November 17, 18 & 19, 2017 Louisiana Purchase Auction by Neal Auction

Neal Auction Company November 17, 18 & 19, 2017

Neal Auction Company Louisiana Purchase AuctionTM November 17, 18 & 19, 2017

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

Michelle LeBlanc Leckert, CAI Vice President

Bettine Field Carroll Vice President Business Development

ADMINISTRATION

AUCTIONEERS

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

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

Marc Fagan #1935

GENERAL MANAGER

Jason Leckert

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

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

EXHIBITION STAFF

Cecile Ballard Ann Mahorner Cammie Mayer Margo Phelps Yvette Semmes Clare Stewart Carolyn Wogan

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

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

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

Louisiana Purchase Auction™ November 17, 18 & 19, 2017 On Our Premises 4038 Magazine Street & 3923 Carondelet Street Featuring:

18th and 19th c. American, French and English antiques, important paintings, historical material and decorative arts especially consigned by discerning collectors, estates and institutions including: Notable Louisiana Paintings Acquired by Aristide Hopkins (New Orleans and Biloxi, 1839-1925) and Descended in his Family Historic Paintings Descended in the Family of Don Antonio Mendez (Cuba and Louisiana, 1750-1829) Important Early Louisiana Furniture from the Collection of Noted Antiquarian Robert E. Smith Fine Art, Antiques and Silver from the Estate Collection of Stephen G. Henry, Baton Rouge Fine American Furniture and Decorative Art from a New Orleans Garden District Estate Spanish Colonial Art, Furniture, and Decorative Objects from an Antiquarian Collector Important 19th Century American Furniture from a California Estate Property from the Estate of Thomas Greene Collins Jr., Arabi, LA Part II, Property from the Collection of Renowned Historian Henri Schindler, New Orleans Additional Property from the Sturm Family of St. Thomas and Trinidad

EXHIBITION both galleries beginning Monday, November 6, 10 a.m. to 5 p.m. Special Saturday Preview, November 11, 10 a.m. to 5 p.m. Evening Preview Reception, Wednesday, November 15, 5 to 8 p.m. AUCTION SCHEDULE Friday, November 17, 1 p.m., 4038 Magazine Street Saturday, November 18, 10 a.m., 4038 Magazine Street Sunday, November 19, 11 a.m., 3923 Carondelet Street

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

1-800-467-5329 • Fax: 504-897-3808 • www.nealauction.com LA Auc. Lic., Neal Auction Co. #AB-107, Alford #797, LeBlanc #1514, Carroll #2014, Fagan #1935

We Invite You to Visit Us Online at www.nealauction.com

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Neal Auction

Louisiana Purchase Auction™ November 17, 18 & 19, 2017

View Large Full Color Images Full Lot Descriptions by Category and Lot Number Order Request and View Condition Reports Submit Absentee and Telephone Bids W denotes the lot is illustrated at www.nealauction.com

Neal Auction Company is pleased to offer important furniture and other period objects from the collection of historic preservation consultant and antiquaire Robert Smith of Breaux Bridge, LA. Smith rescued the Henri Penne House and several other dependency buildings from various early 19th century plantation sites in Acadiana, assembling them on a nine-acre property near Breaux Bridge to recreate a Creole plantation. Meticulously restored and set in a period-appropriate garden based on that at the Academy of the Sacred Heart Convent in Grand Coteau, the property is now on the National Register of Historic Places. The esteemed H. Parrott Bacot, in his 1988 article in The Magazine Antiques, writes: “The Penne house complex affords a rare glimpse into the sort of setting that might commonly have been lived in by … Louisiana Creole planters in the 1820’s and 1830’s. The rich collections of Louisiana-made decorative arts have been appropriately fleshed out with objects imported from France, the East coast and England, as was the practice in early nineteenth century Louisiana.” Smith began collecting early Louisiana objects shortly after graduating from architecture school in 1970, inspired by his Acadian, French and Spanish Louisiana colonial ancestry. He was guided early on by his friend and mentor, the Jeanerette antiquarian Carrie Wolford. Smith’s collection would grow to encompass 18th and 19th century Louisiana furniture as well as vivid examples of material culture, including a rare Acadian loom and related textiles. In fact, Smith is generally acknowledged to have one of the finest extant collections of Acadian textiles. Robert Smith is shown below in the June 1991 Southern Accents article “A Dream Among the Ruins, which describes his “’highly realistic fantasy’ of nineteenth century French life in the New World.”

Additional information at www.nealauction.com

Neal Auction Company is pleased to offer select objects from the Russell and Doris Evitt Collection. This important group of high-style 19th century American furniture was carefully assembled over many years and showcased in the Evittâ&#x20AC;&#x2122;s Amador County, CA home and in two historic buildings which they restored in the old Gold Rush town, Sutter Creek.

Session One Friday, November 17, 1 pm 4038 Magazine

Additional information at www.nealauction.com

1. Edwardian Inlaid Mahogany Vitrine in the Adam Taste, early 20th c., molded cornice, paneled foliate inlaid frieze, glazed doors, shelf interior, table base with light wood banding, frieze drawers and square tapered cuffed legs, h. 55 in., w. 34 in., d. 19 in. $300/500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

2. Late Georgian‑Style Mahogany Writing Table, inset tooled leather top, frieze with three drawers, turned legs, casters, h. 29 3/4 in., w. 61 in., d. 31 1/4 in. $1200/1800

3. Georgian‑Style Carved Mahogany Gainsborough Chair, padded back, arms and seat, cabochon carved cabriole legs, drake feet, h. 37 in., w. 27 in., d. 27 in. $200/400

4. Regency Inlaid Mahogany and Bronze-Mounted Pembroke Table, early 19th c., shaped drop‑leaf top, frieze drawer, turned supports, shaped plinth, sabre legs, brass paw feet, casters, h. 28 1/2 in., w. 35 3/4 in., d. 20 1/2 in. $600/900

5. Antique Onyx and Gilt Bronze Guéridon, circular inset onyx top, pierced apron with champleve enamel cartouches, reeded legs, onyx stretcher shelf, acanthine sabots, h. 32 in., dia. 20 in. $200/400

6. Antique Louis XVI‑Style Bronze‑Mounted Inlaid Mahogany Sécrétaire à Abattant, marble top frieze drawer, fall‑front writing surface over two doors, flared feet, bronze sabots, h. 47 3/4 in., w. 21 1/2 in., d. 15 in. $500/800

10. John Gould (British, 1804‑1881), “Gadwall” and “Pintail Duck”, 2 hand‑colored lithographs, from Birds of Europe, sheets 16 1/2 in. x 22 1/4 in., framed alike. (2 pcs.) $400/600 7. Continental Bronze Bamboo Motif Coffee Table, attr. to Maison Bagues, mirror top, X stretcher, paw feet, h. 18 1/2 in., w. 28 3/4 in., d. 28 3/4 in. $1000/1500

11. David Roberts (British, 1796‑1864), 5 tinted lithographs from The Holy Land, Syria..., Day & Son, 1856, printed by Louis Haghe, quatro edition, sheet 7 1/2 in. x 11 in., all framed alike. $500/700 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

8. Charles X Carved Mahogany Center Table, 19th c., circular slate top, foliate‑carved frieze, hocked legs, paw feet, plinth base, h. 30 in., dia. 30 in. $600/900

12. John Gould (British, 1804‑1881), “Aquila Chrysaetos, Briss (Golden Eagle)”, hand‑colored lithograph from Birds of Great Britain, sheet 21 1/2 in. x 14 1/4 in., framed. $400/600

9. Diminutive Provincial Inlaid Fruitwood Encoignure, late 18th/early 19th c., etagere superstructure, compass star inlaid top, serpentine case with two doors, shelf interior, shaped bracket feet, h. 60 1/2 in., w. 22 in., d. 16 in. $600/900

13. John Gould (British, 1804‑1881), “Florisuga Ater” and “Phaethornis Griseogularis”, 2 hand‑colored lithographs, from Hummingbirds, sights 20 1/4 in. x 14 in., framed alike. (2 pcs.) $500/700

14. Nine Portrait Miniatures of Napoleon Bonaparte’s Family, “Napoleon”, “Maria Letizia Ramolino Bonaparte”, “Maria Annunziata Caroline Bonaparte Murat”, “Pauline Bonaparte Leclerc Borghese”, “Joseph Bonaparte”, “Lucien Bonaparte”, “Maria Anna Elisa Bonaparte Baciocchi Levoy”, “Louis Bonaparte”, and “Jérôme Bonaparte”, each signed “H. Renoior” lower right, typewritten labels identifying sitters en verso, sights 3 1/4 in. x 2 1/2 in., oval metal frames inset in mother of pearl and bone frame with ink detials. $700/1000

15. Gilt Bronze‑Mounted Chinese Export Famille Rose Porcelain Center Bowl, late 19th c., decorated with figural and bird‑and‑flower panels on a gilt ground with butterflies and flowers; squared scroll handles, stem foot, h. 10 5/8 in., w. 14 in. $700/1000

18. Large and Impressive Pair of Continental Faience Elephant Lamps, probably early to mid 20th c., mottled pale blue flambé glaze, each modeled in a striding stance on a brass and wood plinth, white glazed tusk‑form finials, elephant h. 12 in., h. (to top of finial) 32 1/2 in., w. 23 in., d. 7 in. $800/1200

23. Two Carved Mahogany Pedestals, late 19th c., each with square top, dentil frieze, Corinthian column supports, molded plinth base, one slightly smaller, h. 36 in., w. 18 in. $700/1000

16. Murano Glass Six‑Light Candelabra, 20th c., foliate design, electrified, h. 28 1/2 in., w. 19 in. $300/500

17. Three Murano Glass Two‑Light Wall Sconces, 20th c., in rose and pale blue glass, electrified, h. 15 in., w. 15 in., d. 8 in. $1000/1500 Provenance: Estate of Stefanie C. Golden, Florence, Italy.

Provenance: Estate of Stefanie C. Golden, Florence, Italy.

19. Three Czech Art Glass Vases, 20th c., incl. two malachite vases by Schlevogt and a clear example, tallest h. 9 5/8 in. $700/1000

20. Highly Decorative Chinese “Famille Jaune” Porcelain and Gilt Metal Side Table, circular top decorated with fish and plants, base with apocryphal Jiaqing mark, faux bamboo base, probably iron, h. 24 in., dia. 24 in. $1200/1800

21. Bronze Figure of an Ice Skater, after Rene Charles Masse, signature inscribed on self‑base, “GK16” stamped on underside, h. 26 in., w. 7 in., d. 10 in., “Depose” stamped on base, overall h. 29 in. $1000/1500

Provenance: Ex‑Collection Brooke Astor.

22. Bronze Figural Group of a Young Man and Woman, after “L’Orage [The Storm]”, by Emile Bruchon, signature inscribed on self‑base, h. 24 in., w. 13 in., d. 8 1/2 in., faux marbre base, overall h. 27 in. $500/800

24. George III Carved Walnut Side Chair, 18th c., arched acanthus crest, scrolled ears, molded stiles, trapezoidal slip seat, acanthus carved cabriole legs, pad feet, H stretcher, h. 38 in., w. 23 in., d. 23 in. $500/800

25. Regency Carved Rosewood Étagère, early 19th c., top with scalloped gallery, turned supports, lower tiers fitted with drawers, turned feet, cuff casters, h. 42 1/2 in., w. 20 in. $1000/1500

Provenance: The Blackamoor Antiques, New Orleans, LA, 1973. Additional information at www.nealauction.com

26. Edwardian Inlaid Satinwood Work Table, early 20th c., top with chamfered corners, pleated work drawer, splayed turned legs, X stretcher, h. 28 in., w. 14 in., d. 13 in. $400/600

27. Pair of American Federal Brass Ball‑Top Andirons, early 19th c., marked “J. Molineaux/ Founder/ Boston”, slipper feet, h. 16 1/2 in., w. 11 1/4 in., d. 24 in.; together with matching fire tools, incl. brass and iron coal shovel and tongs. $1000/1500

28. George III Sterling Silver Covered Entree Dish, Robert Garrard, London, 1811, marks rubbed, removable acanthus scroll and branch handle, gadroon borders, engraved armorial crest, h. 5 3/8 in., w. 11 7/8 in., d. 9 1/8 in., wt. 60 troy ozs. $1500/2500 Provenance: The Sturm Collection.

29. George III Sterling Silver Covered Entree Dish, London, 1807, maker B.S untraced, circular with floral scroll chasing, drop handles and scalloped foot rim, h. 4 1/4 in., dia. 10 1/8 in., wt. 42.25 troy ozs. $1200/1800

30. George III Sterling Silver Coffee Pot, 1764, London, maker AP, possibly Abm. Portal, pyriform, domed cover with pod finial, scroll spout, molded stepped foot, carved fruitwood handle, h. 10 3/8 in., wt. 29.25 troy ozs. $1000/1500

31. Victorian Sterling Silver Fruit Basket, Henry Wilkinson & Co., Sheffield, 1846, mark reg. 1831, engraved crest, scrolled swing handle, reticulated scroll border, molded foot, h. (to top of handle) 6 1/8 in., dia 9 in., wt. 11.60 troy ozs. $300/500 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

Provenance: The Sturm Collection. 33. Fine Pair of George III Sterling Silver Table Candlesticks, John Schofield, London, 1780, mark reg. 1778, each with removable bobêche, fluted tulip‑shaped candlecup and tapered shaft, stepped foot, beaded borders throughout, engraved with period script monogram “EM” and armorial crest with motto “manus justa decus (a just hand is an adornment)”, h. 9 in., one stick is weighted, unfilled stick wt. 16.85 troy ozs. $2500/5000

32. William IV Sheffield Plate Soup Tureen, 19th c., “hand” mark of J. Watson & Son or Padley, Parkin & Co., lobed oval form with gadroon and shell border, lion’s paw feet with foliate shell brackets, foliate openwork handles, engraved crests on inset silver shields, h. 10 1/2 in., w. 16 in., d. 10 1/8 in. $800/1200

35. George III Sterling Silver Pap Boat, Rebecca Emes and Edward Barnard I, London, 1811, gadroon border with shell and acanthus terminal, l. 5 1/8 in. $200/300 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

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

36. George V Sterling Silver Playing Card Box, E & N Speak, Birmingham, 1926, mark reg. 1917, lid engraved “Bridge”, wood‑lined fitted interior, with 2 decks of Art Deco cards, one “Tourist” motif, the other “Chloris” motif, h. 2 in., w. 6 1/4 in. $200/400 Provenance: The Sturm Collection.

34. George II Sterling Silver Salver, Paul Crespin, London, 1741, mark ent. 1739, square with notched corners, gadroon border, engraved armorial crest, bracketed scroll feet, h. 1 1/4 in., 7 1/2 in. square, wt. 16.45 troy ozs. $600/800

37. George VI Sterling Silver Cigarette Humidor, A.L. Davenport Ltd., Birmingham, 1938, mark reg. 1928, engine‑turned decoration, cedar‑lined, h. 1 1/16 in., w. 6 3/8 in., d. 4 3/4 in. $200/300 Provenance: The Sturm Collection.

38. George III Sterling Silver Chamberstick, London, 1810, marks rubbed, with removable bobêche and candle snuffer, h. 4 3/8 in., wt. 12.75 troy ozs. $300/400 Provenance: The Sturm Collection.

40. Pair of Vintage Motif Silverplate Wine Coolers, wired and fitted as table lamps, h. to top of cooler 11 1/4 in., overall 25 3/8 in. $800/1200 39. Pair of George III Sterling Silver Sauce Tureens, Andrew Fogelberg, London, 1804 and 1800, each oval footed form with reeded loop handles, domed cover with bud finial, beaded borders, reeded body, engraved crests, h. 6 3/8 in., w. 9 3/4 in., wt. 35.50 troy ozs. $800/1200 Provenance: The Sturm Collection.

42. American Classical Carved Giltwood Mirror, c. 1825‑1835, New York, in the manner of Isaac Platt, split baluster surround, acanthus corners, divided mirror plate, h. 53 in., w. 28 in. $500/800

41. American Late Federal Giltwood and Églomisé Mirror, early 19th c., molded cornice with spherule pendants, gilt and penwork églomisé panel, rope-twist split column supports, old mirror plate, h. 36 1/4 in., w. 20 in., d. 4 5/8 in. $800/1200

43. Louis XV Carved and Painted Canapé, late 18th c., serpentine shell-carved crest, padded back, arms and seat, serpentine apron, cabriole legs, h. 38 1/2 in., w. 80 in. $800/1200

45. English Carved Mahogany Zograscope Table, mid‑19th c., rectangular lift top, frieze drawer, turned standard, incurvate plinth, hipped sabre legs, cuff casters; together with a table top magnifying mirrored stand, h. 29 1/2 in., w. 30 in., d. 20 in. $700/1000

44. French Provincial Carved Oak Bureau, mid‑18th c., fall front lid with fitted interior, two short over long drawer, scalloped apron, cabriole legs, h. 41 1/8 in., w. 41 1/2 in., d. 20 5/8 in. $800/1200

46. Fine Near Pair of English Paint-Decorated Satinwood Settees in the Adam Taste, 19th c., caned back, arms and seat, turned and tapered legs, h. 34 in., w. 35 1/2 in., d. 23 1/4 in. $2500/3500 47. Pair of MoorishStyle Carved, Ebonized and Motherof-Pearl Inlaid Armchairs, scrolled crest, pierced splat, pierced and bracketed apron, turned legs, h. 44 1/2 in., w. 21 1/2 in., d. 20 in. $1200/1800

48. Pair of Regency‑Style Carved and Painted Window Benches, scrolled arms, caned seat, seat rail with rosettes, scrolled legs, h. 25 1/2 in., w. 56 in., d. 15 3/4 in. $1200/1800 Additional information at www.nealauction.com

49. Manner of George Henry Harlow (British, 1787‑1819), “Portrait of a Mother and her Daughter”, oil on canvas, unsigned, 33 1/2 in. x 33 1/2 in., framed. $1800/2400 Provenance: The Sturm Collection.

50. James Edward Butterworth (British, 1817‑1894), “Ships off the Coast of Dover”, oil on canvas, signed lower right, “Hirschl & Adler Galleries, New York, NY” labels with title and partial typewritten label en verso, 6 in. x 10 in., framed. $4000/6000 Provenance: Hirschl & Adler Galleries (American Department), New York, NY, 1980.

51. British School, late 18th/early 19th c., “Portrait of Thomas Turner, Master of Chancery (d. 1715)”, oil on canvas, unsigned, 2 handwritten inscriptions identifying sitter en verso, 10 3/4 in. x 8 in., framed. $300/500

52. Philip Richard Morris (British, 1836‑1902), “The Drifted Net”, oil on canvas, signed lower left, 26 in. x 54 1/4 in., framed with artist and title plaque. $2000/3000

Provenance: The Sturm Collection. 54. Pair of Napoleon III Gilt Bronze Five‑Light Candelabra, 19th c., marked “HD” for Henri Dasson (1825‑1896), each with foliate branches, putto figural standard and fluted pedestal base, h. 18 in., dia. 8 1/4 in. $1200/1800

56. Antique Italian Neoclassical Bronze‑Mounted and Paint‑Decorated Console Table, 19th c., inlaid serpentine marble top, fluted frieze, tapered faux malachite legs, spade feet, h. 32 3/4 in., w. 43 3/4 in., d. 23 in. $1000/1500 57. Louis XV Parcel Gilt and Painted Walnut Commode, 18th c., molded serpentine top above three drawers, scalloped skirt, cabriole legs, whorl feet, h. 34 1/2 in., w. 48 in., d. 24 in. $3000/5000

53. After Charles Clement “Bervic” Balvay (French, 1756‑1822), “Marie Antoinette de Lorraine ‑ D’Autriche, Reine de France” and “Louis Seize, Roi des Francais, Restaurateur de la Liberte”, 2 hand‑colored engravings on paper, labels with titles en verso, sights 21 in. x 17 in. and 22 in. x 18 in., framed alike. (2 pcs.) $600/800 55. Fine Louis XVI‑Style Bronze‑Mounted Mahogany Vitrine, late 19th c., galleried top, beveled glass doors, mirror back, reeded colonnettes, over tapered supports, galleried stretcher shelf, toupie feet, h. 55 1/2 in., w. 39 1/4 in., d. 15 1/2 in. $1000/1500

58. Antique Carved Walnut Console Table, 19th c., molded top, frieze with rampant lion, foliate mask carved cabriole legs, scrolled toes, h. 32 1/4 in., w. 29 1/2 in., d. 19 1/2 in. $600/800

59. William IV Carved Mahogany Sofa, c. 1840, elaborately carved crest of opposing eagles centered by anthemion cartouche, scrolled arms terminating in eagle heads, molded seat rail with patera corners, bulbous carved feet, casters, h. 44 1/2 in., w. 86 1/2 in., d. 25 in. $1000/2000

60. Italian Neoclassical Inlaid Walnut Center Table, 19th c., extensively inlaid tilt top with classical figures, turned standard, scrolled legs, incurvate triangular plinth base, h. 30 1/4 in., dia. 50 in. $600/900

61. Pair of Blue John and Rock Crystal Obelisks, of typical form, tall plinth base, h. 15 in., w. 3 3/4 in., d. 3 3/4 in. $2500/3500

63. Pair of Continental Silver Figural Bottle Stoppers, unmarked, probably Dutch, 19th/20th c., h. (mount) 3 1/8 in.; together with an antique Continental silver tea caddy, chased figural and scroll decoration, h. 3 3/4 in., wt. 3.5 troy ozs. $200/300 62. French Provincial First Standard Silver Gobelet, c. 1809‑1819, h. 4 1/4 in., wt. 2.75 troy ozs. $250/350

Provenance: The Sturm Collection.

Provenance: The Sturm Collection. Ref.: Tardy, p. 192.

64. French Restauration First Standard Silver Side Handle Cream Pot, Nicholas‑Auguste Franckson, Paris, c. 1819‑1838, h. 4 3/4 in., wt. 5.10 troy ozs. $200/300

65. Continental .950 Silver Coffee Pot, Turin, Kingdom of Sardinia, c. 1825, maker CB untraced, h. 7 7/8 in., wt. 18.90 troy ozs. $200/300

Provenance: The Sturm Collection.

Ref.: Arminjon. Dictionnaire des poincons de Fabricants d’ouvrages d’or et d’argent de Paris et de la Seine 1798‑1838.

Ref.: Tardy, p. 291.

68. Antique Continental Silver and Cobalt Glass Mustard Pot in the Louis XVI Taste, hinged cover with pod finial, reticulated frame with putti and acanthus, h. 3 5/8 in., wt. 3.05 troy ozs. $150/250

66. French Silver Side‑Handle Coffee Pot, late 18th/early 19th c., Paris, pyriform with turned wood handle, h. 7 1/2 in., wt. 16.60 troy ozs. $200/300

67. Three Greek Sterling Silver Gilt Vessels, Ilias Lalaounis (1920‑2013), inspired by the Kantharos wine cups of ancient Greece, h. 5 1/8 in., 4 3/4 in. and 5 in., combined wt. 16.45 troy ozs. $200/300 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

Provenance: The Sturm Collection.

69. Burmese Silver Repoussé Coffee and Tea Service, late 19th/early 20th c., unmarked, incl. coffee pot, teapot, covered sugar, and creamer, decorated with figures in landscapes, coffee h. 7 in., w. 12 1/4 in., tea h. 10 in., w. 10 1/4 in. $1000/1500

70. Egyptian Silver Charger, c. 1950s, marked, dia. 14 1/8 in. $300/500 Provenance: Acquired Cairo, c. 1953‑1954.

Provenance: Acquired Rangoon, c. 1958.

Provenance: The Sturm Collection. Additional information at www.nealauction.com

71. German .800 SilverMounted Cut Glass Decanter, with 1910 presentation inscription “Herrn Marine Stabsarzt Dr. Stohler (Marine Staff Physician Dr. Stohler)”, stopper with figural finial, coaster with reticulated figural scene, h. 11 1/4 in., sterling silver “Rye” decanter tag. $300/500

72. Small French Silver Covered Cream Pot in the Neoclassical Taste, 19th c., probably First Standard, marks rubbed, ebonized wood handle, h. 3 7/8 in., wt. 3.25 troy ozs. $100/150

73. George II Sterling Silver Tankard, London, 1750, maker “M” untraced, baluster form, scroll handle, floral repoussé, beaded foot, h. 4 3/4 in., wt. 11.30 troy ozs. $300/500

Provenance: The Sturm Collection.

75. Fine Antique George II/III Carved Giltwood and Walnut Looking Glass, probably mid‑18th c., broken arch foliate crest centering a ho-ho bird, sides with pendant gilt leaves, mirror plate with return corners, scalloped base, h. 63 in., w. 28 1/2 in. $1200/1800 Ref.: Wills, Geoffrey. English Looking Glasses. A.S. Barnes: New York, 1965, p. 83. 76. Fine George III Carved Giltwood and Walnut Looking Glass, probably mid‑18th c., broken arch crest surmounted by a phoenix, molded shaped sides with pendant leaves, scalloped base, mirror plate with return corners, h. 57 1/2 in., w. 26 1/2 in. $1200/1800 Ref.: Wills, Geoffrey. English Looking Glasses. A.S. Barnes: New York, 1965, p. 83.

78. Fine Antique George III‑Style Carved Mahogany Breakfront Bookcase, 19th c., broken arch crest, cove molded cornice, fluted frieze with rosettes, bellflower carved, glazed doors, adjustable shelf interior, conforming base with raised panel doors, carved molded base, ogee bracket feet, h. 101 in., w. 83 in., d. 22 in. $4000/6000

74. George III Sterling Silver Footed Berry Bowl, London, 1793, marks rubbed, with repoussé fruit on a stippled ground, gadroon border, stepped foot, h. 3 1/4 in., dia. 9 3/4 in., wt. 18.35 troy ozs. $400/600 Provenance: The Sturm Collection.

77. A Fine Chippendale BronzeMounted Mahogany Bracket Clock, c. 1788, dial signed “Thomas Daft, New York”, twin fusée movement with two bells, engraved backplate and pendulum, strike/silent subsidiary dial, the sides fitted with handles and cherub frets, glazed rear door, on scroll feet, h. 23 in., w. 14 1/2 in., d. 8 3/4 in. $5000/7000

79. George III Walnut Wing Chair, 18th c., upholstered back, flared wings, outscrolled arms, cabriole legs, slipper feet, h. 45 in., w. 32 in., d. 32 in. $1500/2500 Provenance: Alfred Bullard, Inc., Philadelphia, PA, 1977.

80. George III Satinwood, Inlaid and Paint‑Decorated Secretary Desk, late 18th/early 19th c., serpentine crest above conforming doors with classical oval medallions; fall front lid with fitted desk interior; faux drawers over three long drawers, canted stiles, molded skirt, tapered feet, h. 81 1/2 in., w. 49 1/2 in., d. 25 in. $1500/2500

81. Pair of Spanish Colonial Wrought Iron and Brass Andirons, 18th c., tapered shaft, incised decoration, h. 24 /12 in., w. 9 in., d. 22 in. $600/900

82. Elkington & Co. Silverplate Figural Centerpiece, date mark for 1860, oak tree, leaf and acorn standard mounted with sheep on rockwork base with engraved armorial, foliate molded crystal centerbowl, overall h. 19 1/8. $800/1200

83. George III Sterling Silver‑Mounted Cut Crystal Urn, mount hallmarked John Emes, London, 1805, h. 4 1/2 in., dia. 3 3/4 in. $150/250

84. Pair of Molded Crystal Bell Shaped Decanters, 19th c., faceted stoppers, h. 14 1/2 in., dia. 5 1/4 in. $400/600

Provenance: The Sturm Collection.

86. Pair of Empire‑Style Giltwood and Cut Glass Chandeliers, c. 1930, acanthine standard, palmette and bellflower decoration, fitted with four‑light fixture, h. 39 in., dia. 25 in., chain l. 36 in. $800/1200 85. Napoleon III Gilt Bronze and Marble Figural Clock, c. 1870, surmounted by figure of Cupid, bronze signed “P.H. Mourey” Japy Freres movement, fluted marble base, h. 11 3/4 in., w. 16 1/2 in., d. 5 1/2 in. $700/1000

88. Rare American Rococo Carved and Laminated Rosewood Sofa, c. 1850‑1860, attr. to the “Bird Pattern” maker, New York, serpentine back, intricately carved crest centered by a pair of birds with roses, conforming acanthine seat rail, cabriole legs, casters, h. 49 1/4 in., w. 73 in., d. 28 in. $8000/12000

87. Louis XV‑Style Bronze and Cut Crystal Forty‑Eight Light Chandelier, vasiform standard, foliate arms, electrified, h. 38 in., dia. 48 in. $3000/5000 89. American Rococo Carved and Laminated Rosewood Armchair, c. 1850‑1860, attr. to the “Bird Pattern” maker, New York, arched vine, scroll and grape back support centered by a floral cluster, serpentine arms and uprights, rounded cartouche, carved seat rail, cabriole legs, casters, h. 48 in., w. 26 in., d. 29 in. $4000/6000

Note: The dramatic reticulation of the crest rail, carved opposing birds on the central crest, use of sophisticated seven-layer laminated construction, shape of the rear legs, and the molded form of the arm supports, seat rail, and front legs of this sofa are all indicative of “Bird Pattern” examples of seated furniture made in New York City during the mid-19th century. Ref.: “Bird Pattern” examples include an arm chair illustrated in Dubrow, American Furniture of the 19th Century., p. 95 and a closely related parlor suite sold in these rooms, Oct. 6, 2007, as lot 274.

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90. Rare American Rococo Carved and Laminated Rosewood Méridienne, c. 1850‑1860, attr. to the “Bird Pattern” Maker, New York, undulating reticulated crest, serpentine seat rail, cabriole legs, casters, h. 43 1/2 in., w. 71 1/2 in., d. 29 in. $5000/8000 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

91. American Rococo Carved and Laminated Rosewood Side Chair, c. 1850‑1860, attr. to the “Bird Pattern” maker, exuberant floral carved pierced and scrolled crest, padded back, round seat, serpentine scrolled apron, cabriole legs, casters, h. 43 3/4 in., w. 16 1/2 in., d. 18 in. $1000/2000

93. American House of Representatives Carved Oak Armchair, c. 1857, attr. to Bembe and Kimbel, New York, after a design by Thomas Ustick Walter, federal shield crest, bellflower carving, beaded seat rail, faceted legs, cuff casters, h. 42 1/4 in., w. 24 1/2 in., d. 22 1/2 in. $7000/10000 Note: The chair offered here was designed for the U.S. House of Representatives Chamber by Thomas Ustick Walter (1804-1887), who was the primary architect of the U.S. Capitol and designer of the interiors of the House of Representative wing. The chairs were in use from 1857 to 1873, when remodeling of the Capitol building resulted in the sale of Walter’s furnishings. 92. Rare American Aesthetic Carved Walnut Center Table, late 19th c., attr. to Allen and Brother, Philadelphia, shaped variegated marble top, carved and incised frieze, carved owls over cabriole legs with paw feet, turned and fluted legs with disc feet at center, X‑stretcher centered by a medallion, casters, h. 30 in., w. 45 1/2 in., d. 29 1/2 in. $6000/8000

The crest rail of the chair features a stars-and-stripes shield flanked by oak and laurel branches, symbols of longevity and victory which promoted the concept of Manifest Destiny, the 19th century American ideology that the nation must continue to expand westward across the continent and beyond. Ref.: “History, Art and Archives: U.S. House of Representatives,” http://history.house.gov/ Exhibitions-and-Publications/Capitol-Furniture/Capitol-Furniture/; “A Real Rare Victorian Mystery,” http://rarevictorian.com/2008/06/a-real-rare-victorian-mystery-part-iii.html. 95. Important American Aesthetic GiltIncised, Inlaid and Carved Rosewood Parlor Cabinet, c. 1880, attr. to Pottier and Stymus, New York, reverse stamped “67694”, center section with beveled and engraved mirror plate over pair of doors and niche, flanked by marble top vitrine cabinets with floral galleried tops, paw feet, h. 68 1/2 in., w. 59 in., d. 16 1/2 in. $10000/15000 Note: The exquisitely inlaid parlor cabinet shown here is closely related to some of the finest examples of aesthetic furniture by the New York firm Pottier & Stymus. Featuring intricately incised floral motifs and mother-of-pearl inlaid cabinet doors, the cabinet is closely related to furniture from the Mark Hopkins residence in San Francisco and the Thomas Edison home at Glenmont in West Orange, New Jersey.

94. American Aesthetic Alabaster and Gilt Brass Table, late 19th/early 20th c., variegated oval top, reticulated frieze, twist turned legs with scrolled brackets, stretcher shelf, scrolled claw and ball feet, h. 34 in., w. 32 in., d. 20 in. $800/1200

The use of a five-digit numbering system by Pottier & Stymus before 1888 is documented by Kristin Herron in her article on the Thomas Edison home at Glenmont. Numbers on a Pottier & Stymus example could be penciled, impressed, or stenciled in black ink, as seen on the cabinet in the present lot. Herron notes that numbers were likely assigned chronologically and furniture dating to the early 1880s, such as this piece, were marked with numbers between 50000 and 70000. Ref.: Herron, Kristin S. “The Modern Gothic Furniture of Pottier and Stymus,” Magazine Antiques. May 1999.

96. American Aesthetic Carved, Burled, Inlaid and Gilded Walnut Étagère, late 19th c., probably Pottier and Stymus, New York, triangular crest centered by a medallion of a maiden, floral carved panel, divided mirror plate with foliate accents, pair of small shelves, base with inset onyx top, carved brackets, molded plinth, h. 102 in., w. 50 1/2 in., d. 17 1/2 in. $1200/1800

97. American Rococo Carved Rosewood Bookshelf, c. 1850, attr. Alexander Roux, reticulated foliate scroll carved gallery centered by a cabochon cartouche, four ripple molded, graduated shelves, reticulated backs, acanthus carved S scroll supports, shaped base, foliate cabriole legs, h. 49 in., w. 39 in., d. 12 1/2 in. $1500/2500

98. Levi Wells Prentice (American/New York, 1851‑1935), “Still Life of Two Baskets of Peaches”, oil on canvas, signed lower right, 11 in. x 16 in., framed. $4000/6000 Provenance: Taylor Clark, Fine Prints, Paintings and Framing, Baton Rouge, LA, 1986. Note: Self-taught artist Levi Wells Prentice began his career painting landscapes in the Adirondack Mountains. It was not until his move to Brooklyn in 1883 that he created the first of his celebrated still life paintings. From there, he developed his characteristic style of hard line, hyper-realistic works of fruit, typically apples, spilling forth from containers onto wooden tabletops. In the lot offered here, Prentice painstakingly depicts lush peaches lying haphazardly on a table as if recently tumbled from their simple wooden basket. The artist’s impressive ability is showcased in the interplay of the details of the fruit, leaves, and the highly texturized surface of the container. Ref.: “Apples in a Tin Pail.” Museum of Fine Arts, Boston. June 28, 2017, www.mfa.org. Accessed Oct. 12, 2017.

101. Paul Sawyier (American/ Kentucky, 1865‑1917), “Autumn along a Kentucky River”, oil on canvas, signed lower right, 20 in. x 13 3/4 in., framed. $7000/10000 99. Theresa Ferber Bernstein Meyerowitz (American/ New York, 1895‑2002), “Gloucester Harbor”, watercolor on paper, signed lower right, 22 in. x 28 in., framed. $1000/1500

102. Continental School, 17th/18th c., “Still Life of Flowers”, oil on canvas, unsigned, inscribed “... surgun Montes Nemorosa Frondius, Arbo... ugh...v.ent Germine...ernat ag...” along lower edge, 33 3/4 in. x 24 1/2 in., framed. $2000/3000

100. William Meyerowitz (Russian/ New York, 1887‑1981), “Bather”, oil on canvas, signed lower right, 20 in. x 16 in., framed; accompanied by National Academy of Design Associate Certificate to William Meyerowitz, 1943. $1200/1800

103. Solomon Cole (British, c. 1806‑1893), “Portrait of an English Sea Captain”, 1855, oil on canvas, inscribed with artist and date en verso, 36 in. x 28 in., framed. $700/1000

104. British School, 19th c., “Westminster Bridge”, oil on canvas board, illegibly inscribed in pencil en verso, 9 1/2 in. x 12 in., framed. $400/600 Provenance: The Sturm Collection; formerly in the collection of Ardoyne Castle, Scotland. Additional information at www.nealauction.com

105. Josephine Teayes (English, 19th c.), “Berries From the Forest of Bere Hauts”, watercolor, signed lower left, titled and signed en verso with old label listing variety of berries depicted, sight 18 in. x 24 in., framed. $1200/1800

108. French School, late 19th c., “Family at Worship”, oil on canvas, unsigned, “A Paris / Donnet / Fabt. / 4, Quai des Orfevres, 4 / De Toiles pour Tableaux” canvas stamp en verso, 21 1/2 in. x 25 1/2 in., period frame. $1200/1800

112. Attributed to Anacharsis Fourcade (French, b. 1813), “La Poissonnière (The Fish Monger)”, oil on wood panel, signed “Fourcade” lower right, 16 1/4 in. x 10 1/2 in., period frame. $600/800

106. Miss Smith (British, 19th c.), “Strelitza Regina or Queen Plant” and “Dahlia”, 2 hand‑colored aquatints on paper from Studies of Flowers from Nature, sights 12 1/2 in. x 10 in., framed alike. (2 pcs.) $300/500 Provenance: Didier, Inc., New Orleans, LA.

110. Antique Italian Carved and Painted Credenza, late 19th c., shaped top, conforming case, paneled doors, stepped molded base, h. 24 in., w. 63 in., d. 14 1/2 in. $700/1000 109. Napoleon III Bronze-Mounted Kingwood Vitrine, mid-19th c., shaped variegated marble top, frieze drawer, two glazed doors, glass shelf interior, shaped apron, flared legs, h. 56 in., w. 38 in., d. 14 1/2 in. $1500/2500

113. Antique Continental Polychrome and GiltDecorated Blackamoor, on rock work base and drapery carved pedestal, h. 65 1/4 in., dia. 13 in. $1500/2000

116. Italian Neoclassical Inlaid Walnut Sofa, 19th c., curved crest rail, cornucopia‑carved arm supports, scrolled feet, h. 37 1/2 in., w. 88 in., d. 30 in. $700/1000

107. George Patten (British, 18011865), “Self Portrait of Artist Painting ‘Maternal Affection’”, 1857, oil on canvas, signed and dated lower right, “Astley House Fine Art, Moreton-inMarsh, England” label en verso, 44 in. x 34 in., framed. $2000/3000

111. Continental Rococo Cast Iron Tilt‑Top Table, 19th c., octagonal mother‑of‑pearl inlaid top, foliate vasiform standard, arched legs, h. 29 1/2 in., dia. 19 1/2 in. $600/900

114. Italian Renaissance-Style Molded, Gilt, and Specimen Marble Center Table, circular top, sheaf of wheat carved standard, lion supports, paw feet, incurvate plinth base, h. 29 1/4 in., dia. 35 1/4 in. $1000/1500 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

117. Pair of Marc Louis Solan‑Style Pâte-sur-Pâte Porcelain Vases, late 19th c., possibly Mintons, decorated with Classical maidens amid foliage on taupe ground, gilt banded rims, stems and feet, h. 21 in., dia. 5 3/4 in. $800/1200

115. Renaissance‑Style Carved Mahogany and Tapestry Armchair, early 20th c., canted back, molded scrolled arms, scrolled stretcher, turned legs, h. 47 in., w. 25 in., d. 25 in. $400/600

118. Art Nouveau Sevres‑Style Polychrome Porcelain Charger, early 20th c., bearing crowned Louis‑Philippe mark with “1846”, and double Louis mark, vibrantly enameled with a portrait of a beauty amid flowers, signed “Lheri”, dia. 15 5/8 in. $500/800

119. Pair of French Faience Covered Baluster Vases, 20th c., unmarked, probably Gien, h. 13 1/4 in. $500/700 120. Set of Twelve William Guerin & Co. Limoges “Chateau de Trianon” Polychrome and Gilt Porcelain Plates, early 20th c., ret. “C. A. Selzer / Cleveland”, dia. 9 3/4 in. $400/600

123. Group of Chinese Export‑Style Samson “Armorial” Porcelain, late 19th/early 20th c., pseudo Chinese marks, incl. punch bowl, dia. 10 in.; cachepot, h. 6 1/8 in.; covered bottle, h. 10 1/4 in.; box, l. 4 3/4 in.; and 10 dishes, incl. 5 foliate rim, dia. 10 1/2 in.; 2 similar, dia. 10 in.; pair pierced rim, dia. 9 1/2 in.; and single, dia. 9 1/8 in. (14 pcs.) $400/600 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

127. Continental Bronze Figural Table Lamp, 20th c., after the marble by Jean Esprit Marcellin in the Palais du Louvre, base titled “La doucer” and inscribed “E. Marcellin”, h. (to socket) 29 in. $500/800 131. Antique English Silverplate and Cut Glass Banquet Lamp, late 19th c., Walker & Hall, Sheffield, font over fluted columnar standard, wreath etched globe, h. 35 in., dia. 10 in. $500/700

124. Chinese Export Gilt‑Decorated Black Lacquer Tea Caddy, 19th c., octagonal domed cover and sides painted with figural scenes, h. 6 in., w. 9 1/8 in., d. 6 1/2 in.; together with a lacquer box, decorated with boys in a garden, h. 2 in., w. 4 7/8 in., d. 3 in. (2 pcs.) $200/300 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

128. Fine Pair of French Huguenot Brass Candlesticks, probably early 18th c., each with removable bobêche, faceted shaft and plinth, and “ruffled” base, h. 9 5/8 in. $500/800

121. “Royal Vienna” Porcelain Cabinet Plate, late 19th/early 20th c., beehive mark, titled “Vornehme Orientalin”, gilt and iridescent burgundy ground, blue enamel “jewels”, sight dia. 9 1/4 in., giltwood frame, 17 in. x 17 in. $600/900

125. Chinese Export Blue and White Porcelain Covered Tea Caddy and Tea Cup, late 18th/early 19th c., each decorated in the “Nanking” pattern with gilt highlights, h. 5 1/8 in. and h. 2 1/2 in. (2 pcs.) $150/250 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

129. Art Deco Silverplate and Rosewood Tea Service, probably Continental, c. 1930, comprised of two teapots, covered creamer and covered sugar bowl, teapot h. 4 7/8 in., w. 9 in. $300/500

122. Ambrosius Lamm Dresden Porcelain Tête-à-Tête Tea Set, c. 1887‑1915, blue lamb marks, polychrome with gilt bead decoration, incl. covered teapot, covered sugar, creamer, two cups with saucers, and tray, decorated with mythological scenes, teapot h. 5 1/2 in., tray 17 1/4 in. x 12 1/2 in. (8 pcs.) $800/1200

126. Pair of Napoleon III Gilt Bronze Classical Figures, marked “L.V.E. Robert”, after Louis Valentin Elias Robert (French, 1821‑1874), black marble socle bases, now mounted as lamps, h. (to socket) 24 in. $1000/1500

130. Pair of Empire‑Style Bronze‑Mounted Marble Lamps, 20th c., now mounted as lamps, swan handles, h. 19 in., h. to socket 25 in., dia. 7 1/2 in. $600/900

Provenance: Mark and Marjorie Allen, Putnam Valley, NY, 1985.

132. Regency Carved Giltwood Bullseye Mirror, early 19th c., molded circular frame with spherules, ebonized rabbet, convex mirror plate, surmounted by a spread wing eagle on rockwork, and with acanthus pendant base, h. 45 in., w. 25 in., d. 3 in. $300/500

133. Giovanni Battista Piranesi (Italian, 1720‑1778), “Veduta del Porto di Ripetta” and “Veduta della Basilica di San Giovani Laterano”, 2 etchings on paper, sheets 16 3/4 in. x 25 in and 16 1/2 in. x 23 in., framed alike. (2 pcs.) $400/600

134. Eight Malachite Table Items, incl. obelisk, h. 8 in.; 3 hexagonal, square and trunk‑form boxes, w. 2 7/8 in., 1 3/4 in. and 3 3/4 in.; dish, w. 4 1/2 in.; rhino, w. 4 in.; egg, w. 3 in.; and polished specimen, w. 5 3/4 in. $200/300 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

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135. Two French “Grand Tour” Bronzes, incl. bust of a woman, inscribed “F. Barbedienne. Fondeur. Paris” and with foundry seal “Reduction Mecanique / A. Collas / Brevete”, marble plinth, h. 8 3/4 in.; and hinged oil lamp form box, h. 2 1/2 in., w. 6 1/4 in. $300/500

136. Pair of Napoleon III Gilt Bronze Candlesticks, 19th c., foliate bobêche, fluted standard with garlands, domed circular base, block feet, h. 11 1/8 in. $400/600 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

137. Art Nouveau Patinated Metal Ewer, c. 1900, figural handle, body relief decorated with female nudes swimming amid water reeds, signed “Ch. Perron”, probably for Charles Théodore Perron (French, 1862‑1934), h. 8 1/4 in. $200/300

139. Italian Carved and Polychromed Wood Figure of a Cherub, late 18th/early 19th c., modeled standing atop a cloud base, glass eyes, h. 28 1/2 in., w. 12 5/8 in. $800/1200 140. Antique Sterling Silver Repoussé Flask, late 19th c.; together with a silver overlay flask, late 19th/early 20th c. $300/400

142. Georgian‑Style Silverplate Meat Dish and Domed Cover, egg and dart border, foliate and floral loop handles, well‑and‑tree meat dish with hot water compartment and scroll feet, h. 13 1/2 in., w. 25 5/8 in., d., 16 7/8 in. $800/1200

146. Pair of Napoleon III Gilt Bronze Figural Candlesticks, late 19th c., opposing egrets on rock work bases, h. 15 1/4 in., dia. 5 3/4 in. $800/1200

143. Continental Painted Wood and Tôle Twelve‑Light Chandelier, turned standard, scrolled and foliate arms, electrified, h. 41 in., dia. 37 in. $800/1200

147. Lalique Molded and Frosted Glass “Ganymede” Champagne Cooler, relief‑decorated with dancing nudes on a leaf‑strewn ground, foot etched “Lalique France”, h. 9 in., w. 10 1/2 in. $500/700 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

138. Continental Bronze “Grand Tour” Trajan’s Column Thermometer, late 19th c., black slate base, h. 12 in., w. 4 1/4 in., d. 4 1/4 in. $300/500 141. Decorative Silverplate Birdcage‑Form Decanter Stand, fitted with cockatoo‑form silverplate and cobalt glass decanter and 8 cordial glasses, birdcage h. 18 in., dia. 12 1/4 in., decanter h. 10 in. $800/1200

144. Pair of Continental Tole Peinte and Porcelain‑Mounted Three‑Light Sconces, 20th c., bouquet form backplate, electrified, h. 19 in., w. 11 in., d. 6 in. $400/600 Provenance: Estate of Stefanie C. Golden, Florence, Italy.

145. French Gilt Metal and Cut Glass Four‑Light Chandelier, 20th c., hung with blue and clear glass beads, and pendeloque prisms, electrified, h. 17 1/2 in., dia. 15 in. $500/700

148. Four Daum Pate de Verre “Four Seasons Plates”, 1969‑1970, incl. “Automne”, “Printemps”, “Été”, and “Hiver”, dia. 10 1/2 in. $400/600 149. Bronze Figure of Narcissus, after the Antique example found in Pompeii, h. 24 1/2 in., w. 10 in., d. 10 in. $400/600

151. Antique Italian Polychromed and Gilt Painted Trumeau Mirror, scrolled crest, scenic reserve, molded surround, paneled mirror plate, h. 55 1/4 in., w. 36 1/4 in. $1000/1500

152. American Aesthetic Carved Rosewood Music Cabinet, mid‑19th c., probably Daniel Pabst, Philadelphia, foliate carved crest centered by a Japonisme tablet, galleried top, case with canted corners, paneled door over carved and fluted supports, mirrored backplate, conforming plinth base, h. 54 in., w. 23 1/4 in., d. 14 1/4 in. $1000/1500

150. Bronze Figure of Narcissus, after the Antique example found in Pompeii, inscribed “Masulli Bellezza” on self‑base, h. 25 1/4 in. w. 9 3/4 in., d. 9 3/4 in. $500/1000

153. T.H. Robsjohn‑Gibbings for Widdicomb Walnut Sideboard, 1950s, labeled, three doors, interior fitted with shelves and drawers, flared post legs, h. 34 1/4 in., w. 72 in., d. 20 in. $300/500

154. Italian Polychromed and Gilt Chest of Drawers, painted with Venetian scenes under glass panels, conforming drawers, scalloped skirt, cabriole legs, h. 39 in., w. 32 in., d. 12 1/4 in. $300/500

155. Biedermeier Carved Fruitwood Mixing Table, 19th c., marble top, frieze drawer, trestle base, turned stretcher, h. 30 in., w. 32 in., d. 23 in. $700/1000

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

157. Jean Cocteau (French, 1889‑1963), “Profil de Jeune Homme”, 1957, colored lithograph on paper, signed and dated in plate lower right, pencil‑inscribed, numbered “118/150” and stamped lower margin, 25 in. x 20 in., unframed. $300/500

158. Caroline Wogan Durieux (American/Louisiana, 1896‑1989), “Young Sarai”, color lithograph on paper, pencil‑signed, titled and numbered “19/20” lower margin, 30 in. x 22 1/2 in., unframed. $1000/1500

161. Edgar Degas (French, 1834‑1917), “Study of Madame Julie Burtey”, 1922, collotype, signed in plate, from Henri Riviere’s Les Dessins de Degas, Demotte, Paris, 14 in. x 10 in., framed. $600/900

162. Pierre Auguste Renoir (French, 1841‑1919), “Le Fleuve Scamandre”, c. 1900, etching, stamped signature lower right, 13 in. x 10 in., framed. $500/700

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

159. Caroline Wogan Durieux (American/Louisiana, 1896‑1989), “Judith”, color lithograph, pencil‑signed, titled and numbered “19/20” lower margin, sight 19 in. x 15 1/2 in., framed. $1000/1500

163. Salvador Dali (Spanish, 1904‑1989), “Le Premier Rendezvous”, 1975, color engraving, published by Pamela Verlag/Oeuvers Graphics Contemporaines, pencil‑signed lower right, numbered “VI/XXV” lower left, sheet 17 3/4 in. x 12 3/4 in., framed. $500/700 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

156. Mane Katz (Russian/French, 1894‑1962), “Harlequins”, gouache on paperboard, signed lower right, sight 18 in. x 12 1/4 in., framed. $800/1200

160. Caroline Wogan Durieux (American/Louisiana, 1896‑1989), “Mardi Gras Day, the Coach Dogs”, lithograph on paper, pencil‑signed, titled and inscribed “printed by the artist” lower margin, edition of 15, 16 in. x 10 in., unframed. $700/1000

164. Caroline Wogan Durieux (American/Louisiana, 1896‑1989), “Opera”, lithograph on paper, pencil‑signed and titled lower margin, sight 15 in. x 11 in., framed. $500/800

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166. Art Deco Platinum, Diamond and Synthetic Sapphire Flexible Line Bracelet, set with 20 brilliant full cut diamonds totaling approx. 2 cts., and 20 calibre cut synthetic blue sapphires. $2500/3500

165. Pair of 18 kt. White Gold and Diamond Guard Rings, set with numerous round and baguette diamonds totaling 3 cts. $3000/5000

167. 18 kt. Yellow Gold Square Link Necklace, c. 1970, Hong Kong, wt. 140 dwt. $5000/7500

168. Art Deco‑Style Emerald and Diamond Bracelet, c. 1940, unmarked, tested platinum, set with 2 large faceted pear‑shaped emeralds, 8 baguette emeralds and 70 assorted faceted cushion‑cut, emerald‑cut and oval emeralds, total emerald weight approx. 20 cts.; and numerous full cut and baguette diamonds totaling approx. 7 cts., diamonds approx. G‑H color, VS clarity. $12000/18000

169. 18 kt. Yellow Gold and Diamond Flower Pin, central Old European‑cut diamond, approx. wt. 1.94 cts., L color, VS‑2 clarity, and 12 prong set Old European‑cut diamonds, approx. total wt. 2.24 cts., E‑G color, VS‑2 to S1‑1 clarity, total wt. 24 dwt., dia. 1 3/4 in. $2500/3500

170. 18 kt. Yellow Gold and Diamond Flower Pin, central Old European‑cut diamond, approx. wt. 1.94 cts., L color, VS‑2 clarity, and 12 prong set Old European‑cut diamonds, approx. total wt. 2.24 cts., E‑G color, VS‑2 to S1‑1 clarity, total wt. 24 dwt., dia. 1 3/4 in. $2500/3500 Provenance: Garden District New Orleans Estate.

Provenance: Garden District New Orleans Estate.

171. 18 kt. Yellow Gold, Ruby and Diamond Flexible Bracelet, set with 8 brilliant cut diamonds totaling approx. .80 ct., and 48 round brilliant cut rubies totaling approx. 2.40 cts., bracelet wt. 35.1 dwt. $2000/3000

172. Platinum and 18 kt. Yellow Gold and Diamond Cluster Ring, set with 17 white brilliant cut diamonds totaling approx. 1.25 cts., 11 fancy yellow brilliant cut diamonds totaling approx. 1 ct., and 6 fancy yellow marquise cut diamonds totaling approx. 1.55 cts.; fancy yellow diamonds are SI2‑I clarity, white diamonds are VS2‑SI1 clarity, I‑J color. $2500/4500

173. 14 kt. Yellow Gold and Diamond Scroll Brooch, set with 1 brilliant cut diamond, approx. .50 ct., and 12 brilliant cut diamonds totaling approx. 1.44 cts.; all diamonds I‑J color, VS1‑VS2 clarity. $1500/2000

174. 14 kt. Yellow Gold, Enamel and Diamond Cross Pendant, set with 11 brilliant cut diamonds totaling approx. 1.35 cts., on 14 kt. yellow gold chain, l. 24 in., chain wt. 16.4 dwt. $1200/1800

175. 18 kt. White Gold, Emerald and Diamond Necklace, set with an oval faceted emerald measuring 10.07 x 7.76 x 6.02 mm., wt. 2.75 cts., and numerous full cut diamonds, totaling approx. 2.55 cts., necklace wt. 19.50 dwt., necklace l. 16 1/2 in. $7000/9000

176. 18 kt. Yellow Gold, White Gold, Emerald and Diamond Cluster Ring, set with 10 brilliant cut diamonds totaling approx. 1.15 cts., J‑K color, SI1‑SI2 clarity, and 9 round faceted emeralds totaling approx. 1 ct. $1800/2200

178. Tiffany & Co. 14 kt. Yellow Gold and Diamond “New Orleans Saints 2009 World Championship” Super Bowl Ring, 2010, set with 103 round brilliant‑cut diamonds, total wt. 2.2 cts., H color, VS1‑2 clarity, top with raised letters “World/ Champions” flanking fleur‑de‑lis, sides with “Saints Colts / 31‑17 / Super Bowl XLIV / 02 07 10 / Miami FL” and “Vallet / Saints”, relief decorated with NFL shield, St. Louis Cathedral, fleur‑de‑lis, parade float, Superdome, and song notes to “When the Saints Go Marching In”, interior inscribed, size 8 1/4; accompanied by original presentation box, Tiffany box, and a copy of the Tiffany & Co. “Retail Replacement Valuation”. $8000/12000 Provenance: Presented to Lester Vallet.

177. Platinum and Diamond Solitaire Ring, set with 1 emerald cut diamond, approx. .95 ct., color H‑I, clarity VS1‑VS2, and 2 baguette diamonds totaling approx. .15 ct.; with platinum wedding band, w. 1.5 mm., band wt. 1.4 dwt. $2000/3000

179. Pair of 18 kt. Yellow Gold, Green Enamel and Black Pearl Clip Earrings, signed “Susy Mor”, with convertible posts, wt. 32 dwts. $1000/1500

180. David Yurman 18 kt. Yellow Gold and Diamond Acorn Pendant and Box Chain, pendant set with 24 round brilliant cut diamonds, reverse stamped ©D.Y. 750”, h. 11/16 in., w. 9 1/6 in., chain with “DY” pendant stamped “750” and lobster clasp, approx. 2.5 mm., l. 17 1/8 in., total wt. .80 ozs. $700/900 Additional information at www.nealauction.com

181. Bohemian Opaque White and Green Cut‑to‑Clear Glass Dresser Box, c. 1880, brass mounts, hinged lid, canted corners, h. 4 3/8 in., w. 5 in., d. 3 3/4 in. $300/500

182. French Green Cut‑to‑Clear Glass Dresser Box, c. 1880, brass mounts, hinged lid, h. 3 1/2 in., w. 5 in., d. 3 3/4 in. $300/500

183. French Pink Cut‑to‑Clear Glass Dresser Box, c. 1880, foliate brass mounts, hinged lid, h. 5 1/8 in., d. 4 1/8 in $300/500

184. Ten Fancy Cut and Enameled Bohemian Glass Goblets, late 19th c., tallest h. 8 1/2 in. $300/500

Provenance: Sallea Antiques, New Canaan, CT.

186. American Aesthetic Maple Faux Bamboo Cheval Mirror, late 19th c., probably New York, h. 66 in., w. 35 in., d. 24 in. $500/1000

187. American Aesthetic Maple Faux Bamboo Pier Mirror, late 19th c., integral console, plinth base, h. 82 in., w. 31 3/4 in., d. 13 in. $800/1200

185. French Amethyst Glass Dresser Box, late 19th c., brass mounts, beveled lid, h. 4 in., w. 4 1/4 in., d. 2 3/4 in. $300/500

188. French Gilt Bronze and Bleu Celeste Porcelain Three‑Piece Clock Garniture, c. 1890, striking bell movement marked “Japy Freres”, case surmounted by urn, porcelain dial over plaque with courting couple, on carved wood base, with conforming four‑light candelabra, clock h. 15 1/4 in., w. 10 1/2 in., d. 5 1/2 in. $1200/1800 189. Paula Rego (British/ Portuguese, b. 1935), “Jane Eyre: The Guardians, Jane Eyre Suite”, 2003, lithograph on paper, pencil‑signed and numbered “30/35” lower margin, 34 1/2 in. x 25 1/2 in., framed; accompanied by a copy of original receipt. $600/900 Provenance: Marlborough Gallery Inc., New York, 2003; Collection of Nan Wier, New Orleans, LA.

192. Francisco Zuniga (Mexican, 1912‑1998), “Mujer en la Silla”, 1971, conté crayon and charcoal on paper, signed and dated lower left, 27 1/2 in. x 19 1/2 in., framed. $2000/3000 190. Marie Cerminova Toyen (Czechoslovakian/French, 1902‑1980), “Paysage Surréaliste‑Brunidor 2”, 1947, color lithograph on paper, pencil‑signed and numbered “49/100” lower margin, 12 3/4 in. x 16 5/8 in., framed; accompanied by copy of the original receipt. $600/900 Provenance: William Weston Gallery, London, 2004; Collection of Nan Wier, New Orleans, LA.

191. Clyde Connell (American/ Louisiana, 1901‑1998), “Stone Carrier”, mixed media on wood with papier‑mâché, unsigned, h. 27 in., w. 13 1/2 in., d. 11 1/2 in. $500/800 Provenance: Private Collection, Shreveport, LA.

