June 12, 13 & 14, 2020 - Summer Estates Auction by Neal Auction

Summer Estates Auction June 12, 13 & 14, 2020 FEATURING: Property from the Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans Property from the Collection of Wendy and the Late George (1944-2013) Rodrigue Estate of Dr. H. Russell Albright, New Orleans, Sold for the Benefit of the New Orleans Museum of Art Select Objects from a Prominent New York Collection of Aesthetic Movement and Arts and Crafts Furniture Noted Antiquarian’s Collection of Fine English Porcelain Property Sold for the Benefit of the University of Louisiana at Lafayette Foundation Property from the Esteemed Collection of Judge Richard M. Avery, Marion, Alabama And Property of Others EXHIBITION Preview is available by appointment only. To schedule an appointment, please contact us at clientservices@nealauction.com Auction Will Be Virtual. Bidding by telephone or absentee bid, or on one of our online platforms. Friday, June 12, beginning 2:00 p.m.

Saturday, June 13, beginning at 11:00 a.m. Sunday, June 14, beginning at 11:00 a.m.

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COLLECTION OF DR. ISIDORE COHN, JR. NEW ORLEANS, LOUISIANA Dr. Isidore Cohn, Jr., Emeritus Chairman and Professor of Surgery at the LSU Health Sciences Center School of Medicine in New Orleans, LA, was 94 when he died in October 2015. Raised in New Orleans and named for his father who was also a prominent surgeon, Dr. Cohn’s medical career, in which he served as the Chairman of the Department of Surgery for 27 years, one of the longest tenures in the annals of the profession, culminated with his being honored first by that professor and chairmanship being named for him, and subsequently by the naming of a state-of-the-art surgical training facility – the Isidore Cohn, Jr., M.D. Student Learning Center. Beginning with an early interest in collecting Steuben glass, Dr. Cohn’s utilized his interest in the arts to extend his legacy well beyond the medical profession. The recipient of the Chairman’s Award from the Arts Council of New Orleans, and the Isaac Delgado Award from the New Orleans Museum of Art (NOMA), Dr. Cohn was especially proud that his collections of Steuben (begun when he was in his early twenties), and Chinese Jade (assembled with his wife Marianne) were both recognized by NOMA in major exhibitions. The 2004 landmark exhibit, “Crystal Clear,” featured 159 pieces from their vast Steuben collection. “Chinese Jade from the Collection of Marianne and Isidore Cohn, Jr.” was exhibited in 2013-2014. Admiring, discovering, and pursuing special pieces were always essential joys in building their collections, but equally important was the process of learning more about the people who made these beautiful objects, the means and methods of their fabrication, the context in which these pieces were first intended for use, and ultimately sharing what they learned with friends and family. But, above all else was the quiet pleasure he took in living with the collections of Steuben and contemporary art glass, Chinese jade, antique and modern silver, and other artwork – juxtaposing one material, color, or period against another; listening for the works to “speak” with one another; and, having them become a part of his inner life. This was the ultimate pleasure derived from a lifetime of collecting, something inherently understood by all collectors, and soon appreciated by those just beginning. Photo by Ian J. Cohn.

COLLECTION OF WENDY AND THE LATE GEORGE RODRIGUE (1944-2013) A quintessentially Louisiana artist, George Rodrigue broke through the boundaries of regionalism with his iconic Blue Dog to become a great American artist with international renown. With his iconic Blue Dog and distinctive depictions of Cajun life framed beneath the live oak trees of Acadiana, Rodrigue graphically interpreted his culture, coining a new phrase, “Cajun Artist.” Rodrigue first painted what would become his most famous image, the Blue Dog, in 1984, imagined for a collection of Cajun ghost stories, including the loup-garou - a werewolf or ghost dog said to lurk in cemeteries and sugar cane fields. Over the following ten years, the loup-garou developed into the emblematic Blue Dog, an image that catapulted Rodrigue’s fame worldwide. In 1992, the Wall Street Journal featured Rodrigue and his Blue Dog with an article on its front page, and in 1993, he joined artists such as Andy Warhol and Keith Haring in creating art for the international Absolut Art campaign. Rodrigue and his muse, Wendy Wolfe, married in 1997. A beautiful partnership, they coordinated on the development of all aspects of Rodrigue’s career and life, including his galleries, numerous museum exhibitions, a dozen books published both nationally and internationally on his art, and extensive education outreach. Wendy, always by George’s side, dedicated her time and energy towards supporting his ever-growing career and legacy. Her celebrated blog, Musings of an Artist’s Wife, and subsequent book, The Other Side of the Painting, faithfully documented their life together and showcased George’s exceptional talent, humor and character. Unsurprisingly, the dynamic duo surrounded themselves with art - George’s own and an extensive collection of works by others, many of them good friends. The couple’s homes in New Orleans and Carmel, CA reflected their eclectic taste and eye for the bold and colorful. Both avid scholars of art history, Wendy and George admired the classics and always supported the up-and-coming. Their collection represents a shared love of the arts by two remarkable people with a mutual passion for creativity.

THE LIFE AND LEGACY FOUNDATION WITH WENDY RODRIGUE

“It’s the kids who bridge the art. To be studied by a child is the best way to connect with the future and is more important than hanging on the walls with great masters. This experience gave both me and Wendy a completely different view and impact, and maybe even a new beginning.” ~ George Rodrigue, 2013 The Life & Legacy Foundation with Wendy Rodrigue is a 501(c) (3) non-profit organization that inspires children of all ages and diverse backgrounds to explore the world of art through unique programming centered on and honoring the life and art of George Rodrigue. For nearly 30 years, Wendy’s work and mission has been to share Rodrigue’s life and art. Using original paintings and personal narrative, Wendy expands her late husband’s artistic and philanthropic vision by showing how one person can overcome obstacles to achieve their dreams while also making a positive difference in the world. Her classroom talks are uplifting and empowering, showing children, often for the first time, the healing and inspiring capacity of art. Projects include education initiatives, museum exhibitions, an ongoing public lecture series, and written and online publications. Now entering its third year, this hands-on programming with Wendy includes to date personal visits to nearly 100 schools and 40,000 students in eight states with a special focus on Rodrigue’s home state of Louisiana, plus museum exhibitions and education outreach in partnership with the Ohr-O’Keefe Museum of Art, the LSU Museum of Art, and the Sand Springs Museum in Sand Springs, Oklahoma. An award-winning public speaker, Wendy was honored in 2019 as a New Orleans Business Woman of the Year and a New Orleans Person to Watch for her tireless commitment to her Life & Legacy Foundation. Neal Auction will donate a portion of its proceeds from the sale of the Wendy and George Rodrigue Collection to the Life & Legacy Foundation.

Photos courtesy of Wendy Rodrigue

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Session One Friday, June 12, 2 p.m.

1. Gary Beecham (American, b. 1955) and Mary Lynn White, “Concentric Stars”, 1990, heavy blown glass, multi-colored canes, footed base, signed, h. 7 in., dia. 7 3/4 in. [$400/600]

Provenance: Maurine Littleton, Washington, DC, 1990; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

2. Gary Beecham (American, b. 1955) and Mary Lynn White, “Color Study Vessel”, 1987, heavy blown glass, inverted top, multi-colored canes, signed, h. 6 in., dia. 6 3/4 in. [$400/600] Provenance: Holsten Galleries, Palm Beach, Fl, 1987; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

3. Gary Beecham (American, b. 1955), “Red Shift”, c. 2002, circular clear glass disc, with various colored canes, radiating outwards, dia. 17 3/4 in., presented on a custom steel armature. [$800/1200] Provenance: Pismo, Denver, CO, 2003; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

5. John Tarrell Scott (American/New Orleans, 1940-2007), “I Remember Birmingham”, c. 2004, etched glass printing block, signed, h. 7 3/4 in., w. 7 3/4 in., d. 2 3/4 in. [$400/600]

Provenance: Arthur Roger Gallery, New Orleans, 2005; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

6. Matthias Klering (German, b. 1930), “Vessel”, 1993, lamp-worked glass in red, orange, black and ivory, signed, h. 6 1/4 in., dia. 5 in. [$100/200] Provenance: Compositions Gallery, San Francisco, 1993; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

4. Jose Chardiet (Cuban/American, b. 1956), “Untitled Building”, 1993, block glass, with copper and green patina, signed, h. 7 3/4 in., w. 3 in., d. 3 3/4 in. [$800/1200] Provenance: Marx Gallery, Chicago, 1993; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

7. Monika Eaton, “Friends Leaving”, 1985, heavy glass block, cut on back with two female figures walking through a Gothic arch doorway, signed, h. 9 in., w. 10 3/4 in. [$250/350]

Provenance: Acquired from the artist, New Orleans, 1985; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

8. Benjamin Edols (Australian, b. 1967) & Kathy Elliot (Australian, b. 1964), “Groove V”, 1998, blown and carved glass, vase-like form in red and yellow, signed and dated, h. 26 3/4 in., dia. 5 1/4 in. [$700/1000]

Provenance: William Traver Gallery, Seattle, WA, 1995; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

9. Richard Royal (American, 20th c.) & Kathy Elliot (Australian, b. 1964), “NO95-157”, 1996, green glass with swirling white canes, signed and dated, h. 12 1/2 in., w. 11 3/4 in., d. 5 1/2 in. [$500/700] Provenance: New Orleans School of Glass Works, 1996; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

10. Luke Jacob (American), “Red Mirrorized Taha”, ND., ovoid form, in iridescent red and pink, signed, h. 19 1/2 in., dia. 7 in. [$300/500] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

11. Kyohei Fujita (Japanese, 1921-2004), “Dreams on the Lake”, 1992-1993, four-sided lidded glass box in Japanese style-lacquer box form, cobalt blue ground, embedded with large pieces of gold and platinum leaf and bits of two shades of lighter blue, signed, h. 6 in., w. 4 1/2 in., d. 4 3/4 in. [$5000/7000] Provenance: Maurine Littleton Gallery, Washington DC, 1994; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

12. Kyohei Fujita (Japanese, 1921-2004), “Green Grass Mountain”, 1999, four sided lidded glass box in Japanese-style lacquer box form, green ground, embedded with large pieces of gold and platinum leaf and bits of two shades of lighter blue., signed, h. 6 1/2 in., w. 4 1/2 in., d. 4 1/2 in., w. 4 3/4 in. [$5000/7000] Provenance: Thomas R. Riley Galleries, Cleveland, OH, 2004; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Additional information at www.nealauction.com

15. Rachel Woodman (British, b. 1957), three glass vessels, 1986 and 1991, two-color, signed, largest h. 2 3/4 in. dia. 8 5/8 in. [$500/700] Provenance: Jeanette Hayhurst Fine Glass, London and Contemporary Applied Arts, London, 1986 & 1992; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans. 13. David Schwarz (American, b. 1952), “Vessel”, 1988, oval-egg-shaped, hollow with some flat polished faces, some rounded, engraved with lines, boxes, and architectural shapes, signed, h. 12 1/2 in., dia. 15 1/2 in. [$500/700]

Provenance: Holsten Galleries, Palm Beach, Fl, 1988; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

14. Clare Henshaw (British, b. 1964), “Candle Bowl”, 1991, blown, cased in two colors and engraved on both surfaces with candles, three faces one with crown, front figure holding a candle, three upper torsos one behind other, two with hands in praying position, signed, h. 5 7/8 in., dia. 21 5/8 in. [$500/700]

16. Two Baccarat Glass Pieces, incl. “Assyrian Bull”, h. 5 1/8 in., w. 6 7/8 in., and “Tiger”, h. 6 1/2 in., w. 6 in., both signed. [$150/250]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Provenance: Jeanette Hayhurst Fine Glass, London, 1992; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans. 17. Stephen Rolfe Powell (American, 1951-2019), “Teasing Buns Johnson”, 1997, very large, two-lobed multi-colored vessel, with multiple bands of colored canes of different sizes and shapes, carrying all the way up to the top, unsigned, h. 41 1/4 in., w. 25 in., d. 13 in. [$8000/12000] Provenance: Marx-Saunders Gallery, Chicago, 1997 One-man show with this as center-piece illustration in Marx-Saunders Gallery, Chicago, Oct.-Nov. 1997 catalog; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

18. Charles Schneider (French, 1881-1952), cameo vase, c. 1920, green glass vase, encircled by a design of a mariner’s encounter with a mermaid, signed, h. 4 1/4 in., w. 7 1/2 in., d. 4 in., together with a Charles Schneider crystal, air-trap paperweight, dia. 5 3/4 in. [$700/1000]

Provenance of cameo vase: Macklowe Gallery, New York, 1973; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans. 19. Lalique “Fujiyama” Bowl, signed, h. 5 1/4 in., dia. 14 7/8 in. [$300/500] Provenance: Ken Roselli, Ltd., Chicago, 1991; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

20. Afro Celotto (Italian, b. 1963), “Calcolo”, 2004, vase with two opposing blue and yellow wide bands radiating from a central point, centered by clear section intricately incised, signed, h. 17 in., dia. 7 1/2 in. [$800/1200] Provenance: Royal Cameo Glass, New Orleans, 2004; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

21. Afro Celotto (Italian, b. 1963), “Palese”, 2004, bulbous shape, multi-colored murines, upper surface cut battuto style, signed and dated, h. 13 1/2 in., dia. 10 1/2 in. [$800/1200]

Provenance: Royal Cameo Glass, New Orleans, 2004; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

24. Mary Mullaney & Ralph Mossman (American), “Bee Bowl”, 1999, signed, dated, and numbered 1/10, sand-blasted design of bees and their honeycomb, h. 7 in., dia. 9 1/2 in. [$300/500]

22. Toots Zynsky (American, b. 1951), “Magnificent Chaos”, 1998, irregular, oblong, triangular bowl with crumpled edges, fused and thermo-formed glass threads, solid sea green interior, signed “Z” in gold glass thread, h. 11 1/4 in., w. 20 1/2 in., d. 16 3/4 in. [$10000/15000] Provenance: Barry Friedman, Ltd., New York, 1999. Illustrated in color in Barry Friedman’s brochure for his 1998 show; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

26. Laurie Thal (American), “122”, 1989, signed and dated, h. 6 3/4 in., dia. 14 1/4 in., together with a studio glass bowl, double-walled, h. 3 1/2 in., dia. 7 1/2 in. [$400/600] 25. Stanislaw Borowski (French, b. 1944), “The Siren”, 1997, signed and dated, blown crystal vessel form with multi-colored overlay; copper wheel engraved imagery of grotesque figures in red, blue, brown, gray, h. 5 in., dia. 4 1/2 in. [$800/1200]

Provenance: Sandy Carson Gallery, Denver, CO, 1991; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

23. Simon Gate (Swedish, 1883-1945) for Orrefors Glass Vase, c. 1930s, signed, octagonal form, with nude maiden design, h. 9 in., dia. 5 1/2 in. [$500/700]

Provenance: Rasberry’s, Yountville, CA, 1999; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Provenance: Jenny’s Antiques Shakespeare, Ontario, 1992; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

27. Eva Englund (Swedish, 1937-1998) for Orrefors, “9459-30” and “9092-30”, 1986, signed and dated, two oval bowls, with foliate design, h. 3 1/4 in., w. 4 1/2 in., d. 4 in., and h. 3 in., w. 4 7/8 in., d. 4 1/2 in. [$300/500] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

28. Lewis Dean Woodruff (American), “Bonsai Tree”, 1998, signed and dated, h. 4 1/2 in., dia. 2 3/4 in. [$150/250] Provenance: Penland School Gallery, Penland, NC, 1999; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Provenance: Compositions Gallery, San Francisco, 1999; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

29. Pino Signoretto (Italian, b. 1944), “Three Black Horses”, ND., each horse signed, tallest h. 9 in., presented loose, on frosted glass base, overall h. 10 1/2 in., w. 10 3/4 in., d. 10 3/4 in. [$500/700]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

30. Dante Marioni (Italian, b. 1964), “Black-Blue with Yellow”, 2009, signed, tall shouldered ovoid form, the central yellow stripe surrounded by swirling blue latticini, h. 36 1/2 in., w. 7 1/2 in., d. 1 3/4 in. [$5000/7000] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

31. Clare Henshaw (British, b. 1964), “Two Women in a Boat”, 1994, signed and dated, black, amber, gold, and purple decorated with two women in a boat on a river, winding through a tropical landscape, h. 9 1/4 in., dia. 12 in. [$600/900]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Additional information at www.nealauction.com

32. Lino Tagliapietra (Italian, b. 1934), “Goccia Vase-Blue Spiral”, 1995, blue, with blue and black threads circling upwards, signed and dated, h. 20 1/2 in., w. 8 3/4 in., d. 2 in. [$8000/12000] Provenance: Habatat Galleries, Pontiac, Michigan, 1995; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

33. Lino Tagliapietra (Italian, b. 1934), “Filligrana Sphere”, 1995, clear sphere with brown canes in “vetro a reticello” style, signed and dated, h. 13 in. [$8000/12000] Provenance: Pismo, Denver, Colorado, 1997; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

34. Lino Tagliapietra (Italian, b. 1934) “Dinosaur# 6840”, 1998, blown, carved, “hammered” glass, orange and clear; the canes in two separate designs at lower portion, and then trailing to smaller dimensions, to the top, between the two designs, the surface is cut as if hammered silver, and the remainder has long, narrow, incisions that run the entire length of the piece, signed and dated, h. 34 in., w. 9 3/4 in., d. 5 in. [$10000/15000] Provenance: William Traver Gallery, Seattle, WA, 1999; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

35. Lino Tagliapietra (Italian, b. 1934), “Angel Tear”, 1999, blown glass sculpture in the shape of a tear drop, blue, white, yellow, and black canes over red, signed and dated, h. 48 3/4 in., w. 13 3/4 in., d. 5 3/4 in. [$15000/25000] Provenance: Pismo, Denver, Colorado, 1999; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

36. Lino Tagliapietra (Italian, b. 1934), “Fenice”, 2006, spiral form closing in on itself, in clear glass with blue and orange, part of the surface with battuto-cut surface, signed and dated, h. 19 1/2 in., w. 20 1/2 in, d. 3 1/4 in. [$12000/18000] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

37. Lino Tagliapietra (Italian, b. 1934), “Fuji”, 2011, ovoid form in black and grays shading to blue, signed and dated, h. 20 3/4 in., w. 15 1/2 in., d. 8 1/2 in. [$10000/15000] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

38. Lino Tagliapietra (Italian, b. 1934), “Fuji”, 2012, shades of blue, yellow and red, signed and dated, h. 33 1/2 in., w. 17 in., d. 7 1/2 in. [$15000/25000]

Provenance: Traver Gallery, Seattle, 2013; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans. Ill.: Lino, Traver Gallery, Seattle, catalogue, September-October, 2013, pp. 18 & 19.

39. French Restauration 1st Standard Silver Soup Tureen, Pierre-Marie Devilleclair, act. 1812-1824, 16 rue Harlay, Paris, oval, egg and dart borders, foliate loop handles, low domed lid with swan handle, interior fitted with original silver, liner, engraved presentation “IC. from R.M., January 1, 1952”, h. 12 in., w. 17 in., d. 9 in., wt. 105.30 troy ozs. [$2000/4000] Provenance: Gift from Rudolph Matas to Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Note: Rudolph Matas (1860-1957), was a renowned surgeon and medical innovator. Born in St. Charles Parish, LA, Matas began his training at, what is now known, as Tulane University School of Medicine. Among his many accolades he was known as the “Father of Vascular Surgery”.

40. Georg Jensen Sterling Silver Six-Light Candelabrum, model #1175A, designed by Soren Georg Jensen in 1969, each candle nozzle with removable glass bobeche, h. 6 in., dia. 13 in., wt. 52.80 troy ozs. [$7000/10000]

Provenance: Georg Jensen, Copenhagen, 1980; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans. Additional information at www.nealauction.com

41. Georg Jensen Sterling Silver Compote, post 1945 marks and â&#x20AC;&#x153;17Bâ&#x20AC;?, designed by Johan Rohde, flared bowl on an openwork support of leaves, berries and stems, stepped foot, h. 5 1/2 in., dia. 5 3/4 in., wt. 9.5 troy ozs. [$500/700]

Provenance: Georg Jensen, NY, 1972; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

42. Danish Mid-Century Modern Sterling Silver Four-Piece Demitasse Service, c. 1965, by Anton Michelsen, Copenhagen, incl. coffee pot and creamer, with ebony handles; sugar, and circular laminate-top tray with silver band, pot h. 5 1/2 in., wt. 22.15 troy ozs. [$600/900]

43. Danish Mid-Century Modern Sterling Silver Tripartite Candleholder, c. 1965, by Anton Michelsen, Copenhagen, h. 2 1/2 in., dia. 9 in., wt. 10.10 troy ozs. [$500/700] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

44. American Modernist Satinwood Display Cabinet, c. 1965, designed by David Wider, four adjustable, internally illuminated shelves; each with frosted glass top, conforming base, outswept legs, slipper feet, h. 84 in., w. 42 in., d. 19 1/2 in. [$1200/1800] Provenance:; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

45. American Modernist Buccellati Sterling Silver-Mounted and Mahogany Inlaid Satinwood Sideboard, c. 1975, designed by David Wider, canted frieze, over three drawers and four doors, interior with adjustable shelves, sterling silver shell-form pulls by Buccellati, h. 39 1/4 in., w. 81 in., d. 21 in. [$3000/5000] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

46. American Modernist Inlaid Rosewood Wall Cabinet, c. 1965, designed by David Wider, inset frosted glass top with internal illumination, brass and ivory inlay, two doors, brass pulls, interior in white lacquer, h. 22 1/2 in., w. 72 in., d. 19 1/2 in. [$1200/1800] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans. 47. American Modernist Cushion Mahogany Framed Mirror, c. 1965, designed by David Wider, canted, segmented beveled mirrored border, h. 52 in., w. 39 3/4 in. [$600/900] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

48. American Modernist Ebony and Pearwood Drum Table, c. 1965, designed by David Wider, radial veneered top, book matched frieze, square, tapering legs, h. 24 1/4 in., dia. 24 1/4 in. [$700/1000] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

49. American Modernist Ebony and Pearwood Drum Table, c. 1965, designed by David Wider, radial veneered top, book matched frieze, square, tapering legs, h. 24 1/4 in., dia. 24 1/4 in. [$700/1000] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

50. American Modernist Butternut Lamp Table, c. 1965, designed by David Wider, decorative brass finial, covered pleated shade, cluster column standard, circular dished tabletop, egg shaped tapered legs, X stretcher base, h. (to finial) 57 in., d. 21 in. [$500/700]

51. Pair of American Modernist Mahogany Wall Shelves, c. 1965, designed by David Wider, book-match veneered case, inset frosted glass shelf, with internal illumination, h. 8 in., w. 54 in., d. 13 in. [$700/1000]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

52. American Modernist Holly Wood Inlaid Mahogany Headboard, c. 1975, designed by David Wider, rectangular panel, flanked by reverse tapering posts, “fish tail” finials, blocked feet, h. 87 1/2 in., w. 54 in., d. 3 in. [$700/1000]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

53. American Modernist Pewter-Inlaid Mahogany Writing Table, c. 1975, designed by David Wider, rectangular top, over frieze drawers, square tapering legs, flared feet, top with clear glass overlay, h. 29 3/4 in., w. 54 in., d. 27 in. [$700/1000] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

54. Antique Louis XVI-Style Bronze-Mounted, Marquetry and Ebonized Occasional Table, probably late 19th c., music trophée cartouche, scrolled foliate surround, demilune drop-leaves, frieze drawer, fluted legs, finialed stretcher, toupie feet, h. 29 in., w. 42 1/2 in., d. (open) 22 in. [$600/900]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

55. Sterling Silver Mounted Mahogany Table Lamp, c. 1965, designed or sourced by David Wider, the candlestick form faced with silver hallmarked William Comyns & Sons Ltd., London, 1959, electrified. [$400/600] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

56. Danish Modern Teak Desk, Chair and Cabinet, 20th c., kneehole desk with two floating drawer compartments, single to the left with slides, triple drawers on right, rounded tapered legs, h. 29 in., w. 59 3/4 in., d. 30 1/2 in.; chair with shaped back, upturned arms, saddle seat, tapered legs, h. 30 in., w. 22 1/2 in., d. 18 in.; cabinet with two sliding doors, shelf interior, tubular legs, h. 28 1/2 in., w. 39 1/2 in., d. 19 1/4 in. [$700/1000] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

58. American Modernist Rosewood and Glass Coffee Table, c. 1965, designed by David Wider, six-pronged standard, 12-point star-form base, a loose, silver-leafed decorative medallion rests on the open base, one inch thick plate-glass top, h. 21 1/2 in., dia. 42 in. [$1500/2500] 57. American Modernist Satinwood Columnar Cabinets, c. 1965, designed by David Wider, radial-veneered top, fluted sides, concealed, touch-latch door, interior with white lacquered finish, h. 23 in., dia. 19 1/4 in. [$1200/1800]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Additional information at www.nealauction.com

59. American Modernist Paldao Wood and Glass Bar Cabinet, c. 1965, designed by David Wider, floating one-inch plate-glass top, two pairs of doors, ornate nickel-plated brass hinges and bow tie form ivory pulls, recessed plinth base, black-lacquer interior, two drawers and four adjustable glass shelves, h. 38 in., w. 72 in., d. 20 in. [$2500/3500] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

60. Contemporary Bronze and Glass Illuminated Etagere, 1993, designed by Ian J. Cohn of Diversity: Architecture & Design, NYC, fabricated by Tony Conway, New York, brush-finished bronze, vertical supports conceal rear-facing, dimmable halogen lights, 3/4 inch glass shelves, h. 96 in., w. 60 in., d. 20 in. [$1200/1800] 61. Pair of Continental Rock Crystal Obelisks on Illuminated Brass Bases, of typical form, custom electrified bases, h. 19 in., w. 5 1/2 in., d. 5 1/2 in. [$1500/2500]

Provenance: Nesle, Inc. New York, Waldhorn’s, New Orleans, 1964; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

62. Leonard C. Bernstein, 20th c., “Moses”, 1972, oil on canvas, signed and dated lower right, signed and inscribed en verso, 48 in. x 40 in., framed. [$500/700]

Provenance: Bernstein’s Fine Art Gallery, Carmel, 1973; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

63. Norman Black (British, 1920-1999), “Card Fence”, acrylic on board, signed lower right, “Everett Oehlschlaeger Galleries” label with artist and title on backing paper, 10 in. x 8 in., framed. [$500/700] Provenance: Everett Oehschlaeger Galleries, Chicago; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

64. Norman Black (British, 1920-1999), “Card Scene”, acrylic on board, signed lower right, 10 in. x 8 in., framed. [$500/700]

Provenance: Callard of London, 1975; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

65. K. Chin (American, 1920-1995), “Arc de Triomphe de l’Etoile”, oil on canvas, signed lower left, titled en verso, 25 in. x 50 1/4 in., framed. [$700/1000] Provenance: Burrell Galleries, New York, 1963; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

66. K. Chin (American, 1920-1995), “Place de la Concorde”, oil on canvas, signed upper right, 20 in. x 16 in., framed. [$400/600]

Provenance: Burrell Galleries, New York, 1963; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans

67. Franz Deckwitz (Dutch, 1934-1994), “Landscape”, 1964, oil on panel, signed and dated lower right, signed, inscribed and “Monsterzegel Amsterdam” stamp en verso, 17 3/4 in. x 21 3/4 in., framed. [$800/1200] Provenance: Banfer Gallery, New York, 1965; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

68. Leslie Emery (American/Massachusetts, 1912-1998), “Moses”, etching on paper, pencil-signed, titled and numbered “35/50” lower margin, sight 10 7/8 in. x 8 1/8 in., framed. [$150/250] Provenance: Studio Art Supplies Gallery, 1973; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

70. John McClusky (American/Texas, 1914-1994), “Crabgrass”, 1970, acrylic polymer on masonite, signed lower right, titled en verso, “Banfer Gallery” label with artist and title en verso, “The R. W. Norton Art Gallery Exhibition” label on backing paper, 11 in. x 12 7/8 in., framed. [$500/700] Provenance: Banfer Gallery, New York, 1970; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans. Exh.: “John McClusky Retrospective”, The R. W. Norton Art Gallery, Shreveport, LA, Aug. 18 Sep. 29, 1974.

69. John McClusky (American/Texas, 1914-1994), “The Mower”, 1966, acrylic polymer on masonite, signed and dated lower left, titled en verso, 32 in. x 29 1/2 in., framed. [$1000/1500] Provenance: Banfer Gallery, New York, 1967; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

71. Giovanni Battista Piranesi (Italian, 1720-1778), “Veduto del Tempio, detto della Tosse” and “Veduta Interna del Panteon”, 2 etchings on paper, sights 18 1/2 in. x 23 3/4 in. and 19 1/4 in. x 23 in., framed. (2 pcs.) [$800/1200] Provenance: R.S. Johnson, Chicago, 1982; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

72. Raymond A. Whyte (American, 1923-2002), “Floor by Michelangelo”, 1980, oil on board, signed lower right, signed, titled, dated and inscribed en verso, 20 in. x 24 in., framed. [$800/1200]

Provenance: Galerie de Tours, San Francisco, 1980; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Additional information at www.nealauction.com

73. Raymond A. Whyte (American, 1923-2002) “Reflections of the Future Venice”, 2002, oil on board, signed lower right, signed, titled and dated en verso, 27 in. x 32 in., framed. [$1000/1500] Provenance: Banfer Gallery, New York, 1967; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

74. Raymond A. Whyte (American, 1923-2002), “Untitled (Three Figures)”, 1965, oil on masonite, signed and dated lower right, dated and inscribed with artist name en verso, “Banfer Gallery” label with artist and date on frame, 34 in. x 45 in., framed. [$1000/1500] Provenance: Banfer Gallery, New York, 1966; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

75. John Gould (British, 1804-1881), “Colymbus Septenrionalis”, hand-colored lithograph on paper, from Birds of Europe, pencil-inscribed “Red-Throated Diver” lower margin, sight 14 in. x 20 in., framed. [$400/600] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

76. Charles Whedon Rain (American, 1911-1985), “Prophecy”, 1967, oil on masonite, signed lower right, signed, titled, dated and inscribed “New York” en verso, 20 in. x 15 in., framed. [$20000/30000] Provenance: Banfer Gallery, New York; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Exh.: Jonathan Edwards College, Yale University, New Haven, Remembering Charles Rain, Selected Works from 1933-1973, March 25-May 25, 2004, and listed in the accompanying catalogue as no. 29, p. 39, cover illustration.

Note: Charles Rain’s artistic career spanned over five decades with an oeuvre that often defies traditional art historical categorization. His most celebrated works are photorealistic paintings of landscapes and still lifes, which he injected with his own imprint of surrealism to become quintessential examples of the magic realist style. He was quoted as saying: “My aim is to record…the view of one individual – what I see and what I imagine – in the methods of what may be called romantic or magic realism.” Born in Tennessee, Rain was raised in Nebraska and attended the Art Institute of Chicago for several years prior to traveling to Europe in 1933. While in Berlin, he was greatly inspired by a viewing of “Portrait of Ugolino Martelliof” by Agnolo Bronzino (1503-1572), and Bronzino’s classic technique of under-painting and glazing

would stay with Rain throughout his life. Upon returning to New York, Rain was featured in a 1935 solo exhibition at the Julien Levy Gallery, which was not well received by critics and led to the artist undertaking a short break from painting. While designing costumes for the New York City Ballet during this time period, Rain met photographer George Platt Lynes, who, along with Lincoln Kirstein, Monroe Wheeler and Paul Cadmus, became part of Rain’s sophisticated and artistic circle of friends. Curator Daphne Anderson Deeds described the assemblage as: “…members of a closely knit homosexual group…much of their work includes encoded imagery referring to their private cliquish world.” In “Prophecy” offered here, one can see the linear precision and realistic rendering indicative of Rain’s style merging with

otherworldly imagery. An all-seeing eye at the center of the composition radiates with light from a pyramid of tarot cards, surrounded by astrological signs. The faces of the tarot cards are painted in meticulous detail so that each one could be interpreted as an individual work of art. Rain presents an original, surrealistic vision by combining his interests in the symbology that permeates popular culture with his own ideology and placing them within a mysterious context. As a result of the artist’s desire for perfection, his surviving body of work is smaller than most – each a treasured and complex glimpse into Rain’s unique ideas and endless imagination. Ref.: Deeds, Daphne Anderson. “Charles Rain: A Singular Realist.” Remembering Charles Rain: Selected Works from 1933-1973. New Haven: Yale University, 2004, pp. 7-15

77. Charles Whedon Rain (American, 1911-1985), “The Sun”, 1963, oil on masonite, signed, titled, dated and inscribed “New York” en verso, 16 in. x 20 in., framed. [$15000/25000] Provenance: Banfer Gallery, New York; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

78. Charles Whedon Rain (American, 1911-1985), “Violets”, 1965, oil on masonite, signed lower right, signed, titled, dated and inscribed “New York” en verso, “Banfer Gallery” label with artist, title and date en verso, 12 in. x 18 in., framed. [$12000/18000] Provenance: Banfer Gallery, New York; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

79. Charles Whedon Rain (American, 1911-1985), “Glass”, 1965, oil on masonite, signed lower right, signed, titled, dated and inscribed “New York” en verso, 12 in. x 18 in., framed. [$7000/10000]

Provenance: Banfer Gallery, New York; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Exh.: Jonathan Edwards College, Yale University, New Haven, Remembering Charles Rain, Selected Works from 1933-1973, March 25-May 25, 2004, and listed in the accompanying catalogue as no. 27, p. 38.

Additional information at www.nealauction.com

80. Steuben Glass Blue Cluthra Vase, 1920s, Frederick Carder design # 2683, signed “Steuben”, and with paper Rockwell Gallery label, h. 8 1/2 in., dia. 7 1/4 in. [$600/900] Provenance: Rockwell Gallery, Corning, NY, 1994; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

81. Steuben Glass Rose Cluthra Vase, c. 1920s, Frederick Carder design #2683, signed “Steuben”, h. 8 1/2 in., dia. 7 1/4 in. [$600/900]

Provenance: Vincent Rocco, NY, 1992; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

82. Steuben Glass Blue Aurene Vase, 1920s, Frederick Carder design #2683, signed “Steuben”, original paper label, h. 8 1/2 in., dia. 7 1/2 in. [$700/1000]

Provenance: Stephen Milne, NY, 1994; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

84. Steuben Glass Selenium-Ruby Footed Vase, 1920s, Frederick Carder design #6552, signed “Steuben” and “F. Carder” in script, h. 12 in., dia. 3 3/4 in. [$400/600]

83. Steuben Glass Blue Aurene on Calcite Bowl, c. 1920s, Frederick Carder design #2035, h. 3 1/2 in., dia. 12 1/4 in. [$100/150] Provenance: Cherub Antiques Gallery, Wash, DC; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

85. Steuben Glass “Mariner’s” Bowl, designed by Sidney Waugh in 1935, free-blown, tooled and engraved, h. 2 1/4 in, dia. 15 3/4 in. [$5000/7000]

Provenance: Minna Rosenblatt, Inc., NY, 1998; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Provenance: Steuben, NY, 1961; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

86. Steuben Glass “Europa” Bowl, designed by Sidney Waugh in 1935, free-blown, tooled and engraved, h. 10 in, dia. 8 in. [$3000/5000]

87. Twenty-Nine Steuben Glass Goblets, designed by Frederick Carder and/or Bolislav Manikowski before 1931, incl. 17 water, h. 5 1/8 in., and 12 wine, h. 4 1/2 in. [$600/900]

Provenance: Jeffrey Purtell, NH, 1995; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans. 88. Twelve Steuben Glass Finger Bowls and Underplates, designed by Frederick Carder, c. 1934, h. 2 3/8 in, dia. 4 in. [$400/600] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

89. Steuben Glass “Agnus Dei” Vase, designed by Sidney Waugh c. 1937, h. 7 1/4 in, dia. 4 in. [$300/500] Provenance: Steuben New York 1967; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

90. Steuben Glass “Peasant” Vase, designed by Sidney Waugh before 1939, h. 5 1/4 in, dia. 3 in. [$500/700] Provenance: Vincent Rocco, New York, 1992; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

91. Steuben Glass “Pegasus” Vase, designed by Sidney Waugh before 1939, h. 7 1/4 in, dia. 4 in. [$500/700] Provenance: Jeffrey Purtell, NH, 1995; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

92. Steuben Glass “American Ballad” Bowl, designed by George Thompson and Sidney Waugh in 1942, free-blown, applied, tooled and engraved, h. 7 1/4 in, dia. 9 1/2 in. [$4000/6000] Provenance: Jeffrey Purtell, NH, 2001; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

93. Steuben Glass “Transportation” Bowl, designed by Sidney Waugh in 1942, free-blown, applied, tooled and engraved, h. 6 in, dia. 7 1/2 in. [$3000/5000]

Provenance: Lillian Nassau, New York, 2002; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

94. Steuben Glass “Paul Revere” Vase, designed by Sidney Waugh in 1942, h. 12 1/2 in, dia. 7 1/4 in. [$2000/3000]

Provenance: Jeffrey Purtell, NH, 2001; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

96. Pair of Steuben Glass Low Footed Bowls and a Candy Dish, bowl h. 3 1/2 in., dia. 10 5/8 in. [$250/350] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans. 95. Steuben Glass Lotus Vase and Double-Scroll Flower Vase, designed by George Thompson in 1942, taller h. 10 in, dia. 5 3/4 in. [$250/350] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

97. Two Steuben Glass Ashtrays, designed by George Thompson in 1946, h. 2 1/4 in, w. 8 1/8 in., d. 7 in. [$100/150] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

98. Pair of Steuben Glass Two-Light Candle Bowls, designed by George Thompson in 1952; together with a bud vase, and a paperweight, tallest h. 8 in. [$400/600] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

102. Steuben Glass “Phoenix” Vase, designed by Lloyd Atkins in 1953, h. 13 3/4 in., together with a Coronet bowl, and a Tricorn bowl. [$400/600] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

101. Steuben Glass “Bombus” Vase, designed by Bruce Moore in 1953, h. 10 in, dia. 5 in. [$2000/3000]

Provenance: Steuben New York 1968; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

99. Steuben Glass Cut Bowl, designed by Donald Russel in 1937, h. 9 in, dia. 11 1/2 in. [$300/500]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

100. Four Steuben Glass Stoppered Cordial Decanters and an Oval Bowl, designed by George Thompson, decanter h. 8 7/8 in, dia. 4 3/4 in. [$300/500]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

103. Steuben Glass “Freeform” Bowl, h. 6 1/2 in., w. 6 5/8 in., d. 3 3/8 in.; together with a serving dish, and a pair of Spiral bowls. [$300/500] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

104. Steuben Glass “Cathedral”, designed by George Thompson in 1955, from the Artist’s Exhibition Series, cast, cut and engraved, h. 15 3/4 in w. 3 in, d. 1 7/8 in. [$3000/5000]

Provenance: Morton’s Auction Exchange, New Orleans, 1981; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans. Additional information at www.nealauction.com

105. Two Steuben Glass Vases and a Trefoil Bowl, tallest h. 6 in. [$300/500]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

106. Steuben Glass “Talisman” Bowl and Eight Berry Bowls, c. 1950, bowl h. 7 3/4 in., dia. 9 1/4 in. [$200/300] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

107. Fifteen Steuben Glass Airtwist Spiral Stem Wine Goblets, designed by George Thompson in 1950, incl. 9 red, h. 5 3/8 in., and 6 white, h. 4 7/8 in. [$500/700] Provenance: Steuben New York, before 1972; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

109. Steuben Glass Martini Pitcher with Sterling Silver Mixer and a “Spiral” Vase, c. 1955, taller h. 9 7/8 in. [$250/350] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

111. Steuben Covered Centerpiece Bowl, designed by Donald Pollard in 1956, h. 9 7/8 in., dia. 6 3/4 in.; together with two whales. [$200/300] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

108. Steuben Glass Trefoil Vase, designed by Lloyd Atkins in 1951, h. 7 3/4 in., together with 6 rope twist cigarette urns, and two ashtrays with sloping bowls, and a scroll plate with side grip. [$300/500] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

110. Steuben Glass “Bodhisattva”, designed by Donald Pollard and Kiyoshi Saito in 1956, from the Artist’s Exhibition Series, free-blown, applied, tooled and engraved, h. 9 1/2 in, w. 5 in, d. 2 1/2 in. [$2000/3000] Provenance: Lillian Nassau, New York, 1993; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

112. Steuben Glass Trillium Bowl and a Serving Bowl with Side Grip, c. 1958, tallest h. 4 3/4 in. [$200/300] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

113. Steuben Glass “Swan Lake”, designed by George Thompson and Sidney Waugh in 1959, from the Artist’s Exhibition Series, gathered, tooled, cut and engraved, h. 6 3/4 in, w. 5 1/2 in, d. 3 in. [$5000/7000] Provenance: Jeffrey Purtell, NH, 2001; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

