a particular lot is received with the same maximum bid amount, and that bid amount is the highest and best bid for the lot, the lot will be sold to the bidder whose absentee bid was accepted first by Neal Auction Company after receiving it. If a bid placed on a lot by a bidder who is physically present at the auction is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is physically present at the auction. If a bid placed on a lot by a bidder who is present at the auction (in person or by telephone) is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is present at the auction (in person or by telephone).
9. Neal Auction Company reserves the right to record any telephone bidding or conversation relating to said bidding, or any part thereof, and to publish said recordings. By participating in telephone bidding, the bidder consents to such recording and publication, notwithstanding the laws or regulations of the state or jurisdiction of the bidder.
PAYMENT
1. The successful bidder (except a successful online bidder) shall pay a buyer’s premium in the amount of 25% of the hammer price on each lot up to and including $200,000, plus 15% of the hammer price greater than $200,000. For payments made by cash, check, or wire transfer (except by online bidders) within 15 calendar days of the auction, the buyer’s premium will be discounted to 22%.
2. The successful online bidder shall pay a buyer’s premium in the amount of 28% of the hammer price on each lot. A discount for payments made by cash, check, or wire transfer is not available for purchases made by online bidders.
3. In the event of any dispute, the Neal Auction Company sale record is conclusive.
4. Unless exempt by law, the buyer will be required to pay Louisiana and local taxes, and, if applicable, any federal luxury or other tax, on the total purchase price.
5. Documentation of tax exemption must be provided upon registration. Billing name and address of a bidder must agree with that on the sales tax exemption certificate.
6. Payment in full of the purchase price must be made by the successful bidder in U.S. Dollars within 15 calendar days of the auction. Interest charges of one and one-half percent per month shall apply to invoices paid after this period expires. Neal Auction Company reserves the right to require payment in full of the purchase price immediately following declaration of the successful bidder.
7. Payment for all jewelry purchases must be made by cash, check or wire transfer.
8. VISA, MasterCard, Discover, and American Express are accepted for payment of invoices (except jewelry) up to $25,000 per buyer.
9. Checks must be drawn on a U.S. bank. All lots shall be held by Neal Auction Company until the check clears.
10. The buyer’s signature on a registration form (or other writing with the buyer’s credit card number) gives Neal Auction Company permission to charge the buyer’s credit card the full amount of the buyer’s invoice if full payment is not received within 15 calendar days of the auction or, in Neal Auction Company’s discretion, to charge the buyer’s credit card later, with interest at the rate of one and one-half percent per month.
PACKING, MOVING, SHIPPING, AND DELIVERY
Neal Auction Company may furnish information on packers, movers, or shippers for bidders or buyers making packing, moving, shipping, and delivery arrangements, but Neal Auction Company shall not be liable, obligated, or responsible therefore, and buyers retain packers, movers, and shippers at their own risk and peril. Shipping, moving, packing, and delivery arrangements and agreements are strictly between the buyer and the shipper, mover, or packer. Neal Auction Company shall not be liable, obligated, or responsible for any damage to property, including vehicles, or for any personal injuries of buyer or any third parties involved in packing, moving, shipping, or delivery. Buyers WAIVE and RELEASE Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any and all claims relating to packing, moving, shipping, and delivery of purchased lots, and any damage or injuries to persons or property arising therefrom.
HANDLING AND STORAGE
Unless other arrangements are made and confirmed in writing by Neal Auction Company, all lots must be removed within 15 calendar days of the auction. On the first business day following that time period, any lots remaining in the Neal Auction Company gallery may be turned over to a storage facility, at Neal Auction Company’s discretion. The buyer will be responsible for all handling and storage charges. Handling charges shall be a minimum of $50 per lot. Storage costs shall be a minimum charge of $50 per month per lot. Storage charges accrue monthly and must be paid in full before any lots purchased by the buyer are released. At its discretion, Neal Auction Company may charge the full amount of any storage and handling charges, on a periodic basis, on the buyer’s credit card, including interest at the rate of one and one-half percent per month. All purchased lots will be handled and stored at the buyer’s sole risk and peril. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for handling or storage, or for any damage to or loss of, any lot after the sale. The buyer WAIVES and RELEASES all such claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees).