193. Aaron Bohrod (American/Wisconsin, 1907‑1992), “Silver Horse, Golden Horse”, 1977, oil on panel, signed lower right, titled and dated on artist label and handwritten inscription “Bradley Galleries ‑ June 1977” en verso, 8 in. x 10 in., framed; accompanied by copy of Bradley Galleries, Milwaukee, WI receipt and The Milwaukee Journal article “Bohrod Wizardry, at 70, He’s Still Fooling the Eye”, Feb. 5, 1978. $1500/2500 Provenance: Bradley Galleries, Milwaukee, WI, 1977; thence by descent. Note: The 1950s marked a shift in Aaron Bohrod’s artistic style. While originally employing much looser brushstrokes and focusing on grander scenes of quintessential American life, Bohrod shifted to the tight precision of trompe l’oeil paintings, a style he was so successful at executing that his works would often be accompanied by insistent “do not touch” signs when on exhibition. In the lot presented here, Bohrod’s exquisite attention to detail is on full display in the crisp quality of this trompe l’oeil still life of two toy horses. The work is almost photographic in terms of composition, with a close crop on the figures pinned amongst paint blobs and cutout graphics, the whole of which coalesces into a cryptic shrine invoking childhood and its associated frivolity. Ref.: “Aaron Bohrod.” Modernism in the New City: Chicago Artists, 1920-1950. www. chicagomodern.org. Accessed Oct. 12, 2017.

194. George Valentine Dureau (American/New Orleans, 1930‑2014), “Standing Male Nude”, charcoal drawing on paper, signed lower center, sight 38 1/2 in. x 29 1/4 in., framed. $1800/2500

195. Robert Gordy (American/New Orleans, 1933‑1986), “Female Figures”, acrylic on shaped canvas, unsigned, dia. 42 in., d. 6 in. $2500/3500

198. Leonard Flettrich (American/New Orleans, 1916‑1970), “Abstract Composition”, acrylic on paper, signed lower left, 19 in. x 11 1/4 in., framed. $600/900 196. Mildred Wohl (American/New Orleans, 1906‑1977), “Cross It In Black III”, oil on masonite, signed and “Orleans Gallery, New Orleans” label with artist and title and artist label en verso, 16 in. x 16 in., framed. $800/1200

197. Mildred Wohl (American/New Orleans, 1906‑1977), “Suddenly”, oil on masonite, signed and “Orleans Gallery, Royal St.” label with artist and title en verso, 16 in. x 16 in., framed. $800/1200 Additional information at www.nealauction.com

199. George Bauer Dunbar (American/New Orleans, b. 1927), “Untitled”, 1960, clay, silver leaf and mixed media on board, signed and dated en verso, 11 in. x 11 in., original frame. $2000/3000 Note: After World War II, while studying in art in Philadelphia during the week, George Bauer Dunbar would spend his weekends in New York surrounded and influenced by the likes of Jackson Pollock, Franz Kline, and Willem de Kooning. “He wanted his art to possess a sense of tactility and manifest a reverence for organic materials that he did not see in the art of the New York School. Dunbar discovered that through natural materials like metal and clay, he could take Pollock’s drips and dribbles of paint and Kline’s stark calligraphic abstractions, and give them their own sentience.” Dunbar took what he learned in Philadelphia and New York and brought it back to New Orleans, where he joined forces with other like-minded local artists such as Lin Emery and Robert Helmer to form the Orleans Gallery, which is credited with introducing abstract and contemporary art to the region. Dunbar, in particular, excelled in melding local aesthetics with what was at the time a national art movement. “His gilded abstractions brought unfamiliar art terms into the fold of New Orleans art, and did so in a way that blended seamlessly with New Orleans’ stately historical homes and heavily patinaed local portraiture.” It is his focus on texture and the idea of chance throughout his artistic career that has driven an interesting evolutionary arc in his works: starting out with the gilded layered clay pieces from the 1950s and 60s, then moving on to his highly improvised rag series and clay torso reliefs, all the while punctuated by his perfectly smooth and technical geometric clay surfaces. In the lots offered here, we are treated to a veritable mini-retrospective highlighting several milestone eras in Dunbar’s long and prolific oeuvre. Ref.: George Dunbar: Elements of Chance, New Orleans Museum of Art, Nov. 3, 2016 – Feb. 19, 2017, pp. 8-26.

200. George Bauer Dunbar (American/New Orleans, b. 1927), “Rag Series”, mixed media on canvas affixed to board, signed lower right, 9 1/4 in. x 12 1/4 in., framed. $2000/3000

202. George Bauer Dunbar (American/New Orleans, b. 1927), “Untitled”, gold leaf and red clay on board, signed lower center, 11 1/2 in. x 11 1/2 in., framed. $2500/3500

201. George Bauer Dunbar (American/New Orleans, b. 1927), “Torso”, clay on board, signed lower left and right, 7 in. x 9 in., original frame. $1200/1800

203. George Bauer Dunbar (American/New Orleans, b. 1927), “Heart”, red, beige and black clay on board, signed lower right, 9 1/2 in. x 10 in., framed. $1200/1800

204. Hunt Slonem (American/Louisiana, b. 1951), “Metallic Bunnies”, 2014, oil on canvas, signed and dated en verso, 30 in. x 40 in., unframed. $4000/6000 205. Hunt Slonem (American/Louisiana, b. 1951), “Red Bunnies”, 2015, oil on wood panel, signed and dated en verso, 17 in. x 13 in., framed. $2000/3000

207. Adele Lemm (American/ Tennessee, 1904‑1977), “Shell and Rockweed”, 1969, oil on linen, signed and dated lower right, signed, titled and “The Charleston Renaissance Gallery, Charleston, SC”, “Robert M. Hicklin, Jr., Inc., Spartanburg, SC” and “Greenville County Museum of Art, SC” labels en verso, 24 1/4 in. x 30 1/8 in., framed. $4000/6000 206. Hunt Slonem (American/Louisiana, b. 1951), “Metallic Bunnies”, 2015, oil on wood panel, signed and dated en verso, 24 1/2 in. x 20 1/2 in., antique frame. $3000/5000

208. James Michalopoulos (American/New Orleans, b. 1951), “Swing Dancer”, 2000, oil on canvas, signed lower right, signed, titled, dated and numbered “4757” en verso, 29 in. x 22 in., framed. $5000/7000

Provenance: The Charleston Renaissance Gallery, Charleston, SC.

209. Mildred Wohl (American/New Orleans, 1906‑1977), “Abstraction”, oil on masonite, unsigned, 60 in. x 48 in., framed. $2000/3000

210. Palmer Schoppe (American/California, 1912-2001), “Saxophone Player”, 1946, watercolor on paper, pencil-signed and dated lower right, 19 in. x 12 1/2 in., unframed. $500/800 Provenance: Estate of the artist.

Additional information at www.nealauction.com

213. Caroline Wogan Durieux (American/ Louisiana, 1896‑1989), “Founder’s Day”, 1940, lithograph on paper, pencil‑signed, titled, numbered “3/10” and inscribed lower margin, 15 1/2 in. x 11 1/4 in., framed. $1000/1500 Ill.: From Society to Socialism: The Art of Caroline Durieux, Newcomb Art Gallery, Tulane University, New Orleans, 2008, p. 21. 211. Peter Hurd (American/New Mexico, 1904‑1984), “Dusty Sun”, lithograph, pencil‑signed and numbered “227/250” lower margin, 10 in. x 13 3/4 in., framed. $300/500 Provenance: Circle Gallery, Ltd., Houston, TX, 1982.

212. Louis Icart (French, 1888‑1950), “Puff of Smoke”, etching and aquatint, remarque lower left with corresponding pencil signature, pencil‑signed lower right, pencil-inscirbed “Epreuve d’Artiste” lower left, sight 21 1/2 in. x 16 in., framed. $700/1000 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

214. Clarence Millet (American/ Louisiana, 1897‑1959), “Pirate’s Alley”, “Orleans Street”, “Old French Market” and “Entrance Jackson Square”, 4 woodblocks on paper, 3 hand‑colored, each pencil‑signed and titled lower margin, each initialed “CM” in plate, sheets 10 in. x 8 in., unframed. (4 pcs.) $1000/1500

215. Clarence Millet (American/ Louisiana, 1897‑1959), “Pirate’s Alley”, “Corner Jackson Square” and “Brulatour Courtyard”, 3 hand‑colored woodblocks on paper, each pencil‑signed and titled lower margin, each initialed “CM” in plate, sheets 10 in. x 8 in.; accompanied by Gladys B. Morgan (American/Louisiana, 1899‑1981), “House in Old Jefferson, N.O.”, woodblock print, pencil‑signed and titled lower margin, sheet 10 in. x 7 3/4 in., each unframed. (4 pcs.) $1000/1500

218. Eugene Loving (American/ Louisiana, 1907‑1971), “Wishing Gate, Old New Orleans”, “Sunlight and Shadow, Old New Orleans”, “Castillian Arm’s Court, Old New Orleans” and “Little Theatre Court, Old New Orleans”, 4 etchings on paper, each pencil‑signed, dated and numbered lower margin, 7 1/2 in. x 6 in. to 12 1/4 in. x 9 3/4 in., unframed. (4 pcs.) $400/600

219. Clarence John Laughlin (American/Louisiana, 1905‑1985), “Tree of Fear”, 1941, silver gelatin print, signed, titled and dated lower margin, artist stamp, print date “January 1982”, title and inscription by artist en verso, 13 1/2 in. x 10 1/2 in., framed. $600/800

222. Anne Goldthwaite (American/ Alabama, 1869‑1944), “Portrait of a Seated Woman”, ink on paper, signed lower right, sheet 12 1/2 in. x 9 1/2 in., framed. $500/800

223. Anne Goldthwaite (American/ Alabama, 1869‑1944), “Study for Selma”, graphite and charcoal on paper, pencil‑signed lower right, sheet 12 1/4 in. x 9 in., framed. $500/800

Provenance: Saint Augustine’s University, Raleigh, NC.

Note: The central figure in this compelling lithograph, who has been identified as former Newcomb dean Pierce Butler, looms ominously over the graduates in the background, with sharp teeth revealed as though to devour the students. Caroline Durieux often used satire to reveal her thoughts on people in powerful positions, and this work is not her only example critical of “the grandeur of academia.” In From Society to Socialism: The Art of Caroline Durieux, it is stated: “While the artist admittedly benefited from the training and rigor of the institution, she often found the pedagogical environment repressive.” Perhaps for this reason, she depicted the students dwarfed in comparison to the architecture and the dean. Ref.: From Society to Socialism: The Art of Caroline Durieux. New Orleans: Tulane University, 2008.

216. Eugene Loving (American/ Louisiana, 1907‑1971), “Green Shutters Patio, Old New Orleans”, “The Marchand Court, Old New Orleans”, “Pirate’s Alley, Old New Orleans” and “Bourbon Street Court, Old New Orleans”, 4 etchings on paper, each pencil‑signed, titled and edition number lower margin, 7 in. x 5 in. to 10 in. x 7 in., 3 framed. (4 pcs.) $400/600

220. Ettore Sottsass (1917‑2007) for Memphis Porcelain “Nilo” Vase, 1983, impressed mark “E. Sottsass per Memphis”, h. 11 7/8 in., dia. 5 1/2 in. $400/600

224. Rolland Harve Golden (American/Louisiana, b. 1931), “French Quarter Courtyard”, 1963, oil on artist board, signed and dated lower right, inscribed “Artist is / R.H. Golden / 624 Royal Street / New Orleans, LA” en verso, 20 in. x 23 3/4 in., framed. $1000/1500

217. Aaron Bohrod (American/ Wisconsin, 1907‑1992), “New Orleans Street Scene”, 1938, lithograph on paper, pencil‑signed lower margin, sheet 9 1/2 in. x 9 1/2 in., unframed. $200/300

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

225. George Hand Wright (American, 1872‑1951), “Royal St., New Orleans”, “Antiques, New Orleans”, “Old French Market, New Orleans”, “Sieur George’s, New Orleans”, and “The Priest’s Garden, New Orleans”, 5 etchings on paper, each pencil‑signed and titled lower margin, 15 3/4 in. x 11 1/2 in. or 11 1/2 in. x 15 3/4 in., unframed. (5 pcs.) $400/600 Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans.

226. Steele Burden (American/ Louisiana, 1900‑1995), “Sow Feeding her Piglets”, “Rat on an Ear of Corn” and “Two Hound Dogs Treeing a Raccoon”, 3 crackle glazed ceramics, each incised “SB”, 7 in. x 1 1/2 in. to 5 in. x 4 1/2 in. (3 pcs.) $700/1000

227. Steele Burden (American/ Louisiana, 1900‑1995), “War is Hell” and “Turtles”, 2 crackle glazed ceramics, the former titled, both incised “SB”, 7 in. x 2 1/2 in. to 6 in. x 4 1/2 in. (2 pcs.) $600/800

228. Steele Burden (American/ Louisiana, 1900‑1995), “Alas Poor Yorrick” and “Stoning”, 2 crackle glazed ceramics, one titled, both incised “SB”, 5 in. x 4 in. to 5 1/2 in. x 3 in. (2 pcs.) $600/800

229. Steele Burden (American/ Louisiana, 1900‑1995), “Sunday Morning Church”, “A Day at the Beach” and “Mardi Gras Float led by Flambeaux”, 3 crackle glazed ceramics, 2 incised “SB”, 6 1/2 in. x 2 1/2 in. to 7 1/2 in. x 4in. (3 pcs.) $700/1000

230. Ellsworth Woodward (American/New Orleans, 1861‑1939), “Clotho, A Fate”, etching, initialed lower margin, 10 3/4 in. x 8 1/2 in., framed. $400/600

231. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Courtyard of the Maison Brulatour, Old New Orleans”, 1948, “Patio ‑ The Bosque House, Old New Orleans”, 1945, “St. Louis Cathedral, Old New Orleans”, “Old Decatur at New Orleans”, “Old New Orleans”, 1948 and “Sunlight and Shadow, Old New Orleans”, 5 etchings and 1 aquatint on paper, each pencil‑signed, titled and 3 dated lower margin, 5 in. x 3 1/4 in. to 13 in. x 8 in., 3 framed. (6 pcs.) $1500/2500 Note: The etching “Old New Orleans” accompanied by original folder was “presented in a limited edition for members of the Miniature Print Society” in 1948.

232. Lourdes Almeida (Mexican, b. 1952), “Sariel”, “Samail”, “Untitled: Male Nude” and “Untitled: Male Nude Torso”, 1996, 4 silver gelatin prints, each signed, dated, 2 titled and 2 numbered “1/10” lower margin, sights 12 in. x 16 in. to 17 in. x 14 in., framed alike. (4 pcs.) $800/1200 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

233. Eugene Delcroix (American/ New Orleans, 1891‑1967), “Lacy Balconies, Royal Street” and “Cathedral through Gateway”, 2 hand‑colored photographs, each pencil‑signed and titled on mat board, “Holmes Art Gallery, NOLA”, “Downtown Frames & Pictures Co., NYC” and “Korzendorfer‑Bick Picture & Frame Co., St. Louis” labels en verso, sheets 10 in. x 8 in. and 10 in. x 7 1/2 in., unframed. (2 pcs.) $200/300

234. Dale Chihuly (American, b. 1941), “Blue Seaform Set with Yellow Lip Wrap”, signed, larger h. 5 1/4 in., w. 11 in., d. 7 1/2 in. (2 pcs.) $2000/3000

235. Decorative Crème Peinte and Silverplate Carving Serving Trolley in the Louis XVI taste, revolving domed cover, frieze fitted with plate stand, h. 45 in., w. 36 in., d. 36 in. $2000/3000

236. Neoclassical Verdigris Patinated Bronze Figural Center Table, later tempered glass top, twin cherubs on foliate plinth, h. 30 in., w. 49 3/4 in., d. 29 1/2 in. $1500/2500 Additional information at www.nealauction.com

237. Pair of French Gilt Bronze‑Mounted Sienna Marble Urns, 19th c., swan handles, foliate collar, plinth base, h. 16 in., w. 8 in., d. 4 1/2 in. $700/1000

238. Empire‑Style Gilt and Patinated Bronze Chandelier, early 20th c., single light, font mounted with swans and crystal spheres, h. 36 in., dia. 20 in. $600/900

239. Chinese Famille Verte Porcelain Fishbowl, Qing Dynasty (1644‑1911), decorated with the Eight Immortals and Queen Wangmu, h. 12 in., dia. 14 1/2 in. Note: Restoration. $700/900

240. Chinese Famille Rose Porcelain Fish Bowl, late 19th/early 20th c., exterior with a scene of noblemen and warriors in an outdoor setting, carved brown glazed bands encircling shoulder and foot, h. 12 in., dia. 14 3/4 in. $200/400

242. Large Japanese Patinated Bronze Elephant Koro, Meiji Period (1868‑1912), caparisoned figure with detachable 2‑part pagoda with phoenix finial on oback, saddle blanket with kirin, base with cast signature “Fukui Kichisani sei zo”, h. 20 1/4 in., w. 19 1/2 in., d. 8 in. $1000/2000

241. Gilt Bronze‑Mounted Japanese Imari Porcelain Tazza, early 20th c., well with birds amid peonies and rocks, foot with bird‑and‑flower panels; everted openwork rim, shishi mask feet, h. 9 3/4 in., dia. 10 1/4 in. $600/900

243. Japanese Patinated Bronze Vase, probably early 20th c., horned beast handles, relief cast with bird‑on‑branch and monkey‑on‑branch panels, base with five‑character mark, h. 23 in., w. 17 in. $500/700 244. Pair of Antique Chinese Carved Hardwood Horseshoe Back Armchairs, probably Huanghuali, U‑shaped crestrail and scroll arms terminating in dragon heads, S‑curved splat carved with dragon panels, paneled seat framed with a carved gallery, dragon frieze, cabriole legs, claw and ball feet, box stretcher, h. 39 1/2 in., w. 28 1/2 in., d. 24 in. $10000/15000 Provenance: Estate of Dr. Henry William Jolly (1917‑2004), Baton Rouge, LA. Note: For a similar Huanghuali chair with raised animal claw feet resting on a box stretcher, see Sotheby’s, New York, Fine Chinese Furniture, Works of Art and Carpets from the Arthur M. Sackler Collections, Sept. 16, 2009, lot 34. For examples of Chinese chairs with scroll feet resting on balls supported by stretchers see Guangzhou‑style chairs, including lot 2503, sold Christie’s, Hong Kong, Important Chinese Ceramics and Works of Art, Dec. 3, 2008.

246. Italian Neoclassical Painted Commode, probably 18th c., faux marbre top, three graduated drawers, square tapered legs, h. 34 in., w. 44 1/2 in., d. 22 3/4 in. $1000/1500

245. Continental Specimen Marble and Carved Mahogany Games Table, 19th c., gameboard top, vasiform support with carved collar, arched S scrolled legs, h. 30 in., w. 24 1/4 in., d. 24 1/4 in. $800/1200

248. Large Chinese Export‑Style Famille Rose Porcelain “European Hunt” Bowl, 20th c., vibrantly enameled with hunt scenes on a blue and gilt ground, base with Qianlong mark, h. 7 3/8 in., dia. 16 1/4 in. $150/250 Provenance: The Sturm Collection.

247. Pair of Blue and White Delftware Covered Jars, 18th/19th c., “WK” marks, possibly for Willem van der Kool, De Drie Porceleyne Flessies, octagonal bodies and covers with ribbed walls decorated in Chinese style, h. 21 3/4 in. $500/700

252. Chinese Export “Mandarin” Palette Porcelain Punchbowl, 18th/19th c., decorated with figural scenes on an iron red and gilt diaper ground, h. 4 5/8 in., dia. 10 3/8 in., stand, overall h. 6 1/2 in. Note: Restoration. $200/300

250. Near Pair of Chinese Export Blue and White Porcelain Dishes, 17th/18th c., central star panels with plants and rocks in waterscapes, bases with double ring marks, dia. 10 3/4 in. $800/1200 251. Chinese Export Famille Rose Porcelain Gu‑Form Vase, 19th c., decorated with figural and bird‑and‑butterfly panels on a gilt ground with flowers and butterflies, h. 13 1/8 in. $200/300

Provenance: Sallea Antiques, New Canaan, CT, 2011.

249. Set of Eight Sevres‑Style Polychrome Porcelain “Chateau des Tuileries” Portrait Plates, early 20th c., bearing crowned Louis‑Philippe mark with “1844”, and “S.37”, painted with various French noble women on apple green grounds with raised gilt highlights, signed “Moreau”, dia. 9 1/2 in. $1000/1500

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

End of Session One 253. Gilt Bronze‑Mounted Sevres‑Style Porcelain Covered Centerbowl, c. 1900, fruit finial, reticulated collar, cherub and floral decoration, h. 12 1/2 in., dia. 10 in. $500/700

254. Gilt BronzeMounted Bleu Celeste Porcelain Vase, c. 1900, cherub mask handles, reserve with courting couple, signed “Henri”, h. 21 in. $400/600 Additional information at www.nealauction.com

Session Two Saturday, November 18, 10 am 4038 Magazine

256. Manner of David Teniers the Younger (Flemish, 1610‑1690), “Landscape with Peasants Conversing”, oil on canvas, unsigned, “Fogg Museum, Harvard University, Cambridge, MA” partial label en verso of frame, 38 3/4 in. x 34 3/4 in., antique gilt frame with artist and title plaque. $1000/1500 Provenance: The Sturm Collection. 255. Louis XVI‑Style Gilt Bronze‑Mounted Carved Mahogany Sideboard, molded marble top, two frieze drawers, over doors, side compartments with curved doors, conforming molded base, reeded legs, h. 40 3/4 in., w. 90 1/2 in., d. 21 1/2 in. $700/1000

258. Antique Continental Inlaid, Carved and Burled Walnut Serpentine Chest of Drawers, 19th c., marquetry top, three drawers, molded base, bun feet, h. 35 in., w. 48 in., d. 29 in. $600/900

257. School of Titian (Italian, 1490‑1576), “Madonna, Christ and St. John the Baptist”, oil on canvas, unsigned, “Wadsworth Atheneum, Hartford, Ct.” exhibition label with artistic attribution and provenance and 2 illegible handwritten labels en verso, 33 in. x 27 in., antique frame. $4000/6000 Provenance: Rev. Dr. and Mrs. Remsen B. Ogilby, Hartford, CT; Private Collection, CT. Exh.: “Paintings in Hartford Collections”, Wadsworth Atheneum, CT, c. 1936 and listed in the exhibition catalogue as # 339. 259. Two Spanish Colonial Carved and Painted Wood “Santo” Figures of Christ Crucified, 18th/19th c., smaller with hinged arms mounted to iron strap, h. (to top of head) 29 1/2 in. and h. 33 1/2 in. $800/1200

262. Pair of Italian Polychromed Metal Two‑Light Sconces, 20th c., floral bouquet, electrified, h. 17 in., w. 14 in., d. 5 in. $400/600 Provenance: Estate of Stefanie C. Golden, Florence, Italy. 260. Pair of Gothic Porcelain Inset and Cloisonné Embellished Brass Six‑Light Candelabra, 19th c., shaped base, h. 18 5/8 in., now mounted as lamps, h. (to finial) 31 1/2 in. $400/600

261. French Gilt Metal and Blue Opaline Glass Six‑Light Chandelier, early 20th c., scroll arms, electrified, h. 24 in., dia. 16 in. $500/700 Provenance: Estate of Stefanie C. Golden, Florence, Italy.

263. Napoleon III Bronze and Tôle Peinte Bouillotte Lamp, 19th c., oval, adjustable shade, now electrified, h. 21 1/2 in., w. 10 1/2 in., d. 7 1/2 in. $200/300 Additional information at www.nealauction.com

264. American Cast Iron Gothic Garden Bench, 19th c., serpentine crest, horseshoe back, pierced seat, relief decorated cabriole legs, h. 35 in., w. 44 1/2 in., d. 18 1/4 in. $1000/1500 Provenance: New Orleans, LA., estate.

265. American Federal Walnut Wingchair, 18th c., Virginia, tapered back, slightly flared wings, scrolled arms, tapered square legs connected by stretchers, h. 43 1/4 in., w. 26 1/2 in., d. 19 in. $800/1200

266. American Classical Carved Mahogany Bowfront Chest, 19th c., shaped top, columnar stiles, four graduated drawers, rectangular plinth, turned foliate carved feet, h. 42 3/4 in., w. 47 in., d. 24 in. $1000/1500

267. American Classical Carved Mahogany Work Table, early 19th c., probably Philadelphia, lift top, birdseye maple stiles, torus molded fitted tray over two drawers, cylindrical standard, incurvate plinth, acanthus carved paw feet, casters, h. 31 1/8 in., w. 20 1/4 in., d. 16 3/4 in. $500/800 Provenance: Bernard Caperton, Charlottesville, VA.

268. American Classical Carved Mahogany Daybed, early 19th c., cylindrical crests, paneled head and foot board, foliate‑carved uprights, bulbousturned feet, h. 33 in., w. 71 1/2 in., d. 27 1/4 in. $500/750

270. Pair of Innovative Italian Painted and Gilt Side Chairs, early 20th c., gothicized back, floral painted splat, shaped seat, slender tapered legs, stretchers, h. 48 7/8 in., w. 16 in., d. 15 1/4 in. $1000/1500

271. Italian Marble Bust of Diana, 1893, after the Antique by Leochares, “Diana / Gall[eri]a Lapini / Firenze 1893” inscribed on truncation, h. 18 in., w. 14 in., d. 7 3/4 in., marble socle, overall h. 22 3/4 in. $1000/1500

269. William IV Burl Walnut Canterbury, mid‑19th c., divided compartments, spindled uprights, low drawer, turned legs, casters, h. 20 in., w. 21 in., d. 15 in. $700/900 Provenance: Keil’s Antiques, Inc., New Orleans, LA, 2001. 272. Enrico Butti (Italian, 1847-1932), “Model for the Monument to the Battle of Legnano”, patinated bronze, signature inscribed on self-base, h. 38 in., w. 20 1/2 in., d. 15 1/2 in. $2500/3500 Note: Sculptor Enrico Butti created the prototype for this work as a model for the monument to the Battle of Legnano, specifically the compagnia della morte where the Lombard League defeated the forces of the Holy Roman Empire led by Emperor Frederick Barbarossa. The work was exhibited at the Triennale of Milan exposition in 1897, and it proved quite popular, allowing the artist to finally gain recognition for his exceptional talent. As Ashton Rollins Willard describes the piece in History of Modern Italian Art, “his face as well as his shirt of mail and his battered shield were of that strange archaic type which sends a shiver through one’s muscles by its almost uncanny evocation of a forgotten past.” The monument which was inaugurated in 1900 still stands in Legnano today. Ref.: Willard, Ashton Rollins. History of Modern Italian Art. Norwood: Norwood Press, 1898, p. 229.

273. Bashka Paeff (Russian/American, 1894‑1979) “Crouching Child Holding a Sea Shell”, bronze, inscribed “BASHKA PAEFF / ROMAN BRONZE WORKS / NY” in circular base behind proper left foot, h. 27 1/2 in., dia. 20 3/4 in., presented on bronze pedestal, inscribed “G. SCHOONMAKER Sc.” and “GORHAM CO. FOUNDERS” on base, overall h. 73 in., dia. 39 1/2 in. $3000/5000

274. French Patinated Bronze Figure of the “Venus de Milo”, after the Antique, inscribed “F. Barbedienne.Fondeur” on rear truncation with “A. Collas Réduction Mécanique” seal on base reverse, h. 33 3/4 in., w. 10 1/4 in., d. 8 1/4 in. $800/1200

275. Napoleon III Gilt and Patinated Bronze Figural Clock, c. 1850, “Japy Freres” movement, surmounted by Native American princess allegorical of “America”, h. 16 in., w. 13 1/2 in., d. 5 in., presented in glass dome, overall h. 21 1/4 in., w. 16 1/2 in., d. 8 1/4 in. $2500/3500

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

276. American Renaissance Gilt‑Incised, Ebonized and Carved Walnut Bedroom Suite, mid‑19th c., New York, attr. to Thomas Brooks, bed with figured burl walnut panels, architectonic headboard centered by a winged bust, bulbous turned finials surmounting the posts, conforming foot board; dressing chest with molded cornice centered by a female bust, marble top, three graduated drawers, flanked by fluted stiles, plinth base, bed h. 98 in., l. 79 in., w. 58 1/2 in.; chest h. 94 in., w. 51 1/2 in., d. 23 1/2 in. (2 pcs.) $5000/10000 Note: The finely carved bedroom suite shown here is closely related to examples of Renaissance Revival furniture by Brooklyn cabinetmaker Thomas Brooks. The bed, featuring an architectonic headboard centered by a winged bust, is nearly identical to a Brooks example, marked with the firm’s stencil, illustrated by Eileen and Richard Dubrow in American Furniture of the 19th Century. The dresser en suite features drawers with similar paneled turnings and an overall lower case form comparable to a Brooks secretary bookcase also illustrated by Dubrow. Ref.: Dubrow, Eileen and Richard. American Furniture of the Nineteenth Century. Schiffer: Pennsylvania, 1983, pp. 200, 208.

277. Fine American Renaissance Carved and Gilt‑Incised Rosewood Armchair, c. 1865‑1870, New York, architectonic crest rail centered by a centurian medallion, padded back and arms, scrolled uprights, turned legs, casters, h. 34 3/4 in., w. 26 in., d. 22 in. $700/900 278. Very Rare American Rococo Carved and Laminated Rosewood Library Armchair, c. 1850‑1860, attr. to John Henry Belter, New York, extensive floral crest, scrolled, pierced and padded seat back, incurvate arms and uprights, floral carved serpentine seat rail, acanthus carved cabriole legs, casters, h. 41 in., w. 24 1/2 in., d. 17 1/2 in. $3000/5000

279. American Belle Époque Style Carved Mahogany Adjustable Easel, upright supports, dolphin support trestle base on dolphin supports, h. 82 1/4 in., w. 22 3/4 in., d. 23 1/2 in. $500/1000

Additional information at www.nealauction.com

280. American Classical Carved Mahogany Pier Table, early 19th c., Boston, Egyptian marble top, cove‑molded frieze, foliate carved tapered columnar supports, tapered pilasters flanking mirror back, incurvate plinth base, h. 33 in., w. 41 3/4 in., d. 17 in. $1500/2500 Note: Several aspects of the pier table shown here, such as the Egyptian marble top, bolection frieze, exuberantly carved supports, and incurvate plinth, relate to Classical pier tables by Boston cabinetmakers such as Isaac Vose and Emmons & Archibald. A pier table by Emmons & Archibald in the collection of the Museum of Fine Arts Boston features the pairing of an Egyptian marble top and a shaped lower plinth. A table with a similar overall form and bolection frieze attributed to Boston was sold in these salesrooms on Feb. 23, 2008, as lot 92. Ref.: Pearce, Clark. “Classical Excellence in Boston: The Work of Isaac Vose.” adafca.org/events/ classical-excellence-in-boston-the-work-of-isaac-vose. Accessed October 17, 2017; Museum of Fine Arts Boston. www.mfa.org/collections/object/pier-table-44784. Accessed October 17, 2017.

281. American Renaissance Carved Rosewood Work Table, mid‑19th c., New York, molded drop leaf top, two drawers with swagged drapery pulls, fluted columnar uprights, shaped and incised stretcher with finial, casters, h. 30 1/2 in., w. 22 1/2 in., d. 20 1/4 in. $700/1000

282. French Cast Iron Baker’s Table, 19th c., marble or slate stop, acanthine pendant frieze, C scroll supports, fleur‑de‑lis and brass fitted stretchers, brass ball feet, h. 29 3/4 in., w. 43 3/4 in., d. 29 3/4 in. $1200/1800 283. Six Antique Directoire‑Style Carved Mahogany Salon Chairs, 19th c., incl. 2 arms and 4 sides, incurvate crests, cylindrical arms, shaped stiles, trapezoidal seat rail, tapered legs, blocked at base, armchair h. 35 3/4 in., w. 24 1/2 in., d. 17 1/2 in., side chair h. 35 1/4 in., w. 17 1/2 in., d. 17 in. $1500/2500

284. Attributed to Jean‑Baptiste Pillement (French, 1728‑1808), “Pastoral Scene”, oil on canvas, unsigned, illegibly inscribed lower right, 35 1/4 in. x 28 in., period frame. $2500/3500 285. Italian School, 17th/18th c., “Bacchanal”, oil on canvas, unsigned, handwritten inscription “Zuccari” en verso, 44 1/2 in. x 37 3/4 in., framed. $1500/2500 286. Aesthetic Movement Tiffany & Co. Makers Sterling Silver Oval Tureen, pattern introduced 1880, with molded loop handle and strapwork bands, July 1880 presentation engraved on underside, h. 8 5/8 in., w. 13 5/8 in., d. 8 in. wt. 60.25 troy ozs. $2500/3500

287. Tiffany & Co. Makers Sterling Silver Circular Tray, mid‑20th c., serpentine molded border, dia. 16 7/8 in., wt. 58.80 troy ozs. $1800/2500

288. Mexican Sterling Silver Tea and Coffee Service in the Spanish Colonial Taste, Eddie’s, Mexico City, c. 1950, incl. kettle‑on‑stand, teapot, coffee pot, sugar, creamer, waste bowl and tray, kettle‑on‑stand, h. 15 1/4 in., coffee pot h. 11 in., tray l. 31 in., total wt. 279.95 troy ozs. $3000/5000

290. George V Sterling Silver Presentation Bowl in the Arts and Crafts Taste, Walker & Hall, Sheffield, 1914, mark reg. 1894, hexagonal paneled form, squared handles with foliate terminals, scrolled feet, 1915 presentation inscription “FROM THE OFFICERS OF THE/ 16TH MIDDLESEX REGIMENT”, h. 5 3/4 in., w. 11 7/8 in., wt. 40.50 troy ozs. $800/1200

289. Tiffany “Hampton” Pattern Sterling Silver Flatware Service for Twelve, pat. 1934, c. 1934‑1947, incl. 12 each: dinner forks, dinner knives, salad forks, cream soup spoons, dessert/oval soup spoons, teaspoons, iced tea spoons, citrus spoons, cocktail forks and butter spreaders (fh); vegetable serving spoon, cold meat fork, gravy ladle, master butter knife (hh), cream ladle, cake/pie knife (hh), and cheese knife (hh), (127 pcs.), total wt. (weighable) 186.90 troy ozs; presented in a fitted mahogany case. $7000/9000

291. Two English Sterling Silver Chalices, Walter and John Barnard, London, 1881, mark reg. 1877, flat chased decoration in the Arts and Crafts taste, both retaining gilt wash interior, one with traces of gilt exterior, h. 9 in. and 8 7/8 in., wt. 24 troy ozs. $500/1000

292. Set of Sixteen Georgian‑Style Silverplate Service Plates, in the Chippendale taste, with gadrooned borders and engraved crests, dia. 11 3/8 in. $800/1200

Provenance: The Sturm Collection. 293. American Gilt Bronze Solar Lamp, c. 1850, attr. to Hooper, fluted Ionic column on plinth base, globe shade with floral reserves, h. 24 in. $800/1200 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

295. American Patinated Metal Figural Camphene Lamp, c. 1850, marked Cornelius & Baker, three Graces supporting a pear‑shaped font, floral cut globe shade, h. 20 in. $500/700 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

294. American Gilt Bronze Camphene Lamp, mid‑19th c., attr. to Starr Fellows, New York, floral design on three feet, melonform shade, prisms, h. 18 in. $800/1200 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

296. Ripley Blue and White Clambroth Glass Wedding Lamp, c. 1870, tall standard in white with two blue fonts, cut shades, h. 21 in. $600/900 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH. 297. Fine and Large Continental Cold‑Painted Metal Figure of a Banjo Player, c. 1900, based on models by Emile Guillemin (French, 1841‑1907) and Friedrich Goldscheider (Austrian, 1845‑1897), modeled seated on a “bamboo” stool, indistinctly inscribed on top of stool, h. 31 in., w. 15 1/2 in., d. 13 1/4 in. $12000/18000 Additional information at www.nealauction.com

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

299. Fine American Renaissance Parcel Gilt Walnut and Rouge Marble Mantel Clock, c. 1855, marble dial faintly etched “L. Marcotte” (Leon Alexandre Marcotte, 1824‑1887); striking bell movement marked “Ringuet a Paris” (Auguste‑Emile Ringuet‑Leprince, 1801‑1886) and “Vincenti & Cie., 1855”, h. 22 in., w. 24 3/4 in., d. 7 1/2 in. $2500/3500 Note: French born Léon Alexandre Marcotte (1824–1887) attended the École des Beaux Arts and trained as an architect in the studio of the leading neoclassical, rationalist architect, Henri Labrouste. Marcotte entered the furniture trade by 1835 when his sister, Marie-Felicité, married the well-established Parisian cabinetmaker Auguste-Emile Ringuet-Leprince. Marcotte and Ringuet-Leprince moved to New York in 1848 and set up business on lower Broadway. Marcotte ran the New York end of the partnership and Ringuet-Leprince traveled back and forth to Paris, making certain that their New York clients were supplied with the latest French taste in furniture and household furnishings. Their business was known successively as Maison Ringuet-Leprince (1840–1849) and RinguetLeprince & L. Marcotte (1849–1860). Ringuet-Leprince retired in 1860 and the firm became known as L. Marcotte and Company. Ref.: Gray, Nina. “Leon Marcotte: Cabinetmaker and Interior Decorator.” Chipstone.org, accessed: 10/17/17.

300. Black Forest Carved Hallstand, late 19th c., tree‑form standard with three bear cubs, large lower bear, umbrella holder, naturalistic base, h. 87 in., w. 31 in., d. 27 in. $5000/8000

301. Black Forest Carved and Mirrored Hallstand, late 19th c., tree‑form standard with a bear cub, beveled mirror plate, large lower base, umbrella holder, naturalistic base, h. 82 in., w. 30 in., d. 25 in. $4000/6000

302. Black Forest Carved Umbrella Stand, late 19th c., figural bear standard, lower umbrella tray, naturalistic base, h. 45 in., w. 16 in., d. 17 5/8 in. $4000/6000

303. Important Wooton Ebonized, Carved and Burled Walnut Standard Grade Rotary Desk, c. 1874, labeled “Wooton Desk Manf. Co., Indianapolis”, “Queen Anne” pattern, superstructure with spindled gallery, carved frieze, doors opening to a fall front writing surface, and upright files, doors fitted with cartonnier boxes to one side and open shelves on opposite side, shoe feet, casters, h. 69 in., w. 42 in., d. 28 1/4 in. $7000/10000

304. Rare American Rococo Highly Carved Rosewood Dressing Table, mid‑19th c., New York, possibly Alexander Roux, arched crest, fruit and flower cartouche flanked by putti, mythological bird supports, shield shaped mirror centered by a cabochon, serpentine carrara marble top, conforming drawer, C scrolled fruit carved cabriole legs connected by a foliate and floral stretcher, h. 85 in., w. 53 1/2 in., d. 21 7/8 in. $15000/25000 Note: The stunning and exuberantly carved dressing table offered as lot 304 shares many similar aspects with an étagère in the collection of the Metropolitan Museum of Art in New York, including the overall form, exaggerated crest, the carving hand of the winding foliate scrolls, and the shape and proportions of the scrolled feet. Among the New York Rococo Revival cabinetmakers, Roux was most known for often incorporating mythological, animal, and human figures in his elaborate pieces. The mythological birds flanking the mirror on the dressing table here relate to a Roux sideboard in the Metropolitan Museum of Art, which features similar elements. The present lot also relates to another Roux sideboard held in the Brooklyn Museum, also featuring many naturalistic elements. Ref.: Brooklyn Museum. Decorative Arts. brooklynmuseum.org/opencollection/objects/2291. Accessed October 18, 2017; Metropolitan Museum of Art. metmuseum.org/art/collection/search/3555. Accessed October 18, 2017; Metropolitan Museum of Art. “Heilbrunn Timeline of Art History.” www. metmuseum.org/toah/works-of-art/1993.168/. Accessed October 18, 2017.

305. American Late Federal Santo Domingo or Cuban Carved Mahogany Breakfast Table, c. 1810, attr. to Duncan Phyfe, New York, highly figured drop leaf top, one frieze drawer, pendant drops, reeded vasiform support, reeded outswept legs, paw feet, casters. $2000/3000 Ref.: Kenny, Peter M. Duncan Phyfe: Master Cabinetmaker in New York. The Metropolitan Museum of Art: New York, 2011, pp. 170‑171.

306. American Hepplewhite Three‑Part Mahogany Dining Table, late 18th/early 19th c., D ends, one with swing legs, drop leaf, swing leg center section, plain frieze, square tapered legs, h. 29 in., l. 98 1/2 in., w. 52 3/4 in. $3000/5000 Provenance: The Green Bottle, Houston, TX.

307. Six American Federal Cherrywood Side Chairs, late 18th c., New England, with 2 matching benchmade mahogany armchairs, arched crests, pierced vasiform splats, serpentine seats upholstered in blue leather with brass nailhead trim, square tapered legs, H stretchers, armchair h. 40 in., w. 21 1/2 in., d. 18 1/4 in.; side chair h. 40 in., w. 21 1/2 in., d. 18 1/4 in. (8 pcs.) $3000/5000

308. American Federal Carved and Inlaid Mahogany Sideboard, early 19th c., shaped top, frieze drawer, two side compartments with faux drawers, one with cabinet door, other with a bin drawer, arched apron, turned and reeded legs, h. 36 1/4 in., w. 73 1/2 in., d. 23 1/4 in. $3000/5000

Provenance: Side chairs: Didier, Inc., New Orleans, LA; armchairs: David Pruitt, Natchez, MS.

Provenance: Didier, Inc., New Orleans, LA.

309. American Classical Carved Mahogany Pier Table, c. 1840, attr. to J. & J.W. Meeks, New York, serpentine marble top, conforming frieze, canted scrolled supports, Gothic paneled pilasters, mirrored back, shaped plinth, scrolled feet, h. 36 in., w. 40 1/4 in., d. 19 1/2 in. $1500/2000 Note: This table is directly related to a Meeks table sold in these rooms on June 27, 2015, as lot 314.

310. American Federal Birdseye Maple Chest of Drawers, early 19th c., four graduated drawers, turned legs, ball feet, h. 39 in., w. 41 7/8 in., d. 21 in. $800/1200 Additional information at www.nealauction.com

311. West Indies Carved Tropical Hardwood Armoire, 19th c., Trinidad, molded cornice, fluted stiles, paneled doors, shelf interior with two fitted drawers, molded base, turned feet, h. 77 in., w. 56 3/4 in., d. 23 1/2 in. $1500/2500 Provenance: The Sturm Collection.

313. American Federal Carved Mahogany Pembroke Table, late 18th/early 19th c., top with shaped drop leaves, frieze drawer, reeded tapered legs, h. 28 1/2 in., w. (closed) 35 in., w. (open) 42 1/2 in., d. 22 1/2 in. $500/800

312. Louisiana Carved Walnut Tester Bed, early 19th c., bulbous turned finialed posts, cove molded cornice, rolling pin headboard, low foot board, conforming rails, turned legs, h. 103 1/2 in., l. 81 in., w. 57 1/2 in. $2500/3500 Note: The bed offered here is nearly identical to a bed from Bocage Plantation in Ascension Parish, featuring the same ring turnings on the posts and a shaped and paneled headboard surmounted by a similar rolling pin. The Bocage example was sold by Neal Auction Company in an onsite auction at Bocage Plantation in December 2007, as lot 129. The overall form is typical of Creole Louisiana beds from the Federal period and is related to beds found at Parlange Plantation, the Jacques Dupre house, and two beds from Houmas House in Ascension Parish. Ref.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735 1835. The Historic New Orleans Collection: 2010, pp. 384-385.

315. American Federal Carved Mahogany Campeche Chair, early 19th c., possibly Mid‑Atlantic, paneled crest rail, canted stiles, padded scrolled arms, sling seat, curule legs, stretchers, h. 41 1/2 in., w. 28 in., d. 32 in. $1500/2500 Note: The form of the Campeche chair here is close to examples from the Mid-Atlantic region, such as those found at Thomas Jefferson’s residence at Monticello. Featuring turned supports and a classical-style straight crest rail, the chair is also comparable to a Washington D.C. example owned by William Worthington. White pine secondary wood in the present lot supports a likely Eastern U.S. origin. Ref.: Ehrenpreis, Diane C. “The Seat of State: Thomas Jefferson and the Campeche Chair.”chipstone.org/article.php/608/ American-Furniture-2010/The-Seat-of-State:-Thomas-Jeffersonand-the-Campeche-Chair. Accessed October 18, 2017; Priddy, Sumpter III. et. al. “The One Mrs. Trist Would Chuse: Thomas Jefferson, the Trist Family, and the Monticello Campeachy Chair.” chipstone.org/article.php/635/American-Furniture-2012. Accessed October 18, 2017.

314. American Federal Mahogany Work Table, c. 1790, possibly Southern, square top, two frieze drawers, square legs, h. 28 1/2 in., w. 19 1/2 in., d 17 1/4 in. $500/700

316. American Federal Inlaid Cherrywood Chest of Drawers, late 18th c., Southern, molded top, four drawers, original oval brasses, shaped base and sides, flared “French” feet, h. 38 in., w. 39 in., d. 20 in. $700/1000

318. American Classical Carved Mahogany Sarcophagus-Form Cellarette, early 19th c., beveled hinged lid, fitted four bottle interior, shaped sides, cove‑molded base, acanthus‑carved paw feet, traces of gilt and ebonization on feet, h. 26 in., w. 20 1/2 in., d. 20 1/2 in. $1000/1500 317. American Classical Walnut Bergère, early 19th c., paneled crest, arms carved with eagle heads, rounded seat rail, reeded legs, casters, h. 37 in., w. 26 1/2 in., d. 28 in. $700/1000

319. American Sheraton Carved Mahogany Plantation Desk, early 19th c., molded cornice, arched scalloped paneled fall front, baize writing surface and fitted cubbyholes, kneehole base with two drawers, turned tapered legs, h. 62 in., w. 36 3/4 in., d. 24 in. $1200/1800

320. Pair of American Classical Carved Mahogany Armchairs, c. 1815, Philadelphia, tablet crest, molded stiles and arms, slat with spherules, trapezoidal slip seat, saber legs, h. 33 1/4 in., w. 21 in., d. 19 1/2 in. $1000/1500 321. American Classical Carved and Inlaid Mahogany Sofa Table, 19th c., in the manner of Duncan Phyfe, New York, shaped drop‑leaf top, frieze drawer, lyre supports, pierced stretcher, reeded sabre legs, brass paw feet, casters, h. 29 in., w. 39 3/4 in., d. 24 1/4 in. $1000/1500 322. Antique Anglo‑Colonial Brass‑Bound Tropical Hardwood Campaign Chest, 19th c., dovetailed case with seven drawers, molded base, turned feet, h. 36 1/2 in., w. 39 1/2 in., d. 17 in. $600/900

323. Rare Spanish Colonial Iron Mounted, Carved and Painted Wood “Baúl” Strong Box, 18th/19th c., paneled cover and sides carved with scrolling, leafy foliage, iron strapwork with bosses, central strap with painted monogram “FHP”, bale handles, retains iron lockplate with key, h. 7 3/4 in., w. 18 in., d. 17 in. $500/1000

324. Four Vargas Family Wax Figures, 20th c., “Fishmonger”, “Woman Wearing Tignon”, “Female Cotton Picker”, and “Male Cotton Picker”, one stamped “Genuine Vargas, New Orleans, LA” and one with “Kate Latter’s Candies, New Orleans” label en verso, original bases, each h. 7 in. $1000/1500

325. Pair of American Gothic Cast Iron Andirons, c. 1865, marked “Savery & Co., Philadelphia”, later red paint, h. 20 in., w. 9 1/2 in., d. 17 1/2 in. $500/800

326. Pair of Georgian Sheffield Plate Warming Stands, c. 1800, each with removable liner with gadrooned border, gadrooned lower body, acanthus scroll handles and feet, underside of liner and stand interior retain original tinned surface, associated burner, h. 3 3/4 in., w. 12 1/4 in. $400/600

327. English Silverplate Epergne in the Regency Taste, Israel Freeman & Son, London, founded 1928, with Anglo‑Irish cut glass bowls, h. 11 3/4 in., w. 24 in. $300/500 328. Late Georgian Sheffield Plate Hot Water Urn, 19th c., interior of cover marked “LONDON”, spigot marked “PATENT”, lobed mushroom finial, reeded cover and border, urn‑shaped body, scroll handles, shaped plinth, compressed ball feet, h. 14 1/2 in., w. 14 3/8 in. $300/500 Additional information at www.nealauction.com

329. Rare Acadian Cypress Table à Treteau, late 18th/early 19th c., Louisiana, two board plank top, trestle base with splayed legs, stretchers, h. 31 1/2 in., w. 72 in., d. 40 1/2 in. $4000/6000 Provenance: Thibodeaux Cormier residence, Breaux Bridge, St. Martin Parish, LA. Ill.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 265. Note: The early Acadian trestle or “treteau” table was modeled after the common 18th century French work table, as evident from illustrations in Denis Diderot’s Encyclopédie. The table offered here was found in the Thibodeaux Cormier residence in Breaux Bridge, Louisiana. Practical in use with lightweight legs, the trestle table could be easily moved for various tasks. Intact examples, such as this table, are very rare. Ref.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 264-265.

330. Louisiana Federal Walnut Washstand, early 19th c., shaped splash rail, plain frieze, stretcher shelf drawer, turned vasiform uprights and legs, h. 33 1/2 in., w. 24 1/2 in., d. 17 in. $1000/1500

331. West Indies Carved Tropical Hardwood Armoire, early 19th c., cove molded cornice, plain frieze, two paneled doors, fluted stiles, molded base, turned legs, h. 75 1/2 in., w. 53 3/4 in., d. 24 in. $4000/6000

332. Acadian Carved and Painted Cypress Table, early 19th c., Louisiana, mortised plank top, plain frieze, bulbous turned legs, stretchers, mortised and pegged construction, h. 28 in., w. 40 in., d. 30 in. $2000/3000 Ill.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 252. Note: The cypress table here was found in Avoyelles Parish, Louisiana. The form of the table is an example of the continuous influence of classic French styles from the 17th and 18th centuries on Acadian furniture. This table is clearly Louis XIII in style but dates to the earlier part of the 19th century, evident by the table’s construction. After the Acadians arrived in Louisiana in the 18th century, they remained in relative geographic isolation, which fostered the continuation of classic French forms in Acadian furniture. Ref.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 252. 333. Acadian Ash Ladderback Armchair, early 19th c., ball finials, tapered uprights, three arched slats, turned arms, egg shaped arm support, tapered legs, double stretchers, h. 34 in., w. 19 1/2 in., d. 15 in. $1000/1500 Ill.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 314.

334. American Federal String Inlaid Mahogany Sofa in the Sheraton Taste, c. 1790‑1800, Massachusetts, arched back, scrolled arms, reeded uprights, upholstered rail, turned legs, brass cuffs, casters, h. 37 in., w. 79 in., d. 30 in. $1000/1500 Provenance: Family of George Nickson Black; Benjamin Ginsburg Antiquary, Madison Ave., New York, 1978. Exh.: Museum of Fine Arts, Boston, 1929.

335. Chippendale Carved Mahogany Side Chair, 18th c., possibly American, volute carved crest rail, vasiform splat, trapezoidal slip seat rail, cabriole legs, pad feet, h. 37 1/2 in., w. 23 1/4 in., d. 23 in. $250/350

336. Spanish Colonial Tooled Leather “Baùl en Madera” Chest, probably late 17th/early 18th c., domed lid with scalloped molding and wrought iron strapwork, h. 15 1/2 in., w. 38 3/4 in., d. 19 3/4 in., later wood stand, overall h. 25 1/4 in. $1200/1800

337. Spanish Colonial Tooled Leather “Baùl en Madera” Chest, probably late 17th/early 18th c., domed lid with scalloped molding and wrought iron strapwork, later rosette‑carved stand, h. 17 1/2 in., w. 45 in., d. 22 in., later rosette-carved wood stand, overall h. 26 1/4 in. $800/1200

338. Louisiana Mahogany Armoire in the Federal Taste, early 19th c., cove molded cornice, plain frieze, flush paneled doors, fitted interior, molded base, reeded legs, brass ball feet, h. 84 1/4 in., w. 56 in., d. 21 5/8 in. $3000/5000 Provenance: Made by Pierre Barre, St. John the Baptist (now Edgard), LA; descended in his family to Del Guidry; thence to present owner. Note: A related armoire from the Stromeyer Collection at Chene Vert is illustrated in Furnishing Louisiana, p. 139.

340. Robert Malcolm Rucker (American/ Louisiana, 1932‑2001), “Steamboat on the Mississippi”, oil on canvas, signed lower left, 24 in. x 30 in., framed. $2000/3000

339. Eight American Classical Paint‑Decorated “Fancy” Chairs, early 19th c., probably New York, each with tablet crest centering a beehive, reticulated slats, rush seat, reeded legs, stretcher, button feet. $1200/1800 341. Meyer Straus (American/New Orleans, 1831‑1905), “Landscape with Cypress and Palmetto” and “Landscape with Stream”, 1904, 2 watercolors on paper, each signed and dated lower right, “Smart & Wilton, S.F.” labels en verso, each 11 in. x 6 in., framed alike. (2 pcs.) $1000/1500

342. Edith M. Sansum (American/Louisiana, 1867‑1934, act. New Orleans, 1884‑1901), “Acadian Cabin”, oil on canvas board, signed lower right, “W.E. Seebold, Bookseller, Stationer and Fine Art Dealer, N.O.” label en verso, 8 1/2 in. x 11 1/2 in., period frame. $1000/1500 Provenance: Jay P. Altmayer Family Collection, Mobile, AL. Note: Edith Sansum’s family moved to New Orleans shortly after her birth. Her parents, who were originally from Barbados, had seven children and lived in the Uptown area, where Edith’s father, Oliver Baker Sansum, practiced law. From the age of sixteen, Sansum began studying art, excelling in both sketching and oil painting, for which she was awarded medals from the Black and White Club and the Artists’ Association of New Orleans. Studying with noted New Orleans artists such as Helen Maria Turner and Julia Massey, Sansum eventually became an art instructor, teaching private lessons from her parents’ home. After the year 1901, Sansum seems to have abruptly abandoned her art career, turning to clerical work. However, her lovely still life paintings and landscapes, such as the current lot depicting a cabin in rural Louisiana, attest to Sansum’s artistic talents.

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343. William Henry Buck (Norwegian/Louisiana, 1840‑1888), “Louisiana Pastoral with Wooden Bridge”, 1883, oil on canvas, signed and dated lower left, 18 in. x 30 in., period frame. $125000/175000 Provenance: Acquired from the artist by Mr. and Mrs. Aristide Hopkins, New Orleans and Biloxi; thence by descent in the family. Note: Aristide Hopkins (1839-1925) and his wife, Mary McNeil Hopkins (1847-1908), were avid collectors and patrons of the arts. As close friends of William Aiken Walker, the couple was introduced to a variety of portrait, landscape, and genre scene painters, and their house on Esplanade Avenue (now the Fisk-Hopkins-Schwartz Home at 730 Esplanade) was filled with works by Louisiana artists such as William Henry Buck, Richard Clague, George Louis Viavant, and Achille Perelli. Aristide Hopkins worked at Merchants’ Mutual Insurance Company on Canal Street; he was an agent for Baroness Pontalba and managed properties within the city. During the Civil War, Hopkins served as a Lieutenant in the Louisiana Cavalry (New Orleans Light Horse) and after the war, he and Mrs. Hopkins maintained homes in both New Orleans and Biloxi. Collected by the Hopkins’ amongst other important landscapes and nature mortes, the lovely scene in the current lot displays Buck’s characteristic skill with Louisiana flora and fauna, including majestic oak, pine, and cypress trees laden with Spanish moss. A student of Clague, Buck developed his skills on plein air sketching excursions with his mentor and artists such as Andres Molinary and Marshall Joseph Smith, Jr. These trips, many along the shores of Lake Pontchartain, were undoubtedly influential on the development of Buck’s use of lighting effects and evocative atmosphere. The arrangement of the landscape offered here, on the edge of a lake with a curving wooden bridge, is a rare example of an asymmetrical configuration that beautifully guides the viewer’s eye around the canvas. The composition, with the inclusion of a picket fence on the left, a farmer and his dog crossing the bridge, and cattle grazing in the background, suggests a farm just beyond the trees and hints at a bucolic narrative. The reflective surface of the water adds an additional element of light and highlights the natural bend in the geography. The painting also includes hints of the Barbizon tradition in the luminous sky, and the loose brushwork that forms the reeds and bushes in the foreground, combining overall into a classic naturalistic view of the Louisiana landscape dating from the height of Buck’s career. Ref.: Trovaioli, August P. and Roulhac B. Toledano. William Aiken Walker: Southern Genre Painter. Baton Rouge: Louisiana State University Press, 1972.

344. Richard Clague (French/New Orleans, 1816‑1878), “Bay Jaune (Fishing Camp on Pilings)”, oil on canvas, signed lower left, 16 1/4 in. x 24 1/4 in., period frame. $80000/120000 Provenance: Acquired from the artist by Mr. and Mrs. Aristide Hopkins, New Orleans and Biloxi; thence by descent in the family. Note: The delicately placed fishing camp over water that Richard Clague chose to depict in the work offered here is a rare, intriguing composition that remains today enduring and timeless. The low horizon and expanse of sky direct the eye to the structure of the camp, and the viewer is drawn to the red brick chimney in the center of the painting. The attention to detail in the barrel and small figure on the porch of the camp are characteristic of the artist’s best work and are contrasted against the vastness of the landscape surrounding them. Clague must have visited the camp several times to sketch and paint the scene; a study of this exact view can be found in one of his sketchbooks now in the collection of the New Orleans Museum of Art. As on many of Clague’s drawings, he jotted down the location of the scene, and his notation “Jaune” on the study for this painting reveals the fishing camp was situated on Bay Jaune. Bay Jaune is located just off Lake Pontchartrain near the present city of Slidell, which was not founded until 1882 and would have been a small, rural community during Clague’s time. Aristide Hopkins, who acquired this painting from Clague, owned homes in both New Orleans and Biloxi and was known for inviting artists to both locations; Bay Jaune is directly en route between the two cities. Ref.: Toledano, Roulhac. Richard Clague: 1821-1873. New Orleans: New Orleans Museum of Art, 1974.

Richard Clague, Untitled, circa 1857-1868, The New Orleans Museum of Art: Gift of S. A. Trufant, 28.2.93 - Photo Courtesy of NOMA

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346. Louis Oscar Griffith (American/Indiana, 1875‑1956, act. New Orleans, 1916‑1917), “Clearing”, oil on canvas board, signed lower left, 10 in. x 13 in., framed with brass artist and title plaque. $500/800 345. Louis Oscar Griffith (American/Indiana, 1875‑1956, act. New Orleans, 1916‑1917), “Charcoal Boats, Old Basin Canal, New Orleans”, oil on canvas board, signed twice lower left, 15 in. x 17 1/2 in., framed with artist and title plaque. $6000/8000

347. Clarence Millet (American/Louisiana, 1897‑1959), “Louisiana Marsh”, oil on canvas, signed lower right, signed, titled and inscribed on artist label and “First Prize South Louisiana State Fair, 1955” label en verso, 29 in. x 20 in., framed. $10000/15000

349. William Aiken Walker (American/South Carolina, 1838‑1921), “Cabin Scene”, oil on board, signed lower left, pencil‑inscribed and partial “F.W. Devoe & Co., New York” label en verso, 9 1/2 in. x 12 1/4 in., framed. $10000/15000 Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker.