114. Steuben Glass “Narcissus”, designed by George Thompson and Sidney Waugh in 1962, from the Artist’s Exhibition Series, cast, cut and engraved, h. 6 in, w. 11 in, d. 2 1/2 in., with original leather-bound folder. [$3000/5000] Provenance: Steuben, New York, 1964; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

115. Steuben Glass “Carousel of the Seasons”, designed by Paul Schultze and Frank Eliscu in 1966, engraved by Ladislav Havlik, # 14 in an edition of 20, from the Artist’s Exhibition Series, cast, cut and engraved, h. 12 in., dia. 4 in., with original leather-bound folder. [$3000/5000]

Provenance: Steuben, NY 1979; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

116. Steuben Glass “Peony” Bowl and a “Corolla” Vase, taller h. 14 in. [$250/350] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

119. Steuben Glass Giant Airtwist Spiral Stem Goblet and a Porpoise, c. 1964, goblet h. 11 in., dia. 6 1/2 in. [$250/350]

117. Steuben Glass Silver-Mounted “Airtwist” Candlestick, and a Pair of “Star” Candlesticks, designed by Lloyd Atkins in 1962, taller h. 13 in. [$300/500] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Provenance: Steuben, New York, 1980; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans. 118. Steuben Glass Audubon “Snowy Owl” and “White Pelican” Plates, designed by Sidney Waugh in 1964, h. 3/4 in, dia. 10 in. [$300/500]

Provenance of Pelican: Lillian Nassau, New York, 1994; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

121. Steuben Glass “Partridge in a Pear Tree”, designed by Lloyd Atkins in 1968, from the Major Ornamental Designs Series, free-blown, applied, tooled and cut, h. 5 3/4 in, w. 3 1/2 in, d. 3 in. [$1000/1500]

120. Steuben Glass “The Butterfly”, designed by George Thompson and Alexander Seidel in 1967, from the Artist’s Exhibition Series, cast, cut and engraved, h. 7 7/8 in, w. 6 3/8 in, d. 3 1/8 in., with original leather-bound folder. [$3000/5000] Provenance: Steuben, NY, 1976; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

122. Steuben Glass Canape Plate and Penguin and Pelican Figures, c. 1968, tallest h. 4 in. [$300/500]

123. Steuben Glass “Noah”, designed by Paul Schultze and Frank Eliscu in 1970, from the Artist’s Exhibition Series, # 8 from the edition of 10, cast, sag-molded, cut and pressed, h. 14 in, w. 9 in, d. 4 3/4 in., with original illuminated base. [$2000/3000]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Provenance: Lillian Nassau, New York, 1987; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

124. Steuben Glass “Grouse Grove”, designed by James Houston in 1971, from the Artist’s Exhibition Series, cast, cut and engraved, h. 8 in, w. 8 1/2 in, d. 3 in. [$3000/5000] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

125. Seven Steuben Glass Figures, frog, rabbit, toucan, pumpkin, champagne cork, eagle, and Roman cat, tallest 3 1/4 in, w. 5 in, d. 1 3/4 in. [$200/300]

126. Steuben Glass “American Eagle”, designed by Donald Pollard in 1975, base with dedication “The Frederick Kredel Honorary Professorship, Medical University of South Carolina, Awarded to Isidore Cohn, Jr., 1977”, h. 4 3/8 in, w. 5 1/2 in, d. 4 in., together with a pair of Steuben glass colonial candlesticks, h. 9 1/4 in, dia. 4 in. [$300/500]

127 Steuben Glass “Lunar” Vase, a “Prunus” Vase, and a “Temple” Jar, c. 1977, tallest h. 10 3/4 in. [$300/500]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

128. Steuben Glass Dragon, designed by Bernard X. Wolff in 1981, h. 5 5/8 in, w. 7 1/2 in, d. 4 1/2 in. [$100/150]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Additional information at www.nealauction.com

129. Steuben Glass “Great Horned Owl”, designed by James Houston in 1985, from the Artist’s Exhibition Series, cast, cut and engraved, #4 from the edition of 5, h. 8 in, w. 7 in, d 2 1/4 in., with original leather-bound folder. [$5000/7000]

130. Steuben Glass “Carousel”, designed by Peter Aldridge and Jane Osborn-Smith in 1985, from the Major Ornamental Designs Series, cast, cut and engraved, h. 7 1/2 in, dia. 4 1/2 in. [$2000/3000] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Provenance: Steuben, New York, 1989; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

131. Steuben Glass Candy Cane and a Cane Twist Paperweight, taller h. 7 in. [$75/125]

133. Steuben Glass “Peacock”, designed by Bernard X. Wolff in 1986, mold-blown, with air-trap bubbles, h. 12 in, w. 14 in, d. 3 in. [$500/700]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

132. Steuben Glass Medium Cup-Shaped Bowl and a Hellenic Urn, taller h. 9 1/2 in. [$200/300]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans. 134. Three Steuben Glass Ornamentals, Star Stream, designed by Neil Cohen in 1988, h. 5 1/2 in, w. 5 in, d. 2 1/2 in, Scallop, and Quail. [$150/250]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

135. Steuben Glass “Heritage Gazelle” Vase, 1989, designed by Sidney Waugh in 1935, from the Artist’s Exhibition Pieces, Heritage Series, # 1 from the edition of 25, freeblown, tooled and engraved, h. 7 1/2 in, dia. 4 in., with original leather-bound folder. [$500/700]

Provenance: Steuben, New York, 1989; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

136. Steuben Glass “Leopard in Moonlight”, designed by James Houston in 1988, from the Artist’s Exhibition Series, cast, cut and engraved, h. 7 1/2 in, w. 8 in, d. 2 in., with original leather-bound folder. [$5000/7000] Provenance: Neiman Marcus Steuben, Chicago, 1993; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

137. Steuben Glass “African Zebras”, designed by James Houston in 2002, from the Artist’s Exhibition Series, cast, cut and engraved, # 24 from the edition of 25, h. 5 1/2 in., w. 11 in, d. 3 in. [$5000/7000] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

138. Steuben Glass “Crystal” Bowl and a “Large Sunflower” Bowl, h. 6 in., dia. 9 in., and h. 4 3/4 in., dia. 15 1/2 in. [$300/500] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

139. Steuben Glass Grecian Urn, designed by Sidney Waugh and Donald Pollard, h. 6 1/2 in., dia. 6 3/4 in., original red leather box. [$6000/9000] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

140. Isamu Noguchi (Japanese/ American, 1904-1988) for Steuben Glass “The Cat”, 2005, originally designed in 1940 from the Twenty-Seven Artists in Crystal series, # 3 from the edition of 25, dia. 16 in., presented on a custom steel armature. [$4000/6000] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

141. Steuben Glass Massive Oval Bowl and an Acanthus Bowl, h. 4 in., dia. 10 3/4 in. and h. 7 in., dia. 7 3/4 in. [$200/300]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

142. Steuben Glass Bowl with Undulating Base and a Honeycomb Vase, h. 6 in., w. 9 1/2 in., d. 7 1/2 in. and h. 15 1/2 in., dia. 3 1/4 in. [$300/500] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

143. Steuben Glass “Zodiac Bowl”, designed by Sidney Waugh in 1935, dia. 16 in., presented on a custom armature. [$5000/7000] Provenance: Jeffrey Purtell, NH, 2007; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

144. Steuben Glass “Moses Breaking the Tablets”, designed by James Houston in 1970, figure of Moses in gold-plated silver, h. 9 3/4 in., w. 5 1/2 in., d. 3 1/2 in., with original red leather box. [$3000/5000]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

Additional information at www.nealauction.com

145. Steuben Glass “Trade and Commerce” Bowl, designed by Sidney Waugh and George Thompson in 1943, h. 6 in, dia. 7 1/2 in. [$4000/6000]

Provenance: Jeffrey Purtell, NH, 2009; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans. 146. Steuben Glass “Hippocratic Oath”, designed by George Thompson and Patricia Weisberg in 2003, with the Hippocratic Oath engraved, verso, h. 3 1/2 in., w. 8 in. [$150/250] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

148. Group of Steuben Smoking Accessories, incl. ashtray with crimped handles, two cigarette holders. cigarette box with lion crest, covered cigarette jar, and six barleytwist muddlers, tallest h. 5 1/2 in. [$300/500]

147. Steuben Glass Cream Pitcher and a Sugar Bowl, designed by Lloyd Atkins in 1959, taller h. 4 in. [$100/150]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

149. Steuben Glass Stoppered Decanter and an Olive Dish, c. 1937, h. 10 3/8 in, dia. 3 1/2 in. [$200/300]

150. Steuben Glass Apple, Grape and Puppy Love, designed by Angus McDougall, c. 1939, larger h. 4 in, l. 7 1/2 in., (2 pcs.) [$150/250]

151. Steuben Glass Cut Vase, c. 1938, h. 5 7/8 in, dia. 5 3/4 in.; together with 6 teardrop liqueur glasses, h. 3 7/8 in. and cigarette urn, h. 3 1/2 in. [$150/250]

154. Steuben Glass Small Flower Urn and a Bowl with Foliated Base, c. 1937, taller h. 6 3/4 in, dia. 8 1/2 in. [$200/300]

155. Steuben Glass Coronet Bowl, designed by Donald Pollard, h. 3 1/2 in., dia. 7 5/8 in. [$50/75]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

153. Twelve Steuben Glass Seafood Cocktail Glasses, designed by George Thompson in 1937, h. 2 7/8 in. [$200/300]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

157. Two Steuben Glass Vases, incl. a Hellenic Urn, and a Flared Vase with Air Trap Bubbles, taller 11 1/4 in. [$200/300]

Provenance: Collection of Dr. Isidore J. Cohn, Jr. (1921-2015), New Orleans.

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

152. Steuben Glass Horse Head and a Compote, taller h. 5 in, w. 3 in, d. 1 1/2 in. [$100/150] Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

156. Six Steuben Glass Old Fashioned Glasses, designed by George Thompson in 1947, h. 3 1/8 in. [$250/350]

Provenance: Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans.

158. Steuben Glass Freeform Salad Bowl and a Massive Ashtray, bowl h. 2 3/4 in., w. 10 3/4 in., d. 11 in. [$150/250] Provenance: Collection of Dr. Isidore J. Cohn, Jr. (1921-2015), New Orleans.

PROPERTY FROM THE COLLECTION OF

WENDY AND GEORGE RODRIGUE

Additional information at www.nealauction.com

In 1945, Chateau Mouton Rothschild enlisted illustrator Philippe Jullian to design the “V” for “Victory“ label of their revered Bordeaux wine. From that label was born a tradition which would capture the enthusiasm of wine and art collectors alike. Following World War II, Chateau Mouton Rothschild continued to commission different artists to design unique labels for their titular wine. Salvador Dali, Andy Warhol, Marc Chagall, and Pablo Picasso all created original designs for the vineyard. While George Rodrigue did not himself imbibe, he was an avid collector of the artist label wines and dreamed of designing a label for the famous chateau. His widow, Wendy, recounted her efforts in trying to secure the honor: “We’d been married about a year when I surprised him with a 1945 Mouton Rothschild, found with the help of a sommelier friend. The only thing that could be better, I thought, was to secure the label commission. My sister Heather joined me for a designated girls’ trip, and off we went to Bordeaux, France, despite the fact that I was unable to confirm an appointment to meet Mrs. Rothschild. We had books in hand, along with possible label designs, when we rang the bell: ‘Is the Baroness at home? We’ve come a very long way.’ Despite our bad manners, her assistant met us and treated us with grace, explaining that her boss was out of town. She hosted us throughout the winery, including a tour of the Rothschild’s private cellars and an education in the fascinating history of both the family and their legacy. In the end, Heather and I left having tasted some fabulous wines, as well as having delivered our Rodrigue message and materials. We returned home with three more bottles of Mouton Rothschild for George’s collection. About a week later we received a case of wine from the Baroness, a gift along with a kind note explaining that the next label had been chosen, but she appreciated our having dropped by. It was a classy, but obvious, rejection.”

Photo Courtesy Wendy Rodrigue

Ironically, Rodrigue was selected years later by revered Napa Valley-based Amuse Bouche Wines to create a custom label for their 2006 vintage (on offer here). The California vineyard chooses American artists to grace the labels of their highly sought-after wines. According to Wendy, “for George, pairing his artwork to this fine wine and fine American tradition of artists including Wayne Thiebaud and Leroy Neiman, was the next best thing to the French label.” Ref.: Rodrigue, Wendy. “Label Art: Paintings for Wine and Beer.” Musings of an Artist’s Wife. July 17, 2010. www. wendyrodrigue.com. Accessed Apr. 28, 2020 159. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1959-1962, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artists: Richard Lippold (59), Jacques Villon (60), Georges Braque (61), Roberto Matta (62), not stored in climate control. (4 pcs.) [$800/1000]

160. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1964-1967, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artists: Henry Moore (64), Dorothea Tanning (65), Pierre Alechinsky (66), César Baldaccini (67), not stored in climate control. (4 pcs.) [$800/1000]

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

161. Amuse Bouche Winery, Prêt à Boire 2010, Rosé of Grenache/Syrah, Napa Valley, 750 ml, Label Artist George Rodrigue, 6 bottles in special wooden case with label and case featuring Blue Dog as “Pink Dog”, one of 300 cases produced, not stored in climate control. (7 pcs.) [$500/700]

162. Amuse Bouche Winery, Vin Perdu 2006, Pomerol Style, Napa Valley, 5L., signed by the wine maker Heidi P. Barrett below front label, not stored in climate control. [$500/700] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

163. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1982-83, Pauillac, Bordeaux, 1er Cru Classé, 750 ml Label Artists: John Huston (82), Saul Steinberg (83), not stored in climate control. (2 pcs.) [$400/600] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

164. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1985-2001, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Année du Millénaire (00), Label Artists: Paul Delvaux (85), Bernard Sejourne (86), Hans Erni (87), Keith Haring (88), George Baselitz (89), Francis Bacon (90), Setsuko Ideta Klossowski de Rola (91), Per Kirkeby (92), Balthus (Balthasar Klossowski de Rola) (93), Karel Appel (94), Antoni Tápies (95), Gu Gan (Zang Shiqiang) (96), Niki de Saint-Phalle (97), Rufino Tamayo (98), Raymond. Savignac (99), Robert Wilson (01), not stored in climate control. (17 pcs.) [$2500/3500] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

165. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1969-1980, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Hommage à Sa Majesté La Riene Mère d’Angleterre (77), Label Artists: Joan Miró (69), Marc Chagall (70), Wassily Kandinsky (71), Serge Poliakoff (72), Pablo Picasso (73), Robert Motherwell (74), Andy Warhol (75), Pierre Soulages (76), Jean-Paul Riopolle (78), Hisao Domoto (79), Hans Hartung (80), not stored in climate control. (12 pcs.) [$1000/2000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

166. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1953-1956, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Année Du Centenaire (53), Label Artists: Jean Carzou (54), Georges Braque (55), Pavel Tchelitchew (56), not stored in climate control. (4 pcs.) [$800/1000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

167. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1945, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artist Philippe Jullian, not stored in climate control. [$300/500] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

168. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1993, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artist Balthus (Count Balthazar Klossowski de Rola), not stored in climate control. [$300/500] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

169. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1973, Pauillac, Bordeaux, 1er Cru Classé, 1.5L., Label Artist Pablo Picasso, not stored in climate control. [$300/500] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

170. Amuse Bouche Winery, Amuse Bouche 2006, Cabernet Franc/ Merlot, Napa Valley, 750 ml, Label Artist George Rodrigue, not stored in climate control. [$200/400] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

171. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1950, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artist Georges Arnulf, not stored in climate control. [$200/400]

172. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1964, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artist Henry Moore, not stored in climate control. [$200/400]

173. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1973, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artist Pablo Picasso, not stored in climate control. [$200/400]

174. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 2000, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Année du Millénaire, not stored in climate control. [$200/400]

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

176. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1995, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artist Antoni Tápies, not stored in climate control. [$200/400]

177. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1993, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artist Balthus (Count Balthazar Klossowski de Rola), not stored in climate control. [$300/500]

178. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1985, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artist Paul Delvaux, not stored in climate control. [$200/400]

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

175. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1999, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artist Raymond Savignac, not stored in climate control. [$200/400] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

Additional information at www.nealauction.com

179. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1987, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artist Hans Erni, not stored in climate control. [$200/400] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

183. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1993, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artist Balthus (Count Balthazar Klossowski de Rola), not stored in climate control. [$300/500] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

180. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1988, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artist Keith Haring, not stored in climate control. [$200/400]

181. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1989, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artist Georg Baselitz, not stored in climate control. [$200/400]

182. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1990, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artist Francis Bacon, not stored in climate control. [$200/400]

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

184. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1994, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artist Karel Appel, not stored in climate control. [$200/400]

185. Mouton Rothschild Artist Label Series, Château Mouton Rothschild 1994, Pauillac, Bordeaux, 1er Cru Classé, 750 ml, Label Artist Karel Appel, not stored in climate control. [$200/400]

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

186. Chateau Mouton Rothschild The Artist Labels Poster, with labels from 1924 and 1945-1980, sight 18 3/4 in. x 25 1/4 in., framed. [$150/250] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

188. Pair of Contemporary Chrome “Space” Lamps, saucer shade, reverse tapered standard, h. 20 in., dia. 23 in. [$600/900] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

187. Pair of Contemporary Woven Fabric and Leather Armchairs, shaped back, banquet seat, arched, chrome arms, h. 28 in., w. 28 in., d. 33 in. [$500/700] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

190. Noguchi Coffee Table, shaped glass top, high gloss wood base, h. 16 1/2 in., w. 52 3/4 in., d. 36 1/2 in. [$700/1000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

189. Pair of American Contemporary Leather and Metal Side Chairs, Elite Modern, California, concave tapered back, chrome support, shaped seat, iron tapered legs, h. 37 1/2 in., w. 20 1/2 in., d. 21 1/2 in. [$500/750] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

191. Contemporary Laminate and Metal Side Table, round top with chamfered edge, spider legs, h. 21 3/4 in., dia. 27 1/2 in. [$250/350] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

192. Maxalto for B&B Italia “Apta” Leather and Chrome Armchair, labeled, channeled body, shaped ribbon arms, iron tapered legs, h. 28 1/2 in., w. 27 1/2 in., d. 32 1/2 in. [$300/500]

193. Modern Swivel Armchair, floating cube form, shaped back and arms, chrome base, h. 32 in., w. 42 1/2 in., d. 35 in. [$200/300] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

196. Modern Chrome Clothes Valet, upturned arched form, eight hanging holes, tubular standard, stepped round base, h. 67 in., w. 22 in., d. 16 1/2 in. [$200/300] 194. Roche Dobois Woven Fabric and Ultrasuede Sectional Sofa, angled back, double row of ultra-suede loose cushions, woven fabric base, h. 35., l. 144., w. 49 in., d. 82 in. [$500/1000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

195. Contemporary Glass and Chrome Side Table, adjustable base. [$250/350] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

197. Modern B&B Italia Wood and Metal Bench, labeled, incurvate plank top, Parsons base, h. 15 1/2 in., w. 35 1/2 in., d. 16 in. [$200/300]

198. Alfonse Bini (Italian, 20th c.), “Baseball Glove”, carved wood sculpture, signed and marked “Firenze” on underside, h. 8 1/2 in., w. 11 1/2 in., d. 7 in. [$300/500] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

200. Twenty-Two Piece Waterford Cut Crystal Partial Stemware Service, marked, incl. 13 red wine, 3 white wine, 5 water, and one champagne, tallest h. 8 in. [$200/300]

199. Lalique Crystal “Pinson Bird” Bowl, marked, h. 3 3/4 in., dia. 9 1/4 in. [$200/300] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

201. Baccarat Cut Crystal Decanter and Ice Bucket, both marked, decanter h. 16 1/2 in., bucket h. 6 in., dia. 6 in. (2 pcs.) [$200/300] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

202. Manmelter 3600 ZX Sub-Atomic Disintegrator Pistol, fantasy space weapon, metal and glass, by Weta Workshop, New Zealand, h. 9 1/2 in., w. 12 in., d. 3 1/2 in., metal case, h. 4 3/4 in., w. 18 in., d. 11 1/2 in. [$100/150] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

203. Bronze Figure of “Mujer Fumando”, after Fernando Botero, signature inscribed on self-base, h. 10 1/2 in., w. 21 in., d. 10 1/4 in. [$500/700] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

Additional information at www.nealauction.com

204. American Studio Glass Bowl, 2000, indistinctly signed, h. 4 1/4 in., dia. 9 in. [$75/150] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

205. Mario Villa (Nicaraguan/New Orleans, b. 1953), “Winged Victory”, 1988, bronze, signed, dated and numbered “4/50” on self-base, h. 8 3/4 in., bronze column, overall h. 25 3/4 in. [$400/600] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

206. Peter Woytuk (American/New Mexico, b. 1958), “Bird on Green Apple”, bronze sculpture, signed on underside, h. 4 3/4 in. [$500/700] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

207. Louisiana School, 20th c., “Nude with Seashell Necklace”, oil on canvas, unsigned, 48 in. x 35 5/8 in., unframed. [$800/1200]

208. Peter Halley (American/New York, b. 1953), “Untitled”, 1999, acrylic on paper, pencil-signed and dated lower right, “McClain Gallery, Houston” label with artist, title and date and card with inscription on backing, sight 6 in. x 6 in., framed. [$1000/1500]

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

209. Dale Chihuly (American, b. 1941), “Abstract Composition”, mixed media on paper, signed lower center, 60 in. x 40 in., framed. [$7000/10000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue. Note: Known primarily for his large-scale glass installations, artist Dale Chihuly often creates work in a variety of other media as well, including mixing charcoal, graphite, acrylic and watercolor to echo his iconic three-dimensional shapes and forms. In the abstract painting offered here, vibrant and expressionistic brushstrokes are combined to create depth and exuberance within the composition. The ultimate form relates to Chihuly’s Float series, which was begun in 1991 after the creation of his work “Niijima Floats.” The Float series, which includes works in glass and paint, focuses on the blending of colors and grand spherical forms.

210. James Michalopoulos (American/New Orleans, b. 1951), “Jazz Players”, oil on panel, signed lower right, signed and artist label en verso, 46 1/4 in. x 22 3/4 in., framed. [$3000/5000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

211. Andy Warhol (American, 1928-1987), “John Wayne”, 1986, screenprint in colors on Lenox Museum Board, pencil-signed and numbered “UNIQUE” lower right, from the series Cowboys and Indians, printed by Rupert Jasen Smith, published by Gaultney Klineman Art, New York, blind stamp lower left, 36 in. x 36 in., framed. [$80000/120000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue. Ill.: Feldman, Frayda and Jörg Schellman. Andy Warhol Prints: A Catalogue Raisonné 1962-1987 4th ed. New York: D.A.P./Distributed Art Publishers, Inc., 2003, pl. II.377, p. 154

212. Andy Warhol (American, 1928-1987), “Teddy Roosevelt”, 1986, screenprint in colors on Lenox Museum Board, pencil-signed and numbered “201/250” lower right, from the series Cowboys and Indians, printed by Rupert Jasen Smith, published by Gaultney Klineman Art, New York blind stamp lower left, 36 in. x 36 in., framed. [$25000/35000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue. Ill.: Feldman, Frayada and Jörge Schellman. Andy Warhol Prints: A Catalogue Raisonné 1962-1987 4th ed. New York: D.A.P./Distributed Art Publishers, Inc., 2003, pl. II.386, p. 155

213. Andy Warhol (American, 1928-1987), “The Nun”, 1983, screenprint in colors on Lenox Museum Board, pencil-signed and numbered “TP 1/30” lower center, from the series Ingrid Bergman, printed by Rupert Jasen Smith, published by Galerie Börjeson, Malmö, Sweden, 39 in. x 39 in., framed. [$20000/30000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue. Ill.: Feldman, Frayda and Jörg Schellman. Andy Warhol Prints: A Catalogue Raisonné 1962-1987 4th ed. New York: D.A.P./Distributed Art Publishers, Inc., 2003, pl. II.314, p. 135 Additional information at www.nealauction.com

214. Hunt Slonem (American/Louisiana, b. 1951), “Cockatoo Chinensis (Horbills & Cockatoos)”, 2001, oil on canvas, signed, titled and dated en verso, 80 in. x 90 in. (in six panels), unframed. [$40000/60000] Provenance: Collection of Wendy and the late George (1944‑2013) Rodrigue.

Ill.: Kuspit, Donald B. Hunt Slonem: An Art Rich and Strange. New York: Harry N. Abrams, Inc., 2002, jacket cover.

Note: The monumental painting by Hunt Slonem offered here was selected as the cover of the monograph on the artist, Hunt Slonem: An Art Rich and Strange, published by Harry N. Abrams in 2002. This archetypal work perfectly represents Slonem’s iconic bird series – a colorful and frenetic ode to the artist’s avian subjects. Donald Kuspit writes: “Slonem’s birds are transformational objects facilitating his creative growth, indeed, the symbol as well as major subject of his astonishing creativity.” Slonem adores birds and deeply identifies with them…“My fascination with bird life started when I was a child living in Hawaii. I became mesmerized by them. I’m drawn to their colors, their forms, their songs, their mystical qualities and how they affect the areas of the world that they’re in.”

With their ties to Louisiana, Hunt Slonem and George Rodrigue perhaps not surprisingly shared a long friendship and enjoyed the camaraderie of two artists who each has achieved success in the art world on their own terms. Wendy Rodrigue has commented: “We own quite a few pieces by Hunt. He and George became close friends, always talking shop. It was mutual admiration. They were in awe how much each was able to get done as business owners and with Hunt’s estate remodeling — they both still had time to paint.” This artistic success for both Slonem and Rodrigue came about through a similar mindset – the idea that one’s voice and personal vision must always come first, regardless of the art world and critics, and a true dedication to their craft – a tireless desire to put paint to canvas.

Slonem incorporates crosshatching into his paintings by scratching the sharpened tip of a paintbrush through wet paint, as a result the subjects beneath the grid become obstructed, reflecting how a human might view birds through the bars of their cage. This technique became a part of Slonem’s distinctive style and is reflected in many of his avian-centric pieces. “Hornbills & Cockatoos” offered here takes this textural concept even a step further, as the six-panel construction adds yet another layer to the grid. This extraordinary painting epitomizes the ideal marriage of Slonem’s subject matter with his mastery of color. Unafraid of a bold palette, the work is saturated in vibrant hues that lend both a sense of the familiar and otherworldliness to his birds.

Rodrigue once requested that Slonem paint Wendy’s portrait for a special Christmas gift, and he was surprised to later find that, rather than a single painting, Slonem had created thirty-five unique compositions. Twelve of those paintings became her gift, opened one after another on Christmas morning, and they remain a treasured part of her collection along with other important works by Slonem. “Hornbills & Cockatoos” offered here hung in the Rodrigue’s home in Carmel, California in a place of honor for many years – a true testament to the Rodrigue’s appreciation for Slonem as a great American artist and as a friend. Ref.: Branton, Vicky. “Into His World.” The Daily Iberian. Aug. 28, 2016. Kuspit, Donald B. Hunt Slonem: An Art Rich and Strange. New York: Harry N. Abrams, Inc., 2002

215. Todd Hido (American/California, b. 1968), “Landscape #3223”, 2003 negative creation date, 2004 print date, Type C chromogenic print mounted to aluminum, signed, titled, no. “3/3” and dated en verso, printing label with print date en verso, from the Roaming series, sight 48 in. X 38 in., framed. [$5000/7000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue. Ill.: Hido, Todd. Todd Hido: Roaming Landscape Photographs. Tucson: Nazareli Press, 2004 Note: With the 2004 release of his book Roaming, artist Todd Hido made a marked effort to add a modern touch to the genre of the landscape. Choosing to photograph from inside the confines of his automobile and looking for the traces of human intervention on the land, the images became more about how humans exist in nature than nature itself. When describing his thoughts behind the genesis of the series, Hido states: “I don’t take a photo of pure Nature, the view I’m photographing doesn’t exist unless you can drive up to it. So these are not retreats into the outdoors or Natural World.” “Landscape #3223” offered here was one of the last photos in the series and exemplifies the overall slightly unsettling mood of the imagery. By reducing the color photo down to a monochromatic rendering, the tone of the work is one of longing and nostalgia. Hido raises the question of whether humans now consider nature simply another space to modify for their own purposes and no longer a living entity. Neal Auction Company would like to express their gratitude to Todd Hido and Katya Taylevich for their assistance with the research and cataloguing of this lot.

216. Jeff Koons (American, b. 1955), “Balloon Dog (Blue)”, fine porcelain with metallic finish, “MOCA, Los Angeles” label with title and edition number “729/2300” on reverse, dia. 10 1/4 in., together with original plastic stand. [$8000/12000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

217. Pablo Picasso (Spanish, 1881-1973), “Peintre et Modèle Qui se Cache le Visage (Bloch 1804, Baer 1821)”, No. 324 from Séries 347, 1968, etching on wove paper, pencil-signed and numbered “40/50” lower margin, inscribed in plate, “Martin Lawrence Gallery” label with artist, series, date and edition number on backing, published by Galerie Louise Leiris, Paris, sheet 13 in. x 16 in., framed; WITH Certificate of Tirage from Martin Lawrence Gallery. [$5000/7000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue. Additional information at www.nealauction.com

218. Annie Leibovitz (American, b. 1949), “Andy Warhol”, 1976, Cibachrome print, signed, titled, dated and numbered “17/40” lower margin, 20 in. x 16 in., framed. [$4000/6000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue. 219. Elliott Erwitt (French/ American, b. 1928), “Reno, Nevada (The Misfits)”, 1960 negative creation date, gelatin silver print, signed lower right, including John Huston, Arthur Miller, Marilyn Monroe, Eli Wallach, Clark Gable and Montgomery Clift, 8 in. x 10 in., framed. [$1000/1500] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

220. Gene Trindle (American/California, 1924-2004), “Sinatra, Crosby & Martin”, 1963, silver gelatin photograph, pencil-signed, titled and dated on matting, pencil-signed and dated en verso, 14 in. x 11 in., framed. [$500/800]

221. Gene Trindle (American/California, 1924-2004), “Louis Armstrong”, 1957, silver gelatin photograph, pencil-signed, titled and dated on matting, pencil-signed and dated en verso, 14 in. x 11 in., framed. [$500/800]

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

222. After Ernest J. Bellocq (American/New Orleans, 1873-1949), “Seated Woman in Striped Leggings” and “Nude Seated at Crib Window”, negative creation date c. 1912, later printings, 2 gelatin silver prints from glass negative on gold tone printing-out paper, printed by Lee Friedlander (American/ Washington, b. 1934), “Collection of Lee Friedlander” stamp with pencil-signature en verso of each, 8 in. x 10 in. and 10 in. x 8 in., framed alike. (2 pcs.) [$500/600] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue. Ill.: Friedlander, Lee and John Szarkowski. E.J. Bellocq: Storyville Portraits. New York: The Museum of Modern Art, 1970, pl. 16-17.

223. Kiki Smith (German/American, b. 1954), “Spinster Series I”, 2002, 2 plate double printed iris print, pencil-signed and dated lower right, numbered “15/24” lower left, sheet 19 7/8 in. x 14 5/8 in., framed. [$1000/1500]

224. Kiki Smith (German/American, b. 1954), “Spinster Series VIII”, 2002, 2 plate double printed iris print, pencil-signed and dated lower right, numbered “15/24” lower left, sheet 19 7/8 in. x 14 5/8 in., framed. [$1000/1500]

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

226. Dan Corbin (American/Alabama, b. 1947), “Untitled: Standing Nude in Gray”, 1993, bauxite and mixed media sculpture, signed on proper right leg, h. 53 1/2 in. . [$1800/2500]

225. Dan Corbin (American/Alabama, b. 1947), “Untitled: Standing Nude in Yellow”, 2001, bauxite and mixed media sculpture, signed and titled on proper right shoulder, h. 53 1/2 in.[$1800/2500] Provenance: Winfield Gallery, Carmel-by-the-Sea, CA; Collection of Wendy and the late George (1944-2013) Rodrigue.

Provenance: Winfield Gallery, Carmel-by-the-Sea, CA; Collection of Wendy and the late George (1944-2013) Rodrigue

Note: “An art analogy of my new sculpture style goes as follows: Rodin meets an Australian aboriginal conceptualist, and they began having kids.” – Dan Corbin In the work on offer here, Dan Corbin’s powerful figurative sculpture manages to seamlessly marry the sensual with the industrial. As Leila Rodriguez writes: “Corbin’s works embody rough textures juxtaposed with soft curves of the female body. Color is often added against the muted earthy tones, and his style dances with a classical approach roughed up by using unusual materials.” A constant innovator, Corbin abandoned traditional clay in favor of bauxite, a sedimentary rock composed primarily of aluminum. The switch to this heartier medium gave him the means to build larger, life-size works that could withstand time and wear and support the everyday objects hidden within their surfaces. Ref.: Rodriguez, Leila. “The Human Aspect of being a Creator”. Enterprise-Record. Oct. 11, 2018. www.chicoer.com. Accessed March 23, 2020

227. Peter Woytuk (American/New Mexico, b. 1958), “Lovebirds”, bronze sculpture, signed on self-base, h. 11 in. [$1200/1800] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue. Note: Peter Woytuk’s work explores the interplay between convex and concave form and frequently features animals in skewed scale, often in playful situations with fruit and other items such as acorns and bolts. After studying at Kenyon College, Woytuk apprenticed with sculptor Philip Grausman, from whom he learned the techniques of modeling clay, mold making and bronze casting. By 1995, Woytuk had developed a strong presence in American sculpture with exhibitions nationally and internationally. In the case of “Lovebirds” offered here, Woytuk’s birds are suspended on a swing. The dark patina offers a mysterious silhouette against the negative space backdrop, showcasing Woytuk’s mastery of his medium. The artist divides his time between his foundry in Thailand and home in Santa Fe, NM.

228. Peter Woytuk (American/New Mexico, b. 1958), “Bird on Pomegranate”, 2004 and “Bird on Green Apple”, 2 bronze sculptures, former signed, dated and numbered “13/80” on self-base, latter signed and numbered “23/30” on self-base, h. 16 in. and 18 in. (2 pcs.) [$800/1200] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

229. Bill Jonas (American/New Orleans, b.1952), “In and Out”, oil on panel diptych, unsigned, 46 1/2 in. x 24 in. and 46 1/4 in. x 24 in., artist frames; together with holiday card from artist. (3 pcs.) [$1500/2500] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue. Note: A native of Chicago who studied at the School of the Art Institute, Bill Jonas resided in New Orleans from 1988 to 2007 and built a distinguished national reputation for his work. His stylized, androgynous figures depicted in vibrant hues offer an air of the mysterious and whimsical with hints of surrealism. In the diptych offered here, the brilliant colors, use of light and shadow and duality of the composition create a thought-provoking narrative. In 2005, the Ogden Museum of Southern Art added Jonas’ painting “Lebensborn” to their permanent collection. The award-winning work had previously been exhibited at the Florence Biennale of 2003 where it won the prestigious Lorenzo De’ Medici medal. Additional information at www.nealauction.com

230. Bill Jonas (American/New Orleans, b. 1952), “Running”, 1990, watercolor on paper, signed lower left, signed and titled on backing, 14 1/4 in. x 22 in., framed. [$500/700] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

232. Andy Warhol (American, 1928-1987), “Campbell’s Vegetarian Vegetable Soup Label”, original factory can label, signed lower left, 6 1/5 in. x 13 1/8 in.; together with “Old Fashioned Vegetable Soup”, photolithograph, unsigned, sheet 25 in. x 17 7/16 in., framed together. (2 pcs.) [$400/600]

231. Bill Jonas (American/ New Orleans, b. 1952), “Head”, 2004, oil on panel, signed, dated and inscribed en verso, 16 in. x 12 in., unframed. [$800/1000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

233. Ken Frink (American/ Louisiana, 20th c.), “Two Women on Blue”, 2004, oil on panel, signed and dated en verso, 24 1/8 in. x 48 1/8 in., unframed. [$700/1000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

234. Clementine Hunter (American/Louisiana, 1886-1988), “Ringing the Bell/ Baptism”, oil on board, initialed lower right, 18 in. x 24 in., framed. [$4000/6000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

235. Autographed Photo of New Orleans Musicians, 2008, c-print on Fujicolor Crystal Archive paper, dated center of work, autographs include Trombone Shorty, Big Sam, Charmaine Neville and others, sheet 28 in. x 30 in., framed. [$400/500] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

236. Dennis Couvillion (American/Louisiana, 20th c.), “Katrina #1”, 2005, silver gelatin photograph, pencil-signed lower right margin, pencil-signed, titled and dated en verso, from the Stillness...the Aftermath of Katrina series, 23 1/4 in. x 35 in., framed; WITH catalogue and DVD produced by the artist. (3 pcs.) [$300/400] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

237. Christo Javacheff (Bulgarian/American, b. 1935), “The Gates Project for Central Park New York City XXIII”, 2004, lithograph in colors on paper, pencil-signed lower left, signed and dated in plate lower left, printed publishers information “Kunstverlag Schumacher, Düsseldorf and NYGS Christo and Jeanne-Claude” and distribution information with print date and title lower left edge, sheet 27 3/4 in. x 34 1/2 in., framed. [$500/700] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

238. Monumental Super Bowl Book, Super Bowl XL Opus, published by Kraken Sport & Media, 850 pgs., 1400 photographs, #614 in an edition of 20,000, leather boards, 20 in. x 20 in., presented in a silk-wrapped wooden clamshell case. [$400/600]

239. Collection of Sixteen Signed Literary Fiction Books, 20th and 21st c., all but two with dust jackets, all signed by the author, incl.: Maugham, W. Somerest. Liza of Lambeth; Masefield, John. Midsummer Night; Enright, Anne. The Forgotten Waltz; Chang Jung. Wild Swans-Three Daughters of China, and others. (16 pcs.) [$300/500]

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

240. 18 kt. Yellow Gold and Diamond Free-Form Ring, set with 16 small round diamonds totaling .15 ct. [$500/800]

241. Pair of 14 kt. Yellow Gold, Emerald and Diamond Earrings, missing backs. [$400/600]

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

242. 14 kt. Yellow Gold and Garnet Ring, floral decoration; together with 14 kt. yellow gold and amethyst ring. [$150/250] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

243. Ulysse Nardin Maxi Marine Men’s Gold Chronometer Watch, ref. 266-66, 41mm, 18k yellow gold, No. 682, automatic, power reserve indicator, with Ulysse Nardin brown leather band, in original box, with certificate and manual. [$2000/3000]

244. 18 kt. Yellow Gold and Carved Australian Opal “Alligator and Butterfly” Brooch, set with fluted almondine garnet and marquise cut opal doublet. [$800/1200] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

245. 14 kt. Yellow Gold and Diamond Bangle Bracelet, set with 26 princess cut diamonds. [$2000/3000]

246. Pair of 18 kt. Yellow Gold, Sapphire and Diamond Clip Earrings, set with 20 cushion cut natural blue sapphires and 14 full cut diamonds. [$1200/1500]

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

247. 18 kt. Yellow Gold, Platinum and Diamond Free-Form Ring, set with 5 small round diamonds. [$500/800] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

248. Elsa Peretti for Tiffany 18 kt. Yellow Gold and Diamond Heart Pendant . [$500/800] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

Additional information at www.nealauction.com

249. Chopard Grand Turismo XL Stainless Steel Menâ&#x20AC;&#x2122;s Watch, ref. 16/8997, 44mm, automatic, date, black dial, rubber band with deployant clasp, in original box with accompanying tire pressure gauge. [$1000/1500] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

251. 10 kt. Yellow Gold and Diamond Flexible Bracelet. [$600/800] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

250. 14 kt. Yellow Gold, White Gold and Diamond Flexible Link Bracelet. [$1000/2000] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

252. 14 kt. Yellow Gold and Diamond Heart Pendant, set with 18 full cut diamonds. [$600/800]

253. Antique French Provincial Carved Fruitwood Commode, inset marble top, molded surround, four long drawers, shaped scrolled apron, shell carved legs, scroll toes, h. 39 in., w. 51 in., d. 20 1/2 in. [$500/750] Provenance: M.S. Rau, New Orleans; Collection of Wendy and the late George (1944-2013) Rodrigue.

254. Spanish Colonial-Style Carved Tropical Hardwood Armoire, deep carved cornice, two paneled fold back doors, shelf interior, block base, h. 74 in., w. 43 in., d. 27 1/2 in. [$500/750] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

255. Robust American Late Classical Carved Walnut Poster Bed, c. 1840, acorn finialed ring turned reverse tapered hexagonal posts, scrolled headboard, deep rails, shape hexagonal blanket roller with onion ends, rounded exterior post buttons, toupie feet, h. 94 in., l. 72 1/2 in., w. 60 in. [$1000/1500] Provenance: Collection of Wendy and the late George (1944-2013) Rodrigue.