INTELLECTUAL PROPERTY RIGHTS
Neal Auction Company retains the copyright and other intellectual property rights to all photographs, video, illustrations, text, and other works in its catalogue, website, advertising, correspondence, literature, and elsewhere. Such photographs, video, illustrations, text, and other works may not be used, copied, published, exhibited, revised, or displayed without the prior written permission of Neal Auction Company.
Neal Auction Company and the consignor make no representation or warranty that the buyer of a lot will acquire any copyright or other intellectual property right or interest in the lot.
IMPORT/EXPORT
Lots made of or incorporating endangered or protected wildlife materials, irrespective of age or amount of material, may require a license or certificate authorizing export from the United States as well as relevant authorizations from the country of import. It is the responsibility of the bidder or buyer to determine and be satisfied that the requirements of any applicable laws and regulations applying to the transportation, whether international or interstate, can be met before bidding. The inability of a buyer to transport lots containing endangered or protected wildlife material is not a basis for cancellation or rescission of the sale or discount of the purchase price. Although licenses may be obtainable to export certain types of endangered species, some types may not be exported at all, and other types may not be resold in certain states in the United States. Neal Auction Company cannot assist the bidder or buyer in attempting to obtain the appropriate licenses and/or certificates, and bidders and buyers can be given no assurance that an export license or certificate can be obtained. Each bidder should verify with an attorney or qualified shipping company if uncertain as to whether a lot is subject to export/ import license and certificate requirements and any other restrictions or prohibitions on the interstate transportation or exportation from the United States. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for any oral, written, or electronic advice given or representations made by it or by any shipping company, legal counsel, or other person. Buyers WAIVE and RELEASE any and all claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) relating to such advice and representations.
MANDATORY AND EXCLUSIVE FORUM SELECTION; CHOICE OF LAW
Any action of any nature brought by a bidder or buyer against Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot in any court, whether federal or state, shall be brought exclusively in Orleans Parish, Louisiana. Every bidder and buyer agrees to submit to jurisdiction and venue in federal or state court in Orleans Parish, Louisiana, waives all objections or challenges to such jurisdiction or venue, and waives any rights to jurisdiction or venue in any other forum. Any dispute between the bidder or buyer and Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot shall be governed by the law of the State of Louisiana, notwithstanding any conflicts of laws principles.
MISCELLANEOUS LEGAL PROVISIONS
If any part of these Conditions of Sale is held to be invalid, null, or unenforceable, that part shall be reformed so as to implement the intent of the parties as expressed herein, and any such holding shall not affect the remaining provisions of these Conditions of Sale, which shall remain in full force and effect, subject to reformation to implement the intent of the parties as expressed herein.
The paragraph headings contained herein are for convenience of reference only and shall not affect the meaning or interpretation of these Conditions of Sale.
All prior and contemporaneous representations, communications, and agreements, if any, between the bidder or buyer and Neal Auction Company (and any of its owners, officers, directors, representatives, insurers, agents, and employees) relating to any of the lots offered for sale or to the auction or sale are hereby superseded and merged into these Conditions of Sale, which are the entire and only contract between the bidder or buyer and Neal Auction Company relating to the subject matter herein.
Any modifications, amendments, or waivers of these Conditions of Sale must be made in a writing signed by both Neal Auction Company and the bidder or buyer.
In the event of any disputes arising out of the auction or sale of lots or these Conditions of Sale, Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated or responsible for any general, special, exemplary, incidental, or consequential damages (including but not limited to lost profits and attorneys’ fees). Every bidder and buyer WAIVES and RELEASES any rights to such damages. This LIMITATION OF LIABILITY does not, and is not intended to, enlarge or expand any rights or interests of a bidder or buyer that are restricted or limited elsewhere in these Conditions of Sale (including but not limited to the WARRANTY WAIVERS and LIABILITY LIMITATIONS set forth herein).
These Conditions of Sale constitute a binding legal contract between Neal Auction Company and each bidder or buyer. Each bidder and buyer acknowledges having read and understood these Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY. All bidders and buyers further acknowledge that they enter into these Conditions of Sale of their own free will, with full authority, and under no duress or coercion.