348. Robert Hopkin (American, 1832‑1909), “The Old Basin, New Orleans”, 1883, watercolor on paper laid on canvas, signed and dated lower right, signed, titled and inscribed “from sketch made / March 17th / 1883” en verso, 18 in. x 20 in., framed. $2500/3500

350. William Aiken Walker (American/ South Carolina, 1838‑1921), “Female Cotton Picker”, oil on board, signed lower right, pencil‑inscribed en verso, 8 in. x 4 1/8 in., framed. $5000/8000 Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker.

351. Clementine Hunter (American/Louisiana, 1886‑1988), “Gift of the Magi”, oil on board, monogrammed lower right, 14 in. x 16 in., framed. $3000/5000

352. Clementine Hunter (American/Louisiana, 1886‑1988), “Christmas Tree”, 1970, oil on board, monogrammed and dated lower right, inscribed “Mrs. Glynn” en verso, 24 in. x 16 in., framed. $3000/5000

353. George Louis Viavant (American/ New Orleans, 1872‑1925), “Nature Morte: Snipe”, 1920, watercolor on paper, signed and dated lower left, “Taylor Clark Fine Prints, Paintings and Framing, Baton Rouge” label en verso, sight 22 1/4 in. x 13 1/2 in., framed. $8000/12000

354. French Iron Strapwork Bound Bahut, late 18th c., found in Louisiana, open interior, trapezoidal sides, carrying handles, trace paint remaining, h. 17 in., w. 40 in., d. 20 in. $1000/1500 Ref.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 218.

355. Interesting Lot of Three Louisiana Mixed Wood Slat Back Side Chairs, mid‑19th c., each with finialed uprights, three shaped slats, trapezoidal seats, double stretchers, h. 34 in. to 32 in., w. 17 in. to 16 1/2 in., d. 14 1/2 in. to 13 in. $500/800

356. Canadian Mixed Woods Cradle, 18th c., turned uprights, paneled sides, shaped rockers, h. 26 in., w. 37 in., d. 27 in; together with indigo dyed linen fabric. $400/600 Prov.: Found in Baton Rouge, Louisiana.

357. West Indies Carved Mahogany Poster Bed, 19th c., Jamaica, palm-carved arched headboard, ring and spiral-turned posts, plain rails, bulbous-turned feet, h. 86 in., l. 80 in., w. 59 in. $2500/3500 Note: The bed offered here is a classic West Indies form. The shaped palm and foliate headboard and spiral-turned posts are distinctive elements common on beds found in Guadeloupe, Martinique, and other French Caribbean islands. Ref.: Connors, Michael. Caribbean Elegance. Abrams: New York, 2002, pp. 140-142. Additional information at www.nealauction.com

358. West Indies Carved Mahogany Campeche Chair, c. 1820‑1840, possibly Martinique or Barbados, stallion’s head crest, gadrooned crest rail and legs, turned arms, carved seat rail, leather upholstery, brass nailhead trim, h. 40 1/4 in., w. 22 3/8 in., d. 24 1/2 in. $1500/2500

359. American Colonial Silver Coffee Pot, attr. to Richard Pitts, Charleston, c. 1750, marked “RP” in rectangle and (later mark) “STERLING” in rectangle, engraved crest, baluster form with acorn finial, scroll spout, carved fruitwood scroll handle and molded foot, engraved monogram “P/W+C”, h. 10 1/8 in., wt. 25.60 troy ozs. $30000/50000 Note: Richard Pitts is documented as a silversmith in Philadelphia from 1741 to 1745 using a mark of “RP” in an oval. By 1746, he is documented in Charleston using a mark of “R*P” in a rectangle. A Richard Pitts rice spoon marked “R*P” in a rectangle is in the collection of the Charleston Museum. Two related Charleston coffee pots by silversmith Alexander Petrie are illustrated in Palmetto Silver, p. 8, and South Carolina Silversmiths, p. 149. For other similar Pre-Revolutionary examples see American Silver 1655-1825 in the Museum of Fine Arts, Boston, p. 308, for one by John Coburn (1725-1803), and American Silver: Garvan and Other Collections in the Yale University Art Gallery, p. 233, for an example by Samuel Minott of Boston. Ref. Hollan, Catherine. Philadelphia Silversmiths, p. 160; and Burton, E. Milby. South Carolina Silversmiths 1690-1860, pp. 151152.

360. Alice Ravenel Huger Smith (American/South Carolina, 1876‑1958), “Herons in Flight”, watercolor on board, signed lower right, “Whatman’s Water Color Boards” printed en verso, 16 3/4 in. x 21 3/4 in., framed. $20000/30000 Provenance: Acquired from the artist, Charleston, SC, c. 1936; descended in the family. Note: One of the main figures of the Charleston Renaissance, Alice Ravenel Huger Smith is best known for her scenic depictions of Charleston and her captivating views of poetic marshes such as the work offered here. The vast expanses of surrounding waterways, swamps and vegetation were an endless source of inspiration. Smith painted almost exclusively in watercolor from 1924 onward, finding the medium most advantageous to achieving the atmospheric effects she sought in her landscapes. In this work, Smith captures the mystical aura of the South Carolina Lowcountry through her particularly vibrant use of color to represent the foliage and water, accented by the white of the graceful, long-limbed birds taking flight. Ref.: Severens, Martha R. The Charleston Renaissance. Spartanburg, SC: Saraland Press, 1998; “Smith, Alice 18761958.” The Johnson Collection. http://thejohnsoncollection.org/alice-smith. Accessed Oct. 12, 2017.

361. Elizabeth O’Neill Verner (American/South Carolina, 1883-1979), “Charleston Flower Seller”, pastel on silk, signed lower left, sight 15 1/2 in. x 11 3/4 in., framed. $10000/15000

362. Charles Giroux (French, 1828‑1885, act. New Orleans, 1868‑1885), “Lake Pontchartrain”, oil on canvas, signed lower right, 6 1/2 in. x 11 3/4 in., framed. $15000/25000 Provenance: Carol Bowsky, New Orleans, 1962; Jay P. Altmayer Family Collection, Mobile, AL. Note: A charming example of Giroux’s distinctive landscapes, this depiction of Lake Pontchartrain exemplifies the artist’s skillful brushwork and adept use of color. The scene along the shore exhibits moss-laden trees and a small cabin with figures. The luminous skyline is beautifully painted, while the inclusion of cypress knees extending from the water adds an element of texture to the water’s surface.

363. John Wesley Jarvis (British, 1781‑1840, act. New Orleans, 1821‑1834), “Portrait of Samuel Chambers Bell (b. 1805), husband of Eulalie Longer (b. 1811), New Orleans”, oil on canvas, unsigned, artist stamp en verso (now obscured), 30 in. x 25 in., antique frame. $3000/5000 Provenance: Descended in the family of the sitter.

364. Jean‑Joseph Vaudechamp (French, 1790‑1866, act. New Orleans, 1831‑1839), “Portrait of a Louisiana Gentleman, possibly a member of the Delacroix family”, 1832, oil on canvas, signed and dated upper right, pencil‑inscribed “Madame De la Croix”, handwritten label and inscription “M. Lefevre‑Foinet” en verso, 32 in. x 25 1/2 in., period frame. $8000/10000 Note: Likely one of Vaudechamp’s earliest New Orleans canvases, the current lot portrays a dashing young man in fashionable attire. Known for painting many members of the wealthy and important families of New Orleans, Vaudechamp often went to his clients’ homes in the city or their plantation properties to have family members sit for his portraits. The background in the current lot, with its low horizon, greenery, and stormy sky, is extremely similar to the portrait of William Charles Cole Claiborne II, painted in 1831. The Lefebvre-Foinet shop in Montparnasse was known as the premier supplier of artists’ materials in Paris. Begun in 1880 by Paul Foinet, and joined later by his son-in-law, Lucien Lefebvre, the two men and their descendants operated the business for over one hundred years and amassed a great collection of art over that time period.

365. Important Louisiana Inlaid Mahogany Armoire, early 19th c., inlaid flared cornice and cartouche frieze, paneled doors centered by an inlaid Federal eagle, shelf interior with a medial belt of drawers, turned legs, brass ball feet, h. 85 in., w. 57 in., d. 23 in. $40000/50000 Provenance: The Charbonnet Family of New Orleans. Ill.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, pp. 42 (inlay), 191. Note: The Creole inlaid armoire in this lot descended in the Charbonnet family of New Orleans. In the sophisticated Federal style, the armoire features string inlay, brass ball feet, beautifully figured mahogany, and a central pictorial inlay portraying the Federal eagle. Eagles featured on American Federal furniture were likely inspired by the Great Seal of America, adopted in 1782. Louisiana gained statehood in 1812 and Creole armoires in the Federal style commonly featured the inlaid Federal eagle, possibly in recognition of Louisiana’s newly minted admission into the United States. Ref.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835. The Historic New Orleans Collection: 2010, pp. 39, 191.

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366. American Classical Brass‑Mounted Carved Mahogany Sideboard, early 19th c., New York, likely Charles Lannuier, pineapple finialed and brass galleried top, three drawers above four cabinet doors flanked by engaged stop fluted columns, sides with serving boards, blocked, reeded molding above, carved tapered blocked legs, brass cuffs, casters, h. 56 1/4 in., w. 76 3/4 in., d. 25 1/2 in. $2000/3000

367. Rare American Classical Bronze‑Mounted Mahogany Pier Table in the French Taste, early 19th c., Boston, marble top, mounted frieze, columnar supports, mirrored back flanked by pilasters, turned tapered feet, h. 37 1/4 in., w. 39 in., d. 15 1/8 in. $2500/3500

Note: Jeremiah Theus, the self-proclaimed “Limner of Charles Town,” created portraits, landscapes, and coats-of-arms from circa 1740, when he first advertised in the South Carolina Gazette, until his death in 1774. Known primarily as a portraitist, he painted the most prominent families across the Province of South Carolina. Theus, who was born in Switzerland, immigrated with his family to South Carolina in 1735; very little is known of his schooling, although his technique has been compared to the school of Franz Lippoldt (1688-1768) and to the contemporary painter, Elias Gottlob Haussman (16951774). The current lot exhibits many elements of Theus’ early style of painting, including the waist-length pose, the upright positioning of the figure, the soft brushwork of the face, and the accessories. Theus is known to have based many of the figural poses and clothing in his paintings on English mezzotints; therefore, many of his sitters have similar dresses or poses. For example, in Theus’ portraits of Sarah Parker Lowndes, Elizabeth Allston Lynch, and Susannah Holmes, all three ladies wear a dress based on a 1752 mezzotint of Elizabeth, Duchess of Hamilton, although Theus did make alterations to personalize each portrait. Similarly, the young lady in the current lot stands in the exact pose and an extremely similar dress to Theus’ portrait of Catherine Elliot. The Elliot family were generous patrons of Theus, having large portraits of Mr. and Mrs. Barnard Elliot painted, along with smaller portraits of their son and daughters. The girls’ faces, particularly Catherine’s, are similar in features to the girl in the current lot, conjecturing if perhaps our sitter is a sister or cousin in the Elliot family.

368. Attributed to Jeremiah Theus (American/South Carolina, 1716‑1774), “Portrait of a Young Girl Holding a Bouquet of Flowers”, oil on canvas, unsigned, 29 in. x 24 in., period frame. $15000/25000 Provenance: Family Estate Collection, Moultrie, Colquitt County, GA, reputed to have been acquired from a nearby plantation, c. 1970s.

Ref.: Middleton, Margaret Simons. Jeremiah Theus: Colonial Artist of Charles Town. Columbia: University of South Carolina Press, 1953; Severens, Martha. “Jeremiah Theus of Charleston.” Southern Quarterly. Vol. 24 (1985-86): 56-70.

369. José Francisco Xavier de Salazar y Mendoza (Mexican/New Orleans, c. 1750‑1802), “Don Antonio Mendez (1750‑1829)”, oil on canvas, unsigned, black painted inscription identifying sitter as “Antonio Mendez” and handwritten pencil inscription “....Don Antonio Mendez, Mort le 5, Dbre 1829, natif de la Havane” on stretcher bars, ink inscription regarding restoration by Gregor’s Beaux Arts, Hartford, CT in May 1945 en verso of relining canvas, 40 1/4 in. x 31 in., antique frame. $100000/150000 Provenance: By descent in the family of the sitter. Note: The sugar trade has long been an important element of the Louisiana economy, from the introduction of sugar cane to the New Orleans area in the 1750s to today, when Louisiana is presently the second largest sugar producer in the country. For both the culinary and economic benefits of the cane sugar business, much recognition and gratitude is indebted to Antonio Mendez, the first to successfully create granulated sugar in colonial America. Although Etienne de Boré is well known for his large-scale production and commercialization of granulated sugar, the efforts of Mendez, as well as Josef Solis and Antoine Morin, are often overlooked in the history of cane sugar. Sugar cane, which is indigenous to Asia, was first brought to the New World by either the Spanish or the Portuguese in the late 1400s, and the first harvest occurred in 1501 on the island of Hispaniola (now Haiti and the Dominican Republic). Over the next two centuries, the crop was successfully planted throughout the Caribbean islands and South America, and in 1751, Jesuit priests visiting Hispaniola brought samples back to Louisiana and planted them. In 1759, Joseph Dubreuil built a sugar mill and attempted to granulate sugar without success; by the 1780s, cane was widely planted for chewing and for producing “taffia,” a rum-like liquor widely imbibed by the citizens of Louisiana. It was thought that the growing season in Louisiana was too short and cold to produce adequate crops for granulation. However, Josef Solis, who had come from Saint-Domingue, planted Otaheite, a more common and heartier variety of sugar cane. Antonio Mendez, whose Magnolia Plantation in Terre aux Boeufs (now St. Bernard Parish) was adjacent to Solis’, eventually bought much of Solis’ lands and sugar crops, and hired Antoine Morin, a Haitian sugar maker who had fled Saint-Domingue during the revolution, to attempt to produce granulated sugar. The account of their success in finally granulating sugar is given by J.B. Avequin, who wrote in the Louisiana Sentinelle de Thibodeaux, “He made but a few small barrels of sugar, and it is certain that he experimented also in refining them, for in 1792, Mendez presented to Don Rendon, who was then Intendant of Louisiana for Spain, some small loaves of sugar refined by him. It required one of these little loaves to sweeten two cups of coffee.” In 1794, Etienne de Boré, seeing the destruction of the Louisiana indigo crops due to an insect infestation, decided to invest in sugar cane and bought a large quantity from Mendez and Solis. He planted these crops on his plantation on the Mississippi River (now the location of Audubon Park), and hired Morin to help produce the sugar. From this crop, he created sugar in large enough quantities to earn $12,000 and convinced more plantation owners to invest in sugar cane. De Boré’s success certainly bolstered the sugar industry in Louisiana, however, Mendez and Morin’s experiments in sugar refining were undisputedly seminal. Don Antonio Mendez arrived in New Orleans in the 1780s upon accepting the position of Procurer de Roi (Attorney General) for the Spanish Colonial government of Louisiana. He quickly purchased land grants and built a home known as Magnolia Plantation in the early 1790s; several notarial acts of 1794 and 1795 mention this particular structure. Later in his career, Mendez became a clerk at the Cabildo and was appointed parish judge of St. Bernard Parish by Governor William C. C. Claiborne. Mendez married Felicité Ducret on March 25, 1790 in St. Louis Cathedral, officiated by Father Antonio de Sedella (known to the New Orleans community as Père Antoine). The couple had six children, two of whom were depicted with their parents in a family portrait, also by Salazar, sold in these rooms, December 4, 2004. In the individual likeness of Mendez offered here, Salazar uses the half-length format within a painted oval similar to his portraits of other notable figures such as Major General James Wilkinson, Daniel William Coxe and Colonel Thomas Butler, Jr. Although history books have sometimes overlooked the contributions of Mendez, Morin, and Solis in favor of the story of Etienne de Boré, the Mendez family always sought to correct that impression. Don Antonio Mendez’ daughter, Magdalena Theresa Mendez Landier, told her daughter until her dying day: “Dire que c’est mon père qui a fait le premier sucre en Louisiane.” (Tell everyone that it was my father who made the first sugar in Louisiana). Ref.: Abbott, Elizabeth. Sugar: A Bittersweet History. London: Penguin House, 2008. American Sugar Cane League. A Story of Louisiana Cane Sugar. New Orleans, 1939. Buman, Nathan. “Two Histories, One Future” (PhD diss., Louisiana State University, 2013). Butler, W.E. Down Among the Sugar Cane. Baton Rouge: Moran Publishing Company, 1980. Hyland, William de Marigny. Tour of Historic St. Bernard Parish. St. Bernard, LA: Los Islenos Museum, 2012. Mims, Sam. Trail to a Pot of Gold. Homer, Louisiana: The Guardian-Journal, 1967. Rightor, Henry, ed. Standard History of New Orleans, Louisiana. Chicago: The Lewis Publishing Company, 1900. Stubbs, William C. Sugar Cane. Baton Rouge: Louisiana State University Press, 1900. Taggart, W.G. and E.C. Simon. A Brief Discussion of the History of Sugar Cane. Baton Rouge: Louisiana State Department of Agriculture and Immigration, 1938.

Attributed to José Francisco Xavier de Salazar y Mendoza, “Don Antonio Mendez and his Family”, oil on canvas, unsigned, 36 in. x 49 in. Provenance: Descended in the family of the sitters

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370. Spanish Colonial School, mid‑17th/19th c., “Our Lady of Victory”, oil on canvas, unsigned, 37 in. x 27 1/4 in., unframed. $1000/1500

371. Spanish Colonial School, mid‑17th/19th c., “Saint Thomas”, oil on canvas, unsigned, titled lower left, 33 1/2 in. x 42 1/4 in., framed. $800/1200

372. John James Audubon (American, 1785‑1851), “Flamingo”, chromolithograph, from The Birds of America, Bien edition, sheet 37 1/4 in. x 25 3/4 in. $7000/10000

373. Charles F. Zimpel (Prussian/American, 1801‑1879), “Topographical Map of New Orleans and its Vicinity, Embracing a distance of twelve miles up and eight and three quarter miles down the Mississippi River and Part of Lake Pontchartrain, representing all Public Improvements existing and projected and important Establishments, accompanied by A Statistical Table, containing the most accurate Illustrations; prefaced by A Splendid View of New Orleans, & Compiled from actual surveys and the best authorities, by Chas. F. Zimpel, Deputy City Surveyor of New Orleans, Chief Engineer of the New Orleans & Carrollton Rail Road Company and late Engineer in the Prussian Service, Scale six inches to the mile, New Orleans March 1834”, lithograph, on six sheets, original folio, vignettes showing: Orleans Cotton Press Co., City Hotel, Levee Steam Cotton Press, City Hall (Cabildo), St. Louis Cathedral, Presbytere, Bank of the Canal and Banking Co., City House and Market of the City of Lafayette, Bank of New of New Orleans, Union Bank, American Theater, Sugar Refinery, Charity Hospital, State House, “Defeat of the British Army...”, “Plan of the Banks of the Mississippi and Adjacent Country...”, and “Mouth of the Mississippi at the South West Pass”, six sheets (combined) 63 in. x 64 in. $40000/60000 Note: Zimpel, Charles F. (Karl Frederick Zimpel) and the subject map are best summarized in Ellen Merrill’s Germans of Louisiana. Pelican Publishing Company, Inc. 2005:

374. Laval, Antoine Jean, Voyage de la Louisiane, fait par ordre du roy en l’annee mil Sept cent vingt: Dans lequel sont traitees diverses matieres de Physique, Astronomie, Geographie & Marine..., Paris: Chez Jean Mariette, 1728, octavo, 9 3/4 in. x 7 1/2 in., full calf, bound by Sangorski & Sutcliffe, London, with over 30 maps, charts and plates, many fold‑out, incl. maps of the coast of Louisiana, voyage from France to the Mississippi, Pensacola, Martinique, Cartagena, Cuba and charts of weather and navigational readings. $7000/9000 Note: The two primary maps in this volume, “Carte de la Coste de la Louisiane” and “Plan de Pensacola” were of paramount importance in the development of Gulf Coast cartography. Based on manuscript surveys, they are am were among the first published maps of the areas they show.

“Zimpel was a young Prussian aristocrat who soon established a lucrative career in the city as a surveyor, engineer, and architect. His tastes were mainly classical, in keeping with the style in vogue in both Europe and America. He was highly successful in those areas in which he was trained and, for a short time, became deputy surveyor and chief engineer for the city. In 1833 he laid out and developed the City of Carrollton. Perhaps his most important achievement was the detailed map of New Orleans he produced in 1834. Dissatisfied with the quality produced by the lithographers in New Orleans, he sent his original drawing back to Germany. On the return trip the lithographic stone and reproductions were lost at sea, making the Zimpel map a collector’s item. As chief engineer of the New Orleans and Carrollton Railway, which ran from Canal Street to Carrollton Avenue along Nayades Street (now St. Charles Avenue), he got involved in land speculation. Having little experience in this area, he soon fell into debt and fled the city. After only seven years of working in New Orleans, he returned to his native Prussia.” Zimpel also designed and oversaw construction of several important buildings in New Orleans during his tenure here, three of which are shown in vignettes above his map: the Bank of New Orleans, City Hotel, and the Orleans Cotton Press. Only six copies of the Zimpel map have been located, five of which are housed in institutional collections.

375. [Mitchell’s Universal Atlas], A New Universal Atlas Containing Maps of the Various Empires, Kingdoms, States and Republics of the World. With a Special Map of Each of the United States, Plans of Cities..., Philadelphia, Thomas, Cowperthwait & Co., 1852, folio (17 in. x 14 in.), with 73 hand‑colored lithographic maps, and a chart showing rivers and mountains of the world, half red morocco, marbled boards, with gilt leather title on upper cover. $2500/3500

378. Probst, Johann Michael, “Nova Mappa Geographica Americae Septentrionalis”, Augsberg, 1782, hand‑colored, based on the Le Rouge edition of Henry Popple’s key map of 1733, insets show New York, Boston, St. Augustine, Havana, Charles Town, Bermuda, Providence, Santiago, Kingston, Port Royal‑Martinique, Barbados, Antigua, Cartagena, Porto Bello and others, issued the year before official recognition of the English colonies as the United States, 20 in. x 19 1/4 in. $2000/3000

376. [New Orleans Exposition Map], “The World’s Industrial and Cotton Centennial Exposition, New Orleans, LA...Plan No. 2 Map of the City of New Orleans showing the location of exposition grounds and all approaches thereto by land & water”, 1884, Southern Litho. Co., New Orleans, with 13 insets or vignettes, 27 in. x 36 7/8 in. $1000/1500

379. D’Anville, Jean Baptiste Bourguignon, “Carte de la Louisiane”, Paris, 1732/1752, hand‑colored, detailed map with earliest occurrence of “Le Baton Rouge”, large inset map details “Partie Superieure de la Louisiane”, tracking the area surrounding the Mississippi River, 20 1/2 in. x 36 1/2 in. $1000/1500

377. After Maria Adrien Persac (American/Louisiana, 1823‑1873), “Plantations on the Mississippi River from Natchez to New Orleans, 1858”, copyright 1931, Pelican Book Shop, Inc., printed by Rand McNally & Company, showing the divisions of land with owners’ names, vignettes of New Orleans, Baton Rouge and plantations, decorated border composed of cotton plans and sugar cane, 52 in. x 30 1/2 in., mounted to board, framed. $1000/1500

380. Bellin, Jacques Nicolas, “Karte von Luisiana, dem Laufe des Mississipi und den benachbarten Laendern...”, Leipzig, 1744/1758, hand‑colored, German text edition by Bellin of De L’Isles’s famous southeast map covering most of the eastern half of North America from the Great Lakes to the Gulf of Mexico; European colonies and possessions along the Atlantic and Gulf coasts are depicted along with Indian lands, 15 1/2 in. x 22 1/4 in. $700/1000

381. [Gulf of Mexico and Caribbean Map], “Indiarum Occidentalium Tractus Littorales cum Insulis Caribicis/ Pascaert van Westindien ende Caribise Eylanden”, Amsterdam, 1745, hand‑colored engraved map by Reiner and Joshua Ottens, after the 1680 issue by Frederick de Wit, two cartouches, Latin and Dutch, one showing cannibalism, 19 in. x 22 1/4 in. $2000/2500

384. Miniature Portrait of Dr. Octavius Undecimus Trezevant (1810‑1866) of Charleston, SC and New Orleans, LA, mid‑19th c., watercolor and gouache, sight 4 1/2 in. x 3 1/2 in., case 6 in. x 5 in.; ACCOMPANIED by 2 letters from Edith Booth dated September 1934 and August 1937 to “Madame” with a Hailsham Sussex address. $3000/5000

382. Santini, P. / Remondini, M., “Partie Meridionale de la Louisiane, avec la Floride, la Caroline et la Virginie”, Venice, 1776/1784, second state, hand‑colored, from the Atlas Universel, 19 in. x 22 1/4 in. $700/1000

383. Covens and Mortier, “L’Amerique Septentrionale”, Amsterdam, 1720, hand‑colored, based on Sanson’s 1674 example, 22 5/8 in. x 34 1/2 in. $800/1200

Note: One of thirteen children, Octavius Trezevant was born in Scotland to Peter and Elizabeth Willoughby Trezevant in 1810. He married Maria Dorothea D’Argain y Belgrano, a Spanish woman born in Buenos Aires, in London in 1841. The couple had seven children by 1855; between 1855 and 1860 the family moved, along with at least two of Octavius’ brothers, to the United States. While his brothers settled in South Carolina, Octavius and his family moved to New Orleans, where they remained for the rest of their lives. Octavius had become a physician while in Scotland and continued practicing in New Orleans until his death in 1865. The Daily Constitutionalist of Augusta, GA, reported Dr. Trezevant’s death on November 4, 1865. A fatal knife wound was the cause of his death, and a full account of the incident is reported in James G. Hollandsworth, Jr.’s book, An Absolute Massacre: The New Orleans Race Riots of July 30, 1866. In the two letters that accompany this painting, Edith Booth references the Trezevant miniatures, which she acquired through the Estate of Theodore Matthias’ eldest son, Charles Edward. In both letters, she discusses the shipping arrangements to send to the miniatures to the United States. Ref.: Trezevant, John Timothée. The Trezevant Family in the United States. Colombia, SC: The State Company, 1914. United States 1860 Federal Census. Additional information at www.nealauction.com

386. William Aiken Walker (American/South Carolina, 1838‑1921), “Deacon Jones, N.O., Whar am de Expersishon?”, oil on artist board, signed lower left, titled lower edge, 2 “Louisiana State Museum” exhibition and “Eugene Okarma, Atlanta, Period Pictures and Distinctive Custom Framing” labels en verso, 8 in. x 4 in., framed. $8000/12000 Exh.: The World of William Aiken Walker, Louisiana State Museum, New Orleans, Dec. 1972‑Jan. 1973. 385. Louisiana School, mid‑19th c., “Encarnación de Léon y Collantes (1815‑1839)” and her son “Jean Manuel Oriol (1833‑1889)”, 1839, 2 portrait miniatures, unsigned, pencil inscribed “Retratado en Sept de 1839 a la edad de seis anos, complido el 4 del mismo mes (Portrayed in Sept 1839 at the age of six years on the 4th of the same month)” en verso of former, each 3 1/2 in. x 2 3/4 in., matching period frames; together with rose gold gimmel ring engraved “F. Oriol, de Leon y Collantes, 11/Mai/1832” and yellow gold gimmel Ring engraved “D.C. Lanaux, O.V. LaBranche, Le 4th/Oct/1846” and family ephemera. (4 pcs.) $1000/1500 Provenance: Descended in the family of the sitters.

Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker. Note: In 1884-85, William Aiken Walker painted several scenes such as the one offered here, with deacons, parsons, or other caricaturized African-American figures attempting to find the World’s Industrial and Cotton Centennial Exposition. The 188485 Cotton Expo celebrated the earliest-surviving record of export of a shipment of cotton from the United States. The fair took place in New Orleans, the home to the Cotton Exchange, and included exhibits and artwork from around the country and the world. Walker painted many small genre scenes that he sold as souvenirs during the Exposition.

387. Charles Giroux (French, 1828‑1885, act. New Orleans, 1868‑1885), “Settlement along the Bayou”, oil on wood panel, monogrammed lower left, handwritten inscription en verso of backing paper, 4 3/4 in. x 9 3/4 in., framed. $10000/15000 Provenance: Jay P. Altmayer Family Collection, Mobile, AL. Note: The attention to detail in this jewel-like and beautifully painted scene reflects Giroux’s skillful technique, exhibiting minute brushstrokes that create the small figures and architectural aspects of the houses. Giroux’s work offered here is extremely similar to a larger painting in the Maxim Karolik collection at the Boston Museum of Fine Arts (acc. no. 47.1144) and includes the same road and tree along a river, although the scene is reversed. The addition of a steamboat along the horizon line is a lovely touch and gives the viewer an idea of what everyday life along a river would have been like in late 19th century Louisiana.

388. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Live Oaks and Lily Pads, Louisiana Bayou”, oil wash on board, signed lower left, sight 19 1/2 in. x 29 1/2 in., framed. $2000/3000 389. George Rodrigue (American/Louisiana, 1944‑2013), “Catahoula Lake Fisheries”, 1976, oil on canvas, signed lower left, signed, titled, dated, “George Rodrigue Gallery, Lafayette, LA” and artist stamps en verso, 24 in. x 36 in., original frame with artist and title plaque. $20000/30000 Note: By the mid-1970s, George Rodrigue had gained a reputation for his scenes of Cajun folk-life, resulting in an expanded clientele and book opportunity with Oxmoor House, publisher of Southern Living Magazine in 1976. The large format book, The Cajuns of George Rodrigue, featured images of more than one hundred paintings with George’s detailed descriptions in both English and French. These paintings followed in the footsteps of his first painting with figures, “Aioli Dinner” of 1971, now on view at the Ogden Museum of Southern Art. Each scene included the distinctive oaks of his first landscapes with the added inclusion of structures, figures and narrative elements.

In the 1976 canvas titled “Catahoula Lake Fisheries” offered here, a figure is seen in the doorway of a fishery, with a distant building behind, and pirogue prominently placed on the lake. Catahoula Lake, a duck hunting mecca, is located in Rapides and Lasalle parishes due north of Lafayette and is the largest freshwater lake in Louisiana, home to many camps and lodges. In Rodrigue’s depiction, the high horizon line emphasizes the dark and foreboding feeling of the water which dominates the composition. While most likely completed following the publication of The Cajuns of George Rodrigue, this painting is among the best of this period and is a rare work by the artist as it includes a specific locale named within the scene. Ref.: Rodrigue, Wendy. “Cajuns, The Book.” Musings of an Artist’s Wife. Jan. 14, 2013. www.wendyrodrigue.com. Accessed Oct. 14, 2017.

390. Robert Malcolm Rucker (American/ Louisiana, 1932‑2001), “Antique Store, French Quarter”, oil on canvas, signed lower right, 20 in. x 16 in., framed. $1500/2500

391. Robert Malcolm Rucker (American/ Louisiana, 1932‑2001), “Fruit and Vegetable Cart, French Quarter”, oil on canvas, signed lower right, 20 in. x 16 in., framed. $1500/2500

392. Robert Malcolm Rucker (American/ Louisiana, 1932‑2001), “Pirate’s Alley, French Quarter”, oil on canvas, signed lower right, 20 in. x 16 in., framed. $1500/2500

393. Lady Victoria Patricia Helena Ramsay (British, 1886‑1974), “Under‑Sea Study, Bermuda”, oil on board, monogrammed “V.P.R.” lower left, Goupil Gallery, London, May 1928 exhibition label en verso, 21 3/4 in. x 29 7/8 in, framed. $1500/2500

394. Marie Atkinson Hull (American/Mississippi, 1890‑1980), “Old Woman of Cordes (The French Woman)”, oil on canvas, signed lower left, 30 in. x 25 in. framed. $6000/8000 Note: A version of this painting, dated 1929, is in the collection of the Mississippi Museum of Art in Jackson, and illustrated in Bright Fields: The Mastery of Marie Hull by Bruce Levingston, p. 141. 397. Creil Creamware Reticulated Tray, c. 1808‑1818, impressed mark, grisaille transfer vignette of Caesar pardoning Marcellus, base stenciled “Stòne / Coquerel et Le Gros / Paris”, l. 13 3/4 in., w. 9 1/2 in. $400/600

398. Paris Porcelain “Anneau d’Or” Navette‑Form Corbeille, mid‑19th c., h. 11 1/8 in., w. 14 1/2 in., d. 8 1/8 in. $400/600

395. Continental Porcelain Plaque of a Young Beauty, late 19th., reverse with label “Exhibit No. 29 / Filed Jul 2 1895 / Protest No. / 78161a” and partial labels “...Leifert” and “...Siebert”, 8 3/4 in. x 6 7/8 in., framed, 14 1/2 in. x 12 3/8 in. $700/900

396. KPM Porcelain Plaque of “Das Schokoladenmadchen” or “La Belle Chocolatiere”, late 19th/early 20th c., impressed scepter mark over “KPM”, “H” and “.I.”, with oval stamp, possibly reading “Franz Till / Dresden”, after the pastel by Jean‑Etienne Liotard (Swiss, 1702‑1789), 9 1/4 in. x 6 1/2 in., framed 10 3/4 in. x 8 in. $700/900

399. American Renaissance “Medallion” Pattern Sterling Silver Coffee and Tea Service, c. 1860, John R. Wendt for Ball, Black & Co., New York, wc. 1851‑1876, marked “BALL, BLACK & CO/ NEW YORK/ 216/ ENGLISH STERLING”; incl. coffee pot, teapot, sugar, creamer and waste bowl, each cover with Spartan helmet finial, pyriform body with oval medallion framed by Neo‑Grec chasing, handsome period monogram on reverse, beaded handle surmounted by Renaissance bust, coffee pot h. 10 3/8 in., total wt. 97.25 troy ozs. $4000/6000 Provenance: Descended in the Family of William Galt Bullock (1815‑1896) of Lynchburg, VA and Jackson, MS. Additional information at www.nealauction.com

400. American Sterling Silver Tray, George W. Shiebler & Co., New York, act. 1876‑1910, ret. Frank Herschede, Cincinnati, shaped oval with floral and scroll border, 18 1/4 in. x 15 1/8 in., wt. 48.75 troy ozs. $1000/1500

401. Tiffany & Co. Makers Sterling Silver Repoussé Footed Centerbowl in the Rococo Taste, pattern introduced 1895, oval with floral scroll and shell decoration, h. 5 3/8 in., w. 10 5/8 in., d. 8 3/4 in., wt. 30.20 troy ozs. $2000/2500

403. Pair of French .800 Silver Salt Cellars, 19th c., cobalt glass liners, with 1 spoon. $150/250 Provenance: The Sturm Collection.

404. Tiffany Studios Bronze Adjustable Ashtray Stand, early 20th c., base plate stamped “Tiffany Studios / New York / 1651”, hinged rim with match holder, “artichoke” standard, h. 27 to 37 in. $400/600 Provenance: Collection of Nan Wier, New Orleans, LA.

405. Art Deco Chrome Champagne Cooler Stand and Ashtray Stand, early 20th c., cooler with twist‑form standard, removable bucket, h. 29 1/2 in.; ashtray standard with glass ball, removable ash receptacle, h. 27 in. $300/500 Provenance: Collection of Nan Wier, New Orleans, LA.

407. Pair of Francisco Vargas (b. Mexico, 1858 ‑ d. New Orleans, 1933, active New Orleans, 1879‑1933) Wax Figures, late 19th/ early 20th c., both in native waxed fabric costume, wood bases with original “Made by Francisco Vargas / Fred Harvey” souvenir paper label. $400/600

411. Antique American Silver Muffineer, probably 18th c., unmarked, cover with bayonet fitting, old monogram “MP”, h. 7 1/4 in., wt. 7.90 troy ozs. $200/300 Provenance: The Sturm Collection.

402. Pair of Reed & Barton Sterling Silver Repoussé Candlesticks, pattern 500, floral motif, removable bobêches, h. 11 1/2 in. $700/1000

408. Continental Carved and Painted Wall Brackets, palmette and scroll design, h. 15 in., w. 12 in., d. 10 in. $400/600

409. French Gilt Metal‑Mounted Green Cut-to-Clear Glass Dresser Box, 20th c., hinged lid, paw feet, h. 5 3/4 in., w. 7 1/2 in., d. 5 1/2 in. $300/500

406. Antique Santa Fe Carved and Polychromed Wood Crucifix, h. 21 1/8 in. $400/600

410. Silver Mezuzah, unmarked, likely 19th c., repoussé Rococo motif with scrolls and a flower basket, h. 8 3/4 in. $300/500 Provenance: The Collection of Drs. Arnold and Helene Gerall, New Orleans, LA and Chapel Hill, NC.

412. Tiffany & Co. Makers Sterling Silver Footed Center Bowl, pattern introduced 1925, paneled form with flat chased decoration in the Art Deco Taste, well engraved with “TH” cipher, h. 5 1/2 in., dia. 10 1/2 in., wt. 26.25 troy ozs. $800/1200

413. Reed & Barton “Les Cinq Fleurs” Pattern Sterling Silver Coffee and Tea Service, pat. 1900, incl. coffee pot, teapot, covered sugar, creamer and waste bowl, coffee pot h. 10 1/2 in., total wt. 90.20 troy ozs. $2000/3000

414. Spanish Colonial School, mid‑17th/19th c., “Archangel and Child, possibly Raphael with Tobias”, oil on canvas, unsigned, indistinctly inscribed en verso, 40 1/2 in. x 23 in., unframed. $600/800

415. Louisiana Carved Mahogany Tall Post Bed, early 19th c., cove molded later tester, finely turned vasiform and blocked posts, paneled headboard with back-scrolled crest, plain rails, conforming turned feet, h. 89 1/2 in., l. 75 1/2 in., w. 48 in. $7000/9000 Provenance: The Devillier Family, Leonville, St. Landry Parish, LA. Ill.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 382. Note: The Creole mahogany bed in the lot offered here was originally owned by the Devillier family, who came to St. Landry Parish, Louisiana from the island of St. Domingue. Many aspects of the bed suggest a West Indies origin, such as the tall-paneled headboard and shorter posts in comparison to most Louisiana tester beds. However, the bed’s other decorative features, namely the ring and vasiform-turned posts would suggest a Louisiana origin. This blend of Louisiana and Caribbean features, in addition to European influences on the overall form, is the defining attribute of what often indicates Louisiana Creole furniture. Ref.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 382. 416. American Federal Inlaid Mahogany Sideboard, c. 1790, shaped top, frieze drawer, flanked by side cabinets, recessed center cabinet, square tapered legs, h. 39 in., w. 66 in., d. 27 in. $4000/6000

417. Fine American Carved Walnut Chest‑on‑Chest, late 18th c., Pennsylvania, molded stepped cornice, upper case with eight drawers, lower case with three drawers, Ogee bracket feet, h. 86 in., w. 41 5/8 in., d. 24 in. $7000/10000

418. American Federal Inlaid Mahogany Games Table, early 19th c., New York, shaped foldover top, paneled frieze, square tapered legs, h. 29 1/2 in., w. 36 in., d. 18 in. $2500/3500

420. American Hepplewhite Inlaid Mahogany Bowfront Chest, early 19th c. shaped top, four graduated drawers, shaped skirt, “French” feet, h. 37 1/2 in., w. 39 3/4 in., d. 22 1/2 in. $700/900 419. Pair of American Classical Carved Mahogany Pier Tables, early 19th c., Boston, Egyptian marble top, molded frieze, Corinthian columnar supports, mirrored back flanked by pilasters, incurvate plinth, gadrooned paw feet, h. 37 1/2 in., w. 44 1/2 in., d. 22 in. $5000/7000 Additional information at www.nealauction.com

421. Very Fine American Chippendale Carved Mahogany Highboy, late 18th c., Philadelphia, reverse incised “Property Mrs. J.A. Haskell”, flame finials, floral‑carved scrolled and molded cornice, acanthine and shell‑carved panel, upper case with a bank of eight drawers, fluted and chamfered stiles, conforming lower case with three drawers, shaped apron, acanthine cabriole legs, ball and claw feet, h. 96 1/2 in., w. 45 in., d. 24 in. $20000/40000 Provenance: Collection of Mrs. J. Amory Haskell (née Margaret Moore Riker, 1864‑1942), thence to a prominent Natchez, MS collection. Note: Mrs. J. Amory Haskell (1864-1942) owned one of the largest and most distinguished collections of American furniture. Objects from her collection can be found in the collections of several important museums including the Metropolitan Museum of Art, the Brooklyn Museum, the Winterthur Museum, and the Yale University Art Gallery. In 1944, Parke-Bernet Galleries in New York sold The Americana Collection of the Late Mrs. J. Amory Haskell, which consisted of over 7,000 lots. This highboy was likely sold within that historic auction. Ref.: https://doyle.com/auctions/10am01american-furniture-decorative-arts/ catalogue/228-pair-of-chippendale-walnut-side. Accessed October 16, 2017.

422. Chippendale Carved Walnut Tall Case Clock, c. 1790, Maryland, the painted dial with second hand, signed “John Fessler/Frederick Town”, moon‑dial with ship and landscape, bonnet with flame finials and rosettes, on bracket feet, h. 99 1/2 in., w. 21 in., d. 11 in. $15000/25000 Provenance: Christie’s, New York, lot 79, January 21, 2011; Kelley Kinzle Antiques, New Oxford, PA; to the present Natchez, MS collection.

423. Antique American Chippendale Carved Mahogany Candlestand, dished top, vasiform standard, arched legs, slipper feet, h. 25 in., dia. 20 in. $200/400

424. American Late Federal Crossbanded Mahogany Sideboard, early 19th c., Philadelphia, galleried top, frieze drawers over cabinet doors, reeded stiles, turned legs, interior with shelves and bottle drawer, h. 46 3/4 in., w. 64 1/2 in., d. 22 in. $800/1200

425. George III Mahogany Games Table, late 18th c., foldover top, frieze drawer, molded tapered legs, h. 29 in., w. 36 in., d. 18 in. $700/900

426. George III‑Style Inlaid Mahogany Stool, serpentine rail, turned tapered legs, h. 18 1/2 in., w. 20 in., d. 16 in. $300/500

427. Fine English Mahogany Miniature Chest, c. 1820, two small drawers over two long drawers, bracket feet, satinwood knobs, h. 9 in., w. 8 in., d. 4 1/2 in. $400/600 Provenance: Sallea Antiques, New Canaan, CT, 1998.

428. Georgian Inlaid Mahogany Hanging Corner Cupboard, late 18th c., molded cornice, pair of doors, shelf interior with original blue/green paint, H hinges, molded base, h. 35 in., w. 21 in., d. 20 1/2 in. $500/700

430. Very Fine American Cabinet‑Made Federal‑Style Mahogany and Maple Miniature Chest of Drawers, , blocked backsplash, configuration of small and long drawers, reeded stiles, ring turned tapered feet, h. 25 1/2 in., w. 21 in., d. 10 3/4 in. $700/900

431. Early Georgian Inlaid, Oyster Veneered Walnut and Oak Chest of Drawers, probably early 18th c., geometric inlaid top, raised paneled sides, four graduated drawers, shaped bracket base, h. 38 in., w. 41 in., d. 24 in. $800/1200

429. Pair of American Classical Figured Mahogany Corner Cabinets, early 19th c., New York, likely Duncan Phyfe, marble top, flared cornice, columnar stiles, paneled door, conforming base, blocked feet, h. 64 in., w. 36 1/4 in., d. 21 1/2 in. $1500/2500 Provenance: Reputedly from Millford Plantation, SC. Note: The corner cabinets offered here are comparable in form to cabinets made by renowned New York maker Duncan Phyfe. Featuring marble tops, highly figured mahogany, flared cornices, and blocked feet, these cabinets share the same aspects as a Phyfe secrétaire à abattant in the collection of the Metropolitan Museum of Art. When John Laurence Manning, who served as governor of South Carolina from 1852 to 1854, and his wife Susan Hampton Manning completed their palatial Greek Revival residence at Millford Plantation in 1841, they commissioned Duncan Phyfe to furnish the entire home. Many of the pieces remain in the home today, or are held in prestigious collections such as the permanent collection of the Metropolitan Museum of Art. Ref. Kenny, Peter M. et. al. Duncan Phyfe: Master Cabinetmaker in New York. The Metropolitan Museum of Art: New York, 2011, pp. 144-151; 230-231.

432. American Federal Carved Mahogany Games Table, early 19th c., in the style of Samuel McIntyre, serpentine foldover top with outset corners, rope molded frieze, basket of flowers above front acanthus carved spiral turned legs, beaded collar, brass cuff casters. $800/1200

433. Very Fine and Rare American Rococo Carved Rosewood Center Table, mid‑19th c., attr. to John Henry Belter, New York, distinctive undulating white marble top, highly carved frieze centered by portrait busts, lion’s mask corners, scrolling vines, crouching winged figural supports, paw feet, casters, h. 29 in., w. 46 1/2 in., d. 31 in. $20000/30000 Note: This exceptionally rare and unique table, colloquially known by the collector as the “Jenny Lind” table, is a stunning example of New York cabinetmaker John Henry Belter’s use of figural carvings. Belter, most known for elaborate floral and foliate motifs in his Rococo Revival furniture, occasionally incorporated human figures, such as in a well-known group of chairs with crest rails surmounted by busts of Shakespeare, Chaucer, Dante, and Vergil, and a related sofa with busts of Thomas Jefferson, George Washington, and Benjamin Franklin. A close comparison of the winged figural supports and the female busts centering the frieze on the table offered here to other Belter busts, such as those previously mentioned, display similar stylized features and proportions that relate to Belter’s overall work. The female busts centering the frieze of this circa 1850s table are purported to be modeled after 19th century singing sensation Jenny Lind, featuring Lind’s signature hairstyle. The Swedish-born singer became one of the most famous women of the period after entertainment entrepreneur P.T. Barnum booked Lind, already a rising star, on a nationwide tour of the U.S. that was immensely successful and skyrocketed Lind to stardom by 1850. In 1848, P.T. Barnum built an extravagant home in Bridgeport, Connecticut named “Iranistan,”, which was furnished by the best New York City cabinetmakers. It is a possible scenario that Belter had both Barnum and Lind, who was at the height of her popularity, in mind when he created this magnificent table. Ref.: Dubrow, Eileen and Richard. American Furniture of the 19th Century. Sciffer: Pennsylvania, 1983, p. 122; Stanek, Edward J., et. al. The Furniture of John Henry Belter and the Rococo Revival. E.P. Dutton: New York, 1981, pp.48-49; “Meet Jenny Lind, One of America’s First Female Celebrities,” Smithsonian Institution. americanhistory.si.edu/blog/jenny-lind. Accessed October 19, 2017; “Iranistan: The Lost Palace of Bridgeport, Connecticut.” KNOWOL. knowol.com/information/connecticut/iranistan-pt-barnum-bridgeport-ct. Accessed October 19, 2017. Additional information at www.nealauction.com

434. Rare American Rococo Carved and Laminated Rosewood Sofa, c. 1850‑1860, attr. to John Henry Belter, related to the pattern commonly referred to as “Fountain Elms”, arched reticulated grape and floral crest, serpentine arms, conforming seat rail, cabriole legs, scrolled toes, casters, h. 46 in., w. 79 1/2 in., d. 24 in. $15000/25000 Note: This rare example of John Henry Belter’s work is beautifully carved and sophisticated in shape, differentiating it from the triple-back sofas commonly seen in Belter’s work. The scrolled elements along the crest rail here are closely related to the known Belter pattern “Fountain Elms,” associated with the seated furniture made by Belter for the Fountain Elms Mansion in Utica, New York. Ref.: Dubrow, Eileen and Richard. American Furniture of the Nineteenth Century. Schiffer: Pennsylvania, 1983, pp. 79, 81; Munson Williams Proctor Art Institute. www.mwpai.org/view/ collections/19th-century-americandecorative-arts. Accessed October 16, 2017.

436. Fine American Classical Carved and Gilded Mahogany Games Table, c. 1815, attr. to Charles Lannuier, New York, foldover swivel top over brass‑inlaid conforming frieze, ring and foliate‑carved supports, incurvate plinth, acanthus‑carved paw feet, casters, h. 29 1/2 in., w. 36 in., d. (closed) 18 1/4 in., d. (open) 36 1/2 in. $12000/16000 Note: Features of the games table offered here closely relate to well-known examples by the French-born and trained New York cabinetmaker Charles Honoré Lannuier, including the highly figured mahogany veneers, stamped brass inlay, and finely carved supports and paw feet. A peer of prominent New York cabinetmaker Duncan Phyfe, Lannuier’s elegant classical furniture melded Anglo-American taste with French style and technique. 435. Fine American Carved Rosewood Dressing Chest, c. 1850‑1860, probably John Henry Belter, New York, arched foliate‑carved mirror, leaf and vine carved support, marble top, canted stiles, four graduated drawers with applied carved, conforming disc feet, h. 86 1/2 in., w. 50 in., d. 23 in. $5000/7000 Note: The stylish dressing chest offered here is related to dressing chests by New York cabinetmaker John Henry Belter. The form of the lower case and scrolled elements mounting the face of the drawers are comparable to a dressing chest held in the collection of the Brooklyn Museum. The intricately pierced surround on the mirror is related to a Belter sofa from the Dubrow collection with a similar unlaminated carved scrolling motif. The surround also features carved roses like those seen on Belter’s “Rosalie” pattern étagères and seated furniture. Ref.: Dubrow, Eileen and Richard. American Furniture of the 19th Century. Schiffer: Pennsylvania, 1983, pp. 84, 120-121, 146, 154.

With only subtle differences, this lot is almost identical to a Lannuier card table from a private collection, illustrated in Honoré Lannuier: Cabinetmaker from Paris by Peter M. Kenny. The foliate carved supports are directly related to Lannuier’s “water-leaf carving,” a feature prevalent throughout his work. The table’s paw feet are also related to Lannuier’s common usage of outstretched lion’s paw feet paired with acanthus carvings, also illustrated by Kenny in several examples, including tables held in the collections of the Metropolitan Museum of Art, the Art Institute of Chicago, and the Winterthur Museum in Delaware. Ref. Kenny, Peter M. Honoré Lannuier: Cabinetmaker from Paris. New York: The Metropolitan Museum of Art, 1998, pp. 208, 79, 210-213; Kenny, Peter M. and Matthew Thurlow. Charles Honoré Lannuier (1779-1819). The Metropolitan Museum of Art. www.metmuseum.org/toah/hd/ phla/hd_phla.htm. Accessed March 16, 2017.

437. Rare American Rococo Carved Rosewood Candle Stand, c. 1850, attr. to J. & J.W. Meeks, New York, marble top, reticulated skirt, barleytwist supports, ripple molded plinth on platform base, bracket feet, h. 34 in., dia. 16 1/4 in. $800/1200 Provenance: Purchased from the Estate Collection from Weymouth Hall, Natchez, MS.

438. American Rococo Carved and Laminated Rosewood Étagère, attr. to John Henry Belter, reticulated crest centered by a pair of lovebirds, four graduated shelves with scrolled and baluster turned supports to each side, shaped mirror surround, serpentine marble top base, disc feet, h. 85 1/2 in., w. 60 in., d. 16 in. $10000/15000

439. Fine American Rococo Carved Rosewood Mirror-Back Dressing Chest, mid‑19th c., attr. to the workshop of Prudent Mallard, New Orleans, mirror surmounted by an elaborately carved floral crest, incurvate and pierced mirror surround flanked by two candle shelves, two lower drawers, case with marble top, three graduated drawers, scrolled stiles, plinth base, turned feet, h. 91 in., w. 45 in., d. 21 in. $5000/7000

440. Fine American Rococo Carved Rosewood Mirror-Back Dressing Chest, mid‑19th c., attr. to the workshop of Prudent Mallard, New Orleans, mirror surmounted by a robustly carved floral crest, scrolled acanthus‑carved mirror surround flanked by four shelves, case with marble top, three graduated drawers, foliate‑carved stiles, plinth base, turned feet, h. 89 in., w. 46 1/4 in., d. 21 1/2 in. $5000/7000

Additional information at www.nealauction.com

441. American Rococo Carved Rosewood Cylinder Desk, c. 1840, New York, pierced foliate crest, molded cornice, plain frieze, glazed doors, adjustable shelves, desk with fitted interior, pull out leather-lined writing surface, shaped paneled drawer, acanthus carved cabriole legs, h. 101 in., w. 48 in., d. 28 in. $3000/5000

442. American Federal Carved Mahogany Bowfront Chest, c. 1800, Philadelphia, two over three drawers, blocked stiles, turned legs, h. 44 1/2 in., w. 44 1/4 in., d. 23 in. $700/1000

443. American Renaissance Carved and Gilt‑Incised Walnut Overmantel Mirror, late 19th c., architectonic crest and cornice, bracketed mirror plate, columnar stiles, molded base, h. 76 1/4 in., w. 61 1/4 in., d. 7 1/2 in. $1500/2500

444. Fine Empire Gilt and Patinated Bronze “Au Matelot” Mantel Clock, Paris, c. 1810, after the design by Jean‑Simon Deverberie (1764‑1824), modeled as a bale of cotton, flanked by a sailor, with anchor, rum barrel and paddle, porcelain dial marked “Chopin a Paris”, silk‑thread movement, the octagonal plinth base with frieze depicting putti engaged in commerce, barrel feet, h. 14 1/2 in., w. 12 in., d. 4 1/2 in. $12000/18000 Provenance: Palmetto Hall: The Jay P. Altmayer Family Collection; Christie’s, Jan. 2017, lot 210. Note: The clock presented here is one of a series of “Noble Savage” clocks designed by Deverberie during the Directoire, Consulat and Empire Periods. As an allegory of trade, particularly colonial commerce, it depicts a break from the traditional designs showing Greek gods and Classic themes. Ref.: A pen and ink drawing of this model inscribed “Michel, no. 120 aoust 1808 de depot legal” is in the Cabinet des Estampes, Bibliothèque Nationale, Paris. This same model is illustrated in Kjellberg, Pierre. Encyclopedie de la Pendule Francais du Moyen Age au XXe Siecle, Paris, 1997, p. 343, pl. A. 445. Pair of Neoclassical‑Style Gilt and Paint‑Decorated Console Tables, faux malachite painted top, blocked floral carved frieze, foliate turned, fluted and tapered legs, disc feet, h. 50 1/2 in., w. 32 in., d. 7 in. $7000/10000

446. Eugenie Frederica Shonnard (American, 1886‑1978), “Grey Heron”, 1922, bronze, inscribed “Eugenie F. Shonnard” and dated on self‑base, h. 39 in., w. 12 in., d. 20 in. $3000/5000

447. Very Rare American Rococo Carved and Laminated Rosewood Sofa, c. 1850‑1860, attr. to John Henry Belter, New York, related to the well‑known collected examples of the “Tuthill King” pattern; reticulated grape and vine triple crest surmounted by foliage and flower filled baskets, arms, conforming seat rail, rose carved cabriole legs, scrolled toes, casters, h. 46 1/2 in., w. 77 in., d. 26 in. $20000/30000 Note: This very rare and elegant example of John Henry Belter’s early work features beautifully carved applied crests and a distinctively carved grape and foliate pierced crest rail. The C-scroll pattern along the crest rail is a close match to known examples of Belter’s “Tuthill King” pattern, originally made for the King family home on South Michigan Avenue in Chicago. The highly prized Tuthill King group of Belter furniture is illustrated by Eileen and Richard Dubrow in American Furniture of the 19th Century: 1840-1880 (p. 105). 448. Pair of American Rococo Carved and Laminated Rosewood Side Chairs, c. 1840‑1850, attr. to John Henry Belter, New York, found en suite with previous lot, h. 38 in., w. 18 1/2 in., d. 14 in. $8000/12000

450. American Rococo Carved Mahogany and Laminated Armchair, mid‑19th c., reticulated laminated back, arched crest, acanthine arms, horseshoe shaped seat, cabriole legs, scrolled toes, h. 37 1/2 in., w. 26 1/2 in., d. 23 in. $1200/1800

449. Rare American Rococo Carved Rosewood Dressing Chest, c. 1850‑1860, possibly J. & J. W. Meeks, New York, foliate and floral carved crest, mirror flanked by shelves surmounted by finials over serpentine cabinets, later marble, serpentine case with three graduated drawers, plinth base, disc feet, h. 84 1/4 in., w. 48 in., d. 25 3/4 in. $4000/6000

451. Pair of Louis XV‑Style Paint‑Decorated Bergères, arched backs, scrolled arms, shell‑carved serpentine seat rail, cabriole legs, incurvate stretchers, loose cushions, h. 35 1/2 in., w. 29 1/4 in., d. 31 in. $1000/1500

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452. Antique English Carved Mahogany Three Tier Étagère, fluted baluster uprights, base drawer, turned feet, casters, h. 46 1/2 in., w. 27 in., d. 16 in. $1000/1500

455. Classical Carved and Gilt Girandole Bullseye Mirror, 19th c., surmounted by spreadwing eagle, embellished with scrolling acanthus, cavetto with applied spherules, ebonized rabbet. Note: Refreshed gilding. $1000/2000

453. Pair of Continental Biedermeier‑Style Burled Walnut Consoles, 20th c., possibly Austrian, each with shaped top, frieze drawer, reeded S scroll legs, paw feet, plinth base, lobed disc feet, h. 39 in., w. 52 1/8 in., d. 26 in. $2500/3500

457. Tibetan “Gem” Embellished Parcel‑Gilt Bronze Figure of Amitayus, modeled seated in dhyanasana on a double lotus base with hands held in dhyanamudra, wearing a dhoti chased with foliate borders, a gem‑inset five‑pronged tiara, necklaces, arm bands and anklets, interior walls set with prayer scrolls, h. 16 1/2 in. $2500/3500 456. Continental Carved Dressing Mirror, probably 19th c., Austrian or German, embellished with cavorting putti, case supported by reclining lions, oval beveled mirror plate. $800/1200

458. Fine English Stumpwork Embroidery, “Abraham and the Three Angels”, late 17th c., various stitches in silk, wool, chenille, and metallic threads, with embellishments of fabric, spangles, and glass, sight 19 in. x 21 1/4 in., matted and framed. $1500/2500

459. José Serra y Porson (Spanish, 1824‑1910), “The Artist’s Studio”, 1881, oil on panel, signed and dated lower right, handwritten label en verso, 14 in. x 10 1/4 in., framed. $1200/1800

460. Attributed to Giuseppe Ruoppolo (Italian, 1631‑1710), “Still Life of Melons, Grapes, Peaches, Cherries, Figs and an Artichoke”, oil on canvas, unsigned, painted inscription identifying artist en verso, 28 3/4 in. x 38 1/4 in., antique frame. $4000/6000

461. Attributed to Philip Mercier (French, 1689‑1760), “The Wandering Hurdy Gurdy Player and Child Singer (Musical Charity)”, oil on canvas, unsigned, 32 1/2 in. x 43 in., antique frame. $2500/3500

454. Good Bronze Figure of Psyche with Oil Lamp, after Eugene Laurent, “9192” stamped on back of robes, h. 15 3/4 in., w. 11 1/2 in., d. 6 1/4 in., signature inscribed on patinated bronze base, overall h. 17 in. $800/1200

463. Edouard‑Léon Cortès (French, 1882‑1969), “Notre Dame and Place Saint Michel”, oil on canvas, signed lower left, “The Victorian Gallery, Dallas, TX” label, monogram and “9235” copyright stamp en verso, 13 in. x 18 in., period frame. $14000/18000

462. Emilio Sanchez‑Perrier (Spanish, 1855‑1907), “The Path by a Grove of Trees”, oil on canvas, signed lower right, 17 in. x 24 in., framed; accompanied by copies of Sotheby Parke Bernet 1979 letters and Christie’s 1989 letter. $800/1200 Provenance: Dr. Edward J. Gonczy, M.D., Hillside, NJ, acquired New York, c. 1955; thence by descent.