Session Two

Saturday, June 13, 11 a.m.

256. Walter von Nessen Marble Table Lamp, c. 1960s, marked, twolight fixture, h. (to socket) 32 in., w. 7 in., d. 3 1/2 in. [$300/500]

257. Pair of George W. Hansen for Metalarte Brass Swing-Arm Floor Lamps, tubular standard, round base, h. 52 1/2 in., dia. 9 1/2 in. [$250/350] Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to benefit the New Orleans Museum of Art.

259. Pair of Black Lacquer Faux Bamboo Tabourettes, inset smoked glass tops, brass corners, h. 22 in., w. 25 1/2 in., d. 25 1/2 in. [$200/400]

258. Contemporary Upholstered Sofa, woven fabric, loose cushions, upholstered block feet, h. 32 in., w. 84 in., d. 37 in. [$200/400]

260. English Oak Thebes Stool, late 19th/ early 20th c., concave slatted seat, spindle supports, turned incised legs, h. 15 in., w. 15 3/4 in., d. 16 in. [$400/600]

261. Antique Regency-Style Mahogany and Caned Library Steps, 19th c., tooled leather treads, hinged top step, slide out mid-step, turned legs, h. 29 in., w. 20 in., d. 30 in. [$400/600] Provenance: The Estate of Caroline P. Ireland.

262. Antique Continental Neo-Grec Bronze Gueridon, 19th c., fluted top, pierced anthemion frieze, scrolled body, tapered legs, shaped stretcher, acanthus paw feet on discs, h. 37 in., dia. 22 in. [$700/1000]

263. Continental Neoclassical Parcel Gilt Mahogany Settee, 19th c., pedimented crest rail, scrolled arms, palmette decoration, flared legs, h. 41 1/2 in., w. 72 in., d. 28 1/2 in. [$1200/1800]

265. Set of Eight Vintage Louis XV-Style Painted and Parcel Gilt Dining Chairs, early 20th c., padded back and seat, leather upholstery with nailhead trim, shell and foliate gilt accents, whorl feet, h. 42 1/4 in., w. 19 1/2 in. d. 21 1/2 in. [$700/900] Provenance: Lucullus Antiques, New Orleans

264. Antique Louis XVI-Style Giltwood Demilune Console Table, blocked Breche dâ&#x20AC;&#x2122;Alep marble top, guilloche frieze, husk festoon, urn finialed stretcher, fluted tapered legs, pinecone feet, h. 35 in., w. 43 1/2 in., d. 20 7/8 in. [$1000/1500]

266. Jean Piron (Belgian, 1767 or 1771 - after 1795), “Fête Donnée au Général d’Entrecasteaux par Toubau, Roi des Iles des Amis” and “Vue des Iles L’Amirauté”, 2 engravings, from Atlas por Servir à la Relation du Voyage à la Recherche de La Pérouse 1817 Paris ed., sights 10 3/8 in. x 16 5 in. to 10 3/4 in. x 15 3/4 in., framed alike. (2 pcs.) [$400/600]

267. Edward Lear (British, 1812-1888), “Platycerucus Pennantii”, “Palaeormis Malaccensis”, “Charmosyna Papuensis”, “Arara Patagonica” and “Palaeornis Alexandri”, c. 1831, 5 hand-colored lithographs, from Illustrations of the Family of Psittacidae, sights 6 1/4 in. x 4 in., framed alike. (5 pcs.) [$500/700]

269. Large Chinese Export Famille Rose Porcelain Punch Bowl, 18th c., Qianlong, interior with fruit and flower spray, exterior with 2 large cartouches featuring nobles at leisurely pursuits in garden settings on a diaper ground with further bird and flower cartouches and sepia landscapes, h. 6 in., dia. 14 in.[$500/800] Provenance: Adriaan’s, New Orleans, 2003. 268. Pair of Chinese Famille Rose Porcelain Candle Holders, modeled as two court ladies standing in mirror image holding gu-form candle nozzles, h. 16 in. [$1000/1500]

270. [Reference Chinese Export Armorial Porcelain] Howard, David Sanctuary. Chinese Armorial Porcelain. London: Faber and Faber, 1974, dust jacket, signed by the author. [$400/600] Provenance: Ex-Library of Henry Stern, Henry Stern Antiques, New Orleans, c. 1993.

271. Chinese Export Blue and White Kraak Porcelain Dish, Wanli Period (1573-1620), bowl-form body with central flower vase, side with floral, knot, and scroll panels, h. 2 in., dia. 11 3/4 in. Note: Condition. [$200/300]

273. Louis Vuitton Steamer Trunk, early 20th c., serial no. 770058, fitted tray and “basket” tray over long tray, squat brass wheels, h. 23 in., w. 43 1/2 in., d. 22 1/2 in. [$4000/6000] 272. Monumental Cast and Hand Wrought Iron Firescreen, studded frame, oak leaf and acorn panels, floral finials, bracketed base, additional lower fender, h. 57 1/2 in., w. 88 1/2 in., d. 10 in. [$400/600]

274. Louis Vuitton Steamer Trunk, early 20th c., labeled, removable tray, h. 19 1/2 in., w. 35 3/4, d. 20 in. [$3000/5000]

275. Pair of Neoclassical-Style Bronze Ewers, cast with figures, gods, and animals, in a forest landscape, h. 24 in., w. 15 1/2 in., d. 14 1/2 in. [$1000/2500]

276. Pair of Empire-Style Gilt Bronze and Marble Two-Light “Winged Victory” Candelabra, tall plinth base, h. 21 1/4 in., w. 8 1/2 in., d. 7 1/2 in. [$1200/1800]

Additional information at www.nealauction.com

277. Coco De Mer Casket on Stand, 19th c., hinged lid, void interior, h. 14 in., w. 13 in., d. 6 in., metal stand, total h. 16 in. [$700/1000] Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art.

281. George III Tortoiseshell Sarcophagus Form Tea Caddy, c. 1800, silver mounts, divided interior, bun feet, with key, h. 5 3/4 in., w. 7 in., d. 4 1/2 in. [$2000/3000]

278. Anglo-Colonial Silver-Mounted Coco de Mer Casket, velvet-lined interior with removable tray, h. 11 1/4 in., w. 10 1/2 in. [$500/750]

279. Very Rare Anglo-Indian Carved Staghorn Glove Box, mid-19th c., domical lid, carved bone knop, bun feet, with key, h. 5 5/8 in., w. 11 1/4 in., d. 4 3/4 in. [$1200/1800]

280. Regency Gilt Bronze-Mounted Leather Sewing Box, early 19th c., lift top with inset mirror, fitted interior, elaborate mounts, ball feet., h. 6 3/4 in., w. 11 3/8 in., d. 8 in. [$200/400] Provenance: The Estate of Caroline P. Ireland.

Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art.

283. Pair of Antique Regency-Style Inlaid Mahogany Cutlery Urns, c. 1900, telescoping lids, retain fitted interiors, bracket feet, h. 28 in., dia. 11 1/4 in. [$700/1000]

282. George III Tortoiseshell Sarcophagus Form Tea Caddy, c. 1800, labeled “Lund Maker 56 & 57 Cornhill, London”, with original key, divided interior, bun feet, h. 6 3/4 in., w. 8 1/2 in. d. 5 3/8 in. [$1500/2500]

284. Buccellati “Parma” Pattern Sterling Silver Flatware Service, pattern introduced 1970, incl. 12 each: dinner forks (l. 8 1/8 in.), dinner knives (l. 9 5/8 in.), dessert spoons, teaspoons, cocktail forks, demitasse spoons, and butter knives (hh); 24 salad forks, meat fork, tablespoon, master butter knife and sugar shell; together with 4 Reed & Barton “Francis I” master salt spoons, 6 assorted vermeil salt spoons, 2 bone salt spoons, and silverplate fish serving knife and fork; total wt. (weighable) 107.50 troy ozs. (112 pcs.); presented in a Reed & Barton fitted case. [$5000/7000]

Provenance: Royal Antiques.

285. Georg Jensen “Acorn” Pattern Sterling Silver Flatware, incl. 16 dinner forks, 16 salad forks, 24 luncheon forks; 22 teaspoons, 12 round soup spoons, 4 gumbo soup spoons, and 16 demitasse spoons; 16 dinner knives, and 14 butter spreaders; long hollow-handled meat fork; two-tine meat fork, pickle fork, sardine fork, soft cheese scoop, sugar spoon, cheese knife, butter knife, salad serving fork and 2 spoons; total wt. (weighable) 170.10 troy ozs., (152 pcs.); in fitted storage case. [$6500/8500]

Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art

287. Regency Sheffield Plate Mirrored Plateau, c. 1815, straight gadroon border, Greek key frieze, lion’s paw feet, old mirror plate, old wood backboards, h. 2 1/2 in., l. 26 in., w. 16 1/4 in. [$1000/1500]

286. Fine English Silverplate Three-Piece Table Garniture in the Style of Elkington, mid-19th c., figural standards with associated Anglo-Irish cut glass bowls. [$2000/3000]

288. Near Pair of George III Sterling Silver Sugar Casters, London, maker CB untraced, 1787 and 1798, paneled baluster form, h. 9 1/8 in., wt. 29.95 troy ozs. [$700/1000]

289. Tiffany and Co. 18 kt. Yellow Gold Watch, c. 1890, half Hunter case, engraved “March 2, 1892” and “SP” in a bowknot, case, movement and dial marked “Tiffany & Co. New York”, watch serial number 70752, Swiss movement; together with an antique 14 kt. yellow gold, cobalt blue enamel and rose-cut diamond watch pin. [$1800/2500]

291. Four French Gold 20 Franc “Rooster” Coins, 1906(3), and 1907, obverse with Liberty wearing oak wreath, reverse with Coq Gaulois. [$800/1200]

290. Yellow Gold Lorgnette, 19th c., set with emeralds and diamonds surrounding a relief of a torch and laurel wreath, on a yellow gold and pearl chain. [$800/1200]

293. French Gilt and Patinated Bronze Figural Mantel Clock, 19th c., figure personifying astronomy, accompanied by her instruments, tall plinth base with a frieze of symbols of arts and sciences, h. 16 1/2 in., w. 13 3/4 in., d. 5 in. [$800/1200] 294. Fine French Gilt Bronze Twelve-Light Chandelier in the Gothic Taste, 19th c., cast with Gothic tracery and fanciful beasts, electrified, h. 34 in., dia. 25 in. [$1500/2500]

292. Steuben Glass and 18 kt. Gold “Mouse and Cheese”, designed by James Houston in 1975, h. 4 in., w. 3 3/4 in., d. 3 1/2 in. [$1200/1800]

Provenance: Briggs Martin House, Garden District, New Orleans.

295. Louis XVI-Style Parquetry Bouillotte Table, compass star galleried top, geometric frieze, tapered legs, capped feet, h. 30 in., dia. 23 1/2 in. [$1000/1500] Provenance: Empire Antiques.

297. Pair of American Gothic Carved Mahogany Side Chairs, mid-19th c., architectonic pierced back, scroll supports, serpentine seat, ring turned legs, casters, h. 45 3/4 in., w. 20 in., d. 19 in. [$700/1000]

296. Regency Carved Mahogany Cellarette, early 19th c., sarcophagus form, pinwheel foliate finial, hinged lid, fitted interior, carved medallion, bracketed paw feet, stepped base, 29 in., w. 28 in., d. 22 in. [$2500/3500]

298. American Classical Carved Mahogany Mixing Table, early 19th c., Philadelphia, attr. to Anthony Quervelle, later marble top, ogee frieze with pull out slide, scrolled brackets, pylon paneled door, shelf interior, scrolled base, compressed disk feet, h. 40 in., w. 36 in., d. 18 in. [$3000/5000]

Provenance: Bellevue Plantation, Franklin, LA.

Additional information at www.nealauction.com

299. American Carved Mahogany Folio Stand, mid-to-late 19th c., slatted adjustable rack, turned spindle supports, spurred stand, shaped stretcher, casters, closed h. 45 1/2 in., open h. 24 in., w. 48 1/2 in., d. 29 1/4 in. [$1000/1500]

300. Boston Classical Mahogany Footstool, early 19th c., inset cushion, curule base, tubular bossed stretcher, scroll feet, h. 16 in., w. 18 in., d. 16 in. [$400/600]

301. American Classical Bronze-Mounted Mahogany Card Table, early 19th c., probably Boston, foldover top with canted corners, trestle base with ropetwist supports and stretcher, sabre legs, brass paw feet, casters, h. 29 1/4 in., w. 36 1/2 in., d. 17 3/4 in. [$700/1000]

302. Louisiana Childâ&#x20AC;&#x2122;s Mahogany Campeche Rocking Chair, 19th c., melon crest with oval shell cartouche, sling seat, outswept snake arms, bulbous turned supports, turned stretchers, curule base, shaped rocker blades, h. 32 1/2 in., w. 24 1/4 in., d. 22 in. [$1500/2500]

303. Very Fine American Federal Figured Mahogany Armoire, early 19th c., flared molded cornice, paneled doors, shelf interior with two drawers, beehive legs, brass ball feet, h. 93 1/4 in., w. 65 1/2 in., d. 25 in., with key. [$7000/10000] Provenance: Descended in the Family of John Joor Barrow (1833-1890) of Highland Plantation and Olivia Ruffin Barrow (1836-1859) of Greenwood Plantation. Shown here is an image of a portrait of John Joor Barrow as a child. Barrow served as Captain in the 11th Louisiana Infantry in the Civil War, was seriously wounded at Shiloh and resigned from the C.S.A. In later life he was active in politics, serving in the Louisiana legislature, as Sheriff of West Feliciana Parish and in the Louisiana Senate. The extended Barrow family settled in the Felicianas during Spanish Colonial rule. Their landmark plantations, in addition to Highland and Greenwood, include Afton Villa, Rosale and Rosedown. Note: The Louisiana Mahogany armoire in the current lot is related to two examples illustrated in Furnishing Louisiana: Creole and Acadian Furniture 1735-1835: Fig. 17, pp. 140-141 and fig. 115, p. 212. Like fig. 17 it has an extended frieze and straight ferruled brass ball feet mounted on evolved Sheraton beehive legs. It shares with fig. 115 a flared cornice, inset panel doors and more exuberant beehive feet.

John Joor Barrow (1833-1890)

304. “Portrait de Monsieur Le Marquis de Lafayette”, gilt porcelain, after Jean-Antoine Houdon, signature and “1790” inscribed under proper right arm, title inscribed on back, h. 22 1/2 in., marble base, overall h. 28 1/2 in. [$3000/5000] 305. Fine Pair of American Cut Glass Gasoliers, 19th c., vasiform standard, mounted with urns and floral elements, ropetwist arms, silvered brass hardware, diamond and fan-cut shades, electrified, h. 80 in., dia. 34 in. [$10000/15000] Provenance: Williamson-LeBlanc Collection, The Cornstalk Fence House, New Orleans.

306. American Classical Carved Mahogany Sideboard, early-to-mid 19th c., backsplash with colonnettes, flanked by dome top drawers, marble top, fitted slides, beveled frieze drawers over beveled doors interspersed with Ionic columns, paw feet, h. 58 1/2 in., w. 79 3/4 in., d. 23 3/4 in. [$1500/2500]

307. Rare Pair of American Classical Carved Mahogany Armchairs, early 19th c., probably New York, arched back, spurred splat, scrolled arms, Ionic columnar supports, bolection seat rail and blocks, square tapered legs, h. 35 in., w. 24 1/2 in., d. 24 in. [$1500/2500]

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

309. Louisiana Mahogany Armoire, c. 1840, robust stepped ogee cornice and frieze, ogee molded doors, shelf interior with belt of drawers, ogee base, ogee bracket feet, stenciled on rear and central drawer bottom “W & J...NO”, h. 94 1/2 in., w. 71 1/2 in., d. 25 in. [$1800/2500] 308. Louisiana Mahogany Miniature Tall Post Bed, early-to-mid 19th c., scroll and Gothic paneled headboard, turned posts, shaped rails, turned legs, toupie feet, h. 23 1/2 in., l. 24 in., w. 18 in. [$600/900]

Provenance: Sold in these rooms September 10, 2011, lot 929. Interestingly, two other pieces of New Orleans case furniture with “W & J” ink stamps have sold in these rooms: June 2011, lot 673 and November 1988, lot 25.

Provenance: Thomas Wilmot “Twik” Klein, St. Francisville, LA. Additional information at www.nealauction.com

310. American Cherrywood Two-Part Corner Cupboard, Mid Atlantic, broken scroll pediment with finials, glazed door with Gothicized tracery, shelf interior with dish wells, base with molded surround, single drawer, two paneled doors, shelf interior, bracket feet, h. 87 in., w. 38 1/2 in., d. 22 in. [$700/1000]

311. Pair of American Classical Mahogany Footstools, mid-19th c., ogee base, ogee frame feet, casters, h. 14 in., w. 21 in., d. 17 in. [$400/600]

314. John James Audubon (American, 1785-1851), “Long Tailed Deer”, Plate 118, hand-colored lithograph, from The Viviparous Quadrupeds of North America, Philadelphia, J.T. Bowen, 1843-1848, sheet 21 1/2 in. x 27 1/2 in., unframed. [$1000/1500]

316. Alfred Hutty (American/South Carolina, 1877-1954), “Deep South”, 1937, drypoint etching, pencil-signed, titled and inscribed “ed 75” lower margin, handwritten label with artist on backing, sheet 12 3/4 in. x 13 3/4 in., framed. [$2500/3500] Ill.: Arnold, Sara C. and Stephen G. Hoffius, eds. The Life and Art of Alfred Hutty, Woodstock to Charleston. Columbia: University of South Carolina Press, 2012, p. 30, pl. 29.

318. Large Apache Basketry Bowl, c. 1900, willow, red yucca root, black devil’s claw, seed pod husk, central star motif, crosses, whirling logs, animals, horse with rider and other floating elements, dia. 22 1/2 in. [$4000/6000]

312. John James Audubon (American, 1785-1851), “Roscoe’s Yellow-Throat”, plate XXIV, hand-colored aquatint with engraving, from Birds of America, Havell edition, “J. Whatman” watermark, sheet 38 in. x 25 in., framed. [$700/1000]

313. John James Audubon (American, 1785-1851), “Yellow-Throated Vireo”, plate CXIX, hand-colored aquatint with engraving, from Birds of America, Havell edition, “J. Whatman” watermark, sheet 38 1/2 in. x 26 1/2 in., framed. [$700/1000]

315. John James Audubon (American, 1785-1851), “Swamp Hare”, Plate 37, hand-colored lithograph, from The Viviparous Quadrupeds of North America, Philadelphia, J.T. Bowen, 1843-1848, sheet 21 1/4 in. x 27 1/2 in., unframed. [$600/900]

317. Morris Henry Hobbs (American/New Orleans, 1892-1967), “Mardi Gras on Royal St., Old New Orleans”, 1940, etching, pencil-signed, titled and inscribed “Ed./100” lower margin, dated and inscribed in plate lower left, sheet 15 in. x 12 1/2 in., framed. [$500/700] Ill.: Isbell, Reed W. Morris Henry Hobbs - A Catalogue Raisonné of Etchings, Engravings & Lithographs. McLean, VA: Coffee Street Publishing, 2017, p. 142.

319. Enrique Alferez (Mexican/New Orleans, 1901-1999), “Vietnam”, 1990, bronze, h. 47 in., wood base. [$40000/60000] Note: Born in Mexico in 1901, Enrique Alferez’s life spanned almost the entirety of the 20th century. Alferez settled in New Orleans in 1929, an eclectic city with a thriving art scene. In 1952, he met his wife, Peggy Selway, at Lafitte’s Blacksmith Shop. Doug MacCash described their first meeting as such: “Her porcelain skin, ice-blue eyes and straight blond hair shone against her black velvet dress, attracting the attention of the dark, handsome man carving the ham—with a machete.” The machete-wielding mystery man was Alferez, who was immediately smitten by this registered nurse from Harrisburg, PA. It took a year of wooing before she would agree to be his wife. The two would split their time between Mexico and New Orleans. Peggy proved to be the perfect counterbalance to the fiery artist. In Peggy he found an intellectual equal described as the artist’s “other self.” She was a passionate person: “… a rapacious reader, consuming countless books and periodicals, feeding her insatiable need for knowledge of current events.” She was also a vehement protestor of the Vietnam War, a feeling shared by her husband.

Noted as a superlative example of Alferez’s large-scale work, “Vietnam” on offer here is his own poignant take on one of he and Peggy’s more fervent causes. This remarkable large-scale installation bronze, which has been on display in the Helis Foundation Sculpture Garden since 2015, is the largest sculpture by Alferez offered at auction to date. Different than many of Alferez’s figures, which are often serenely still, this work illustrates the artist’s remarkable ability to insinuate movement and action through the rigid medium of bronze. The woman, a mother, is caught mid-stride carrying her baby to safety from unseen foes as she flees. The kinetic frenzy of the wind and war-ravaged backdrop is implied through the expression on her face, the baby’s legs akimbo in her embrace, and the flowing rendering of her hair and clothing. In focusing on the mother and child, the horrors and destruction of war are implied, albeit rather poetically, through Alferez’s elegant style. The resulting effect is a sensitive and moving masterpiece, replete with beauty and meaning. Ref.: MacCash, Doug. “Peggy Alferez”. The Times Picayune. Aug. 22, 2006. www.obits.nola.com. Accessed Apr. 22, 2020

Additional information at www.nealauction.com

320. George Ohr Art Pottery Vase, pinched rim, green and orange speckled glaze, collapsed form, base impressed “G.E. OHR/Bilox, Miss”, h. 4 in., w. 5 in., dia. 3 3/4 in. [$1000/1500]

321. Newcomb College Art Pottery High Glaze Vase, 1905, decorated by Marie De Hoa LeBlanc, with a relief of leaves and berries, base marked with Newcomb cipher, decorator’s mark, and reg. no. AL68, h. 9 in., dia. 7 in. [$8000/12000]

322. Bronze Figural Group of Joan of Arc on Horseback, after Emmanuel Fremiet, signed on self-base, h. 27 1/2 in., w. 7 in., d. 17 1/2 in., red marble plinth, overall h. 36 1/2 in. [$5000/7000]

323. Erte (Romain De Tirtoff) (Russian/French, 1892-1990), “Beloved”, 1987, polychrome bronze, signed, dated, numbered “372/375”, foundry mark and “Fine Art Acquisitions” stamped on self-base, h. 17 1/2 in. [$1500/2500]

324. Francisco Zúñiga (Mexican, 1912-1998), “Escena Intima”, 1978, pastel on paper, signed and dated lower right, “Galeria Tasende, Acapulco” label with artist, title and date on backing, 19 1/2 in. x 27 7/8 in., framed. [$1500/2500] Note: To be included in the forthcoming Catalogue Raisonné Vol. V on the artist.

325. Jacques Guillaume Lucien Amans (French/ Louisiana, 1801-1888), “Portrait of Pierre ‘Pedro’ Landreaux (1845-1917) Wearing a Black Hat and Drawing”, oil on canvas, unsigned, 45 1/2 in. x 32 in., framed. [$30000/50000] Note: Pedro Landreaux* was born in New Orleans in 1845 to Marguerite Heloise Lavigne and Pierre Frederic Landreaux, whose sister Azoline was married to the artist Jacques Amans. With relatives in both New Orleans and Paris, the family traveled between the two cities often. Landreaux spent his childhood in New Orleans, where his uncle, Amans, worked as a well-known portrait painter. Married in Paris in 1887 to Mary Charlotte Communy, also a New Orleans native, Landreaux and his wife had at least one child, Roger Emile Landreaux. The family resided primarily in France after the marriage, while maintaining property in Assumption Parish near New Orleans, according to Louisiana land documents. In the important canvas presented here, Pedro is depicted alongside an American Classical reeded, vasiform-leg stool and a Louisiana basket, two objects that would have been typical to a New Orleans antebellum interior. With his talent for delicately depicting his subjects, both in their homes and at his studio, Amans was widely sought after for his portraits. One could easily imagine, however, that this painting is more than a standard commission – a sentimental portrayal of a beloved nephew, enshrined on a monumental scale in a painter’s smock and with a pencil and piece of paper - perhaps to follow one day in his uncle’s artistic footsteps. Ref.: New Orleans, Louisiana Birth Records 1790-1915; Paris, France & Vicinity Marriage Banns, 1860-1902; Succession of Pierre Landreaux, September 23, 1865, Succession Records, 1846-1880, Louisiana, District Court (Orleans Parish), Orleans, Louisiana; United States Federal Census 1850 *Sitter identified by Cybele Gontar during her research for an upcoming exhibition on the artist at the Louisiana State Museum.

327. Bror Anders Wikstrom (Swedish/Louisiana, 1854-1909), “Bank of St. John’s River, Hibernia, FL”, 1886, oil on canvas board, inscribed and dated “Hibernia Fla. 1886” lower right, signed and inscribed in Swedish en verso, 16 in. x 14 in., framed. [$3000/5000] Note: Hibernia, Florida was founded in 1790 by George Fleming when he built Hibernia Plantation on the St. Johns River, just south of Jacksonville. When he died in 1821, he left the plantation to his son, Colonel Lewis Michael Fleming, and the community continued to thrive. The original plantation home, which had been expanded by Colonel Fleming, survived the Civil War and became a hotel on the banks of the St. Johns River with all of its beautiful natural surroundings. The St. Johns is the longest river in Florida and one of the few rivers in the United States that flows north.

326. Clarence Millet (American/New Orleans, 1897-1959), “Bourbon Street Court”, oil on canvas board, signed lower left, titled en verso, 10 in. x 8 in., framed. [$2500/3500]

The work offered here depicting the St. Johns riverbank displays Bror Anders Wikstrom’s full scale of talents as a landscape painter. A sailor before he became an artist, Wikstrom enjoyed depicting water and included it in many of his landscapes. The edge of the river on the right side of the canvas in this scene reflects the sky and brings a sense of openness to a composition that is otherwise dominated by the trees on the left. The autumnal colors of the foliage resonate against the luminous background, drawing attention to the play of light and shadow throughout the painting, all delicately in balance by Wikstrom’s deft hand. Additional information at www.nealauction.com

328. Joseph Rusling Meeker (American/Louisiana, 1827-1889), “Near the Tombigbee River”, 1886, oil on canvas, signed and dated lower right, signed, titled and dated en verso, 16 in. x 22 1/4 in., framed. [$8000/10000] Provenance: Austin, TX. Note: The Tombigbee River, which flows from Northeast Mississippi down to Mobile Bay in Alabama, is approximately 200 miles long and runs through Gainesville and Demopolis before joining the Alabama River and flowing into Mobile Bay. Throughout the 19th century and early 20th centuries, steamboats frequented the river, bringing people and goods from as far north as the Aberdeen, Mississippi area down to Mobile, Alabama. With a series of seventeen locks and dams at the height of its use, the Tombigbee saw heavy boat and barge traffic, as well as many accidents. Steamboats often encountered dangers of crashing into other boats and risk of fire, and many ended up sinking to the bottom of the river. However, despite the risks, steam travel was overall an efficient way to bring both goods and passengers up and down the river. During his travels in the American South, Joseph Meeker would have certainly spent time on many types of riverboats as he traveled into the wilderness to sketch southern landscapes. Bringing his drawings back to his studio in St. Louis, Meeker completed his magnificent landscape paintings there, imbuing them with his signature hazy atmospheric effects from his brushwork and palette, as seen in the lot offered here. With golden lighting and Spanish moss draped on tree branches, Meeker depicts a beautiful, mysterious, and mythical landscape near the Tombigbee river.

329. Jean Joseph Vaudechamp (French/Louisiana, 1790-1866), “Portrait of Charles Victor Foulon, Notary (1805-1892)”, 1834, oil on canvas, signed and dated upper right, 28 3/4 in. x 23 1/2 in., framed. [$25000/35000] Note: Jean-Joseph Vaudechamp, one of the premier portrait painters in early 19th century New Orleans, painted the prominent Creole families of the city between 1831 and 1839. Charles Victor Foulon (1805-1892), a native Frenchman who became an American citizen in 1829, was a notary in the city of New Orleans, where he lived on the corner of Orleans Avenue and Rampart Street with his wife, Marthe Eugenie Grandchamps, and their children, Alice, Eugene, Louise, and Emma. With connections to some of the most prestigious families in the city, it is no wonder Foulon had his portrait painted by Vaudechamp. Many important documents survive which were notarized by Foulon. His father-in-law, François Julien Grandchamps, was a prominent New Orleans pharmacist associated with Dr. Yves Lemonnier, whose portrait was painted by Louis Antoine Collas (French, 1775-1856, active New Orleans 1822-1829). Dr. Lemonnier, a New Orleans physician, owned the now famous “first skyscraper” of New Orleans, the three-story Maison Lemonnier at 640 Royal Street in the French Quarter. François Grandchamps’ Pharmacy was located nearby at 501 Royal Street, and the painter John Vanderlyn rented the rooms above the pharmacy for his studio. This is an exceptionally debonair portrait of Mr. Foulon with his upswept coiffure and distinctive mustache and beard. Dressed in his finest garments, Foulon’s gaze meets the viewer’s in a proud and dignified manner. Documented Vaudechamp paintings such as this, with ancestral provenance and presented in the original frame, are rare to come to the market and provide a fascinating look into the history of New Orleans. Ref.: Rudolph, William Keyse. Vaudechamp in New Orleans. New Orleans: The Historic New Orleans Collection, 2007.

330. George Rodrigue (American/ Louisiana, 1944-2013), “Tiffany Moon”, 1992, acrylic on canvas, signed lower right, signed, titled and dated en verso, 39 1/2 in. x 30 in., framed. [$40000/60000] Provenance: Rodrigue Studio, Carmel, CA.

331. George Rodrigue (American/Louisiana, 1944-2013), “Blue Night”, 2006, acrylic on canvas, signed lower right, signed and dated en verso, 20 in. x 16 in., framed. [$25000/35000] Provenance: Rodrigue Studio, Carmel, CA.

332. George Rodrigue (American/Louisiana, 1944-2013), “One Brick at a Time”, 2000, acrylic on canvas, signed lower left, signed, titled and dated en verso, 24 in. x 29 in., framed. [$30000/50000] Provenance: Rodrigue Studio, Carmel, CA. Additional information at www.nealauction.com

333. Historic Églomisé Portrait, “Tens-Kwau-Ta-Waw The Prophet”, églomisé, after Charles Bird King (American/Rhode Island, 1785-1862), from History of the Indian Tribes of North America, 20 in. x 11 5/8 in., framed. [$1500/2500]

334. Louisiana Hand-Painted Scenic Porcelain Bowl, signed “Maude Nichols”, depicting the famous Currier & Ives lithograph of Woodland Plantation, West Pointe a la Hache, LA, h. 3 1/8 in., dia. 10 5/8 in. [$800/1200]

335. Clementine Hunter (American/Louisiana, 1886-1988), “Zinnias”, oil on canvas board, monogrammed lower right, 24 in. x 18 in., framed. [$3000/5000]

336. Pablo Picasso (Spanish, 1881-1973), “Sculpteurs, Modèles et Sculpture (Bloch 149)”, 1933/1939, etching, pencil-signed lower margin, signed and dated in plate, “Vollard” watermark, printed by Lacourière, Paris, sheet 13 5/16 in. x 17 3/4 in., unframed. [$2000/3000]

337. Pablo Picasso (Spanish, 1881-1973), “Sculpteur et Son Modèle avec un Groupe Sculpté Représentant un Centaure Embrasant une Femme (Bloch 167)”, 1933/1939, etching, pencil-signed lower margin, signed and dated in plate, “Vollard” watermark, printed by Lacourière, Paris, sheet 13 1/4in. x 17 3/4 in., unframed. [$2000/3000]

338. Pablo Picasso (Spanish, 1881-1973), “Le Repos du Minotaure: Champagne et Amante (Bloch 190)”, 1933/1939, etching, pencil-signed lower margin, signed and dated in plate, “Vollard” watermark, printed by Lacourière, Paris, sheet 13 3/4 in. x 17 3/4 in., unframed. [$2000/3000]

339. Pablo Picasso (Spanish, 1881-1973), “Vieux Sculpteur et Jeune Modèle avec le Portrait Sculpté du Modèle (Bloch 172)”, 1933/1939, etching, pencil-signed lower margin, signed and dated in plate, “Picasso” watermark, printed by Lacourière, Paris, sheet 13 1/2 in. x 17 1/2 in., unframed. [$2000/3000]

340. Lin Emery (American/New Orleans, b. 1926), “Petal Forms”, polished aluminum kinetic sculpture, signed on self-base, h. 17 in. [$2500/3500]

341. Elemore Morgan, Jr. (American/Louisiana, 1931-2008), “Sky Form”, 1988, acrylic on masonite, signed, titled and dated on stretcher, 18 1/2 in. x 36 1/4 in., unframed. [$8000/12000] Provenance: Arthur Roger Gallery, New Orleans, LA, 1989. Note: Elemore Morgan’s beautiful and elegant landscape paintings seemingly defy gravity. With a wide-open sky and small area of land, the entire work offered here almost seems to float among the pink clouds depicted on a bright blue background. In the distance, a silhouette of trees anchors the scene and draws the eye to the horizon line, a typical feature in Morgan’s compositions. Preferring distinctive, unusually shaped boards to canvases, Morgan painted en plein air and utilized a vivid palette to express the Louisiana landscape around him. Not only a brilliant painter, Morgan was also an educator, teaching at the University of Southwestern Louisiana (now the University of Louisiana at Lafayette), where he influenced generations of artists.

342. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), “Radiance”, 1962, oil on masonite, signed and dated en verso, “Minneapolis Institute of Art”, “Mead Corporation” and artist labels with title on stretcher, 48 in. x 48 in., framed. [$8000/12000] Provenance: Meade Corporation Art Collection, 1962; Neal Auction Company, Sep. 30, 2006, lot 653. 343. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), “Untitled: Cluster Series”, 1975, oil on canvas, signed and dated lower right, 52 in. x 43 in., framed. [$18000/25000]

Additional information at www.nealauction.com

345.George Bauer Dunbar (American/New Orleans, b. 1927), “Bridge”, palladium leaf over blue clay, signed lower left and lower right, 22 in. x 36 in., framed. [$7000/10000]

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

346. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), “Legendary #2”, oil on canvas, signed lower right, “Ruth White Gallery, New York” label with artist and title and “Art Lending Service of the Museum of Modern Art” label with artist and title on stretcher, 39 in. x 33 in., framed. [$7000/10000]

346A. Saul Steinberg (Romanian/American, 1914-1999), “Horse and Jockey”, 1958, watercolor and ink on paper, signed and dated lower right, “Saul Steinberg” artist stamp en verso, “Williams College Museum of Art” 1976 exhibition label and typed label with artist, title and date on backing, 23 in. x 14 1/2 in., framed. [$5000/8000] 347. William Eggleston (American/Mississippi, b. 1939), “Untitled (Young Girl)”, 1983, chromogenic print, signed en verso, from The Democratic Forest, 17 in. x 12 in., matted. [$6000/8000] Ill.: Eggleston, William. The Democratic Forest. London: Secker & Warburg, 1989, Vol 1: Louisiana Project, p. 107.

Note: William Eggleston was born in Memphis, raised in rural Mississippi and began studying photography in art school in the early 1960s. He attended Vanderbilt, Delta State College and the University of Mississippi without attaining a degree, eventually abandoning traditional academics to focus his studies on the works of Walker Evans, Henri Cartier-Bresson and Robert Frank. He began working in black and white photography, but he very quickly transitioned to experimenting with color, which was highly unusual for an artist at the time. Color photographs were considered primarily within the realm of advertising. Eggleston captured trivial objects and quotidian moments, allowing the color itself to be the main subject rather than the “who” or “what” that was being photographed. In 1976, the Museum of Modern Art in New York held a solo show of Eggleston’s work that cemented him as one of the pioneers of fine art color photography and a master photographer. Even though MoMA had held two previous exhibitions showcasing color photography, Eggleston’s work almost single-handedly shifted the medium into the fine art sphere and influenced generations of photographers to follow. His fellow Mississippian and photographer, Eudora Welty, wrote of his works: “They succeed in showing us the grain of the present, like the cross section of a tree. They focus on the mundane world. But no subject is more full of implications than the mundane world.” Ref.: “William Eggleston.” The J. Paul Getty Museum. www.getty.edu. Accessed Jan. 2, 2020

348. William Eggleston (American/ Mississippi, b. 1939), “Untitled (Interior)”, 1983, chromogenic print, signed en verso, from Graceland portfolio, 10 in. x 8 in., matted. [$5000/8000]

350. William Eggleston (American/Mississippi, b. 1939), “Untitled”, 1980, chromogenic print, signed and handwritten label with artist en verso, from The Democratic Forest, 17 in. x 12 in., matted. [$5000/8000]

349. William Eggleston (American/ Mississippi, b. 1939), “Untitled (Berlin)”, 1986, chromogenic print, signed, dated and numbered “1/3” en verso, from The Democratic Forest, 20 in. x 24 in., matted. [$8000/12000]

Ill.: Eggleston, William. The Democratic Forest. London: Secker & Warburg, 1989, Vol 1: Louisiana Project, p. 71.

Ill.: Eggleston, William. The Democratic Forest. London: Secker & Warburg, 1989, Vol 5: Berlin.

351. William Eggleston (American/Mississippi, b. 1939), “World’s Fair Under Construction, New Orleans”, 1984, chromogenic print, signed lower right margin, inscribed en verso, from The Democratic Forest, 11 in. x 14 in., unframed. [$4000/6000] Ill.: Eggleston, William. The Democratic Forest. London: Secker & Warburg, 1989, Vol 1: Louisiana Project, p. 136.

352. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Jays and Cardinals”, watercolor and graphite on paper, unsigned, pencil-title inscribed en verso, 8 1/2 in. x 11 in., framed. [$8000/12000]

353. George Rodrigue (American/ Louisiana, 1944-2013), “Starry, Starry Eyes”, 1991, acrylic on linen, signed mid-right, signed, titled and dated en verso, artist label with title on frame, 24 in. x 18 in., framed. [$25000/35000] Provenance: Galerie Blue Dog, Carmel, CA, 1991.

354. George Rodrigue (American/Louisiana, 1944-2013), “Figure Study”, 1965, conté crayon on paper, signed and dated mid-right, 23 1/2 in. x 18 in., framed. [$800/1200]

Additional information at www.nealauction.com

355. Shepard Fairey (American/South Carolina, b. 1970), “Fiend Rocker”, 2007, stencil, silkscreen and collage on paper, signed and dated mid‑right, 44 in. x 29 5/8 in., framed; accompanied by a copy of the digital certificate of authenticity. (2 pcs.) [$15000/25000] Note: Shepard Fairey, the street artist and mastermind behind the famous “Obey Giant” sticker campaign and Barack Obama “Hope” poster, has an immediately recognizable aesthetic born from his various influences including skateboarding culture and his outspoken activism. Ever the provocateur, Fairey always imparts a sense of revolutionary rebellion with his works, which often have a political undertone.

Fairey’s iconic style is well represented in the lot offered here entitled “Fiend Rocker.” A gruesome zombie rock star grins while wearing a leather jacket emblazoned with pins alluding to Fairey’s past creations. In the background, a collage of newspapers and show listings frame the rock star in a fiery halo. The resulting effect is that of visual and graphic splendor, a show-stopping piece that reveals the nuanced chaos for which Fairey is known and celebrated.

356. Hunt Slonem (American/Louisiana, b. 1951), “6 Play”, 2016, oil on canvas, signed, titled and dated en verso, 30 in. x 40 in., unframed. [$6000/8000]

357. Hunt Slonem (American/Louisiana, b. 1951), “Red Rabbits”, 2018, oil on canvas, signed, titled and dated en verso, 30 in. x 36 in., unframed. [$5000/7000]

358. Ashley Longshore (American/ New Orleans, b. 1975), “This Ain’t The Garden Club Honey”, acrylic and mixed media on gallery-wrapped canvas with resin, signed lower right, 36 in. x 48 in., unframed. [$12000/18000]

359. George Rodrigue (American/ Louisiana, 1944-2013), “Gi’me a Big Mac, Fries, and a Shake”, 1995, oil and acrylic on linen, signed lower right, titled on frame, 12 in. x 16 in., framed. [$18000/25000]

Additional information at www.nealauction.com

361. George Rodrigue (American/Louisiana, 1944-2013), “Washington Blue Dog”, 1993, lithograph, signed lower left with extensive remarque, signed in plate, remarqued edition of 100, 20 in. x 24 in., framed. [$2000/3000] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 213.