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Enrique Alferez, 240
Frank Anderson, 329
Walter Inglis Anderson, 91-97
Edouard Charles Armand-Dumaresq, 36, 37
John James Audubon, 324, 326,
John Woodhouse Audubon, 325, 327
B
Barry Stone Bailey, 227
Thomas Barker of Bath, 29
Feliciano Bejar, 280
Leon Bibel, 282
Edward Darley Boit (attr), 19
Chakaia Booker, 305
Bruce Bordelon, 226
William Henry Buck, 132
C
Harry Morey Callahan, 313
George Frederick Castleden, 135
Continental School, 26-28, 32, 35
Thomas Couture, 22-24
Michael Crespo, 172 D
Bruce “Dapper Bruce Lafitte” Davenport, Jr., 237, 238
Arthur Diehl, 332
Alexander John Drysdale, 83-90
Ray George Ellis, 224
F
Hermann Fuechsel, 330
Christophe Fratin, 21
French School, 25, 30 G
Robert Gordy, 239
Robert Wadsworth Grafton, 133, 134
Guy Edward Grey-Smith, 287
H
Jacob El Hanani, 283
John Theodore Heins, 39
Harold Hitchcock, 225
Morris Henry Hobbs, 138, 139
Warner Hoople, 140
Albert Huie, 308
J
John Wesley Jarvis (attr), 129
David Johnson, 333
K
Steve Kaufman, 302
Seydou Keita, 309
William Keith, 331
Alberta Kinsey, 136
Ida Rittenberg Kohlmeyer (attr), 229
R
Don Reggio, 79
Frank Relle, 312
Rembrandt Van Rijn, 40
Noel Rockmore, 230-234
George Rodrigue, 173-177
Robert Malcolm Rucker, 82
S
Jean Seidenberg, 228
Joe Selby, 142
Hunt Slonem, 162-170
Joseph Stella, 278
Renee Stout, 306
T
Yves Tanguy (aft), 281
Chuah Thean Teng, 284
Hank Willis Thomas, 304
Walasse Ting, 286
Alfred Ernest Lang, 141
Louisiana School, 80
Alvin Demar Loving, Jr., 307
M
Bunny Matthews, 235
Charles Alfred Meurer, 275
James Michalopoulos, 159-161
Clarence Millet, 81
Elemore Morgan, Jr., 171
Gilbert Munger, 33 N
Herr Nilsson, 303 O
William Ousley, 77, 78
James D. Parks, 276
Giovanni Battista Piranesi, 42
Eugene Quinton, 34
V
George Louis Viavant, 130, 131
W
Georges Washington, 20
Joseph Wolf (aft), 328
Grant Wood, 279
Zao Wou-ki, 285
Don Wright, 137
Frank Lloyd Wright (aft), 277
James Browning “Jamie” Wyeth, 288
Y
Purvis Young, 236
94 April 21, 2023 • Artist Index A
E
L
P
Q
John R. Neal (1940-2018), Founder
Michelle LeBlanc Leckert, CAI President
Katherine Hovas
Senior Vice President
ADMINISTRATION
Director of Administration & Finance
Michelle LeBlanc Leckert, CAI
Client Services / Accounts Receivables
Rebekah Abernathy
Database Management / Internet Auction Administrator
Lisa Weisdorffer
Bookkeeper
Katie Lasher
Marketing & Social Media
Cameron McHarg
General Manager
Jason Leckert
Administrative Assistant
Claire Whitmore
GRAPHICS
Graphics Director / Catalog Design
David Roberts
Photography
Gerard Lewis
Jason Leckert
Jorge Diaz
OPERATIONS
Operations Staff
Charlie Clay
Scott Gann
Graphics Staff
Stephanie Do Ouro
Sarah Rose Janko
Amanda Torres
CONSIGNMENTS
Marc Fagan
Vice President Consignments
Furniture & Decorative Arts
Marc Fagan
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, Jewelry
Cameron McHarg
Consignments Administrator
Heather Munch
Fine Art Inventory Manager
Casey Foote
AUCTION SERVICES
Trust & Estates Advisor
Henry G. McCall
Appraisals
Marc Fagan, Cameron McHarg
CATALOGUE CONSULTANTS
Asian Arts & Special Projects
Bettine Field Carroll
Jerry Major
Adam Trepagnier
Decorative Arts Inventory Management
Charlie Clay
AUCTIONEERS
Michelle LeBlanc Leckert #1514
Bettine Field Carroll #1874
Marc Fagan #1935
Marney Robinson #2155
Cameron McHarg #A-193
JEWELRY
Newcomb Pottery & Decorative Arts
Sally Main
Silver
Carey Mackie
Decorative Arts & Victoriana
Ann M. Masson
GIA Graduate Gemologists
Stephen A. Moses
Ilana Picard