Note: This painting will be included in Volume III of Edouard‑Léon Cortès catalogue raisonné de l’oeuvre peint currently being prepared by Nicole Verdier. Provenance: Arnot Gallery, NY, 1952; Associated Gallery, NY, 1952; Private Collection, North Carolina, 1970; Private Collection, London, 1982; The Victorian Gallery, Dallas, TX; Private Collection, Dallas, TX, 1996.

464. Armand Guillaumin (French, 1841‑1927), “Printemps”, oil on canvas, signed lower right, 16 3/4 in. x 23 in., period frame. $20000/30000 Note: Armand Guillaumin was an active and essential part of the impressionist art scene. He was a part of the famed exhibition of the Salon des Refusés of 1863, his work hanging alongside those of his contemporaries Paul Cézanne, Camille Pissaro, James Whistler, and Edouard Manet. Like his contemporaries, Guillaumin often painted landscapes of the wide-open rolling French countryside, such as the work offered here. In this canvas, the clarity of the blue sky underscores the richness of the ochre wheat fields and the vivid greenery on the horizon line. The planes of color used to create the depth of the mountains particularly call to mind the landscapes of Corot and Cézanne. Ref.: “Armand Guillaumin”. Encyclopaedia Britannica. www.britannica.com. Accessed Oct. 12, 2017.

466. German Neoclassical Inlaid Oak Commode, late 18th/early 19th c., molded faux marbre top, two long drawers, conforming base, blocked tapered legs, bookmatched veneer with pinwheel banded panels, h. 33 1/2 in., w. 50 in., d. 25 in. $2500/3500

465. Antique Venetian Carved and Painted Secretary Desk, broken cornice surmounted by finials, doors with shaped mirror plates, fall front desk with fitted interior, serpentine lower case with three graduated drawers, conforming base, bracket feet, h. 104 in., w. 50 in., d. 25 in. $4000/6000

467. Pair of Louis XV‑Style Crème Peinte Bergères, attr. to Maison Jansen, horseshoe back and arms, serpentine seat rail, cabriole legs, loose cushions, h. 38 1/2 in., w. 30 in., d. 27 in. $1000/1500 Additional information at www.nealauction.com

468. Spanish Colonial School, mid‑17th/19th c., “Holy Family”, oil on canvas, unsigned, 62 in. x 50 1/2 in., framed. $800/1200

469. Spanish Colonial School, mid‑17th/19th c., “Queen of Heaven”, oil on canvas, unsigned, inscribed “272” en verso, 29 1/2 in. x 20 1/2 in., antique frame. $500/700

471. Georgian‑Style Carved Mahogany Sofa, molded serpentine back, beaded scroll arms, serpentine seat rail, beaded square tapered legs, spade feet, h. 34 1/2 in., w. 82 1/2 in., d. 22 1/2 in. $700/1000

472. Pair of Georgian‑Style Carved and Burled Walnut Side Chairs, shell carved crest, shepherd crook stiles, vasiform slat, slip seat, shell carved cabriole legs, claw and ball feet, h. 39 in., w. 20 1/2 in., d. 20 1/4 in. $200/400

470. Late Georgian Carved Mahogany Armchair, 19th c., padded back and seat, scrolled reeded arms, square legs, brass cuffs, h. 37 1/4 in., w. 22 1/2 in., d. 21 1/2 in. $250/350

473. Six Chippendale‑Style Carved Mahogany Dining Chairs, incl. 2 armchairs and 4 side chairs, elaborately carved and scrolled crest rail, ribbon splat, trapezoidal seat, foliate carved cabriole legs, ball and claw feet, armchair h. 39 1/2 in., w. 23 in., d. 21 1/2 in.; side chair h. 39 in., w. 22 3/4 in., d. 21 in. $800/1200

475. Antique Spanish Colonial‑Style Carved Walnut Cabinet, prob. early 20th c., arched shell carved crest above two raised panel doors, carved stiles, molded waist, base with arcaded panel doors, interior drawers, scalloped base molding, S scrolled anthemion carved feet, h. 85 in., w. 54 in., d. 21 in. $800/1200 477. Venetian Painted Bombé Commode, serpentine marble top and stiles, three drawers, scalloped apron, flared legs, h. 34 1/2 in., w. 47 3/4 in., d. 21 1/4 in. $500/750

474. Louis XV‑Style Bronze‑Mounted Kingwood and Vernis Martin Bombé Commode, probably late 19th c., serpentine rose‑veined marble top, conforming door, shelf interior, shaped apron, cabriole legs, sabots, h. 36 in., w. 40 in., d. 18 in. $800/1200

478. Pair of Louis XVI‑Style Crème Peinte Slipper Chairs, 20th c., attr. to Maison Jansen, molded oval backs, seat rail with rosettes, stop-fluted tapered legs, silk upholstery. $600/900

476. Pair of Neoclassical‑Style Giltwood Curule Benches, each with brocade cushion with buillon tassels, h. 23 in., w. 30 1/2 in., d. 18 in. $600/800

479. Pair of Louis XVI‑Style Bronze‑Mounted Inlaid Kingwood Semainiers, early 20th c., variegated marble tops, inlaid drawers, chamfered stiles, cabriole legs, sabots. $700/1000

480. French School, 19th c., “Napoleon” and “Josephine”, 2 portrait miniatures, both signed “Latour” lower right, backs with inlaid gilt brass ciphers, sights 3 1/2 in. x 2 1/2 in., gilt brass filigree frames with half pearls. (2 pcs.) $300/500

481. Portrait Miniature of Uniformed Napoleon in Profile, signed “Delaroche” lower right, dia. 2 in., faux tortoiseshell frame. $150/250

482. After Francois Gerard (French, 1770‑1837), “Madame Juliette Recamier”, portrait miniature, signed “David” lower right, sight 2 1/4 in. x 1 3/4 in., framed. $300/500

486. English Porcelain Figure of a Fruit Vendor, 18th/19th c., red anchor mark, possibly Chelsea, h. 5 6/8 in. $150/250 Provenance: The Sturm Collection.

483. Paris Porcelain Anneau d’Or Dessert Stand, 19th c., signed “Feuillet”, three tiers, paw feet, h. 12 in., w. 8 1/4 in. $200/300

487. Samson Porcelain Figure of Flora, early 20th c., struck X mark, base incised “AR” and “101”, h. 9 in., associated ormolu stand, overall h. 10 1/2 in. $150/300

484. Paris Porcelain Rose Pompadour Dinner Service, 19th c., incl. 1 covered soup tureen, l. 13 1/2 in.; 2 round covered tureens, w. 10 in.; 1 oblong covered tureen, l. 11 1/4 in.; 2 serving bowls, l. 9 in.; 10 soup plates, dia. 9 1/4 in.; 8 plates, dia. 9 3/8 in.; 6 plates, dia. 8 1/4 in.; 6 plates, dia. 7 1/4 in.; 4 cups and saucers; and 7 pôts-de-crème, all with rose bands and polychrome floral garlands. (51 pcs.) $800/1200

488. Mintons Rose Pompadour and Gilt Decorated Porcelain Dessert Service, late 19th/early 20th c., crown over globe marks, ret. by Tiffany & Co. and Davis Collamore & Co., incl. coffee pot, 11 plates, 11 coffee cups and 11 saucers, coffee pot h. 10 in., plate dia. 8 5/8 in. $500/700

494. Two Paul Storr Sterling Silver‑Mounted Cut Crystal Cruets, London, 1798, mark reg. 1793, h. 7 3/4 in., with matching unmarked mustard pot. (3 pcs.) $300/500

491. George III Sterling Silver Goblet, Peter and William Bateman, London, 1808, mark reg. 1805, reeding at top of stem and foot rim, script monogram “AG”, gilt wash interior, h. 7 in., wt. 9.65 troy ozs. $300/500

492. Regency Sterling Silver Teapot, Joseph Angell I, London, 1819, of compressed oval form, cover with knopped finial, acanthus decoration, reeded collar, bracketed acanthus paw feet, h. 5 in., w. 11 in., wt. 19.35 troy ozs. $400/600 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

493. Late Georgian Sterling Silver Salver, Robert Hennell II, London, 1830, molded serpentine border, flat chased well, engraved armorial, scroll feet dia. 9 in., wt. 12.05 troy ozs. $300/500 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

495. Three Georgian Sterling Silver Pap Boats, London, late 18th and early 19th c., marks rubbed, l. 4 1/2 in. to 4 3/4 in., combined wt. 5.15 troy ozs. $150/250

489. Pair of English Parian Figures of Euterpe and Thalia, 19th c., modeled standing on round plinths holding an aulos and a comic mask, h. 11 in. $150/250 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

490. Chinese Export Famille Verte Porcelain Covered Teapot, 18th c., rattan covered handle, decorated with floral and brocade panels, h. 7 1/4 in., w. 5 1/4 in.; together with pair of famille rose porcelain dishes, late 19th c., decorated with figural scenes enclosed by bird, flower and butterfly bands, dia. 7 7/8 in. $200/400

485. Jacob Petit Paris Porcelain Figural Scent Bottle, 19th c., maiden holding a flower, h. 9 1/2 in., w. 4 7/8 in., d. 5 3/4 in. $300/500

496. Two George III Sterling Silver Sauce Ladles, both London, incl. Richard Crossley, 1800, mark reg. 1782; and Peter, Ann and William Bateman, 1804, mark reg. 1800, l. 6 7/8 in., combined wt. 3.35 troy ozs. $150/250 Provenance: The Sturm Collection.

497. Irish Sterling Silver Sugar Bowl, h. 3 in., dia. 6 in., wt. 5.85 troy ozs. $150/250 Provenance: The Sturm Collection. Note: A similar sugar bowl, c. 1750, by John Irish of Cork, is illustrated in Wyler, Seymour B. The Book of Old Silver, p. 116B.

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498. Three Georgian Sterling Silver Berry Spoons, London, incl. 1811, Thomas Wilkes Barker, and pair of 1824, maker WE, each with flat chased handle and fruit motif repoussé bowl, l. 8 1/2 in. $200/300 Provenance: The Sturm Collection.

499. Pair of Antique English Sterling Silver Condiment Stands, London, 1884, maker JB, each fitted with salt cellar, pepperette and mustard pot, and one mustard spoon hallmarked Henry Wilkinson & Co., Sheffield, 1883; h. 2 1/2 in., total wt. (weighable) 11.10 troy ozs. Note: One associated mustard spoon is silverplate. Glass liners to mustard and salt. Salt liners are associated. $250/350 Provenance: The Sturm Collection.

502. George III Sterling Silver Soup Ladle, Thomas Wallis (II) and Jonathan Hayne, London, 1818, downturned fiddle typt handle, l. 13 3/8 in., wt. 7.55 troy ozs. $150/250

503. George III Sterling Silver Soup Ladle, London, 1795, maker WS untraced, “Old English” pattern with engraved crest, l. 13 3/8 in., wt. 5.20 troy ozs. $150/250

Provenance: The Sturm Collection.

501. William IV Sterling Silver Soup Ladle, William Eaton, London, 1835, mark reg. 1828, downturned fiddle typt handle, l. 13 3/4 in., wt. 7.55 troy ozs. $150/250 Provenance: The Sturm Collection.

500. Antique English Sterling Silver Dinner Bell, London, 1856, maker “HH” untraced, h. 5 3/8 in., wt. 5.85 troy ozs. $150/250 Provenance: The Sturm Collection.

504. Pair of Old Sheffield Plate Bottle Coasters, 19th c., each with gadroon and shell borders, turned wood bottom with inset silver button marked “RG”, h. 2 1/2 in., dia. 6 3/8 in. $300/500

505. Good English Fused Plate Salver, 19th c., possibly Matthew Boulton & Co., shell and scroll piecrust border, flat chased well centering engraved crest on inset silver shield, shell and scroll feet, dia. 22 1/4 in. $300/500

506. English Inlaid Mahogany Presentation Bracket Clock, late 19th c., dial within silverplate Neoclassical surround, banner engraved “W.B.C./ Vice President’s Prize, 1886/ Won by John Higgs”, h. 21 in., w. 13 1/2 in., d. 8 1/2 in. $1000/1500

507. Johan Hendrik Kaemmerer (Dutch, 1894‑1979), “Village along the River”, oil on canvas, signed lower right, “Richard Tobey Fine Arts, Los Angeles” stamp en verso, 16 in. x 24 in., framed. $1500/2500

508. Volkstedt Porcelain Figural Group of Bacchic Cherubs and a Goat, blue crown mark, oval base, h. 9 in., w. 12 3/4 in., d. 6 3/4 in. $400/600

509. Pair of Paris Porcelain Gilt and Polychrome Vases, mid‑19th c., puce ground, reserves depicting scenes from fables, tall plinth base, scroll feet, h. 17 in., w. 9 in., d. 7 1/2 in. $700/1000

510. French Art Glass Cameo Vase, signed “Gallé”, decorated with dragonflies and irises, h. 14 1/4 in., dia. 5 1/4 in. $400/600

511. English Brass Mounted Carved Oak Dressing Box, late 19th c., domed cover with loop handle, elaborate escutcheon, stepped base, bracket scroll feet, h. (to handle) 8 1/4 in., w. 12 in., d. 9 in. $200/300

512. Victorian Brass, Walnut and Parcel Ebonized Book Slide, late 19th c., adjustable slide mounted with porcelain plaques, h. 7 in., l. 14 3/4 in., d. 6 in. $125/200

513. Boston Coin Silver Repoussé Sugar and Creamer, N. Harding & Co., act. 1851‑1862, pyriform bodies with floral and scroll decoration and foliate handles, cartouches with 1860 presentation, sugar h. 8 in., total wt. 27.15 troy ozs. (2 pcs.) $500/750 514. American Classical Coin Silver Teapot, early 19th c., unmarked, probably Philadelphia or New York, squat squared form, eagle head spout, ebonized acanthus‑carved scroll handle with mask terminals, banded decoration, ball and claw feet, h. 7 in., wt. 34.55 troy ozs. $800/1200 515. Fine American Classical Coin Silver Coffee Pot, Thomas Fletcher (1787‑1866), Philadelphia, c. 1827‑1842, marked “T.FLETCHER” and “PHILAD.” in raised oval, domed cover with pod finial and acanthus, urn‑shaped body with stiff leaf banding, foliate scroll handle, acanthus scroll handle, h. 10 3/4 in., wt. 43.20 troy ozs. $1000/1500 Ref.: Hollan, Catherine B., Philadelphia Silversmiths, p. 73. 516. Fine New Orleans Coin Silver Pitcher, Adolphe Himmel for Hyde & Goodrich, c. 1853‑1861, marked “HYDE & GOODRICH” in arc, above “MANUFACTURERS” above “H”, above “NEW ORLEANS” in complementary arc, pear shaped body, repoussé and chased floral decoration, strapwork cartouche with Gothic monogram, foliate scroll handle, pedestal foot with molded foot rim, h. 10 1/2 in., wt. 26.05 troy ozs. $2000/3000 Provenance: Estate of Stephen G. Henry, Baton Rouge, LA. Ref.: Crescent City Silver, pp. 41‑55, mark illustrated p. 126. 517. Rare Mississippi Coin Silver Repoussé Pitcher, John & Julius Klein, Vicksburg, c. 1854, marked “KLEIN & BRO.” and “COIN” incuse, and with pseudo hallmarks, inverted pear form with floral repoussé and strapwork chasing, scroll cartouche with period script monogram “EBC”, foliate scroll handle, molded stepped base, some dents, h. 11 7/8 in., wt. 21.10 troy ozs. $1000/2000 Note: John and Julius Klein began their careers as silversmiths in Leesburg, VA. In 1836 John moved to Vicksburg, MS, and by 1841 he and S.H. Wilson had formed the partnership, Wilson & Klein, which operated in Vicksburg and Yazoo City, MS for a decade. Julius joined his brother in Vicksburg in the early 1850s and they formed the firm Klein & Brother. In the 1850s Klein & Brother advertised as manufacturers of silver. John Klein’s handsome c. 1840 Greek Revival home overlooking the Mississippi River, Cedar Grove, is on the National Register of Historic Places. Ref.: Hollan, Catherine B. Virginia Silversmiths, Their Lives and Marks. pp. 438-440. Mississippi Museum of Art. “Mississippi Silver”, exhibition catalogue, 1979.

518. New Orleans Coin Silver Cup, Adolphe Himmel for Hyde & Goodrich, c. 1853‑1861, marked “HYDE & GOODRICH” in arc over “H”, over “NEW ORLEANS” in complementary arc, molded lip with beading, repoussé and chased village scene, applied flared molded foot with stiff leaf decoration, scroll handle, script monogram, h. 4 1/8 in., wt. 5.80 troy ozs. $1000/1500 Provenance: Estate of Stephen G. Henry, Baton Rouge, LA. Ref.: Crescent City Silver, pp. 41‑55, mark illustrated p. 126.

519. New Orleans Coin Silver Cup, Adolphe Himmel for Hyde & Goodrich, c. 1853‑1861, marked “HYDE & GOODRICH” in arc, over “H”, over “NEW ORLEANS” in complementary arc, molded lip with beading, octagonal paneled body, chased decoration, scroll handle, applied molded foot rim, h. 4 in., wt. 3.90 troy ozs. $500/1000 Provenance: Estate of Stephen G. Henry, Baton Rouge, LA.

520. New Orleans Coin Silver Fiddlethread Soup Ladle, Adolphe Himmel (1825/6‑1877), act. New Orleans 1852‑1877, marked “A.H” and “NEW ORLEANS”, engraved script monogram on reverse, l. 12 1/4 in., wt. 7.15 troy ozs. $500/700

Ref.: Crescent City Silver, pp. 41‑55; mark illustrated p. 126. Additional information at www.nealauction.com

521. Annie L. Colladay Braidwood (American/ Pennsylvania, mid‑19th c.), “Portrait of Andrew Jackson”, 1866, oil on canvas, signed, inscribed “From a Portrait from life / by E.D Marchant at New Orleans / in 1839”, dated and “L. Hausz, Philadelphia” stencil en verso, 24 1/4 in. x 20 in., framed with plaque. $8000/12000 Provenance: Private Collection, Arkansas; Hammer Galleries, New York; Collection of Sam Wyly, Dallas, TX, Private Collection, New Orleans.

523. Civil War Sixth Plate Ambrotype of Confederate Soldier in Uniform, descended in the Roman family of Louisiana, watercolor enhanced, leather embossed case. $400/600

524. Half Plate Ambrotype of a Gentleman, by William L. Troxel (American/Kentucky, act. 1850s‑1860s), descended in the Roman family of Louisiana, watercolor enhanced, brass mat stamped “Troxel’s Patent Ambrotypes ‑ Louisville, KY” lower right and left corners, gilt‑tooled and embossed case. $300/500

525. Antique Tôle Peinte Louisiana Centennial Shield, c. 1889, obverse depicting a pelican in her piety, reverse with stenciled description “This shield was used in the decoration of the Sub‑Treasury Building, Wall Street, New York at the Washington Centennial Literary Exercises, April 30, 1889, Presented by Duncan & Johnston, The Decorators”, 27 in. x 25 1/2 in., framed. $2000/3000

527. Federal Brass and Wirework Firescreen, c. 1800, h. 10 1/4 in., w. 44 1/2 in., d. 15 in. $300/500

526. Antique Stumpwork Embroidery of the Louisiana State Seal, 19th c., metallic threads and sequins, depicting the pelican in her piety, sight dia. 12 3/4 in., antique gilt frame. $500/700

522. Rare Quarter Plate Daguerreotype of Louisiana Governor André Bienvenu Roman (1795‑1866), by Jeremiah Gurney (American/New York, 1812‑1895), brass mat stamped “Gurney, 349 Broadway” lower right, gilt‑tooled and embossed leather case. $1000/1500

528. Pair of American Classical Andirons, c. 1830, mushroom top, faceted standard, h. 18 1/2 in., w. 9 in., d. 27 in. $800/1200

529. Barbe‑Marbois, Marquis Francois de, Histoire de la Louisiane et la Cession de Cette Colonie par la France aux Etats‑Unis de l’Amerique Septentrionale..., Paris, Firmin Didot, 1829, octavo, first edition, modern quarter calf, with scarce hand‑colored map of the Louisiana Purchase. $600/900 Note: Barbe‑Marbois, “The man who sold Louisiana “ became Napoleon’s Secretary of the Treasury in 1801. In 1803 he was appointed to sell Louisiana to the United States for 50 million francs, but negotiated a higher price of 80 million, for which he was liberally rewarded by Napoleon.

530. Latour, Arsene Lacarriere, HISTORICAL MEMOIR OF THE WAR IN WEST FLORIDA AND LOUISIANA IN 1814‑1815. WITH AN ATLAS, Philadelphia, John Conrad, 1816, portrait of General Jackson bound in, octavo, gilt spine, red leather label, antique calf and marbled boards, the ATLAS in original boards, with eight hand‑colored maps, laid in a quarter‑calf case matching binding of text volume. $1800/2500

531. Stoddard, Amos, Major, SKETCHES, HISTORICAL AND DESCRIPTIVE, OF LOUISIANA, Philadelphia, published by Mathew Carey, 1812, octavo, contemporary calf, spine gilt, leather label. $500/700

532. American School, 1881, “Still Life of Peaches”, oil on canvas, monogrammed and dated lower left, inscribed “painted by / Sam[uel] H. West / 1881” en verso, 8 1/4 in. x 10 in., framed. $1000/1500

534. Schenk, Pieter, “Tabula Mexicae et Floridae, Terrarum Anglicarum, et anteriorum Americae Insularum; item cursuum et circuituum fluminis Mississipi dicti “, Amsterdam, 1722, with later hand‑color, a derivative of Guillaume De L’Isle’s 1703 landmark map, 19 1/4 in. x 24 in. $1000/1500

538. Homann Heirs / D’Anville, Jean Baptiste Bourguignon, “Mappa Geographica Complectens Indiae Occidentalis Carte des Isles de L’Amerique et de Plusiers Pays de Terre Ferme”, Nuremberg, c. 1740, hand‑colored, with inset maps of the Isthmus of Panama, St. Augustine, Florida, Vera Cruz, Mexico; Santo Domingo, Dominican Republic, and a view of Mexico City, 22 7/8 in. x 19 1/4 in. $400/600

535. Sartine, Antoine, “Carte D’Une Partie des Cotes de la Floride et de la Louisiane...”, Paris, 1778, Revolutionary War era map of the North Gulf Coast area from the confluence of the Red River with the Mississippi River to the Apalachicolas River in Florida, the map was intended for use by the French Navy during the Revolutionary War, 16 in. x 23 in. $700/1000

539. [French Caribbean Sea Chart] “Carte Reduite des Debouquements de St. Domingue...”, Paris, 1787, from the atlas Le Pilote de l’Isle de Saint‑Domingue..., by Puysegur, with rhumb‑lines, showing the Turks and Caicos, lower Bahamas, Cuba, Jamaica, Puerto Rico and the coast of St. Domingue, 22 3/4 in. x 36 1/4 in., framed. $400/600

533. Alexander John Drysdale (American/New Orleans, 1870‑1934), “A Golden Sunset on the Edge of a Cypress Swamp”, 1931, oil on canvas, signed and dated lower left, signed, titled, dated and “Williams Frame Shop, Bourbon St., NOLA” label en verso, 15 in. x 20 in., period frame. $3000/5000

536. Tirion, Isaac, “Nieuwe Kaart van de Grootbrittanische Volkplantingen in Noord America”, Amsterdam, c. 1755, hand‑colored, 15 in. x 18 in. $500/700

540. [French Map of the Gulf of Mexico], “Carte du Golfe du Mexique dresse par Mr. Keller”, Paris, Depot General de la Marine, 1843, hand‑colored copper‑engraved chart, 23 1/2 in. x 35 in., framed. $400/600

537. Bellin, Jacques Nicolas, “Cours du Fleuve Saint Louis depuis ses Embouchures jusqu’a la Riviere d’Iberville et Costes Voisines”, Paris, 1764, 8 5/8 in. x 14 in. $400/600

541. Jefferys, Thomas, “The Coast of West Florida and Louisiana”, London, Sayer and Bennett, 1775, hand‑colored, published a year before the American Revolution, decorated with compass rose and fleets of ships, 19 in. x 25 in. $400/600

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542. William S. Robinson (American/Mississippi, 1861‑1945), “Biloxi ‑ Mississippi”, 1937, oil on board, signed lower right, signed, monogrammed, titled, dated “February‑14‑1937”, printed artist biography and inscribed en verso, 10 in. x 12 in., framed. $1500/2500

543. Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Turtle”, watercolor and graphite on paper, unsigned, estate stamp lower right, titled en verso, 11 in. x 8 1/2 in., framed. $3000/5000

544. Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Morning Glories”, watercolor and graphite on paper, unsigned, estate stamp lower right, 11 in. x 8 1/2 in., framed. $3000/5000 545. Alberta Kinsey (American/New Orleans, 1875‑1952), “French Quarter Courtyard”, oil on board, signed lower right, 10 in. x 8 in., framed. $500/800

547. Newcomb College Art Pottery Vase, 1926, decorated by Sadie Irvine with spiderwort modeled in low relief, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, shape no. 121, and reg. no. PL85, h. 5 in., dia. 6 in. $1000/1500

549. Monumental Newcomb College Art Pottery Vase, 1916, decorated by Anna Frances Simpson with tall pine tree grove design, satin matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. HU78, h. 11 3/4 in., dia. 5 1/4 in. $12000/18000

550. Newcomb College Art Pottery Vase, 1913, decorated by Sadie Irvine with a landscape design of moss‑laden live oaks, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. GI37, shape no. 49 and B for buff clay body, h. 6 in., d. 8 in. $3000/5000

546. Emil Eugen Holzauer (German/ Florida, 1887‑1986), “Laundry Day”, pastel on paper, signed lower right, “Greenville County Museum of Art, South Carolina” and “The Charleston Renaissance Gallery” labels with artist and title en verso, 17 in. x 24 in., framed. $800/1200

548. Rare Newcomb College Pottery High Glaze Inkstand, 1907, decorated by Marie De Hoa LeBlanc, inkwell flanked by parrots, their tail feathers joined in front centered by bird’s head ornament, blue and green underglaze, original inkwell, base marked with Newcomb cipher, decorator’s mark, reg. no. BY24 and retains original paper label, h. 2 3/4 in., w. 9 1/4 in., d. 7 in. $2500/3500 Provenance: Neal Alford Company, February 23, 1991, lot 329.

551. Newcomb College Art Pottery High Glaze Footed Bowl, 1902, decorated by Mary Williams Butler with applied and incised stylized blossom and stem motif, blue and green underglaze, base marked with Newcomb cipher, decorator’s mark and signature, Joseph Meyer’s potter’s mark, reg. no. H4, “U” for white clay body and “X” indicating piece not for sale, reserved for decorator or college, h. 4 3/4 in., dia. 8 1/2 in. $3000/5000

552. Shearwater Art Pottery Beanpot, c. 1945‑1955, decorated by Walter Anderson with multi‑color applied slip with ducks and waves design, illegible marks, h. 5 in., w. 10 in. (incl. handle), dia. 7 1/4 in. (without handle). $3000/5000

553. George Ohr Art Pottery Vase, late 19th/ early 20th c., squat baluster form, matte brown speckled glaze, handwritten “Biloxi” on base, h. 3 5/8 in., dia. 3 1/4 in. $1200/1800

554. George Ohr Art Pottery Pitcher, late 19th c., squat body with pinched rim, indigo and gunmetal glaze, cut‑out handle, base impressed “G.E. OHR/Biloxi, Miss.”, h. 3 in., w. 5 1/8 in. $1200/1800 555. Newcomb College Art Pottery Vase, 1918, decorated by Sadie Irvine with Louisiana irises in low relief, matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, and reg. no. JT21, h. 10 1/8 in. $2000/3000

558. Newcomb College Art Pottery Vase, 1926, decorated by Sadie Irvine with a relief‑carved blossom and foliage motif, matte glaze with blue, green and white underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. PW81 and shape no. “[illegible]00”, h. 6 1/2 in. $1200/1800

556. Newcomb College Art Pottery Vase, 1929, decorated by Anna Frances Simpson in the Moon and Moss pattern, semi‑matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Jonathan Hunt’s potter’s mark, reg. no. RY27 and shape no. 161, h. 8 1/2 in. $5000/7000

557. Newcomb College Art Pottery Candlestick, 1910, decorated by Sadie Irvine with black‑eyed Susans, semi‑matte glaze with blue, green and white underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. DP92, and “B” for buff clay body, h. 9 1/4 in., dia. 5 1/2 in. $1200/1800 559. Rare Shearwater Pottery Wall Votive, c. 1960s, with the Madonna and Child flanked by the three Wise Men and three shepherds, alkaline blue glaze, h. 12 in., w. 14 in., d. 3 1/4 in. $2500/3500 Provenance: Acquired at Shearwater Pottery in the 1960s.

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560. Pair Shearwater Pottery Pelican Bookends, 20th c., white enamel glaze, h. 10 1/2 in., w. 4 1/4 in., d. 5 1/4 in. (2 pcs.) $600/900

562. Shearwater Pottery “Cubist Cat” (Reclining), 20th c., impressed mark, designed by Walter Anderson, antique green glaze, h. 8 1/2 in., w. 6 in., d. 12 3/4 in. $700/1000

561. Weller Art Pottery “Woodcraft” Vase, early 20th c., incised block mark, modeled as a tree trunk with an owl and a squirrel, h. 17 3/4 in., dia. 7 1/4 in. $600/900 563. Pair of Shearwater Pottery “Cubist Cats” (Standing), 20th c., impressed mark, designed by Walter Anderson, antique green glaze, h. 11 3/4 in., w. 5 in., d. 7 1/4 in. (2 pcs.) $1000/1500

564. George Ohr Art Pottery Vase, late 19th c., footed baluster form, spinach green mottled glaze, base impressed “G.E. OHR/BILOXI” twice, h. 3 1/4 in., dia. 2 1/4 in. $700/1000

566. George Ohr Art Pottery Vase, late 19th c., flared rim, tall corseted form, matte gun metal glaze, base impressed “G.E. OHR/ Biloxi, Miss.” twice, h. 6 in., dia. 3 1/4 in. $1200/1800

567. George Ohr Art Pottery Pitcher, late 19th/early 20th c., crimped rim and spout with cut out handle, brown, green and gun metal glaze, partially illegible hand‑signed “G E Ohr” on base, h. 3 1/2 in. $700/1000

565. George Ohr Art Pottery Vase, late 19th c., footed corseted form, olive green mottled glaze, base impressed “G.E. OHR/Biloxi, Miss.”, h. 3 3/8 in., dia. 2 1/2 in. $700/1000

568. George Ohr Art Pottery Bisque Vase, late 19th/ early 20th c., ruffled rim, dimpled body with pie‑crust and zigzag design, hand‑signed “G E Ohr” on base, h. 6 3/4 in., dia. 5 in. $1000/1500

570. Will Henry Stevens (American/New Orleans, 1881‑1949), “The Golden Shore”, oil on board, signed lower left, titled en verso, 29 1/2 in. x 21 3/4 in., framed. $8000/12000

569. George Ohr Art Pottery Bisque Vase, 1905, squat bulbous form with in‑body twist, base hand‑signed “[illegible] from / N.O. Street / G E Ohr / 1905”, h. 2 1/2 in., dia. 4 in. $600/900

Note: Will Henry Stevens once said: “Rivers have meant very much to me. Inland rivers. I remember being charmed by Huckleberry Finn. If only one could get that spirit into painting.” He grew up on the Ohio River in Vevay, Indiana and later moved to the Gulf Coast and then New Orleans to teach, where he spent much time on the Mississippi River. Stevens would spend his summers in the mountains of western North Carolina and eastern Tennessee near lakes and rivers where this scene was likely painted. An artist who was profoundly inspired by nature, Stevens greatly enjoyed being outdoors. The work offered here, titled “The Golden Shore”, depicts a sun-dappled lake with trees and low mountains set aglow by the setting sun – providing a sense of what Stevens meant regarding getting “that spirit into painting.”

571. John McCrady (American/New Orleans, 1911‑1968), “Mother Earth”, multi‑stage on canvas, signed lower right, signed and inscribed “Arts & Crafts Club, New Orleans Art School, 520 Royal St., Charles Bein, Director” en verso, 38 1/2 in. x 27 in., framed. $20000/30000 Note: After completing two years at the University of Mississippi, John McCrady decided to enroll in the New Orleans Art School, which was run by the Arts and Crafts Club, in 1932. The club and school were located in the middle of the French Quarter at 520 Royal Street, home to the famous Brulatour Courtyard. Although he only spent one year at the school, McCrady maintained close ties with the Arts and Crafts Club throughout his career. According to the inscription en verso, “Mother Earth” was painted during McCrady’s year at the New Orleans Art School. In this painting, the stylized Art Deco figure of Mother Earth is placed within the rolling hills and lush vegetation of McCrady’s beloved rural Mississippi countryside. Her hair mimics her skirt and the fields as she appears to be pouring herself into the landscape.

572. Conrad Albrizio (American/ Louisiana, 1894‑1973), “Devil and Angel with a Rabbit and Snake”, oil on canvas, signed lower right, “Gilley’s Gallery, Baton Rouge, LA” label en verso, 30 in. x 26 in., framed. $1500/2500

Based on his talent and the quality of paintings he produced at the school, McCrady was selected as one of America’s first ten young artists to receive a one-year scholarship to the Art Students League in New York. In 1947, the Arts and Crafts Club organized a retrospective exhibition of McCrady’s paintings, a fitting tribute to their former student who was now a nationally recognized artist. Ref.: Marshall, Keith. John McCrady: 1911-1968. New Orleans: New Orleans Museum of Art, 1975.

575. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Three Ducks Flying”, watercolor and pencil on paper, estate stamp lower right, “The 927 Gallery, Royal St., NOLA” label and typewritten label with artist, title and date “ca. 1955‑1965” en verso, 8 1/2 in. x 11 in., framed. $6000/8000 573. Ellsworth Woodward (American/ New Orleans, 1861‑1939), “Seated Nude”, watercolor and graphite on board, initialed “E.W.” lower left, “Taylor Clark, Fine Prints, Paintings and Framing, Baton Rouge” label en verso, 20 in. x 15 in., framed. $2500/3500

574. Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Wild Azaleas”, watercolor on paper, unsigned, “The 927 Gallery, Royal St., NOLA” label and typewritten label with artist, title and date “ca. 1955” en verso, 11 in. x 8 1/2 in., framed. $10000/15000

576. Will Henry Stevens (American/New Orleans, 1881‑1949), “Mountainous Landscape”, 1943, pastel on paper, signed and dated lower right, 18 in. x 16 in., framed. $7000/9000 Provenance: Blue Spiral 1 Gallery, Asheville, NC. Note: Will Henry Stevens was one of the pioneers of Modernism in the South. Like his peers, he embraced abstraction and experimentation, yet he was different in that he never stopped being inspired by nature and working in the outdoors. The work offered here is a fine example of his mature, modernist style. During the summer of 1943, Stevens taught art classes in Lebanon, Virginia where this painting was likely executed.

577. William Woodward (American/New Orleans, 1859‑1939), “Still Life with Pineapple”, 1900, oil on canvas, monogrammed and dated lower right, 10 in. x 14 in., original frame. $5000/7000 Provenance: Descended in a New Orleans family; Neal Auction Company, Feb. 4, 2012, lot 364.

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578. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Circus Series 83‑1”, 1983, oil and mixed media on canvas, signed and dated lower right, artist label with title en verso, 42 1/2 in. x 50 in., period frame. $25000/35000

579. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Crux Series”, oil on canvas, signed lower center, 32 1/4 in. x 47 1/2 in., period frame. $5000/7000

Provenance: Arthur Roger Gallery, New Orleans, 1983; Koch Collection, Metairie, LA.

580. Hunt Slonem (American/Louisiana, b. 1951), “Toco”, 2000, resin and acrylic on wood, h. 56 in., w. 54 in., d. 12 in. $7000/10000 Ill.: Kuspit, Donald. Hunt Slonem. New York: Harry N. Abrams, 2000, p. 152.

581. Hunt Slonem (American/Louisiana, b. 1951), “4‑Play”, 2015, oil on wood panel, signed, titled and dated en verso, 8 in. x 28 in., antique frame. $4000/6000

Note: Hunt Slonem’s rare resin and wood sculptures, such as “Toco” offered here, serve as an extension of his pictorial plane into a new spatial dimension. A frequent subject of Slonem’s bird paintings, the patterned display of toucans are a tangle of color and form that are remarkably organic in texture. The sculpture is an unflinching confrontation between the viewer and Slonem’s classic jungle tableau. Ref.: Kuspit, Donald B. Hunt Slonem – An Art Rich and Strange. New York: Harry N. Abrams, 2002.

582. Henry Casselli (American/New Orleans, b. 1946), “Groomer”, watercolor on paper, signed upper right, signed and titled en verso of backing paper, sight 8 3/4 in. x 6 1/4 in., framed. $1000/1500 583. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Patio at 740 Royal Street”, 1938, oil on canvas, signed lower left, 16 in. x 12 in., original frame. $2500/3500 Ill.: Isbell, Reed. Morris Henry Hobbs ‑ A Catalogue Raisonné of Etchings, Engravings & Lithograph. McLean, VA: Coffee Street Publishing, 2017, p. ix.

584. Arnold E. Turtle (British/New Orleans, 1892‑1954), “Boats on the Bayou”, oil on canvas, signed lower left, 24 in. x 30 in., framed. $800/1200 Provenance: Descended in the family of the artist.

585. Fritz Bultman (American/ New Orleans, 1919‑1985), “Horizon: Glutton of Autumn”, 1957, oil on canvas, signed, titled, dated, “Martha Jackson Gallery, NYC”, 2 “Gallerie Stadler, Paris”, “Kölnischer Kunstverein, Cologne, Germany”, “Stadtische Kunst Galerie, Bochum, Germany”, 2 “Agence, Maritime Delamare & Cie with shipping from Stadler to Munich and Bochum” labels, handwritten German inscription and 2 custom‑stamps en verso, 72 in. x 48 in., framed. $40000/60000 Provenance: Acquired from the artist by Rodolphe Stadler, Paris; Jeanne Bultman, Provincetown; purchased at Vincent Smith-Durham, Embreeville, PA, 2011. Exh.: Fritz Bultman, Martha Jackson Gallery, New York, Jan. 27-Feb. 21, 1959; 20 Quadri, Galleria dell’Ariete, Milan, 1959 and illustrated in the accompanying catalogue, p. 19; Fritz Bultman, Galerie Stadler, Paris, 1960; Kölnischer Kunstverein, Cologne, Jan. 14 - Feb. 26, 1961; Profile I, Städische Kunstgalerie, Bochum, Jan. 13-Oct. 2, 1963; Fritz Bultman, Albert Merolo Gallery, Provincetown, 2003; Fritz Bultman: Irascible, II, Gallery Schlesinger, New York, 2004 and illustrated in the accompanying catalogue. Note: “The ‘subject’ of his paintings, of course, is not any particular place in New Orleans, but his own warm response to his experience, or memory, of this queen among southern cities.” -Dore Ashton (New York Times, Jan. 31. 1959) In 1950, Fritz Bultman, along with several other New York school painters including Robert Motherwell, Hans Hofmann, Ad Reinhardt, Jackson Pollock, Mark Rothko, and Willem de Kooning all signed and published the historic open letter to the Metropolitan Museum of Art criticizing the institution’s indifference towards Abstract Expressionism and other “advanced art.” The press in turn labeled the outspoken group “The Irascibles” and in 1951, Life magazine published the iconic photo of the group taken by Nina Leen. At the time, Bultman was studying sculpture in Italy, so he is notably missing from the group portrait - his standing amongst his contemporaries was quite solid however with Motherwell proclaiming in 1987 that Bultman is “one of the most splendid, radiant, and inspired painters of my generation.” The highly important work offered here by Fritz Bultman comes from a key period within the artist’s career, a time in which his abstract expressionist style reached full maturity and creative inspiration. The years from 1955 to 1962 marked the “best painting time of his life” for Bultman, according to his wife, Jeanne. The couple moved to a townhouse in New York which included a large top floor studio where Bultman was able to take full advantage of the expansive space to create his expressive and dynamic canvases in even larger dimensions. With several exciting sales and interest from renowned New York galleries such as the Stable Gallery, Martha Jackson Gallery, Gallery Mayer and Galerie Stadler in Paris, Bultman was arguably in the prime of his career. According to April Kingsley in the exhibition catalogue for New York – Paris 12 Paintings featuring works by Bultman, “one Paris dealer, Rodolphe Stadler, who was introduced to Fritz’s work by French critic Michel Tapies, bought many paintings outright and showed and sold them in galleries in Munich, Turin, and Rome as well as Paris.” He kept twelve canvases for his own collection and in turn sold them to Bultman’s wife when he retired and closed his gallery. “Horizon: Glutton of Autumn” is one of the afore-mentioned twelve canvases of the Stadler collection and features many exhibition, gallery and custom labels detailing its extensive showings in both New York and Europe. The works from this period often can be informed by their unique titles, endowing the seemingly abstract compositions with new and almost narrative meaning. With “Horizon: Glutton of Autumn,” the addition of exaggerated black and white lines on the orange background energizes the canvas and hints at a fall landscape in abstraction. Ref.: Ashton, Dore. “Art: Respect for Subject; Fritz Bultman and Peter Lanyon, Both Abstract Expressionists, Have Shows.” New York Times Jan. 31, 1959.; Kingsley, April. Fritz Bultman: a Retrospective; New Orleans: New Orleans Museum of Art, 1993, p. 9.; Kingsley, April. Fritz Bultman: New York-Paris 12 Paintings. Provincetown: Torcello Publications, 2004.

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586. Fritz Bultman (American/New Orleans, 1919‑1985), “The Wave”, painted cast aluminum, unsigned, h. 25 1/2 in., w. 37 in., d. 13 in., wood pedestal, overall h. 55 in. $4000/6000 Provenance: Commissioned by Reynolds Metals Company, Richmond, VA; Private Collection. Note: A native of New Orleans, Fritz Bultman lived a bohemian childhood with his extended family, which owned the House of Bultman funeral home on St. Charles Avenue. Exposed to writers, painters, antique collectors, and musicians throughout his formative years, Bultman formed a particular friendship with the artist Morris Graves and eventually moved to New York to start his career. During the 1960s, and continuing throughout his career, Bultman introduced the color blue and the “wave” form into his paintings, drawings, collages, and sculptures. Bultman also changed his method of creating art, switching from working in one medium at a time to slowly and methodically producing art in various media with overlapping colors and themes. The wave motif, the infinity symbol, and the idea of yin and yang were all significant subjects to which Bultman was greatly attracted. Bultman wrote in his journal, “The vase [or vessel] quality of the female body was the first that forced itself into my conscious mind, then the wave meander, then the [twined] ropeness of the twisted torso and arms in space.” Taking this description into account, the viewer could easily imagine the current lot as a stylized representation of the spine, hips, and legs of a model, reimagined as a sinuous form one would find in the breaking surfs of the ocean. This essential theme, which reappeared time and time again throughout Bultman’s oeuvre, was critical to expanding his artistic concepts from the 1960s to the 1980s. Ref.: Kingsley, April. Fritz Bultman: A Retrospective. New Orleans: New Orleans Museum of Art, 1993.

587. Enrique Alferez (American/New Orleans, 1901‑1999), “Woman in a Huipil”, 1987, bronze, signature, date and “N.O.” inscribed on self‑base, h. 16 in., w. 7 in., d. 5 1/2 in., wood base, overall h. 17 in. $10000/15000 Note: Noted New Orleans sculptor Enrique Alferez repeatedly revisited the theme of “Woman in a Huipil” throughout his career. He executed various models of this bronze in different sizes and finishes for several decades beginning in the 1960s. Often the pose will differ slightly, by a turn of the head, or an adjustment in the triangulation of the arm. The woman is always depicted with her hair in a neat bun, her eyes tightly closed, in a state of serene calm and elegance. The work offered is a fine example of a sculpture from this series.

588. Enrique Alferez (Mexican/New Orleans, 1901‑1999), “Knight”, charcoal and pencil on paper, signed lower left, 30 1/2 in. x 20 in., framed. $1000/1500

589. Enrique Alferez (American/ Mexican, 1901‑1999), “Standing Female Nude”, pen and ink on paper, signed and flower monogram lower right, 12 3/4 in. x 9 1/2 in., unframed. $800/1200 Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans.

590. Clarence Millet (American/Louisiana, 1897‑1959), “St. Louis Cathedral”, oil on canvas, signed lower right, 19 in. x 16 in., original frame. $6000/8000

591. Helen Maria Turner (American/ New Orleans, 1858‑1958), “Coquette”, oil on canvas, signed lower left, handwritten inscription with artist, title and remnant of exhibition label en verso, “E.C. Slater” embossed en verso of frame, 22 in. x 18 in., period frame. $30000/50000 Note: In the 1880s, the art world opened significantly for women in America, and Helen Maria Turner benefited greatly from the art clubs and associations in both New Orleans and New York, where she studied under artists such as Andres Molinary, Bror Anders Wikstrom, William Merritt Chase, and Joseph De Camp. Maia Jalenak writes, “In this regard, Turner was among a generation of women breaking new ground. Her combination of talent and determination enabled her to move to professional status, support herself, and achieve a distinguished reputation.” Although many artists of this time period were interested in studying painting abroad, exposing themselves to the French Impressionist paintings, Turner preferred to work with American painters. William Merritt Chase was particularly influential on her style, and her sensitive depictions of her models directly reflect her training with him. By 1900, Turner was teaching both privately and at institutions, as her work became more popular and she gained national acclaim. In “Coquette,” Turner’s studies with Chase are apparent in the light, airy palette using mostly pastel colors, as well as the loose brushstrokes that form the hair, dress, and fan that the model holds. Turner often used the same models for multiple canvases; the girl in this portrait is most likely Julia Polk Hunsicker, who also posed for the seminal “Lilies, Lanterns, and Sunshine” in the collection of the Chrysler Museum of Art. By 1914, the Corcoran Gallery had exhibited and purchased one of her paintings, Girl with Lantern, and The Flower Girl of 1920 won the Second Altman Prize; Turner was the first woman to receive any of the Altman prizes. This award led to her being elected to the National Academy of Design in 1921. In 1917, Turner’s works were included in the exhibition Six American Women, which was comprised of works by the most prestigious female painters in America, including Mary Cassatt and Alice Schille. While women who painted in the late nineteenth and early twentieth centuries had many more opportunities than their predecessors, there still existed a pervasive notion that women were less qualified to become artists and created “weaker” works. This idea that a woman artist has an inherently female quality that is translated to her work was a popular theory in the early 20th century known as “essentialism.” Because of this concept, art critics would sometimes refer to Turner’s work – with a negative connotation – as having a “feminine quality” to it. Time has been on Turner’s side as the idea of “essentialism” in her work has been rejected over the years as the strength of her painting technique and talent has been increasingly acknowledged and celebrated. Turner’s presence on a national level speaks to the fact that her works have a universal appeal, and her success then helped to set the stage for future female artists from the region. Not only did she defy the odds by supporting herself as a working artist, but her accomplishments are inspiring. Her solo exhibition at the age of 90 at the New Orleans Museum of Art (then the Delgado Museum of Art) in 1949 likely inspired the next generations of artists such as Ida Kohlmeyer to reach similar heights in their own careers. Ref.: Bonner, Judith. “Women Artists in Louisiana, 1825-1965: A Place of Their Own.” Arts Quarterly. Volume XXXI, Issue 2. New Orleans, New Orleans Museum of Art, 2009; Faquin, Jane Ward. Helen M. Turner: The Woman’s Point of View. Memphis: Dixon Gallery and Gardens, 2010. Jalenak, Maia. Helen M. Turner: American Impressionist. Louisiana State University Master of Arts Thesis, 2003.

592. George Overbury “Pop” Hart (American, 1868‑1933), “A Cold Morning, Bayou St. John, New Orleans”, 1918, watercolor and graphite on paper, signed, dated and inscribed lower right, titled lower left, 13 1/2 in. x 21 3/4 in., framed. $800/1200 Note: Pop Hart traveled throughout his life; he enjoyed painting representations of the various cities and countries he visited, including New Orleans in the winter of 1917-18. The scene depicted here shows the boats on Bayou St. John, where goods brought down the bayou from the lake were unloaded and taken to the markets on the Mississippi River. The muted color palette captures the feeling of a south Louisiana winter day, with figures warming themselves by a small fire under an overcast sky.

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594. John McCrady (American/New Orleans, 1911‑1968), “Family Group with Model (recto)” and “Dilemma (verso)”, 1946, double‑sided pencil, charcoal and pastel drawing on brown paper, unsigned, 30 in. x 38 in., unframed. $5000/8000 Provenance: Descended in the family of the artist.

593. Shirley Rabe Masinter (American/New Orleans, b. 1932), “The Little Bogue Falaya, Early Spring”, 1990, oil on canvas, signed lower left, 40 in. x 46 in., framed. $3000/5000 Provenance: Corporate Collection, Dallas, TX.

Note: The paintings “Family Group with Model” and “Dilemma” are illustrated in the exhibition catalogue for John McCrady, 1911‑1968, at the New Orleans Museum of Art, 1975, no. 3 and 4, pp. 37‑38. 595. John McCrady (American/New Orleans, 1911‑1968), “Private Property ‑ Keep Out”, carbon acrylic on board, signed lower right, titled lower left, artist label with title en verso, 16 in. x 22 in., artist embellished frame. $15000/25000 Note: After decades of applying a multi-stage process of layering oil or acrylic paint over tempera, McCrady began to experiment in 1963 with a new form of painting. Over the next five years until his death, McCrady created many carbon acrylic paintings where he first sketched in carbon and then applied layers of acrylic in an effort to manipulate light and produce a more luminous effect. The effects of this technique can be observed in the white of the clouds and the lustrous grass in “Private Property – Keep Out” offered here. A work quite similar in feeling to “The Divining Rod” of 1968, where McCrady painted his wife searching for underground water, the current lot displays McCrady’s love of the Mississippi landscape surrounding Oxford. The rolling hills and wide-open skies create a calm, peaceful feeling – quite opposite the ominous warning of the keep out sign and padlocked fence. Ref.: Marshall, Keith. John McCrady: 1911-1968. New Orleans: New Orleans Museum of Art, 1975.

Note: According to a 1997 letter discussing “Waiting for Mr. Boudreaux” offered here, George Rodrigue provided the title and date for the painting. With his characteristic artistic license, he also ascribed to the romantic title a story inspired by his aunt, Teen [sic] Boutte, who sat on her trunk waiting in vain for her only true love, Mr. Boudreaux, to carry her away. The true story differed slightly from the more tragic version however. Rodrigue did indeed have an aunt on his mother’s side of the family named Leontine Courregé Boutte, who was called “Aunt Tine” (misspelled in the letter) by the family and lived in Rodrigue’s hometown of New Iberia. Most likely Rodrigue did utilize a family photograph from the 1920-1930s for inspiration, a practice quite common in his work from the period. The rest of the story harkens to a legend along the lines of Evangeline waiting for her Gabriel, combined with the lead figure of most Cajun tales and a favorite of the artist, the legendary Boudreaux. Rodrigue’s interpretation of a fading era in Cajun culture combined with his modernist aesthetic in this canvas produces a timeless scene reminiscent of American master James Whistler. Completed in Rodrigue’s classic early style, the figure glows against the dark oak, clad in white from head to toe. One can only imagine that Aunt Tine, who happily married and raised a family, would have been delighted by the canvas and story she inspired. 596. George Rodrigue (American/Louisiana, 1944‑2013), “Waiting for Mr. Boudreaux”, 1981, oil on canvas, signed lower left and en verso, 16 in. x 20 in., framed; accompanied by a copy of 1997 letter from Bertha Bernard, assistant to George Rodrigue, discussing the painting. $15000/25000

Ref.: Rodrigue, Wendy. “Boudreaux in a Barrel. Musings of an Artist’s Wife. July 20, 2010. www.wendyrodrigue. com. Accessed Oct. 16, 2017.

597. George Rodrigue (American/Louisiana, 1944‑2013), “The Petro Brothers”, 1985, oil on canvas, signed lower left, signed, titled and dated en verso, 24 in. x 36 in., framed. $30000/50000 Note: Bud Petro (1909-1985) and Norman Petro (1917-2011) owned and operated the Esso gas station and convenience store in Lafayette, sharing a busy corner with Borden’s Ice Cream shop and Rodrigue’s Jefferson Street home and gallery. Both brothers were good friends of the artist, and Bud was a traveling companion to Rodrigue for many years, driving across Texas and the southeast to deliver paintings to clients. Rodrigue often took photographs of his friends and family to use as inspiration for his Cajun paintings, and the Petro brothers were favorite models. Frequently posed with the artist’s sons, the Petro brothers also modeled once under a live oak among blooming azaleas with Diane Bernard Keogh, a favorite Rodrigue stand-in for Evangeline. The subsequent photos eventually were used as the inspiration for a series of paintings, including the charming work offered here. The contrast between the young and beautiful Evangeline with the older, out of place brothers appealed to the artist, and the combination creates an intriguing and timeless scene of Cajun life within a classic Rodrigue landscape. Ref.: Rodrigue, Wendy. “The Petro Brothers.” Musings of an Artist’s Wife. Apr. 1, 2015. www.wendyrodrigue.com. Accessed Oct. 12, 2017.

598. John McCrady (American/New Orleans, 1911‑1968), “Peek Hole of Furnace”, watercolor on paper, signed lower center, “Downtown Gallery, Julia St., New Orleans” label with artist and title on backing board, 12 1/4 in. x 8 1/2 in., framed. $5000/8000 Provenance: Downtown Gallery, New Orleans, LA.

599. Jose‑Maria Cundin (Spanish/New Orleans, b. 1938), “El Escibalo”, 1970, oil on canvas board, signed, dated and inscribed upper left, 9 1/2 in. x 8 in., framed. $3000/5000

Additional information at www.nealauction.com

600. Hunt Slonem (American/ Louisiana, b. 1951), “Point of No Return”, 1995, oil on canvas, signed, titled and dated en verso, 72 in. x 84 in., framed. $10000/15000 Note: As evident in the work offered here, Hunt Slonem exists in a decorative and colorful environment of birds and art. He not only has cared for dozens of birds throughout his life, but he intensely identifies with them, as his repetitive use of the theme in his paintings would imply. A symbol of freedom, the bird represents the spiritual wish to be something more. In the language of Slonem mysticism, they are unusual beings able to fly beyond the ordinary world into a higher, purer and more mysterious one. The artist has said, “My birds are not only birds…They also represent souls, though I wouldn’t go so far as to say whose.” The luminous and often chaotic atmosphere surrounding the birds suggests that he envisions them within a self-contained paradise of sorts, both highlighted and obscured by the overlapping grid of crosshatching for which the artist is known. As explained by Donald Kuspit, “Slonem’s birds are transformational objects facilitating his creative growth, indeed, the symbol as well as major subject of his astonishing creativity.” Ref.: Kuspit, Donald B. Hunt Slonem – An Art Rich and Strange. New York: Harry N. Abrams, 2002. Nahas, Dominique. The Worlds of Hunt Slonem. New York: The Vendome Press, 2011.

601. George Rodrigue (American/ Louisiana, 1944‑2013), “Blue Dogs on the Red River”, 2011, acrylic on canvas, signed lower right, signed, titled, and dated en verso, 40 in. x 60 in., original frame. $60000/80000 Exh.: George Rodrigue: Blue Dogs, Louisiana Governors and Russian President Gorbachev, Louisiana State Exhibit Museum, Shreveport, Sept. 23‑Dec. 30, 2011. Note: George Rodrigue had a long history with Shreveport and northern Louisiana, appreciating the culture and history there just as much as that of the southern portion of the state with which he was most associated. In the late 1970s, Rodrigue held his first exhibition in Shreveport at a bank, organized by Carl Jones, a prominent Shreveport oilman who admired his work and introduced Rodrigue to the local collecting community. Shreveport and the surrounding area would be frequent stops on Rodrigue’s many road trips selling and delivering his paintings across the South. During the 1980s, Rodrigue’s artwork became increasingly well known regionally and nationally, and he developed immense popularity across the state with his colorful festival posters celebrating Louisiana’s heritage, both north and south. He was commissioned to create posters for Ducks Unlimited, first the Shreveport Chapter around 1980 and then the National Chapter’s convention in New Orleans in 1985, and he was invited to design the poster for the Louisiana State Fair in Shreveport in 1983. Rodrigue visited Shreveport again in the late 1990s to attend the Red River Revel in 1997, 1998 and 1999, creating the official poster each year for sell-out crowds. In 2011, Rodrigue returned to Shreveport for a major exhibition of his work Blue Dogs, Louisiana Governors and Russian President Gorbachev at the Louisiana State Exhibit Museum, featuring paintings from the permanent collection of the New Orleans Museum of Art, private collectors and the artist’s personal archives.

Photo credit: Photo courtesy of Wendy Rodrigue.

The work offered here, “Blue Dogs on the Red River” was created by the artist as the archetype of the 2011 exhibition, celebrating the city and the artist’s love of Louisiana. The idea of the Red River appealed on multiple levels to Rodrigue, an artist focused on color, design and symbolism and one who always displayed a sense of humor. He had throughout his career painted Louisiana - its rivers, roads, oak trees, and people (or their Blue Dog counterparts) as individual elements blended into a cohesive whole, nowhere more evident than in this masterful painting from the height of his mature style. Ref.: Rodrigue, Wendy. “Rodrigue on the Red River.” Musings of an Artist’s Wife. Sept. 1, 2011. www.wendyrodrigue. com. Accessed Oct. 18, 2017.