360. George Rodrigue (American/Louisiana, 1944-2013), “Louisiana Oak Tree”, 1971, oil on canvas, signed and dated lower left, signed, dated and inscribed on stretcher, 8 in. x 10 in., original frame. [$7000/10000]

362. George Rodrigue (American/Louisiana, 1944-2013), “The Millenium”, 1999-2000, silkscreen, signed, “Artist Proof” and inscribed lower margin, edition of 100 with remarque, signed in plate, commissioned by Neiman Marcus, 18 in. x 31 in., framed. [$2000/3000]

363. George Rodrigue (American/Louisiana, 1944-2013), “By the Light of the Journey”, 1997, silkscreen, signed, dated and inscribed lower margin, artist proof edition of 100 with remarque, commissioned by Neiman Marcus, 23 in. x 31 in., framed. [$2000/3000]

Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 222.

Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 223.

365. George Rodrigue (American/Louisiana, 1944-2013), “Starry Starry Eyes”, 1991, silkscreen, signed lower right, inscribed “artist proof” lower left, edition of 175, 29 in. x 22 in., framed. [$1500/2500]

364. George Rodrigue (American/Louisiana, 1944-2013), “I See You, You See Me: Split-font”, 1993, silkscreen, signed and numbered “20/35” lower left, 16 in. x 23 in., unframed. [$1500/2500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2001. New York: Abrams, 2008, p. 85.

Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 54.

366. George Rodrigue (American/ Louisiana, 1944-2013), “I Wanna Be a Texas Ranger”, 1997, silkscreen, signed lower left, numbered “394/800” lower right, 25 in. x 17 in., framed. [$1000/1500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 223.

367. Amy Weiskopf (American, b. 1957), “Still Life with Watermelon”, 2005, oil on linen, signed lower right, “Hirshl & Adler Galleries, Inc., NY” label with artist, title and date on backing, 20 in. x 26 in., framed .[$18000/25000] Exh.: Hirschl & Adler Modern, NY, Mar. 9 - Aug. 8, 2006, Amy Weiskopf: Recent Paintings, No. 12. Note: Chicago-born artist Amy Weiskopf had a great appreciation for art from a young age, learning from her father, who was an architect and a painter. Drawing inspiration from Post-Impressionists such as Paul Cezanne, her works simultaneously reflect both classical and modern representations of still life. After receiving her MFA from Temple University, Weiskopf has spent her career creating intricately conceived still life paintings, interweaving both traditional elements such as trompe l’oeil renditions of fruits and vegetables with more modern compositions that focus on the relationships of the items within the spatial frame of the canvas. In the work presented here, Weiskopf has meticulously placed assorted objects on a table underneath a watermelon resting in a wall niche, alternating conventional round and oblong shapes in a precise manner, while also adding colorful elements to draw the eye and invite the viewer to examine the various forms – both their differences and similarities.

368. Elmer Joseph Read (American/New York, b. 1862), “Nassau Street Scene”, 1917, watercolor on paper mounted to board, signed, dated and inscribed lower left, 29 7/8 in. x 21 3/4 in., framed. [$700/1000]

369. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Coots in Lagoon”, watercolor and pencil on paper, unsigned, 8 1/4 in. x 10 7/8 in., framed; accompanied by a copy of certificate of authenticity from the family of Walter Anderson. [$10000/15000]

370. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Pelicans”, pen and ink on paper, unsigned, 10 1/2 in. x 8 in., framed. [$2500/3500] Provenance: Acquired from the Anderson family. Additional information at www.nealauction.com

372. Clementine Hunter (American/Louisiana, 1886-1988), “Haulin’ Cotton”, oil on canvas, monogrammed lower right, 10 in. x 14 in., framed. [$2500/3500] 371. Clementine Hunter (American/Louisiana, 1886-1988), “Funeral Procession”, 1970, oil on board, monogrammed and dated mid-right, 16 in. x 23 1/2 in., framed. [$3000/5000]

373. Louisiana School, 19th c., “Landscape with Oak Tree”, oil on board, unsigned, “W.E. Seebold” label en verso, partial “W.E. Seebold” label on frame, 9 1/4 in. x 12 1/4 in., framed. [$2500/3500]

Note: The two works offered here, along with lot 527, showcase an identical style and methodology to paintings of the students of the “Bayou School.” Following in the footsteps of other 19th century Louisiana landscape painters, the unknown artist of these works likely participated in the plein air excursions of the time led by French-born painter, Richard Clague. Clague, credited as founder of the landscape painting tradition in Louisiana, was a proponent of the French Barbizon school’s teaching methods and brought that academic practice to the state. Artists such as William Henry Buck, Marshall Joseph Smith, Jr. and George David Coulon all honed their trade under the esteemed master painter Clague.

374. Louisiana School, 19th c., “Swamp Landscape”, oil on board, unsigned, “W. E. Seebold” label en verso, partial “W.E. Seebold” label on frame, 9 1/4 in. x 12 1/4 in., framed. [$2500/3500]

375. Rolland Harve Golden (American/New Orleans, 1931-2019), “Patio View”, 1969, watercolor on paper, signed and dated lower right, 22 in. x 30 in., framed; together with “S. Gallatin St. Jackson”, 1968, ink on paper, signed, titled and dated lower right, 11 in. x 14 in., framed. (2 pcs.) [$1500/2500]

376. Gordon Hope Grant (American, 1875-1962), “Civil War Battle Scenes”, 1951, 2 oils on canvas, signed and dated lower right or left, each 24 in. x 30 in., framed alike. (2 pcs.) [$6000/8000]

Note: Maritime painter Gordon Hope Grant was born in San Francisco in 1875 and educated in Scotland; the long voyage is said to have inspired his lifelong love of seascapes and ships. In addition to painting, Grant worked as an etcher, illustrator and battlefield artist for Harper’s Weekly. His works are in the collections of the Metropolitan Museum of Art, United States Naval Academy and White House. In the Civil War naval battle scenes offered here, Grant’s hazy, atmospheric brushwork harkens back to the seascapes of Joseph Mallord William Taylor, with tumultuous seas, fiery colors and cloudy skies. The scenes depicted here could be representations of the Battle of Hampton Roads, which took place in 1862 in Virginia. In this significant naval conflict, the Confederate navy attempted to breach the Union blockade, and ironclads were pitted against one another for the first time. Although the Confederates were ultimately unsuccessful in breaking the blockade, the design of the ironclads forever changed the way naval ships were designed and how naval warfare was fought. 377. William Aiken Walker (American/South Carolina, 1838-1921), “Portrait of a Young Girl”, hand-painted photograph, signed lower left, 6 1/8 in. x 4 1/4 in., framed. [$2500/3500] Note: The camera played an important role in William Aiken Walker’s work. Used primarily as a documentary tool, photography allowed him to attempt a wider variety of subjects than he could have captured through sketching alone and provided a valuable reference to the minute details of life that appealed to the artist. Walker’s output was undoubtedly greatly increased by his undertakings in photography. Walker himself was photographed in Charleston at Quimby and Company in 1869, and he painted over the portrait to create what was coined in the period an “oilette.” Quimby and Company also sold Walker’s oilettes in their studio, and this method of enhancing a photograph would stay with the artist during his many travels thereafter. Walker photographed many of the children of his friends and acquaintances and painted over them to create oilettes, with several documented examples. One notable work occurred when Walker visited John Orr Bradfield, a native of Baton Rouge who resided at Willow Glenn Plantation across the River from Vicksburg. Walker photographed Bradfield’s son, John Jenkins, around 1885 and made a painting over it to show the little boy fishing at Grant’s Canal near the plantation. While the identity of the sitter in the work offered here is unknown, Walker’s deft hand in the brushwork and surrounding landscape is unmistakable, making it a rare example of this type of Walker’s work. To be included in John Fowler’s catalogue raisonné on the artist. Ref.: Trovaioli, August P. and Roulhac B. Toledano. William Aiken Walker: Southern Genre Painter. Gretna, LA: Pelican Publishing Company, 2008

378. Elizabeth O’Neill Verner (American/South Carolina, 1883-1979), “Seated Charleston Flower Seller with Basket”, pastel on panel, signed lower right, 19 in. x 14 1/2 in., framed. [$8000/12000]

379. Elizabeth O’Neill Verner (American/South Carolina, 1883-1979), “Standing Flower Seller with Basket”, pastel on silk on panel, signed lower right, 16 1/4 in. x 12 3/8 in., framed. [$6000/8000]

380. Elizabeth O’Neill Verner (American/South Carolina, 1883-1979), “Seated Flower Seller”, pastel on panel, signed lower right, 16 1/4 in. x 12 1/4 in., framed. [$6000/8000] Additional information at www.nealauction.com

381. Frank Henry Shapleigh (American, 1842-1906), “Old Homestead on Silver Lake, Madison, N.H.”, 1901, oil on canvas, signed and dated lower right, signed and titled en verso, 18 in. x 30 1/4 in., framed. [$1800/2500]

382. Morris Henry Hobbs (American/New Orleans, 1892-1967), “Royal from St. Peter St.”, 1941, “Patio - Daniel Clark House”, 1950, “Iron Lace”, 1949 and “The Snowball Man”, 1943, 4 etchings on paper, 3 pencil-signed, titled and inscribed “ed/200” lower margin, one pencil-signed and inscribed lower margin, one inscribed on backing, 2 titled and dated in plate, sights 3 1/2 in. x 3 1/4 in. to 9 1/2 in. x 6 1/4 in., all framed. (4 pcs.) [$400/600] Ill.: Isbell, Reed W. Morris Henry Hobbs - A Catalogue Raisonne of Etchings, Engravings & Lithographs. McLean, VA: Coffee Street Publishing, 2017, pp. 106, 119, 131 & 144.

383. Morris Henry Hobbs (American/Louisiana, 1892-1967), “Olde Rue Royale”, 1941, “Pirates Alley”, 1943, “A Creole Courtyard”, 1946 and “Patio - The Bosque House”, 1945, 4 etchings on paper, 3 pencil-signed, titled and “ed/200” lower margin, one pencil-signed lower margin, 2 titled and dated in plate, one initialed and dated in plate, one with “miniature Print Society Kansas City” label on mat, sheets 7 3/4 in. x 5 7/8 in. to 14 in. x 9 in., one matted; with “Olde Rue Royale” print information sheet printed for the Miniature Print Society of Kansas City Missouri. (5 pcs.) [$400/600]

384. Betsy Burleson Harnden (American/New Orleans, 20th c.), “Portraits”, c. 1970s, 10 silver gelatin prints mounted to board, one pencil-signed and dated on board, one pencil-signed on board, 8 7/8 in. x 13 3/8 in. to 12 3/4 in. x 8 1/2 in., all unframed. (10 pcs.) [$500/700]

Ill.: Reed, W. Isbell. Morris Henry Hobbs - A Catalogue Raisonné of Etchings, Engravings, & Lithographs. McLean: Coffee Street Press, 2017, pp. 119, 129, 140. 385. Four Antique English Sterling Silver Frames, all with floral and scroll decoration, incl. William Devenport, Birmingham, fitted with beveled mirror plate, velvet easel back, 14 in. x 9 in.; Henry Matthews, Birmingham, 1900, fitted with beveled glass, wood with easel back, 12 in. x 8 3/4 in.; John & William Deakin, Chester, 1895, double frame with velvet easel back, 7 1/2 in. x 10 in.; and Birmingham, 1901, maker’s mark rubbed, velvet easel back, 13 3/4 in. x 8 1/4 in. [$800/1200]

386. Victorian Sterling Silver Tea Service, incl. teapot, A.B. Savory & Sons (William Smily), London, 1863, associated open sugar and creamer, Elkington & Co., Birmingham, 1861, teapot h. 5 1/2 in., total wt. 43.35 troy ozs. [$800/1200]

387. George III Sterling Silver Sugar & Creamer, Robert Hennell I & Samuel Hennell, London, 1808, act. 1802-1810, shell and reeded scroll borders, lobed lower body, ball feet, sugar h. 4 1/2 in., w. 8 1/2 in., wt. 24.70 troy ozs. [$600/900]

389. William IV Sterling Silver Goblet, William Bateman II, London, 1834, mark reg. 1827, floral and scroll repousse, rocaille and scroll cartouche, interior retains traces of gilt, h. 6 1/2 in., wt. 10.95 troy ozs. [$300/500]

391. Regency Sterling Silver Teapot, Charles Price, London, 1817, mark reg. 1812, squat oblong form with rosette finial, gadroon borders and ball feet, h. 6 in., w. 11 in., wt. 21.95 troy ozs. [$700/1000]

388. Set of Victorian Sterling Silver “Fiddle Typt” Forks, John and Henry Lias, London, 1841, mark reg. 1837, incl. 12 dinner forks, l. 8 in., and 12 luncheon/ dessert forks, l. 6 7/8 in., total wt. 51.05 troy ozs. [$1200/1800] 390. Two Georgian Sterling Silver Basting Spoons, incl. George III, London, 1789, makers mark “SH” in rectangle, “Old English” pattern with downturned typt, engraved crest, l. 12 1/2 in.; and Scottish George IV, William Marshall, Edinburgh, 1825, l. 12 3/8 in., total wt. 6.95 troy ozs. [$300/500]

392. Victorian Sterling Silver Asparagus or Sandwich Tongs, Emanuel Brothers (Harry Emanuel), London, 1859, fiddle thread pattern, l. 10 1/8 in., wt. 7.5 troy ozs. [$300/500]

393. George V Sterling Silver Tea Service, Edward Barnard & Sons, Ltd., London, 1927, incl. teapot, sugar and creamer, inverted pyriform bodies, beaded borders, scroll handles, teapot h. 7 1/4 in., total wt. 32.60 troy ozs. [$500/700]

394. Pair of Louis XV-Style Bronze-Mounted Mahogany and Parquetry Commodes, probably late 19th/early 20th c., signed “F. Linke” for Francois Linke, Paris, shaped molded marble top, frieze drawer over cartouche panel doors, shelf interior, foliate mounted stiles, scrolled shaped apron, foliate sabots, original keys, h. 40 in., w. 54 3/4 in., d. 21 in. [$7000/10000]

Note: See Francois Linke (1855-1946): The Belle Epoque of French Furniture for identical features to these commodes, incl. keys, p. 356, pl. 392; beautifully finished mahogany back panels and polished back edge of marble tops, p. 418, pl. 482; and sabots, p. 494, pl. 610.

396. Regency Carved and Parcel Ebonized Burl Elm Sofa Table, early 19th c., shaped top, frieze with central foliate panel, scrolled brackets, reverse tapered standards, scrolled paw feet, casters, h. 29 in., w. 55 in., d. 26 in. [$1000/1500]

395. Italian Renaissance Revival Carved Walnut Display Cabinet, inscribed “Napoli/1880”, flared canted cornice, elaborate frieze, canted wings with hippocampus brackets and colonnettes, conforming blocked base with central fall front drawer, h. 105 in., w. 72 in., w. 35 in. [$4000/6000] Exh.: The Louisiana Purchase Exposition, also known as the 1904 St. Louis World’s Fair.

397. Antique Continental Neoclassical-Style Bronze-Mounted Kingwood and Parquetry Commode, early 20th c., stone top, ribbon and foliate mounted frieze drawer, two cabinet doors with central stone inset, tapered legs, foliate sabots, h. 33 1/4 in., w. 45 in., d. 19 in. [$2000/3000]

398. Louis XV Polychrome-Painted Folding Screen, probably 18th c., arched panels, sanguine pastoral reserves, paneled base, painted reverse, h. 82 in., w. 100 in. [$700/900] Provenance: The Estate of Caroline P. Ireland.

399. Pair of American Late Classical Bronze Six-Light Candelabra, mid-19th c., possibly Cornelius & Company, Philadelphia, foliate arms, columnar standard, stepped base, h. 27 in., overall w. 18 in. [$300/500]

402. Pair of George III Sterling Silver Pepperettes, London, 1807, maker’s marks rubbed, urn form with reeded borders and conforming foot on square base, h. 5 1/2 in. Note: One “as-is”. [$200/300]

400. Pair of American Sterling Silver Oval Open Vegetable Dishes, Meriden Britannia, reeded border, l. 10 1/2 in., wt. 19.05 troy oz. [$300/500]

Provenance: Schwitz Collection, Franklin, LA.

401. Group of George III Sterling Silver Berry Spoons, incl. pair of Dublin, 1788, fruit-chased gilt bowl, flat-chased rosette-decorated handles, l. 8 5/8 in.; four London, maker CH, grape and grape leaf chasing, bowl centering mask, l. 8 1/4 in.; and three London, marks rubbed, l. 8 1/8 in. and 8 3/4 in., total wt. 16.85 troy ozs. [$300/500] Additional information at www.nealauction.com

403. Set of Four Edwardian Sterling Silver Master Salt Cellars, Jay, Richard Attenborough & Co. (James Charles Jay), Chester, 1901, reeded paneled navette form, octagonal base, cobalt glass liners, h. 2 7/8 in., w. 4 5/8 in., wt. 10.85 troy ozs.[$200/400] Provenance: Schwitz Collection, Franklin, LA.

404. Edwardian Britannia Standard Silver Mustard Pot in the William III Taste, Robert Frederick Fox, London, 1912, for Tiffany & Co., h. 3 in., w. 4 3/8 in.; together with a pair of Georgian-style sterling mustard pots, C.F. Hancock & Co., London, 1911, with reeded borders and cobalt glass liners h. 2 3/8 in., w. 3 1/2 in.; total wt. 14.25 troy ozs.[$300/500] Provenance: Schwitz Collection, Franklin, LA.

405. George III Sterling Silver Tankard, London, 1777, probably William Turton or Walter Tweedle, baluster form with scroll handle and molded foot, elaborately chased overall, cartouche engraved with armorial, h. 5 1/ in., wt. 12.35 troy ozs. [$400/600]

406. Pair of Late Georgian Sheffield Plate Telescopic Candlesticks, early 19th c., rubbed mark “PATENT” in serrated rectangle, reeded banding, removable bobeches, h. 6 3/4 in. [$150/250]

409. Dr. Wall (1st Period) Worcester Imari “Old Mosaic” Pattern Covered Ale Mug, 1765-1770, floral finial, h. 8 3/4 in., associated lid. [$700/1000] Provenance: Henry Stern. 407. George III Tortoiseshell Bombé Sarcophagus Form Tea Caddy, c. 1800, silver mounts, interior with lidded compartments, silvered ball feet, h. 5 1/2 in., w. 9 1/4 in., d. 6 in. [$1500/2500]

408. Good George III Tortoiseshell Tea Caddy, c. 1800, silver mounts, block front case, interior with lidded compartments, h. 4 1/4 in., w. 7 in., d. 4 1/8 in. [$1200/1800] 410. Three Dr. Wall (1st Period) Worcester Imari “Old Mosaic” Pattern Cake Dishes, 1765-1770, incl. 2 scalloped round and 1 square, associated, dia. 8 1/2 in., 8 3/8 in. and 8 1/8 in. [$700/1000]

412. Chelsea Gold Anchor Period Paneled Covered Vase, 1756-1769, blue ground with raised gilt insects and birds, h. 14 1/4 in.[$700/1000] Provenance: Neal Auction Company, Manheim Collection, 2002.

411. Dr. Wall (1st Period) Worcester Imari “Old Mosaic” Pattern Teapot, 1765-1770, floral finial, h. 6 1/2 in. [$700/1000]

413. Dr. Wall Worcester Kakiemon Teapot and Stand, c. 1770-1780, together with mocha cup (note condition). [$400/600] 414. Dr. Wall Worcester Imari “Old Mosaic” Pattern Bowl, 1775 (later version), h. 3 in., dia. 6 1/4 in., glaze chip at rim. [$300/500]

415. Dr. Wall (1st Period) Worcester Imari “Old Mosaic” Pattern Tea Caddy, 1765-1770, (without lid), h. 6 in., tea cup and mocha cup. [$400/600]

416. 1st Period Worcester Blue Scale Plate, c. 1770, square mark, dia. 8 7/8 in. [$300/500] Provenance: Blackamoor Antiques, New Orleans.

417. Pair of Continental “Blanc-de-Chine” Porcelain Baluster Vases, early 20th c., probably Samson, Paris, applied floral and vine decoration, h. 14 1/2 in.; now mounted as lamps, h. (incl. finial) 28 1/2 in. [$500/750] Provenance: The Estate of Caroline P. Ireland.

418. French Belle Epoque 1st Standard Silver Sauceboat, Martial Gauthier, 39 rue Rambuteau, Paris, act. 1888-1902, foliate decoration, attached undertray, note line dents at pedestal, h. 4 1/4 in./, l. 10 in., wt. 24.30 troy ozs. [$300/500]

420. Regency-Style Carved Mahogany Settee, padded back and seat with urn and floral embroidered silk panels with metallic trim on velvet, reeded apron with rosette blocks, ring turned tapered legs, h. 39 in., w. 71 in., d. 32 in. [$800/1200] 419. Regency Inlaid and Carved Mahogany Sideboard, early 19th c., shaped top surmounted by small drawers, frieze drawer above tambour drawer, cupboard to each side, one end cabinet, reeded legs, cuff casters, h. 40 in., w. 98 1/4 in., d. 30 1/2 in. [$1000/2000]

421. Antique George III-Style Inlaid Mahogany Secretary Bookcase, 19th c., upper case with arched cornice, two glazed Gothicized doors enclosing shelves, lower case with fitted secretary drawer over three graduated drawers, shaped apron, French bracket feet, h. 98 1/2 in., w. 47 in., d. 21 1/4 in. [$1500/2500]

422. Fine Antique George III-Style Carved Mahogany Breakfront Bookcase, 19th c., broken arch crest, cove-molded cornice, fluted frieze with rosettes, glazed doors with pendant bellflower carving, adjustable shelf interior, conforming base with raised panel doors, carved molded base, ogee bracket feet, h. 101 in., w. 83 in., d. 22 in. [$3000/5000]

423. Empire Bronze-Mounted Mahogany Bureau, early 19th c., fitted superstructure, leather writing surface, columnar supports, frieze drawer, shaped base, h. 33 1/2 in., w. 28 1/2 in., d. 21 in. [$300/500]

424. Continental School, 18th/19th c., “Floral Still Lifes”, 2 oils on canvas, both unsigned, each 27 3/4 in. x 21 1/2 in., framed alike. (2 pcs.) [$2500/3500]

425. Attributed to Frederick van Valkenborch (Dutch, 1570-1623), “A Mountainous Landscape with Peasants before a Stream”, oil on canvas, unsigned, 47 1/4 in. x 69 3/4 in., framed. [$4000/6000] Provenance: Neal Auction Company, Feb. 23, 2002, lot 1383. Additional information at www.nealauction.com

427. British School, 19th c., “Portrait of Three Children with Dog”, oil on canvas, unsigned, 46 1/4 in. x 38 3/8 in., framed. [$1500/2500]

426. William Hart (Scottish/American, 1823-1894), “Tree in Pasture”, oil on canvas, signed and dated lower left, 14 1/2 in. x 22 3/4 in., framed. [$2000/3000]

428. Eight Chippendale-Style Carved Mahogany Dining Chairs, incl. two armchairs and six side chairs, foliate scroll crest rail and pierced splat, outswept arms, acanthus knees, ball and claw feet, armchair h. 40 1/2 in., w. 25 1/2 in., d. 25 in., side chair h. 40 1/2 in., w. 24 3/4 in., d. 25 in. [$2000/3000]

429. Chesterfield Leather Sofa, button tufted back, arms and seat, nailhead trim, bun feet, h. 29 in., w. 75 in., d. 35 in. [$700/1000] 431. Alfred Pollentine (British, 1836-1890), “On the Shore”, oil on canvas, signed lower right, 16 in. x 24 in., framed. [$1000/1500]

430. Federal Mahogany Two-Part Dining Table, early 19th c., Baltimore, each section with drop-leaf and swing leg, blocked apron, ring turned reeded legs, toupie feet, h. 29 in., w. 48 1/2 in., d. (closed) 21 in., d. (open) 83 in. [$500/1000]

432. Edmund Johann Niemann (British, 1813-1876), “Path to the Castle”, oil on canvas, signed lower center, 12 in. x 18 in., framed. [$700/900]

433. Thomas Thomas (British, 19th c.), “Ruins”, oil on canvas, signed lower left, 9 in. x 15 in., framed. [$600/800] Provenance: Neal Auction Company, Apr. 16, 2011, lot 465.

434. Rare English Shell-Shaped Porcelain Cake Dish, c. 1800-1810, pattern 1291, possibly Coalport, richly gilt Imari palette with exotic birds, dia. 9 5/8 in. [$600/800]

435. Barr, Flight & Barr Worcester Porcelain Sugar Basin, c. 1805, richly gilt Imari palette, h. 4 3/4 in., w. 7 1/8 in. [$400/600]

436. Two Rare English Tobacco Leaf Pattern Porcelain Teacups and Saucers, c. 1810-1815, different factories: one #1559, blue unmarked with ring handle, probably Worcester; orange probably Coalport, h. 2 1/4 in. and 2 3/8 in. [$250/350]

438. Gorham Sterling Silver Tea and Coffee Service, pattern 1850, date marks for 1893, incl. kettle-on-stand with burner (h. 12 3/8 in. to top of handle), teapot, coffee pot, covered sugar, creamer and waste bowl, acanthus and gadroon decoration, carved and ebonized handles, total wt. 155.40 troy ozs. [$2500/3500]

437. Chamberlain’s Worcester “Jabberwocky Panel” Mug, c. 1800, h. 3 1/4 in. [$300/500] Provenance: Waldhorn’s Antiques, New Orleans.

439. American Sterling Silver Oval Platter, Wallace, reeded border, l. 18 in., wt. 34.50 troy ozs. [$500/700]

442. Pair of Napoleon III Gilt and Patinated Bronze Two-Light “Noble Savage” Figural Candelabra, carved marble bases, h. 17 3/4 in., w. 8 1/4 in., d. 4 1/2 in. [$800/1200]

440. Wallace “Grande Baroque” Sterling Silver Flatware Service, pat. 1941, incl. 12 each: dinner forks, salad forks, round soup spoons; 24 teaspoons, 12 dinner knives, tablespoon, sugar spoon, cake knife (hh) and child’s fork and spoon; total wt. (weighable) 102 troy ozs., (66 pcs.); in fitted storage case. [$2000/3000]

441. Four American Victorian and Edwardian Silver Christening Mugs, late 19th to early 20th c., incl. Whiting Aesthetic Movement with 1882 presentation, Whiting repousse with later presentation, Arts and Crafts with 1894 presentation and children at play, and floral repousse with vacant cartouche and gilt wash interior; h. 3 in. to 3 5/8 in., total wt. 14.95 troy ozs. [$400/600] 444. Bronze Figure of “L’Aviation” after Emile Louis Picault, signature inscribed on self-base, h. 31 1/4 in., w. 19 1/2 in., d. 13 1/2 in. [$800/1200]

443. English Bronze Single-Arm Argand Lamp, c. 1840, standard surmounted by an urn, now with glass bead pendants, cut and frosted glass shade, electrified, h. 21 1/2 in., w. 13 in., d. 8 1/2 in. [$500/750]

445. American Late Classical Bronze Double-Arm Argand Lamp, c. 1835, labeled “B. GARDINER/N. YORK”, bouquet decorated standard, scroll feet, electrified, h. 18 in., w. 18 in., d. 10 in. [$800/1200]

446. Set of Twelve Kirk Stieff Sterling Silver Julep Cups, pattern 277, h. 3 5/8 in., total wt. 59.30 troy ozs. [$1500/2500]

447. Monumental Gilt Bronze-Mounted Limoges Porcelain Vase, marked “Limoges VF France” for Vignaud Freres. [$1500/2500]

Additional information at www.nealauction.com

448. Fine American Rococo Gilt and Patinated Bronze Six-Light Gasolier, c. 1855, attr. to Cornelius and Baker, Philadelphia, top collar with female portrait busts, standard with allegorical figures of Art, Science, and Industry, the arms mounted with bearded and helmeted busts, and dog’s heads, electrified, h. 49 in., dia. 33 in. [$4000/6000]

449. Continental Porcelain Figure of Africa, with a quiver of arrows, a lion and an elephant’s head, h. 14 5/8 in. [$2500/3500] Note: A closely related figure of Africa sold in these rooms on November 17th, 2012, Lot 42, Hammer $9,500

Provenance: Briggs Martin House, Garden District, New Orleans. Ref.: Myers, Denys. Gaslighting in America,

Washington, DC, 1978, pg. 61; 19th-Century America Furniture and Decorative Arts, 1970, cover, and ill. 135.

450. Neoclassical-Style Patinated Bronze Ewers, 20th c., putto-mounted handles, continuous relief of cavorting cherubs, marble base, h. 2 1/4 in., w. 10 3/4 in., d. 6 in. [$500/700] Provenance: Schwitz Collection, Franklin, LA.

451. English Aesthetic Movement Carved Ash Wardrobe, late 19th c. and later, attr. to Lamb of Manchester, dentil-molded cornice surmounted by finials, mirrored door flanked by paneled doors, shaped base, later interior, h. 87 1/2 in., w. 90 1/2 in., d. 12 in. [$1000/1500] Provenance: By repute, originally made for the Duke of Marlborough.

452. Antique Louis XV-Style Carved Giltwood Canapé, 19th c., serpentine floral-carved crest rail, conforming arms, uprights and seat rail, cabriole legs, scrolled toes, h. 44 1/4 in., w. 83 in., d. 30 1/2 in. [$800/1200] Provenance: The Estate of Caroline P. Ireland.

453. Italian Carved Walnut Hall Table, 19th c., top with scalloped border and frieze, robustly carved scrolled supports decorated with masks and paw feet, shaped foliate stretcher, scrolled feet, h. 31 in., w. 87 in., d. 35 in. [$1000/1500] 454. Frederick Oakes Sylvester (American, 1869-1915), “When Evening Blends with Night”, 1908, oil on canvas, signed and dated lower left, period label with title on stretcher, 16 in. x 12 in., framed. [$1500/2500]

455. Vincente de Garcia Paredes (Spanish, 1845-1903), “Gathering in the Parlor”, oil on canvas, signed lower right, 24 in. x 36 in., framed. [$1500/2500]

456. Guglielmo Zocchi (Italian, b. 1874), “Fondest Greetings”, oil on canvas, signed lower center, 31 3/4 in. x 18 3/4 in., framed. [$1200/1800] 457. Continental School, 19th c., “Portrait of Lady in Lace Mantilla”, 1876, oil on board, monogrammed and dated lower right, 9 5/8 in. x 7 1/2 in., period frame. [$700/1000]

459. Group of Sanborn’s “Aztec Rose” Sterling Silver Tableware, Mexico City, mid-20th c., incl. lobed footed bowl (h. 3 1/8 in., w. 9 1/4 in.), pair of lobed bowls (h. 2 1/4 in., w. 7 3/8 in.), saucer (dia. 4 3/8 in.), 3 individual salt cellars with salt spoons and a teaspoon; together with a Mexican ice pail of similar design and a Sanborn’s vintage motif sauce ladle; total wt. 59 troy ozs. [$600/900]

458. Pair of Jacob Petit Paris Porcelain Vases, mid-19th c., marked “J.P.” in blue, teal blue and cafe au lait ground, reserved with floral bouquets in gilt cartouches, foliate scroll handles, h. 16 3/4 in. [$700/1000]

460. Mason’s Ironstone Imari “Old Mosaic” Pattern Covered Sauce Tureen and Small Plate, c. 1815 (based on later version of Dr. Wall Worcester), round mark and straight mark, tureen h. to top of finial 7 1/2 in., w. 7 in., plate dia. 8 in. [$400/600]

463. Pair of Dr. Wall Worcester Blue Scale Coffee Cups, c. 1770-1780, square mark, h. 2 7/8 in. [$200/400]

461. Minton Japonesque Pattern 184 Plate, 1805, 1st Minton mark, dia. 8 5/8 in. [$300/500]

462. Dr. Wall Worcester Blue Scale Plate with Exotic Birds, c. 1770-1780, dia. 7 5/8 in. [$200/300]

464. Dr. Wall Worcester Blue Scale Waste Bowl, c. 1770-1780, h. 2 7/8 in., dia. 4 in. [$200/300] 465. Dr. Wall Worcester Kakiemon Cup and Saucer, 1785, crescent mark, cup h. 2 3/8 in., saucer dia. 5 1/2 in. [$150/250]

467. Barr, Flight & Barr Worcester Imari Palette Cup and Saucer and Breakfast Cup, c. 1805, saucer dia. 6 1/4 in. [$250/350]

466. Flight, Barr & Barr Worcester Imari Palette Porcelain Pudding Dish, c. 1800-1810. [$300/500]

468. Group of Barr, Flight & Barr Worcester Porcelain, c. 1805, en suite with previous lot, incl. cake plate (with old staple repair, dia. 8 1/8 in.), 2 teacups and 1 saucer (with chip and restoration). [$200/400] Provenance: Stockspring Antiques, London, 2005. Additional information at www.nealauction.com

469. Chamberlain’s Worcester Imari Palette Porcelain Cup and Saucer, c. 1800, rare form, rare pattern. [$150/250]

470. Pair of Coalport “Green Bird” Gilded Imari Porcelain Coffee Cans, c. 1800, mint condition, h. 2 5/8 in. [$150/250]

471. Spode Pattern 967 Porcelain Covered Sauce Tureen and Underplate, c. 1820, h. 4 3/8 in., w. 4 3/8 in. [$300/500]

473. Spode “Japan” Pattern Porcelain Tea Service, c. 1815, red ptd. Spode marks, incl. teapot, creamer, waste bowl and 8 cups and saucers, teapot h. 4 3/4 in., w. 9 1/2 in. [$500/750]

472. Bloor Derby Imari Porcelain Sauce Tureen, Cover and Stand, c. 1820-1830. [$250/350]

474. Mexican Sterling Silver Ice Pail with Lion’s Head and Ring Handles, Sanborn’s, Mexico City, h. 6 1/2 in., w. 8 in.; together with sterling circular vegetable dish, also Sanborn’s, dia. 9 5/8 in.; combined wt. 45.50 troy ozs. [$600/800] 475. Mexican Sterling Silver Tea Tray Juventino Lopez Reyes, Mexico City, oval with beaded border and loop handles, l. 22 1/2 in., w. 14 in., wt. 48.85 troy ozs. [$600/900]

476. Handel Leaded Glass and Bronze Table Lamp, early 20th c., base marked, domical shade with border rose design, base cast with lily pads, two-light fixture, h. 28 in., dia. 22 in. [$5000/7000]

477. Tiffany Favrile Glass “Jack-in-the-Pulpit” Vase, early 20th c., base etched “L. C. Tiffany Favrile 2170 N “ h. 19 1/2 in., w. 10 1/2 in. [$5000/7000]

478. Robert Gordy (American/New Orleans, 1933-1986), “Tortola Stomp #6”, 1981, acrylic on canvas, signed, titled and dated on stretcher, 32 1/8 in. x 42 3/8 in., framed. [$3000/5000]

479. David Harouni (Iranian/New Orleans, b. 1962), “Untitled (Face)”, oil on gallery-wrapped canvas, signed lower right, 60 in. x 47 3/4 in., unframed. [$3000/5000]

480. Alexander Calder (American, 1898-1976), “Environment and Evolution”, lithograph on paper, pencil-signed lower right, inscribed “a/p” lower left, 26 1/4 in. x 38 1/2 in., framed. [$1000/1500] 481. Rockwell Kent (American/New York, 1882-1971), “The End (Burne-Jones 17)”, 1927, wood engraving, pencil-signed lower right margin, from edition of 100, handwritten label on backing with artist, title and date, pencil-inscribed with artist, title and date en verso of mat, sheet 7 3/4 in. x 9 7/8 in., framed. [$1000/1500] 482. Louise Nevelson (Ukrainian/ American, 1899-1988), “Untitled Composition”, 1983, color lithograph, pencil-signed, dated and numbered “27/100” lower margin, sheet 13 1/4 in. x 12 in., unframed. [$400/600]

483. Rare American Carved Mahogany Convertible Desk and Chair, c. 1854, attr. to Stephen Hedges, New York, oval foldover top with inset leather writing surface, mechanical case opening to reveal a chair, desk interior fitted with a drawer, cabriole legs, casters, panels with ripple molding, h. 29 1/4 in., w. 35 1/8 in., d. 27 in. [$3000/5000] Note: Several examples of this patented desk are known, including examples conserved at Gallier House, New Orleans; the Museum of the City of New York; the Morris-Jumel Mansion, New York; and another was sold on-site, from the collection of Dr. George Crozat, Houmas House, Burnside, Louisiana by Neal Auction Company, lot 329, May, 2003. This lot previously sold, Neal Auction Company, lot 60, Nov. 17, 2012.

484. American Aesthetic Carved Walnut Breakfront Bookcase, mid-to-late 19th c., labeled “A. Kimbel & J. Cabus, Cabinetmakers & Decorators, New York”, central case with faceted frieze, galleried side cabinets flanked by colonnettes with spiral turning, glazed doors, block base, keys, h. 73 in., w. 57 in., d. 15 5/8 in. [$1500/2500] Note: Kimbel & Cabus furnishings are included in the collections of the Metropolitan Museum of Art, the Victoria & Albert Museum and the Brooklyn Museum.

485. American Renaissance Carved and Burl Walnut Wooten Standard Desk, c. 1874, labeled, architectonic gallery, two paneled doors, extensively fitted interior, fall-front tooled leather writing surface, scrolled feet, casters, h. 76 in., w. 46 in., d. 32 1/2 in. [$6000/9000] Provenance: Neal Auction, Sept. 11, 2011.

486. American Classical Mahogany Console Table, early 19th c., reeded marble top, columnar supports, mirrored back, blocked base, h. 37 1/2 in., w. 64 1/2 in., d. 20 in. [$1500/2500] 487. American Carved Rosewood Music Cabinet, mid-19th c., pierced gallery, shaped top, conforming case, mirrored doors, divided interior, bracketed base, foliate carved feet, h. 42 1/2 in., w. 24 1/2 in., d. 15 1/2 in. [$500/750]

488. Warren Platner (1919-2006) for Knoll Armchair, nickel-plated steel and upholstery, h. 29 in., w. 27 1/2 in., d. 20 in. [$800/1200] Additional information at www.nealauction.com

489. Jens Risom (1916-2016) for Knoll Lounge Chair, birch and cotton webbing, h. 30 in., w. 20 in., d. 23 1/2 in. [$500/700]

492. Marcel Breuer (1902-1981) for Knoll “Wassily” Lounge Chair, leather and chromed steel, h. 29 in., w. 31 in., d. 25 in. [$500/700]

490. Frank Gehry (American, b. 1929) for Knoll “Power Play” Chair, laminated and steam-bent white maple, h. 43 1/2 in., w. 20 1/2 in., d. 20 in. [$1000/2000]

493. William IV-Style Mahogany Ottoman, tapestry upholstered seat, turned legs, cuff casters, h. 16 1/2 in., w. 42 in., d. 30 in. [$200/400] Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

491. Frank Gehry (American, b. 1929) for Knoll “High Sticking” Side Chair, laminated and steam-bent white maple, h. 32 1/2 in., w. 31 1/2 in., d. 24 1/2 in. [$600/900]

494. George Hunzinger Walnut “Lollipop” Rocking Armchair, c. 1880, with “bleu marine” leather, h. 43 1/2 in., w. 20 1/2 in., d. 26 1/2 in. [$500/700] Provenance: Margot Johnson, Inc., NYC, Nov. 1997.

495. Fine American Aesthetic Carved Bamboo and Birdseye Maple Bedroom Suite, c. 1880, New York, three pieces include: mirrored dresser, bed and washstand, together with a closely related Aesthetic dressing table,dresser h. 80 ½ in., w. 46 in., d. 21 in., bed h. 52 in., l. 79 in., w 54 in., dressing table h. 46 in., w. 34 in., d. 19 in. ($2500/3500) Provenance: Margot Johnson, INC, NYC, Feb. 1996.