602. Edith Harker Frohock (American/ Alabama, 1917‑1997), “Purple, Magenta, White and Black Abstract Composition”, acrylic on paper, signed lower left, 17 1/2 in. x 23 1/4 in., framed. $2000/3000

603. Edith Harker Frohock (American/ Alabama, 1917‑1997), “Blue, Gray, Orange and Red Abstract Composition”, acrylic on paper, signed midright, 21 1/4 in. x 17 3/4 in., framed. $1500/2500

Note: Birmingham-based artist, Edith Harker Frohock, was part of the Mississippi Art Colony, one of the country’s oldest artist-run organizations of its kind. She was a featured instructor there in 1984 as well as a professor at the University of Alabama at Birmingham. The work offered here showcases Frohock’s talent for composition and color. Wild blues and oranges are anchored onto the canvas by a block of red paint which subtly ties together the hectic mélange.

604. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Sun Set Glow”, oil on canvas, signed lower right, pencil‑titled, inscribed and “Williams Frame Shop, Bourbon St.” label on stretcher en verso, 10 in. x 30 in., period frame. $2500/3500

606. Ellsworth Woodward (American/New Orleans, 1861‑1939), “Reclining Female Nude”, graphite on board, initialed “E.W.” lower left, 10 in. x 16 in., framed. $600/800

607. Alberta Kinsey (American/ New Orleans, 1875‑1952), “Still Life of Bottles”, oil on canvas board, signed lower left, 15 1/4 in. x 18 in., period frame. $800/1200

608. Clementine Hunter (American/ Louisiana, 1886‑1988), “A Pot of Zinnias”, oil on canvas board, monogrammed lower right, monogrammed, titled and inscribed “Betty” and “Gilley’s Gallery and Framing, Baton Rouge” label en verso, 20 in. x 16 in., framed. $2000/3000

610. Robert Malcolm Rucker (American/Louisiana, 1932‑2001), “Steamboat on the Mississippi River”, oil on canvas, signed lower left, “Gilley’s Gallery, Baton Rouge, LA” label en verso, 24 in. x 30 in., framed. $2000/3000

611. Alan Flattmann (American/ Louisiana, b. 1946), “French Antique Shop”, 2002, oil on board, signed lower center, signed, titled and dated twice en verso, 20 in. x 28 in., framed. $1200/1800

612. Martha Wright Ambrose (American/New Orleans, 1914‑2000), “Tujague’s Restaurant, Decatur St., French Quarter”, watercolor on paper, signed lower right, 15 in. x 22 1/4 in., framed. $1000/1500

Provenance: Neal Auction Company, July 31, 2004, lot 469.

605. Woodward, William, French Quarter Etchings of New Orleans, 1938, The Magnolia Press, New Orleans, first edition. $400/600

609. Clementine Hunter (American/ Louisiana, 1886‑1988), “Haulin’ Cotton”, oil on canvas board, monogrammed lower right, handwritten inscriptions “Nelson” and “Ryan” and “Taylor Clark, Fine Prints, Paintings and Framing, Baton Rouge” label en verso, 12 in. x 16 in., framed. $2000/3000

613. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Tending the Garden, Vieux Carré Patio”, oil on canvas, signed lower left, stamped “Devoe” on stretcher bar, 18 in. x 14 in., period frame. $3000/5000 Provenance: Estate of the artist, Mandeville, LA; descended in the family.

Additional information at www.nealauction.com

614. Clarence Millet (American/Louisiana, 1897‑1959), “Italian Houses (Sketch)”, oil on canvas board, signed lower right, titled and “Art Association of New Orleans” label with title and artist information en verso, 11 in. x 13 in., framed. $4000/6000 Note: Clarence Millet was a founding member of the Arts and Crafts Club of New Orleans in 1992, and subsequently a charter member of their offshoot, the New Orleans Art League, in 1925. Beyond the French Quarter associations and clubs, Millet also belonged to the New Orleans Art Association and other artist associations throughout the country, resulting in his work being widely exhibited both in solo and group shows nationally. The New Orleans Art Association exhibition label on the back of this painting indicates that Millet was living at 1240 N. Galvez Street at the time of exhibiting this work. This address was the artist’s first permanent residence in New Orleans, upon his return from New York in 1925. He set up his studio in the same building as Alexander Drysdale, next to a Chinese laundry in Exchange Alley, later renting space at 628 Toulouse Street in the Governor Claiborne House where Alberta Kinsey had her studio. Millet’s atmospheric plein-air brushwork and bright palette perfectly portray New Orleans life in the early to mid-twentieth century, as seen in “Italian Houses” offered here. Many Italians settled in apartments of the French Quarter near Decatur Street in the late 19th and early 20th centuries, an area which for awhile was locally known as “Little Italy”, likely the scene captured by Millet here. Ref.: Saward, Susan. “Clarence Millet.” Encyclopedia of Louisiana. Louisiana Endowment for the Humanities. Sept. 12, 2012. http://www.knowlouisiana.org/entry/clarence-millet. Accessed Oct. 17, 2017.

615. Clarence Millet (American/ Louisiana, 1897‑1959), “Old Gate, Dumaine Street”, oil on canvas board, signed lower left, signed and titled on backing paper, 15 in. x 18 in., original frame. $6000/8000 616. Ellsworth Woodward (American/New Orleans, 1861‑1939), “French Quarter Street Scene with Newsboy (Boyer 29, fig. 8)”, “Old French Market, Dumaine and St. Philip, off Decatur (Boyer 59)”, “St. Mary’s Market, New Orleans (Boyer 78)”, 1887, “Model A Ford and Garage (Boyer 49)” and “Rue Dumaine, Spanish Cottage (Boyer 75)”, 5 etchings on paper, each initialed “E.W.” and one titled and dated in plate, 5 in. x 6 3/4 in. to 5 3/4 in. x 7 3/4 in., unframed. (5 pcs.) $1200/1800

617. Ellsworth Woodward (American/New Orleans, 1861‑1939), “Elemental Warfare, Grand Isle, LA (Boyer 23, fig. 28)”, “Oyster Fisherman (Boyer 64, fig. 26)”, “Pouring Tar, Tar Kiln (Boyer 66)”, “River House Boats (Boyer 72)”, “Grand Isle Harbor Scene (Boyer 34)” and “Back Bay Biloxi (Boyer 7)”, 6 etchings on paper, each initialed “E.W.” in plate, 6 3/4 in. x 7 3/4 in. to 8 in. x 9 1/2 in., unframed. (6 pcs.) $1200/1800

618. John McCrady (American/New Orleans, 1911‑1968), “Steamboat ‘Round the Bend”, lithograph, pencil‑signed and titled lower margin, 9 3/4 in. x 14 5/8 in., framed. $1000/1500

619. Theodore “Fonville” Winans (American/Louisiana, 1911‑1992), “Self Portrait”, 1934, silver gelatin print mounted on board, signed and dated lower left, titled and inventory no. “08/661” on label en verso, 20 in. x 16 in., framed. $1200/1800

620. Theodore “Fonville” Winans (American/Louisiana, 1911‑1992), “The Hermit”, 1930, silver gelatin print mounted on board, signed and dated lower right, title and inventory no. “07/265” on label en verso, 16 in. x 20 in., unframed. $800/1200

621. Deborah Luster (American/Louisiana, b. 1951), “One Big Self: Prisoners of Louisiana Series”, 1999‑2000, 6 silver emulsion on prepared aluminum plates, 5 signed, sitter’s information, dated and inscribed en verso, each 5 in. x 4 in., unframed, original black portfolio box; accompanied by Luster, Deborah and C.D Wright. The Tenth Dorothea Lange‑Paul Taylor Prize. Durham, NC: The Center for Documentary Studies at Duke University, 2001. (8 pcs.) $1200/1800 Note: In the lot offered here, Deborah Luster’s photographs of prisoners are printed on metal in the manner of tintypes, durable snapshots popularized in the 1860s and 1870s. Luster plays with the concept of “the gaze,” instructing her subjects to bring personal objects and pose however they wish - defining themselves as individuals within a system that arguably robs them of their identity and agency. While the viewer observes each photo, the subject in turn stares back. “I wanted the photos to be handled by viewers and to suggest the history of the penal system… touching the faces of Louisiana’s “invisible” population.” Ref.: Luster, Deborah, and C.D. Wright. The Tenth Dorothea Lange-Paul Taylor Prize. Durham: Center for Documentary Studies, 2001, pp. 6-8.

622. Newcomb College Brass Mailbox, early 20th c., centered with appliquéd brass moss‑laden tree, h. 11 1/2 in., w. 9 1/4 in. $400/600

623. Collection of Vintage New Orleans Roosevelt Hotel Memorabilia, incl. 3 drink/food menus; wine list; 2 drink stirrers; Ramos gin fizz history; bar towel; 2 match book covers; luggage label; 2 postcards; “Roosevelt” letters; 10 miniature decanters; and 2 Sazerac glasses, h. 3 3/4 in.; together with a St. Charles Hotel plate, dia. 9 3/4 in. $300/500

624. Louisiana Political Memorabilia, Ruffin Pleasant typed letter signed, Sam Jones signed appointment, Huey Long books (4), Huey Long, as governor, signed typed letter; Huey Long signed appointment; 2 Long, as senator, typed letters with autopen signatures; 2 Long mailers; 2 Huey Long photos (probably memorial photos after death), photo booklet of Louisiana Politicians at Barksdale Air Force Base (1940s or early 50s), Jimmie Davis signed program along with book written by him, brass presentation plaque (small 2 1/2 in. x 3 in. or so) noting Wilson Ewing (owner of Shreveport Time, KWKH Radio, News Star newspaper) as Aide De Camp for Gov. Leche. $700/1000

626. Pair of New Orleans “Fern” Pattern Cast Iron Benches, late 19th/early 20thc., foundry mark of “Hinderer’s Iron Works, New Orleans, LA”, reticulated seat, later paint, h. 31 in., w. 43 1/2 in., d. 13 1/2 in. $2500/3500

625. Mitchell, S. Augustus, “Map of the States of Louisiana Mississippi & Alabama”, Philadelphia, engraved by J.H. Young, 1831/1839, hand‑colored, originally issued as a pocket map, linen backed upper left corner with tables of “Steam Boat Routes and Principal Stage Routes, Through The States of Louisiana, Mississippi & Alabama, with the number of runs per week given, 17 1/2 in. x 22 5/8 in. $500/700

627. American Cast Iron Sugar Kettle, 19th c., Southern, h. 25 3/4 in., dia. 55 1/4 in. $700/1000 Provenance: A Baton Rouge Collection. 628. American Rococo Cast Iron Settee, 19th c., foundry mark of “Hinderers Iron Works New Orleans, LA”, fleur‑de‑lis cartouche, diapered vine back, scroll arms, reticulated seat, X‑form foliate legs, h. 33 in., w. 40 1/4 in., d. 16 in. $1200/1800

629. American Federal Mahogany Cheval Mirror, early 19th c., urn finials, arched saber legs, turned stretchers, brass ferrules, casters, h. 63 1/2 in., w. 25 in., d. 23 in. $1200/2000

630. American Classical Carved and Gilt Pier Mirror, 19th c., cornice mounted with spherules, frieze with swags and spherules, divided mirror plate flanked by columnar stiles, molded base, h. 45 3/4 in., w. 25 3/4 in. $800/1200

631. American Late Federal Giltwood Pier Mirror, early 19th c., molded cornice with spherule pendants, frieze panel with mother and child figures, bound column supports, h. 47 3/8 in., w. 32 5/8 in., d. 6 1/4 in. $800/1200

Additional information at www.nealauction.com

634. American Rococo Carved Walnut Center Table, c. 1850‑1860, probably Boston, marble turtle top, conforming frieze carved with fruit clusters, cabriole legs surmounted by carved flowers, scrolling stretcher centered by a floral basket, casters, h. 30 1/4 in., w. 42 in., d. 31 1/2 in. $500/800

632. American Carved Walnut Standing Regulator Clock, c. 1870, incised architectonic case, porcelain dial, lyre pendulum, h. 92 1/2 in., w. 34 1/2 in., d. 13 3/4 in. $4000/6000

633. Regina Model 35 Automatic Changer Twelve Disc Music Box, c. 1900, mahogany upright case, bowfront glazed door with “bronzed” metalwork, barley‑twist columns, apron drawer holding 6 extra discs, cabriole legs, dual‑comb, automatic changer mechanism, total of eighteen 15 1/2 inch discs, h. 67 1/2 in., w. 27 in., d. 21 1/2 in. $7000/10000

636. Antique American Ebonized Bamboo Footstool, late 19th c., later ebonization and gilt, flared legs, h. 15 in., w. 19 in., d. 19 in. $300/400 Provenance: Jas. A. Gundry, Inc., Houston, TX, 1995.

638. Late Regency Burled Walnut Breakfast Table, early 19th c., highly figured segmented banded top, narrow frieze, faceted standard, gadrooned collar, incurvate triangular plinth, melon feet, casters, h. 28 3/4 in., dia. 47 3/4 in. $1000/2000

635. American Renaissance Carved and Burled Walnut Side Table, late 19th c., Philadelphia, molded shaped top, frieze drawer, incised brackets, turned and fluted legs, H‑stretcher centered by a medallion, flared feet, h. 29 in., w. 29 3/4 in., d. 17 in. $500/800

637. American Classical Carved Mahogany Work Table, early 19th c., New York, molded top, two drawers, incurvate stretcher shelf, spiral acanthuscarved legs, turned feet, h. 28 1/2 in., w. 22 in., d. 18 in. $500/800

639. William IV Mahogany Serving Trolley, 19th c., three galleried shelves, medial tier fitted with drawers, blocked vasiform supports, h. 42 3/4 in., w. 47 in., d. 20 1/2 in. $800/1200

640. Louis Philippe Burled Walnut Commode, early 19th c., marble top with chamfered corners, conforming case with four drawers, turned feet, h. 40 in., w. 51 1/4 in., d. 23 3/4 in. $700/1000 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

641. French Provincial Carved Walnut Dough Box, probably 18th c., removable four board top, dovetailed case, scalloped apron, cabriole legs, h. 27 in., w. 56 3/4 in., d. 26 3/4 in. $1000/1500 Provenance: Jane Fleniken Antiques, Lafayette, LA.

642. William S. Robinson (American/Mississippi, 1861‑1945), “Old Lyme, Connecticut”, 1919, oil on board, signed lower left, signed, monogrammed, titled and dated en verso, 6 in. x 10 in., framed. $700/1000 643. Arnold E. Turtle (British/New Orleans, 1892‑1954), “The Red Hat”, oil on canvas, signed lower left, titled, printed artist biography and inscribed en verso, 34 in. x 26 in., period frame. $1000/1500 Provenance: Descended in the family of the artist.

644. Ellsworth Woodward (American/New Orleans, 1861‑1939), “Ostend Gate, Bruges”, 1892, watercolor on paper, signed, dated and titled lower right, “Charles A. Harris Frames, Boston” label en verso, 9 1/2 in. x 21 in., framed. $600/800 Provenance: Descended in the family of the artist.

645. Andres Molinary (Gibraltarian/New Orleans, 1847‑1915), “Middle Eastern Scene”, 1885, oil on canvas, signed, dated and inscribed “To my...” lower left, 12 3/4 in. x 9 1/2 in., period frame. $400/600

646. Will Henry Stevens (American/New Orleans, 1881‑1949), “Cabin in the Woods”, oil on board, signed lower left, 10 in. x 14 in., framed. $3000/5000

648. E.J. Forrest (American/ Louisiana, 20th c.), “Louisiana Bayou”, 1955, oil on canvas board, signed and dated lower right, signed, titled and dated en verso, 16 in. x 20 in., framed. $1200/1800 647. Emily Hamilton Huger (American/Louisiana, 1881‑1946, act. Newcomb College, 1897‑1902), “Grove of Sycamore Trees”, oil on canvas, unsigned, 24 in. x 30 in., framed. $2000/3000 Provenance: Gift of the artist’s estate; descended in the family.

650. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Blue Hummingbird on a Branch”, watercolor on paper, signed lower right, 17 in. x 12 in., framed. $2000/3000

651. Alvyk Boyd Cruise (American/ New Orleans, 1909‑1989), “Exterior View of Church Apse, probably New Orleans”, 1939, watercolor on paper, signed and dated lower right, 21 in. x 15 in., framed. $700/1000

652. William Robinson Leigh (American/West Virginia, 1866‑1955), “Portsmouth, Virginia”, 1911, oil on canvas board, signed lower left, pencil‑signed, titled, dated and inscribed “Christmas” en verso, 5 3/8 in. x 9 1/2 in., period frame. $1000/1500

649. William Woodward (American/ New Orleans, 1859‑1939), “Autumn”, oil on panel, pencil‑signed, titled and handwritten label with provenance en verso, 13 1/2 in. x 8 1/4 in., framed. $1200/1800

653. Carved Walnut and Parcel Ebonized Umbrella Stand, in the form of an umbrella, with brass handle, gilt incised tripod stand, bun feet, h. 46 in., dia. 13 in. $800/1200

Additional information at www.nealauction.com

655. Pair of Louis XV‑Style Bronze Chenets, seated putti amidst foliate scrolls, h. 21 in., w. 13 in., d. 28 in. $300/500 654. Wood Cross on Stand, inset with printed prayers, under glass, titled “Jesus Nazarenus Rex Judaeorum” above “Our Father” and “Hail Mary”, h. 31 1/4 in., w. 12 in. $300/500

658. Continental Inlaid Satinwood Side Table, early 20th c., top with inset needlework panel under glass, tapered standard, stepped plinth base, casters, h. 22 in., w. 19 1/2 in., d. 16 1/4 in. $300/500

659. French Provincial Carved Walnut Table, early 19th c, molded overhanging top, shaped frieze with drawer, turned legs, H stretcher, h. 26 in., w. 35 in., d. 25 in. $400/600

656. Three George III Brass and Wirework Fire Fenders, early 19th c., scrolled decoration, largest h. 12 in., w. 45 in., d. 16 in. $600/900

660. Noel Rockmore (American/ New Orleans, 1928‑1995), “Menage à Trois” and “Voyeurism”, 1984, 2 mixed media on paper, each signed and dated lower right, each with “Casell Gallery, Royal Street, NOLA” label en verso, each 26 in. x 20 in., both framed. (2 pcs.) $400/600 Provenance: Acquired from the artist.

Provenance: Collection of Nan Wier, New Orleans, LA.

657. American Late Federal Carved Mahogany Pembroke Table, early 19th c., shaped drop‑leaf top, spiral‑turned legs, casters, h. 29 in., w. 36 in., d. (closed) 21 in., d. (open) 45 in. $300/500

661. Noel Rockmore (American/ New Orleans, 1928‑1995), “Jean”, 1962, watercolor on paper, signed, titled and dated upper right, sight 17 in. x 12 3/4 in., framed. $300/500

664. Noel Rockmore (American/New Orleans, 1928‑1995), “Drag (Alcide ‘Slow Drag’ Pavageau)”, 1963, oil on canvas, signed and dated upper right, titled mid‑left, “E.L. Borenstein Collection Catalog Sheet” en verso, 30 1/4 in. x 24 1/4 in., framed; together with vintage photo album of Rockmore’s works. (2 pcs.) $2500/3500 662. New Orleans School, 20th c., “Brulatour Courtyard, French Quarter”, oil on canvas, signed “N. Swinney” lower right, 14 3/4 in. x 22 1/2 in., framed. $700/1000

665. Martin Laborde (American/ New Orleans, b. 1943), “Fly‑Boy Boda and Alli‑Ga‑Ga in a Race Across the Bayou”, 2006, oil on canvas, signed and dated lower right, signed, titled, dated, inscribed and “Enoch’s Framing & Gallery, New Orleans” label en verso, 20 in. x 16 in., framed. $500/800

Provenance: Estate of E. Larry Borenstein, New Orleans.

663. Ellsworth Woodward (American/New Orleans, 1861‑1939), “Abishag came and stood before the King”, graphite on board, initialed “E.W.” and titled lower right, 8 in. x 15 in., framed. $600/800

666. Frederic Mizen (American/ Illinois, 1888‑1964), “Passing the Plate, Sunday at Church”, oil on canvas, signed lower right, “Cabbage Row Shop and de Merell Studio, Charleston” label en verso, 36 in. x 31 in., framed. $1000/1500

667. Palmer Schoppe (American/ California, 1912‑2001), “Fight at the Ranch (Cock Fight)”, 1964, oil on canvas, signed and dated lower right, signed, titled, dated and “The Charleston Renaissance Gallery” label with artist, title and date en verso, 10 in. x 14 in., framed. $1200/1800 Provenance: Estate of the artist.

668. Palmer Schoppe (American/ California, 1912‑2001), “Saturday Afternoon (Cock Fight)”, 1964, oil on canvas, signed and dated lower right, signed, titled, dated and “The Charleston Renaissance Gallery” label with artist, title and date en verso, 14 in. x 22 in., framed. $1500/2500 Provenance: Estate of the artist.

669. Artemio Sepulveda (Mexican, b. 1937), “Una Bebida (A Drink)”, 2001, oil on canvas, signed and dated lower left, 39 1/4 in. x 27 1/2 in., unframed. $500/750

673. Collection of Fifty Grand‑Tour Albumen Photographs of Rome, 19th c., with 23 from Edizione Alinari and 27 from another publisher, 7 1/2 in. x 10 in., unframed. $500/700

677. Sanderson, John, Biography of the Signers to the Declaration of Independence, Philadelphia, R.W. Pomeroy, 1823‑1827, 9 volumes, full‑calf, together with volumes 2‑7 from another copy. $300/500

681. Plaster Bust of Poet Laureate Alfred Tennyson, inscribed “copyrighted 1906/ By P.P. Caproni & Bro/ Boston”, h. 32 1/2 in., w. 25 in., d. 12 1/2 in., pedestal, overall h. 82 in. (2 pcs.) $500/750 Ill.: P.P. Caproni & Brother. Catalogue of Plaster Reproductions. Boston, P.P. Capron & Brother, 1922, p. 36.

670. Thomas Mann (American/New Orleans, 20th c.), “Techno Hand Clock”, steel and mixed media, artist stamp on reverse of hand, h. 9 1/2 in., w. 6 1/4 in., d. 3 1/4 in. $200/300

674. Fine American Ten‑Inch Celestial Globe, c. 1870, marked “JOSLIN’S Ten Inch CELESTIAL GLOBE containing all the Stars to the fifth Magnitude, inclusive./From the Maps of the Stars Published by the Society for the Diffusion of Useful Knowledge./Drawn and Engraved by W.B. Annin/ BOSTON‑GILMAN JOSLIN”, engraved half‑meridian, on turned, ebonized stand, h. 16 1/2 in., dia. 10 in. $600/900

678. Lucas, Fielding, Jr., “Louisiana”, Baltimore, 1822, hand‑colored, Louisiana is depicted after the settlement of its western boundary with Mexico in 1819 in the Adams‑Onis Treaty, 11 in. x 17 1/4 in. $500/700

682. William H. Philip (American, 1829‑1882), “Ariadne”, 1847, carved marble, “Ariadne / William H. Philip / First Work / Florence 1847”, inscribed on truncation, h. 20 3/4 in., w. 11 1/2 in., d. 8 in. $1500/2500

671. Four Antique Botanical Prints, hand‑colored engravings, sheets 8 1/4 in. x 5 1/2 in., framed alike. (4 pcs.) $200/300

675. Early Engraved View of Florida, “Pagus Hispanorum in Florida”, from Arnoldus Montanus’ De Nieuwe... Weereld...van America, Amsterdam, 1671, sheet 14 7/8 in. x 12 2/8 in., float‑mounted and framed. $300/500 Provenance: The Old Print Shop, Inc., New York, NY.

679. [Exploration of the Red River], Marcy, Randolph B., Exploration of the Red River of Louisiana, in the Year 1852, Washington, 1853, octavo, cloth, with 65 pp. of illustrations, together with TWO MAPS; “Map of the country between the frontiers of Arkansas and New Mexico; embracing the section explored in 1849, ‑’50, ‑’51, and ‑’52” and “Map of the country embraced within the basin of Upper Red river, explored in 1852 by Captain R. B. Marcy”, 28 1/2 in. x 60 in. and 17 in. x 35 in. $400/600

672. George Schmidt (American/ New Orleans, b. 1944), “The Annunciation”, 1999, color monotype on paper, pencil‑signed, titled, dated and numbered “1/1” lower margin, sight 13 in. x 10 1/4 in., framed. $500/800

676. Hermann, Binger, The Louisiana Purchase and Our Title West of the Rocky Mountains..., Washington, Government Printing Office, 1900, octavo, full calf with gilt tooling, with maps and portraits of notables. $200/300 680. Darby, William, A GEOGRAPHICAL DESCRIPTION OF THE STATE OF LOUISIANA: PRESENTING A VIEW OF THE SOIL, CLIMATE, ANIMAL, VEGETABLE, AND MINERAL PRODUCTIONS_WITH AN ACCOUNT OF THE CHARACTER AND MANNERS OF THE INHABITANTS...BEING AN ACCOMPANIMENT TO THE MAP OF LOUISIANA, printed for the Author, and Published by John Melish, Philadelphia, 1816, first edition, octavo, modern 1/2 morocco and marbled boards, spine gilt with raised band. $500/700

683. Bronze Figure of a Gentleman, after “L’incroyable” by Edouard Lormier, signature inscribed on self‑base, h. 26 in., w. 10 1/2 in., d. 8 1/2 in., granite base, overall h. 27 1/4 in. $1200/1800

Provenance: Thomas Wilmot “Twik” Klein, St. Francisville, LA; reputedly from Rosedown Plantation.

Additional information at www.nealauction.com

684. Gilt Bronze Figure of a Fisherman Casting a Drag Anchor, after Antoine Bofill, signature inscribed on self‑base, h. 28 in., w. 12 in., d. 15 in. $400/600

688. John James Audubon (American, 1785‑1851), “Hemlock Warbler”, Plate CXXXIV, hand‑colored engraving with aquatint, from The Birds of America, Robert Havell edition, J. Whatman/1832 watermark, sheet 25 in. x 18 1/4 in., unframed. $800/1200

685. Napoleon III Gilt Bronze Figural Mantel Clock, late 19th c., surmounted by a farmer and his plough horse, mounted with symbols of agriculture, h. 15 in., w. 16 in., d. 7 in. $400/600

686. John James Audubon (American, 1785‑1851), “Bewick’s Long Tailed Wren”, No. 4, Plate 18, hand‑colored engraving, from The Birds of America, Robert Havell edition, 19 in. x 12 in., framed. $800/1200

687. John James Audubon (American, 1785‑1851), “Hemlock Warbler”, Plate CXXXIV, hand‑colored engraving with aquatint, from The Birds of America, Robert Havell edition, J. Whatman/1832 watermark, sheet 25 in. x 18 1/4 in., unframed. $800/1200 Provenance: Collection of Charleston Library Society.

689. John James Audubon (American, 1785‑1851), “Least Water Hen”, Plate CCCXLIX, hand‑colored engraving with aquatint, from The Birds of America, Robert Havell edition, J. Whatman/1836 watermark, sheet 25 3/4 in. x 38 in., unframed. $800/1200 Provenance: Collection of Charleston Library Society.

690. Set of Vintage Lenox Porcelain “Countess” Pattern Dinner and Dessert Plates, before 1952, green wreath marks, pattern “J.40” introduced 1912, ret. “The Bailey, Banks & Biddle Co./ Philadelphia”, gold encrusted borders, incl. 18 dinner and 14 dessert, dia. 10 1/2 in. and 6 1/4 in; together with a similar Limoges “Vignaud” dessert plate, dia. 6 1/4 in. (33 pcs.) $400/600

691. T. Martin (American, mid‑19th c.), “Pendant Portraits of Husband and Wife”, 1853, 2 watercolors and gouache on paper, each signed and dated lower left, 13 3/4 in. x 9 1/4 in., matching period frames. (2 pcs.) $1500/2500 Provenance: A Virginia Estate.

694. Oushak Carpet, light blue ground, stylized floral design in rose, dark blue and cream, 8 ft. 3 in. x 9 ft. 5 in. $3000/4000

692. American Federal Mahogany Drop‑Leaf Stand, three drawers, one fitted with writing surface, original brasses, spiral‑turned legs, casters, h. 28 1/2 in., w. 18 1/2 in., d. 18 in. $500/700

693. American Federal Figured Mahogany Games Table, early 19th c., serpentine foldover top, conforming frieze, molded tapered legs, h. 29 1/2 in., w. 36 1/2 in., d. (closed) 18 1/2 in., d. (open) 37 in. $700/1000

695. Heriz Carpet, crimson and navy ground, center field with repeating floral motif, palmette border, 8 ft. 10 in. x 11 ft. $800/1200

696. Heriz Carpet, central astral blue ground with central medallion and spandrels, stylized burgundy floral borders, 9 ft. 10 in. x 18 ft. $800/1200

697. Persian Bakhshish Carpet, tan ground, repeating central medallions in red, green, blue and brown, 10 ft. x 14 ft. $3500/4500

700. Antique Persian Lilihan Carpet, red ground, stylized floral vases, floral border, 9 ft. 2 in. x 11 ft. 6 in. $2500/3500

703. Persian Heriz Carpet, red ground, central medallion, stylized floral border, 8 ft. 4 in. x 11 ft. 1 in. $2500/3500

698. Sultanabad Carpet, sand brown ground, overall floral design, 9 ft. 10 in. x 13 ft. 7 in. $4000/6000

701. Persian Tabriz, khaki and sand ground, central medallion, repeating vase and bird designs, 6 ft. 3 in. x 9 ft. 2 in. $2000/3000

704. Persian Tabriz Carpet, red ground, vining floral design, 9 ft. 7 in. x 11 ft. $3500/4500

699. Oushak Carpet, khaki ground, stylized floral designs, 7 ft. 9 in. x 9 ft. 8 in. $2500/3500

702. Persian Bactairie Carpet, red, cream and blue ground, central medallions, overall floral design, 6 ft. 8 in. x 9 ft. 8 in. $2000/3000

705. Persian Heriz Carpet, red ground, central medallion and spandrels, repeating floral border, 7 ft. x 9 ft. 9 in. $2000/3000

Additional information at www.nealauction.com

706. Empire‑Style Gilt and Patinated Bronze Lamp, 20th c., tripodal base, h. (to socket) 19 in.; together with an Empire style urn, with panther handles, h. 8 3/4 in. $300/500

707. Two Antique French Brass and Tôle Bouillotte Lamps, 19th c., three‑light with round shade, two‑light with oval shade, both electrified, tallest h. 22 3/4 in. $400/600

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

708. Bronze Bust of a Faun, after Alphonse Leon Germain‑Thill, signature and “W7‑413” inscribed and “made in France” stamped on self‑base, h. 6 3/4 in., w. 6 1/4 in., d. 3 1/4 in., marble base, overall h. 12 in. $400/600

709. Bronze Figure of an Antelope, 20th c., h. 30 1/4 in., w. 14 1/2 in., d. 8 in., cast stone pedestal, overall h. 64 1/4 in. $500/700

710. English Inlaid Oak and Mahogany Tallcase Clock, 19th c., signed “Thoms. Snow, Bradford”, painted dial with farm scene and floral spandrels, h. 95 1/2 in., w. 21 1/2 in., d. 9 1/2 in. $1000/1500

711. Napoleon III Ebonized Portico Clock, 19th c., brass‑mounted columns, striking bell movement, h. 18 3/4 in., w. 10 in., d. 6 in. $500/700

712. Napoleon III Gilt Bronze Figural Clock, early 19th c., silk thread movement marked “S. Marti, Paris”, scroll encrusted case surmounted by a maiden, base with garland and scroll feet, h. 13 in., w. 9 in., d. 3 1/2 in. $400/600

713. Swiss Marquetry and Rosewood Cylinder Music Box, c. 1890, “Mandoline Piccolo”, 12 airs, lever wind, box h. 8 in., w. 28 1/4 in., d. 11 1/2 in., later walnut table, total h. 35 in. $1000/1500

714. Paillard Mahogany Interchangeable Cylinder Music Box with Four Cylinders, c. 1892, “Gloria” model, lever wind, complete with four song cards, 6 songs per cylinder, base with cylinder drawer, h. 11 1/4 in., w. 25 1/2 in., d. 13 3/4 in. $1000/1500

715. Swiss Marquetry and Rosewood Cylinder Music Box, c. 1890, 8 airs, “Sublime Harmonie Temolo”, lever wind, 3 combs, box h. 7 1/2 in., w. 30 1/2 in., d. 11 1/2 in., later table, total h. 36 1/2 in. $1000/1500

716. Swiss Parcel Ebonized, Marquetry and Inlaid Cylinder Music Box, c. 1890, lever wind, change/ repeat switch, h. 7 1/2 in., w. 23 in., d. 11 in. $800/1200

718. Swiss Rosewood Cylinder Music Box, c. 1900, lever wind, change/ repeat switch, h. 5 1/2 in., w. 18 3/4 in., d. 7 1/2 in. $400/600

719. Continental Polychromed Plaster Blackamoor, early 20th c., modeled standing before a tree stump carrying a water vessel, h. 27 1/2 in. $500/700

720. Pair of Continental Gilt Bronze‑Mounted Porcelain Urns, ret. “Legon Brugge”, gilt decorated floral reserves, h. 18 in. $400/600

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

717. Swiss Mahogany Cylinder Music Box, c. 1900, key wind, repeat/ change switch, h. 5 in., w. 19 1/4 in., d. 7 1/4 in. $400/600

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

721. Bronze and Copper Samovar, late 19th/early 20th c., probably Russian, domed cover, phoenix‑ring handles, shaped base on claw and ball feet, h. 18 1/4 in., mounted as a lamp, h. (to top of finial) 30 3/4 in. $200/300

722. Highly Decorative NeoclassicalStyle Patinated Metal Urn and Pedestal, urn with acanthus scroll handles with cherubs and garlands, scroll feet, h. 40 in.; pedestal with floral motifs, h. 23 3/4 in., w. 16 1/2 in., d. 16 1/2 in. (2 pcs.) $500/700

723. French Carved Giltwood and Wrought Iron Four‑Light Sconce, 20th c., sheaf of wheat standard, scrolled backplate and candlearms, h. 25 in., w. 35 in., d. 7 1/2 in. $200/400 724. French School, late 19th/early 20th c., “Woman at her Desk”, oil on canvas, unsigned, handwritten French label attributing artist as “V. Blanche” en verso, 18 in. x 15 in., framed. $500/700

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

Provenance: Garden District New Orleans Estate.

726. Manner of Daniel Seghers (Flemish, 1590‑1661), “Bust of Woman Surrounded by a Floral Cartouche”, 18th/19th c., oil on canvas, attribution labels en verso, 30 1/2 in. x 23 1/2 in., framed. $1000/2000

727. Pair of Contemporary French “Porcelaine Virebent” Wedge‑Form Vases, c. 1970, marked, one in blue and brown glaze, other in olive and red, h. 7 1/2 in., w. 9 1/4 in., d. 2 in. $200/300

725. Filippo Indoni (Italian, c. 1842‑1908), “Peasant Girls with Tambourines”, watercolor on paper, signed lower left, sight 20 3/4 in. x 13 3/4 in., framed. $400/600

728. Pair of Staffordshire Pottery Dalmatians, c. 1860, opposing figures modeled seated on oval bases, h. 6 7/8 in. and 7 1/4 in. $300/500

729. Rare Turner’s Patent Ironstone Bowl, c. 1805, iron‑red mark, decorated in the Imari palette with flowers and plants, h. 5 in. d. 12 1/4 in. $250/350

730. French Aesthetic Movement Brass‑Mounted Ruby Glass Dresser Box, 19th c., raised gilt decoration with floral swags. $200/300

Provenance: R. Jorgensen Antiques, Wells, Maine.

Provenance: William Word Fine Antiques, Atlanta, GA.

Provenance: Bernard Caperton Antiques, Charlottesville, VA.

732. Decorative Silverplate Lighthouse‑Form Cocktail Shaker, marked, h. 13 3/4 in. $600/900

733. Pair of Continental Enameled Glass Lustres, c. 1900, floral decoration, hung with prisms, h. 23 1/2 in., dia. 5 1/2 in. $300/500 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

734. Pair of French Cobalt Glass Decanters, faceted neck, polished pontil, h. 11 1/4 in., dia. 3 3/4 in. $150/250

731. George III Inlaid Mahogany Tea Caddy, early 19th c., canted corners, seashell inlay, interior with lidded compartments, h. 5 1/8 in., w. 7 1/2 in., d. 4 1/2 in. $300/500

735. Lalique Molded and Frosted Glass Radiator Mascot, modeled as an eagle’s head, base etched “Lalique France”, h. 4 1/2 in., w. 5 1/2 in., weighted metal stand dedicated to “James A. Risher / President/Ceo / Exide Electronics / 1986‑1996”, overall h. 5 3/4 in. $150/250 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

Additional information at www.nealauction.com

736. French or English Faceted Glass Newel Post Finial, 19th c., brass plinth, h. 5 1/4 in. $200/300

737. Bohemian Amber Cut-to-Clear “Spa” Goblet, 19th c., h. 6 1/4 in. $150/250

738. Continental Cranberry Panel Cut Crystal Compote, 19th c., h. 8 3/4 in., dia. 9 3/4 in. $250/350 739. Pair of Polychromed Cast Iron Whippets, plinth bases, h. 28 3/4 in., w. 8 1/2 in., d. 9 1/2 in. $1000/1500

742. Antique American Late Classical Carved Mahogany Cheval Mirror, late 19th c., oval mirror frame, swan’s neck supports, acanthus carved base with rosettes, incurvate plinth, gadrooned molding, paw feet, casters, h. 73 1/2 in., w. 37 1/4 in. $600/800 740. Pair of Vintage Cast Iron and Paint Decorated Pink Flamingo Garden Sculptures, lily pad bases, taller h. 24 in., w. 15 in., d. 7 in. $400/600

741. Patinated Metal Figure of Atlas, “NPV4237” stamped on self base, h. 34 in., w. 15 1/4 in., d. 13 in., marble and ebonized wood stand, overall h. 71 in. $700/1000 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

745. Chinese Greenish Yellow Jade Ruyi Scepter, probably early 20th c., curving shaft carved with a spread winged bat looking down on the Eight Buddhist Emblems, l. 16 3/4 in., w. 5 1/4 in. $1500/2500 Provenance: Acquired Hong Kong, 1950s.

743. Napoleon III Patinated and Gilt Bronze‑Mounted Marble Clock Garniture, late 19th c., incl. temple‑form clock and pair of campagna urns, clock h. 17 1/2 in., w. 13 in., d. 7 in. (3 pcs.) $600/900

744. Chinese Patinated Bronze Gu‑Form Beaker Vase, 19th/20th c., finely cast with scrolling foliage and leaf tips, foot with Qianlong mark, h. 18 1/2 in., dia. 9 1/8 in. $1500/2500

748. Antique Thai Gilt Bronze Buddha, modeled on a tiered base with both hands held in abhayamudra, h. 13 3/4 in. $300/500 746. Tibetan Thankga, probably 19th c., pigment on cloth enhanced with gold, depicting a caparisoned mule surrounded by dbu‑can script and framed by Buddhist deities, emblems and mythological beasts, 21 1/2 in. x 14 7/8 in., silk brocade mounts, framed, overall 30 in. x 19 3/4 in. $600/800

Provenance: Acquired 1990s.

747. Antique Southeast Asian Bronze Buddhist Head, h. 6 1/4 in., mounted to a wood base, overall h. 9 3/4 in. $500/700 Provenance: Acquired 1990s.

749. Pair of Chinese Hardwood Plant Stands, waisted circular tops, reticulated bombe skirt, tall scroll legs, pierced medial shelf, scroll feet, h. 40 in., w. 11 5/8 in., d. 19 in. $400/600 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

750. Chinese Carved Hardwood Reclining Sedan Chair, 19th c., scrolled crest, paneled back and seat, shaped arms, foot rest, mechanical supports, stretchers, h. 38 in., w. 24 1/2 in., d. (closed) 42 in. $500/800

754. Two Chinese Painted Silk Kesi Panels, early to mid 20th c., incl. “Shoulao and Queen Magu with Deer”, 61 x 34 3/4 in.; and “Magu and Attendant with Phoenix”, 60 1/4 in. x 34 5/8 in., each mounted. $600/800

751. Chinese Giltwood and Red Lacquer Wall Panel, carved with a pair of crane amid prunus, bamboo and rock, 27 1/2 in. x 11 5/8 in., framed, overall 31 3/4 in. x 16 1/8 in., bronze hanger. $300/500 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

755. Asian School, probably early 20th c., three paintings, each ink and color on silk, two inscribed and sealed lower right, one lower left, sight 43 1/2 in. x 13 7/8 in., framed alike. $600/900

758. Chinese Green and Yellow Glazed Porcelain Dish, Qing Dynasty (1644‑1911), interior incised with hibiscus, lychee, lotus, peaches, and other botanicals, exterior with lotus and foliage, base with Zhengde mark, h. 2 in., dia. 11 7/8 in. $400/600

759. Pair of Chinese Famille Rose Porcelain “Eight Immortals” Dishes, probably early 20th c., decorated with deities in a garden setting, bases with Yongzheng marks, h. 1 3/4 in., dia. 9 1/2 in. $300/500

Provenance: Garden District New Orleans Estate.

762. Two Chinese Porcelain Bowls, 19th/early 20th c., incl. white with incised dragon‑pearl design filled in with green, base with Guangxu mark, h. 2 1/4 in., dia. 4 3/8 in.; and blue and white with dragon‑pearl design, base with Kangxi mark, h. 2 3/8 in., dia 4 1/8 in., stand, overall h. 3 5/8 in. $400/600

763. Three Chinese Celadon and Qingbai Pottery Vessels, Ming Dynasty (1368‑1644) and earlier, incl. globular jar, h. 2 1/2 in.; double gourd vase, h. 3 1/8 in.; and globular jar with handles, h. 2 1/2 in. $400/600

Provenance: The Sturm Collection.

752. Chinese Giltwood Panel, carved with warriors within and before a tiered pagoda surrounded by trees, 16 3/4 in. x 12 in. $300/500 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

756. Attributed to Zhu Licun (Chinese, b. 1940), “Mountainous Landscape with Waterfall and Boats”, ink and color on paper, inscribed and sealed upper to middle left, sight 21 1/4 in. x 12 3/4 in., matted and framed; accompanied by Zhu Licun business cards. $500/700

760. Pair of Chinese Yixing Pottery Cups, 19th/20th c., modeled as half open peaches borne or fruiting leafy branches, glazed interiors, h. 1 5/8 in., w. 3 3/4 in. $300/500

753. Chinese Gilt Bronze Luohan, modeled standing with a peach in one hand, h. 7 1/4 in. $400/600 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

757. Chinese Ge‑Style Crackle‑Glazed Celadon Stoneware Bottle Vase, probably 19th c., overall “iron wire” crackle, h. 14 3/4 in., stand, overall h. 16 1/8 in. $500/700

761. Group of Chinese and Thai Pottery, 16th c. and earlier, incl. qingbai bowl, dia. 6 1/2 in.; apple‑form box, dia. 2 3/4 in., stand, overall h. 2 3/8 in.; incised box, dia. 2 1/8 in., stand, overall h. 2 3/4 in.; and finialed box, h. 3 1/2 in., dia. 3 3/4 in.; together with a miniature ewer, h. 3 3/4 in. (5 pcs.) $200/400 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

764. Antique Chinese Pottery Storage Jar, possibly Warring States Period (475‑221 BCE), everted rim, neck and upper body with incised concentric bands, mid and lower body with impressed woven mat design, shoulders with three applied trailing snails, h. 15 in. $400/600

765. Chinese Famille Rose Porcelain Vase, early 20th c., pierced handles, decorated with figural scenes on a fruit, flower, antique, and butterfly ground, h. 22 3/4 in. $300/500 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

Provenance: Estate of Stephen G. Henry, Baton Rouge, LA. Additional information at www.nealauction.com

766. Group of Chinese Porcelain Desk Accessories, Qing Dynasty (1644‑1911), incl. famille rose lotus‑form brush washer, h. 2 1/4 in., dia. 3 1/2 in., stand, overall h. 3 1/2 in.; blue and white barrel‑form incense stick holder, h. 3 1/4 in.; and blue and white covered pot, h. 1 3/4 in. $200/400 Provenance: The Sturm Collection.

770. Pair of Chinese Famille Rose Porcelain Gu‑Form Vases, 20th c., decorated with floral sprays, figural scenes, antiques, and calligraphy, h. 14 7/8 in. $400/600

774. Five Antique Thai Celadon Glazed “Sawankhalok” Pottery Mother Figures, each kneeling, three cradling infants, h. 3 1/2 in. to 4 1/4 in. (Note: Two heads detached, others with glue repairs); together with a stoneware elephant, h. 3 3/4 in., w. 4 in.; and a stoneware ox, h. 2 1/2 in., w. 3 1/4 in. (7 pcs.) $250/350

778. Chinese Famille Rose Porcelain Vase, late 19th/early 20th c., decorated with a procession of dancers, musicians and a nobleman astride a qilin, h. 10 7/8 in., wood stand, overall h. 13 in. $250/350 Provenance: Estate of Henry Goodrich (1930‑2014), Shreveport, LA.

767. Chinese Blue and White Porcelain Bowl, probably Qing Dynasty (1644‑1911), decorated with banana palms, base with two character mark (possibly wan yu), h. 2 3/8 in., dia. 4 1/4 in. $300/500 Provenance: The Sturm Collection.

768. Pair of Chinese Green and Ochre Glazed Pottery Buddhist Lions, each modeled seated on a draped rectangular plinth, the male with its right paw resting on a brocade ball and the female with a cub, h. 18 in., w. 7 3/4 in., d. 9 1/2 in. $400/600

769. Set of Twelve Chinese Glazed Pottery Figures and a Palanquin, probably Ming Dynasty (1368‑1644), figures modeled standing on double plinths wearing green robes and hats with black and orange pigment, h. 8 in. to 8 3/8 in., three‑sided pagoda‑form palanquin with floral carved panels, h. 8 1/4 in. (13 pcs.), accompanied by copy of Yesteryear certificate of authenticity and receipt. $500/700

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

Provenance: Yesteryear, Hong Kong, Feb. 1995; estate of Thomas Greene Collins, Jr., Arabi, LA.

771. Chinese Imari Porcelain Bowl, 17th/18th c., decorated with peony, bamboo and rock within a fenced garden, h. 4 in., dia. 9 3/8 in., stand, overall h. 5 1/4 in. $200/300

772. Chinese Polychrome Porcelain Sleeve Vase, early 20th c., modeled as a bamboo shoot molded with birds amid prunus and rocks, h. 11 in. $200/300

773. Five Thai Bronze Buddhist Relief Plaques, 19th/20th c., incl. three, h. 10 in., w. 3 1/2 in.; and pair, h. 12 11/4 in., w. 5 in. $500/700

775. Collection of Four Antique Thai Buddhist Figures and Figural Fragments, incl. parcel gilt bronze, h. 7 1/8 in. (Note: head detached); stone, h. 3 1/8 in., wood base, overall h. 5 in.; giltwood, h. 4 1/4 in.; and metal‑clad wood, h. 3 in.; together with a schist spiral mound, h. 2 in. (5 pcs.) $200/300

776. Antique Thai Parcel Gilt Bronze Figural Group, modeled as a Buddhist figure seated on a ledge with a monkey and an elephant at his feet, h. 6 1/4 in., w. 5 in., d. 3 in., associated wood stand, overall h. 7 3/4 in. $200/300

777. Asian School, 20th c., “Monkeys and Birds with Pine”, ink and color on paper, inscribed and sealed upper to lower right, sealed lower left, sight 16 1/8 in. x 25 7/8 in., matted and framed. $200/300

779. Chinese Famille Rose Porcelain Brushwasher, probably early 20th c., decorated with a bird amid foliage and calligraphy, base marked, h. 1 1/2 in., dia. 4 3/4 in. $150/250

780. Chinese Blue and White Porcelain Cosmetic Box, probably 19th c., cover decorated with boys in a fenced garden, h. 1 3/8 in., dia. 3 1/2 in. $200/300

Provenance: The Sturm Collection.

781. Chinese Blue and White Porcelain Miniature Tripod Censer, Qing Dynasty (1644‑1911), bombe body decorated with dragons pursuing the flaming pearl, base with Wanli mark, h. 2 1/8 in., w. 3 in. $200/300

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

Provenance: The Sturm Collection.

782. Large Japanese Cloisonne Enamel Bowl, early-to-mid 20th c., decorated with peony and prunus on a burnt orange floral ground, h. 5 in., dia. 15 1/2 in., stand, overall h. 7 3/4 in. $200/300

783. Antique Chinese Ochre Glazed Pottery Tile, relief‑molded with a dragon in pursuit of the flaming pearl, h. 7 in., w. 11 1/2 in. $200/400 784. Chinese Molded Qingbai Pottery Vase, probably Song Dynasty (960‑1127), h. 8 3/8 in. $250/350

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

Provenance: The Sturm Collection.

785. Chinese Blue and White Porcelain Bottle Vase, probably 19th/ early 20th c., decorated with dragons amid foliage, base with Kangxi mark, h. 5 7/8 in., stand, overall h. 6 7/8 in. $200/400 Provenance: The Sturm Collection.

786. Chinese Famille Rose “Mille Fleurs” Porcelain Bowl, 20th c., base with Qianlong mark, h. 3 5/8 in., dia. 7 7/8 in., stand, overall h. 5 7/8 in. $150/250 Provenance: The Sturm Collection.

787. Chinese Black Lacquer Seal Paste Box and Black Soapstone Censer, Qing Dynasty (1644‑1911), box with incised Shou character, dia. 2 in.; censer with brass and glass cover, body incised with bats amid clouds, h. 2 1/2 in., dia. 2 7/8 in. $200/300

788. Group of Chinese Cloisonné Enamel, late 19th c., incl. bowl with dragon interior and floral exterior, h. 2 3/4 in., dia. 10 in.; and 2 covered boxes, h. 3 in. and 2 1/2 in., dia. 4 3/4 in. and 3 3/4 in. (3 pcs.) $300/500 Provenance: The Sturm Collection.

789. Two Chinese Metal Opium Pipes, 19th/early 20th c., incl. paktong with cloisonné enamel, h. 16 1/2 in.; and brass, h. 9 1/2 in. $100/150

Provenance: The Sturm Collection.

790. Pair of Chinese Polychrome and Gilt Decorated Soapstone Panels, painted with waterscapes, boats and mountains, h. 5 3/4 in., w. 10 1/2 in., float mounted and framed. $200/400

794. Chinese Bamboo Sampan Boat, probably 19th c., carved with figures on deck, h. 5 in., l. 18 in. $150/250 Provenance: The Sturm Collection.

791. Chinese Bronze Covered Censer, Buddhist lion finial, upright scroll handles, square body relief‑cast with mythical beasts, mask scroll legs, pierced platform base, h. 14 in., w. 6 3/4 in. $150/250

792. Chinese Ge‑Style Stoneware Footed Dish, splayed octagonal stem, overall gold crackle, h. 3 in., dia. 6 1/8 in. $200/300

795. Chinese Bamboo Brush Pot, probably 19th c., deeply carved with shaped panels enclosing the “Three Star Gods” on relief ground with prunus, peony and bamboo, base “Elwyn Smolen Collect...” label, h. 8 7/8 in. $200/300

796. Chinese Bamboo Figural Group, carved as Budai seated on an elephant, h. 9 7/8 in. $150/250

793. Chinese Silver “Junk” Boat, 19th c., 3 masts, cabin, 2 figures, articulating rudder, mounted to a wave‑form hardwood stand, overall h. 5 1/2 in., w. 4 1/8 in. $100/200 Provenance: The Sturm Collection.

Provenance: The Sturm Collection.

797. Pair of Chinese Translucent Blue “Beijing” Glass Covered Vases, early to mid 20th c., h. 14 3/4 in. $200/300 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

Provenance: The Sturm Collection. Additional information at www.nealauction.com

798. Four Chinese Boxes, early 20th c., incl. mother‑of‑pearl inlaid black lacquer, dia. 7 3/4 in.; cloisonné enamel, h. 1 3/4 in., w. 6 1/8 in., d. 4 5/8 in.; and 2 cinnabar, h. 2 1/8 in., w. 5 1/8 in., d. 3 1/2 in. and h. 1 in., w. 1 3/4 in., d. 1 3/4 in. $200/300 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

800. Chinese Wire Inlaid and Patinated Metal Figure of the “Flying Horse of Gansu”, third quarter 20th c., after the Eastern Han original in the Gansu Provincial Museum, h. 28 in., w. 35 in. $100/150

801. Chinese Jade, Jadeite and Soapstone Group, 20th c., incl. boulder carved with bat, lingzhi and cash, l. 3 1/4 in.; 2 pendants, dia. 2 1/4 in. and h. 1 1/2 in.; 2 plaques, square h. 3 3/8 in. and oblong, l. 3 1/2 in.; and Guanyin, h. 3 in. (6 pcs.) $200/300

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

803. Chinese Aubergine, Green, Yellow, Black and Biscuit Glazed Beauty, probably early 20th c., modeled standing atop a cloud base holding a lotus, base with impressed mark, h. 12 1/4 in. $150/250

804. Chinese Famille Rose Porcelain Meiping Vase, probably Republic Period (1911‑1949), decorated with figures, bats and ducks in a garden setting, h. 15 3/4 in., now mounted as a lamp, h. (to socket) 16 1/2 in. $150/250

805. Chinese Famille Rose Porcelain Baluster Vase, probably Republic Period (1911‑1949), decorated with women and children in a rocky landscape, h. 18 in. $150/250

Provenance: Garden District New Orleans Estate.

799. Pair of Chinese Opaque Purple “Beijing” Glass Baluster Vases, early to mid 20th c., h. 13 3/4 in. $200/300 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

802. Chinese Famille Verte Pottery Bodhisattva, Qing Dynasty (1644‑1911), modeled seated on a double lotus base, h. 10 1/2 in. $150/250 Provenance: Garden District New Orleans Estate.

806. Chinese “Blanc de Chine” Figure of Guandi, Qing Dynasty (1644‑1911), reverse with “John Sparks Ltd” label, h. 4 1/2 in. $100/150 Provenance: Garden District New Orleans Estate.

807. Chinese Pottery Court Lady, probably Tang Dynasty (618‑906), modeled wearing elegant attire and elaborate coiffure, h. 11 5/8 in., presented on old velvet “throne” stand, overall h. 13 7/8 in. $200/400 Provenance: The Sturm Collection.

Provenance: Garden District New Orleans Estate.

Session Three Sunday, November 19, 11 am 3923 Carondelet

Additional information at www.nealauction.com

Part II, The Henri Schindler Collection of Mardi Gras Artifacts Lots 808 through 863

808. [Mardi Gras], Mistick Krewe of Comus, parade bulletin, theme “Mahomet”, Feb. 8th, 1910, Walle & Co., Ltd., N.O., sheet 28 in. x 42 in., unframed. $300/500

809. [Mardi Gras], Mistick Krewe of Comus, parade bulletin, theme “Romantic Legends”, Feb. 20, 1917, lithographer Walle & Co., Ltd., N.O., sheet 28 in., x 42 in., unframed. $400/600

810. [Mardi Gras], Rex, parade bulletin, theme “Ivanhoe”, Feb. 17th, 1885, lithographer T. Fitzwilliam & Co., N.O., sheet 28 in. x 42 in., unframed. $500/700

811. [Mardi Gras], Knights of Momus, parade bulletin, theme “Vathek”, Mar. 2nd, 1905, lithographer Walle & Co., Ltd., N.O., sheet 28 in. x 42 in., unframed. $400/600

Note: This rare bulletin was printed without the addition of colors. It is the only known parade bulletin strike by Walle’s master lithographer, Sessus von Ehren.

812. [Mardi Gras], Krewe of Proteus, 2 parade bulletins, theme “Netar‑Tua: A Romance of Old Egypt”, Mar. 3, 1924, and theme “Scenes from Favorite Light Operas”, Mar. 3rd, 1930, lithographer Searcy & Pfaff, Ltd., N.O., each sheet 28 in. x 42 in., unframed (2 pcs.) $400/600

813. [Mardi Gras], Scrapbook of 1882 Carnival Parade Bulletin Floats, incl. Knights of Momus, theme “The Ramayana, The Illiad of the East”; Krewe of Proteus, theme “Ancient Egyptian Theology”; Mistick Krewe of Comus, 25th Anniversary, theme “The Worships of the World”; and Rex, theme “The Pursuit of Pleasure”, including clippings from L’Abeille de la Nouvelle-Orleans, the French Language newspaper, inscribed “Henri Schindler, December 1973”. $800/1200

814. Contemporary Maquette Head of “Pineapple Man”, ceramic on wood base, unfinished, by Bob Gaston, after the Charles Briton costume design for the Mistick Krewe of Comus, 1873, theme “The Missing Links to Darwin’s Origin of the Species”, 16 in. x 13 in. $200/400 Note: The original Charles Briton watercolor costume design (shown above) of “Pineapple” is in the Louisiana Research Collection, Howard-Tilton Library, Tulane University.

Photo courtesy of Arthur Hardy.

815. [Mardi Gras], 2 antique French papier‑mâché and mixed media head masks, 1878, Paris, Mistick Krewe of Comus, theme “Metamorphosis of Ovid “ each approx. 14 in. x 13 in. $800/1200 Note: The female mask offered here is shown, 3rd from left, in Frank Leslie’s Illustrated Newspaper of March 16, 1878, “Comus parade ‘Assorting At Alaban’s Costume Depot, On Camp Street, The Costumes Recently Received from Paris’”. Ill.: Arthur Hardy Mardi Gras in New Orleans, p. 34‑35.

816. [Mardi Gras], “Venetian Plague Doctor” mask by Paul Poche (American/ New Orleans, b. 1942), papier-mâché and mixed media, 9 in. x 15 in. and 9 in. x 7 in. $200/300

817. [Mardi Gras], “Faun” and “Smiling Man”, two masks by Joe Barth, New Orleans, papier‑mâché and mixed media, 9 in. x 15 in. and 9 in. x 7 in. $200/300

818. [Mardi Gras], “Budai: The Laughing Buddha”, papier‑mâché head mask. $150/250

819. [Mardi Gras], porcelain figural group depicting Rex Parade King’s float, h. 7 3/8 in., l. 13 in. $200/400

820. [Mardi Gras], Mistick Krewe of Comus, ball invitation and envelope, theme “The Aztec People and Their Conquest by Cortez”, Feb. 10th, 1880. (2 pcs.) $300/500 Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 20.

824. [Mardi Gras], Mistick Krewe of Comus, Diamond Jubilee ball program, theme “Jewels from Byron”, Feb. 17th, 1931. $150/200

821. [Mardi Gras], Mistick Krewe of Comus, ball invitation, theme “Nippon, The Land of the Rising Sun”, Mar. 1st, 1892; ball invitation, theme “The Big Top”, Feb. 8th, 1957; admit card, theme “The Months and Seasons of the Year”, Feb. 18th, 1896; ball invitation, theme “The Gardens of Cashmere”, Feb. 16th, 1926; and fragment of envelope. (5 pcs.) $300/500

Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, pp. 32‑33.

Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, pp. 24‑25.

825. [Mardi Gras], Mistick Krewe of Comus, ball invitation, admit card and 2 printed notices in original mailing tube, theme: “Sesquicentennial of Comus”, February 28, 2006. (5 pcs.) $75/125 Note: The printed notices refer to the Mistick Krewe moving their ball to the Marriott Hotel because of damage to the Municipal Auditorium from Hurricane Katrina.