496. Egyptian Revival Brass and Wood Bar Cart, turned handle and supports, Egyptianesque mounts, pierced upper and lower galleries, bottle stand, wheels and casters, h. 30 1/2 in., w. 20 in., d. 29 1/2 in. [$400/600]

497. American Oak Breakfront, 19th c., attr. to Daniel Pabst, tripartite form, upper center doors with leaded and stained glass, enclosing shelves, base with conforming doors, h. 92 in., w. 105 in., d. 20 1/2 in. [$3000/5000]

498. Edwardian-Style Claret Cut Velvet Sofa, of generous size, button tufted upholstery, fleur-de-lis patterned field, bullion fringe, h. 31 1/2 in., w. 93 in., d. 35 1/2 in. [$1000/1500]

499. Antique Upholstered Borne, centered podium gilt decorated with grey circular marble, finely upholstered in cut gold velvet with bullion fringe, h. 41 in., dia. 61 in. [$1200/1800]

500. American or Continental Carved Oak Dining Table, late 19th c., of generous size, drop-leaf octagonal top, six cabriole legs, drake feet, h. 30 1/2 in., l. 73 in., w. (open) 70 1/2 in., w. (closed) 31 in. [$1200/1800]

503. Regency-Style Ebonized and Parcel Gilt Hall Bench, padded cushion, molded frieze, fluted curule base, lotus carved stretchers, h. 16 1/2 in., w. 52 in., d. 16 in. [$400/600]

501. An American Rococo Carved Mahogany Armchair, mid-19th c., attr. to George Henkels, Philadelphia, dolphin and shell carved pierced splat, downswept arms, carved dragon terminals, cabriole legs, scaled paw feet, h. 36 in., w. 26 1/2 in., d. 21 in. [$500/750]

502. American Gothic Carved Rosewood Table, mid-19th c., probably New York, serpentine molded top with inset Sienna marble, shell-carved with apron, delicate pendant corners, scrolled trestle base, shell-carved stretcher, volute scroll legs, h. 29 5/8 in., w. 26 1/4 in., d. 15 1/4 in. [$500/700]

505. English Arts & Crafts Chased Copper and Carved Oak Hall Cabinet, late 19th c., door inset with copper panels of Art Nouveau inspiration, fitted interior shelves, sides with hooks, brackets and umbrella holders, h. 76 in., w. 46 1/2 in., d. 19 in. [$1000/1500]

504. English Aesthetic Gilded and Ebonized Side Chair, late 19th c., retains Japonesque Chrysanthenum motif silk brocade back and seat. [$200/400]

506. Antique English Yewwood Dresser Base, banded top, molded surround, frieze drawers with batwing pulls over doors, plinth base, h. 36 in., w. 81 in., d. 20 in. [$700/1000]

507. American Aesthetic Carved Rosewood “Kirihame” Screen, c. 1880, New York, carved posts on distinctive paw feet with glass spherical casters, panel inset with silk and patchwork, h. 61 1/2 in., w. 30 1/2 in. [$1000/2000] Note: This colorful “Kirihame” kaleidoscope quilt work has its origins as an element of 16th Century Japanese Kimonos. Finding its way into the American style in the 1830s, this artform was at its height as aesthetic decoration in the last quarter of the 19th Century. The esteemed textile artist Candace Wheeler joined with Louis Comfort Tiffany and others to found Associated Artists. Reference: In Pursuit of Beauty, America and The Aesthetic Movement, The Metropolitan Museum of Art ; p.166, fig. 5.25 illustrates a related chair by Louis Comfort Tiffany, with Samuel Colman, for the Henry Osborne Havemeyer house in New York.

508. Finely Upholstered Aesthetic-Style Hall Seat, extravagant colorful vinery and fruit, demilune seat with bullion fringe, h. 37 1/2 in., w. 49 in., d. 23 in. [$300/500] Additional information at www.nealauction.com

509. American Arts and Crafts Carved Oak Morris Chair, early 20th c., pegged construction, adjustable back, with attractive “salmon” cushion, h. 39 in, h. 40 in., w. 32 in., d. 35 in. [$300/500]

510. Pair of English Gilt, Inlaid Mother-of-Pearl and Ebonized Occasional Tables, mid-19th c., shaped tops enclosing glass framed needlework, h. 23 in., w. 19 in., d. 17 1/2 in. [$500/1000]

511. Antique Louis XV-Style Carved Giltwood Stool, cushion top, nailhead trim, feathered ball and claw cabriole legs, h. 20 1/2 in., w. 31 1/2 in., d. 21 1/2 in. [$300/500] 512. American Wicker Rocking Chair, late 19th c., in original state, h. 38 in., w. 22 in., d. 29 1/2 in. [$500/700] 513. Pair of High Victorian Slipper Chairs, rose pink upholstery with wrapped cord and extensive fringe, h. 28 1/2 in., w. 21 in., d. 20 in. [$500/1000] 514. Edwardian-Style Claret Silk Love Seat, incurvate form, bullion fringe, h. 31 in., w. 64 1/2 in., d. 36 in. [$500/700]

515. Rare American Renaissance Walnut and Burl Walnut Child’s Armchair, mid-19th c., h. 30 in., w. 18 in., d. 16 1/2 in. [$300/500]

516. Georgian-Style Parcel Gilt Chinoiserie Bed, baluster turned posts, arched headboard with scenic decoration, h. 93 in., l. 80 in., w. 60 in. [$1000/1500]

517. Antique French Polished Steel Rocker Frame, scrolled body, stretchered supports, spherule front stops, h. 48 in., w. 22 in., d. 38 in. [$600/800]

518. American Carved Walnut Four Post Bed, mid-to-late 19th c., pedimented headboard, turned and hexagonal faceted posts, capped paneled foot board, shaped rails, toupie feet, h. 90 in., l. 76 in., w. 57 1/2 in. [$800/1200]

518A. Pair of Neoclassical-Style Carved and Gilded Faux Marbre Pedestals, h. 31 in., w. 22 in., d. 22 in. [$600/900] Provenance: Neal Auction Company, February 2017, lot 279.

519. Renaissance-Style Carved Oak Cabinet, 19th c., molded top, two doors with applied decoration, shelf interior, conforming base, turned feet, h. 21 in., w. 19 5/8 in., d. 7 3/4 in. [$300/500]

520. Kelly Fearing (American/Texas, 1918-2011), “Recapitulations from an Earlier Theme: Songs Without Words, No. 3”, 1976, mixed media on illustration board, signed and dated lower right, label with artist, title and date on backing, 20 in. x 15 in., framed. [$1500/2500]

521. Romeo Villalva Tabuena (Filipino/Mexico, 1921-2015), “Village by the Well”, 1975, acrylic on masonite, signed and dated upper left, artist label with title and date en verso, 15 1/2 in. x 21 1/8 in., framed. [$3000/5000]

522. George Rodrigue (American/ Louisiana, 1944-2013), “I See You, You See Me”, 1993, silkscreen, signed and numbered “21/90” lower left, 16 in. x 23 in., unframed. [$1000/1500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 85.

523. Alexander John Drysdale (American/New Orleans, 1870-1934), “Live Oak and Pirogue”, oil wash on board, signed lower right, 19 1/2 in. x 30 in., framed. [$2000/3000]

524. Alexander John Drysdale (American/New Orleans, 1870-1934), “Bayou Scene with Boat”, 1931, oil wash on board, signed and dated lower left, 19 3/4 in. x 23 3/4 in., framed. [$2500/3500]

525. Mary Frances Robinson (American/Texas, b. 1943), “Wash Day”, oil on canvas, signed lower right, 8 in. x 10 in., framed. [$2000/3000] Note: Born in Chattanooga, TN and raised by her paternal grandparents in Cleveland, Mary Frances Robinson loved to visit the Cleveland Art Museum as a child, an interest that influenced the course of her life. Although she never received formal instruction in art, Robinson began painting in 1983 after her children were in school. She was greatly inspired by southern farm scenes, particularly after visits to her husband’s family in Mississippi. With an appreciation for the arts of sewing and quilting inspired by her grandmother, Robinson often features quilts prominently in her work. The lot presented here includes a colorfully patterned quilt hanging to dry while children play outside their home. This charming scene has a bright and vibrant palette that showcases Robinson’s signature painting style.

526. Alexander John Drysdale (American/New Orleans, 1870-1934), “Bayou Scene with Cypress Trees”, 1917, oil wash on academy board, signed and dated lower left, 12 in. x 17 7/8 in., framed. [$2000/3000] Additional information at www.nealauction.com

528. Karl Wolfe (American/Mississippi, 1904-1985), “Pair of Floral Still Lifes”, 2 watercolors on paper, each pencil-signed upper center, both 15 1/2 in. x 11 1/4 in., framed alike. (2 pcs.) [$1200/1800]

527. Louisiana School, 19th c., “Luminous Bayou Landscape”, oil on board, unsigned, “W.E. Seebold” label en verso, partial “W.E. Seebold” label on frame, 9 1/4 in. x 12 1/4 in., framed. [$2500/3500]

529. Antique French or Flemish Verdure Tapestry, genre scene of a courting couple amidst an estate landscape, h. 60 in., w. 70 in. [$600/900]

530. French Provincial Carved Walnut Armoire, 18th c., dentilated cornice, paneled doors carved with lozenges and roundels, shelf interior, molded base, bun feet, h. 88 1/4 in., w. 60 in., d. 27 in. [$1000/1500] Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

531. Continental School, 19th c., “The Recital”, oil on canvas, indistinctly signed lower right, 36 5/8 in. x 48 1/4 in., period frame. [$1500/2500]

532. Frederic Soulacroix (French, 1858-1933), “Cavalier”, oil on canvas, signed lower left, 25 1/2 in. x 12 1/4 in., framed. [$4000/6000]

533. Pair of Napoleonic Gilt and Polychrome Porcelain Vases, probably early 20th c., the lids with pineapple finials, painted floral reserves, h. 21 in., dia. 9 in. [$500/800] 534. Venetian Baroque-Style Painted and Parcel Gilt Pedestal, molded circular top, foliate carved caryatid standard, scrolled feet, h. 55 1/4 in., w. 19 in., d. 21 1/4 in. [$400/600]

537. Kirk Sterling Silver RepoussĂŠ Tea Service, early 20th c., S. Kirk & Son, Baltimore, comprising a teapot, covered sugar, creamer and bonbon dish, floral motif, teapot h. 10 5/8 in., total wt. 55.20 troy ozs. (4 pcs.) [$700/1000]

535. Pair of Napoleon III Gilt and Patinated Bronze Figural Candlesticks, 19th c., marble bases, h. 14 1/2 in., now mounted as lamps, overall h. 25 in. [$300/500]

536. Late Georgian Tortoiseshell Tea Caddy, c. 1825, domical lid, silver mounts, interior with 2 lidded tea compartments, brass ball feet, h. 5 7/8 in., w. 6 3/4 in., d. 3 1/2 in. [$1000/1500]

538. American Art Nouveau Sterling Silver RepoussĂŠ Oval Bowl, Wm. B. Kerr & Co., Newark, NJ, c. 1880-1927, clover motif, undulating rim, lobed body, script monogram, h. 3 1/4 in., l. 13 in., w. 9 1/4 in., wt. 18.95 troy ozs. [$300/500]

539. Pair of American Late Classical Bronze Single Light Argand Lamps, 19th c., flame finial, foliate base, h. 17 in., w. 11 in., d. 5 3/4 in. [$700/100]

541. Antique Federal-Style Pier Mirror, molded cornice mounted with spherules, eglomise floral panel, foliate columnar supports, mirror plate, block base, h. 45 1/2 in., w. 28 3/4 in. [$700/1000]

545. Pair of French Brass and Tole Two-Light Bouillotte Lamps, c. 1900, tole peinte shade, h. 22 in., w. 11 in., d. 8 in. [$600/900] Provenance: Estate of James H. Stone, New Orleans, LA.

540. Pair of French Bronze Table Lamps, bases cast with Bacchic frieze, tole shades, h. 22 1/2 in., dia. 12 1/2 in. [$500/700] Provenance: Estate of James H. Stone, New Orleans, LA.

542. American Classical Carved and Gilded Pier Mirror, c. 1825, split baluster frame with rosette blocks and foliate scroll ears, divided mirror plate, h. 43 in., w. 23 1/2 in. [$400/600]

543. Good Pair of Louis Philippe Gilt Bronze Carcel Lamps, mid-19th c., urn-form standards on stepped and shaped plinths, acanthine paw feet, etched shades, ht. 28 1/2 in., dia. 6 1/2 in. [$800/1200]

544. Neoclassical-Style Gilt Bronze and Crystal Three-Light Bouillotte Lamp, tole peinte shade mounted with anthemia, foliate scroll arms, faceted crystal standard, h. 32 1/4 in., dia.14 3/4 in. [$200/400]

548. Eight Blown Glass Finger Bowls, early 19th c., associated, tallest h. 3 1/2 in. [$300/500] 546. Large English Cut Glass Vase, diamond and star cut design, h. 14 in., dia. 9 1/4 in. [$300/500]

547. Pair of American Cut Glass Decanters, possibly Pittsburgh, wheel cut, h. 9 3/4 in., dia. 4 3/4 in. [$300/500]

Additional information at www.nealauction.com

549. Fine American Aesthetic Carved and Ebonized Pier Mirror, late 19th c., attr. to Herter Brothers, distinctive foliate upper panels, gilt incised reeded frame, original beveled mirror, h. 92 in., w. 33 1/2 in. [$1000/1500]

551. Regency Carved and Parcel Ebonized Mahogany Sideboard, early 19th c., superstructure fitted with sliding door compartments, case with four drawers, ring-turned tapered legs, toupie feet, h. 42 3/4 in., w. 74 1/2 in., d. 25 1/4 in. [$800/1200] 550. American Giltwood Mirror, mid-19th c., bolection and coved surround, beaded anthemion trim, h. 56 1/2 in., w. 35 1/2 in. [$800/1200] Provenance: The Wedding Cake House, 5809 St. Charles Ave., New Orleans.

552. American Rococo Parcel Ebonized Rosewood Armoire, mid-19th c., attr. to retailer Prudent Mallard, New Orleans, shell and foliate scrolled crest, molded canted cornice, conforming case, mirrored door, shelf interior, lower drawer, concealed plinth drawer, bracket feet, casters, h. 99 in., w. 42 1/2 in., d. 19 1/2 in. [$2000/3000] Provenance: The Wedding Cake House, 5809 St. Charles Ave., New Orleans.

553. American Rococo Carved Mahogany Mirror-Backed Dressing Chest, mid-19th c., pierced foliate scroll mirror surround, shaped marble top, conforming case, four graduated drawers, foliate scrolled base, casters, h. 79 in., w. 43 in., d. 20 3/4 in.; together with American Rococo carved mahogany turtle top center table, mid-19th c., h. 30 in., w. 34 3/4 in., d. 26 1/2 in. [$700/1000] Provenance: The Wedding Cake House, 5809 St. Charles Ave., New Orleans.

554. Pair of American Late Classical Mahogany, Cherrywood and Birdseye Maple Inlaid Chests of Drawers, c. 1835, each with an outset drawer flanked by Gothic arch panel stiles, three graduated drawers flanked by colonnettes, turned feet, h. 48 1/2 in., w. 43 5/8 in., d. 21 3/8 in. [$1200/1800]

555. French Provincial Fruitwood Armoire, late 18th/early 19th c., molded cornice, canted corners, carved frieze, paneled doors, fluted apron, shaped feet, key, h. 78 in., w. 54 1/2 in., d. 22 1/4 in. [$800/1200]

556. Pair of Italian Carved Walnut Hall Chairs, 18th c., scrolled backs centering cartouche, scrolled arms, shaped apron, block legs, h. 47 in., w. 24 in., d. 23 in. [$300/500]

557. Antique Dutch Marquetry and Mahogany Corner Table, fan-shaped lift top with flower basket, storage compartment, shaped supports, stretcher shelf, spade feet, h. 29 in., w. 22 in., d. 16 in. [$500/700]

559. Southern Federal Mahogany Plantation Desk, early 19th c., two glazed doors enclosing shelves, over paneled doors, fitted desk interior with two drawers, foldover leather writing surface, one long drawer, ring turned tapered legs, spherule feet, h. 82 1/2 in., w. 40 1/2 in., 13 1/2 in. [$700/900] Provenance: Ex-Collection of Thomas Wilmot “Twik” Klein, St. Francisville, LA.

558. Southern Hepplewhite Mahogany Nightstand, single drawer, tapered legs, h. 27 1/4 in., w. 25 1/4 in., d. 20 in. [$400/600]

561. Regency Mahogany Bedsteps, early 19th c., each tread inset with period carpet, top step with storage compartment, middle step enclosing chamberpot, blocked base, turned feet, h. 27 in., w. 19 in., d. 27 in. [$400/600]

560. American Sheraton Inlaid Mahogany Pembroke Table, early 19th c., drop-leaf top, single drawer, tapered legs, h. 296 in., w. (closed) 22 in., w. (open) 42 in., d. 33 1/4 in. [$400/600]

562. Carved, Ebonized and Parcel Gilt Partner’s Desk, shaped reeded top, with inset tooled leather panels, conforming frieze, four drawers, lion monopod legs, h. 30 1/4 in., w. 72 in., d. 42 in. [$1000/1500]

563. Bidjar Carpet, green and red ground, central medallion, 5 ft. 8 in. x 8 ft. 10 in. [$700/1000]

565. Kirman Pictorial Rug, with designs of animals, architecture, vases and florals, 9 ft. 8 in. x 13 ft. 2 in. [$1000/2000]

566. Heriz Carpet, red, dark blue and cream ground, central medallion, overall stylized design, 8 ft. 11 in. x 11 ft. 10 in. [$700/1000]

567. Oushak Carpet, light red and cream ground, overall floral design, 8 ft. 10 in. x 12 ft. 10 in. [$700/1000]

564. Oushak Carpet, sand ground, floral designs in rust and olive, 9 ft. 11 in. x 13 ft. 9 in. [$1200/1800]

568. Persian Carpet, allover floral pattern, 7 ft. 10 in. x 10 ft. 6 in. [$700/1000]

Additional information at www.nealauction.com

569. Heriz Carpet, red ground, central medallion, serrated spandrels, 8 ft. 8 in. x 12 ft. 2 in. [$700/1000]

571. Pair of English Tole Lanterns, 20th c., stamped “G. Polkey Ltd. Birmingham”, brass wick burners, adjustment knobs, h. 22 1/4 in., w. 12 1/2 in. [$250/350]

570. Heriz Carpet, central medallion, stylized design, 6 ft. 7 in. x 9 ft. 6 in. [$400/600]

572. Rare Chinese-Tibetan Embroidered Silk Thangka of Avalokiteshvara Ekadashamukha or Sahasrabhuja, Qing Dynasty (1644-1911), worked in short and long satin stitch with the central figure of the eleven-headed thousand-armed deity, 36 3/4 in. x 25 1/4 in., silk mounted, overall 62 in. x 36 3/4 in., top and bottom mounted with rods. [$3000/5000]

573. Cambodian/ Khmer Bronze Figure of a Bodhisattva, custom stand. [$1000/1500]

576. Pair of Neoclassical-Style Bronze Ewers, c. 1900, serpent handles, grotesque mask, relief of Classical figures, h. 19 in., w. 11 1/2 in., d. 6 1/2 in. [$700/900]

575. Tibetan Silvered Bronze Yabyum Group of Manjusri and Consort in Amorous Embrace, h. 4 3/8 in. [$300/400]

577. Good Antique English Gilt Bronze and Cased Glass Lamp, mid-19th c., white cut to cranberry glass baluster standard over tripartite base modeled with figures amidst an architectural scene, lotus-form shade, electrified, h. 39 1/2 in., dia. 8 in. [$700/1000]

574. Cambodian/ Khmer Bronze Figure of a Four-Armed Bodhisattva, custom stand. [$1000/1500]

578. Gilt Bronze and Opaline Glass Table Lamp, mid-19th c., cut glass font, over blue and white standard, floriform base, prism-hung, now electrified, h. 37 in., dia. 12 in. [$500/700]

579. Royal Crown Derby Cobalt and Gilt Porcelain “Majesty” Dinner Service, 20th c., marked, incl. 11 dinner plates, dia. 10 1/2 in.; 10 salad plates, dia. 8 1/2 in.; 10 bread & butter plates, dia. 6 1/4 in.; 11 soups, dia. 8 1/2 in.; 2 oval bowls, l. 10 1/4 in., w. 7 3/4 in.; covered bowl, l. 12 1/2 in., w. 8 in.; serving platter, l. 13 5/8 in., w. 10 5/8 in.; gravy boat and underplate, h. 4 in., l. 8 3/ 8 in.; covered coffee pot, h. 9 in.; covered tea pot, h. 7 1/4 in.; covered sugar, h. 3 1/2 in.; 7 cups, h. 2 5/8 in.; 8 saucers, dia. 5 3/4 in.; 4 demitasse cups, h. 2 1/4 in.; and 7 saucers, dia. 4 3/8 in. (77 pcs.) [$500/700] Provenance: Estate of James H. Stone, New Orleans, LA

580. Pair of Continental Bronze-Mounted Marble Obelisks, c. 1900, supported on tortoises, h. 17 1/4 in., w. 3 3/4 in., d. 3 3/4 in. [$400/600]

581. Pair of Antique English Mahogany Serpentine Front Knife Boxes, fitted interior, h. 14 1/4 in., w. 9 in., d. 10 3/4 in. [$600/900]

582. Regency Chinoiserie Lacquered Sewing Box, c. 1810, gilt on black ground, of rectangular form with chamfered corners, retains an interior tray with a single drawer below, original carved gilt wing paw feet, h. 6 in., w. 14 in., d. 10 in. [$200/400]

583. Durgin/Gorham “Princess Patricia” Sterling Silver Coffee Service, incl. coffee pot (h. 11 1/4 in.), covered sugar and creamer, total wt. 51.65 troy ozs. (3 pcs.) [$400/600]

584. Gorham “Princess Patricia” Sterling Silver Flatware Service, pat. 1926, incl. 11 dinner forks (l. 7 3/4 in.), 10 dinner knives (l. 9 1/2 in.), 10 luncheon forks (l. 7 1/4 in.), 12 luncheon knives (l. 8 1/2 in.), 11 salad forks, 6 cream soup spoons, 12 boullion spoons, 8 teaspoons, 12 ice teaspoons, 12 cocktail forks, 9 butter knives (fh), 6 tablespoons, serving spoon, gravy ladle, small and medium flat servers, and three piece carving set (fork l. 10 1/2 in.), total wt. (weighable) 125.25 troy ozs. (126 pcs.) [$1000/1500]

585. Gorham Sterling Silver Footed Bowl, date mark for 1905, foliate scroll decoration, molded foot, h. 5 1/4 in., dia. 8 5/8 in., wt. 23.75 troy ozs. [$500/750]

587. Group of Sanborn’s “Aztec Rose” Sterling Silver Serving Pieces, incl. oval tray, l. 21 in., gravy boat with attached undertray, l. 10 1/2 in., and 2 small lobed bowls, total wt. 78.45 troy ozs. [$800/1200]

586. American Sterling Silver Footed Center Bowl, Towle, pattern 021, h. 4 7/8 in., dia. 9 7/8 in., wt. 26.20 troy ozs. [$400/600]

589. Mexican Hammered .900 Silver Sauceboat and Attached Undertray, probably early 20th c., maker not identified, h. 3 5/8 in., l. 9 in.; together with a Mexican sterling covered butter dish, l. 7 in., total wt. 25.35 troy ozs. [$300/500] 588. Sanborn’s Hammered Sterling Silver Ice Pail, Mexico City, mid-20th c., tapered faceted form with loop handles, h. 4 3/8 in., w. 7 1/2 in., wt. 20.20 troy ozs. [$200/300]

590. Gorham “Plymouth” Pattern Sterling Silver Tea Tray, date mark for 1923, l. 4 1/2 in., w. 18 in., wt. 104.80 troy ozs. [$1500/2500]

591. Pair of Empire-Style Marble and Bronze Urns, 19th c., ram’s head handles, fluted and foliate collar, h. 18 1/4 in., w. 8 1/2 in., d. 5 1/2 in. [$700/1000]

592. Two Ellis-Barker Silverplate Oval Serving Trays, one with straight gadroon border and loop handles, “SM” mark (sterling mounts), 23 3/8 in. x 14 1/2 in.; the other with vintage border and loop handles, shell mark, 24 1/2 in. x 14 5/8 in. [$200/300]

593. Good Group of Ellis-Barker Silverplate Serving Pieces with Gadroon Borders, all with shell marks, incl. large oval meat dish, 22 1/4 in. x 17 1/8 in.; two graduated oval meat dishes, 17 3/4 in. x 13 1/2 in. and 15 7/8 in. x 12 in; circular dish, dia. 14 in.; and covered entrée dish, 11 in. x 8 in.; together with Ellis-Barker crested gadroon border circular tray, menorah mark, dia. 14 in. [$400/600] Additional information at www.nealauction.com

596. American Renaissance Carved Oak Cabinet, mid-19th c., attr. to Alexander Roux, New York upper case with elaborately carved scrolled crest, turned finials, egg and dart molded glazed doors, caryatid stiles, scalloped and beaded shelves, lower case with foliate frieze drawers, trophée relief-carved doors, stepped base, h. 104 1/2 in., w. 57 1/2 in., d. 22 1/2 in. [$2500/3500] 594. French Brass Three-Light Bouillotte Lamp, 20th c., tole peinte shade, dish base, h. 27 in., w. 13 1/2 in. [$400/600] Provenance: Estate of James H. Stone, New Orleans, LA.

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

595. Fine English Gilt Brass, Bronze and Cut Crystal Oil Lamp, mid-19th c., in the neoclassical taste, marked “Messenger’s Patent”, Corinthian columnar standard, square stepped base with paw feet, now electrified, h. 31 in., dia. 6 1/4 in. [$300/500]

Ref.: The Metropolitan Museum of Art. metmuseum.org/toah/works-of-art/1993.168. Accessed October 21, 2019.

598. Continental School, late 18th/early 19th c., “Portrait of a Lady”, oil on canvas, unsigned, 31 1/2 in. x 23 3/4 in., framed. [$600/900] 597. American Classical Carved Mahogany Pier Table, 19th c., Philadelphia, associated marble top, ripple carved banding, frieze drawer, scroll supports with paw terminals, mirrored back, shaped base, beehive feet, h. 35 in., w. 44 3/4 in., d. 17 1/4 in. [$1000/1500]

600. Napoleon III Bronze-Mounted Sienna Marble Mantel Clock, 19th c., silk-thread movement marked “HEMON A PARIS”, ram’s head and fruit garland mounts, h. 19 3/4 in., w. 10 1/4 in., d. 7 3/4 in. [$700/900]

599. British School, 19th c., “Portrait of a Girl Seated with Flowers”, oil on canvas, unsigned, 36 1/4 in. x 28 in., rosewood veneer frame. [$800/1200]

601. French Gilt Bronze and Sienna Marble Figural Cabinet Clock, c. 1900, impressed mark “E. JULIEN/ PARIS/12 RUE PASQUIER”, dial marked “E. Julien à Paris”, h. 8 in., w. 3 1/2 in., d. 3 1/2 in. [$300/500] Provenance: Oaklawn Manor, Franklin, LA; Estates of George and Mary Beth Thomson, Franklin, LA. 602. Antique French Provincial Carved Fruitwood Commode, molded top, three cartouche-paneled drawers, serpentine apron, chamfered stiles and legs, h. 35 in., w. 48 3/4 in., d. 23 3/4 in. [$800/1200] Provenance: The Estate of Caroline P. Ireland.

603. French Provincial Oak Buffet à Deux Corps, 18th c., cove-molded cornice, two raised panel doors, conforming base with two doors, spurred apron, cabriole legs, h. 97 in., w. 55 in., d. 25 in. [$800/1200] 604. American Mahogany Center Table, mid-19th c., New York, dodecagonal marble top, ogee frieze, scrolled supports, tripartite base, shaped apron, scroll feet, casters, h. 29 1/4 in., w. 36 in., d. 36 in. [$800/1200]

605. American Federal Mahogany Bowfront Chest of Drawers, early 19th c., four graduated drawers, reeded stiles, vasiform turned legs, h. 39 1/2 in., w. 42 in., d. 22 in. [$500/750]

606. Georgian-Style Mahogany and Leather Wing Chair, 20th c., acanthine-carved ball and claw cabriole legs, brass nailhead trim, h. 45 in., w. 34 in., d. 28 in. [$700/900]

607. Pair of Antique Louis XVI-Style Parquetry, Painted and Parcel Gilt Bedside Commodes, probably early 20th c., shaped marble top, single drawer over door with floral spray, reeded stiles, foliate fluted tapered feet, h. 29 3/4 in., w. 17 in., d. 14 in. [$700/1000]

609. Antique Louis XVI-Style Carved Crème Peinte Vitrine Table, early 20th c., bead molded hinged top, velvet lined interior, foliate frieze, rosette corners, molded tapered legs, shaped stretcher, peg feet, h. 29 1/2 in., w. 25 in., d. 16 in. [$400/800]

608. Antique Louis XV-Style Carved Fruitwood Invalid’s Chair, probably 18th c., shaped wingback, padded arms with ratchet mechanism, rounded seat rail, stretcher base, blocked legs, h. 52 in., w. 29 in., d. 19 in. [$400/600]

Provenance: The Estate of Caroline P. Ireland.

611. Giant Clam Shell, tridacna giga, h. 8 in., w. 21 in., d. 14 1/2 in. [$500/700]

612. Giant Clam Shell, tridacna giga, h. 7 in., w. 20 1/4 in., d. 13 1/4 in. [$300/500]

610. Rare Complete Monumental Giant Clam Shell, tridacna giga, each half h. 11 in., w. 33 in., d. 22 in., overall h. 21 in. [$4000/6000]

613. Two Italian Carved Fruitwood Armchairs, 19thc., shell centered scroll crest, pierced splat, shaped stretcher, cabriole legs, h. 41 1/4 in., w. 22 3/8 in., d. 19 in. [$500/700]

614. Pair of French Gilt Metal and Cut Crystal Sconces, c. 1920, central winged mask, foliate arms, electrified, h. 16 in., w. 11 in., d. 6 in. [$500/800] Provenance: The Estate of Caroline P. Ireland. Additional information at www.nealauction.com

615. Flexible Bracelet Set with Six Micromosaic Plaques . [$300/500] 616. Necklace of Graduated Baroque Gray Pearls, graduated from 9 to 14 mm., with 14 kt. white gold clasp. [$800/1200]

619. Tahitian Pearl Necklace, 37 graduated round cultured pearls, dark gray color with purplish overtones, 11 to 13 mm; 14 kt. white gold bead clasp; l. 18 in., AIGL report. [$1200/1800]

623. 14 kt. White Gold and Light Blue Topaz Cocktail Ring, gold unmarked but tested. [$300/500]

620. 18 kt. Yellow Gold and Black Pearl Ring, central 14.50 mm pearl, matte floral bezel, w. 1 1/8 in., d. 1 1/4 in., size 7.75. [$1200/1800]

624. Platinum, Tanzanite and Diamond Ring, central prong set octagonal step cut tanzanite, wt. 12.72 cts, 16.04 x 11.91 x 7.27 mm; bezel and shoulders with 68 prong set round brilliant cut diamonds, total wt. 1.02 cts, F-H color, SI-1 to SI-2 clarity; size 7, AIG and GIA (tanzanite) reports. [$5000/7000]

627. Pair of 14 kt. White Gold, Tanzanite and Diamond Earrings, 4 prong set pear-shaped modified brilliant cut tanzanites, total wt. approx. 8.32 cts, 8 x 5 to 12 x 8 mm; surrounded by approx. 310 round brilliant cut diamonds, total wt. approx. 5.01 cts, H-J color, I-1 to I-2 clarity; l. 1 5/8 in., AIGL report. [$3200/3800]

617. Pair of 14 kt. White Gold, Black Tahitian Pearl and Diamond Clip Earrings, set with 11-11.5 mm. pearls and 30 single cut diamonds. [$300/500]

618. 14 kt. White Gold, Black Tahitian Pearl and Diamond Cluster Ring, set with 13-13.5 mm. pearl surrounded by numerous single cut diamonds, totaling approx. 2.9 ct., I-J color, SI1-SI2 clarity. [$1800/2500]

621. 18 kt. Yellow Gold, South Sea Pearl and Diamond Pendant with 18 kt. Yellow Gold Chain, central round cultured pearl, gold color with good luster, 14.5 mm; floret surround and bail with 32 prong (rhodium accented) set round brilliant cut diamonds, total wt. 0.72 ct., F-H color, I-2 clarity; l. (incl. bail) 1 3/8 in.; chain l. 18 in., AIG report. [$1200/1800]

622. 14 kt. White Gold, Tanzanite and Diamond Cluster Ring, set with cushion cut medium blue tanzanite (approx. 5 cts.), 14 full cut diamonds and 6 small full cut diamonds in shank (approx. 1.5 cts. total diamonds). [$3000/5000]

625. 14 kt. White Gold, Tanzanite and Diamond Ring, central prong set oval modified brilliant cut tanzanite, wt. approx. 1.59 cts, 8.50 x 6.02 x 4.41 mm; tiered foliate bezel and shoulders with 38 prong set round brilliant cut diamonds, total wt. approx. 0.47 ct., I-color, SI-1 to I-1 clarity; size 7.5, GGL report. [$1000/1500]

626. Platinum, Tanzanite and Diamond Pendant with Platinum Chain, central prong set oval modified brilliant cut tanzanite, wt. 7.24 cts, 12.95 x 9.58 x 8.32 mm; bezel and bail with 10 prong set round brilliant cut diamonds, total wt. approx. 0.23 ct., F-H color, SI-1 to SI-2 clarity, h. 1 in., w. 1/2 in.; box chain, l. 18 in., AIG and GIA (tanzanite) reports. [$3000/5000]

628. Platinum, Sapphire and Diamond Ring, central prong set oval mixed cut sapphire, wt. approx. 3.14 cts, 9.28 x 6.18 x 5.50 mm; tiered bezel with 50 prong set round brilliant and baguette cut diamonds, total wt. approx. 0.80 ct., G-I color, VS-2 to SI-2 clarity; size 4.75, AIG report. [$2000/3000]

630. 18 kt. White Gold, Sapphire and Diamond Pendant with 18 kt. White Gold Chain, 2 prong set rectangular step cut sapphires, total wt. approx. 0.72 ct., 4.20 x 3.80 x 2.47 mm; openwork rectangular frame with 66 prong set round brilliant cut diamonds, total wt. approx. 0.82 ct., G-I color, I-1 to I-2 clarity; l. 1 3/8 in., w. 1/2 in.; link chain, l. 18 in., AIG report.. [$1200/1800]

629. 18 kt. White Gold and Sapphire Bangle Bracelet, set with 18 round faceted sapphires, totaling approx. 4.50 to 5.00 cts. [$1800/2400]

632. Platinum, Aquamarine and Diamond Pendant with Platinum Chain, central prong set cushion modified mixed cut aquamarine, wt. 31.45 cts, 22.29 x 16.35 x 12.27 mm; foliate bezel and bail with 78 prong and bezel set round brilliant cut diamonds, total wt. approx. 0.57 ct., D-F color, VS-1 to VS-2 clarity; l. (incl. bail) 1 7/8 in., w. 1 1/8 in.; rope chain, l. 18 in., AIG and GIA (aquamarine) report. [$5000/7000]

635. 18 kt. Yellow Gold, Sapphire and Diamond Heart Ring, central invisible set square and mixed cut sapphires, total sapphire wt. approx. 1.97 cts; bezel with numerous round faceted diamonds, total diamond wt. approx. 0.38 ct., size 6.25. [$1000/1500]

639. 14 kt. Yellow Gold, Opal and Diamond Ring, central bezel set marquise cabochon opal, wt. approx. 1.68 cts., 14.00 x 6.50 mm; bezel with 16 prong and bezel set round brilliant cut diamonds, total wt. approx. 0.24 ct., H-J color, I-1 to I-2 clarity; size 7, GLA report. [$500/700]

636. 18 kt. Yellow Gold and Lapis Lazuli Basket Pendant/Brooch, set with 4 cabochon rubies, 2 marquise cut blue sapphires and 16 small full cut diamonds (totaling approx..15 ct.), gemstones totaling approx. 1.23 ct. [$800/1200]

640. Platinum, Opal and Diamond Ring, central prong set cabochon opal, wt. approx. 3.70 cts, 11.75 x 9.50 mm; flanked by cluster of prong set round and tapering cut diamonds, total diamond wt. approx. 0.24 ct.; size 5 1/2 in.. [$500/700]

631. Platinum, Blue Spinel and Diamond Ring, central prong set oval mixed cut spinel, wt. 1.80 cts, 7.93 x 6.70 x 4.34 mm; bezel and shoulders with 46 prong set round brilliant cut diamonds, total wt. approx. 0.81 ct., F-H color, VS-2 to SI-1 clarity; size 7, AIG and GIA (spinel) reports. [$1800/2500]

633. 14 kt. Yellow Gold, Turquoise and Diamond Ring, central bezel set oval cabochon turquoise, wt. approx. 7.16 cts, 16.00 x 10.00 x 4.70 mm; split shoulders with 10 prong set round brilliant cut diamonds, total wt. approx. 0.10 ct., I-K color, I-1 to I-3 clarity; size 7, AIG report. [$500/700]

634. 18 kt. White Gold, Diamond and Sapphire Ring, snake-form body with numerous pave set round faceted diamonds and sapphires, l. 1 1/2 in., size 7. [$2000/3000]

637. Pair of 14 kt. Yellow Gold, Ruby, Sapphire and Diamond Clip Earrings, each set with 1 oval cabochon ruby, 19 small round cabochon blue sapphires and 17 small full cut diamonds. [$700/1000]

641. 14 kt. White Gold, Emerald and Diamond Flexible Link Bracelet, 17 prong set rectangular cut-cornered step cut emeralds, total wt. approx. 11.12 cts, 6 x 4 mm; surrounded by 238 prong set round brilliant cut diamonds, total wt. approx. 4.28 cts, H-J color, SI-2 to I-2 clarity; l. 6 3/4 in., AIGL report.. [$2500/3500]

638. 18 kt. Yellow and White Gold, Enamel and Diamond Peacock Ring, enamel body and tail accented with numerous round faceted diamonds; articulating tail feathers with further diamond accents, l. 1 1/2 in., size 7. [$1500/2500]

642. 14 kt. White Gold, Emerald and Diamond Flexible Link Necklace 44 prong set rectangular cut-cornered step cut emeralds, total wt. approx. 24.66 cts, 6 x 4 mm; surrounded by 528 prong set round brilliant cut diamonds, total wt. approx. 11.99 cts, H-J color, SI-2 to I-2 clarity; l. 17 1/8 in., AIGL report. [$6000/8000]

Additional information at www.nealauction.com 85 Additional information at www.nealauction.com

643. Pair of Platinum, Emerald and Diamond Earrings, 2 prong set octagonal step cut emeralds, total wt. approx. 4.12 cts, 9 x 7 mm; surrounded by 52 prong set round brilliant cut diamonds, total wt. approx. 0.37 cts, G-H color, VS-2 to SI-2 clarity, AIGL report. [$2500/3500]

645. 14 kt. Yellow Gold, Alexandrite and Diamond Ring, central prong set oval mixed cut alexandrite, wt. 1.47 cts, 6.77 x 5.45 x 4.77 mm; bezel and shoulders with 44 prong set round brilliant cut diamonds, total wt. 0.78 ct., F-H color, SI-2 to I-2 clarity; size 6, AIG with GIA (alexandrite) report. [$1200/1800]

644. Platinum, Emerald and Diamond Ring, central prong set oval mixed cut emerald, wt. 1.09 cts, 7.70 x 5.90 x 3.50 mm; tiered bezel and shoulders with 54 prong set round brilliant cut diamonds, total wt. 0.96, F-H color, SI-2 to I-2 clarity; size 7, AIGL report. [$1500/2500]

646. Art Deco Platinum Diamond and Emerald Brooch, set with 1 emerald-cut diamond, approx. 1.03 ct. (VVS2/I), 4 emerald-cut diamonds, each approx. .38 (VS1/H-I), 2 fancy step-cut diamonds, each approx. .30 ct. (S/I), 2 trapezoid step-cut diamonds, each approx. .30 ct. (SI1/I), 106 diamond melee, totaling 2.62 ct.; total diamond weight approx. 6.64 ct.; also set with 35 small step-cut emeralds (1 missing). [$8000/10000]

648. 18 kt. White Gold, Emerald and Diamond Ring, 2 brilliant step cut emeralds, each wt. approx. 2.63 cts and 2.29 cts, each approx. 10.50 x 7.90 mm; bezels and divided shoulders with numerous round faceted diamonds, total diamond wt. approx. 3.10 cts; l. 1 in., size 6; GIA (one emerald ) report. [$3000/5000]

647. 18 kt. White Gold, Emerald and Diamond Fixed Lariat-Style Necklace, 2 heart shaped modified brilliant cut emeralds, each wt. approx. 1.96 cts. and 1.41 cts., larger 8.70 x 10.67 x 3.41 mm; heart shaped surround and chain with numerous prong set round brilliant cut diamonds, total diamond wt. approx. 6.35 cts; GIA (larger emerald) report. [$4500/5500]

649. 14 kt. White Gold and PavĂŠ Diamond Knot Cluster Ring, signed â&#x20AC;&#x153;SDâ&#x20AC;?, set with numerous full cut diamonds. [$2000/3000]

652. Pair of 18 kt. White Gold and Diamond Dangle Earrings, 2 central prong set round faceted diamonds, each wt. approx. 1.01 and 1.00 cts; circular frameworks with 34 prong set round faceted diamonds; suspension hoops with 14 channel set round faceted diamonds; l. 1 1/8 in. [$2500/3500]

650. Pair of 18 kt. White Gold and Diamond Stud Earrings, 2 central prong set round brilliant cut diamonds, total wt. 2.08 cts, H-I color, I-1 clarity, 6.30 mm, AIGL report. [$2500/3500]

653. 18 kt. White Gold and Diamond Flexible Link Bracelet, foliate framework with numerous bezel and channel set round faceted diamonds, l. 7 1/4 in. [$2200/2800]

651. 18 kt. White Gold and Diamond Ring, central prong set round brilliant cut diamond, laser inscribed EGL US905749002D, wt. 1.01 cts, G color, SI-3 clarity; shoulders with 32 prong and channel set round brilliant and baguette cut diamonds, total wt. 1.79 cts, H-J color, VS-2 to S1-2 clarity; band stamped 18 kt.; size 7.25, AIG with EGL report. [$3000/5000]

654. Pair of 18 kt. White Gold and Diamond Earrings, 2 central prong set round faceted diamonds, total wt. approx. 2.04 cts; foliate surrounds with 24 round brilliant cuts diamonds, total wt. approx. 0.61 ct. [$1800/2500]

655. Pair of 18 kt. White Gold and Diamond Snowflake Earrings, numerous prong and bezel set round brilliant cut diamonds, total wt. approx. 4.50 cts; l. 1 1/2 in.. [$2000/3000]

659. 18 kt. White Gold and Diamond Tennis Necklace, over 300 prong set round brilliant cut diamonds, total wt. approx. 10.70 cts, l. 29 3/4 in.. [$5000/7000]

663. 18 kt. White Gold and Diamond Eternity Ring, fully bezel set with numerous round faceted diamonds, total wt. approx. 1.87 cts, size 6.5. [$1000/1500]

656. Pair of 18 kt. White Gold and Diamond Earrings, 2 central prong set round faceted diamonds, total wt. approx. 1.32 cts; circular surround with numerous prong set round faceted diamonds, total wt. approx. 0.22 ct. [$1500/2500]

660. 14 kt. White Gold and Diamond Pendant and 14 kt. White Gold Triple Chain, drop pendant with numerous pavĂŠ set round faceted diamonds, reverse with openwork frame, l. 1 1/8 in.; link chain, l. 24 in. [$1000/1500]

657. 18 kt. White Gold and Diamond Dangle Earrings, numerous prong and bezel set round faceted diamonds, l. 2 in.. [$1200/1800]

661. 18 kt. White Gold and Diamond Cross Pendant and 18 kt. White Gold Chain, pendant with numerous channel set baguette cut diamonds with prong set round cut diamond surround and bail, l. 2 5/8 in.; box chain, l. 17 1/2 in.. [$2000/3000]

664. 18 kt. White Gold and Diamond Eternity Ring, fully bezel set with numerous round faceted diamonds, total wt. approx. 1.82 cts, size 7. [$1000/1500]

667. 18 kt. White Gold and Diamond Bracelet, 29 prong set round faceted diamonds, total wt. approx. 10.42 cts, l. 7 in.. [$5000/7000]

658. 18 kt. White Gold and Diamond Pendant/Brooch on 18 kt. White Gold Chain, beribboned foliate framework set with numerous round brilliant cut diamonds, l. 2 in., w. 1 7/8 in.; link chain. [$1500/2500]

662. 18 kt. White Gold and Diamond Necklace, 86 prong set graduated round faceted diamonds, total wt. approx. 18.70 cts, l. 16 1/2 in.. [$15000/25000]

665. 18 kt. White and Yellow Gold and Diamond Ring, domed openwork frame with numerous bezel set round faceted diamonds, size 7.25. [$800/1200]

666. 18 kt. Rose Gold and Diamond Eternity Ring, 14 bezel set round faceted diamonds, total wt. approx. 5.32 cts, size 6.75. [$2500/3500]

668. Pair of 18 kt. Yellow Gold and Diamond Earrings, 8 bezel set round, oval and princess cut faceted diamonds with prong set round faceted diamond surrounds, total wt. approx. 5.39 cts, l. 1 in.. [$3000/5000]

Additional information at www.nealauction.com 87 Additional information at www.nealauction.com

669. 18 kt. White and Yellow Gold and White and Yellow Diamond Ring, pave-set with oval-cut and pear-cut yellow diamonds, with an approximate total wt. of 3.25 cts. and round brilliant-cut white diamonds, with an approximate total wt. of 1.0 ct., size 7 1/4, 11.8 grams total wt. [$4000/6000]

675. 18 kt. Yellow and White Gold, Topaz and Diamond Ring, central prong set rectangular cushion cut topaz, wt. approx. 7.0 cts, 13.5 x 8.5 mm; flanked by 6 channel set square faceted diamonds, total diamond wt. approx. 1.2 cts; size 5.25. [$700/900]

671. Pair of 14 kt. Yellow and White Gold, Yellow Diamond and Diamond Earrings drop pendants with 2 prong set heart cut diamonds, total wt. approx. 1.09 cts, Light Brownish Yellow color, SI-2 clarity, 5.00 x 5.20 x 3.22 mm; white diamond heart-shaped bezel, yellow diamond heart-shaped frame, white diamond solitaire support and diamond cluster post with 222 round and heart cut diamonds, total wt. approx. 2.10 cts, Light Yellow to Fancy Yellow and White color, SI-1 to I-1 clarity; overall total diamond wt. approx. 3.19 cts; l. 1 1/8 in., AIG report. [$3500/4500]

672. 18 kt. White Gold, Brown Diamond and Diamond Ring, central prong set heart brilliant cut diamond, wt. 1.08 cts, Fancy Dark Orangish Brown color, I-1 clarity, 5.98 x 6.81 x 4.13 mm; heart-shaped bezel and shoulders with 22 prong set round brilliant cut diamonds, total wt. approx. 0.84 ct., F-H color, SI-1 to I-1 clarity; size 7, AIG and GIA (center stone) reports. [$2500/3500]

673. 14 kt. Rose Gold, Morganite and Diamond Pendant with Rose Gold Chain, central prong set oval cut morganite, wt. approx. 9.93 cts, 16.38 x 13.12 mm; bezel and bail with numerous prong set round brilliant cut diamonds, total wt. approx. 0.48 ct., G-H color, SI-1 to SI-2 clarity; l. (incl bail) 1 3/16 in.; chain l. 18 in., IAS report. [$1500/2500]

674. 18 kt. White, Yellow and Rose Gold and Diamond Necklace, 138 bezel set mixed cut colored and colorless diamonds, total wt. approx. 31.21 cts; three toned link chain; l. 46 in.; GIA (one diamond) report. [$10000/15000]

676. 14 kt. White Gold, Orange Gemstone and Diamond Ring, central prong set oval faceted stone, surrounded by numerous round faceted diamonds, size 7. [$600/800]

678. Pair of 14 kt. White and Yellow Gold, Faceted Ruby and Diamond Earrings and Ring, each earring set with 1 oval faceted ruby, surrounded by small tapered baguette diamonds and full cut diamonds; ring set with 3 pear shaped rubies and 30 full cut diamonds (note posts partially removed from earrings). [$800/1200]

670. 14 kt. White Gold, Yellow Diamond and Diamond Ring, central prong set cushion modified brilliant cut diamond, wt. 0.52 ct., Fancy Deep Yellow color, SI-2 clarity, 4.82 x 4.09 x 2.72 mm; surrounded by 12 prong set round brilliant cut diamonds, total wt. approx. 0.20 ct., Yellow to Fancy Yellow color, SI-1 to I-1 clarity; bezel and shoulders with 68 prong set round and baguette cut diamonds, total wt. approx. 0.80 ct., G-J color, VS-2 to I-2 clarity; size 7, AIG and GIA (central stone). [$2000/3000]

677. Platinum, Watermelon Tourmaline and Diamond Ring, central prong set emerald cut tourmaline, wt. approx. 5.40 cts, 14.0 x 7.0 mm; split shoulders with 2 prong and numerous bezel set diamonds; size 6. [$1000/1500]

679. Art Deco-Style Platinum, Diamond and Ruby Ring, central bezel set round brilliant cut diamond, wt. approx. 0.94 ct., G color, SI-2 to I-1 clarity, 6.30 x 6.30 x 3.90 mm; framework bezel and shoulders with approx. 40 round brilliant cut diamonds, total wt. approx. 0.60 ct., G-H color, SI-2 to I-1 clarity, and 20 bezel set square cut rubies, total wt. approx. 1.41 cts; size 7, AGL report. [$2200/2600]]

680. Platinum, Ruby and Diamond Ring, central bezel set pear mixed cut ruby, wt. 1.88 cts, 9.00 x 5.50 x 4.00 mm; bezel and shoulders with 41 prong set round brilliant cut diamonds, total wt. 0.89 ct., F-H color, SI-1 to SI-2 clarity; size 7, AIG report. [$1500/2500]

681. 14 kt. Yellow Gold, Ruby and Diamond Ring, central bezel set round brilliant cut diamond, wt. approx. 0.34 ct., H color, SI-2 clarity; surrounded by 12 channel set square step cut rubies, total wt. approx. 0.48 ct., and 54 round brilliant cut diamonds, total wt. approx. 0.19 ct., J-K color, I-2 clarity; size 6.75, AIGL report. [$1000/1500]

682. 14 kt. Yellow Gold, Sapphire, Ruby, Diamond, and Emerald Ring, numerous invisible set square cut colored stones and numerous pave set diamonds, size 8.75. [$500/700]

683. 18 kt. Yellow Gold, Ruby and Diamond Ring, upper shank with numerous invisible set square and tapered cut rubies inset with bezel set diamond floral clusters, size 7. [$1000/1500]

684. 14 kt. Yellow and White Gold, Ruby, and Diamond Flower Ring, 7 prong set oval and round faceted rubies, total ruby wt. approx. 2.20 cts; leaves with diamond accents; w. 15/16 in., size 6.5. [$700/900]

685. 18 kt. Yellow Gold, Ruby and Diamond Ring, 13 marquise cut rubies, total ruby wt. approx. 2.50 cts; numerous rectangular and tapered cut diamonds, total diamond wt. approx. 1.00 ct., size 5.75. [$1000/1500]

686. 18 kt. White Gold, Onyx, Ruby, and Diamond Ring oval black onyx with applied floral decoration with central bezel set round faceted diamond, numerous invisible set rubies, and pave diamonds, l. 1 1/8 in., w. 7/8 in., size 6.75. [$800/1200]

687. Vintage Cartier “Must de Cartier” Vermeil Tank Watch, rectangular dial inscribed “Must de Cartier” over entwined Cs and “Swiss”, reverse stamped “Cartier / Paris” and “925/ Argent” with serial no., case h. 1 in., w. (excl. crown) 7/8 in., Cartier leather strap. [$400/600]

688. Cartier 18 kt. White Gold “Love” Ring, size 5.5. [$500/700]

692. Pair of Dian Malouf Sterling Silver, 14 kt. Gold and Turquoise Clip Earrings, signed; together with an unmarked pair of turquoise clip earrings. [$150/250]

689. 18 kt. Yellow Gold, Coral and Diamond Ring, central 12.5 mm red coral bead; shaped bezel and shoulders with numerous prong set round faceted diamonds; l. 1 3/8 in.; size 7.5. [$2000/3000]

693. Two Sterling Silver and Turquoise Guard Rings and Pair of Clip Earrings, all signed “DG/Santa Fe”. [$150/250]

690. 14 kt. Yellow Gold and Red Coral Saddle Ring, approx. 17.00 mm x 6.00 mm, size 6.5. [$250/350]

694. Three Dian Malouf Sterling Silver and 14 kt. Yellow Gold Clip Earrings, with associated Mexican sterling cross pendant. [$200/400]

691. Dian Malouf Sterling Silver, 14 kt. Yellow Gold, Uncut Aquamarine and Moonstone Cross Pin/Pendant, with necklace of Persian glass beads. [$300/500]

695. Dian Malouf Bone and Horn Inlaid Ring, signed, marks rubbed; together with Dian Malouf silver, gold and turquoise ring, note chip to one turquoise bead. [$300/500]

Additional information at www.nealauction.com 89 Additional information at www.nealauction.com

696. Pair of Chinese Famille Rose Porcelain Hexagonal Jardinieres, 20th c., decorated with monkeys in continuous landscapes, bases with Jiaqing marks, h. 10 1/4 in., w. 16 1/2 in., d. 14 3/4 in. [$150/250]

698. Antique Chinese Blue and White Porcelain Jar, probably 17th/18th c., Kangxi, decorated with chrysanthemum and lotus flower panels on cracked ice ground with further lotus in reserve, h. 6 1/4 in.; together with associated antique cover, overall h. 7 in. [$400/600] 697. Two Similar Chinese Famille Rose Porcelain Jars, 19th c., painted with figures riding qilins on pale green or blue grounds with double happiness symbols, h. 8 in., now mounted as lamps, h. (incl. finials) 25 1/2 in. [$400/600]

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

700. Large Chinese Kesi Panel, 19th c., woven in slit-weave technique with couched gold threads and enhanced with paint depicting a central court scene flanked by warriors battling, mounted to board, sight 17 7/8 in. x 66 3/4 in., framed. [$300/500] 699. Chinese Celadon Jade and Cloisonné Enamel Covered Box, early 20th c., cover set with circular plaque carved with prunus, chrysanthemum, peony, and pomegranate, sides with flowering branches, base impressed “CHINA”, h. 2 1/4 in., dia. 6 in. [$300/500] 701. Large and Decorative Pair of Chinese Gilt Bronze Guanyin Groups, 20th c., each modeled seated in lalitasana on a Buddhist lion or elephant wearing voluminous robes, bead necklaces and a tiara, h. 30 in., w. 24 in. [$1000/1500]

703. Chinese Partial Gilt Bronze Figure of Guanyin on a Lotus Base, modeled seated in dhyanasana with one hand raised in vitarka mudra wearing long robes, elaborate bead necklace, and crown centered by Amitabha, h. 24 in. (3 parts). [$600/800]

702. Chinese Bronze Bottle Vase on Stand, vase relief-cast with with dragons contesting the flaming pearl above waves, base with apocryphal Qianlong mark, h. 20 3/4 in., stand with 5 scrollwork brackets on circular base, overall h. 23 in. [$1000/1500]

704. Two Chinese Carved Stone Architectural Fragments, carved with the faces of horned dragons, l. 35 in. and 36 in. [$500/700]

705. Chinese Scholar’s Rock, naturalistically modeled with crags and crevices, several sunken with pebbles, h. 8 1/2 in., stand, overall h. 10 1/2 in.. [$300/500] 706. Chinese Bronze Tripod Censer, elephant mask handles, archaistic band, three elephant mask feet, h. h. 3 1/2 in., w. 5 1/2 in., d. 4 5/8 in. [$400/600]

707. Pair of Chinese Bronze and Cloisonné Enamel Buddhist Figures, each modeled seated in dhanasana on a lotus pedestal, one holding a pagoda, other with a lotus branch, h. 10 1/2 in and 11 in. [$300/500]

708. Impressive Chinese Patinated Bronze Covered Tripod Censer on Lotus Stand, coiled qilong dragon finial on pierced cloud and bat cover, sinuous qilong loop handles, compressed globular body relief-cast with bats amid cloud scrolls, qilin mask and claw feet, base with apocryphal Xuande mark, h. 23 1/4 in., w. 18 in., d. 14 1/4 in., bronze footed lotus leaf stand, overall h. 27 1/4 in. [$1500/2500]

710. Chinese Famille Verte Porcelain Brush Pot, decorated with alternating figural and bird-and-flower scenes, base with apocryphal Kangxi mark, h. 7 1/2 in., dia. 8 5/8 in. [$500/700]

709. Chinese Carved Rosewood Mirror Stand, openwork gallery carved in seven sections with dragons, rectangular case with 2 short over 1 long drawer, hoof feet, h. 33 1/2 in., w. 22 3/4 in., d. 17 1/2 in. [$600/800]

713. Chinese Blue Glazed Porcelain Covered Ritual Vessel or Dou, twisted knot knob, body molded with archaistic bands, foot with apocryphal Qianlong mark, h. 10 1/2 in. [$500/700]

711. Chinese Fahua Porcelain Vase, decorated with a continuous lotus pond scene, h. 12 in. [$600/800]

714. Chinese Partial Gilt Decorated Iron Tang-Style Horse, caparisoned figure standing foursquare, h. 21 in., w. 22 in. [$300/500]

712. Chinese Wucai Porcelain Double Gourd Vase, decorated with dragons pursuing the flaming pearl, h. 18 1/4 in. [$300/500]

715. Chinese Blue and White Porcelain Pillow, 19th/early 20th c., reserve-decorated with prunus and bamboo, h. 5 in., w. 12 in., d. 5 in. [$300/500]

716. Chinese Jun-Style Porcelain Jardiniere, lobed body with lavender-blue glazed interior and mottled purple and lavender exterior, base pierced and numbered â&#x20AC;&#x153;1â&#x20AC;?, h. 6 3/4 in., w. 9 3/4 in., d. 9 3/8 in. [$300/500]

719. Chinese Bronze Mirror, relief cast with twin fish encircling central knop amid waves, dia. 8 1/2 in. [$300/500]

720. Chinese Shoushan Soapstone Seal, top carved with a sinuous dragon grasping a flaming pearl, carved chop, h. 1 3/4 in., w. 2 3/8 in., d. 2 3/8 in. [$300/500]

717. Chinese Famille Rose Porcelain Tray, probably Republican Period (1911-1949), decorated with a scholar seated beneath pine, h. 1 1/8 in., dia. 10 1/4 in. [$200/300]

721. Chinese Brass and Boxwood Mounted Hardwood Two-Tier Carrying Box, probably zitan, humpback handle, transverse uprights with locking rod flanked by open work spandrels, front and back with applied archaistic dragons, h. 9 1/2 in., w. 13 in., d. 7 1/2 in. [$400/600]

718. Pair of Chinese Blue and White Porcelain Vases, 20th c., decorated with double happiness symbols on a peavine ground, bases with Chenghua marks and Jian Ding export wax seals, h. 16 3/4 in. [$200/300]

722. Pair of Chinese Marble Stands, relief-carved with petal tips and scrollwork, h. 19 7/8 in. [$300/500]

Additional information at www.nealauction.com

723. Burmese Embroidered Cotton Kalaga Tapestry or Wall Hanging, worked in couched gold threads with applied mirrors, 62 in. x 42 1/2 in., top and bottom mounted with wood bars for hanging. [$300/500]

724. Chinese Carved and Painted Wood Bodhisattva, modeled seated in rajalilasana on a recumbent qilin, wearing long robes, bead necklace, and five lobed headdress, h. 24 in., w. 15 1/2 in. [$300/500]

726. Asian School, 20th c., “View of Houses through Snow Laden Pine”, ink and color on paper, inscribed and sealed lower right, “Taylor Clark” New Orleans label on backing paper, 10 5/8 in. x 9 1/2 in., mounted and framed. [$150/250]

725. Japanese Embroidered Orange Silk Furisode Kimono, worked in satin stitch and couched metallic threads with multiple golden cranes flying amid vibrant multicolored fans, l. 73 in. [$200/300]

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

728. Chinese School, probably 20th c., “Flowers”, ink and color on silk, inscribed and sealed throughout, 29 7/8 in. x. 17 1/8 in., brocade mounted and framed. [$150/250]

729. Chinese School, probably 20th c., “Man Leading Horses”, decorative panel on Masonite, 65 in. x 38 1/2 in., framed. [$150/250]

727. Pair of Chinese Ancestor Portraits, late 19th/20th c., worked in ink and color on silk with a male and female of exalted civil rank, 39 1/2 in. x 25 3/4 in., silk-mounted and framed alike. (2 pcs.) [$200/300] Provenance: Estates of George and Mary Beth Thomson, Franklin, LA.

731. Chinese Cizhou-Style Pottery Jar, decorated with scrolling foliage between lappet bands, h. 15 in. [$400/600] 730. Six Continental and Asian Edged Weapons, various types, one with bone handle and scabbard, longest l. 22 in., together with brass breastplate of a costume cuirass, h. 15 1/2 in. [$600/900]

732. Antique Chinese Glazed Stoneware Storage Jar, molded with symbols for good fortune and longevity, h. 13 1/2 in., now apparently undrilled and mounted as a lamp, h. (incl. finial) 33 in. [$200/300]

734. Chinese Flourite Covered Vase Mounted as a Lamp, c. 1930s, carved with a phoenix amid foliage, h. (incl. finial) 26 in. [$150/250]

733. Chinese Famille Rose Porcelain Oval Platter, 19th c., decorated with a central scene of ladies and children in and outside an elegant pavilion, h. 2 1/8 in., w. 14 3/4 in., d. 12 1/4 in. [$150/250] Provenance: R.N. Wakefield & Company, Houston, 1997.

735. Chinese Blue and White Porcelain Covered Jar, 20th c., decorated with double happiness symbols on a peavine ground, base with Jian Ding export wax seal, h. 17 in. [$150/250] Provenance: Kent-Stone Antiques, Dallas, TX, July 1999.

736. Chinese Ming-Style Blue and White Porcelain Dragon Dish, painted with a central dragon roundel encircled by a band of three dragons, bisque base, h. 1 3/4 in., dia. 8 1/4 in. [$100/150] Provenance: Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

738. Asian Patinated Bronze Figure of a Tiger, modeled seated on its haunches with its front legs crossed, h. 5 in., w. 7 in., wood plank stand, overall h. 6 in. [$250/350] 739. Chinese Rose Quartz Covered Vessel, carved in the form of a teapot with stylized dragon finial and handles, h. 4 1/4 in., w. 6 1/4 in., stand, overall h. 5 3/8 in., storage box. Note: Spout not drilled. [$100/200]

737. Pair of Chinese Carved Hardstone Miniature Trees, multi-colored foliage and fruit supported on wrapped branches in cloisonné enamel pots, approx. h. 8 1/4 in. [$300/500] 740. Asian Patinated Bronze and Cloisonné Enamel Baluster Vase, 20th c., zoomorphic mask loop handles, h. 11 1/2 in., mounted as a lamp, h. (to socket) 18 in.; together with Chinese patinated bronze and cloisonné enamel “arrow” vase, probably early 20th c., tubular handles, taotie mask and spear head decoration, h. 12 in. [$200/400] Provenance: Windham Collection, Oxford, MS.

743. Kienen Imao (Japanese, 1845-1924), “Birds and Flowers”, six wood block prints from the Bird and Flower Albums, sight 12 3/4 in. x 9 in., matted and framed alike. [$200/400]

Provenance: The Estate of Caroline P. Ireland.

741. Collection Of Eight Decorative Items, incl. Chinese lacquered tung wood chest; Chinese provincial painted wicker basket; painted wood box; woven basket; lidded leather and wood box; three gilt and black lacquered wood nesting boxes; and cylindrical canister; h. 3 in. to 13 3/4 in. [$150/250] Provenance: Leslie Hindman, Palm Beach, Feb. 2014, Property from the Estate of Lilly Pulitzer.

744. Asian Abalone Inlaid Black Lacquer Tray Table, 20th c., waisted rectangular top with characters, shaped apron, scroll feet, h. 5 1/4 in., w. 17 3/4 in., d. 10 3/4 in. [$100/200] Provenance: Estate of US Air Force historian Oliver Lincoln “Linc” Hobson (1908-1988), Shreveport, LA.

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

745. Highly Decorative Japanese Four-Panel Screen, late 20th c., depicting a mountainous landscape with pavilion, pine and waterfall, h. 59 1/2 in., w. 95 1/2 in. [$100/200]

747. Antique Tibetan Copper and Silver Pagoda-Form Prayer Wheel or Sutra Case, roof-form cover mounted with six birds, h. 6 3/4 in., w. 6 1/4 in., d. 6 1/4 in. [$200/300]

750. Collection of Five Thai Bronze Heads of Buddha, largest with crown and tall usnisha, others with tightly curled hair and usnisha, h. 2 1/4 in. to 14 1/2 in., wood plinth bases, overall h. 3 3/4 in. to 21 in. [$500/700]

742. Asian School, 20th c., “Mountainous Landscape with Pagoda and Bridge”, ink on silk, inscribed and sealed lower right, 40 in. x 11 in., together with “Landscape with Traveler Crossing Bridge”, ink and color on silk, inscribed and sealed upper right, 33 1/4 in. x 14 5/8 in., both mounted as hanging scrolls. [$200/400]

751. Six Asian Carved Hardwood Figures of Elephants, several with bone inset tusks and toes, h. 4 in. to 17 in. [$800/1200]

746. Japanese Kimono [$300/500]

748. Pair of Chinese Porcelain Planters, on stands. [$500/700]

749. Pair of Ming Yellow Barrel Form Garden Seats. [$300/500]

752. Three Korean Iron or Brass Candlestands, each with butterfly reflective backplate, incl. iron pair, h. 36 in., and brass single, h. 27 in. [$250/350]

Provenance: Estate of James H. Stone, New Orleans, LA. Additional information at www.nealauction.com

Session Three Sunday, June 14, 11 a.m.

753. French School, 20th c., “House with Green Shutters”, 1952, watercolor on paper laid on board, signed and dated lower left, 11 5/8 in. x 17 5/8 in., framed. [$200/400] Provenance: The Estate of Caroline P. Ireland. 754. Giuseppe Uva (Italian, 1874-1937), “Still Life with Flowers”, oil on canvas, signed lower right, 26 1/2 in. x 18 1/2 in., framed. [$400/600]

756. John Clymer (British, b. 1932), “Impressionist Landscapes”, 2 oils on canvas, each signed, 8 in. x 10 in. and 10 in. x 8 in., framed. [$300/500]

757. John Gould (British, 1804-1881), “Lophornis Delattrei”, hand-colored lithograph, from Hummingbirds, sight 20 1/2 in. x 13 in., framed. [$200/300]

760. Three Continental School Portrait Miniatures of Ladies, one signed “Mangardi” lower right, one with handwritten label identifying sitter “Egedie de St. AuLaire Decazes”, 2 1/2 in. x 1 7/8 in. to 2 in. x 1 1/2 in., framed; together with enameled brass dresser box, dia. 3 in. (4 pcs.) [$300/500]

755. Continental School, 19th c., “Monk Reading” and “Monk Cooking”, 2 oils on canvas, both indistinctly signed lower right, each 20 in. x 16 in., framed alike. (2 pcs.) [$600/800] Provenance: The Estate of Caroline P. Ireland.

758. John Gould (British, 1804-1881), “Heliangelus Mayors”, hand-colored lithograph, from Hummingbirds, sight 20 1/2 in. x 13 in., framed. [$200/300]

761. Continental Patinated Metal and Cut Crystal Nine-Light Chandelier, 20th c., electrified, h. 35 in., dia. 38 in. [$1000/1500]

762. Georgian Inlaid Mahogany Pembroke Table, 19th c. and later, banded drop-leaf top, single drawer, tapered legs, caps, casters, h. 26 3/4 in., w. (closed) 19 3/4 in., w. (open) 39 in., d. 32 3/4 in. [$500/700]

Provenance: The Estate of Caroline P. Ireland.

763. Pair of Louis XVI-Style Patinated Metal and Marble Five-Light Candelabra, vasiform standard, foliate feet, h. 22 in., dia. 10 1/2 in. [$500/700]

764. Pair of English Patinated Bronze Argand Lamps, early 19th c., labeled “Messenger and Sons...London”, electrified, h. 13 3/4 in., w. 9 in., d. 5 in. [$400/600] Provenance: The Friedle-Garrison Collection, New Orleans.

759. John Gould (British, 1804-1881), “Phaiolina Rubinoides”, hand-colored lithograph, from Hummingbirds, sight 20 1/4 in. x 13 in., framed. [$200/300]

765. Vintage Steuben Glass “Snail-Scroll” Sugar Bowl and Cream Pitcher, etched marks, models #7941 and #7942, designed 1947 by Irene Benton, h. 3 1/4 in., w. 5 1/2 in. and w. 5 1/4 in. (2 pcs.) [$150/250]

766. Three Vintage Steuben Glass “Floret” Bowls, etched marks, model #8059, designed 1954 by Donald Pollard, h. 3 1/8 in. to 3 1/4 in., dia. 7 7/8 in. to 8 in. [$250/350]

Additional information at www.nealauction.com

767. Steuben Glass Tableware, etched marks, incl. Deep Flower Bowl, designed 1989 by Donald Pollard, model #8091, h. 7 3/8 in., w. 10 in., d. 8 3/8 in.; and compote with flared rim, h. 4 1/4 in., dia. 11 7/8 in. (2 pcs.) [$300/500]

768. Two Steuben Glass Figures, etched marks, incl. Beaver (Horizontal), designed 1975 by Lloyd Atkins, #8306, h. 3 7/8 in., l. 9 in.; and Owl, designed 1955 by Donald Pollard, #8065, h. 5 1/8 in. Note: Latter with small chips on base’s edge. [$400/600] Provenance: Estate of James H. Stone, New Orleans, LA.

769. Large Steuben Glass Trumpeting Elephant, etched mark, designed 1964 by James Houston, #8128, h. 9 1/4 in. [$300/500]

770. Two Steuben Glass Birds, etched marks, incl. Hollow Hen or Quail, designed 1986 by Donald Pollard, #8533, h. 5 3/4 in.; and Toucan, designed by David Dowler, #8404, h. 3 in., w. 5 1/8 in. [$200/400] Provenance: Estate of James H. Stone, New Orleans, LA.

Provenance: Estate of James H. Stone, New Orleans, LA.

771. Lalique Frosted Crystal Chrysis Motor Mascot Figure, etched marks, designed 1925, model #11809, h. 5 1/4 in., w. 6 1/2 in. [$200/300] Provenance: Estate of James H. Stone, New Orleans, LA.

772. Lalique Frosted, Clear and Colored Glass Turtle Dove on Pedestal, etched marks, h. 8 1/4 in. [$200/300]

773. Pair of Seguso Amber Glass Bowls, 20th c., attr. Carlo Scarpa, h. 4 3/8 in., dia. 8 1/2 in. [$100/150] Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art.

Provenance: Estate of James H. Stone, New Orleans, LA.

775. Pair of Crystal Ice Buckets, h. 8 3/4 in., dia. 8 3/4 in. [$150/250] Provenance: Schwitz Collection, Franklin, LA.

779. Pair of Continental Cast Stone Term Pedestals, molded plinth top, shell, scroll and foliate motifs on dimpled ground, h. 14 3/4 in., w. 16 in., d. 16 in. [$400/600]

776. Art Deco Daum Glass Vase, early 20th c., marked “Daum Nancy France”, with Croix de Lorraine, h. 8 1/8 in., dia. 11 1/2 in. [$150/250]

780. Decorative Pair of Polychromed Cast Iron Flamingos, taller h. 28 1/4 in., w. 16 in., d. 6 in., shorter h. 22 1/4 in., w. 15 in., d. 6 in. [$400/600]

774. Three Steuben Glass Birds, etched marks, incl. Wild Dove, designed 1981 by Bernard X. Wolff, #8426, h. 4 1/2 in., l. 8 1/2 in.; Shore Bird, designed 1975 by James Houston, #8303, h. 2 7/8 in., l. 9 in.; and Swan, designed by Lloyd Atkins, #8484, h. 3 1/2 in., l. 7 in. [$400/600] Provenance: Estate of James H. Stone, New Orleans, LA.

777. Vintage Steuben Glass “Snail-Scroll” Olive Dish, etched mark, model #7857, designed 1939 by John Dreves, h. 3 1/2 in., w. 5 3/4 in., d. 5 1/4 in.; together with pair Steuben glass nappies or nut bowls, etched marks, h. 1 3/4 in., w. 3 in., d. 2 5/8 in. (3 pcs.) [$150/250]

778. Painted Cast Iron Turtle Fountain, h. 8 1/4 in., l. 20 1/2 in., w. 12 in. [$600/900]

781. Nine Architectural Leaded Stained-Glass Panels, 19th c., Classical motifs, cabochon accents, largest h. 98 in., w. 41 in., smaller h. 42 in., w. 41 in. [$1000/2000]

784. “Verve” Floor Mirror, blocked reeded bolection surround, reverse painted scroll and foliate trellis design, faux silver leaf background, h. 84 in., w. 48 in. [$700/1000]

782. Bronze Figural Group of Venus and Cupid, h. 17 in., w. 5 3/4 in., d. 5 1/2 in. [$300/500]

785. Pair of American Silverplate Three-Light Sconces, early 20th c., attr. to Caldwell, shield and scroll design, electrified, h. (to candle nozzle) 20 in., w. 9 1/2 in., d. 3 in. [$700/1000]

783. Bronze Allegorical Figure of “Flora”, after John Michael Rysbrack, inscribed “Thenard EA” on tree stump, h. 17 1/2 in., w. 6 1/4 in., d. 5 in., painted wood base, overall h. 18 3/4 in. [$300/500] Provenance: Schwitz Collection, Franklin, LA.

787. Georgian-Style Mahogany Executive’s Desk, molded oval top with glass overlay, conforming case with 2 writing slides and kneehole configuration of drawers, flanked by cabinets, blocked base, h. 31in., w. 71 in., d. 40 in. [$500/700]

786. Continental Silvered Metal Bouillotte Lamp, adjustable candlearm and shade, scroll pedestal base, h. 25 in., w. 12 1/2 in., d. 11 in. [$300/500]

788. Pair of Contemporary Leather Club Chairs, square back, conforming arms, loose seat cushion, tapered block feet, h. 35 in., w. 33 1/4 in., d. 35 in. [$700/1000]

790. Hepplewhite-Style Baker Furniture Inlaid Mahogany Sideboard, shaped top, conforming case, three frieze drawers flanked by cabinets, spandrel brackets, tapered legs, casters, h. 37 in., w. 72 in., d. 25 in. [$800/1200]

792. Sixteen Faux Bamboo Ballroom Chairs, loose seat cushions, h. 35 in., w. 16 in., d. 16 in. [$400/600]

789. Neoclassical-Style Baker Brass-Mounted Marquetry, Burlwood and Parcel Ebonized Table, central architectural ruin cartouche, foliate and acorn border, blocked frieze, columnar supports, shaped stretcher shelf, lobed feet, h. 30 1/2 in., dia. 33 1/2 in. [$400/600]

791. Baker Inlaid Mahogany Double Pedestal Dining Table, banded reeded top, vasiform standards, reeded sabre legs, cuffs, casters, h. 30 in., w. 68 in., w. (with 2 leaves) 108 in., d. 46 in. [$500/700] 793. Contemporary Yellow Laminate Inset Hardwood Desk by Lee Ledbetter and Associates, shaped top, conforming case, kneehole configuration of drawers and cabinet, h. 30 1/4 in., w. 55 1/2 in., d. 30 in. [$800/1200] Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art. Additional information at www.nealauction.com

795. Pair of Faux Bois Cylinder Tables, pie segmented tops, inward stepped base, h. 18 in., dia. 22 1/8 in. [$200/300]

794. Contemporary Zebra Wood and Steel Console Table by Lee Ledbetter and Associates, New Orleans, metal capped Parsons-style wood console, h. 36 1/4 in., w. 72 1/4 in., d. 16 1/4 in. [$800/1200]

Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art.

797. Pair of Cut Velvet Slipper Chairs, 20th c., probably Kisabeth, Fort Worth, TX, square back, loose down cushion, h. 32 1/2 in., w. 24 in., d. 32 in. [$400/600] Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art.

796. Pair of Edith Norton-Style Cerused Wood End Tables, 20th c., blocked top, squared Parsons-type base, h. 22 1/2 in., w. 29 in., d. 23 in. [$500/700] Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art.

799. Pair of Modern Leather Side Chairs, shaped back, overstitch detail, pencil legs, h. 35 3/4 in., w. 17 1/2 in., d. 19 1/2 in. [$150/250] Estate of Dr. H. Russel Albright, New Orleans; Sold to benefit the New Orleans Museum of Art.

798. Eero Saarinen for Knoll Enameled Steel and Laminate Tulip Table, 20th c., labeled, circular top, tapering standard, round base, h. 20 1/2 in., dia. 16 in. [$200/300]

801. Black Lacquered Wood Side Table, 20th c., manner of Rose Tarlow, circular top, frieze drawer, serpentine legs, tripartite stretcher shelf, h. 28 3/4 in., dia. 21 3/4 in. [$100/150]

Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art.

803. Paul Frankl Rattan Pretzel Lounge Chair, six strand construction, h. 30 in., w. 34 in., d. 40 in. [$200/400]

805. Paul Frankl Rattan Coffee Table, oak top, h. 16 in., w. 30 in., d. 29 in. [$200/400]

800. Modern Chrome and Glass Pedestal Table, 20th c., beveled glass top, square tubular base, h. 37 in., w. 14 in. d. 14 in. [$200/300] Estate of Dr. H. Russel Albright, New Orleans; Sold to benefit the New Orleans Museum of Art.

802. Ultra-Suede Upholstered Queen-Size Headboard, channeled surround, brass nailhead trim, h. 50 1/2 in., w. 80 in. [$100/150] Estate of Dr. H. Russel Albright, New Orleans; Sold to benefit the New Orleans Museum of Art.

804. Contemporary Leather Lounge Chair, button tufted back, zebra skin sides, outswept tapered legs, h. 33 in., w. 30 in., d. 50 in. [$200/400]

806. Louisiana Cypress Store Counter, 19th c., three board â&#x20AC;&#x153;barge boardâ&#x20AC;? top, molded surround, four doors to each long side, plinth base, casters, h. 37 1/2 in., w. 111 in., d. 45 in. [$800/1200]

807. Cordovan Waxed Leather Sofa, channeled back, rolled arms, three cushion seat, serpentine seat rail, nailhead trim, bun feet, h. 36 in., w. 85 in., d. 37 in. [$500/700] 808. Decorative Steamer Trunk on Base, studded wood with metal strapwork, tooled decoration, three handles, blocked base, turned feet, h. 22 in., w. 33 7/8 in., d. 21 5/8 in. [$200/300]

810. Clementine Hunter (American/Louisiana, 1886-1988), “Releasing Red Bird”, oil on canvas, monogrammed lower right, 16 in. x 12 in., framed. [$1000/1500]

809. Auguste Edouart (French/Louisiana, 1789-1861), “A.W. Dunbar, Captain Isaac Jackson and Fredk. W. Lovett”, 1844, paper silhouettes on lithograph, signed, dated and inscribed “New Orleans” lower left, typed label with artist, title, date and sitters on backing, sight 11 1/2 in. x 17 in., framed with églomisé matte. [$800/1200]

811. Clementine Hunter (American/Louisiana, 1886-1988), “Joseph Leading Mary and Jesus”, oil on canvas board, monogrammed mid-right, inscribed en verso, 14 in. x 18 in., framed. [$1500/2500]

812. Althea Dodson Tanner (American/ New Orleans, 1919-2014), “Still Life of Turnips and Lemons”, 1974, oil on canvas board, signed lower left, signed, titled, dated and inscribed on backing board, 20 in. x 16 in., framed. [$500/700]

814. George Rodrigue (American/Louisiana, 1944-2013), “Wrong Century”, direct image transfer on panel, signed lower right, 24 in. x 31 in., framed. [$5000/8000]

813. Anne Wells Munger (American/ Mississippi, 1862-1945), “Bit of Esplanade Ave.”, pastel on board, signed lower left, pencil-titled and inscribed en verso, 11 in. x 8 in., framed. [$1000/2000]

815. George Rodrigue (American/ Louisiana, 1944-2013), “By the Light of the Moon: Split-font”, 1992, silkscreen, signed lower right and numbered “18/25” lower left, 33 in. x 23 in., unframed. [$1500/2500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 69.

816. George Rodrigue (American/Louisiana, 1944-2013), “Love Among the Ruins”, 1994, silkscreen, signed lower left, numbered “28/90” lower right, 20 in. x 32 in., unframed. [$700/1000] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 101.

817. George Rodrigue (American/ Louisiana, 1944-2013), “River Doctor, 1800” and “Modern Medicine, 1900”, 1985-86, 2 lithographs, both pencil-signed, inscribed “artist proof” and “The General” stamp lower margins, commissioned by Baton Rouge General Hospital, sights 16 1/4 in. x 21 in. and 21 1/4 in. x 16 in., both framed. (2 pcs.) [$600/800]

818. George Rodrigue (American/Louisiana, 1944-2013), “My White Boots (LSU Department of Design and the College of Design)”, 1991, lithograph, signed and numbered “71/500” lower margin, signed in plate, 35 in. x 23 in., framed. [$400/600] Ill.: Rodrigue, George and Wendy Wolf Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 30.