828. [Mardi Gras], Rex, ball invitation and envelope, theme “Atlantis, the Antediluvian World”, Feb. 6th, 1883, lithography F. Appel, Paris. (2 pcs.) $300/500

822. [Mardi Gras], Mistick Krewe of Comus, ball invitation and dance card, theme “Stories of the Golden Age”, Feb. 27th, 1900. (2 pcs.) $300/500

826. [Mardi Gras], Rex, ball invitation, theme “The Four Elements:, Feb. 10th, 1880. Note: Condition. $100/150 Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 49.

Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Company, p. 127.

Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 39.

827. [Mardi Gras], Rex, ball invitation, theme “The Pursuit of Pleasure”, Feb. 21st, 1882, designed by Charles Briton. $300/500 Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, pp. 50‑51.

829. [Mardi Gras], Rex, 2 admit cards, theme “The Triumph of Aurelian II”, Mar. 9th, 1886, and theme “The Treasures of the Earth”, Mar. 5th, 1889. (2 pcs.) $200/300

830. [Mardi Gras], Rex, 2 ball invitations, theme “Music and Drama”, Feb. 22nd, 1887; and theme “Fantasies”, Feb. 14th, 1893. (2 pcs.) Note: Condition. $200/300

831. [Mardi Gras], Rex. ball invitation, theme “Visions”, Feb. 10th, 1891. $200/300

833. [Mardi Gras], Krewe of Proteus, dance card with pencil, theme “Tales of the Genii”, Feb. 10th, 1891. $200/300

834. [Mardi Gras], Krewe of Proteus, ball invitation, theme “Shah Nameh, the Epic of the Kings, Feb. 5th, 1894. $300/500

835. [Mardi Gras], Krewe of Proteus, 2 dance cards, theme “Al Kyris the Magnificent”, Feb. 18th, 1901 with pencil, and theme “Zoroaster”, Feb. 19th, 1912. (2 pcs.) $200/300

Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 53.

832. [Mardi Gras] Krewe of Proteus, ball invitation, theme “Visions of Other Worlds”, Mar. 9th, 1886, designed by Carlotta Bonnecaze. $200/300

823. [Mardi Gras], Mistick Krewe of Comus, Golden Anniversary ball invitation, admit card and 2 dance card covers, theme “The Masque of Comus”, Feb. 27, 1906, designed by Jennie Wilde. (4 pcs.) $300/500

Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 132.

Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 133.

Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 62.

Additional information at www.nealauction.com

837. [Mardi Gras], Krewe of Proteus, envelope; together with various fragments of ball invitations, envelopes and dance cards. $100/200 836. [Mardi Gras], Krewe of Proteus, dance card, theme “Flora’s Feast”, Feb. 10th, 1902; and dance card and admit card, theme “Cleopatra”, Feb. 23rd, 1903. (3 pcs.) $200/300

838. [Mardi Gras], Elves of Oberon, 2 dance cards with pencils, theme “Chance”, Feb. 15th, 1900, and theme “The Journey Through Toyland”, Feb. 15th, 1906, and admit card, theme “The Secret of the Sphinx”, Feb. 23rd, 1905. (3 pcs.) $200/300

Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, pp. 137‑138.

840. [Mardi Gras], 3 dance cards, Krewe of Yami, Jan. 19th, 1912; Alexis, 1924, theme “A Winter Palace Ball”; and Krewe of Nereus, theme “Coral Groves and Grottoes”, Feb. 15th, 1897. (3 pcs.) $100/200 Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, pp. 91 and 99.

844. [Mardi Gras], Continental Guards, New Orleans, ball invitation and envelope, June 9th, 1883. (2 pcs.) $100/150

848. [Mardi Gras], Bror Anders Wilstrom (Swedish/New Orleans, 18541909), 2 costume designs, Rex or Krewe of Proteus, c. 1890-1900, watercolor on paper, unsigned, one with stamped checklist, 9 1/4 in. x 7 1/2 in. and 9 1/2 in. x 7 1/2 in. $300/500

100

841. [Mardi Gras], High Priests of Mithras, 4 dance cards, theme “The Reign of Rameses II and Menephtal”, Feb. 20th, 1905; and 3 “Jewels”, Jan. 27th, 1902, each different colors, 3 with pencils. (4 pcs.) $200/300

845. [Mobile Mardi Gras], Striker’s Club, ball invitation, Dec. 31st, 1874, Temperance Hall, Mobile, AL. $150/250

842. [Mardi Gras], The Falstaffians, dance card, theme “House of the Wolfings (William Morris)”, Jan. 25th, 1907; and invitation and dance card, theme “The Fairy Web”, Feb. 5th, 1909, 1 with pencil (3 pcs.) $200/300

846. [Mardi Gras], Mobile and Ohio R.R., Mardi Gras ball invitation, 1899, Infant Mystics: The First Hundred Years, Mobile by Caldwell Delaney and Cornelia McDuffie Turner, 1968, Twelfth Night Revelers, ball invitation, 2004. (3 pcs.) $200/300

850. [Mardi Gras], Scott Garver (New Orleans, late 20th c.), float and related designs, c. 1990-2000, unsigned, 3 pencil drawings and 3 watercolors. $150/250 849. [Mardi Gras], Ceneilla Bower Alexander (American/New Orleans, 18651966), costume design, Rex, “Death in Life”, watercolor and ink on paper, penciltitled lower right, ink inscription en verso regarding details of costume, sight 9 1/4 in. x 7 in. $200/300

839. [Mardi Gras], Krewe of Nereus, dance card, theme “The Harvest Festival”; Jan. 29th, 1906; and The Olympians, dance card, theme “Bal a la Cour”, Jan. 21st, 1907, 1 with pencil. (3 pcs.) $200/300

843. [Mardi Gras], Genevieve Club, ball invitation and envelope, Mar. 3rd, 1853. (2 pcs.) $200/400 847. [Mardi Gras] Charles Briton (Swedish/New Orleans, 1840‑1884), Rex Ball Pageant, 1882, “The Pleasure of Mardi Gras Morning” and “The Pleasure of the Mardi Gras Evening”, 2 watercolor costume designs on paper, unsigned, pencil‑numbered “137” and “145” lower center, each with later pencil‑inscription identifying artist, date and krewe en verso, theme “The Pursuit of Pleasure”, 8 1/4 in. x 5 in. and 9 3/4 in. x 6 1/4 in., 1 framed (2 pcs.) $400/600 Ill.: Schindler, Henri, Mardi Gras Treasures: Costume Designs of the Golden Age, 2002, Gretna: Pelican Publishing Co., p. 24

851. [Mardi Gras], Paul Poche (American/New Orleans, b. 1942), “Parade Float Designs”, after the original designs for the penultimate parade of the Mistick Krewe of Comus, 1990, theme “The Bowers of Comus”, 15 pencil drawings on paper, each signed and float titled lower margins, 14 1/2 in. x 19 in., unframed. $700/900 Provenance: Commissioned by Henri Schindler.

852. [Mardi Gras], political poster for “Dorothy Mae Taylor, Register of Conveyances”, 1994, 22 in. x 14 in., unframed. $75/125 Note: Mrs. Taylor’s 1986-1994 term on the New Orleans City Council is primarily remembered for the ordinance she authored in December 1991 which required krewe captains to sign an affidavit certifying nondiscrimination as a condition for the issuance of a parade permit. The Mistick Krewe of Comus and the Knights of Momus stopped parading as a result. Taylor has often been referred to as “The Grinch who Stole Mardi Gras.”

856. [Mardi Gras], High Priests of Mithras, ball pin favor, marked “T. Hausmann & Sons” (act. New Orleans, 1894‑1906). $200/400

860. Syndey Byrd (American/New Orleans, 1944‑2015), “Proteus Maskers”, 1981, color photograph, signed, titled and dated in lower margin, 16 in. x 20 in., framed. $300/500

854. [Mardi Gras], Rex, 3 ball favors, pin box, 1904; ink well with glass ink pot and original box, 1911; and loving cup, 1914. (4 pcs.) $200/300 853. [Mardi Gras], “Kickapoo Waltz: Respectfully Dedicated to Phunny Phorty Phellows”, sheet music, by J.W.H. Waltz, published by L. Grunewald, New Orleans with Phunny Phorty Phellows, printed cover, theme “As You Like It (Scraps from the Boss’s Brush), Feb. 26th, 1884. $100/200

857. [Mardi Gras], Knights of Chaos, commemorative doubloons, most in original plastic cases, 2001‑2004, 2007‑2014. (12 pcs.) $200/400

861. Rosemary Farmer Corey (American, 20th c., act. New Orleans, 1940‑1955), “Mardi Gras Parade at Night through the French Quarter”, oil on canvas, unsigned, 20 in. x 16 in., framed. $500/700

855. [Mardi Gras], Mistick Krewe of Comus, ball pin favor, theme “Salammbo”, 1893. $300/500

858. [Mardi Gras], Knights of Hermes, 2 commemorative doubloons, theme “Visions of Valhalla”, 2007, and theme “Cupid & Psyche” 2008; together with Le Krewe D’Etat, commemorative doubloon, theme “Cinema D’Etat”, 1996. (3 pcs.) $150/250

862. Rosemary Farmer Corey (American, 20th c., act. New Orleans, 1940‑1955), “A Night at the Theatre for Lawrence Fischer and his Mother”, oil on canvas, signed lower right, 16 in. x 10 in., framed. $500/700

Provenance: Gift of the Artist.

864. [Mardi Gras], 6 ball and parade programs, including “Knights of Hermes, Carnival Parade, February 5th, 1937” with envelope, “Atlanteans: Renascence of Atlantis, 1890‑1940”, “Krewe of Venus, Inaugural, February 23rd, 1941”, “Knights of Babylon, Parade and Tableaux, February 12th, 1947” with envelope, “Mistick Krewe of Comus, 1857‑1947” and “Krewe of Carrollton, Holiday Around the World, 1949”. (6 pcs.) $150/250

865. [Mardi Gras], Krewe of Proteus, ball invitation and envelope, theme “The Queen of the Serpents”, Feb. 11th, 1907. (2 pcs.) $200/300 Ill.: Schindler, Henri, Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000. p. 140.

859. [Mardi Gras], Krewe of Petronius, commemorative doubloon, theme “The Killer Bees”, 2003. $50/75

863. Michael Meads (Alabama/New Orleans, b. 1966), “Composition Study for Le Boeuf Gras” and “Composition Study for La Catrina”, 2006, 2 watercolors and ink on paper, each pencil‑signed and dated lower left, each signed, titled and dated and printed label with titles en verso, 16 in. x 12 in., unframed. (2 pcs.) $500/700 Provenance: Palma Gallery, New Orleans.

866. [Mardi Gras], Collection of ball invitations and admit cards from The Cavaliers, 1931; Apollo, 1932 and 1934; Rex, 1933 and 1936; Twelfth Night Revelers, 1934 and 1941; Harlequinns, 1939; Krewe of Proteus, 1939; Mistick Krewe of Comus, 1940; Mithras, 1940 and 1941; and Mystic Club 40th Anniversary Program, 1967 and pendant; together with ball invitations from Rex, Mistick Krewe of Comus, Krewe of Proteus and Knights of Momus, 1974‑1997. (approx. 46 pcs.) $200/300

867. Orville James Hanchey, Sr. (American/Louisiana, b. 1913), “1984 Washington, D.C. Mardi Gras ‑ Louisiana A Fountain of Life”, acrylic on illustration board, unsigned, typewritten artist label en verso, 28 in. x 20 in., unframed. $100/150

Additional information at www.nealauction.com

101

869. Carved and Polychromed Wood Cigar Store Indian, h. 71 1/4 in. $400/600 Provenance: Collection of Michael Brown and Linda Green, New Orleans.

868. [Mardi Gras], group of silver and silverplate krewe favors, 20th c., Mistick Krewe of Comus, 1950 creamer, 1957 Christian Dior match box, 1958 sterling silver ashtray, 2 1969 bottle openers, small jewelry box, and Tiffany & Co. sterling silver ashtray; Twelfth Knight Revelers, 9 cordials 1976‑1983; and Krewe of Proteus, 2 1946 cigarette urns, 2 1947 shell shaped dishes, 1958 tongs, and 2 1961 mounts. (23 pcs.) $300/400

870. 1966 Ford Mustang Coupe, original inline 6 motor, automatic transmission, red paint, black interior, center console, VIN # 6R07T227754. $8000/12000

872. Florence Knoll‑Style Settee, mid‑20th c., unmarked, plush tufted back and seat cushions, low arms, chrome frame/ legs, h. 30 in., w. 64 in., d. 32 in. $400/600 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

873. Art Moderne Chrome and Glass Console Table, 20th c., glass top on burnished yoke supports connected to a stepped plinth base, h. 31 in., w. 79 in., d. 33 3/4 in. $800/1200

871. 2014 Triumph Speedmaster Motorcycle, 865cc air cooled, parallel‑twin engine, matt graphite, 308 miles on odometer, 5‑speed, electric starter, wet weight 551 pounds, VIN SMT915RN9ET630817. $3000/5000

Provenance: Collection of Nan Wier, New Orleans, LA.

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

874. Pair of Stacked Glass and Chrome Table Lamps, 20th c., rotating glass squares and alternating chrome cubes over square glass base on tapering octagonal feet, h. (to socket) 26 1/2 in. $400/600

875. Tobia Scarpa for Gavina/Knoll Chromed Steel and Glass Table, c. 1968, labeled “Gavina, Italy”, smoked glass top, h. 27 in., w. 60 in., d. 60 in. $200/300

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

878. Continental Directoire‑Style Brass‑Mounted Cast Iron Armchair, brass finials, upholstered back, arms and seat, curule legs, h. 42 1/4 in., w. 21 1/2 in., d. 20 3/4 in. $150/250

102

879. Chinese Chippendale‑Style Cinnabar Lacquered Faux Bamboo Table and Chairs, 20th c., probably Italian, table with inset leather top, chairs with brocade upholstered backs and seats. $1000/1500

876. Pair of “Ghost” Molded Plastic Armchairs, oval backs, shaped arms, and seat, square legs; together with an acrylic side table, h. 30 1/4 in., w. 21 1/4 in., d. 16 3/4 in. $150/250

877. Pair of Venetian Carved and Painted Pedestals, shaped top, foliate carved tapered standard, shaped and stepped base, scrolled feet, h. 50 1/2 in., w. 12 in., d. 12 in. $500/700

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

880. Antique French Painted Four Panel Screen, black ground, floral motifs, brass nailhead trim, h. 75 in., w. 90 in. $400/600

881. French Carved Wood and Plaster Figural Bracket Shelf, late 19th c., shaped shelf above winged cherubs and cabochon, h. 10 1/2 in., w. 16 3/4 in., d. 8 in. $150/250 Provenance: The Sturm Collection.

882. Two Pairs of French Marble and Onyx Tazzas, c. 1900, one lozenge form, other rectangular, h. 5 3/4 in. $200/300

883. Zsolnay Iridescent Eosin Glazed Porcelain Bottle Vase, 20th c., five tower mark, lobed body, ruffled rim, h. 6 in. $200/300

886. Large Chinese‑Style Carpet, cream ground, stylized floral designs in blue, rose, green and brown, 15 ft. 2 in. x 25 in. $400/600

890. Two Pictorial Maps of the Pacific, “Fauna and Flora of the Pacific” and “Economy of the Pacific”, San Francisco, Pacific House, 1940, color lithographs by Miguel Covarrubias, after his murals done for the Golden Gate International Exhibit, 25 in. x 37 1/2 in., framed alike. $200/300

887. Pair of Antique American Bronze and Slag Glass Floor Lamps, c. 1900, Gothicized shades, fluted column, h. 71 1/2 in., dia. 14 in. $800/1200

891. Shlomi Haziza (Israeli/Los Angeles, 20th c.), “Geometric Forms”, acrylic, signed on edge of triangle, h. 14 1/8 in., w. 11 5/8 in., d. 5 in. $300/500 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

894. Pair of Chinese Archaistic Patinated Bronze Pricket Stands, cast with flange handles, taotie masks and petal tips, h. (to pricket) 20 3/4 in. $200/300

895. Pair of Japanese Awaji Pottery Green Glazed Vases, c. 1920, h. 9 1/2 in. $300/500 Provenance: Thomas K. Libby, South Norwalk, CT.

884. New Orleans Sterling Silver Trophy Cup, International Silver Co., engraved “COUNTRY CLUB/1913” and “MYLES‑CASSARD/CUP/WON BY/VIVIAN J. GELPI/AND/GEORGE WILTZ, h. 4 3/8 in., wt. 4.5 troy ozs. $100/200

885. Large Chinese‑Style Carpet, cream ground, stylized floral designs in blue, rose, green and brown, 13 ft. 11 in. x 19 ft. 4 in. $400/600

888. Two Italian Pressed Brass and Mirrored Two‑Light Sconces, late 19th c., foliate decoration, pricket candlearms, the mirror plate mounted with bird prints, h. 19 1/4 in., w. 14 in., d. 4 in. $400/600 Provenance: Estate of Stefanie C. Golden, Florence, Italy.

892. Patinated Metal Figure of a Young Man, after “Vox Pacis/ Le Cri de la Paix” by George Bareau, signature and “1894” inscribed on self‑base, h. 22 1/2 in., w. 10 1/2 in., d. 9 1/2 in., base, overall h. 24 3/4 in. $300/500 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

896. Pair of Japanese Blue and White Porcelain Covered Vases, Meiji Period (1868‑1912), decorated with flower heads and grasses, bases with ten‑character Dai Nippon mark, h. 4 1/2 in. $300/500 Provenance: Susan Silver Antiques, Sheffield, MA.

889. Diminutive Louis XVI‑Style Four‑Light Chandelier, late 20th c., hung with clear and “amethyst” prisms, electrified, h. 21 in., dia. 13 in. $150/250

893. Art Deco‑Style Mirror, mirrored and stepped surround, beveled mirror plate, h. 33 3/4 in., w. 22 in. $300/500 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

897. Pair of Japanese Awaji Pottery Chrome Red Glazed Vases, c. 1930, impressed “Made in Japan”, h. 8 in. $200/300 Provenance: Thomas K. Libby, South Norwalk, CT.

Additional information at www.nealauction.com

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898. Two Japanese Mother‑of‑Pearl Embellished Polychrome Painted Black Lacquer Screens, early 20thc., one with bird and prunus, other with floral decoration, h. 36 in., w. 36 1/2 in. and h. 37 in., w. 44 in. $200/300

899. Gilt Bronze‑Mounted Japanese Cloisonné Enamel Charger, late 19th/early 20th c., decorated with a pair of cranes with prunus, peony and bamboo; winged dragon handles, footed stem base, h. 10 1/2 in., w. 16 1/2 in. $300/500

900. Chinese Cloisonné‑Inset and Hardstone Embellished Black Lacquer Six Panel Floor Screen, 20th c., bird and flower panels over mythical beasts, h. 72 1/2 in., w. 99 1/2 in. $300/500

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

Provenance: Ames Galleries, Beverly Hills, CA. 903. Post Modern Art Furniture Painted Mirror and Dressing Chest Suite, late 20th c., by Peter Pierobon, (Vancouver, b. 1959), signed and dated “Pierobon 1994”, rectangular mirror with fluted frame, chest with inverted molded rectangular top, twelve drawers faced with horizontal fluting, chevron bracket base, bronze “W” form pulls, h. 35 1/8 in., w. 50 1/2 in., d. 21 5/8 in. $1500/2500

902. Chinese Carved Hardwood Stand, shaped top, pierced scalloped frieze, cabriole legs, scrolled toes, conforming base, h. 25 1/4 in. $150/250

905. Domingo Calasaya (American/ New Orleans, 20th c.), “Praying Hands”, carved and stained wood on wood base, unsigned, h. 28 in., w. 6 in., d. 3 in. $300/500 Provenance: Collection of Michael Brown and Linda Green, New Orleans. 909. Salvador Dali (Spanish, 1904‑1989), “The Divine Comedy Series”, 3 hand‑colored woodcuts, “Inferno 7”, pencil‑signed lower right, blind stamp “Jean Estrade” lower left, sheet 13 in. x 10 1/2 in.; “Inferno 13”, signed in red lower right, inscribed “E.A.” lower left, sight 12 in. x 9 1/4 in.; and “Purgatory 15” signed in purple lower right, inscribed “E.A.” lower left, sheet 17 in. x 12 1/2 in., framed alike. $600/900 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

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906. Thomas Holland (American/ California, 1917‑2004), “Portrait of a Man”, 1968, bronzed plaster, signed lower left, signed and dated on collar, h. 12 3/4 in., w. 6 in., d. 7 1/4 in., wood stand, overall h. 16 in. $200/400

907. Pavel Hlozek (Czech, 1898‑1982), “Lady in Blue”, 1941, oil on canvas, signed and dated lower right, 31 1/2 in. x 23 3/4 in., framed. $250/350

901. Antique Chinese Carved Hardwood Étagère Cabinet, molded top, shelf with sliding cabinet door, divided medial shelf, lower shelf with two doors, h. 47 1/4 in., w. 35 1/2 in., d. 13 1/4 in. $300/500

904. Pair of “Latina GP” Leather Stools, by Frag, Italy, black leather, brushed metal, pneumatic adjustable, h. 28 1/2 in. to 38 1/2 in., w. 16 1/2 in., d. 17 in. $300/500

908. Erté (Romain de Tirtoff) (Russian/French, 1892‑1990), “Costume Designs”, c. 1920, gouache on paper, signed lower left, sight 13 in. x 9 1/2 in., framed. $500/700 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

910. Salvador Dali (Spanish, 1904‑1989), “John, 12 Apostles (Knights of the Round Table)”, 1977, color lithograph, pencil‑signed and numbered “232/350” lower margin, sheet 24 1/3 in. x 18 3/4 in., framed. $500/700

911. After Andy Warhol (American, 1928‑1987), “Marilyn”, serigraph, printed by Sunday B. Morning, “Sunday B. Morning” blue stamp and “fill in your own signature” blue stamp en verso, sheet 26 in. x 36 in., framed. $400/600

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

912. Sonia Delaunay (Ukrainian/ French, 1885‑1979), “Plate 12 from Ses Peintures, Ses Objects, Ses Tissus Simultanes, Ses Modes”, gouache ponchoir process print, artist stamp lower right, published by Librarie des Artes Decoratifs Paris, sheet 14 in. x 21 in., framed. $500/700 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

913. Alberto Giacometti (Swiss, 1901‑1966), “Bust of a Seated Man”, 1961, lithograph, published by Maeght Editeur, Paris, 14 3/4 in. x 10 3/4 in., framed. $500/700 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

914. Henri Matisse (French, 1869‑1954), “Jeune Femme Assie”, reproduction lithograph, 8 1/4 in. x 10 1/4 in., framed. $400/600

915. Marc Chagall (Russian/French, 1887‑1985), 6 color lithographs from The Odyssey series, sheets 15 in. x 11 1/2 in., framed alike. $700/1000

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

917. Salvador Dali (Spanish, 1904‑1989), “Columbus Discovers America (Jack of Swords)”, 1979, color lithograph, published by Levine & Levine New York, pencil‑signed, numbered “H.C. 39/65” and Arches France watermark lower margin, sheet 29 1/2 in. x 21 in., framed. $500/700

918. Salvador Dali (Spanish, 1904‑1989), “Lilium Aurcancacium et Labra Brasrocantis”, color lithograph, published by Editions Graphiques Internationales”, pencil‑signed and inscribed “E.A” and Arches France watermark lower left, sheet 29 1/2 in. x 21 1/2 in., framed. $500/700

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

921. Pablo Picasso (Spanish, 1881‑1973), “Mother and Child with Four Studies of a Right Hand”, reproduction lithograph, 17 1/2 in. x 13 in., framed. $300/500

922. Frederick Mershimer (American/New York, b. 1958), “Hermes”, 1992, mezzotint on paper, pencil‑signed, dated, titled and numbered “20/150” lower margin, 9 1/2 in. x 7 1/2 in., framed. $300/500

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

916. Marc Chagall (Russian/French, 1887‑1985), 3 color lithographs from Jerusalem Windows series, by Charles Sortier, 1962, printed by Mourlot, Paris, sheets 13 in. x 9 1/2 in., framed alike. $400/600

919. Léon Baskt (Belarusian/ French, 1866‑1924), “Costume Designs”, c. 1927, 3 hand‑colored pochoir prints, from Ballet Russes or Paris Opera, one signed in plate lower right, sheet 12 1/4 in. x 9 1/4 in., all framed alike. (3 pcs.) $600/900

920. Henri Matisse (French, 1869‑1954), “Les Codomas”, reproduction lithograph, sight 15 in. x 23 in., framed. $200/300 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

923. Tony Bass (American/Texas, b. 1943), “Figurative Abstraction on Black Ground”, 2010, acrylic and mixed media on canvas, signed and dated en verso, 60 in. x 48 in., unframed. $800/1200 Provenance: Acquired from the artist.

924. George Valentine Dureau (American/New Orleans, 1930‑2014), “Dance on Rampart”, 1994, oil on canvas, signed lower right, signed, titled and dated en verso, 90 in. x 67 1/2 in., framed. $7000/9000 Additional information at www.nealauction.com

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925. Robert Gordy (American/Louisiana, 1933‑1986), “By the River (River Bather Series)”, 1976, acrylic on canvas, signed, titled and dated on stretcher bar, “Phyllis Kind Gallery, Chicago, IL” and “The Chrysler Museum, Norfolk, VA” labels en verso, 46 in. x 70 in., framed. $7000/10000 Exh.: “American Figure Painting: 1950‑1980”, The Chrysler Museum, Norfolk, VA, Oct. 16‑Nov. 30, 1980; “Robert Gordy: Paintings and Drawings 1960‑1980”, New Orleans Museum of Art, New Orleans, LA, Apr. 25, 1981‑June 6, 1982 and illustrated in accompanying catalogue, p. 81.

927. Emil Eugen Holzhauer (German/Florida, 1887‑1986), “Coden (ALA)”, casein on paper, signed lower right, titled en verso, “The Arts Center, Okaloosa‑Walton Community College, Niceville, FL” exhibition label with artist and titled on backing board, 21 1/2 in. x 27 3/4 in., framed. $800/1200

928. Richard Thomas (American/ New Orleans, b. 1953), “Mardi Gras Indian”, 2009, mixed media on canvas, signed and dated lower right, 40 in. x 30 in., unframed. $700/1000

926. William Woodward (American/New Orleans, 1859‑1939), “Sailing Boat at Sunset”, Raffaelli crayon on flint paper, initialed “W” lower left, “No. 1, Three‑M‑Flint Paper, St. Paul, Minnesota” printed en verso, 7 in. x 5 in., framed. $1000/1500

929. Raine Bedsole (American/New Orleans, 20th c.), “Spirit House #3”, 1991, mixed media on panel, signed and dated lower right, artist label with title and date en verso, 23 in. x 29 in., unframed. $800/1200

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930. Mark Bercier (American/ Louisiana, b. 1950), “Portrait of a Woman: Homage to Picasso”, oil on canvas, signed and titled en verso, 24 in. x 18 in., artist embellished frame. $500/800

931. Whitney J. Engeran, Jr. (American/New Orleans, 20th c.), “Moon Things Glowing”, oil on board, signed and titled en verso of backing paper, sight 18 1/2 in. x 25 1/2 in., framed. $700/1000

932. Hunt Slonem (American/Louisiana, b. 1951), “The Witness: Trip‑Tic”, 1995, triptych oil on canvas, 2 panels signed, dated and inscribed “Trip‑Tic” en verso, 78 in. x 186 in., unframed. $20000/30000 Note: In the monumental work offered here of 1995, Hunt Slonem departs from his characteristic bold, colorful palette to instead utilize metallic, almost lustrous, colors and muted earth tones to convey a mysterious and supernatural quality. Hidden within the lush texture of the brushstrokes and lines are symbols – a bird, handprint or face seem to appear and disappear depending on the location of the viewer and the angle of the light source. The scale of the painting envelopes the viewer in Slonem’s mystical world, both sublimating the energy of the space around it and providing moments of pure transcendence. Slonem’s style as seen here and perfectly described by Donald Kuspit is: “the epitome of modern baroque – a kind of generic distillation of tactile painterliness, elusively recessive space, wide-open form, freewheeling unity, and incidental clarity, all rearticulated, indeed, thoroughly reworked, in the terms of modernist abstract.” Ref.: Kuspit, Donald B. Hunt Slonem – An Art Rich and Strange. New York: Harry N. Abrams, 2002. Nahas, Dominique. The Worlds of Hunt Slonem. New York: The Vendome Press, 2011.

933. George Rodrigue (American/Louisiana, 1944‑2013), “Flowers over Birmingham”, 2000, acrylic on linen, signed lower left, title label en verso, 36 in. x 48 in., original frame. $30000/50000 Provenance: Rodrigue Gallery, New Orleans, Mar. 4, 2001. Additional information at www.nealauction.com

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934. Don Wright (American/ Louisiana, 1938‑2007), “The Prophet West”, 1977, bronze and metal, “5‑25”, date and signature inscribed on self‑base, h. 12 1/4 in., w. 5 in., d. 4 in., wood base, overall h. 13 1/4 in. $600/800

935. Anita Romero Jones (American/New Mexico, 1930‑2013), “San Raphael”, painted wood, indistinctly signed and titled on bottom, h. 21 1/4 in., w. 8 1/2 in., d. 6 1/2 in. $200/300

936. Anita Romero Jones (American/New Mexico, 1930‑2013), “Nuestra Señora de Guadeloupe”, painted wood and aluminum crown, signed, titled and “Santa Fe” written on underside, h. 22 3/4 in., w. 8 in., d. 4 1/2 in. $200/300

Provenance: Property of the New Orleans Museum of Art, Sold to Benefit the Acquisitions Fund.

937. Antique American Giltwood Looking Glass, retains original gilt surface, h. 38 in., w. 31 in. $500/750

939. Rare Acadian Carved Swamp Maple and “Gros Rouge” Low Post Bed, c. 1820, posts with mosquito net extensions, scrolled headboard, turned legs; restored paint surface, h. 89 in., l. 73 1/2 in., w. 52 3/8 in. $4000/6000 Provenance: The LaFleur Family, Prairie Ronde, St. Landry Parish, LA. Ill.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 385.

938. Antique American Giltwood Looking Glass, retains original gilt surface, h. 30 in., w. 22 3/4 in. $500/750

941. Rare Pair of Louisiana Acadian Oak Side Chairs, 18th c., tapered uprights, three arched slats, original trapezoidal hide seats, turned legs, double stretchers, h. 30 in., w. 17 in., d. 14 in. $800/1200 Ill.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 311.

942. Acadian Carved Cypress Table, early 19th c., Louisiana, two board top, plain frieze, turned legs; found in original state, h. 29 1/2 in., w. 30 in., d. 24 1/2 in. $1000/1500

943. Louisiana Carved Mahogany Armoire, early 19th c. and later, molded cornice, scalloped doors and sides with later glazed panels, later shelf interior, shaped apron, cabriole legs, h. 81 in., w. 53 1/4 in., d. 20 1/2 in. $1500/2500 Provenance: The Jefferson Davis House, 1134 First Street, New Orleans, c. 1963.

944. American Federal Cherrywood Side Table, early 19th c., frieze drawers à quatre face, cabriole legs, h. 19 1/2 in., w. 20 1/4 in., d. 19 in. $1000/1500

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940. Acadian Cypress Side Table, early 19th c. and later, frieze drawer, square tapered legs, h. 27 1/2 in., w. 29 in., d. 21 in. Note: Condition, replaced top and drawer. $1000/1500

945. American Classical Bronze‑Mounted Figured Mahogany Pier Table, 19th c., marble top, blind frieze drawer, columnar supports, mirror back flanked by pilasters, incurvate plinth, disc feet, h. 35 3/4 in., w. 50 in., d. 20 1/4 in. $1000/1500

946. Six American Late Classical Mahogany Gondola Chairs, 19th c., probably Kentucky, foliate carved crests, vasiform splats, shaped slip seats, saber legs, h. 34 1/2 in., w. 17 7/8 in., d. 16 1/4 in. $500/750 Provenance: Ames Galleries, Beverly Hills, CA.

947. American Pine and Poplar Cabinet, 19th c., shaped backsplash, three frieze drawers, paneled doors, shelf interior, turnip feet, h. 57 3/4 in., w. 47 1/2 in., d. 19 in. $1000/1500 Provenance: Barker’s Antiques, Baton Rouge, LA.

948. American Grain and Sponge Painted Blanket Chest, late 18th/early 19th c., probably Pennsylvania or New England, hinged top, divided interior, faux drawer front, turnip feet, h. 34 in., w. 52 in., d. 20 1/4 in. $1000/1500 Provenance: Didier, Inc., New Orleans, LA. 949. New England Grain and Sponge Painted Blanket Chest, early 19th c., hinged top, interior till, two lower drawers, bracket feet, h. 42 1/2 in., w. 44 in., d. 19 in. $1000/1500 Provenance: Didier, Inc., New Orleans, LA.

951. Southern Mixed Woods Overseer’s Desk, early 19th c., slant front top, divided interior, plain frieze, turned legs, pegged construction, h. 41 in., w. 30 1/4 in., d. 24 1/2 in. $1000/1500 Provenance: Found in Donaldsonville, LA.

950. American Rococo Carved Mahogany Tester Bed, mid‑19th c., New Orleans, likely the workshop of Prudent Mallard, molded tester, columnar posts, serpentine foliate carved headboard with beaded panel, conforming foot board and rails, h. 113 in., l. 83 in., w. 69 in. $6000/9000 Provenance: Colonel William and Catherine Balfour, Homewood Plantation, Natchez, MS. Note: The monumental tester bed in the lot shown here belonged to Colonel William and Catherine Balfour and was used in their palatial Greek Revival mansion at Homewood Plantation in Natchez, Mississippi. Homewood was built in 1860 as a wedding gift to Colonel William and Catherine Balfour from Catherine’s father, David Hunt, a wealthy planter. Similar to many Natchez homes during this period, such as Lansdowne and Stanton Hall, Homewood was decorated with Rococo furniture from the workshop of New Orleans cabinetmaker Prudent Mallard. The overall design and specific aspects of this historic bed can be referenced to known Mallard examples, especially the bed’s serpentine headboard and the robust foliate and shell-carved accents. Ref. Miller, Mary Carol. Lost Mansions of Mississippi. University of Mississippi Press: Jackson, 2010, pp. 15-16; Dubrow, Eileen and Richard. American Furniture of the 19th Century: 1840-1880. Schiffer: Pennsylvania, 1983, pp. 156-157. Additional information at www.nealauction.com

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952. American Classical Figured Mahogany Armoire, mid‑19th c., probably New Orleans, ogee cornice, two paneled doors, beaded moldings, interior with belt of drawers, base drawer, blocked feet, h. 95 1/2 in., w. 64 in., d. 24 in. $2000/3000

953. American Classical Carved Mahogany Butler’s Desk, early 19th c., escritoire drawer over three graduated drawers flanked by pineapple carved reeded colonnettes, turned reeded legs, h. 47 3/4 in., w. 42 1/4 in., d. 23 3/4 in. $1200/1500

Provenance: Colonel William and Catherine Balfour, Homewood Plantation, Natchez, MS.

Provenance: Weymouth Hall, Natchez, MS.

954. Lower Mississippi River Valley Cherrywood Armoire, 19th c., lozenge and oval frieze, recessed panel doors, pilaster false stile, block feet, cypress secondary wood, h. 84 1/2 in., w. 61 1/4 in., d. 23 1/2 in. $700/900

956. Spanish Colonial Brass‑Mounted Tropical Hardwood “Baùl” Chest, early 18th c., hinged lid, dovetailed sides, open interior, weathered surface, later hinges, h. 12 in., w. 30 1/2 in., d. 13 1/2 in. $600/900

Provenance: Found in Opelousas, c. 1960.

955. Antique Acadian Painted Child’s Chair, early 19th c., turned finials, shaped slats, original rush seat, turned legs, stretchers, h. 22 in., w. 14 in., d. 11 in. $700/1000 Provenance: Natchitoches Family.

957. French or Canadian Louis XV Carved Walnut Fauteuil, 18th c., arched crest, scrolled arms, serpentine volute and shell carved seat rail, molded cabriole legs, hoof feet, h. 43 in., w. 24 in., d. 28 in. $1000/1500

959. Arnold E. Turtle (British/New Orleans, 1892‑1954), “French Quarter Street Scene with Figures”, watercolor on paper, unsigned, 10 in. x 12 1/4 in., framed. $500/800

958. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Live Oaks, Louisiana Bayou”, oil wash on board, signed lower right, 6 in. x 20 in., period frame. $2000/3000

960. Colette Pope Heldner (American/New Orleans, 1902‑1990), “Patio Little Theatre, French Quarter, New Orleans”, oil on canvas, signed lower left, signed and titled en verso, 20 in. x 36 in., framed. $1200/1800

961. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Louisiana Bayou”, 1916, oil wash on board, signed and dated lower left, sight 19 1/2 in. x 29 1/2 in., framed. $1800/2500

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962. William Aiken Walker (American/South Carolina, 1838‑1921), “Cabin Scene”, oil on artist board, signed lower left, pencil inscriptions including title “Cabin” and partial “Devoe & Co., NY” label en verso, 6 in. x 12 1/4 in., framed with artist plaque. $8000/12000 Provenance: Taylor Clark, Fine Prints, Paintings and Framing, Baton Rouge, 1982; Estate of Stephen G. Henry, Baton Rouge, LA. Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker.

963. William Aiken Walker (American/ South Carolina, 1838-1921), “Male Cotton Picker”, oil on artist board, signed lower left, “The World of William Aiken Walker, Louisiana State Museum” exhibition labels en verso, 12 1/4 in. x 9 1/4 in., framed with artist plaque. $6000/8000 Provenance: Morton’s Auction Exchange, New Orleans, 1982; Estate of Stephen G. Henry, Baton Rouge, LA. 964. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Louisiana Bayou with Live Oak and Lily Pads”, oil wash on board, signed lower left, sight 9 3/4 in. x 29 1/2 in., period frame. $2000/3000

965. Emmitt Thames (American/ Mississippi, b. 1933), “Pie Pumpkins”, watercolor on paper, signed lower right, artist stamp, titled, dated and “William’s Gallery, Gulfport, MS” label en verso, 30 in. x 22 1/2 in., framed. $1000/1500

969. Chestee Harrington (American/Louisiana, b. 1941), “Florida Woman”, 1977, oil and mixed media on carved wood, signed and dated lower left, label with title and inscribed en verso, 12 in. x 17 1/2 in., unframed. $600/800 Exh.: Zigler Art Museum, Jennings, LA, May, 1978.

966. Emmitt Thames (American/ Mississippi, b. 1933), “Still Life of Pepper and Onion”, oil on canvas, signed lower left, “Brown’s Fine Art & Framing, Inc., Jackson, MS” label with title en verso, 12 in. x 14 in., framed; accompanied by copy of certificate of authenticity signed by artist with title and date. $800/1200

967. Emmitt Thames (American/ Mississippi, b. 1933), “Still Life of Apple and Lemon”, 2001, oil on canvas, signed lower right, “Brown’s Fine Arts & Framing, Inc., Jackson, MS” label with title en verso, 12 in. x 14 in., framed; accompanied by copy of certificate authenticity signed by artist with title and date. $800/1200

971. Will Ousley (American/ Louisiana, 1866‑1953), “The West Fork of Calcasieu River, S.W., LA, No. 355”, 1937, oil on canvas, signed lower right, titled lower center, signed, titled, dated and inscribed en verso, 18 1/2 in. x 34 in., period frame. $800/1200 970. Chestee Harrington (American/Louisiana, b. 1941), “Acadian Cabin”, 1977, oil and mixed media on carved wood, signed and dated lower left, label with title and inscribed en verso, 15 in. x 12 in., unframed. $600/800

Exh.: The World of William Aiken Walker, Louisiana State Museum, New Orleans, Dec. 1972 - Jan. 1973.

968. Emmitt Thames (American/ Mississippi, b. 1933), “Potatoes”, 2002, watercolor on paper, signed lower right, signed, titled, dated, inscribed and “Negrotto’s Gallery, Biloxi, MS” label en verso, 15 in. x 22 1/2 in., unframed. $700/1000

972. Don Reggio (American/ Louisiana, 20th c.), “On the Bogue Chita”, 1978, oil on canvas, signed and dated lower right, signed, titled and dated en verso, 16 in. x 20 in., framed. $500/800

Additional information at www.nealauction.com

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973. Colette Pope Heldner (American/New Orleans, 1902‑1990), “Swamp Idyl (Louisiana Bayou Country)”, oil on canvas board, signed lower left, signed and titled en verso, 20 in. x 16 in., period frame. $500/800

974. George Frederick Castleden (British/New Orleans, 1861‑1945), “Courtyard Staircase”, oil on canvas, signed lower left, 15 1/4 in. x 12 in., framed. $500/700

977. Andres Molinary (Gibraltarian/ New Orleans, 1847‑1915), “Portrait of Martin Behrman (1864‑1926), Mayor of New Orleans”, oil on canvas, signed upper right, “From W.E. Seebold, Stationer, Engraver & Fine Art Dealer, New Orleans, LA” label en verso, 30 in. x 25 in., period frame. $1000/2000 Provenance: Descended in the family of the artist, New Orleans.

979. New Orleans Sterling Silver Tray, by Dominick & Haff, New York, wc. 1868‑1928, ret. M. Scooler, New Orleans, act. 1842‑1900, l. 16 3/8 in., wt. 24.90 troy ozs. $400/600

981. American Patinated Bronze Argand Lamp, 19th c., frosted shade, h. 17 1/4 in., w. 10 in., d. 4 1/2 in. $500/800

975. Henry Botkin (American/ Charleston, 1896‑1983), “End of Day”, oil on masonite, signed lower left, “The Charleston Renaissance Gallery” label with artist and title en verso, 15 in. x 21 3/4 in., framed. $700/1000

976. William Neuser (German/New Orleans, 1833‑1902), “Woman Seated in Green Upholstered Chair”, 1871, oil on canvas, signed and dated lower left, 36 1/2 in. x 29 in., framed. $800/1200 Ill.: Weisendanger, Martin and Margaret. 19th Century Louisiana Painters and Paintings: From the Collection of W.E. Groves. New Orleans: Pelican Publishing Company, 1971, p. 78.

978. Lena Gurr (American/New York, 1897‑1992), “Neighbor’s Child”, oil on masonite, signed lower right, signed, titled and “The Charleston Renaissance Gallery” label with artist and title en verso, 30 in. x 24 in., framed. $2500/3500 Note: After observing Lena Gurr’s solo show of 1945 at the A.C.A. Gallery, New York Times art critic Howard Devree believed the power of her art lay in her ability to portray “human relationships and the joys and sorrows of everyday life.” Born and educated in Brooklyn, Gurr’s work portrayed the city around her, often focusing on inhabitants of the slums she encountered, and she was able to imbue her works with clear sympathy for the victims of social injustice. Later in her career, she began to paint in a semi-cubist abstract form, as evidenced in the painting “Neighbor’s Child” offered here. Even as her style began to evolve away from naturalism, she retained the emotional connection that was so evocative, commenting, “it nonetheless must have some kind of human depth to it.” Ref.: “Lena Gurr: American Painter.” UpClosed. www.upclosed. com. Accessed Oct. 12, 2017.

980. Set of American Sterling Silver Goblets, Newport Silver Mfg. Co., 7 pattern 16352, h. 3 4/ in.; together with one “as is”; and 8 pattern 1655, h. 4 3/4 in., total wt. 44.65 troy ozs. $700/1000

982. Cuzco School Chased Silver Plaque of the Archangel Michael with Spear and the Scales of Justice, 7 in. x 5 in., giltwood scrollwork frame. $400/600

983. Spanish Colonial Silver Incensario, probably 18th c., apparently unmarked, body h. 9 1/4 in., overall h. 33 in. $800/1200

984. American Gilt Bronze Solar Lamp, c. 1850, attr. to Hooper, Renaissance Revival design with fruit and foliage in relief, frosted and cut glass shade, h. 28 in. $800/1200 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

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985. American Late Classical Carved Mahogany Center Table, 19th c., New York, marble top, conforming frieze, exuberant scrolled supports, incurvate plinth, shaped feet, casters, h. 29 in., w. 37 1/2 in., d. 31 in. $1000/1500

986. American Classical Carved Mahogany Armoire, early 19th c., canted cornice, figured frieze, paneled doors with pilasters and Corinthian capitals, open interior with hanging bar and two lower drawers, bulbous turned feet, h. 86 1/4 in., w. 62 in., d. 29 in. $1500/2500

988. American Classical Carved Mahogany Backsplash in the Manner of Anthony Quervelle, early 19th c., Philadelphia, acanthus scrolls centered by a basket of fruit and nuts above flame figured frieze, h. 20 in., w. 73 in. $400/600

987. American Classical Carved Mahogany Two Part Dining Table, late 19th c., Philadelphia, in the manner of Quervelle, drop-leaf swivel tops, cylindrical pedestals, incurvate plinth bases, acanthus carved paw feet, casters, h. 30 in., l. 90 in., w. 46 3/4 in. $800/1200

990. American Late Classical Carved Mahogany Pier Table, 19th c., New York, marble top, ogee frieze, scrolled supports, mirror back, plinth base with scrolling acanthus, h. 38 in., w. 36 in., d. 18 in. $500/700

989. American or English Mahogany Invalid’s Desk and Boot Rack, early 19th c., in the Sheraton taste, desk with adjustable writing surface, turned legs, arched shoe feet; boot rack with turned finials and supports, stretcher shelf, shoe feet, desk h. 26 1/2 in., w. 37 1/2 in., d. 18 1/4 in.; boot rack h. 42 in., w. 36 in., d. 14 in. $250/350

992. American Late Federal Carved Mahogany Sofa, 19th c., turned arm supports, molded seat rail, turned legs, casters, h. 36 in., w. 72 1/2 in., d. 24 in. $800/1200 991. American Classical Mahogany Center Table, early 19th c., Boston, later circular marble top, narrow frieze, lotus‑carved standard, incurvate triangular plinth, melon feet, h. 29 1/2 in., w. 38 in., d. 38 in. $700/1000

994. Southern School, early 19th c., probably Peticolas Family, “Portrait of a Southern Lady”, oil on canvas, unsigned, handwritten modern label identifying artist as “Philippe Abraham Peticolas, Richmond, VA” en verso, 20 3/4 in. x 16 in., period frame. $800/1200 Provenance: Didier, Inc., New Orleans, LA.

993. Amy Jackson (American/Texas, 1903‑1970), “Back Courtyard of St. Louis Cathedral, New Orleans, Louisiana”, 1941, watercolor, signed lower left, initialed, dated and inscribed “N.O.” lower right, titled en verso, sight 15 3/4 in. x 11 1/2 in., framed. $300/500

Note: Philippe Peticolas (1760-1841) and his four sons lived in Richmond, VA in the early 19th century. Artistically gifted in both the visual arts and music, the five men taught, performed, and took commissions for portraits in the area throughout the first half of the 19th century. Edward Peticolas (1793-1853), Philippe’s second son, painted in a style particularly similar to his father.

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995. Alan Flattmann (American/ Louisiana, b. 1946), “Bogue Falaya Autumn, Bridge of Bogue Falaya River”, pastel on paper, signed lower left and en verso, printed artist biography with title en verso, sight 14 1/2 in. x 20 1/4 in., framed. $800/1200

996. Colette Pope Heldner (American/New Orleans, 1902‑1990), “Swamp Idyl with Man in Pirogue (Louisiana Bayou Country)”, oil on canvas board, signed lower left, signed, titled and “Enoch’s Framing & Gallery, New Orleans” label en verso, 16 in. x 20 in., framed. $1000/1500

997. May Kugler (American/ Louisiana, 1916‑1980), “A Dream”, “Bon Fire”, “The Last Birth” and “Ice Man”, 1977, 4 oils on canvas board, each signed and dated lower left or right and inscribed en verso, each 8 in. x 10 in., framed alike. (4 pcs.) $800/1200

999. Clementine Hunter (American/ Louisiana, 1886‑1988), “Sunday Going to Church”, oil on canvas board, monogrammed lower right, pencil‑titled, inscribed “Marshall” and “Dixie Art Supplies, Inc., Chartres St.” label en verso, 16 in. x 20 in., framed. $2000/3000

1001. Haitian School, 20th c., “Going to Market”, oil on canvas board, unsigned, 16 in. x 12 in., framed. $300/500 Provenance: Gift of the artist, Ellis Wilson, to the Collection of James Ligon, New York City.

1002. Fernand Pierre (Haitian, 1919‑2002) and Adam Leontus (Haitian, 1928‑1986), “Gingerbread Houses” and “Birds in the Jungle”, oil on double‑sided four‑panel wood screen, signed right and left respectively, overall 72 in. x 79 in. $1000/1500

1000. Haitian School, 1957, “Pineapple Sellers”, watercolor on paper, signed “Rex...St.” lower right, sight 10 1/2 in. x 16 3/4 in., framed. $300/500 Provenance: Gift of the artist, Ellis Wilson, to the Collection of James Ligon, New York City.

1003. Wilson Bigaud (Haitian, 1931‑2010), “Mermaid”, oil on masonite, signed lower right, “Galerie Monnin / Port‑au‑Prince / Haïti” inscribed en verso, 24 in. x 16 in., framed. $400/600

Provenance: Collection of Angela Gross, Bernardsville, NJ. 1005. Acadian Cypress Loom, early 19th c., mortised and pegged construction, later Acadian homespun partially woven textile, h. 75 1/4 in., w. 70 in., d. 66 1/4 in., together with two Acadian weaving shuttles. $1000/2000 Provenance: Collection of Amboise LeBlanc, LA. Exh.: By repute, 1939-1940 New York World’s Fair.

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998. May Kugler (American/ Louisiana, 1916‑1980), “Sugar Cane Cutting”, “Bon Fire”, “Watermelon Party” and “Shotgun House”, 4 oils on canvas board, each signed and dated lower left or right and inscribed en verso, each 8 in. x 10 in., framed alike. (4 pcs.) $800/1200

1006. Antique Acadian Cypress Yarn Winder, early 19th c., Louisiana, four swivel arms with peg holes, upright shaft, mortised base, h. 26 in., w. 29 in., d. 17 1/2 in. $150/250

1004. Antoine Obin (Haitian, b. 1929), “Portrait of a Woman with Flowers”, oil on masonite, signed and inscribed “Haïti” lower right, 10 1/4 in. x 8 1/4 in., framed; together with Larry Zingale (American, b. 1938), “Girl in a Cafe”, 1974, acrylic and mixed media on canvas board, signed and dated upper left, titled on label en verso, 10 in. x 8 in., framed. $300/500

1007. Acadian Hand-Spun and Woven “Marriage” Bedspread, early 20th c., by the famed spinner and weaver Mme. J.B. Dronet (b. 1886), distinctive diamond and X pattern, w. 80 in., l. 96 in. $1200/1800 Note: Mme. Dronet was the last of the well-known Acadian spinners/weavers who used 18th century weaving techniques. Her work is highly prized and rarely comes to the marketplace.

1007A. Acadian HandSpun and Woven Indigo Quilt, c. 1830, patchwork and striped motif, w. 63 in., l. 84 in. $1500/2500

1007B. Acadian HandSpun and Woven Indigo and White Window Pane Coverlet. $400/600

1007C. Acadian HandSpun and Woven White Window Pane Coverlet. $400/600

1009. Acadian Hardwood Ladderback Side Chair, 19th c., bulbous finials, tapered uprights, three shaped slats, hide seat, turned legs, double stretchers, h. 34 1/2 in., w. 18 in., d. 14 1/2 in. $200/400 Ill.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 310.

1013. Antique American Federal‑Style Cherrywood Secretary, molded cornice, paneled doors enclosing shelves, cubbyholes and drawers, fall front desk with fitted interior, lower case with five drawers, bracket feet, h. 83 1/4 in., w. 40 in., d. 21 1/2 in. $1000/1500

1017. French Provincial Carved Walnut Miniature Armoire/Side Table, 19th c., tray top, chamfered stiles flanking two paneled doors, interior with belt of drawers, shaped base, flared feet, h. 20 5/8 in., w. 19 3/4 in., d. 11 in. $150/250

1008A. Acadian Ash and Oak Spinning Wheel, c. 1800, together with six Acadian textile tools. $800/1200 1008. Acadian Cypress Ironing Board, 19th c., Louisiana, tapered single plank of thick cypress, old worn surface, h. 71 in., w. 18 in. $150/250 Ref.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 402.

1010. Acadian Ladderback Armchair, 19th c., acorn finials, tapered uprights, three arched slats, scroll arms, hide seat, turned legs, double stretchers; worn later green paint, h. 34 in., w. 20 in., d. 17 in. $800/1200

1014. Two American Classical Carved Mahogany Curule Stools, 19th c., one anthemion carved with volute scroll legs, turned stretcher; the other with shell cartouche and bosses, turned stretchers, h. 15 in., w. 20 1/2 in., d. 14 in.; h. 15 in., w. 15 1/2 in., d. 16 in. $200/400

1018. Pair of Antique Louis XV‑Style Carved Walnut Side Chairs, serpentine acanthus carved crest rail, conforming seat rail, cabriole legs, h. 38 in., w. 21 in., d. 18 in. $400/600 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

1008B. Four Louisiana Woven Baskets, 19th c., incl. one Choctaw or Coushatta-made lidded basket; one Creole-made two-handled clothing press basket; one Creolemade basket with gourd interior; one Creole-made round basket. $500/800

1011. Antique American Commodity Scale, 19th c., painted wood and iron, stencil mark “WALKER”, h. 95 1/2 in., w. 115 in., d. 40 in. $1000/1500

1015. Louis Philippe Figured Walnut Armoire, 19th c., molded cornice, paneled doors, open interior, molded base, shaped blocked feet, h. 84 5/8 in., w. 53 7/8 in., d. 23 in. $800/1200

1012. Louisiana Carved Cypress Corner Cabinet, mid‑19th c., Louisiana, molded stepped cornice, glazed and paneled door, shelf interior, bracket feet, h. 90 in., w. 48 in., d. 28 in. $700/900

1016. Louis Philippe Mahogany Commode, mid‑19th c., white marble top with chamfered corners, conforming case with sécrétaire drawer over doors enclosing birdseye maple interior with linen drawers, plinth base, h. 40 in., w. 49 in., d. 23 1/4 in. $800/1200

1020. James Scott Maxwell (British, 1845‑1922), “Ship Portraits”, 6 watercolors, each initialed and dated lower left, sights 6 1/2 in. x 9 1/2 in., framed alike. $1000/1500 1019. Latin American School, 19th c., “The Falconer”, oil on canvas, unsigned, 30 in. x 24 3/4 in., framed. $1000/1500

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

Provenance: Eric Bolin, Los Angeles, CA. Additional information at www.nealauction.com

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1022. Manner of Henry Robert Morland (British, c. 1719‑1797), “The Country Girl”, oil on canvas, unsigned, stickers from “Olympia, Oct. 2001” en verso, 24 in. x 20 in., framed. $1000/1500 1023. Attributed to Michael Dahl (Swedish/ British, 1656/1659-1743), “Portrait of a Mother and Child”, oil on canvas, unsigned, handwritten label identifying artist en verso, 50 in. x 41 1/4 in., framed. $1000/2000

1021. Alfred Frank De Prades (British, c. 1820‑c.1890), “Contempt for the Post Boy”, 1851, oil on canvas, signed and dated lower right, handwritten label with artist, title and date and 2 handwritten provenance labels en verso, 16 in. x 22 in., period frame. $1200/1800

Provenance: Estate of Frances and Frank Auspitz, York, PA.

1024. Antique Continental Silverplate Sanctuary Lamp, late 19th c., crown form canopy, the bowl with cherub busts, h. 40 in., dia. 17 in. $200/300 Provenance: From the estate of noted New Orleans Antiquarian Juanita Elfert.

1028. American or English Cast Iron Garden Sculpture of Kneeling Venus on Plinth, 19th c., blocked pedestal with scroll and mask, embossed panels, blocked base, h. 24 in., w. 20 in., d. 20 in. $500/1000

1032. American Rococo Carved Giltwood Mirror, mid‑19th c., molded oval frame, surmounted by a “Peace” trophée, h. 36 in., w. 37 in. $500/700

1025. American Eighteen‑Inch Terrestrial Floor Globe, c. 1880, cartouche “Andrews’ 18‑Inch Terrestrial Globe, Chicago, A.H. Andrews & Co.”, full engraved brass meridian, mahogany Eastlake stand, compass stretcher, h. 44 in. $800/1200

1029. Continental Carved White Marble Bust of a Young Lady, likely 19th/20th c., square socle base, h. 18 3/4 in., w. 11 in., d. 9 in., carved marble column, overall h. 49 in. $200/400

1033. Napoleon III Gilt Bronze Figural Mantel Clock, 19th c., silk thread movement, surmounted by figure of a boy with fishing pole, scrolled feet, h. 13 in., w. 9 1/2 in., d. 4 in. $400/600 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

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1026. Pair of American Cast Iron Urns, c. 1875, foundry mark “J.W. FISKE / NO. 21 & 22 / BARCLAY ST., NY / PAT’D JUNE 1 1875”, h. 22 in., dia. 31 in. Note: One urn with loss to rim. $500/700

1030. American Folk Art Polychromed Metal Figure of Abraham Lincoln, h. 39 in., w. 18 3/4 in., d. 10 1/4 in. $400/600

1027. Pair of American Cast Iron Campagna Urns, 19th c., foliate design, lion mask handles, h. 24 in., dia. 18 3/4 in. $600/800

1031. Antique American Giltwood Mirror, bowknot crest with floral garland, molded surround, beveled mirror plate, h. 78 in., w. 41 in. $600/900 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

1034. Louisiana Confederate Presentation Flag of the Lake Providence Cadets, c. 1861, painted silk, with fringe, the front depicting a pelican “in her piety”, with cornucopia, under the banner “God and Our Country”; verso with legend “Presented to the Lake Providence Cadets by the Young Ladies, Feb’y 22, 1861”, accompanied by copies of a report by noted flag expert Howard Madaus, 75 3/4 in. x 115 3/4 in., including fringe. $20000/30000

1035. [Civil War], manuscript letter signed by Louis Alfred Wiltz (1843‑1881), to his sister and aunt (in French), dated June 27, 1864, from the Provost Marshal’s Office, Franklin Court House, four pages, recounting battles and the death of “a gallant boy”, two sided frame. $800/1200

1036. [Civil War], manuscript letter signed by Louis Alfred Wiltz (1843‑1881), to his sister, dated April 23, 2864, from St. Martinville, relating various battles, and how “his brother and myself escaped death” from the “bloody fields of Mansfield & Pleasant Hills”, 4 pages, two sided frame. $800/1200

1037. General Beauregard Autograph Order, to Maj. Gen. M. Lovell, Columbia, S.C.; dated from “Greensboro N.C. April 18/65, 9 P.M.”, “Order pontoon train at Chester to Newberry until danger from Gillmore & Stoneman shall have passed, if necessary send train further Westward to return soon as circumstances shall permit, G.T. Beauregard”, 4 1/4 in. x 7 7/8 in. $300/500

1038. American Rococo Carved and Laminated Rosewood and Walnut Parlor Suite, c. 1850‑1860, attr. to J. and J.W. Meeks, New York, incl. settee and three side chairs, settee with pierced foliate carved crest centered by a rose cluster cartouche, serpentine arm supports and seat rail, cabriole legs, h. 47 1/2 in., w. 56 in., d. 25 in., side chairs h. 41 in., w. 18 1/2 in., d. 17 in. $3000/5000 1039. American Rococo Carved Rosewood Grained Étagère, mid‑19th c., possibly Mitchell and Rammelsberg, scrolled crest carved with fruit and nuts, mirror flanked by shaped graduated shelves on S scrolled and dolphin carved supports, serpentine marble top, frieze drawer carved with cabochon and foliage, cabriole legs, casters, h. 99 in., w. 57 1/2 in., d. 23 in. $5000/7000

1040. Good American Carved Walnut Library Bookcase, mid‑19th c., probably Philadelphia, frieze distinctively carved with theodolite and sextant, h. 72 7/8 in., w. 75 1/2 in., d. 16 1/8 in. $1200/2000

1041. Pair of American Rococo Carved and Laminated Rosewood Side Chairs, c. 1850‑1860, probably Charles Baudouine, New York, reticulated shell carved crest with cluster of flowers and scrolls, serpentine shell carved seat rail, foliate carved legs, casters, h. 37 in., w. 19 1/4 in., d. 16 in. $600/900

1042. Very Fine American Rococo Carved and Laminated Rosewood Sofa, c. 1840‑1850, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Rosalie with Grapes”, serpentine crest rail carved with flowers and fruit, padded back ands seat, conforming floral carved seat rail, cabriole legs, casters, h. 41 in., w. 57 in., d. 22 in. $5000/7000 1043. American Rococo Carved and Laminated Rosewood Side Chair, c. 1840‑1850, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Fountain Elms”, intricately carved floral crest, scrolling crest rail and seat back, padded back, serpentine seat rail carved with clusters of flowers, cabriole legs, casters, h. 39 in., w. 19 in., d. 18 in. $4000/6000

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1045. American Modern Gothic Carved Walnut Bookcase, mid‑19th c., attr. to Daniel Pabst, Philadelphia, molded pediment, glazed doors with lappet molding, lower doors and returns decorated with low stipple carved leaves centered by a flower, molded plinth, h. 104 1/2 in., w. 72 1/4 in., d. 21 3/8 in. $4000/6000

1044. American Rococo Carved and Laminated Rosewood Center Table, attr. to John Henry Belter, in the pattern commonly referred to as “Rosalie”, shaped molded marble top, rocaille carved frieze, C scrolled dolphin supports, scrolled reticulated stretcher centered by a fruit and nut finial, casters, h. 29 in., w. 42 in., d. 32 1/2 in. $10000/15000 Note: The center table here is within the well-known group of “Rosalie” pattern center tables by John Henry Belter, including those in the parlor at Rosalie in Natchez, MS and in the Hurst and Manney collections. Similar tables, also featuring a carved frieze and dolphin supports, have sold in these rooms as lot 116 on April 16, 2002, lot 268 on October 6, 2007, and lot 183 on January 31, 2015. Ref.: “Rosalie” tables from the Hurst and Manney collections are illustrated respectively in Dubrow, Richard and Eileen. American Furniture of the 19th Century: 1840-1880. Atglen, PA: Schiffer, pp. 131, 134; Schwartz, Marvin, et. al., John Henry Belter and the Rococo Revival. New York: Dutton, 1981, p. 75, pl. 54b. 1046. American Classical Mahogany Pier Table, early 19th c., marble top, foliate frieze, Corinthian column supports, mirror back flanked by pilasters, shaped acanthus feet, h. 38 in., w. 44 in., d. 22 3/8 in. $1200/1800 Provenance: Didier, Inc., New Orleans.

1048. American Aesthetic Maple Faux Bamboo Dressing Chest, late 19th/early 20th c., reverse stenciled “Kittson, 73033”, mirror back surmounted by finials, carved bamboo surround, case with three graduated drawers, turned feet, h. 81 in., w. 43 1/2 in., d. 22 1/2 in. $700/1000

1049. American Rococo Carved Rosewood Center Table, mid‑19th c., probably Philadelphia, molded marble top, cartouche carved frieze, cabochon carved S scroll legs, shaped stretcher centered by a lobed finial, casters, h. 30 3/8 in., w. 47 in., d. 28 3/4 in. $1200/2000

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Provenance: Civil War Society of Philadelphia. Note: Several design elements on this bookcase are closely related to known case pieces from the workshop of Daniel Pabst. The finely rendered “coin” stiles are similar to examples from Pabst’s Renaissance Revival work including those on a sideboard and parlor cabinet, both conserved by the Philadelphia Museum of Art. The incised and stippled panels on this bookcase resemble panels on pieces within Pabst’s Modern Gothic oeuvre related to the work of English designer Christopher Dresser. Pabst examples with similar carving include a bedroom suite in the Philadelphia Museum of Art and an armchair from a private collection illustrated in The Art that is Life by Wendy Kaplan. Ref.: Kaplan, Wendy. The Art that is Life, The Arts and Crafts Movement in America 1875-1920. New York: Bulfinch Press, 1998, p. 73, fig. 13; Talbott, David and Page. “Daniel Pabst: Philadelphia Cabinet Maker,” Philadelphia Museum of Art Bulletin, (April 1977), p. 10, fig. 4; p. 12, fig. 6; p. 16, fig 11.

1047. American Rococo Carved and Laminated Rosewood Side Chair, c. 1850‑1860, attr. to John Henry Belter, New York, in the pattern referred to as “Tuthill King”, medallion back carved and pierced with floral and acorn elements, cabriole legs, casters, h. 37 1/4 in., w. 18 1/2 in., d. 17 1/2 in. $2000/3000

1050. American Rococo Carved Mahogany Mirrored Armoire, mid‑19th c., likely the workshop of Prudent Mallard, New Orleans, reticulated crest centered by a carved shell, stepped and beaded cornice with chamfered corners, conforming case, mirrored door with beaded surround, later shelf interior, conforming base with drawer, h. 107 in., w. 63 1/2 in., d. 25 1/2 in. $2000/3000 Provenance: Mrs. Clifford (Nell) Stem Residence, 1715 Napoleon Avenue, New Orleans, c. 1970s.

1051. American Federal Inlaid Mahogany Serpentine Sideboard, late 18th c., probably Southern, two fan inlaid drawers flanked by cupboards, tapered legs inlaid with bellflower pendants and cuffs, original brasses, h. 39 in., w. 71 in., d. 26 in. $800/1200

1052. American Rococo Carved Rosewood Slipper Chair, mid‑19th c., rose and grape carved crest, reticulated back with acorns and oak leaves, serpentine seat rail, rose carved cabriole legs, casters, h. 42 1/2 in., w. 18 in., d. 19 in. $700/1000

1053. American Rococo Carved Rosewood Center Table, mid-19th c., probably New York, variegated serpentine marble top, foliate carved frieze, cabochon and floral cabriole legs, arched stretchers centering finial, h. 29 in., w. 40 1/8 in., d. 28 5/8 in. $1000/1500 Provenance: Estate of Charles and Doris Bellows, NY, NY.

1054. American Late Classical Carved Mahogany Games Table, 19th c., Philadelphia, possibly from the Quervelle workshop, foldover top, bolection frieze with rosette corners, pedestal with gadrooned molding, with tapered plinth, incurvate base, acanthine paw feet, h. 30 in., w. 36 in., d. 19 in. $500/700

1055. American Federal Inlaid Mahogany Work Table, 19th c., Boston, top with outset corners, conforming case with two drawers, ringturned reeded legs, turned feet, h. 27 1/2 in., w. 16 1/2 in., d. 15 in. $700/1000

1056. New Orleans Coin Silver Cup, Adolphe Himmel for Hyde & Goodrich, c. 1853‑1861, marked “H”, “HYDE & GOODRICH” in arc, above “MANUFACTURERS” above “NEW ORLEANS” in complementary arc, molded lip with beading, flat‑chased body, heart‑shaped cartouche with engraved monogram, hollow cast scroll handle, applied flared molded foot with scroll decoration, h. 3 1/2 in., wt. 3.90 troy ozs. $500/700 Ref.: Crescent City Silver, pp. 41‑55.

1057. Perrin du Lac, Francois Marie, Travels Through the Two Louisianas and Among the Savage Nations of the Missouri... in 1801, 1802 & 1803, London, Richard Philips, 1807, first English edition, 8vo, 3/4 calf, marbled boards, gilt lettering. $150/250

1058. Merian, Matthieu, La Danse des Morts/Todten‑Tanz, Basil, Birmann & Fils, 1830, 8vo illustrated board, with 43 engravings by Jacques Antony Chovin, after the original Merian woodcuts. $150/250

1059. Four Books by Grace King (American/New Orleans, 1851‑1932), incl. Monsieur Motte, first edition, 1888; Jean Baptiste Le Moyne Sieur de Bienville, first edition, 1893; New Orleans: The Place and the People, first edition, 1895; Balcony Stories, 1914. $150/250

1060. Carey, Mathew, “Louisiana”, Philadelphia, 1814, from the General Atlas, hand‑colored, one of the earliest large format maps of the State of Louisiana to appear in a commercial atlas, with details of roads, towns, rivers and lakes, along with some development along the Mississippi, shows “Baton Rouge”, 17 1/4 in. x 15 3/4 in. $400/600

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1061. Mitchell, Samuel Augustus, “Mitchell’s Travellers Guide through the United States”, Philadelphia, 1832, first edition, hand‑colored, tissue backed, originally a pocket map that covered the United States west to the Mississippi River, nine insets, feature Philadelphia, Washington, Charleston, Boston, New York, Cincinnati, Albany, New Orleans and the Niagara Falls area, 21 1/2 in. x 17 1/4 in. $500/700

1062. [Civil War Map], Perrine, Charles O., “Perrine’s New Topographical War Map of the Southern States”, Indianapolis, Indiana / Buffalo, Jewett & Co., New York, 1863, printed in colors, folding case map of the Southern States with small red circles indicating the sites of major Civil War battles, 36 1/2 in. x 28 in. $200/300

1063. Le Sage’s Historical, Genealogical, Chronological, and Geographical Atlas, 1818, London, second edition, folio with 38 hand‑colored charts (21) and maps within text (20). $300/500

1066. Willem Dieperink‑Langereis (American, 20th c.), “Laud am my Shepud”, mixed media on paper, signed lower left, 14 1/2 in. x 18 in., framed. $400/600

1064. Frances Washington Delahanty (American, 20th c.), “Deer Hunter on Horseback”, watercolor on paper, signed lower right, 9 in. x 17 in., framed. $300/500

1067. John Wilson Carmichael (British, 1799‑1868), “Figures Gathered Around a Wreckage”, 1839, watercolor on paper, signed and dated lower right, 11 3/4 in. x 17 in., framed. $600/900 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

1065. American School, 19th c., “Pendant Portraits of Two Brothers: Going Fishing and Taking the Hobby Horse for a Ride”, 2 oils on canvas, both unsigned, each 23 in. x 18 3/4 in., matching period frames. (2 pcs.) $1200/2000 Provenance: Historic Kirkwood, Eutaw, AL.

1068. After Sir David Wilkie (Scottish, 1785‑1841), “The Young Bird”, oil on metal, artist identified and titled on handwritten label en verso, 14 in. x 11 1/4 in., framed. $400/600

1069. Scottish School, 19th c., “The Prisoner”, oil on canvas, unsigned, 16 in. x 20 in., framed. $500/700 Provenance: The Sturm Collection; formerly in the collection of Aboyne Castle, Scotland.

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

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1071. American Gilt Bronze Solar Lamp, c. 1850, marked “Cornelius & Co., Phil.”, baluster standard with relief flowers on a stepped marble base, double gourd shade cut with fern and waffle, h. 22 3/4 in., dia. 9 1/4 in. $700/1000 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

Provenance: The Sturm Collection; formerly in the collection of Aboyne Castle, Scotland.

1072. American Gilt Bronze Solar Lamp, c. 1850, attr. to Hooper, baluster with relief foliate motifs, shade with floral reserves, h. 24 in. $800/1200

1070. Pair of Antique American Brass Andirons and Fire Tools, 19th c., ball top, faceted shaft, scroll feet, h. 19 1/2 in., w. 12 in., d. 24 in.; together with shovel and tongs. $1200/1800

1073. Fine American Renaissance Carved Walnut Extension Dining Table, attr. to Thomas Brooks, New York, molded top, carved frieze, bracketed pedestal, vasiform supports, stepped base, block feet, opening to receive three leaves, h. 30 1/2 in., l. (closed) 47 1/2 in., l. (extended) 90 1/4 in., w. 47 3/4 in. $1000/1500

1074. American Renaissance Carved and Burled Walnut Bedroom Suite, late 19th c., anthemion crest over cartouche with classical bust, paneled headboard, conforming foot board, mirror‑back dresser with candle shelves, marble tops and short and long drawers, bed h. 103 1/2 in., l. 77 in., w. 57 1/2 in., dresser h. 103 1/2 in., w. 56 1/2 in., d. 23 in. $1800/2500

1075. American Carved Oak Podium Desk, spindled gallery, slant lid, fitted interior, caduceus carved supports, stretcher shelf, block feet, h. 47 1/2 in., w. 47 1/4 in., d. 28 in. $1500/2500

1076. Hunzinger Innovative Platform Rocker, late 19th c., oval padded back, spiral-turned stiles, padded arms and seat, base with conforming turnings, casters, h. 43 in., w. 26 3/4 in., d. 21 in. $500/800

1077. American Walnut Corner Cabinet, 19th c., spindled gallery, arched glazed doors enclosing shaped shelves, lower case with a short drawer over paneled doors, h. 91 in., w. 50 1/2 in., d. 31 1/4 in. $700/900 Provenance: Weymouth Hall, Natchez, MS. 1078. American Renaissance Carved Oak Dining Table, circular top, foliate carved frieze opening to receive ten leaves, pedestal base with griffin supports, scrolled plinths, block feet, casters, h. 30 1/2 in., dia. 60 in. (closed). $3000/5000

1079. American Renaissance Carved Oak Sideboard, late 19th c., attr. to R.J. Horner, New York, mirror back superstructure with griffin supports, ogee frieze drawers over carved and paneled doors and long drawer flanked by griffin scrolls, paw feet, h. 61 1/2 in., w. 72 1/2 in., d. 27 in. Note: $1200/1800

1083. Continental Green Iridescent Art Glass Footed Bowl, early 20th c., attr. Loetz, folded rim, polished pontil mark, base unsigned, h. 3 3/4 in., w. 8 in. $600/900

1080. Suite of Four American Renaissance Carved Oak Dining Chairs, late 19th c., acanthus carved crest rail flanked by maiden busts, foliate apron, cabriole legs, paw feet, scrolling stretcher, casters, h. 40 in., w. 19 in., d. 18 in. $1200/1800

1081. Dutch School, 20th c., “Boats along the Wharf”, oil on canvas, signed “Gerard Verbrugge” lower right, inscribed en verso, 23 1/2 in. x 39 1/2 in., framed. $400/600

1084. Louis XVI‑Style Carved, Gilt and Parcel Ebonized Girandole Mirror, acanthus molded surround, beveled mirror plate, ebonized cherubs supporting five branch candelabra, h. 44 in., w. 36 in., d. 12 in. $400/600

1085. French Carved Giltwood Oval Mirror in the Aesthetic Taste, late 19th c., cane motif surround embellished with flowers, fruit and branches, beveled mirror plate, h. 43 in., w. 34 in. $600/900

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

1082. Oskar Brazda (Czech, 1888‑1977), “Young Child”, 1934, oil on canvas, signed and dated lower left, 16 1/2 in. x 16 1/2 in., framed. $400/600

1086. Gilt Bronze‑Mounted Sevres‑Style “Bleu de Roi” Porcelain Covered Vase, c. 1900, marked, reserved with courting scene, signed Cotti, and waterscape, mask handles, raised gilt decoration, h. 22 in., w. 10 in., d. 7 1/2 in. $700/1000

Additional information at www.nealauction.com

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1089. Louis XV‑Style Argenté Bronze Jardinière, late 19th c., reticulated crest, cartouche monogrammed “MB”, scroll handles and feet, h. 6 3/4 in., w. 19 in., d. 8 1/4 in. $300/500 1087. Gilt Bronze‑Mounted Sevres‑Style Porcelain Oval Centerbowl, 20th c., beaded rim, foliate handles, floral interior, reserve with courting couple, h. 11 in., w. 12 3/4 in., d. 6 3/4 in. $400/600

1091. Regency‑Style Inlaid Rosewood Cabinet, late 19th c., molded frieze, two doors, adjustable shelves, blocked base, turned feet. $300/500 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

1088. [Napoleon Memorabilia], pin cushion, 19th c., silk and lace, with figure of Napoleon, h. 5 1/2 in., w. 5 1/2 in., d. 2 1/4 in. $500/700

1090. Regency‑Style Inlaid Rosewood and Burled Center Table, 20th c., circular top with compass star inlay, two frieze drawers, fluted tapered legs, incurvate shelf, brass cuffs, h. 30 in., dia. 36 in. $500/700

Provenance: Bernard Franck Collection, Paris, France, by repute owned by Napoleon’s youngest brother, Jerome of Westphalia.

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

1092. English Carved Mahogany Sofa Table, late 19th/early 20th c., drop‑leaf top, frieze drawers, shaped stretcher, scrolled feet, h. 31 1/2 in., w. (closed) 51 in., w. (open) 74 1/2 in., d. 21 in. $600/900

1093. Pair of Antique Hepplewhite‑Style Mahogany Side Chairs, 19th c., serpentine crest rail, pierced splat, square tapered legs, spade feet, h. 37 3/4 in., w. 21 in., d. 20 1/2 in. $250/500 1094. American or English Gothic Revival Carved Oak Library Table, 19th c., top with vine carved molding, paneled frieze, chamfered columnar supports, quatrefoil carved stretcher, bun feet, h. 30 in., w. 54 in., d. 24 in. $600/900 1096. American Renaissance Carved, Gilt‑Incised and Ebonized Bedstead, late 19th c., New York, headboard centering porcelain plaque, bracketed sides, shell carved foot board, shaped conforming rails, h. 87 in., l. 79 1/2 in., w. 58 1/4 in. $1500/2500

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1097. American Classical Carved Mahogany Secretary Desk, early 19th c., Baltimore, stenciled label “Bowers and Hume Cabinet Warehouse”, cove molded cornice, paneled doors enclosing shelves, two short drawers, lower case with fold over writing surface with well, over two doors flanked by scrolled supports, scroll feet. $500/1000

1095. Antique English Carved Oak Tall Case Clock, late 19th c., calendar dial, striking gong movement, h. 99 1/2 in., w. 21 1/2 in., d. 12 in. $800/1200 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

1098. Antique American Walnut Ladderback Child’s Chair, 19th c., possibly Southern, three graduated arched slats, turned uprights, shaped arms, rush seat, turned legs, stretchers, h. 21 1/2 in., w. 14 in., d. 12 1/2 in. $1000/1500

1099. American Carved Mahogany Child’s Wing Chair, leather upholstery, brass nailhead trim, shell carved cabriole legs, ball and claw feet, turned H stretcher, h. 30 1/4 in., w. 19 in., d. 21 in. $800/1200

1100. American Classical Carved Mahogany Games Table, 19th c., foldover swivel top, interior compartment, bolection frieze with blocked rosette corners, acanthus-carved legs, brass ball feet, h. 29 in., l. (open) 35 1/2 in., l. (closed) 17 1/4 in., w. 35 1/2 in. $400/600

1101. American Carved Cherrywood Armoire, mid‑19th c., probably Louisiana, flared cornice, plain frieze, paneled doors, divided interior, molded base, ogee bracket feet, h. 91 1/2 in., w. 63 1/4 in., d. 22 1/2 in. $700/1000

1102. American Classical Carved Rosewood “Voltaire” Armchair, mid‑19th c., school of Duncan Phyfe, New York, arched crest, padded back, arms and seat, S‑scroll arm supports, saber legs, casters. $500/750

1104. Robert Malcolm Rucker (American/Louisiana, 1932‑2001), “Spring Time”, oil on canvas, signed lower right, “Enoch’s Framing & Gallery, New Orleans” label en verso, 18 in. x 28 in., framed. $1800/2500

1105. Genevieve Liljeberg (American/New Orleans, 20th c.), “Morning Traffic”, 1995, oil on canvas, signed and dated lower right, titled en verso, 13 in. x 17 in.; and “Portrait of a Race Horse”, pencil on paper, signed lower right and en verso, sight 4 in. x 3 1/2 in., each framed. (2 pcs.) $1000/1500

1106. Billie Stroud (American/ Louisiana, b. 1919), “Spring on Cane River”, 1975, oil on canvas board, signed and dated lower right, 18 in. x 24 in., framed. $400/600

1108. Clementine Hunter (American/Louisiana, 1886‑1988), “Melrose Plantation”, cotton stitched quilt with brown paper backing, monogrammed lower right, 27 1/2 in. x 36 in., framed. $3000/5000

1109. Charles Oglesby Longabaugh (American/New Orleans, 1885‑1994), “Acapulco”, 1941, watercolor on paper, signed, titled and dated lower right, 18 in. x 21 1/2 in., framed. $500/800

1110. George David Coulon (French/New Orleans, 1822‑1904), “Arched Rock”, oil on artist board, signed lower left on boat, pencil‑titled en verso, 9 1/4 in. x 12 in., period frame. $500/700

1113. Emilie de Hoa LeBlanc (American/New Orleans, 1870‑1941, act. Newcomb College, 1897‑1921), “Three Pine Trees”, “Study for Three Pine Trees” and “Sunny South”, 3 watercolors on paper, each signed lower left, lower right or partially lower center, latter pencil‑titled on mat, 7 3/8 in. x 5 1/4 in., 7 1/2 in. x 5 1/2 in., and 5 3/8 in. x 7 1/2 in., all framed. (3 pcs.) $1000/1500

1114. Charles Whitfield Richards (American/New Orleans, 1906‑1992), “New Orleans Skyline”, oil on canvas board, signed lower right, 12 in. x 16 in., framed. $500/800

1103. Will Ousley (American/ Louisiana, 1866‑1953), “Louisiana Bayou”, oil on canvas, signed lower right, 24 in. x 14 in., period frame. $800/1200

1107. Clementine Hunter (American/Louisiana, 1886‑1988), “Saturday Night at the Honky Tonk”, oil on board, monogrammed lower mid‑right, 16 in. x 24 in., framed. $2000/3000 Provenance: Estate of Dr. Eleanor M. Worsley, Natchitoches, LA.

1111. George David Coulon (French/New Orleans, 1822‑1904), “Study of a Young Girl in Profile”, oil on panel, signed upper right, partial period exhibition and handwritten labels en verso, 9 1/2 in. x 7 1/4 in., framed. $500/800

Note: Sold in these rooms Apr. 25, 2011, lot 362.

1112. Wilmot Emerton Heitland (American/Florida, 1893‑1969), “Resting in the Shade”, watercolor on paper, signed lower left, 17 1/4 in. x 14 in., period frame. $300/500

Additional information at www.nealauction.com

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1115. William Arnold (American/ Louisiana, 1902‑2006), “Bayou Fishing Pier”, 1990, oil on canvas board, signed, monogrammed and dated lower right, signed, monogrammed, dated and “Taylor Clark, Fine Prints, Paintings and Framing, Baton Rouge” label en verso, 18 in. x 24 in., framed with artist plaque. $300/500

1116. Burny Myrick (American/ Louisiana, 20th c.), “Picking Cotton: Study for the Timeless River”, colored pencil on paper, pencil‑signed and titled lower right, “Crutchfields Art Gallery, Lafayette, LA” and “Johnson Hall Fine Art, Roswell, GA” labels and artist biography with provenance en verso, sight 21 in. x 26 in., framed. $400/600

1117. Brock Loper (American/ Mississippi, 1935‑2009), “Bringing in the Beans”, 1991, oil on illustration board, signed and dated lower right, 24 in. x 36 in., framed. $700/900

1118. Jack Cooley (American/ Louisiana, 1923‑2008), “Lafitte’s Blacksmith Shop”, oil on masonite, signed lower right, 18 in. x 24 in., framed. $300/500

1120. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “The Cock”, hand‑colored linocut on wallpaper, 28 1/4 in. x 21 1/4 in., framed. $1000/1500

1119. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Water Border”, 2 linocuts on wallpaper, unsigned, each pencil‑inscribed and titled en verso, 21 in. x 169 in. and 21 in. x 113 1/2 in., unframed. (2 pcs.) $700/1000

1121. After Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Biloxi Beach Scene”, “Biloxi Beach Scene”, “Alligator”, “Alligator Gar” and “Horizontal Pelican”, 5 hand‑colored watercolor silkscreens, monogrammed in plate, sights 18 1/2 in. x 36 1/2 in. or 20 1/2 in. x 24 1/2 in., framed alike. (5 pcs.) $500/700

Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 108.

Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, pp. 70, 74, and 82.

1122. After Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Terns #2”, “Wind, Wave and Bird”, “Ugly Duckling”, “Tall Pines”, “Man O’ War Birds”, and “Billy Goats Gruff #3”, 6 hand‑colored watercolor silkscreens, 2 monogrammed in plate, sights 73 1/2 in. x 20 1/4 in. and 55 1/2 in. x 20 1/4 in., framed alike. (6 pcs.) $600/800 Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University of Mississippi, 2007, pp. 67, 76, 86 and 88.

1123. American School, 20th c., “Alligator”, linocut on paper, monogrammed “BJC” lower right, 7 1/4 in. x 16 1/4 in., framed. $200/400

1126. Clementine Hunter (American/Louisiana, 1886‑1988), “Duck Decoy”, oil on wood, monogrammed on each side, h. 7 1/2 in., w. 14 1/2 in., d. 5 1/2 in. $800/1200

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1127. Chestee Harrington (American/Louisiana, b. 1941), “Spinner in Time”, 1988, oil and mixed media on wood, signed and dated lower left, titled and dated en verso, 13 in. x 9 in., framed. $200/300

1124. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Trudie”, lithograph, signed in plate (signature reversed), pencil‑titled lower left, inscribed en verso, sight 13 1/2 in. x 8 3/4 in., framed. $300/500

1125. Acadian Carved and Painted Ladderback Miniature Armchair, 19th c., slat back, woven seat, h. 19 in., w. 12 1/2 in., d. 9 1/2 in. $100/200

1128. Laurent Casimir (Haitian, 1928‑1990), “A Festival”, oil on masonite, signed lower right, 17 3/4 in. x 25 in., framed. $200/300

1129. Clyde Connell (American/Louisiana, 1901‑1998), “Wall Plaque”, mixed media on wood, signed on reverse, h. 6 1/4 in., w. 6 in., d. 1 in.; together with “Prototype for the Corrington Award”, bronze medal, inscribed “CC”, dia. 3 1/2 in. (2 pcs.) $300/500

1130. F. Wieck (American/Louisiana, 19th c.), “Bamboula”, 1897, oil on canvas, signed and dated upper right, 24 in. x 35 in., period frame. $2000/3000 Provenance: Collection of Gretchen and Alonzo Lansford; Neal Auction Company, Dec. 4, 2004, lot 597.

1133. Knute Heldner (Swedish/ Louisiana, 1877‑1952), “Chalmette”, hand‑colored etching, pencil‑signed, titled and numbered “2/4” lower margin, signed in plate lower right, 6 in. x 8 1/4 in., framed. $200/300

1131. William Carl Groh (American/ Louisiana, 20th c.), “Seated Nude”, 2004, oil on canvas, signed and dated lower left, 24 in. x 18 in., framed. $500/700

1134. Antique Louis XV‑Style Gilt BronzeMounted Vernis Martin Vitrine, molded cornice, bombé case, conforming glazed door and side panels, mirrored interior, flared legs, sabots, h. 73 1/2 in., w. 42 in., d. 20 in. $1000/1500

1132. Noel Rockmore (American/ New Orleans, 1928‑1995), “Back Yards (City Odalisque)”, 1962, oil on canvas, signed and dated “May ‘62” upper right, partially blacked out “Harry Salpeter Gallery, 42 W. 57th St., NYC” label with title en verso, 32 in. x 26 1/4 in., period frame. $800/1200

1135. Antique Louis XV‑Style Bronze‑Mounted Inlaid Kingwood Bombé Commode, serpentine variegated marble top, two short over two long drawers, flared feet, sabots, h. 33 in., w. 51 1/4 in., d. 25 in. $1500/2500

1137. Italian Rococo BronzeMounted Kingwood Parquetry Bombé Commode, serpentine top, long drawer above two doors, shelf interior, shaped base, flared feet, h. 33 3/4 in., w. 46 in., d. 21 3/4 in. $1000/1500

1136. Pair of Antique Louis XV‑Style Carved Walnut Fauteuils, serpentine acanthus-carved crest rail, caned back and seat, molded arms, carved apron and cabriole legs, h. 36 1/4 in., w. 26 1/4 in., d. 20 in. $1000/1500 1138. Louis XVI‑Style Bronze‑Mounted Kingwood Bureau à Rognon, arched and fitted superstructure with drawers and doors, surmounted by a medallion of Peter the Great (1672‑1725), inscribed “Petrus Alexiewits, Tzar Mag. Russ. Imp.”, serpentine inset tooled leather top, three frieze drawers, cabriole legs, bronze sabots, h. 50 in., w. 50 1/2 in., d. 25 7/8 in. $2500/3500

Provenance: Estate of Stefanie C. Golden, Florence, Italy.

1139. Louis XVI‑Style Bronze‑Mounted Mahogany Breakfront Vitrine, shaped molded cornice, frieze centered by winged mask, beveled glass door flanked by busts, conforming side doors, glass shelf interior, serpentine skirt, scroll feet with sabots, h. 95 in., w. 79 in., d. 24 in. $2500/3500

Additional information at www.nealauction.com

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1140. Louis XVI‑Style Gilt Bronze‑Mounted Kingwood Parquetry and Marquetry Cabinet, marble top with chamfered corners, conforming case, Neoclassical inlay, tapered feet, h. 45 in., w. 37 in., d. 16 in. $800/1200

1141. Louis XV‑Style Bronze‑Mounted Parquetry and Marquetry Lady’s Desk, early 20th c., galleried top, fall front, inset leather writing surface, fitted interior, serpentine apron, cabriole legs, h. 38 1/2 in., w. 32 in., d. 20 in. $600/900

1143. Pair of Louis XVI‑Style Carved Giltwood Fauteuils, 19th c., foliate carved crest rail, padded arms, foliate carved uprights, stop-fluted legs, needlepoint upholstery, h. 38 3/4 in., w. 23 in., d. 20 in. $700/1000

1142. Louis XV‑Style Bronze‑Mounted Parquetry Bombé Commode, Brêche d’Alep marble top, serpentine case, three drawers, shaped base, flared feet, sabots, h. 34 1/2 in., w. 53 1/4 in., d. 22 1/4 in. $1000/1500

1144. Antique Louis XV/XVI Bronze‑Mounted Kingwood Parquetry Bureau Plat, 19th c., inset tooled leather top, frieze drawers, cabriole legs, sabots, h. 29 1/2 in., w. 41 1/4 in., d. 23 1/4 in. $800/1200 1145. Pair of Louis XV‑Style Carved Walnut Fauteuils, foliate carved crest, shaped arms, serpentine seat rail, cabriole legs, h. 41 in., w. 28 in., d. 28 in. $800/1200 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA. 1146. Louis XVI‑Style Inlaid Burled Wood Commode, late 19th c., incurvate marble top, conforming case with small drawer above door, tapered legs, brass cuffs, h. 34 3/4 in., w. 33 in., d. 15 in. $500/700 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

1147. Pair of Louis XV‑Style Gilt Bronze Five‑Light Candelabra, 19th c., cast with fauns and owls on white marble columns, h. 27 in., w. 16 in., d. 9 1/2 in. $1000/1500

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1148. Pair of Louis XV‑Style Gilt Bronze Four‑Light Candelabra, vasiform standard, foliate arms, pendeloque crystal prisms, scrolled feet, h. 22 1/4 in., d. 14 1/2 in. $800/1200

1149. Baccarat‑Style Gilt Bronze and Cut Glass Wall Sconce, 19th c., scrolled arms, floriform candlecups, draped with pendeloque prisms, h. 14 in., w. 12 in. $400/600

1150. Chippendale‑Style Carved Giltwood Mirror, 19th c., scrolled crest, divided mirror plate, foliate surround, h. 34 in., w. 73 in. $700/900 1151. Six Georgian‑Style Carved Mahogany Side Chairs, serpentine crest rail, foliate carved pierced splats, trapezoidal seats, fluted legs, h. 39 1/2 in., w. 22 3/4 in., d. 21 in.; together with four English mahogany armchairs, h. 38 in., w. 24 in., d. 21 in. (10 pcs.) $800/1200

1153. George I Inlaid Burl Walnut Chest of Drawers, 18th c., molded top, two over three graduated drawers with herringbone banding, shaped bracket feet, h. 36 3/4 in., w. 40 1/8 in., d. 23 3/4 in. $700/900

1152. Queen Anne Walnut Drop‑Leaf Table, late 18th c., rectangular top, bracketed frieze, tapered legs, pad feet, h. 28 1/4 in., l. (open) 53 in., l. (closed) 19 in., w. 36 1/4 in. $500/800

1154. George IV Figured Mahogany Linen Press, 19th c., molded cornice, upper case with doors flanked by columnar stiles, interior with linen shelves, lower case with six drawers, plinth base, h. 81 1/2 in., w. 76 in., d. 23 1/2 in. $1000/1500

1155. Georgian‑Style Inlaid Mahogany Partner’s Desk, top with compass star inlay, three frieze drawers, pedestals with drawers, flanked by columns, blocked molded base, h. 36 1/2 in., w. 83 3/4 in., d. 41 1/4 in. $1000/1500

1156. Louis XV‑Style Walnut Canapé, early 20th c., arched floral carved crest, caned back, padded arms, serpentine seat rail, cabriole legs, h. 31 1/4 in., w. 47 3/8 in., d. 27 in. $500/700 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA. 1157. Set of Eight Continental Carved Mahogany Dining Chairs, late 19th c., incl. 2 armchairs and 6 side chairs, each with padded back and seat carved and blocked legs, scroll stretcher, armchair h. 48 1/4 in., w. 21 3/4 in., d. 20 1/2 in.; side chair h. 39 3/4 in., w. 20 1/2 in., d. 19 1/4 in. $800/1200 1158. German Carved and Paint‑Decorated Armoire, early‑to‑mid 19th c., distinctively in the 17th c. style, molded cornice above two shaped paneled doors, foliate carved pilasters, divided interior, molded base, bracket feet, h. 71 1/2 in., w. 55 3/4 in., d 22 1/4 in. $1000/2000

1159. Antique Continental Fruitwood Cricket Table, circular top, splayed uprights, stretcher shelf, cabriole legs; together with an antique Continental carved oak gate-leg table, cricket table h. 26 1/4 in., w. 27 in., d. 29 1/2 in.; table h. 26 1/4 in., w. 19 1/4 in., d. 19 in. $200/400 Provenance: Eric Bolin, Los Angeles.

1160. Dutch Rococo Figured Walnut Cabinet, 18th/19th c., upper case with molded serpentine cornice over pair of glazed doors enclosing shaped shelves, lower case with a blocked front, three long drawers, bun feet, h. 74 in., w. 46 in., d. 21 in. $800/1200 Additional information at www.nealauction.com

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1161. Continental Inlaid Burled Walnut Credenza, 19th c., scalloped foliate‑carved top, conforming case with four drawers, bulbous turned and foliate‑carved feet, h. 36 1/2 in., w. 75 in., d. 23 1/2 in. $500/800

1162. Large Brass and Wirework Firescreen, 19th c., h. 30 in., w. 48 1/4 in., d. 12 in. $200/400

1163. Pair of Italian Gilt Metal and Cut Crystal Three‑Light Sconces, 20th c., vasiform backplate, electrified, h. 22 in., w. 13 in., d. 5 1/2 in. $500/800

1164. Pair of French Iron Two‑Light Sconces, scrolled backs and arms, electrified, h. 15 in., w. 12 in., d. 6 in. $400/600

1166. English Rococo Revival Carved Walnut Credenza, mid‑19th c., serpentine marble top, glazed doors flanked by spiral colonnettes, shelf interior, h. 38 in., w. 72 in., d. 18 1/2 in. $600/800 Provenance: Weymouth Hall, Natchez, MS.

1165. American Rococo Carved Walnut Bedroom Suite, incl. bedstead, dresser and dressing table, dresser with carved mirror support, arched cabochon carved crest, shaped mirror, glove boxes, four grape carved paneled doors, bracket feet; kneehole dressing table with mirror, long drawer and three drawers on each side; bed with paneled headboard, circular roundel, conforming foot board, bracket feet, bed h. 65 in., l. 75 in., w. 55 1/2 in.; small dresser h. 88 1/4 in., w. 48 1/4 in., d. 22 1/4 in.; dresser h. 67 1/2 in., w. 45 1/2 in., d. 22 in. $2500/3500

1169. Chippendale‑Style Carved Mahogany Bowfront Silver Chest, gadrooned top, three graduated drawers, foliate‑carved cabriole legs, ball and claw feet, h. 33 in., w. 39 in., d. 22 in. $500/700

1167. English Inlaid Mahogany Games Table, 19th c., foldover top, conforming frieze centered by a foliate maple panel, square tapered legs, one swing leg, h. 28 3/4 in., l. (open) 34 3/4 in., l. (closed) 17 1/4 in., w. 35 1/4 in. $500/700 1168. Antique English Carved and Inlaid Oak Cabinet, prob. late 19th c., molded top, blocked paneled frieze, two doors flanking a stationary panel, interspersed by turned spindles, bracket feet, open interior, h. 33 in., w. 59 in., d. 24 in. $500/800

1170. Moroccan Hardwood and Brass Banded Trunk, lift top, open interior, brass nailhead trim and decorative pierced lock, carrying handles, h. 25 1/4 in., w. 50 in., d. 25 in. $800/1200

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1171. Louis XVI‑Style Carved and Gilded Salon Table, 19th c., inset marble top, foliate molding, rosette frieze, fluted tapered legs, incurvate stretchers, h. 31 in., w. 35 1/2 in., d. 24 in. $500/1000

1172. Louis XVI‑Style Parquetry and Gilt Bronze‑Mounted Side Table, probably early 20th c., frieze drawer, stop‑fluted legs, h. 29 3/8 in., w. 36 1/4 in., d. 22 1/4 in. $300/500

1173. Two Antique Louis XV‑Style Carved Walnut Fauteuils, shield backs, old petit point upholstery. $400/600 Provenance: Bocage Plantation Onsite Auction, Neal Auction Company, Darrow, LA, Dec. 8, 2007, lot 66.

1174. Good Group of Philadelphia Coin Silver Flatware, incl. 3 tablespoons, Bailey & Kitchen, marked “BAILEY & KITCHEN” in rectangle and with pseudo hallmarks, l. 9 in.; 5 dessert forks, John Curry, Philadelphia, act. 1825‑1867, marked “J. CURRY” in serrated rectangle and with pseudo hallmarks and “PHILA.” in serrated rectangle, near matching dessert fork marked “G.H.McCULLY” in serrated rectangle, l. 6 5/8 in.; 5 teaspoons, Samuel M. Hopper, act. 1834‑1859, marked “S.M.HOPPER” in serrated rectangle and “66. CHESTNUT. ST” incuse, l. 6 1/8 in.; and small bright‑cut teaspoon marked “J.Byrne” l. 5 1/4 in.; 15 pcs., total wt. 17.80 troy ozs. $300/500 Provenance: Estates of William and Sarah McGehee, Dr. Dubs House, Natchez, MS.

1177. American Coin Silver Partial Flatware Service, William Gale & Son, New York, 1852, “Mayflower” pattern, marked “W.G & S” in rectangle and with trademark for 1852, incl. 6 dinner forks, 6 luncheon forks, 5 dessert spoons, 12 teaspoons and 6 tablespoons, all with old script monogram “MER” on reverse, 35 pcs., total wt. 54.45 troy ozs. $800/1200

1175. Four Savannah Coin Silver Dinner Forks, Frederick Marquand (1799‑1882), act. Savannah 1820‑1826, New York, 1826‑1839, marked “F.M.” in rectangle and with pseudo hallmarks, date mark for 1825; fiddle typt handle, script monogram “B” on reverse, l. 8 1/ in., wt. 10.30 troy ozs. $300/500 Provenance: Estates of William and Sarah McGehee, Dr. Dubs House, Natchez, MS. Ref.: Williams, James A. “Savannah silver and silversmiths”, The Magazine Antiques, March 1967, p. 368; Cutten, George Barton. The Silversmiths of Georgia, pp. 85‑88.

1178. Hyde & Goodrich Coin Silver Repoussé Pitcher, c. 1850, New Orleans, wc. 1828‑1861, marked “HYDE & GOODRICH” in rectangle, lobed pear shape with alternating panels of Continental landscapes and floral scrolls, vacant cartouche, foliate scroll handle, reticulated shell and scroll feet, h. 10 3/4 in., wt. 28.05 troy ozs. $1200/1800

1176. Set of Eight American Coin Silver Dessert Knives, Samuel Trevitt Crosby, Boston, wc. 1848‑1876, marked “S.T. CROSBY” and “PURE‑COIN” incuse on blade, bead pattern, engraved Gothic monogram “EE” above “1854”, l. 7 7/8 in., wt. 13 troy ozs. $400/600 Provenance: Estates of William and Sarah McGehee, Dr. Dubs House, Natchez, MS.

1179. Good Group of American Sterling Silver Objects, late 19th/early 20th c., incl. page turner, Shreve, Crump & Low, Boston, wc. 1869‑present, with engraved monogram and presentation date Sept. 16‑1919, l. 11 in.; desk scissors in repoussé sheath, Davis & Galt, Philadelphia, wc. 1888‑1915, l. 10 1/4 in.; and small perfume flask, Tiffany & Co. Makers, New York, pattern introduced 1910, h. 3 3/8 in.; total wt. (weighable) 8.70 troy ozs. $300/500

Note: Two Hyde & Goodrich pitchers with identical handles and feet are illustrated in Crescent City Silver, p. 14 and p. 17.

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

1180. Group of Silver Hollow Ware, incl. Reed & Barton “Trajan” pattern sterling silver vegetable bowl, date mark for 1940, 9 1/2 in. x 9 1/2 in.; Reed & Barton “Les Six Fleurs” sterling bonbon dish, date mark for 1951, dia. 5 1/2 in.; and Continental silver tray with repoussé floral scroll border, 14 1/8 in. x 9 3/4 in. $300/500

1181. Sterling Silver Reticulated Repoussé Basket, probably American, grape, grapeleaf and strawberry motif, glass liner, h. (to top of handle) 7 in., l. 7 1/4 in., d. 5 in.; together with an American sterling silver creamer, h. 3 7/8 in., and a pair of castors, h. 4 1/2 in., total wt. (weighable) 13.50 troy ozs. $200/300

1184. Gorham Sterling Silver Tray, date mark for 1896, shaped oval with molded scroll border, handles and feet, 17 1/2 in. x 9 1/8 in., wt. 27.35 troy ozs. $600/900

1185. American Sterling Silver Revere Bowl, mid‑20th c., International Silver Co., Mistick Krewe of Comus presentation inscription, h. 6 in., dia. 11 5/8 in., wt. 51.20 troy ozs. $700/1000

1182. Watson “Windsor Rose” Pattern Sterling Silver Flatware Service, pat. 1940, incl. 8 forks (l. 7 1/4 in.), 8 knives (l. 9 1/8 in.), 8 salad forks, 16 teaspoons, 7 butter spreaders (fh), 3 tablespoons, cold meat fork, gravy ladle, sugar shell and master butter knife, total wt. (weighable) 59 troy ozs. (54 pcs.) $500/750

1183. Group of Westmorland “Milburn Rose” Pattern Sterling Silver Flatware, pat. 1940, incl. 8 salad forks, 8 iced tea spoons, tablespoon, slotted tablespoon, cold meat fork, gravy ladle, sugar shell, master butter knife (fh), and cake knife, total wt. (weighable) 26 troy ozs. (23 pcs.), in storage case (as is). $250/350

1186. American Sterling Silver Flatware Service for Twelve, International “Fontaine” pattern, pat. 1924, incl. 12 each: forks (l. 7 1/4 in.), salad forks, dessert spoons, soup spoons, bouillon spoons, cocktail forks, ice cream forks, butter knives, and iced tea spoons, 13 knives (l. 9 1/2 in.), 24 teaspoons, 3 tablespoons, cold meat fork, 2 pc. salad server, 3 pc. carving set, poultry shears, cake knife, gravy ladle, sugar shell, and master butter knife (fh), total wt. (weighable) 167 troy ozs.; 159 pcs.; in a Henkels‑Harris mahogany fitted silver chest on stand. $1500/2500 Additional information at www.nealauction.com

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1187. American Sterling Silver Oval Platter, mid‑20th c., l. 18 1/8 in., w. 13 in., wt. 34.90 troy ozs. $300/500

1188. Pair of Gorham Sterling Silver Master Salt Cellars, date mark for 1890; together with pair of Fisher master salts with cobalt glass liners, 2 Gorham “Chippendale” master salt spoons, 6 Whiting “Imperial Queen” demitasse spoons (l. 3 in.), 6 Continental silver demitasse spoons and 2 Webster individual salt spoons. $300/400

1189. Good Group of Antique and Vintage American Small Sterling Silver Objects, incl. Gorham repoussé vesta case, Art Nouveau repoussé vesta case, 2 Gorham butter pats, 3 assorted Gorham nut dishes, 2 Web sterling napkin rings, 2 tripartite pill boxes, miniature urn, 2 infusers and antique napkin ring. $200/300

1190. American Sterling Silver Flatware Service, International Silver Co. “Wedgwood” pattern, pat. 1924, incl. 12 each: forks (l. 7 3/4 in.), knives (l. 9 1/2 in.), salad forks, cocktail forks, soup spoons, teaspoons and iced teaspoons, 3 pc. carving set, 4 tablespoons, gravy ladle and sugar shell, total wt. (weighable) approx. 91 troy ozs., in a Reed & Barton mahogany fitted flatware chest. $1500/2000

1193. Pair of Gorham Silverplate Three‑Light Candelabra in the Georgian Taste, convertible to single candlesticks, removable bobêches, h. 15 1/4 in., estate condition. $250/350

1197. Antique English Silverplate and Ivorine Fish Service for Six, Allen & Darwin, Sheffield, 1895, comprised of 6 forks and 6 knives with sterling silver ferrules, fitted mahogany case; together with a large group of antique and vintage dinner knives, including 24 with hollow silver handles, various patterns, and 46 with ivorine handles of various designs. $300/500

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1191. American Sterling Silver Trumpet Vase, Watson Company, Attleboro, MA, act. 1880‑1955, with 1930 presentation inscription, weighted base, h. 14 1/8. $250/350

1192. Good Group of Miscellaneous Silver, incl. George III sterling silver fish slice, London, 1799, prob. John Shekleton, bone handle, l. 11 3/8 in.; pair of American coin silver master salts, Charters, Cann & Dunn, New York, wc. 1848‑1854; Gorham sugar tongs, sterling twist handle olive spoon, Mechanics sterling sauce ladle, and a silverplate barrel‑shaped napkin ring. $200/300

1194. Twenty‑Four American Sterling Silver Christmas Tree Ornaments, various makers incl. Gorham “Snowflakes” for 1970 (3), 1971 (2), 1972, 1973, 1974, 1975 (3), and 1978; Reed and Barton “Christmas Crosses” for 1972 (3), 1973 (3), 1974 (3) and 1975; Towle “Partridge in Pear Tree” for 1971; and Lunt trefoil for 1972, approx. dia. 2 1/2 in. to 3 1/2 in., total wt. 15.15 troy ozs.; together with a Mignon Faget “Le Petit Theatre” gilt metal Adornament for 2013; most ornaments retains their Pacific cloth dust covers. $500/700

1195. Good Group of Antique and Vintage English Sterling Silver Tableware, incl. hot milk jug, marks rubbed, probably Chester, 1895, ebonized handle, h. 7 3/8 in.; open sugar bowl, Walter Latham & Son, Sheffield, 1908; and helmet‑form creamer, Birmingham, 1955; total wt. 17.45 troy ozs. $500/700

1196. Group of Antique and Vintage English Sterling Silver Tableware, incl. gadrooned bowl, Thomas Bradbury III & John S. Henderson, London, 1879, h. 2 in., dia. 3 3/4 in.; brandy warmer, London, 1973; shell‑shaped condiment dish, Akin Brothers, Sheffield, 1898, associated spoon; and small creamer, marks rubbed, total wt. 10.85 troy ozs. $300/500

1198. Good Group of Antique and Vintage Silverplate Serving Pieces, inc. tea tray with swan and cattail decoration, 31 1/2 in. x 19 in.; circular gallery tray, dia. 16 3/8 in.; pair of covered warming stands on burners, l. 13 1/4 in.; and 2 revolving breakfast tureens, l. 14 1/8 in. and 12 1/2 in. $300/500

1199. Set of Twelve Georgian‑Style Silverplate Dinner Plates, gadrooned border, engraved armorial crest, dia. 10 3/8 in. $400/600

1200. Pair of Georgian‑Style Silverplate Three‑Light Candelabra, Ellis‑Barker, Birmingham, 20th c., menorah mark, gadroon borders, removable flame finial, h. 14 1/2 in. Note: Convertible to single candlestick, one candlearm dented. $250/350

1201. Jay Chester for Gus Mayer Dark Brown Mink Coat, approx. size 6‑8, labeled, wing collar, hook and eye front closures, side pockets, side slits, silk lining embroidered “Barbara Benbow”, l. 45 in. $600/800

1202. American Sterling Silver Folding Travel Clock, case marked “Theodore B. Starr Inc., New York”, Longines 7‑day movement, Arabic numerals, scroll and floral engraving on case. $200/300

1203. German Blue and White Porcelain‑Mounted Walnut Mantel Clock, c. 1900, striking gong movement marked “W & H, Sch.” for Winterhalder & Hofmeier, h. 12 1/2 in., w. 8 1/2 in., d. 5 1/2 in. $400/600

1204. English Brass Travel Carriage Clock, c. 1900, with alarm, bale handle, visible escapement, each side with beveled glass, h. 4 1/2 in., w. 3 1/4 in., d. 2 1/2 in., original case. $100/150

Provenance: The Sturm Collection.

1205. Two American Victorian 14 kt. Yellow Gold Crescent Pins, one set with Oriental pearls, the other with alternating Ceylon sapphires and Oriental pearls; together with an American Art Deco 10 kt. yellow gold bar pin set with 8 Oriental pearls and 3 Ceylon sapphires. $300/400

1206. American 14 kt. Yellow Gold, Gold Mesh and Cabochon Sapphire Coin Purse, c. 1920, l. 2 1/8 in., wt. 25.5 dwt. $600/800

1207. Georgian 18 kt. Yellow Gold and White Carnelian Octagonal Fob Seal, well‑carved crest with motto “Potestas et Industria”, with split ring. $700/1000

1208. Four Strand Seed Pearl Necklace with 14 kt. Yellow Gold, and Gemstone Clasp and Matching Earrings, set with cabochon pink tourmalines, aquamarines, faceted amethysts and small pearls, small losses to one earring, the other earring back “as is”, necklace l. 29 in. $700/1000

1209. 14 kt. Yellow Gold, Diamond and Eight Strand Biwa Pearl Necklace, clasp set with 7 single cut diamonds, l. 27 1/2 in. $400/600

1210. American 14 kt. Yellow and Rose Gold Chateleine, fitted with button hook, mother‑of‑pearl mounted toothpick and Art Nouveau watch fob and seal. Note: Associated components. $300/500

1211. Two Georgian Gold Oval Fob Seals, one set with carnelian carved with motto “Foy Pour Devoir (Faith for Duty)”, the other with set with sardonyx carved with motto “Ne Cede Malis Sed Contra”, with split ring. $700/1000

1212. Two Georgian Gold or Gold Shell Fob Seals, one set with bloodstone carved with cross and sword with motto “Perimus Licitis (We Perish by What is Lawful)”, the other set with white carnelian carved with rubbed motto. $500/700

1213. Antique American 14 kt. Yellow Gold Locket with Black and White Carved Stone Cameo, on 14 kt. yellow gold rope chain, wt. 14 dwt. $300/500

1214. 14 kt. Yellow Gold and Diamond Solitaire Pendant on Chain, set with 1 brilliant cut diamond, approx. .55 ct., color H‑I, clarity VS1‑VS2. $700/1000

1215. 18 kt. Yellow Gold, Ruby and Diamond Cluster Ring, set with 6 round faceted rubies, totaling approx. .30 ct., and 1 brilliant cut diamond, approx. .10 ct., ring wt. 7.1 dwt. $500/750

1216. Platinum, Ruby and Diamond Triple Band Ring, set with 10 baguette natural rubies totaling approx. 1.20 cts., and 13 brilliant cut diamonds totaling approx. .75 ct., color I‑J, clarity VS1‑VS2. $1500/2000

Additional information at www.nealauction.com

131

1218. 14 kt. Yellow Gold Mesh Bracelet, polished herringbone design, square clasp, wt. 29.1 dwt. $800/1200

1219. Four Strand 6‑6.5 mm. Cultured Pearl Bracelet, with 14 kt. yellow gold clasp set with 3 jade cabochons and 5 faceted rubies; together with 14 kt. yellow gold ring with green and black jade cabochons and pearls. $600/800

1220. Pair of 18 kt. Yellow Gold, Garnet, Amethyst, Peridot and Citrine Earrings and Matching Pin . $400/600

1223. Man’s Rolex 14 kt. Yellow Gold and Stainless Steel Oyster Perpetual Date Wristwatch, with fluted gold bezel and square dot markers, gold and stainless “Jubilee” bracelet. Note: Dial abraded, bezel scratched, some water damage. $1000/2000

1224. 14 kt. Yellow Gold and Diamond Dome Ring, with 19 bezel‑set round brilliant cut diamonds, approx. total wt. .56 cts., E‑G color, Sl‑1 to S1‑2 clarity, flanked by 16 channel‑set baguette cut diamonds, approx. total wt. .59 cts., E‑G color, VVS‑2 to VS‑1 clarity, total wt. 6 dwt. $400/600

1217. 14 kt. Yellow Gold Mesh Necklace, with “Florentine” ornament and tassels, wt. 44.2 dwt. $1200/1800

1221. 14 kt. Yellow Gold and Oval Faceted Amethyst Ring. $300/400

1222. 14 kt. White Gold, Emerald and Diamond Dome Ring, central brilliant cut emerald, 1.58 cts., flanked by 6 prong‑set pear standard brilliant cut emeralds, approx. total wt. 1.62 cts., 18 single‑cut diamonds, approx. total wt. .43 cts., E‑F color, Sl‑1 to S1‑2 clarity, and 24 baguette‑cut diamonds, approx. total wt. 2.20 cts., E‑F color, VS‑2 to S1‑2 clarity, total wt. 9 dwt. $800/1200

Provenance: Garden District New Orleans Estate.

1225. Indian Yellow Gold Pin of Prancing Horse with Ruby Eyes, unmarked, probably 18 kt. $200/300

1229. Yellow Gold and Diamond Gentleman’s Ring, unmarked, probably 14 kt., set with a full cut diamond approx. .50 ct., K‑L color, SI2‑I1 clarity. $300/500

132

1226. Nigerian Gold Filigree “Slave” Ring, unmarked, low carat; together with a carved lapis lazuli cat pendant with 14 kt. yellow gold eyes and bail. $200/300

1227. 14 kt. Yellow Gold, Sapphire and Diamond Band Ring, set with cushion‑cut natural blue sapphire, approx. 1 ct., and 6 full cut diamonds. $400/600

1230. 14 kt. Yellow Gold and Natural Star Ruby Gentleman’s Ring . $300/400 1231. Art Nouveau Yellow Gold, Turquoise and Pearl Necklace, unmarked, probably 14 kt. $200/300

1228. 14 kt. Yellow Gold, Amethyst and Diamond Ring, set with faceted oval amethyst and 38 small full cut diamonds. $300/500

1232. Partial Set of Baccarat Crystal Stemware, incl. 11 red wine, 12 white wine, 10 champagne coupes, 11 port, 10 large aperitif, and 7 small aperitif. $500/700

1233. Moser Enameled Cobalt Glass Dome Top Dresser Box, c. 1880, brass mounts, bale handles, h. 4 1/2 in., w. 5 in., d. 3 in. $300/500

1234. Pair of French Cranberry Cut‑to‑Clear Glass Boxes, c. 1880, brass mounts, h.3 1/4 in., w. 4 1/8 in., d. 3 in. $300/500 Provenance: Sallea Antiques, New Canaan, CT.

1235. Three French Bronze‑Mounted Black Cut Glass Boxes, c. 1900, each acorn shaped on foliate base, tallest h. 8 1/2 in., dia. 4 1/2 in. $400/600

Provenance: Sallea Antiques, New Canaan, CT.

1236. Two Lalique Molded and Frosted Glass Vases, one amethyst, other amber, faceted bodies, necks banded with roses, bases etched “Lalique France”, h. 6 1/2 in. $400/600 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

1238. Two Continental Cut Crystal Dresser Boxes, 20th c., hinged lids, h. 4 1/4 in., w. 3 in., d. 3 in. and h. 2 3/4 in., w. 7 in., d. 4 1/2 in. $200/300 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA. 1237. Lalique Molded and Frosted Amber Glass Bud Vase, with design of clover heads, base etched “Lalique France”, h. 5 3/8 in. $200/300

1239. Lalique Molded and Frosted Amber Glass “St. Jacques” Vase, modeled as three conjoined scallop shells, base etched “Lalique France”, h. 4 1/2 in., w. 4 1/2 in. $200/300

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

1240. Pair of Lalique Molded and Frosted Glass “Mesanges” Candle Holders, modeled as pairs of birds within prunus blossom wreaths, bases etched “Lalique France”, h. 6 1/4 in., w. 5 1/8 in., d. 4 1/2 in. $200/300 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

1241. Six Nickel‑Plate Klismos Chairs, incurvate crest rail, trapezoidal seat, flared legs, h. 32 in., w. 20 3/4 in., d. 19 1/4 in. $800/1200

1242. Louis XVI‑Style Bronze‑Mounted Beechwood Occasional Table, late 19th c., serpentine marble top, conforming frieze, stretcher shelf, cabriole legs, h. 28 1/2 in., w. 17 1/2 in., d. 17 1/2 in. $300/500

1243. Louis XV‑Style Bronze‑Mounted Kingwood Parquetry and Marquetry Bombé Commode, serpentine marble top, two conforming drawers, shaped skirt, cabriole legs, h. 33 in., w. 46 in., d. 21 in. $300/500

1244. Louis XVI‑Style Bronze‑Mounted Kingwood Parquetry and Marquetry Occasional Table, galleried oval top with floral spray inlay, frieze drawer, kidney‑shaped stretcher shelf, canted chamfered uprights, cabriole legs, h. 30 1/2 in., w. 27 1/2 in., d. 17 1/2 in. $300/500

1245. Lajos (Louis) Jambor (Hungarian/American, 1884‑1955), “Practicing the Piano”, oil on canvas, signed lower right, 34 in. x 42 in., framed. $800/1200

1246. Francis Hopkinson Smith (American, 1838‑1915), “Interior of Westminster Abbey”, conté crayon on board, signed lower left, handwritten label with artist, title and provenance en verso, sight 21 3/4 in. x 27 1/2 in., framed. $500/700

1247. Royal Bonn Earthenware Vase, early 20th c., crown above FM shield mark, looped leafy branch handles, scroll feet, bird and flower decoration with raised gilt highlights, h. 9 in., w. 10 in. $200/300

1248. Pair of Pale Blue Glazed Bisque Menu Card/Posie Vases, early 20th c., h. 7 in., w. 4 1/4 in. $150/200

Provenance: The Zigler Art Museum, Jennings, LA.