Additional information at www.nealauction.com

819. Debbie Fleming Caffery (American/Louisiana, b. 1948), “Reverend Harris”, 1994, ed. 5/25, “Travis Jasmire, Franklin, Louisiana”, 1999, ed. 2/25, 2 silver gelatin photographs, both pencil-signed, dated, titled and edition en verso, 24 in. 20 in. and 20 in. x 24 in. respectively, unframed. (2 pcs.) [$600/800]

820. Debbie Fleming Caffery (American/ Louisiana, b. 1948), “Kid, Bike and Mom”, 1995, ed. 4/25, “Brennan”, 1984, ed. 3/25, “Boy with Innertube”, 1997, ed. 8/25 and “In the Bayou, Franklin, Louisiana”, 1985, ed. 1/25, 4 silver gelatin photographs, each pencil-signed, dated, titled and edition en verso, each 24 in. x 20 in., unframed. (4 pcs.) [$500/1000]

821. Debbie Fleming Caffery (American/Louisiana, b. 1948), “Papa Red Dog”, 1997, ed. 1/25, “Couple at Club”, 1997, ed. 1/15 and “Amy, Arnaudville, Louisiana”, 1997, ed. 6/25, 3 silver gelatin photographs, each pencil-signed, dated, titled and edition en verso, sheets 24 in. x 20 in. to 20 in. x 24 in., unframed. (3 pcs.) [$500/1000] 822. Debbie Fleming Caffery (American/ Louisiana, b. 1948), “Man in Field with Light Streaks, Parks, Louisiana”, 2000, ed. 1/25, “Morning Payloader and Millworker, Patoutville, Louisiana”, 1996, ed. 2/25, 2 silver gelatin photographs, each pencil-signed, dated, titled and edition en verso, 24 in. x 20 in. and 20 in. x 24 in., unframed. (2 pcs.) [$400/600] 823. Debbie Fleming Caffery (American/Louisiana, b. 1948), “Gena”, 2005, ed. 2/10, “L”, 1999, ed. 12/25 and “Waiting”, 2005, 3 silver gelatin photographs, one pencil-signed, titled, dated and edition en verso, one pencil-signed, dated and edition en verso, one unsigned, from The Spirit & The Flesh, Radius Books, Santa Fe, 24 in. x 20 in. to 20 in. x 24 in., unframed. (3 pcs.) [$300/500]

824. Two Peter Lane (American, b. 1958) Glazed Stoneware Vases, marked “PL” in circle, overall light blue and cream glaze, h. 22 1/2 in., dia. 7 1/2 in. [$600/900] Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art.

825. Two Peter Lane (American, b. 1958) Glazed Stoneware Vases, marked “PL”, pale blue glaze, incl. cylinder-form, h. 10 1/4 in., dia. 8 1/2 in., and meiping-form, h. 13 3/4 in., dia. 6 1/2 in. [$400/600] Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art.

828. Peter Lane (b. 1958) Glazed and Gilt Stoneware “Birchbark” Tray and Vase, vase marked “PL MM”, h. 11 in., dia. 3 3/4 in.; tray h. 2 in., w. 26 1/2 in., d. 8 in., (2 pcs.) [$400/600] Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art.

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826. Two Peter Lane (American, b. 1958) Glazed Stoneware Vases, marked “PL”, larger h. 7 1/2 in., dia. 8 in. [$400/600] Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art.

827. Pair of Peter Lane (American, b. 1958) Glazed Stoneware Cylinder Vases, 20th c., marked “PL” in circle, gun-metal gray glaze, h. 15 in., dia. 7 1/2 in. [$500/700] Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art.

829. Peter Lane (American, b. 1958) Glazed Stoneware Charger, starburst motif, h. 2 1/2 in., dia. 17 in. [$400/600] Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art.

830. Peter Lane (American, b. 1958) Glazed Stoneware Footed Tray, marked “PL MM”, h. 4 1/2 in., w. 14 in., d. 15 in. [$300/500]

831. Peter Lane (American, b. 1958) Glazed Stoneware Footed Tray, reticulated, mottled grayish blue glaze, h. 3 1/2 in., w. 15 1/2 in., d. 15 in. [$300/500]

Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art.

834. Bill Binnings (American/Louisiana, 20th c.), “Mother and Child (The Seed Bearer Series)”, bronze, signed on self-base, h. 19 in., w. 16 in., d. 15 in., wood base, overall h. 21 in. [$800/1200] Provenance: Acquired from the artist, c. 1980s.

835. Bill Binnings (American/Louisiana, 20th c.), “Circle of Life (The Seed Bearer Series)”, bronze, signed and “AP” incised on self-base, edition of 10, h. 12 in. [$600/800] Provenance: Acquired from the artist, c. 1990s.

832. Peter Lane (American, b. 1958) Glazed Stoneware Planter, 20th c., round layered-brick form, h. 9 1/2 in., dia. 15 1/2 in. [$300/500]

833. Two Peter Lane (American, b. 1958) Glazed Stoneware Cylinder Vases, marked “PL” in circle, pale blue glaze, larger 13 1/2 in., dia. 11 in. [$300/500]

Provenance: Estate of Dr. H. Russell Albright, New Orleans; Sold to Benefit the New Orleans Museum of Art.

836. Peter Falk (American/California, 1927-2011), “Girl in a Blue Blouse”, lithograph on paper, pencil-signed lower right, numbered “83/300” lower left, handwritten label with artist, title and edition number on backing, 28 in. x 20 in., framed. [$800/1200]

837. Alexander Calder (American, 1898-1976), “Le Chevalier”, 1968, lithograph on paper, pencil-signed lower right, inscribed “57/90” lower left, 35 3/8 in. x 24 5/8 in., framed. [$600/800]

838. Alexander Calder (American, 1898-1976), “Spiral”, lithograph on paper, pencil-signed lower right, inscribed “E.A.” lower left, sight 25 3/8 in. x 19 7/16 in., framed. [$500/700]

839. Victor Vasarely (Hungarian/French, 1906-1997), “Geometric Composition”, lithograph on paper, pencil-signed and numbered “98/150” lower margin, sight 24 3/4 in. x 24 1/4 in., framed. [$400/600]

841. Frederick J. Brown (American/Georgia, 1945-2012), “Oscar Peterson”, 2005, serigraph on paper, signed, dated and numbered “5/5 P/P” mid-right, 30 in. x 43 in., unframed. [$300/500]

840. Alexander Calder (American, 1898-1976), “Le Petite Pyramids”, lithograph on paper, pencil-signed and inscribed “E.A.” lower margin, sheet 18 3/4 in. x 12 3/4 in., framed. [$400/600]

842. Fred Trenchard (American/ New Orleans, b. 1941), “Distressed Man”, 1969, mixed media on board, pencil-signed, titled and dated lower right, “Galerie Simonne Stern, New Orleans, LA” label with artist, title and date on backing, sight 27 7/8 in. x 21 1/2 in., framed. [$400/600] Additional information at www.nealauction.com

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843. Laura Bodebender (American/New Orleans, 1900-1991), “Seated Nude with Beads in an Interior”, 1933, oil on panel, signed and dated upper right, 29 in. x 24 1/4 in., framed. [$1200/1800] Note: New Orleans artist Laura Bodebender studied at the University of Chicago and the Art Students League in New York before spending six years painting in Italy. In the painting offered here, possibly a self-portrait, Bodebender utilizes a muted palette, distinctive stylized figural elements and an intriguing interior setting to enhance the classical subject of a female nude figure with a sense of modernity. The painting decorating the wall in the background includes Bodebender’s signature as perhaps another hint that this work is indeed a self-portrait. Bodebender was well-known during her lifetime and exhibited widely throughout the South. The Art Association of New Orleans hosted a oneperson exhibition of Bodebender’s paintings at the Delgado Museum of Art in 1936, which traveled to the Montgomery Museum of Fine Arts the following year.

845. Robert Malcolm Rucker (American/Louisiana, 1932-2001), “French Quarter Street Scene”, oil on canvas, signed lower right, 16 1/8 in. x 20 1/8 in., framed. [$1500/2500]

847. Ellsworth Woodward (American/Louisiana, 1861-1939), “The Burrows, Appledore”, oil on canvas, signed lower left, signed and titled en verso, 11 3/4 in. x 21 1/4 in., framed. [$1500/2500]

848. William Dunlap (American/ Mississippi, b. 1944), “Iris”, mixed media on paper, signed lower right, titled lower left, 29 1/2 in. x 20 in., framed. [$800/1200]

844. Alberta Kinsey (American/New Orleans, 1875-1952), “New Orleans Courtyard with Staircase and Figures”, oil on canvas board, signed lower left, 14 7/8 in. x 19 in., framed. [$1200/1800]

846. Colette Pope Heldner (American/Louisiana, 1902-1990), “St. Peter & Royal Streets, French Quarter, Old New Orleans”, oil on canvas, signed lower left, signed and titled en verso, 16 in. x 20 in., framed. [$800/1200]

849. Karl Wolfe (American/Mississippi, 1904-1985), “Still Life of Zinnias”, oil on canvas, signed lower center, 18 in. x 24 in., framed. [$800/1200]

851. Carroll Cloar (American/Arkansas, 1913-1993), “Luella and the Baby”, pencil on paper, signed lower right, titled lower left, 31 3/4 in. x 23 in., framed. [$1000/1500]

850. Marie Atkinson Hull (American/Mississippi, 1890-1980), “Cabin”, watercolor on paper, signed lower right, 12 in. x 14 7/8 in., framed. [$1200/1800]

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Note: Best known for his haunting drawings, paintings and prints of the American South, Carroll Cloar was born in Earle, Arkansas and studied at the Memphis Academy of Art before moving to New York. While at first planning to become a comic strip illustrator, Cloar quickly became more interested in painting and lithography after studying under Harry Sternberg and Ernest Fiene at the Art Students League. His style combined realism and naïveté with people and places from his childhood memories in the Delta, perfectly illustrated by the drawing offered here. Based on observations, dreams, American folklore and old family albums, Cloar’s works balance a tone between the regionalism of Grant Wood and the whimsy of Henri Rousseau, and he evolved during his career to become one of Arkansas’ most renowned artists.

853. William Dunlap (American/ Mississippi, b. 1944), “Untitled: Equestrian and Dog”, mixed media on paper, pencil-signed lower right, 10 1/4 in. x 10 1/4 in., framed. [$600/800]

852. Tommy Goodman (American/Mississippi, 20th c.), “Evening Heat”, 2010, oil on panel, signed and dated upper right, titled on backing paper, 19 1/2 in. x 29 1/2 in., framed. [$1200/1800] 854. Maggie Dunlap (American/New York, b. 1996), “Swing Shift”, “Demona”, “Funeral for a Marionette” and “Untitled”, 4 inks on paper, each signed lower right, 3 titled and 3 with labels with artist and title on backing, 8 in. x 10 1/4 in. to 10 1/4 in. x 8 in.; AND “Green with Envy”, hand-colored lithograph on paper, pencil-signed, titled and inscribed “A/P” lower margin, signed, titled and label with artist on backing, 10 1/2 in. x 8 in., framed alike. (5 pcs.) [$600/800]

855. Cornelia Earle (American/South Carolina, b. 1863), “Beach with Boat and Distant Dock” and “Sand Dunes along the Beach”, 2 oils on canvas board, signed lower left and right respectively, 9 in. x 10 1/2 in. and 9 in. x 11 in., framed. (2 pcs.) [$800/1200]

857. Paul Stotts (Canadian/Tennessee, 1872-1944), “Cotton to the Door”, 1932 and “King Cotton”, 1932, 2 oils on board, each signed and dated lower right, each titled and “Mid-South Fair, Memphis” entry tags en verso, former signed, dated and artist stamp en verso, both 9 in. x 12 in., framed alike. (2 pcs.) [$1200/1800]

856. Rita Halbrook (American/Mississippi, 1930-2016), “Redhead in Hat”, oil on canvas, signed lower right, 24 in. x 24 in., framed. [$400/600]

858. Ernest Posey (American/New Orleans, 1937-2007), “Untitled”, 1965, acrylic on canvas, initialed and inscribed “119-65” lower left, signed on stretcher, 48 in. x 48 in., unframed. [$1200/1800]

860. Alexander John Drysdale (American/New Orleans, 1870-1934), “Bayou Scene with Live Oak and Cypress”, oil wash on board, signed lower right, 6 1/2 in. x 19 1/4 in., framed. [$1200/1800]

859. Alexander John Drysdale (American/New Orleans, 1870-1934), “Bayou Scene with Live Oak”, 1912, oil on board, signed and dated lower left, 11 1/2 in. x 18 in., framed. [$1500/2500]

861. Bernice Sims (American/ Alabama, 1926-2014), “Barnyard (Baptism)”, oil on canvas, signed lower right, “Clark Gallery, Lincoln, MA” label with artist and title en verso, 20 in. x 30 in., framed. [$800/1200] Provenance: Clark Gallery, Lincoln, MA.

Additional information at www.nealauction.com

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864. Marie Fernande Alaux (Belgian, 1883-1958, active New Orleans, 1908-1949), “Port Scene with Windmills and Boats”, oil on canvas, signed lower right, 14 in. x 11 in., framed. [$500/700]

863. Karl Wolfe (American/ Mississippi, 1904-1985), “Getting Late”, watercolor on paper, pencil-signed lower right, pencil-titled en verso, 16 in. x 20 in., unframed. [$500/700] 862. Antique Louis XVI-Style Inlaid and Bronze-Mounted Mahogany Guéridon, inset marble top, banded edge, frieze drawer, tapered legs, caps, h. 28 1/2 in., dia. 21 3/4 in. [$400/600] Provenance: Schwitz Collection, Franklin, LA.

865. Marie Fernande Alaux (Belgian, 1883-1958, active New Orleans, 1908-1949), “Woman with a Bundle”, oil on canvas, signed lower right, 14 in. x 11 in., framed. [$500/700]

866. Robert Malcolm Rucker (American/Louisiana, 1932-2001), “Courtyard Scenes”, 2 watercolors on board, both signed lower right, each 14 5/8 in. x 5 1/2 in., both framed without glass. (2 pcs.) [$400/600]

867. Adolph Kronengold (American/New Orleans, 1900-1986), “Victor’s Café Chartres and Toulouse, New Orleans”, 1959, watercolor on paper, signed lower right, handwritten label from previous framing with artist, title and date possibly in artist’s hand, 22 1/8 in. x 14 3/4 in., framed. [$400/600]

870. Mary Anne Sanders Ross (American/ Mississippi, 1930-2011), “Grids”, mixed media on paper, signed lower right, 14 in. x 11 in., framed. [$400/600]

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868. Kit Whitsett Fields (American/Mississippi, b. 1951), “Streetscape”, watercolor on paper, signed and inscribed lower left, 7 1/4 in. x 9 in., framed. [$500/700]

871. William C. “Billy” Ford, Jr. (American/Mississippi, 1934-1995), “Conversation with a Kid”, watercolor on paper, signed lower right, signed and titled on backing, 6 in. x 9 in., framed. [$300/500]

869. Linda Burgess (American/Mississippi, 20th c.), “Silent Suite”, oil on paper, signed lower right, artist and title inscribed on backing paper, 12 1/4 in. x 16 1/4 in., framed. [$300/500]

872. Mederic Matherne (American/New Orleans, 1902-1993), “Camille”, oil on canvas, signed lower right, 22 in. x 28 in., framed. [$500/700] Provenance: Descended in the family of the artist.

873A. Pair of Vintage Steuben Glass “Sheared Rim” Vases, etched marks, #8083, designed 1957 by George Thompson, h. 10 in. and 10 1/8 in. [$200/300]

873. Mederic Matherne (American/New Orleans, 1902-1993), “Halloween Queen”, oil on canvas, signed lower left, label with title en verso, pencil-titled on stretcher, 20 1/2 in. x 26 in., framed. [$400/600] Provenance: Descended in the family of the artist.

873E. Vintage Steuben Glass “Bouquet” Vase and “Talisman” Bowl, etched marks, first #8020 designed 1951 by George Thompson, h. 4 7/8 in., dia. 6 3/4 in.; second #8061, h. 3 3/4 in., dia. 7 in. (2 pcs.) [$150/250]

873D. Lotton Art Glass Teardrop Paperweight, signed and dated “Charles Lotton, 1988”, h. 3 3/4 in., w. 4 1/4 in., d. 3 in. [$200/300]

873B. Pair of Vintage Steuben Glass “Spiral” Bowls, etched marks, #8060, designed 1954 by Donald Pollard, h. 3 1/2 and 3 5/8 in., dia. 7 1/4 and 7 in. [$200/300]

873C. Pair of Vintage Steuben Glass “Floret” Bowls, etched marks, #8059, designed 1954 by Donald Pollard, h. 3 3/8 in., dia. 7 1/2 in. and h. 3 1/4 in., dia. 8 in. [$200/300]

874. Clarence Millet (American/New Orleans, 1897-1959), “Autumn Landscape with Rolling Hills”, oil on canvas board, signed lower left, 14 in. x 20 in., original frame. [$1500/2500]

876. Nestor Frugé (American/ Louisiana, 1914-2011), “Cabin on the Bayou” and “Bayou Cabin and Shrimp Boat”, 2 watercolors on paper, signed lower left and right respectively, 11 in. x 15 in. and 10 1/2 in. x 14 1/2 in., one matted, both unframed. (2 pcs.) [$400/600]

875. Robert Malcolm Rucker (American/ Louisiana, 1932-2001), “Steamboat on the River”, watercolor on paper, signed lower right, 11 1/16 in. x 14 15/16 in., framed. [$300/500] Provenance: Evangeline Galleries, Inc., Lafayette, LA, 1976.

877. Morris Henry Hobbs (American/New Orleans, 1892-1967), “Old New Orleans Barber Shop”, 1945, watercolor on paper, signed and dated lower right, titled lower left, artist stamp en verso, 15 3/4 in. x 11 3/4 in., matted. [$700/1000] Provenance: Descended in the family of the artist.

879. American Classical Carved Mahogany Furniture Elements, 19th c., mounted on velvet covered panel, h. 26 in., w. 25 in. [$200/400]

878. Morris Henry Hobbs (American/New Orleans, 1892-1967), “New Orleans (Patio)”, 1943, watercolor on paper, signed, dated and titled lower right, 13 13/16 in. x 10 1/8 in., matted. [$400/600] Provenance: Descended in the family of the artist.

880. Aubrey Simpson (American, 20th c.), “Old New Orleans (Fanciful New Orleans View)”, oil on masonite, signed lower right, label with artist and title en verso, 20 3/4 in. x 26 3/4 in., framed. [$600/800]

Additional information at www.nealauction.com

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881. Marshall D. Smith (American/New Orleans, 1874-1973), “New Orleans Courtyard”, oil on canvas, signed lower left, signed and titled en verso, “Chicago Galleries Association” label with artist and title on stretcher, 30 in. x 36 in., framed. [$700/1000]

882. Emmitt Thames (American/ Mississippi, b. 1933), “Potato Sacks”, 1981, watercolor on paper, signed lower left, titled, dated and 2 artist stamps en verso, 22 1/4 in. x 14 7/8 in., framed. [$600/800]

883. Emmitt Thames (American/Mississippi, b. 1933), “The Watchers Chair”, 1980, watercolor on paper, signed lower right, signed, titled, dated and inscribed “1183” en verso, 22 1/4 in. x 30 in., framed. [$700/1000]

885. Louisiana School, early 20th c., “French Market at Dumaine and Decatur Sts.”, watercolor on board, pencil-signed “L. McDonald” and titled en verso, 15 in. x 20 in., unframed. [$400/600]

886. Auseklis Ozols (Latvian/ New Orleans, b. 1941), “Self Portrait”, 1994, oil on canvas, signed, dated and inscribed lower left, 14 in. x 11 in., unframed. [$600/800]

884. Emmitt Thames (American/ Mississippi, b. 1933), “Wind Break”, 1973, watercolor on paper, signed and dated lower left, signed, titled and dated en verso, 30 in. x 22 in., framed. [$700/1000] 887. Roderick Dempster MacKenzie (British/Alabama, 1865-1941), “Portrait of a Man”, 1900, oil on canvas, signed and dated lower left, 17 3/4 in. x 15 in., framed. [$700/1000]

888. Louisiana School, 20th c., “French Quarter Scene”, pastel on paper, monogrammed lower right, 14 3/4 in. x 10 3/4 in., framed. [$300/500]

889. Michelle Valborg Kondos (American/New Orleans, 20th c.), “Standing Nude”, 1995, oil on canvas, signed and dated lower left, 24 in. x 12 in., framed. [$300/500] Provenance: The Estate of Caroline P. Ireland. 890. Vera Reinicke (American/Louisiana, 1908-1969), “Swamp Scene with Egrets”, oil on four-panel wood screen, signed lower right, overall 80 in. x 81 in. [$800/1200]

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891. Albumen Photograph of the Steamboat Frank Pargoud, 13 1/4 in. x 17 in., framed; together with an albumen photograph of, “Tow of the Steamer Oakland from Louisville to New Orleans” print, 12 1/2 in. x 15 5/8 in., framed. (2 pcs.) [$300/500] Provenance: Estate of Noted Antiquarian James D. “Don” Didier.

893. American Classical Carved Mahogany Center Table, early 19th c., likely Baltimore, round top, figured frieze, turned standard, reeded sabre legs, paw cuffs, casters, h. 30 in., dia. 47 1/2 in. [$800/1200]

892. American Rococo Carved Mahogany and Rosewood Half Tester Bed, mid-19th c., attr. to retailer Prudent Mallard, New Orleans, foliate crest centering a â&#x20AC;&#x153;Lansdowneâ&#x20AC;? floral urn, shaped half tester with egg and dart surround, stylized Ionic capitals, cluster columns, headboard with pierced foliate scroll crest, conforming foot posts with mosquito bars, shaped side rails with shell medallions, stepped shaped feet, h. 128 in., l. 79 in., w. 62 in. [$8000/12000]

895. American Rococo Carved Rosewood Work Table, mid-19th c., New York, cove-molded lift top with inset mirror and fitted interior, 2 drawers, cabochon and foliate-carved cabriole legs, scrolled feet, h. 31 in., w. 24 1/2 in., d. 19 3/4 in. [$400/600]

894. American Gothic Revival Carved Mahogany Partners Desk, molded top, inset writing surface (lacking), scroll and foliate frieze, spandrel opening flanked by banks of four drawers, pilaster stiles, Gothicized side panels, bun feet, h. 30 1/2 in., w. 60 in., d. 42 in. [$800/1200]

896. American Renaissance Carved Walnut Server, late 19th c., superstructure with arched crest and bracketed shelf over marble top, two frieze drawers, paneled cabochon cabinet doors, plinth base, h. 79 in., w. 46 1/2 in., d. 20 1/2 in. [$500/700]

897. American Classical Carved Mahogany Pier Table, 19th c., Philadelphia, white marble top, coved frieze with blind drawer, foliate carved scroll supports, mirror back, shaped plinth base, paw feet, h. 32 3/4 in., w. 34 1/4 in., d. 17 1/4 in. [$800/1200]

898. American Rococo Parcel Ebonized Rosewood Bedstead, mid-19th c., attr. to retailer Prudent Mallard, New Orleans, cluster column head posts with lobed urn finials, pierced foliate and fruit scrolled crest rail, conforming foot posts, shell, cabochon and S scroll rails, together with period appropriate half tester, possibly original, casters, h. 82 in., l. 79 1/4 in., w. 55 in. [$3000/5000] Provenance: The Wedding Cake House, 5809 St. Charles Ave., New Orleans.

899. Two Antique English Carved Mahogany and Leather Armchairs, mid-19th c., barrel backs with button tufted seat and back, nailhead trim, larger h. 33 in., w. 28 in., d. 27 in., smaller h. 29 in., w. 29 in., d. 25 in. [$300/500]

900. English Aesthetic Gilded and Ebonized Side Chair, incised curved stiles, double beaded seat rail, blocked and turned incised stretchers and legs, chrysanthemum motif silk upholstery, h. 31 1/2 in.,w. 16 1/2 in., d. 16 in. [$500/700] 901. Regency Carved Mahogany Pedestal Sideboard, early 19th c., pedimented backsplash, molded top, central blind drawer, foliate and scroll decorated cabinets, block base, h. 52 in., w. 93 in., d. 31 in. [$700/1000]

902. Antique English Mahogany and Needlepoint Firescreen, framed pictorial needlepoint, barley-twist surround, arched trestle legs, h. 52 in., w. 36 in., d. 13 1/2 in. [$100/200] Additional information at www.nealauction.com

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903. Antique American Sterling Silver Flatware Service for Six, Alvin “Bridal Rose” pattern, introduced 1903, including 6 dinner forks, 6 dinner knives, 6 salad forks, 6 cocktail forks, 6 soup spoons, 6 teaspoons, 6 (fh) butter spreaders, a cold meat fork and a sauce ladle, (44 pcs.), wt. (weighable) 47.30 troy ozs. [$1000/1500] 904. Gorham “Chantilly Duchess” Sterling Silver Coffee and Tea Service, date marks for 1956 and 1957, incl. coffee pot, h. 10 7/8 in., teapot, covered sugar, creamer and waste bowl, total wt. 88.55 troy ozs.. [$800/1200]

906. Kentucky Coin Silver Repousse Water Pitcher, S.S. Cutler & Co., Lexington, c. 1850, marked “S.S. CUTLER & CO” in rectangle, and “LEX. KY” in rectangle, baluster form with scroll handle, grape and grape leaf decoration and applied die-rolled foot rim, engraved 1854 presentation, h. 10 1/2 in., wt. 17.35 troy ozs. [$500/700]

905. Lunt “Monticello” Pattern Sterling Silver Flatware Service, pat. 1908, incl. 12 each: forks (l. 7 1/8 in.), knives (l. 8 1/2 in.), and salad forks; 16 teaspoons, 8 butter knives (fh), 3 tablespoons, master butter knife, cheese knife (hh), olive spoon and sugar spoon; total wt. (weighable) 47.30 troy ozs., in a Gorham leatherette fitted storage case. (67 pcs.) [$700/1000]

907. American Coin Silver Repousse Water Pitcher, Henry Haddock, Boston, act. 1838-1868, marked “H. HADDOCK.” in rectangle, over “BOSTON” in rectangle over “coin” incuse, lotus blossom and leaf decoration, beaded borders, scroll decoration, h. 11 in., wt. 20.45 troy ozs. [$500/700]

908. American Coin Silver Soup Ladle, William Bartram, Philadelphia, c. 1769, l. 13 in., wt. 5.85 troy ozs. [$300/500] 909. Gorham Coin Silver Repousse Water Pitcher, 1855-1860, vasiform with grape and grapeleaf repousse, scroll handle and molded foot, h. 11 3/8 in., wt. 22.15 troy ozs. [$500/700]

911. Group of Four American Sterling Silver Bowls, incl. Gorham “Chantilly Duchess” bonbon, Gorham pattern 816 bonbon, Whiting floral bonbon and Wallace bowl, dia. 8 7/8 in., total wt. 13.25 troy ozs. [$250/350]

910. Good Group of American Coin and Sterling Silver Forks, 19th c., incl. 12 James Monroe Badger “Oval Thread” coin dinner forks, act. Brooklyn, NY, 1840-1874, l. 7 5/8 in.; 8 William Gale & Son “Mayflower” dinner forks, NY, 1852, l. 8 in.; and 8 Gorham “Chrysanthemum” sterling dinner forks, pat. 1885, l. 7 1/2 in.; total wt. 52.55 troy ozs. [$700/1000]

912. Three Mexican Sterling Silver Lobed Bowls, Sanborn’s, Mexico City, incl. one h. 1 3/4 in., dia. 6 1/8 in.; and two with handles and pedestal foot, each h. 1 5/8 in., w. 5 1/4 in.; total wt. 15.70 troy ozs. [$250/350]

913. American Sterling Silver Footed Vase, molded scroll decoration, h. 10 3/8 in., wt. 28.55 troy ozs. [$300/500]

914. American Coin Silver Sugar and Creamer, Bigelow Brothers & Kennard, Boston, act. 1847-1867, marked “BIGELOW, BRO’s & KENNARD” in rectangle, “Pure Silver Coin” in rectangle and “BOSTON” in rectangle, paneled pyriform bodies with flat chased decoration, scroll handles and feet, sugar h. 7 7/8 in., total wt. 33.15 troy ozs. [$400/600]

915. Group of American Victorian Sterling Silver Serving Pieces, various makers and patterns, incl. a cracker scoop, Blackinton, “Daisy” pattern, pat. c. 1904; a berry spoon, Reed & Barton “La Parisienne” pattern, 1902; a berry spoon, Gorham “Marguerite” pattern, pat. 1901; 2 tablespoons, Gorham “Lancaster” pattern, introduced 1897; a tablespoon, Gorham/Durgin “Dauphine” pattern, pat. 1897; a tablespoon, Towle “Georgian” pattern, pat. 1898; a pierced tablespoon, Gorham “Buttercup” pattern, pat. 1900; a pierced tablespoon International “Wild Rose” pattern; a tablespoon, floral design, mark rubbed; a carving set, scroll design, comprised of a large knife and fork, a small knife and fork, and a sharpening steel, (17 pcs.), total weight (weighable) 29 troy ozs. [$300/500]

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916. American Art Nouveau Sterling Silver Repoussé Bowl, William B. Kerr & Co., Newark, NJ, c. 1880-1927, poppy motif, undulating rim, lobed body, script monogram, h. 2 3/8 in., l. 9 1/2 in., w. 7 5/8 in., wt. 7.85 troy ozs. [$150/250

917. American Victorian Sterling Silver Reticulated Bread Tray, Towle, Newburyport, MA, molded serpentine rim, script monogram, h. 2 3/8 in., l. 10 1/2 in., w. 7 7/8 in., wt. 10.25 troy ozs. [$150/250]

918. Group of Antique American Sterling Silver Serving Pieces, incl. a dressing spoon, Wallace “King’s” pattern, ret. Bailey, Banks & Biddle; a tablespoon, Shiebler “King’s” pattern, ret. Tiffany & Co.; a tablespoon, Whiting “Imperial Queen” pattern; 3 tablespoons, Frank Smith “Newport Shell” pattern; a tablespoon, Dominick & Haff “Charles II” pattern; and a jelly knife, Alvin “Wellington” pattern, total wt. 17 troy ozs. (8 pcs.) [$200/400]

919. American Sterling Silver Punch Ladle, International “Litchfield” pattern, introduced 1898; together with a “Fairfax” pattern carving knife and fork, ladle l. 13 1/2 in., wt. 5 troy ozs. [$150/250]

921. Wilcox & Eversten “Cleota” Pattern Sterling Silver Partial Flatware Service, pat. 1904, incl. 6 dinner forks, 12 dinner knives, 12 luncheon forks, 4 tablespoons, 4 dessert spoons, 4 teaspoons, gravy ladle, sugar shell and master butter knife, total wt. (weighable) 50.80 troy ozs. (45 pcs.) [$500/750] 920. Gorham “Lansdowne” Pattern Sterling Silver Partial Flatware Service, pat. 1917, designed by Barton P Jenks, incl. 4 dinner forks, 11 dinner knives, 6 cream soup spoons, 1 salad fork, 9 cocktail forks, 2 teaspoons, 5 ice teaspoons, 8 butter knives (fh), 3 tablespoons, cold meat fork, gravy ladle, 2 sauce ladles and sugar shell, total wt. (weighable) 45.65 troy ozs. (53 pcs.) [$600/900]

Provenance: Estate of James H. Stone, New Orleans, LA.

922. Group of Antique Continental Silver Serving Pieces, incl. a dressing spoon with bright work; a Swedish .830 silver tablespoon, G. Dahlgren; and a German .800 silver nut spoon, Schlesinger, with hoof handle; l. 16 in., 8 5/8 in., and 7 3/4 in. respectively; combined wt. 11 troy ozs. [$150/250]

923. Group of Antique and Vintage Continental and American Silver Spoons, incl. Danish serving spoon, 1890, assayed by Simon Groth, l. 10 ¼ in.; Danish serving spoon, 1923, assayed by Christian F. Heine, l. 11 3/8 in.; Georg Jensen “Blossom” (pattern 84) serving spoon, designed 1919, l. 6 7/8 in.; American Renaissance coin silver punch ladle, l. 12 3/4 in., John Polhamus sterling berry spoon ret. Tiffany, and serving spoon cast from Art Nouveau example (test), total wt. 12.95 troy ozs. [$150/250]

924. Group of Three Sterling Silver Bread Trays, 20th c., incl. Wallace, Webster and Mexican Maciel examples, l. 12 1/2 in. to 13 7/8 in., total wt. 40 troy ozs. [$400/600] Provenance: Schwitz Collection, Franklin, LA.

926. Group of American Sterling Silver Table Objects, 20th c., incl. pair of Wallace candlesticks, pattern 2450, weighted, h. 9 3/8 in., Rogers “Springtime” footed bowl, weighted, h. 3 1/4 in., dia. 5 1/8 in.; 3 bonbon dishes by Bailey, Banks & Biddle, Birks and Wallace, each approx. 6 in.; pair of salt and peppers by Towle, h. 4 3/8 in.; and 3 cordials by Gorham, h. 2 7/8 in.; 11 pcs., total wt. (weighable) 14.75 troy ozs. [$250/350] Provenance: Schwitz Collection, Franklin, LA. 925. Group of Small American Sterling Silver Cases, early 20th c., incl. cigar case, cigarette case, hip flask, coin purse, compact, and three card cases, total wt. 21.40 troy ozs. [$200/400]

927. Pair of French-Style Gilt Bronze and Cut Crystal Candlesticks, h. 10 1/4 in., dia. 4 1/2 in. [$250/350]

928. Pair of Continental Patinated Bronze Figural Tazzas, 20th c., rouge marble base, h. 10 3/4 in., w. 3 3/4 in., d. 3 3/4 in. [$300/500]

929. Pair of Gilt and Patinated Bronze Figural Candlesticks, early 20th c., marble bases, h. 12 1/2 in., w. 2 3/4 in., d. 2 3/4 in. [$300/500] Provenance: Schwitz Collection, Franklin, LA.

Additional information at www.nealauction.com

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930. Pair of GeorgianStyle Silverplate Wine Coasters, marked “Royal Castle/Sheffield”, turned hardwood bases. [$200/300]

931. Good English Victorian Fused Silverplate Tea Tray, James Dixon & Sons, Sheffield, mid-19th c., serpentine with beaded border, strapwork loop handles, flat-chased well with inset silver shield, handsome period monogram, 32 3/4 in. x 22 3/4 in. [$150/250] Provenance: Estates of George and Mary Beth Thomson, Franklin, LA.

932. Two English Embroidery Fragments, late 19th c., including “Mother and Children”, after Kate Greenaway, silk thread and oil on silk, 6 3/4 in. x 5 in.; and “Cottage Path”, monogrammed “Z.E.M” lower left, silk thread on silk, 9 1/4 in. x 7 3/4 in., both in later frames. [$150/250]

934. Grace Neville Carrothers (American, 1882-1961), “Birch Trees”, 1928, oil on board, signed and dated lower right, artist biography en verso, 25 1/2 in. x 36 1/2 in., framed. [$600/800]

937. Charles Evald Hultberg (Swedish/Louisiana, 1874-1948), “Naval Reserve Park”, oil on board, signed lower left, titled en verso, 23 in. x 28 in., framed. [$500/700]

936. American School, 19th c., “Hiawatha and Minnehaha”, oil on canvas, signed “Wikstrom” lower right, 30 1/4 in. x 20 in., framed. [$1000/1500]

939. Charles Parmelee Rising (American/ New York, 1859-1920), “Pastoral Scene with Cottages”, 1899, oil on board, initialed and dated “7-14-99” lower right, inscribed “C.P. Rising” on backing board, 10 7/8 in. x 16 3/4 in., framed. [$400/600] Provenance: Schwitz Collection, Franklin, LA.

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933. Pair of Continental Rococo Revival Bronze Five-Light Candelabra, 19th c., associated standard, h. 11 3/4 in., dia. 8 in. [$300/500] 935. Charles Albert Burlingame (American, 1860-1930), “Landscape with Rolling Hills”, 1904, oil on panel, signed and dated lower left, 16 in. x 19 5/8 in., framed. [$400/600]

938. American School, 20th c., “Mardi Gras on Rampart Street”, oil on masonite, signed “J. Leland Waterman” lower right, “Connecticut Academy of Fine Arts” label on frame, 12 in. x 9 in., framed. Exh.: “39th Annual Exhibition”, Connecticut Academy of Fine Arts, Feb. 5-27, 1949. [$800/1200]

940. Althea Dodson Tanner (American/New Orleans, 1919-2014), “Sunflowers”, oil on canvas, signed lower left, signed en verso, titled on stretcher, 18 in. x 11 in., unframed. [$500/700]

941. Jimmie Lee Sudduth (American/Alabama, 1910-2007), “Green Jump Suit”, oil on plywood, pencil-signed upper right, 72 in. x 23 7/8 in., framed. [$1000/1500] Provenance: The Doug and Cathy Gitter Collection. 942. Bernice Sims (American/Louisiana, 1926-2014), “Hunting Scene”, acrylic on canvas, signed lower right, 20 in. x 24 in., framed. [$700/1000]

943. Jimmie Lee Sudduth (American/Alabama, 1910-2007), “Seven Women”, oil on plywood, pencil-signed lower center, 24 in. x 48 in., unframed. [$600/800] Provenance: The Doug and Cathy Gitter Collection.

Provenance: The Doug and Cathy Gitter Collection. 944. Jimmie Lee Sudduth (American/ Alabama, 1910-2007), “Alligator”, oil on plywood, pencil-signed upper left, 16 in. x 48 in., unframed. [$600/800] Provenance: The Doug and Cathy Gitter Collection.

945. Rosie Lee Light (American/ Tennessee, 20th c.), “Fish in a Pond”, acrylic on plywood, signed lower right, inscribed en verso, 23 3/4 in. x 47 3/4 in., framed. [$400/600] Provenance: The Doug and Cathy Gitter Collection. 947. Essie Treat Ward (American/Arkansas, 1902-1981), “Whew Miranda It’s Hot Up Here”, “Old Pionees Who Never Saw The Wonders of the Modern World”, “Believe This’ll Be Enough Miranda” and “Scat Thar”, 4 oils on masonite, each signed lower right and titled lower center, each 18 in. x 24 in., framed alike. (4 pcs.) [$1000/1500]

949. Emmitt Thames (American/Mississippi, b. 1933), “Fall Landscape with Docked Boats”, 1963, watercolor on paper, signed and dated lower right, 17 7/8 in. x 24 in., framed. [$400/600]

951. Robert Bénard (French, 1734-1777), “Menuisier en Batiment, Cabinet et Bibliothèque”, engraving, sight 13 1/2 in. x 8 3/4 in., framed; together with 3 French architectural engravings, sights 14 1/2 in. x 9 1/4 in., framed alike. (4 pcs.) [$200/400]

946. Rosie Lee Light (American/ Tennessee, 20th c.), “Three Flying Birds”, oil on plywood, signed lower right, sight 23 3/4 in. x 47 1/2 in., framed. [$400/600] Provenance: The Doug and Cathy Gitter Collection.

948. Bernice Sims (American/Alabama, 1926-2014), “Herding the Animals”, oil on canvas, signed lower right, 15 in. x 30 in., framed. [$700/1000] Provenance: Clark Gallery, Lincoln, MA.

950. Philip C. Thompson (American/New Orleans, 20th c.), “Red, Yellow, Blue (3 Onions)”, 2005, oil on canvas, signed and dated lower right and en verso, signed, titled, dated and inscribed on stretcher, 8 in. x 10 in., framed. [$200/300]

952. George Grosz (German, 1891-1959), “Dunes and Grass”, drypoint etching on paper, pencil-signed lower right, sheet 13 1/8 in. x 16 1/4 in., framed. [$300/500] Ill.: Dückers, Alexander. George Grosz: Das Druckgraphishe Werk. Catalogue Raisonné. San Francisco: Alan Wofsy Fine Arts, 1995, pl. E109 II/II.

Additional information at www.nealauction.com

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953. German School, 19th c., “Fisherman’s Cottage in Norway”, oil on canvas, illegibly signed lower right, labels with title in German on stretcher, 16 3/4 in. x 27 in., framed. [$800/1200]

954. Continental School, 19th c., “Landscape with Sheep”, oil on panel, signed “W. dr Ingel” lower left, 9 1/2 in. x 18 1/4 in., framed. [$300/500]

955. Feliciano Bejar (Mexican, 1920-2007), “Boat on the Shore with Figures”, 1946, oil on canvas laid on foamcore, signed and dated lower right, sight 9 1/2 in. x 12 1/2 in., framed. [$400/600]

956. American School, 20th c., “Still Life of Flowers in Vase”, oil on canvas, unsigned, 20 in. x 24 in., framed. [$400/600]

957. Rocco Monticolo (Italian/American, b. 1931), “The Crowd”, oil on found canvas, signed “R. Monti” lower left, 35 3/8 in. x 35 3/8 in., unframed. [$300/500] 958. After Henri de Toulouse-Lautrec (French, 1864-1901), “Au Cirque”, reproduction lithograph, signed in plate, 19 7/8 in. x 14 1/2 in., framed. [$200/300] Provenance: Estate of James H. Stone, New Orleans, LA.