Provenance: The Sturm Collection.

Provenance: The Sturm Collection. Additional information at www.nealauction.com

133

1249. Set of Six American Classical Pressed Brass Tiebacks, 19th c., floral design, dia. 5 in., d. 5 1/4 in. $250/350

1250. Four French Marble Tazzas, late 19th c., incl. pair of red variegated with bronze mounts, one portor and white, and one gray variegated with bronze mounts, tallest h. 8 1/2 in. $200/300

1251. Pair of Dresden-Style Porcelain Figural Three‑Light Candelabra, late 19th/early 20th c., entwined CN marks, h. 11 3/4 in., w. 8 1/2 in. $150/250

1252. French Gilt Bronze Dresser Box, hinged lid, padded interior, cabriole legs, h. 3 3/4 in., w. 4 1/4 in., d. 3 1/4 in. $200/300

1253. Brass‑Mounted Sevres‑Style Porcelain Dresser Box, c. 1900, bleude-roi ground with raised gilt decoration and polychrome reserve, signed “Legros”, brass mounts, hinged lid, h. 3 1/4 in., w. 7 1/2 in., d. 7 1/2 in. $250/350

1254. Royal Vienna‑Style Porcelain “Napoleon” Cabinet Cup and Saucer, late 19th c., “beehive” mark, h. 2 1/2 in., dia. 5 in.; together with gilt hand mirror inset with portrait miniature, l. 11 in. $200/300

1255. Antique French Bronze Chamberstick, marked “F. Barbedienne”, in the form of a classical Roman oil lamp, h. 2 3/8 in.; together with turned fruitwood cask inscribed “FONTAINEBLEAU” and fitted with a glass bottle, h. 4 5/8 in. (2 pcs.) $150/250

1256. French Cloisonné and Onyx Encrier and Chamberstick, 20th c., stick h. 2 1/2 in. $200/300

1257. English Mother‑of‑Pearl and Silverplate Fruit Set for Six; together with 6 ivorine and silverplate fruit knives, and 6 ivorine and silverplate fruit forks with oak case. $150/250

1258. Antique English Agate Handle Fruit Set for Four. $150/250

1259. Group of English Sterling Silver Flatware, 19th c., various makers, incl. a crested master butter knife, Elizabeth & John Eaton, London, 1860, l. 8 in.; 3 forks, l. 7 in., dessert spoon and 2 teaspoons, total wt. approx. 10 troy ozs.; together with 2 silverplate cold meat forks, Roberts and Belk, Sheffield, late 19th c., l. 8 in. $250/350

1260. Two Brass and Cut Crystal Hall Chandeliers, 20th c., with spear prisms, electrified, h. 34 in., dia. 16 in. Note: Condition. $150/250

1263. Pair of American Mold‑Blown and Cut Glass Decanters, 19th c., lobed paneled bodies, faceted stoppers, h. 10 1/4 in. $400/600

1264. French Amethyst Glass Cruet with Stopper, 19th c., “twist” surface, h. 9 1/8 in., d. 2 7/8 in. $150/250

Provenance: Joe Kindig, York, PA.

1261A. American Aesthetic Silverplate and Pressed Glass Pickle Castor with Tongs, Charles Rogers, late 19th c., h. 10 1/2 in. $100/200

1261. American Bronze Spreadwing Eagle Lamp, early 20th c., stepped pedestal base, h. to socket 23 in., w. 5 3/4 in., d. 7 in. $125/200

134

1262. Pair of American Bronze Gasolier Sconces, 19th c., scrolled arm, garland and ribbon etched shade, h. 9 in., w. 15 in., d. 7 3/4 in. $400/600

1266. Pair of Chinese Famille Jaune Porcelain Bowls, late 19th/early 20th c., decorated with figural roundels on a floral ground, bases with Qianlong marks, h. 2 1/2 in., dia. 5 1/8 in. $150/250 Provenance: Garden District New Orleans Estate. 1265. French Brass and Crystal Carriage Clock, early 20th c., visible escapement, all sides with beveled glass, bale handle, h. 4 1/2 in., w. 3 2/8 in., d. 2 2/8 in. $75/150

1267. Pair of Chinese Polychrome Porcelain Ducks, mid‑20th c., bases with You Sang Sing factory marks, h. 10 1/4 in.; together with a pair of polychrome porcelain phoenix birds, h. 12 1/4 in. (4 pcs.) $100/200 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

Provenance: The Sturm Collection.

1269. Pair of Chinese Tessellated Bone Emperor and Empress Figures, 20th c., each modeled seated on a dragon throne, male holding a gift, female with a ruyi scepter, h. 17 1/4 in., w. 9 3/4 in., d. 8 1/2 in. $300/500 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

1273. Two Mughal‑Style Paintings, 20th c., depicting figures in garden settings, each tempera on canvas mounted to panel, 7 1/2 in. x 5 1/2 in., framed alike. $100/150 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

1268. Chinese Oxblood Porcelain Baluster Vase, late 19th/early 20th c., 15 1/4 in., stand, overall h. 16 3/4 in. Note: Neck restored, base drilled. $150/250

1270. Monumental Japanese Satsuma Pottery Vase, probably Meiji Period (1868‑1912), winged beast handles, banded flared neck, foliate rim, splayed foot, decorated with figural scenes with raised gilt and moriage highlights, base marked, h. 30 3/4 in. $300/500

1271. Pair of Art Deco Japanese Noritake Porcelain Vases, early 20th c., Maruki/Komaru/tree crest marks, raised gilt floral decoration on a royal blue painted pale blue ground, h. 9 7/8 in. $200/300

1274. American Art Nouveau Chip Carved Maple Plant Stand, early 20th c., flared supports, stretcher shelf, dolphin and shell motif, h. 36 in., w. 12 in., d. 12 in. $150/250

1275. American Carved Oak Display Cabinet, late 19th c., shaped crest, griffin‑mounted serpentine case, mirror back, glazed door and shelves, paw feet, h. 66 1/2 in., w. 44 in., d. 21 in. $500/800

1272. Pair of Japanese Metal Vases, probably early 20th c., with raised chrysanthemum and bird decoration on a gilt splashed ground, h. 9 1/2 in. $150/250 Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

Note: Registered in London in 1908 and in Japan in 1911, the Maruki mark (formerly known as the Komaru mark) of Noritake is believed to be specific to items made for export to the United Kingdom.

1276. Victorian Wicker Platform Rocking Chair, late 19th/early 20th c., elaborately woven back, finialed uprights, scrolled braided arms, arched legs, h. 47 1/4 in., w. 27 in., d. 22 1/4 in. $150/250

1277. Regency Brass Inlaid Mahogany Supper Table, early 19th c., banded tilt top, turned and reeded standard, gadrooned collar, saber legs, brass paw feet, casters, h. 28 in., dia. 49 in. $500/1000 1278. Antique Queen Anne‑Style Carved Walnut Pole Screen, acorn finial, Bargello needlepoint screen, turned standard, cabriole legs, pad feet, h. 59 3/8 in., w. 24 3/8 in., d. 25 1/4 in. $150/250

Additional information at www.nealauction.com

135

1279. English Figured Mahogany Linen Press, 19th c., upper case with arched paneled doors enclosing sliding linen shelves, lower case with four drawers, plinth base, suppressed ball feet, h. 87 in., w. 55 1/2 in., d. 21 1/2 in. $800/1200

1281. Federal‑Style Inlaid Mahogany Bowfront Sideboard, 19th c., crossbanded top, single drawer flanked by a deep drawer and cupboard, quarter fan inlay, square tapered legs, spade feet, poplar secondary wood, h. 36 in., w. 49 1/4 in., d. 20 in. $300/500

1285. Chippendale‑Style Carved Mahogany Armchair, shaped crest rail, reticulated splat with foliate cartouche, reeded stiles, serpentine arms, trapezoidal slip seat, acanthine cabriole legs, claw and ball feet, h. 38 in., w. 23 1/4 in., d. 23 in. $200/400

1282. American Federal Carved Mahogany Drop‑Leaf Table, early 19th c., shaped drop leaves, frieze drawer, ring‑turned tapered legs, button feet, h. 28 1/2 in., w. 38 1/2 in., d. 22 in. $400/600

1283. Chippendale‑Style Carved Mahogany Torchère, 20th c., rope twist standard, ball and claw feet, h. 52 1/2 in., shelf dia. 10 in. $250/350

1286. American Classical Carved Mahogany Two Part Dining Table, early 19th c., each section with drop-leaf swivel top, pedestal support, shaped plinth, scrolled feet, casters, h. 28 1/2 in., l. 96 1/2 in., w. 45 1/2 in. $500/800

1288. Queen Anne Mahogany Drop‑Leaf Table, 18th c., tapered legs, two swing legs, pad feet, h. 27 1/4 in., w. 41 in., d. (closed) 17 1/2 in., d. (open) 46 1/4 in. $700/1000

136

1280. Antique English Carved Walnut Wing Chair, shaped wings and arms, scrolled supports, molded stretcher centered by a finial, shaped feet, h. 43 3/4 in., w. 33 in., d. 26 in. $400/600

1284. Antique American Federal‑Style Mahogany Slant Front Desk, probably 19th c., molded lid, fitted desk interior with shell-inlaid prospect door, two over three graduated molded drawers, bracket feet, h. 42 in., w. 43 in., d. 20 3/4 in. $300/500

1287. Chippendale‑Style Mahogany Camelback Settee, 20th c., molded legs, stretchers, loose seat cushion, h. 30 3/4 in., w. 62 in., d. 27 1/4 in. $300/500

1289. Ten Queen Anne‑Style Mahogany Dining Chairs, 20th c., incl. nine side chairs and one armchair, shaped crest rails, vasiform splats, trapezoidal slip seat rails, cabriole legs, pad feet, armchair h. 37 1/2 in., w. 26 3/4 in., d. 19 1/2 in., side chair h. 37 1/2 in., w. 20 1/2 in., d. 19 1/2 in. $600/900

1290. George III‑Style Mahogany Demilune Table, banded top, conforming frieze, molded tapered legs, spade feet, h. 28 1/2 in., w. 46 in., d. 19 in. $200/400

1291. Pair of Antique English Elm Windsor Chairs, late 19th c., spindled hoop backs, pierced splats, horse shoe arms, saddle seats, cabriole legs, pad feet, h. 44 1/2 in., w. 26 1/2 in., d. 18 in. $200/400

1295. Two Meerschaum Carved Pipes, one with a horse, other with two dogs, l. 6 1/4 in. and 3 1/2 in., cases; together with two carved wood pipes, one with dog, other with lizard, as is, l. 4 in. and 3 in. (4 pcs.) $150/250

1293. Louis Vuitton Monogram Canvas Duffle Bag, leather trim and piping, gold tone hardware, retains lock and key, l. 23 1/2 in. $200/400 1292. Small Georgian‑Style Mahogany Dumbwaiter, octagonal tops with scalloped galleries, stop-fluted standards, sabre legs, h. 27 in., w. 18 in., d. 18 in. $125/200

1296. Pair of American Blown Glass Whale Oil Lamps, mid‑19th c., probably Sandwich, ovoid fonts on tiered cushion bases, engraved ruffled shades with blue trim, h. 12 in. $600/900 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

1299. American Twelve‑Inch Table Globe, c. 1875, cartouche “The Franklin Terrestrial Globe...Nims & Knight, Troy, N.Y.”, half meridian, nickel‑plated cast‑iron base with floral and Greek‑key motif, h. 21 in. $300/500

1300. Georgian‑Style Carved Mahogany Cheval Mirror, oval beveled mirror plate, turned supports, saber legs, h. 64 7/8 in., w. 24 1/4 in., d. 23 3/4 in. $150/250

Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

1297. American Twelve‑Inch Globe on Stand, 1855, cartouche “Loring’s Terrestrial Globe...Compiled from Smith’s new English globe...improvements by Annin & Smith, Revised by G.W. Boynton, Manufactured by Gilman Joslin, Boston”, full brass meridian, horizon band with months and zodiac signs, h. 18 in. Note: Restorations. $600/900 Ref.: Dekker, Elly and Peter van der Kroght. Globes from the Western World, London, Zwemmer, 1993, pg. 126.

1301. Monumental American Oak Bank Clock, c. 1895, by Seth Thomas, painted dial, hands incorporating fleur‑de‑lis, winding key also operates the dial door, case with scroll brackets, pendulum movement, h. 30 in., w. 43 in., d. 7 3/4 in. $1200/1800 Provenance: Originally installed in the Kent County Savings and Loan Bank, Chestertown, MD.

1294. Good Group of Five Pieces of Americana, 18th/19th c., incl. an hourglass; a silver inlaid eyeglass case with spectacles; a gilt‑tooled leather covered box; a walnut document box; a needlepoint book holder for “George Green”, with an 1839 copy of Lives of the Presidents...; and a walnut watch hutch; together with a silver pair‑cased watch, signed “F. Lewis, London”, watch hutch h. 9 3/4 in. $600/900

1298. American Sixteen‑Inch Table Globe, c. 1927, cartouche “16 inch Political Terrestrial Globe Cram’s (Since 1867)”, full meridian, “bronzed” cast‑iron base, h. 24 in. Note: Meridian with clean break. $300/500

1302. Continental Walnut Regulator Clock, c. 1900, dial 6 1/2 in., triple‑weight, striking gong movement, h. 53 in., w. 16 3/4 in., d. 7 1/2 in. $400/600

1303. New Orleans Double‑Barrel Shotgun, 19th c., marked “J. SAGET & SON NEW ORLEANS”, engraved lock plates and triggers, barrel l. 35 3/4 in. $600/900

1303A. Papal Rapier with Mother‑of‑Pearl Handle, c. 1880, enameled Maltese cross, foliate etched blade, with remnants of scabbard, l. 38 in. $100/200

1304. Martin B. Leisser (American, 1846‑1940), “Portrait of a Man in a Hat”, 1877, oil on canvas laid down on board, signed and dated lower right, 29 in. x 24 3/4 in., framed. $700/900

1305. Enoch Wood Perry, Jr., N.A. (American, 1831‑1915), “Woodland Brook near the Village of Seis in Tyrol”, 1911, oil on canvas, signed, titled and dated lower left, 16 1/8 in. x 20 1/8 in., framed. $150/250

Additional information at www.nealauction.com

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1306. American School, 19th c., “Captain Samuel Beekman (1767‑1850) and Helen Ten Broeck Beekman (1768‑1855)”, cut out silhouettes, unsigned, handwritten inscription identifying sitters en verso, sight 4 3/4 in. x 7 in., framed together; accompanied by handwritten letter and envelope, Jan. 19, 1986. (2 pcs.) $150/250 Provenance: Descended in the Beekman family.

1310. English Carved and Burl Walnut Loo Table, mid‑19th c., figured oval top with banded inlay, reduced supports, drum stretcher, outswept carved legs, h. 25 1/2 in., w. 35 in., d. 21 in. $400/600

1307. American Classical Figured Mahogany Secretary Bookcase, c. 1840, flared cornice, upper case with paneled doors, shelf interior, two bolection drawers, lower case with fall front writing surface, bolection frieze drawer, two long drawers, scrolled supports, scrolled feet, h. 79 1/4 in., w. 51 1/4 in., d. 19 1/4 in. $500/700

1311. English Carved Oak MirrorBack Sideboard, late 19th c., superstructure with molded cornice, columnar supports, blocked base, lower case with three cabinets, two drawers, and pedestal feet, h. 76 3/4 in., w. 66 1/4 in., d. 23 in. $400/600 Provenance: Collection of Nan Wier, New Orleans, LA.

1314. Vintage American Oak Telephone Booth, 20th c., with Automatic Electric Company rotary dial pay phone, accordion door, ventilator/light, counter, and seat, h. 83 1/2 in., w. 29 1/2 in., d. 30 1/2 in. $600/900

1315. Ecclesiastical Processional Umbrella, c. 1900, cross finial, white damask with gold fringe, h. 73 in., w. 36 in., d. 36 in. $150/250

1318. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Long Memorial”, silver gelatin print, signed lower right, inscribed “Robert L. Winans 599” and “Stamp of Authenticity / This print is from the Fonville Winans Estate Collection 1995” stamp en verso, 4 3/4 in. x 3 1/4 in., unframed; together with American School, 20th c., “Portrait of W. Boyer”, silver gelatin print, inscribed “With best regards to my very good friend, Fonville Winans, W. Boyer” lower right, sight 10 in. x 7 7/8 in., framed. (2 pcs.) $400/600 Provenance: Estate of Theodore “Fonville” Winans, Baton Rouge, LA.

138

1308. American Rococo Carved Walnut Mirror-Back Chest, mirror with arched foliate and fruit-carved crest, conforming supports, marble top, four graduated paneled drawers, shaped bracket feet, h. 85 1/2 in., w. 47 1/2 in., d. 23 1/2 in. $300/500

1309. American Renaissance Carved and Burled Walnut MirrorBack Washstand, c. 1880, architectonic crest, mirror flanked by two candle shelves, later variegated marble top, three drawers and lower cabinet door; now fitted with a Potsalot Pottery, New Orleans, shell-shaped sink and associated hardware, h. 74 in., w. 31 in., d. 17 in. $400/600

1312. Botemir Carpet, c. 1950, Iran, red ground, blue repeating designs, 7 ft. 4 in. x 11 ft. $600/900

1313. Kirman Carpet, sky blue ground with overall floral design in pinks and beiges, 8 ft. 10 in. x 11 ft. 8 in. $500/700

1316. Theodore “Fonville” Winans (American/Louisiana, 1911‑1992), “Woodworker”, 1939, vintage silver gelatin print, signed and dated lower right in white ink, pencil‑titled, dated and estate numbered “373 F” en verso, 13 7/8 in. x 11 in.; and Theodore “Fonville” Winans and Robert Winans (American/Louisiana, 20th c.), “Natalia”, c. 1988, vintage hand‑colored photograph, unsigned, 16 in. x 20 in., both unframed. (2 pcs.) $400/600

1317. Theodore “Fonville” Winans (American/Louisiana, 1911‑1992), “Louisiana Governor Richard W. Leche”, 1938, vintage silver gelatin print, signed and dated lower right, “Fonville Winans Estate Collection”, 1995, stamp en verso, 4 7/8 in. x 3 7/8 in., unframed; together with “Leche Enjoying a Cocktail with Fonville Winans”, 1939, silver gelatin print, unsigned, dated en verso, 14 in. x 11 in., framed. (2 pcs.) $300/500

1319. William Watson Washburn (American/New Orleans, 1825‑1903), “Studio Portrait of a Fraternal Organization” and “Studio Portrait of a Family Dressed in Costume”, 2 albumen prints mounted on board, former printed “Washburn, 109 Canal St., New Orleans” on board, latter with embossed signature lower right, 12 in. x 15 3/4 in. and 9 1/2 in. x 13 in.; together with Theodore Lilienthal (German/New Orleans, 1929‑1894), “Captain Peter Christian Mandel”, hand‑colored albumen print mounted on board, “T. Lilienthal, Photographer, New Orleans” embossed stamp lower center, pencil inscription identifying sitter en verso, 16 in. x 13 in., unframed. (3 pcs.) $150/250

1320. C. Bennette Moore (American/New Orleans, 1879‑1939), “Brulatour Courtyard, French Quarter”, hand‑colored photograph, signed and inscribed “New Orleans” lower center, 30 in. x 24 in., period frame. $250/350

1321. Sessions Oak Calendar Clock, c. 1920, 11 1/2 in., dial “Made by the Sessions Clock Co., marked Forestville, Conn., U.S.A.”, h. 39 in., w. 18 in., d. 5 1/2 in. $300/500

1322. American Cast Iron Birdbath, 20th c., circular basin with two resting doves, lotus shaft, leaf pad base, verdigris paint, h. 33 in., w. 22 in., d. 20 1/2 in. Note: Basin loose on standard. $400/600

1325. Mussman Plains Percussion Rifle, 19th c., lock plate and barrel marked “MUSSMANN/ Pittsburgh”, half‑stock with patch box, octagonal barrel l. 32 3/4 in. $400/600

1327. U.S. Springfield Model 1864 Trapdoor, inspector mark, lock plate marked “U.S. Springfield, 1864” with eagle, barrel l. 36 1/2 in. $300/500

1323. Vintage American Nickel Slot Machine, 20th c., thunderbird design, Mills Novelty Co., Chicago, painted cast metal and wood, h. 26 in., w. 16 in., d. 15 in. $1000/1500

1324. Vintage American 25‑Cent Slot Machine, 20th c., “Mills Black Beauty”, Mills Novelty Co., Chicago, painted metal and wood, h. 26 1/2 in., w. 16 in., d. 15 1/4 in. $1000/1500

1326. English Percussion Rifle, 19th c., octagonal‑to‑round barrel marked “LONDON”, trigger guard with floral and acorn design, wrist with blank cartouche, barrel l. 46 in. $400/600

1328. U.S. Springfield Model 1873 Trapdoor Rifle, marked, Buffington rear sight, barrel l. 32 5/8 in. $300/500

1329. English Flintlock Fowling Rifle, 19th c., barrel l. 37 in. $300/500 1330. Stickley Brothers “Quaint” Oak Child’s Morris Chair, metal tag “Quaint Furniture, Stickley Bros. Co., Grand Rapids, Mich.”, folding slatted back, tapered arms, square drop‑in seat, square legs, h. 30 1/2 in., w. 20 3/4 in., d. 22 1/2 in. $300/500

1331. American Arts and Crafts Oak Morris Chair, 20th c., folding slatted back, slatted supports, square drop in seat, square arms and legs, h. 39 1/2 in., w. 30 in., d. 35 in. $300/500 Provenance: Collection of Nan Wier, New Orleans, LA.

Provenance: Collection of Nan Wier, New Orleans, LA; Rago/Craftsman Auction, Sept. 21, 2003, lot 732.

1332. Pair of Arts and Crafts Oak Single Beds, early 20th c., molded cornice, slatted headboard, conforming foot board, square legs, h. 49 1/4 in., l 77 in., w. 36 in. $300/500 Provenance: Collection of Nan Wier, New Orleans, LA.

1333. American Aesthetic Carved Mahogany Armchair, late 19th c., New York, scrolled back, shaped arms terminating in phoenix masks, reeded shaped legs. $200/300

1334. American Arts and Crafts Oak Slipper Chair, c. 1880‑1900, spindle back, rope‑turned medial stretcher and reeded legs, h. 30 in., w. 20 1/4 in., d. 17 1/2 in. $200/300

Additional information at www.nealauction.com

139

November 17, 18 & 19, 2017

•

Artist Index

A Conrad Albrizio, 572 Enrique Alferez, 587-589 Lourdes Almeida, 232 Martha Wright Ambrose, 612 American School, 532, 1065, 1123, 1306 Walter Inglis Anderson, 543, 544, 574, 575, 1119, 1120, (aft) 1121, (aft) 1122 William Arnold, 1115 Asian School, 755, 777 John James Audubon, 372, 686-689

140

B Charles Clement “Bervic” Balvay, 53 Léon Baskt, 919 Tony Bass, 923 Raine Bedsole, 929 Mark Bercier, 930 Wilson Bigaud, 1003 Antoine Bofill (aft), 684 Aaron Bohrod, 193, 217 Henry Botkin, 975 Oskar Brazda, 1082 Annie L. Colladay Braidwood, 521 British School, 51, 104 Emile Bruchon (aft), 22 William Henry Buck, 343 Fritz Bultman, 585, 586 Steele Burden, 226-229 James Edward Butterworth, 50 Enrico Butti, 272 Syndey Byrd, 860 C Domingo Calasaya, 905 John Wilson Carmichael, 1067 Laurent Casimir, 1128 Henry Casselli, 582 George Frederick Castleden, 974 Marc Chagall, 915, 916 Dale Chihuly, 234 Richard Clague, 344 Jean Cocteau, 157 Solomon Cole, 103 Clyde Connell, 191, 1129 Continental School, 102 Jack Cooley, 1118 Rosemary Farmer Corey, 861, 862 Edouard-Léon Cortès, 463 George David Coulon, 1110, 1111 Alvyk Boyd Cruise, 651 Jose-Maria Cundin, 599 D Salvador Dali, 163, 909, 910, 917, 918 Michael Dahl (attr), 1023 Edgar Degas, 161 Frances Washington Delahanty, 1064 Sonia Delaunay, 912 Eugene Delcroix, 233 Willem Dieperink-Langereis, 1066 Alexander John Drysdale, 388, 533, 604, 958, 961, 964 George Bauer Dunbar, 199203 George Valentine Dureau, 194, 924 Caroline Wogan Durieux, 158-

160, 164, 213 Dutch School, 1081 E Whitney J. Engeran, Jr., 931 Erté, 908 F Alan Flattmann, 611, 995 Leonard Flettrich, 198 E.J. Forrest, 648 Anacharsis Fourcade (attr), 112 French School, 108, 480, 724 Edith Harker Frohock, 602, 603 G Francois Gerard (aft), 482 Alphonse Leon Germain-Thill (aft), 708 Alberto Giacometti, 913 Charles Giroux, 362,387 Louis Oscar Griffith, 345, 346 Rolland Harve Golden, 224 Anne Goldthwaite, 222, 223 Robert Gordy, 195, 925 John Gould, 10, 12, 13 William Carl Groh, 1131 Armand Guillaumin, 464 Lena Gurr, 978 H Haitian School, 1000, 1001 Chestee Harrington, 969, 970, 1127 Orville James Hanchey, Sr., 867 George Henry Harlow (mnr), 49 George Overbury “Pop” Hart, 592 Shlomi Haziza, 891 Wilmot Emerton Heitland, 1112 Colette Pope Heldner, 960, 973, 996, 1133 Pavel Hlozek, 907 Morris Henry Hobbs, 231, 583, 613, 650, 1124 Thomas Holland, 906 Emil Eugen Holzauer, 546, 927 Robert Hopkin, 348 Emily Hamilton Huger, 647 Marie Atkinson Hull, 394 Clementine Hunter, 351, 352, 608, 609, 999, 1107, 1108, 1126 Peter Hurd, 211 I Louis Icart, 212 Filippo Indoni, 725 Italian School, 285 J Amy Jackson, 993 Lajos (Louis) Jambor, 1245 John Wesley Jarvis, 363 Anita Romero Jones, 935, 936 K Johan Hendrik Kaemmerer, 507 Mane Katz, 156 Alberta Kinsey, 221, 545, 607 Ida Rittenberg Kohlmeyer, 578, 579 May Kugler, 997, 998

L Martin Laborde, 665 Clarence John Laughlin, 219 Eugene Laurent (aft), 454 Latin American School, 1019 Emilie de Hoa LeBlanc, 1113 William Robinson Leigh, 652 Martin B. Leisser, 1304 Adele Lemm, 207 Leochares (aft), 271 Zhu Licun (attr), 756 Genevieve Liljeberg, 1105 Charles Oglesby Longabaugh, 1109 Brock Loper, 1117 Edouard Lormier (aft), 683 Louisiana School, 385 Eugene Loving, 216, 218 Deborah Luster, 621 M Thomas Mann, 670 T. Martin, 691 Shirley Rabe Masinter, 593 Rene Charles Masse (aft), 21 Henri Matisse, 914, 920 James Scott Maxwell, 1020 John McCrady, 571, 594, 595, 598, 618 Michael Meads, 863 Philip Mercier (attr), 461 Frederick Mershimer, 922 Theresa Ferber Bernstein Meyerowitz, 99 William Meyerowitz, 100 James Michalopoulos, 208 Clarence Millet, 214, 215, 347, 590, 614, 615 Frederic Mizen, 666 Andres Molinary, 645, 977 C. Bennette Moore, 1320 Henry Robert Morland (mnr), 1022 Philip Richard Morris, 52 Burny Myrick, 1116 N William Neuser, 976 New Orleans School, 662 O Antoine Obin, 1004 Will Ousley, 971, 1103 P Bashka Paeff, 273 George Patten, 107 Enoch Wood Perry, Jr., 1305 William H. Philip, 682 Pablo Picasso, 921 Fernand Pierre, 1002 Jean-Baptiste Pillement (attr), 284 Giovanni Battista Piranesi, 133 José Serra y Porson, 459 Alfred Frank De Prades, 1021 Levi Wells Prentice, 98 R Lady Victoria Patricia Helena Ramsay, 393 Don Reggio, 972 Paula Rego, 189 Pierre Auguste Renoir, 162 Charles Whitfield Richards, 1114 Louis Valentin Elias Robert (aft), 126 David Roberts, 11

William S. Robinson, 542, 642 Noel Rockmore, 660, 661, 664, 1132 George Rodrigue, 389, 596, 597, 601, 933 Robert Malcolm Rucker, 340, 390-392, 610, 1104 Giuseppe Ruoppolo (attr), 460 S José Francisco Xavier de Salazar y Mendoza, 369 Emilio Sanchez-Perrier, 462 Edith M. Sansum, 342 Paul Sawyier, 101 George Schmidt, 672 Scottish School, 1069 Palmer Schoppe, 210, 667, 668 David Seghers (mnr), 726 Artemio Sepulveda, 669 Eugenie Frederica Shonnard, 446 Hunt Slonem, 204-206, 580, 581, 600, 932 Alice Ravenel Huger Smith, 360 Francis Hopkinson Smith, 1246 Miss Smith, 106 Ettore Sottsass, 220 Southern School, 994 Spanish Colonial School, 370, 371, 414, 468, 469 Will Henry Stevens, 570, 576, 646 Meyer Straus, 341 Billie Stroud, 1106 T Josephine Teayes, 105 David Teniers the Younger (mnr), 256 Emmitt Thames, 965-968 Jeremiah Theus (attr), 368 Richard Thomas, 928 School of Titian, 257 Marie Cerminova Toyen, 190 Helen Maria Turner, 591 Arnold E. Turtle, 584, 643, 959 V Vargas Family, 324 Francisco Vargas, 407 Jean-Joseph Vaudechamp, 364 Elizabeth O’Neill Verner, 361 George Louis Viavant, 353 W William Aiken Walker, 349, 350, 386, 962, 963 Andy Warhol (aft), 911 William Watson Washburn, 1319 F. Wieck, 1130 Sir David Wilkie (aft), 1068 Theodore “Fonville” Winans, 619, 620, 1316-1318 Mildred Wohl, 196 197, 209 Ellsworth Woodward, 230, 573, 606, 616, 617, 644, 663 William Woodward, 577, 605, 649, 926 Don Wright, 934 George Hand Wright, 225 Z Francisco Zuniga, 192

0362-$24400 0363-$19520 0364-$35380 0365-$488 0367-$9150 0368-$1342 0369-$1342 0370-$4270 0373-$1220 0375-$8750 0376-$5185 0377-$29280 0378-$2745 0379-$30500 0380-$27450 0383-$4880 0384-$3660 0385-$2440 0386-$375 0387-$625 0388-$549 0389-$20740 0390-$5490 0392-$2440 0395-$812 0396-$896 0397-$1952 0399-$375 0400-$500 0401-$3660 0402-$437 0405-$625 0406-$640 0407-$5750 0409-$1625 0410-$732 0413-$42700 0414-$36600 0415-$9760 0416-$2318 0417-$3328 0419-$793 0420-$1375 0424-$1220 0428-$750 0430-$3750 0433-$43920 0435-$6500 0438-$7625 0439-$187 0440-$562 0442-$625 0447-$512 0448-$500 0449-$4880 0453-$937 0454-$488 0457-$1375 0459-$4270 0460-$640 0461-$1464 0464-$1536 0465-$2125 0466-$437 0467-$2625 0469-$366 0470-$875 0471-$640 0472-$256 0473-$256 0474-$1024 0475-$640 0477-$1664 0478-$500 0479-$1875 0481-$375 0483-$2625 0484-$305 0485-$896 0486-$610 0487-$750 0488-$640 0493-$1024 0494-$187 0495-$256 0496-$854 0497-$1098 0498-$366 0499-$793 0500-$2750

0501-$366 0502-$2318 0503-$500 0504-$122 0505-$3965 0506-$6100 0507-$732 0508-$366 0509-$427 0510-$448 0511-$488 0512-$488 0513-$305 0514-$549 0515-$183 0516-$1250 0517-$305 0518-$610 0519-$8064 0521-$3172 0522-$2560 0523-$1152 0524-$488 0525-$625 0527-$2440 0528-$6710 0529-$192 0530-$156 0531-$488 0532-$2806 0534-$610 0535-$7015 0536-$335 0537-$2074 0539-$2875 0540-$1830 0541-$1830 0542-$2062 0543-$27450 0545-$1250 0546-$18300 0547-$1250 0548-$54900 0549-$5000 0551-$1586 0553-$1750 0554-$1875 0555-$1000 0556-$1708 0558-$1830 0559-$3965 0560-$1708 0561-$610 0562-$2440 0565-$1664 0566-$250 0568-$610 0570-$4480 0579-$793 0580-$579 0582-$2500 0584-$125 0585-$152 0586-$915 0587-$1098 0588-$416 0589-$512 0590-$183 0592-$288 0594-$125 0595-$256 0596-$256 0597-$305 0598-$2304 0600-$396 0601-$192 0603-$187 0605-$192 0606-$1280 0608-$960 0609-$224 0610-$122 0611-$305 0612-$281 0614-$160 0615-$320 0619-$544 0620-$256 0621-$544 0622-$224

0624-$160 0625-$1216 0626-$244 0627-$320 0629-$122 0634-$250 0636-$183 0637-$187 0638-$288 0639-$187 0640-$122 0642-$750 0643-$375 0644-$288 0645-$375 0646-$427 0647-$281 0648-$1152 0649-$625 0650-$608 0651-$544 0652-$384 0653-$128 0654-$448 0655-$128 0656-$218 0659-$183 0660-$274 0661-$213 0663-$1037 0665-$244 0666-$1088 0669-$256 0670-$128 0673-$96 0674-$128 0675-$448 0679-$256 0680-$608 0681-$160 0682-$91 0687-$244 0689-$549 0690-$244 0691-$488 0692-$109 0694-$320 0695-$366 0696-$366 0697-$244 0698-$305 0699-$335 0702-$366 0703-$274 0704-$244 0706-$244 0707-$122 0709-$960 0710-$488 0711-$366 0712-$610 0713-$488 0718-$500 0719-$732 0720-$750 0721-$625 0722-$562 0724-$183 0725-$183 0727-$366 0729-$250 0730-$1037 0732-$1708 0733-$89 0734-$187 0735-$687 0736-$1536 0742-$1159 0743-$512 0744-$183 0745-$122 0746-$312 0747-$183 0748-$288 0749-$274 0751-$375 0752-$579 0753-$384 0754-$183 0755-$128

0756-$93 0757-$671 0758-$256 0760-$366 0761-$320 0762-$512 0764-$320 0765-$427 0766-$384 0767-$320 0768-$224 0769-$192 0770-$187 0771-$244 0772-$366 0773-$250 0774-$244 0775-$312 0777-$549 0779-$500 0780-$156 0781-$704 0782-$793 0783-$366 0784-$366 0785-$244 0786-$256 0787-$610 0788-$244 0789-$366 0790-$366 0791-$256 0792-$576 0793-$4375 0795-$384 0796-$1000 0797-$1152 0800-$518 0801-$244 0802-$1875 0805-$366 0812-$3200 0814-$244 0815-$732 0816-$335 0819-$187 0820-$274 0821-$213 0822-$854 0823-$335 0824-$416 0825-$335 0827-$274 0828-$732 0829-$448 0830-$671 0831-$366 0832-$375 0833-$320 0834-$915 0835-$366 0836-$366 0837-$244 0838-$320 0840-$549 0841-$610 0842-$244 0843-$366 0844-$610 0845-$610 0846-$549 0847-$1875 0848-$610 0849-$915 0850-$250 0851-$192 0852-$213 0854-$704 0855-$192 0856-$500 0857-$640 0858-$960 0860-$1216 0864-$3660 0867-$1280 0868-$312 0869-$512 0870-$384 0872-$183 0873-$244

0874-$128 0876-$213 0877-$366 0878-$128 0881-$375 0883-$3050 0885-$937 0887-$793 0888-$183 0889-$160 0891-$160 0892-$128 0893-$384 0894-$2176 0895-$366 0896-$427 0898-$1342 0899-$625 0900-$687 0902-$1586 0903-$1952 0904-$1708 0905-$732 0906-$512 0907-$875 0908-$187 0910-$1220 0911-$2318 0913-$687 0914-$1000 0916-$1220 0917-$610 0918-$512 0919-$2125 0920-$1464 0921-$610 0922-$122 0923-$125 0924-$427 0926-$1125 0927-$2196 0928-$2812 0929-$1830 0933-$1464 0935-$448 0936-$854 0937-$427 0938-$125 0939-$156 0942-$256 0943-$192 0944-$122 0945-$312 0946-$183 0947-$187 0948-$122 0949-$244 0950-$156 0953-$732 0956-$2440 0957-$488 0958-$562 0959-$366 0960-$305 0961-$488 0962-$1600 0963-$896 0964-$640 0966-$320 0968-$192 0969-$512 0970-$488 0971-$1830 0972-$1664 0973-$610 0974-$3172 0975-$312 0976-$500 0977-$312 0978-$3050 0980-$1664 0981-$625 0982-$183 0983-$312 0984-$488 0986-$250 0987-$488 0988-$1159 0990-$256 0991-$244

0992-$976 0994-$384 0997-$427 1001-$610 1002-$1500 1003-$187 1005-$250 1006-$448 1009-$437 1010-$384 1011-$244 1013-$122 1014-$61 1015-$256 1016-$244 1018-$183 1020-$1875 1021-$1250 1022-$1250 1024-$1750 1025-$1830 1026-$2135 1027-$610 1028-$1159 1030-$2048 1031-$1088 1033-$750 1034-$768 1036-$854 1037-$250 1038-$244 1039-$875 1041-$244 1042-$875 1043-$854 1044-$250 1045-$768 1046-$187 1047-$250 1048-$125 1049-$256 1050-$512 1054-$610 1055-$687 1057-$1708 1058-$427 1059-$640 1060-$640 1062-$488 1063-$183 1064-$305 1065-$1024 1067-$305 1068-$4800 1069-$125 1070-$244 1071-$187 1072-$1037 1073-$1024 1074-$793 1076-$512 1079-$3840 1080-$366 1082-$832 1083-$750 1084-$1216 1085-$854 1086-$305 1088-$3200 1089-$732 1090-$1280 1091-$122 1092-$915 1093-$256 1094-$256 1096-$122 1097-$122 1098-$183 1099-$366 1100-$335 1102-$396 1103-$213 1104-$125 1105-$187 1109-$549 1110-$1708 1111-$183 1112-$875 1113-$1708 1115-$488

1117-$250 1118-$305 1119-$1375 1121-$3840 1122-$512 1123-$250 1126-$512 1127-$384 1128-$187 1129-$152 1130-$183 1132-$312 1137-$427 1138-$213 1139-$93 1140-$256 1141-$213 1142-$256 1143-$1408 1144-$192 1146-$384 1148-$125 1151-$224 1152-$352 1153-$416 1155-$366 1156-$125 1158-$512 1160-$128 1161-$384 1162-$312 1163-$128 1165-$512 1166-$312 1167-$335 1168-$457 1170-$1088 1171-$610 1172-$610 1174-$793 1175-$384 1176-$512 1177-$427 1178-$671 1179-$610 1180-$335 1181-$244 1185-$2074 1186-$793 1187-$1088 1189-$122 1190-$488 1191-$244 1192-$437 1193-$366 1195-$128 1196-$183 1197-$122 1198-$488 1199-$122 1200-$122 1201-$122 1202-$312 1203-$320 1204-$156 1205-$288 1206-$122 1209-$256 1210-$122 1211-$128 1213-$437 1214-$183 1215-$366 1216-$122 1217-$213 1218-$122 1219-$122 1220-$122 1221-$183 1222-$122 1223-$384 1224-$384 1225-$352 1226-$274 1227-$274 1228-$224 1229-$671 1230-$671

September 9 & 10, 2017

0236-$183 0237-$500 0238-$312 0239-$704 0240-$2074 0241-$1152 0243-$1037 0244-$1342 0245-$375 0247-$384 0248-$1664 0250-$2500 0252-$687 0253-$854 0254-$366 0255-$1220 0256-$1792 0259-$2440 0260-$4375 0263-$1830 0264-$2928 0265-$1342 0266-$915 0267-$3355 0268-$1342 0270-$625 0271-$1952 0272-$250 0273-$427 0274-$549 0275-$25620 0276-$512 0277-$1152 0278-$896 0279-$500 0280-$384 0281-$3172 0282-$1536 0283-$1024 0284-$3965 0285-$1586 0287-$1280 0288-$732 0292-$4636 0295-$3072 0297-$562 0298-$1708 0299-$48800 0300A-$7625 0301-$1000 0302-$4270 0303-$7930 0305-$1500 0306-$896 0308-$2928 0311-$7015 0317-$1037 0318-$2440 0319-$3355 0320-$115900 0321-$19520 0322-$3965 0323-$1375 0324-$1250 0327-$5185 0329-$305 0330-$366 0331-$500 0332-$3050 0335-$3416 0336-$5185 0338-$6400 0339-$2745 0340-$2500 0341-$2500 0342-$244 0343-$2500 0344-$375 0345-$610 0347-$610 0348-$406 0350-$320 0351-$610 0353-$4270 0354-$4575 0355-$2440 0356-$610 0357-$854 0358-$1708 0361-$1125

â&#x20AC;¢

0116-$2560 0117-$1098 0118-$4800 0119-$1875 0120-$2440 0121-$4375 0122-$1125 0123-$2000 0124-$875 0125-$732 0127-$1220 0132-$2816 0133-$1708 0137-$4575 0138-$1536 0139-$1830 0140-$1220 0141-$937 0142-$854 0143-$1830 0144-$366 0145-$2684 0146-$1098 0147-$3750 0150-$1152 0151-$5185 0152-$2560 0155-$976 0156-$1536 0157-$2074 0158-$427 0160-$1403 0161-$488 0163-$3200 0164-$610 0165-$18300 0166-$7930 0168-$5185 0170-$1250 0172-$1586 0173-$17690 0176-$4880 0178-$305 0179-$812 0180-$6562 0181-$305 0182-$671 0183-$384 0184-$650 0185-$305 0186-$183 0187-$437 0188-$500 0189-$343 0190-$625 0191-$3050 0193-$500 0194-$183 0195-$213 0196-$1586 0197-$1281 0198-$1464 0199-$576 0200-$3050 0201-$3660 0204-$9375 0205-$9150 0206-$12810 0207-$8540 0208-$43920 0210-$7930 0211-$4480 0214-$1830 0214A-$610 0215-$625 0216-$375 0217-$512 0218-$1220 0219-$732 0220-$2176 0221-$640 0223-$244 0225-$610 0226-$366 0227-$832 0229-$2440 0231-$768 0232-$187 0234-$183 0235-$244

Auction Results

0001-$244 0003-$1281 0005-$366 0006-$427 0007-$366 0009-$2196 0010-$549 0011-$375 0012-$1792 0015-$1664 0016-$3172 0017-$250 0018-$562 0019-$2250 0020-$2074 0021-$976 0022-$183 0023-$366 0024-$1220 0025-$187 0026-$488 0028-$3782 0029-$976 0032-$1220 0033-$244 0036-$305 0037-$366 0038-$366 0039-$250 0040-$1664 0041-$562 0042-$1280 0043-$732 0044-$1952 0045-$3538 0046-$625 0049-$1024 0051-$875 0052-$625 0053-$183 0054-$183 0055-$687 0056-$152 0057-$732 0058-$625 0059-$512 0060-$213 0061-$152 0062-$3500 0063-$1625 0064-$2750 0065-$1464 0066-$3660 0067-$1098 0068-$2684 0069-$3782 0070-$1098 0071-$1220 0072-$3375 0074-$6250 0075-$3500 0077-$1220 0077A-$3750 0078-$2196 0081-$1708 0086-$896 0087-$1375 0089-$1750 0090-$3250 0091-$1536 0092-$2562 0093-$488 0094-$1342 0095-$488 0096-$256 0097-$5312 0098-$576 0099-$610 0100-$854 0102-$375 0103-$320 0104-$427 0105-$488 0108-$1220 0109-$3625 0110-$2074 0111-$793 0112-$732 0113-$976 0114-$5795

141

Neal Auction Company Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 s &AX s WWW NEALAUCTION COM

Auction Date: Auction Auction Date: AuctionDate: Date: Sept. 24 &Feb. 25, Nov. 17, 18 & 19, 2017 Jan. 31 & 1,2016 2015 April 17-19, 2015

Condition Report Request Form PLEASE REVIEW GUIDELINES FOR CONDITION REPORT REQUESTS:

)TEMS MUST HAVE A MINIMUM LOW ESTIMATE OF #ONDITION 2EPORTS WILL NOT BE GIVEN VERBALLY 4HE #ONDITION 2EPORTS $EPARTMENT IS AVAILABLE TO TAKE REQUESTS TWO WEEKS PRIOR TO EVERY AUCTION 0HOTO REQUESTS WILL ONLY BE PROCESSED FOR ITEMS NOT ILLUSTRATED IN OUR CATALOGUE OR ON OUR WEBSITE AT WWW NEALAUCTION COM $ETAIL PHOTOS PROVIDED UPON DISCRETION #ONDITION 2EPORT 2EQUESTS SHOULD BE SUBMITTED BY FACSIMILE TO OR VIA THE ONLINE REQUEST FORM BY prior to to the the start of of the the auction. auction. prior . start 7EDNESDAY ! LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY

&IRST .AME ?????????????????????????????????????????????? ,AST .AME ?????????????????????????????????? #OMPANY ????????????????????????????? !DDRESS ???????????????????????????????????????????????????????? #ITY ??????????????????????????????????????????? 0ROV 3TATE?????????????????? 0OSTAL #ODE ?????????????????? (OME 0H ???? ??????????????????? 7ORK 0H ???? ?????????????????????? &AX ???? ????????????????????? %MAIL ??????????????????????????????????????????????????????

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Fax this formtoto504-897-3808 504-897-3808 on or before Fax this form before Wednesday, Wednesday,1/28/15. 1/15/15. 09/21/16 11/15/17 228

142

NealAuction AuctionCompany Company Neal

Auctioneers Appraisers Antiques Fine Auctioneers && Appraisers of of Antiques && Fine ArtArt 4038 Magazine Street, New Orleans, Louisiana 70115 4038 Magazine Street, New Orleans, Louisiana 70115 s &AX s WWW NEALAUCTION COM s &AX s WWW NEALAUCTION COM

ConfidentialAbsentee Absentee/ Telephone / TelephoneBid BidForm Form Confidential

15/06M 16/08M 17/10M 15/06M

PLEASE REVIEW GUIDELINES FOR ABSENTEE TELEPHONE BIDDING PLEASE REVIEW GUIDELINES FOR ABSENTEE && TELEPHONE BIDDING : : 4ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE 4ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday !LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday prior to the auction )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE !LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN !LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE

First Last First Last Name:_________________________ _________________________Name: Name:____________________________________ ____________________________________Company: Company:__________________________ __________________________ Name: Address: ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ Address: #ITY ????????????????????????????????????????????? ????????????????????????????????????????????? 0ROV 3TATE 0ROV 3TATE ??????????????????????? ??????????????????????? 0OSTAL 0OSTAL #ODE #ODE ???????????????? ???????????????? #ITY (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? DealerResale# Resale# ________________________________ State __________ Email: __________________________________________________ Dealer ________________________________ State __________ Email: __________________________________________________ Dealers must provide Neal Auction Company with proper documentation prior bidding. Dealers must provide Neal Auction Company with proper documentation prior to to bidding.

-534 02/6)$% : : -534 02/6)$% -534 0ROVIDE: -534 0ROVIDE: Cash Cash 0AYMENT 0AYMENT Check Check 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? Method: 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? Method: 7IRE 7IRE Credit Card V-code:________ Credit Card V-code:________ )& 35##%33&5, PLEASE BILL MY CARD )& 35##%33&5, PLEASE BILL MY CARD

Credit Credit Card Card

.UMBER #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ?????????????????????????? 4O 4O #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ?????????????????????????? .UMBER

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I understand that Neal Auction Company undertakes execution of absentee bids a convenience clients and is not responsible inadvertent failI Iunderstand that Neal Auction Company undertakes the execution ofofabsentee bids as for clients and is responsible forfor inadvertent failure understand that Neal Auction Company undertakes thethe execution absentee bids asaas aconvenience convenience forfor clients and is not not responsible for inadvertent failure execute or any in execution bids. I have read and agree to â&#x20AC;&#x153;Conditions Saleâ&#x20AC;? stated the catalogue. I understand that to to execute forfor any error thethe execution of of bids. I have read and agree to â&#x20AC;&#x153;Conditions thethe â&#x20AC;&#x153;Conditions of of Saleâ&#x20AC;? as as stated in in the catalogue. I understand toure execute bids, bids, orbids, fororany error inerror theinexecution of bids. I have read and agree to the of Saleâ&#x20AC;? as stated in the catalogue. I understand thatthat a buyerâ&#x20AC;&#x2122;s premium will be charged on each purchased at 22% to and including $200,000 plus 10% hammer price greater than $200,000. For buyerâ&#x20AC;&#x2122;s premium will charged oneach each lotlot purchased 22% upup to and and including $200,000 plus 10% of the hammer price greater than $200,000. For a abuyerâ&#x20AC;&#x2122;s premium will bebecharged on lot purchased atat25% up to including $200,000 plus 10% of of thethe hammer price greater than $200,000. For purchase made by cash, check or wire transfer within 15 days of auction, buyerâ&#x20AC;&#x2122;s premium shall discounted 2.5% of this 22%. No exceptions. purchase made cash, check wire transfer within 15days days ofthe thethe auction, thethe buyerâ&#x20AC;&#x2122;s premium shall be be discounted 2.5% this 22%. exceptions. purchase made bybycash, check ororwire transfer within 15 of auction, the buyerâ&#x20AC;&#x2122;s premium shall be discounted 3% ofof this 25%. NoNoexceptions.

SignatureRequired Required Signature

Date Date

Internal Use Only:Approved Approved _____________Registered ___________ Entered ____________ ForFor Internal Use Only: _____________Registered ___________ Entered ____________ Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________

Fax Form on or before Friday, 1/31/15 Fax Form or before Friday, 1/31/15 Fax Form on or Friday,6/26/15 Fax Form on or before Friday, 9/23/16 Fax Fax Form Form onon on or or before Thursday, Friday,6/26/15 11/16/17 to 504-617-6431or 504-617-9990 504-617-6431 504-617-9990 toto 504-617-6431 oror 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 504-617-9990

229 229

143

GLOSSARY OF TERMS

School of George Inness - In our qualified opinion, the work is of the period of the artist named, by a student or a follower of the artist, but not by the artist.

Please note that all of the terms and descriptions used in this catalogue are intended as qualified opinions only and are subject to the Conditions of Sale and Limited Warranty set forth elsewhere. Neal Auction Company assumes no express or implied warranty with respect to these terms and descriptions, and they shall not be construed to be a warranty, representation or assumption of liability. Subject to the foregoing, with respect to authorship of works of art, the following terms shall have the following meanings:

After George Inness - In our qualified opinion, the work is a copy of a known work of the artist named.

Manner of George Inness - In our qualified opinion, although the work is in the style of the artist named, it is actually of a later period.

Bears signature “George Inness” - In our qualified opinion, although the work bears the signature or monogram of the artist, the work most likely is not that of the artist.

George Inness - In our qualified opinion, we believe the work is by the artist named. Attributed to George Inness - In our qualified opinion, we believe the work may be ascribed to the artist named on the basis of style and period, but our opinion is less certain than in the previous category. Signed “George Inness” - In our qualified opinion, the signature, monogram or other indication of authorship is a signature of the artist.

CONDITIONS OF SALE Placing a bid at auction constitutes buyer’s acceptance of and agreement to these Conditions of Sale. 1. WAIVER OF WARRANTY: All lots are sold “AS IS”. No statement regarding condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalogue or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. Any such warranty is WAIVED. Regarding works of art, Neal Auction Company does not make any express or implied warranty as to authorship. No statement in the catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. Buyer agrees and acknowledges that: (a) buyer is not relying on Neal Auction Company’s skill or judgment in selecting to purchase any lot; (b) no oral or written statements in the catalogue of Neal Auction Company or elsewhere regarding condition, attribution, kind, quality, value or authorship are the cause of or reason behind buyer’s purchase of any lot; (c) buyer would have incurred the purchase of any lot regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (d) Neal Auction Company did not know and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why buyer decides to purchase any lot; (e) buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; and (f) Neal Auction Company did not know, nor should it have known, that any oral or written statement about a lot in the catalogue or elsewhere would cause a nonpecuniary loss to buyer. Notwithstanding the foregoing WAIVER OF WARRANTY, agreements and acknowledgements, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale on the basis of authenticity of authorship of a work of art under the following terms and conditions only, all of which must be met: A. Neal Auction Company shall not grant rescission regarding lots identified by Neal Auction Company by the terms “attributed to,” “school of,” “manner of,” “after,” or “signature of.” B. Neal Auction Company shall not grant rescission regarding any lot unless the buyer notifies Neal Auction Company in writing within 25 calendar days from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale. C. Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written document signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery. D. Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the original buyer, and any rights of the original buyer are not transferrable or assignable. E. Neal Auction Company shall not grant rescission when: (i) there is a conflict of expert opinion as to the authorship; (ii) expert opinion supported authorship at the time of sale, although expert opinion may have changed after the date of sale; and (iii) scientific processes that were unavailable, expensive or impractical at the time of sale have revealed since the time of sale that the author or period Neal Auction Company believed to be accurate at the time of sale was inaccurate. F. In any dispute between Neal Auction Company and buyer regarding authorship of a work of art, it is stipulated that rescission of the sale and refund of the price paid shall be the buyer’s sole recourse or remedy, if any is available, and Neal Auction Company shall not be responsible or obligated for any damages (including compensatory, general, incidental, exemplary or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorney’s fees, or any other monetary or injunctive relief. 2. The auctioneer shall have absolute discretion in determining the successful bidder. At the fall of the auctioneer’s hammer, title to the offered lot will pass to the bidder acknowledged by the auctioneer. The bidder thereupon assumes full risk and responsibility and will pay full purchase price for the said lot. 3. The auctioneer may decide that any original bid is not commensurate with the value of the article offered, or that any advance thereafter is not of sufficient amount, he may reject the same.

144

PLEASE VISIT NEALAUCTION.COM TO REQUEST AND VIEW CONDITION REPORTS, REGISTER TO BID LIVE ONLINE, AND SUBMIT ABSENTEE/TELEPHONE BIDS. 4. The auctioneer reserves the right to withdraw any item at any time before the sale of the item. 5. No merchandise will be released before the end of the auction. 6. If the buyer fails to comply with any of the Conditions of Sale, Neal Auction Company reserves the right to hold such defaulting buyer liable for the purchase price; to cancel the sale, retaining as liquidated damages any payment made by the buyer; resell the property without reserve at public auction or privately on seven days’ notice to the buyer or, take such other actions available by law as deemed necessary or appropriate. If Neal Auction Company resells the property, the original defaulting buyer shall be liable for the payment of any deficiency in the purchase price and all costs and expenses, including warehousing, the expenses of both sales, reasonable attorneys’ fees, commissions, incidental damages and all other charges due hereunder.

ABSENTEE/TELEPHONE BIDS

1. All absentee bids and/or telephone bids must be in our gallery by 5 P.M. CST the Thursday prior to the auction. 2. All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at the discretion of the Neal Auction Company. Each item must have a minimum low estimate of $500. 3. We assume no responsibility for failure to execute bids for any reason whatsoever. 4. We reserve the right to require that advance bids be accompanied by a 25% deposit.

PAYMENT

1. The successful bidder agrees to pay a buyer’s premium in the amount of 25% of the hammer price on each lot up to and including $200,000, plus 10% of the hammer price greater than $200,000. For payments made by cash, check or wire transfer within 15 days of the auction, the buyer’s premium shall be discounted 3% of this 25%. 2. Online bidding is available at a buyer’s premium in the amount of 28% of the hammer price. A cash discount is not available for purchases made online. 3. Unless exempt by law, the buyer will be required to pay Louisiana and local taxes, and, if applicable, any federal luxury or other tax, on the total purchase price. 4. Documentation of tax exemption must be provided upon registration. 5. Payment in full must be made by the successful bidder within 15 days of the auction date. Interest charges will apply to invoices paid after this period expires. We reserve the right to require payment in full of the sales price at the moment of the successful bid. 6. VISA, MasterCard, Discover and American Express are accepted for invoices up to $25,000 per customer.

TERMS

Any customer not accredited by Neal Auction Company must present a letter of reference from their bank or other suitable source acceptable to Neal Auction Company. Neal Auction Company requires that the merchandise be held on premises until the check clears or money can be wired into the Neal Auction Company account.

SHIPPING

We will assist buyers in making shipping arrangements by furnishing information on packers and shippers. Handling of purchased items by us is at the risk of the buyer. Final shipping arrangements and agreements are strictly between the buyer and the shipper.

STORAGE

Unless other arrangements are made and confirmed in writing, all items must be removed within 15 days of the auction. On the first business day following that time period, items remaining in the gallery will be turned over to a storage facility. The buyer will be responsible for handling and storage costs. Handling costs will be a minimum of $50. Storage rates will carry a minimum charge of $50 per month per item. All items handled or stored will be at the buyer’s risk. Storage charges are accrued monthly and must be paid in full before items are released. We are not liable for any damage to items after the sale.

MANDATORY AND EXCLUSIVE FORUM SELECTION; AND CHOICE OF LAW

Any action of any nature brought by either party against the other in any court, whether federal or state, shall be brought exclusively in Orleans Parish, Louisiana. Each party agrees to submit to jurisdiction and venue in federal or state court in Orleans Parish, Louisiana, waives all questions of such jurisdiction or venue, and waives any rights to jurisdiction or venue in any other forum. Any dispute between the parties shall be governed by the law of the State of Louisiana, notwithstanding any conflicts of law principles.

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

Michelle LeBlanc Leckert, CAI Vice President

Bettine Field Carroll Vice President Business Development

ADMINISTRATION

AUCTIONEERS

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

Marc Fagan #1935

GENERAL MANAGER

Jason Leckert

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

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

EXHIBITION STAFF

Cecile Ballard Ann Mahorner Cammie Mayer Margo Phelps Yvette Semmes Clare Stewart Carolyn Wogan

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

Neal Auction Company November 17, 18 & 19, 2017

Neal Auction Company Louisiana Purchase AuctionTM November 17, 18 & 19, 2017