961. Pair of Continental Giltwood Brackets, 20th c., demilune form, h. 12 1/2 in., w. 12 1/4 in., d. 6 in. [$250/350]

960. Louis XVI-Style Bronze Chenets and Fan-Form Fire Screen, c. 1900, chenet h. 21 in., w. (adjustable) 39 in. to 55 in., d. 9 in.; screen h. 32 1/2 in., w. (open) 48 in. [$400/600] Provenance: Estates of George and Mary Beth Thomson, Franklin, LA.

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959. Pair of Renaissance Revival Bronze Five Light Candelabra, foliate arms, griffin-mounted base, h. 19 in., dia. 10 in. [$400/600] Provenance: Harrod’s, London.

962. Pair of Continental Gilt Metal Figures of Pheasants, h. 5 1/2 in., w. 13 in., d. 2 in. [$200/300]

963. Large Polychrome Painted Bracket in the Moorish Taste, 20th c., galleried shelf, ripple-carved, overall stylized foliate design, h. 37 in., w. 65 in., d. 10 in. [$200/400]

964. Persian Carpet, red ground, blue border, foliate design, 8 ft. 10 in. x 14 ft. 9 in. [$1000/1500]

965. Persian Carpet, green and olive ground, overall floral design, 8 ft. x 11 ft. 2 in. [$400/800]

966. Indo Qum Rug, red ground, cartouche design, 4 ft. x 6 ft. [$300/500]

967. Indo Kashan Carpet, cream ground, green border, overall foliate design, 8 ft. 11 in. x 12 ft. [$800/1200]

Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans. 968. American Rococo Bronze Four-Light Gasolier, c. 1850, Archer & Warner, Philadelphia, marked on the grapevine chain links, mounted with portrait busts, electrified, h. 50 in., dia. 33 in. [$2500/3500] Provenance: Briggs Martin House, Garden District, New Orleans.

969. American Rococo Bronze Two-Light Gasolier, 19th c., vasiform standard mounted with portrait busts, scroll arms, electrified, h. 58 in., w. 34 in., d. 8 in. [$600/900] Provenance: Briggs Martin House, Garden District, New Orleans

971. American Gilt Lacquered Bronze and Brass Solar Lamp, c. 1850, attr. to Starr, Fellows and Company, New York, period blown, cut, and etched glass globe, inverted pear-shaped font containing all burner elements, period blown glass chimney, “coffin” prisms, fluted columnar standard, double marble base, unelectrified, h. to top of chimney 20 1/2 in. [$700/900]

973. French Gilt Bronze Table Lamp, late 19th c., with tole lamp shade, h. 22 1/2 in., dia. 13 in. [$300/500] Provenance: Estate of James H. Stone, New Orleans, LA.

970. American Gilt Bronze and Opaline Glass Solar Lamp, mid-19th c., segmented font, on scroll and cabochon-decorated collar, faceted and tapered blue standard, on incurvate triangular base, h. 32 1/2 in., dia. 8 in. [$500/750]

972. Pair of American Patinated Bronze Argand Lamps, 19th c., pod finials, prism hung, electrified, h. 15 in., w. 11 in., d. 8 in. [$700/1000]

974. Bronze Figural Group of “Rape of the Sabine Women”, after the marble by Giambologna, h. 12 3/4 in., w. 7 1/4 in., d. 4 3/4 in., marble base, overall h. 13 1/2 in. [$300/500] Provenance: The Friedle-Garrison Collection, New Orleans.

Additional information at www.nealauction.com

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975. American Classical Gilt Pier Mirror, 19th c., foliate crest and brackets, h. 110 in., w. 43 in., with an associated marble top console table, h. 11 ½ in., w. 39 in., d. 13 in. [$700/1000]

976. Louis Philippe Gilt Overmantel Mirror, 19th c., incised decoration, beaded border, h. 64 in., w. 45 in., d. 3 in. [$500/700]

977. Antique French Gilt Metal and Marble Figural Mantel Clock, figure on sabre leg chair reading a book, h. 20 1/4 in., w. 18 in., 7 1/2 in. [$600/900] Provenance: Schwitz Collection, Franklin, LA.

978. American Bronze Crystal Regulator Clock, c. 1905, Ansonia, “APEX” model, visible escapement, scroll and foliate case, h. 19 in., w. 10 1/2 in., d. 9 in. [$700/1000]

979. American Rococo Carved Mahogany Parlor Suite, incl. sofa, 2 armchairs, 4 associated marble top occasional tables, 2 associated lamps, sofa: arched back pierced foliate crest, shaped foliate scroll apron, cabriole legs, h. 42 1/2 in., w. 83 in., d. 31 in.; armchair with foliate scrolled crest, oval tufted backs, padded arms, cabriole legs, casters, h. 40 in., w. 26 in., d. 32 in.; marble to side tables with lyre supports, h. 28 1/4 in., w. 18 in., d. 14 1/2 in.; marble top occasional tables with finialed supports, taller h. 28 1/2 in., w. 34 in., d. 22 in., other h. 18 in., w. 33 1/2 in., d. 22 in. [$1000/1500]

980. American Late Classical Mahogany Sofa, mid-19th c., probably New York, C-scroll crest rail, outswept arms, molded base, bracket feet, h. 30 5/8 in., w. 83 1/2 in., d. 24 3/4 in. [$500/1000] Provenance: Schwitz Collection, Franklin, LA.

982. Pair of Louis XV-Style Crème Peinte and Parcel Gilt Fauteuils, floral crest rail, padded back and arms, serpentine seat, cabriole legs, h. 37 1/2 in., w. 26 3/4 in., d. 22 in. [$400/600]

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981. American Late Classical Mahogany Extension Dining Table, c. 1830-40, molded circular top, cluster column standard, quadripartite base, casters, tapered support leg, four leaves, h. 29 in., w. 52 in., d. 52 in. [$800/1200]

983. Four Louis XV-Style Carved Walnut Side Chairs, floral crest rail, caned backs, cabriole legs, h. 35 1/2 in., w. 19 1/2 in., d. 17 in. [$400/600]

984. Continental Rococo-Style Ebonized and Parcel Gilt Games Table, 20th c., tooled leather top, slide out chip pockets, frieze drawer, shell carved apron, cabriole legs, hoof feet, h. 29 1/2 in., w. 32 in., d. 32 in. [$400/600]

986. Three Pairs of Antique Brass Andirons, tallest 24 1/3 in. [$600/900]

985. French Brass-Mounted and Carved Mahogany Lit de Repos, tubular acanthus-carved crests, reeded columnar supports, molded rails, lobed toupie feet, brass balls, h. 41 1/2 in., l. 74 in., w. 25 1/2 in. [$500/800]

Provenance: Selma Plantation, Washington, MS.

989. Suite of Four Chinoiserie Wallpaper Panels, probably early-tomid 20th c., each painted with a figural scene beneath birds and butterflies on or above branches of bamboo and wisteria, prunus, cherry, or chrysanthemum and camellia, 100 3/4 in. x 30 in. [$400/600]

Provenance: Schwitz Collection, Franklin, LA.

987. Three Shagreen Boxes and a Desk Blotter, 20th c., largest box, h. 2 in., w. 6 in., d. 4 in. (4 pcs.) [$200/300]

990. Continental Carved Walnut Lamp, 20th c., spiral reeded urn with rams’ heads, “Egyptian” marble base, h. (to socket) 23 1/2 in., dia. 9 in. [$200/400]

988. Cast Brass Shell-Form Dish and Blown Flint Glass Beaker, dish with plastic insert, beaker h. 4 1/4 in.; together with carved alabaster bowl, ovoid form, h. 4 in., w. 12 in., d. 7 in. (3 pcs.) [$150/250]

991. Pair of Venetian Mirrors, foliate mirror crest, shield body, foliate pendant, h. 31 1/2 in., w. 18 3/4 in. [$600/900]

996. Neoclassical-Style Pietra Dura Table, molded black marble top with scrolling floral inlay, columnar base, molded plinth, h. 31 1/4 in., dia. 36 in. [$300/500]

992. Continental Rococo-Style Giltwood Mirror, foliate and shell motif, scrolled surround, h. 60 in., w. 35 1/2 in. [$500/700]

993. Antique French Bronze and Marble Figural Mantel Clock, “Japy Fils” movement, figure of a maiden holding a lute, h. 18 in., w. 21 3/4 in., d. 6 1/4 in. [$400/600] Provenance: Schwitz Collection, Franklin, LA.

994. Continental Gilt Bronze-Mounted Polychrome and Gilt Potpourri Set on Stand, 20th c., Sevres-style mark, covered cups with reticulated gilt rims mounted to undertray, h. 4 1/4 in., w. 11 1/2 in., d. 7 1/4 in. [$200/400]

995. Pair of Paris Gilt-Decorated Porcelain Flare Vases, mid-19th c., budding vine handles, foliate and floral decoration, h. 13 3/8 in., w. 9 1/2 in., d. 5 in. [$250/350]

Provenance: Schwitz Collection, Franklin, LA.

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

997. Robert Striffolino (American/New Mexico, b. 1950), “Waterscape Series: Continuity / Discontinuity”, 2005, oil on canvas triptych, signed lower right on right panel, each pencil-signed and titled en verso, dated and inscribed with inventory number “543” on stretchers, overall 72 in. x 144 in., unframed. [$800/1200]

998. Malcah Zeldis (American/New York, b. 1931), “Lion 2”, 1990, gouache on paper, signed and dated lower center, pencil-titled en verso, 15 in. x 19 5/8 in., framed. [$600/800] Provenance: The Doug and Cathy Gitter Collection. Additional information at www.nealauction.com

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999. Hahn Vidal (German/ American, b. 1919), “Armonía Azul”, 1960, oil on canvas, signed lower right, signed, titled and dated en verso, 23 3/4 in. x 35 1/2 in., framed. [$200/300]

1000. James “Jim” Ritchie (Canadian, b. 1929), “Cubist Woman”, 1992, pastel on paper, signed and dated lower left, “Adelson Galleries, New York, NY” label with artist, title and date en verso, 19 3/4 in. x 12 3/4 in., framed. [$200/400] Provenance: The Estate of Caroline P. Ireland.

Provenance: Collection of Charles S. and the late Janie P. Houser, The Governor’s Club, Magnolia Springs, AL.

1001. Continental Carved and Inlaid Burl Walnut Banquet Table, 20th c., oval top with gadrooned edge, conforming apron, three leaves, scroll and shell knee, cabriole legs, ball and claw feet, brass casters, h. 31 in., w. 144 in., d. 47 1/2 in. [$1000/1500]

1002. Regence-Style Carved and Gilded Pier Mirror, arched foliate crest with central shell, segmented mirror plate, foliate border, h. 60 1/2 in., w. 30 in. [$400/600]

1004. Georgian-Style Burl Walnut Low Table, lobed top, conforming apron, cabriole legs, ball and claw feet, h. 18 in., w. 26 in., d. 25 3/4 in. [$150/250]

1003. Regency-Style Two Pedestal Mahogany Dining Table, turned pedestals, sabre legs, brass paw feet, casters, 2 leaves, h. 28 in., w. (closed) 90 in., w. (open) 152 in., d. 60 in. [$700/1000]

1007. Regency-Style Inlaid Mahogany Tilt-Top Breakfast Table, reeded and banded top, ring turned reverse tapered standard, reeded saber legs, caps and casters, h. 28 in., w. 63 in., d. 39 in. [$400/600]

1006. Antique George III-Style Carved Mahogany Shield-Back Armchair, shaped arms, tapered legs, spade feet, h. 38 in., w. 22 1/2 in., d. 18 in. [$300/500]

1005. Antique George III-Style Inlaid Mahogany Sideboard in the Hepplewhite Taste, shaped backsplash, serpentine top, three center drawers, sides with drawer over cupboard, urn inlay, square tapered legs, h. 46 in., w. 70 1/2 in., d. 25 in. [$400/600] 1008. Chippendale-Style Carved Mahogany Triple Back Settee, 20th c., Gothicized splats, shepherd’s crook arms, acanthus carved cabriole legs, scrolled toes, h. 37 1/2 in., w. 75 in., d. 25 in. [$400/600]

1009. Georgian Walnut Side Chair, 18th c. and later, arched carved crest, pierced splat, stretcher base, square legs, h. 37 1/2 in., w. 20 3/4 in., d. 19 in. [$250/350]

1010. Georgian-Style Carved Mahogany Wing Chair, outswept arms, shell-carved knees, cabriole legs, turned stretchers, ball and claw feet, h. 45 in., w. 32 in., d. 32 in. [$400/600]

1011. English Carved Oak Hoop-Back Windsor Chair, early 20th c., pierced splat, turned spindles, saddle seat, turned legs, h. 42 1/4 in., w. 22 1/4 in., d. 14 in. [$200/300]

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1012. Pair of George III-Style Mahogany Armchairs, pierced splat, padded arms, saddle seat, block legs, h. 36 1/2 in., w. 22 in., d. 20 in., Note: AS IS. [$200/300]

1013. Queen Anne-Style Carved Mahogany Drop-Leaf Table, 19th c., oval top, straight tapered legs, pad feet, h. 27 1/2 in., w. 34 in., d. (closed) 12 3/4 in., d. (open) 45 in. [$300/500] 1014. Antique English Abalone Inlaid Papier-Mache Tray on Later Stand, 19th c., h. 19 3/4 in., w. 31 1/2 in., d. 24 1/2 in. Note: AS IS. [$200/300]

1015. Pair of George III-Style Mahogany Side Chairs, shaped crest rail, pierced splats over upholstered seats, stretchered legs, h. 39 1/4 in., w. 23 in., d. 21 1/2 in. [$200/300]

1016. Antique Queen Anne-Style Walnut Side Chair, 19th c., scroll stiles, vasiform splat, shell-carved cabriole legs, ball and claw feet, h. 39 1/2 in., w. 23 in., d. 21 1/2 in.; together with 2 benchmade chairs of similar style. [$150/250]

1017. Seven Queen Anne-Style Carved Hardwood Side Chairs, tall upholstered back cabriole legs, pad feet, h. 48 in., w. 23 in., d. 23 1/2 in. [$700/1000]

1018. Pair of Louis XVI-Style Carved Faux Bois Fauteuils, oval back, outswept scroll arms, ring turned tapered legs, h. 37 in., w. 29 in., d. 23 in. [$500/750] 1019. Belle Epoque Carved Walnut Vitrine, c. 1900, marble top, floral-carved stiles, beveled glass door, glass shelves, molded base, h. 60 3/4 in., w. 42 1/2 in., d. 17 in. [$500/700] Provenance: Windham Collection, Oxford, MS.

1020. Louis XV-Style Carved Fruitwood Commode, late 19th c., molded serpentine top, conforming case with three drawers, cartouche-paneled chamfered stiles, scalloped apron, cabriole legs, heavily scrolled toes, h. 37 in., w. 51 in., d. 24 in. [$1000/1500] Provenance: The Estate of Caroline P. Ireland.

1021. Pair of Antique Louis XV-Style CrĂ¨me Peinte BergĂ¨res and Ottoman, molded rounded back, floral crest, scrolled arms, loose cushion, serpentine seat rail, cabriole legs, conforming serpentine frame, ottoman, h. 32 in., w. 25 in., d. 19 in. [$600/800] Provenance: The Estate of Caroline P. Ireland.

1022. Empire-Style Carved, Ebonized and Gilded Mahogany Settee, 20th c., Egyptianesque figural uprights, scrolled back, rosette accented arms and seat rail, tapered legs, paw feet, h. 36 in., w. 47 in., d. 23 1/2 in. [$500/700] Provenance: Schwitz Collection, Franklin, LA.

1023. Antique Continental Bronze-Mounted, Ebonized and Marquetry Parlour Cabinet, shaped marble top, floral and urn doors, conforming base, h. 37 in., w. 48 in., d. 17 1/2 in. [$600/900] Provenance: Schwitz Collection, Franklin, LA.

1024. Neoclassical-Style Bronze-Mounted Mahogany Games Table, late 19th/early 20th c., foldover top swivel top, baize playing surface, tapered legs, brass cuffs, h. 32 in., w. 38 1/2 in., d. (closed) 19 in., d. (open) 38 1/2 in. [$600/900]

Additional information at www.nealauction.com

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1025. Contemporary Chinoiserie-Decorated Center Table, labeled “Maitland Smith”, shaped dished top, conforming base, cabriole legs, pad feet, “lacquered” glass finish, h. 24 in., w. 38 1/2 in., d. 30 in. [$200/400]

1026. Louis XV-Style Burlwood Petite Bombé Commode, shaped top, conforming case with two drawers, cabriole legs, h. 29 in., w. 36 1/4 in., d. 16 1/2 in. [$400/600]

1027. Pair of Continental Upholstered Fruitwood Armchairs, channeled tall back, padded arms, rounded seat, conforming apron, fluted tapered legs, h. 44 in., w. 27 in., d. 28 in. [$600/800] Provenance: By repute, originally from the dining car of the Orient Express; The Uptowner, Inc., New Orleans, LA.

1028. Bronze Figural Group of an Oarsman and a Maiden, after Leon Pile, h. 28 in., base dia. 11 in. [$600/900]

1030. Pair of Friedman Brothers Queen Anne Mirrors, foliate decorated shaped surround, divided beveled mirror plates, h. 48 in., w. 19 in. [$400/600]

1029. Victorian Patinated Bronze Oval Dressing Mirror, mid-19th c., vining decoration throughout, oval beveled mirror plate, scroll candlearms, shaped base with slide lid enclosing a velvet-lined compartment, h. 20 3/4 in., w. 12 1/2 in., d. 5 3/4 in. [$250/350]

1032. French Bronze and Cut Crystal Regulator Clock, c. 1900, striking gong movement marked “S. Marti & Cie”, mercury pendulum, flanked by cut crystal columns, h. 15 in., w. 10 in., d. 5 in. [$600/900]

1031. Antique French Inlaid and Gilt-Incised Marble Three-Piece Clock Garniture, late 19th c., dial marked “A LA JERBE D’OR/ A. CHAPUS/ PARIS”, gilt metal mounts, clock h. 12 1/4 in., w. 9 in., d. 5 in., vase h. 12 3/4 in. [$500/700]

1033. Continental Patinated Metal Figural Swinging Clock, c. 1900, probably Junghans, Germany, “bronzed” patina, h. 11 in., w. 10 in., d. 5 1/2 in. [$300/500]

Provenance: Schwitz Collection, Franklin, LA.

1034. Nine Henry Hebbard “Grecian” Pattern Sterling Silver Tablespoons, ret. Tiffany & Co., marked “H.H.”, “TIFFANY & CO”, “STERLING”, and with 1862 patent date, l. 8 1/8 in. to 8 3/8 in., total wt. 19.65 troy ozs. [$300/500]

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1036. Three Green Blown Glass Demijohns, 19th/20th c., incl. wicker encased bottle, h. 19 1/2 in.; mold-blown bottle, h. 11 1/8 in.; and other, h. 10 3/4 in. [$150/250] 1035. Antique American Sterling Silver Dressing Spoon, Towle “Arlington” pattern, retaining traces of gilt wash to bowl; a tablespoon, Stieff “Rose” pattern; and a pierced tablespoon, Kirk “Rose” pattern; l. 11 3/4 in., 8 in. and 8 1/2 in. respectively; combined wt. 8 troy ozs. [$150/250]

1038. Cast Iron Garden Figure of a Mermaid, seated, h. 17 1/4 in., w. 40 in., d. 13 1/2 in. [$400/600]

1037. Patinated Bronze Bell, early 19th c., horizontal mounting bar, looped pull rod, ring incised body, chain, clapper, h. 11 in., w. 10 3/4 in., d. 13 1/2 in., bell dia. 10 1/4 in. [$600/900] Provenance: Ex-Collection of Thomas Wilmot “Twik” Klein, St. Francisville, LA.

1039. Pair of Decorative Painted Metal Garden Gates, floral scroll motif, h. 77 in., w. 24 1/2 in. [$500/700]

1040. Pair of Antique American Cast Iron Gates, c. 1890, with palmette finials, some elements hand-wrought, in “estate” condition, h. 75 in., total l. 100 in. [$500/750]

1042. American Cast Iron Sugar Kettle, 19th c., flared rim, h. 29 in., dia. 60 in. [$1000/1500]

1041. Two Cast Iron Indigo Pots, 19th c., ring handles, tapered feet, larger h. 14 3/4 in., dia. 22 in., smaller h. 13 1/2 in., dia. 20 1/2 in. [$400/600] 1044. [Mardi Gras] Knights of Momus, 2 parade bulletins, February 19, 1925, theme “Popular Quotations of Long Ago”, and February 27, 1930, theme “Father Time’s Holidays”, lithographer Searcy & Pfaff, sheet 28 in. x 42 in., unframed (2 pcs.) [$200/400]

1043. Cast Iron Garden Figure, h. 47 1/2 in., w. 16 1/2 in., d. 15 in. [$700/1000]

1045. [Confederate Currency] T-17, $20, 1861, serial #29748, graded 20 very fine by PMG. [$1200/1800]

1046. [Confederate Currency] T-6, $50, 1861, serial #2675, plate B, graded 58 Choice About New by PCGS. [$3500/5500] ., w. 23 1/2 in., d. 13 in. $1000/1500

1047. [Confederate Currency] T-16, $50, 1861, serial #63405, graded 35 Choice Very Fine, PMG. [$400/600]

1049. [Confederate Currency] T-8, $50, 1861, serial #41483, graded 59 Choice about New, PMG. [$400/600]

1048. [Confederate Currency] T-8, $50, 1861, serial #2648, graded 59 Choice About New, PMG (written “FOR” B plate). [$400/600]

1050. [Confederate Currency] T-34, $5, 1861, serial #27438, graded 20 Very Fine by PMG. [$300/500]

1051. [Confederate Currency] T-68, $10, 1864, serial #112561, graded 58 Choice About New PMG (Exceptional paper quality, light red). [$150/250]

1052. [Confederate Currency] T-57, $50, 1863, serial #28294, graded 53 About New, by PCGS. [$150/250]

Additional information at www.nealauction.com

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1054. Two Cypress Spindled Mantels, late 19th c., h. 69 in., w. 64 in., d. 10 1/4 in. [$500/750]

1053. American School, c. 1920, “General McPherson Marching from Vicksburg, October 15th, 1863”, crayon and pencil on paper, signed and dated “J. Richardson Jr. Aug. 1920”, lower right, sight 22 in. x 30 in., framed. [$200/300]

1055. Louisiana School, 20th c., “Field of Sugarcane at Sunset”, 2002, oil on canvas, illegibly signed lower right, initialed “M.P.” and dated en verso, 12 in. x 16 in., unframed. [$200/300]

Provenance: Windham Collection, Oxford, MS. 1056. Toby Hollinghead (American/Alabama, b. 1953), “The Beach”, 2007, acrylic on canvas, signed and dated lower right, titled lower left and on stretcher, 30 in. x 40 in., unframed. [$800/1200] Provenance: The Doug and Cathy Gitter Collection. Note: “It’s like music to me, the colors have a rhythm and flow and can evoke tears and laughter. When I approach the canvas the paint and brush take over and move as of its own accord to create an emotion and an event I sometimes didn’t know was there. God blessed me by giving me this special gift of joy, and I hope to share it with others.” – Toby Hollinghead Toby Hollinghead began painting at the age of forty-five after receiving a paint set from her daughter for Christmas, and she discovered a creativity and passion that was previously unknown to her. Her natural talent has led her to exhibit in many shows throughout the South and garner a significant following with collectors. Rather than paint from nature, Hollinghead draws inspiration from memories and her religious upbringing. In spite of a difficult childhood defined by poverty and hunger, she chooses to focus on the joyful moments of her youth as well as the raising of her own children, which is evident in the lot on offer here depicting a mother enjoying the day with her two daughters on the beach.

1057. James Ralph Wilcox (American/Florida, 1866-1915), “River Landscape”, watercolor on paper, signed lower right, 10 in. x 20 7/8 in., framed. [$400/600] 1058. Beatrice Smith (American/Louisiana, 20th c.), “Magnolia Grocery”, oil on canvas, signed lower left, 18 in. x 24 in., framed. [$300/500]

1060. Wayne Ditch (American/ Louisiana, 1954-2011), “My Old Man”, 2008, charcoal and mixed media on paper, pencil-signed and dated lower left, titled on backing paper, sight 39 3/4 in. x 31 1/2 in., framed. [$300/500]

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1061. Dell Weller (American/ New Orleans, b. 1927), “Self Portrait”, 1991, oil on canvas, signed and dated lower right, labels with title and date en verso, 16 in. x 12 in., framed. [$400/500]

1059. Pete Watson (American/Louisiana, 20th c.), “Baskets in a Field”, oil on masonite, signed lower right, 16 in. x 20 in., framed. [$200/300]

1062. John James Audubon (American, 1785-1851), “Crested Purple Finch”, “Summer Red Bird”, “Common Pine Finch”, “White-Winged Grosbill”, “Common Troupial” and “Downy Woodpecker”, 6 hand-colored lithographs, from The Birds of America, octavo edition, sights 9 1/2 in. x 5 3/4 in., framed alike. (6 pcs.) [$400/600] Provenance: Schwitz Collection, Franklin, LA.

1064. John James Audubon (American, 1785-1851), “Large Tailed Skunk”, “Dusky Squirrel”, “Weasel-Like Squirrel”, “Collie’s Squirrel”, “Fremont’s Squirrel” and “Flying Squirrel”, 6 hand-colored lithographs, from The Viviparous Quadrupeds of North America, octavo edition, sights 9 1/2 in. x 6 1/4 in., framed alike; together with “Yarrell’s Goldfinch” and “American Goldfinch”, 2 hand-colored lithographs, from The Birds of America, octavo edition, sights 9 3/4 in. x 6 in., framed alike. (8 pcs.) [$400/600] Provenance: Schwitz Collection, Franklin, LA. 1063. John James Audubon (American, 1785-1851), “Blue Long Grosbeak”, “Yellow-billed Magpie”, “Common Magpie”, “Harlan’s Buzzard”, “Goshawk” and “Bartrams Vireo”, 6 hand-colored lithographs, from The Birds of America, octavo edition, sights 9 3/4 in. x 6 1/8 in., framed alike. (6 pcs.) [$400/600] Provenance: Schwitz Collection, Franklin, LA. 1065. Moses Harris (British, 1730-1788), “Butterflies”, Plates 7 and 12, 2 hand-colored engravings, from The Aurelian or Natural History of English Insects; Namely Moths and Butterflies, sheets 13 in. x 11 7/8 in., framed alike. (2 pcs.) [$200/300] Provenance: Schwitz Collection, Franklin, LA.

1067. After John James Audubon (American, 1785-1851), “Wild Turkey”, lithograph, later edition, 34 3/4 in. x 24 1/2 in., framed. [$300/500]

1068. John James Audubon (American, 1785-1851), “Pinnated Grouse”, Plate 176, color reproduction mounted on paperboard, from The Birds of America, later edition, sheet 25 in. x 38 in., framed. [$200/300]

1066. Joseph Swan (Scottish, 1796-1872), “Botanical Prints”, 4 hand-colored engravings, each signed in plate lower right, sights 8 5/16 in. x 5 3/8 in. to 8 5/8 in. x 5 1/8 in., framed alike. (4 pcs.) [$200/400]

1069. Currier and Ives/ Publishers, “High Water in the Mississippi” and “Low Water in the Mississippi”, 20th c., 2 lithographs, after Frances Flora Bond Palmer (British/American, 1812-1876), sheets 23 3/4 in. x 32 in., framed. (2 pcs.) [$600/900]

Provenance: Estates of George and Mary Beth Thomson, Franklin, LA.

1070. Ellsworth Woodward (American/Louisiana, 1861-1939), “The Bather (Seated Nude, Boyer 80, fig. 16)”, “Large Standing Nude with Bowl in Hand (Boyer 43)”, “Supine Nude with Arms Raised (Boyer 88)” and “The Cypress Slender, Minister of Wine (Nude Pouring Wine, Boyer 56)”, 4 etchings on paper, 2 pencil-signed and one pencil-titled lower margin, 2 initialed “E.W.” in plate, 12 1/2 in. x 10 1/2 in. to 15 in. x 10 in., unframed. (4 pcs.) [$600/800]

1071. Ellsworth Woodward (American/Louisiana, 1861-1939), “In Venice (Doorway in Venice, Boyer 21, fig. 20)”, “The Foster Mother: Romulus and Remus (Boyer 73)”, “The Squire (Boyer 84)”, “Judith Shakespeare’s Cottage (Street Scene with Large Wheel Barrow, Boyer 87)” and “The Quadriga of St. Mark’s, Venice”, 5 etchings on paper, 4 pencil-signed and titled lower margin, each initialed “E.W.” in plate, 11 1/2 in. x 9 in. to 11 1/4 in. x 15 in., unframed. (5 pcs.) [$500/700] Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans.

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

Additional information at www.nealauction.com

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1073. Clare Veronica Hope Leighton (British/ American, 1898-1989), “Cotton Pickers”, 1941, woodblock print, pencil-signed and inscribed “For Louise with my love - From her true friend Clare Leighton” lower margin, from Southern Harvest, handwritten label with artist, title and date en verso, sheet 7 11/16 in. x 6 1/8 in., framed. [$300/500] 1072. After Charles Bird King (American/Rhode Island, 1785-1862), “Mon-Chonsia, a Kansas Chief” and “Pes-Ke-Le-Cha-Co, a Pawnee Chief”, 2 hand-colored lithographs, from History of the Indian Tribes of North America, sights 15 3/8 in. x 11 3/8 in., framed alike. (2 pcs.) [$400/600]

1074. American Patinated Bronze Figure of a Rooster, 20th c., incised decoration, self-base, h. 29 1/2 in., w. 8 1/2 in., d. 21 in. [$200/400]

1076. Three Victorian Birdseye Maple and Walnut Valances, 19th c., larger pair h. 14 1/2 in., w. 72 in., d. 7 in., smaller h. 14 1/2 in., w. 46 3/4 in., d. 7 in. [$500/1000] 1077. After Marie Adrien Persac (American/Louisiana, 1827-1873), “Plantations on the Mississippi River from Natchez to New Orleans, 1858”, copyright 1967, Pelican Book Shop, Inc., showing the divisions of land with owners’ names, vignettes of New Orleans, Baton Rouge and plantations, the decorated border composed of cotton plants and sugar cane, sight 53 in. x 31 in., framed. [$400/600]

1075. Two Theatrical Painted Pine Figural Props, 20th c., labeled “New Vision Display, New York”, depicting Napoleonic soldiers, taller h. 104 in., w. 29 in., d. 1 in. [$200/400] 1078. Reagan Danos (American/ Larose, LA, b. 1958), “Pied-Billed Grebe Drake and Hen”, c. 2015, acrylic on carved tupelo gum, signed, and with two remarques, glass eyes, made from one piece of wood, h. 5 1/2 in., w. 11 in., d. 5 in. [$1000/1500]

1080. Reagan Danos (American/Larose, LA, b. 1958), “Green-Winged Teal Drake”, c. 2015, acrylic on carved and textured tupelo gum, signed, and with feather and portrait remarques, glass eyes, l. 9 3/4 in. [$2500/3500]

1082. Reagan Danos (American/ Larose, LA, b. 1958), “Buff-Breasted Shore Bird”, c. 2015, acrylic on carved and textured tupelo gum, signed and titled on base, glass eyes, h. 6 in., w. 11 1/4 in., d. 8 3/4 in. [$2500/3500]

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1079. Reagan Danos (American/Larose, LA, b. 1958), “Mallard Drake”, c. 2015, acrylic on carved tupelo gum, signed, and with feather remarque, glass eyes, l. 14 in. [$1000/1500]

1081. Reagan Danos (American/ Larose, LA, b. 1958), “Green Pygmy Goose Drake”, c. 2015, acrylic on carved and textured tupelo gum, signed and titled, and with remarque, glass eyes, l. 11 1/4 in. [$2500/3500]

1083. Reagan Danos (American/Larose, LA, b. 1958), “Buffle Head Drake”, c. 2015, acrylic on carved cypress, signed, glass eyes, l. 11 in. [$800/1200]

1084. Pair of Louisiana Carved Decoys, c. 1950, Walter Boskent, Davant, LA, mallard drake and hen, cypress root, glass eyes, longer 14 in. [$800/1200]

1085. Two Louisiana Carved Decoys, one c. 1900, mallard drake, Davant/Phoenix area, root cypress, l. 12 1/2 in. (bill repainted); and a mallard drake, 1930s, from Raceland, LA, l. 14 1/2 in. [$600/900]

1086. Two Louisiana Carved Decoys, c. 1965, Norman Hebert, Chauvin, LA, ring neck, and a cinnamon teal, cypress root, glass eyes, longer 10 1/2 in. [$400/600]

1087. Two Louisiana Factory Carved Decoys, c. 1930s, Pascagoula, LA, mallard drake and hen, glass eyes, longer 15 1/2 in. [$250/350]

1088. Pair of Louisiana Carved Duck Decoys, c. 1920s, mallard drake and hen, attr. to Lee Cambor, Morgan City, LA, longer 15 1/2 in. [$500/700]

1089. Pair of Louisiana Carved Duck Decoys, c. 1950s, mallard drake and hen, attr. to Joe Verdin, longer 15 1/2 in.; together with an attributed to Frank Uzee coot, c. 1920s, with lead weight, l. 12 in. [$400/600]

1090. Four Louisiana Carved Decoys, incl. a ringneck, by Adrian “Skee” Roger; a pair of widgeons, by Ernest Scarabin, Belle Chasse, LA; and a hen widgeon, by Henry Gueringer, longest 16 in. [$400/600]

1091. Four Louisiana Carved Decoys, incl. a pair of bluebill ducks, by Armand Pelegrin, Houma; a drake mallard, by Herman “Blackie” Chauvin, Boutte, LA; and a preening hen mallard, by Gerald Malone, Marrero, LA, longest 14 in. [$300/500]

1094. American Carved and Polychromed Spreadwing Eagle Plaque, 20th c., h. 15 in., w. 44 1/2 in. [$200/300]

1095. Pair of Louisiana Carved Decoys, c. 1973, Charles and Rudy Hutchinson, Ninth Ward, New Orleans, mallard drake and hen, longer 16 1/4 in. [$500/500]

Ref.: Frank, Jr., Charles W. Wetland Heritage, The Louisiana Duck Decoy, Gretna, Pelican Publishing, 1985, p. 39.

Ref.: LeGaux, Jason. Louisiana Decoy Makers, Continuing the Family Tradition, nd., p. 76.

1093. American Polychromed Metal Figure of a Jockey, faux marble base, h. 10 1/4 in., w. 3 3/8 in., d. 3 3/8 in. [$150/250] 1092. Two Louisiana Bird Carvings, by Buddy Crovetto, New Orleans, incl. a wren, and a titmouse, taller 5 3/4 in. [$400/600]

1096. Three Louisiana Carved Decoys, incl. mallard drake in the style of Alcide Carmadelle, Bayou Gauche; hen pentail in preening position, c. 1960; and a drake widgeon by Nollie Naquin, Des Allemands, LA, longest 16 1/2 in. [$500/700]

Provenance: Estate of James H. Stone, New Orleans, LA.

Provenance: Harry Lee Collection, Louisiana.

1097. Three Carved Decoys, 1970s, incl.; drake wood duck, drake merganser, and drake widgeon, from Herter’s 1893 series, glass eyes, longest 16 1/2 in. [$300/500]

1100. American School, 19th c., “Landscape with River and Boaters”, oil on canvas, unsigned, 8 7/8 in. x 10 1/2 in., framed. [$200/400] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

1098. William Schinzel (American, 19th c.), “Nature Morte of Birds”, oil on canvas laid on board, signed lower right, 24 in. x 20 in., framed. [$300/500]

1099. American School, early 20th c., “Portrait of a Seated Gentleman”, oil on canvas, indistinctly inscribed lower right, 36 in. x 28 in., framed. [$300/500]

1101. Pair of English Riding Boots and a Picnic Basket, boots by Craig & Davies, sole l. 11 1/2 in.; Ducks Unlimited basket with table setting for four. [$75/125] Additional information at www.nealauction.com

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1102. Three Louisiana Carved Decoys, incl. a canvasback by Emile Hebert, Houma; a scaup duck, by Adam Billiot, Larose, LA; and a teal hen, by Jerry Alfonzo, Chalmette, LA, longest 14 in. [$300/500]

1103. Bronze Figure of a Recumbent Dog, h. 6 in., w. 12 in., d. 6 1/4 in., marble base, overall h. 7 3/4 in. [$200/300] Provenance: Schwitz Collection, Franklin, LA.

1104. Patinated Metal Figure of “Basset”, after “Jules Moigniez”, partial signature inscribed on self-base, h. 11 in., w. 14 in., d. 7 3/4 in. [$300/500]

1107. Louisiana Wood Butcher Block, worn top, metal bossed through rods, hipped tapered legs, runners, h. 33 in., w. 30 1/2 in., d. 30 1/2 in. [$400/600]

1105. Ted Ellis (American/Louisiana, b. 1963), “Got My Mule and Acre”, 2001, oil on canvas board, signed and dated lower right, signed, titled, dated and inscribed en verso, 7 in. x 9 in., framed. [$200/300]

1108. American Carved Oak Hoop-Back Windsor Chair, 19th c., spindle back, saddle seat, turned legs and stretcher, h. 35 1/2 in., w. 26 in., d. 16 1/2 in. [$150/250]

1106. American Iron and Pine Carriage Seat, shaped back, downswept arms, galleried seat, spring support, stretchered base, h. 28 in., w. 43 in., d. 27 in. [$150/250]

1109. American Classical Mahogany SarcophagusForm Teapoy, mid-19th c., baluster-turned standard, shaped plinth, bun feet, casters, h. 31 in., w. 17 in., d. 13 1/4 in. [$300/500] Provenance: Estate of Ruth Sporl Bodenheimer, Historic Lanaux Mansion, 547 Esplanade Avenue, New Orleans.

1110. Antique American Hepplewhite Carved Mahogany Side Chair, shield back, tapered legs, H-stretcher, haircloth upholstrery with brass nailhead trim, h. 36 in., w. 20 in., d. 17 in. [$200/300]

1111A. Antique Anglo-Colonial Hardwood Chaise Longue, headboard with pierced splats, two-board molded seat, stretcher base, turned blocked legs, toupie feet, h. 34 in., w. 84 in., d. 19 1/2 in. [$500/750]

1111. American Eastlake Carved Walnut Cabinet, late 19th c., galleried top, rotary cabinet, 5 drawers, writing slide, h. 40 in., w. 28 in., d. 16 in. [$400/600]

1112. American Federal-Style Inlaid Mahogany Games Table, Baker Furniture, “Historic Charleston” collection, foldover top, tapered legs, h. 29 in., w. (closed) 16 in., w. (opened) 35 in., d. 36 1/2 in. [$300/500] Provenance: Williamson-LeBlanc Collection, William Harris House, Natchez.

1113. Continental Inlaid Mahogany Games Table, late 19th c., circular top, revolving to baize playing surface, tapered legs with bellflower decoration, h. 30 in., diameter 34 in. [$200/400]

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1114. Pair of William IV Carved Walnut Console Tables, mid-19th c., marble top, baluster turned legs, h. 30 1/2 in., w. 48 in., d. 24 in. [$800/1200]

1115. Pair of Antique Louis XV-Style Carved and Painted Bergères, early 20th c., shaped crest rail centered by a floral spray, padded back and arms, serpentine seat rail, cabriole legs, h. 35 in., w. 30 in., d. 20 1/2 in. [$700/900] Provenance: The Estate of Caroline P. Ireland.

1116. Antique French Directoire-Style Carved and Painted Chaise, scrolled volute back supports with acanthus leaves, cabriole legs, later paint, h. 30 1/2 in., w. 21 in., d. 19 in. [$300/500] Provenance: The Estate of Caroline P. Ireland.

1119. Paris Porcelain Partial Dinner Service, 19th c., incl. 9 dinner plates, dia. 9 1/2 in.; 10 soup plates, dia. 9 3/8 in.; 5 luncheon plates, dia. 8 1/4 in.; 6 dessert plates, dia. 7 1/4 in.; and 2 oval serving dishes, l. 19 7/8 in. and 11 in. (32 pcs.) [$300/500] 1117. Louis XVI-Style Creme Peinte Bergère, scrolled acanthus crest rail, padded arms with ram’s heads, spiral fluted tapered legs, h. 37 1/2 in., w. 28 in., d. 29 in. [$500/700]

1118. Regence-Style Fauteuil a la Reine, padded arms, acanthus carved cabriole legs, h. 38 in., w. 28 in., d. 30 in. [$200/400]

1121. Paris Porcelain Cylindrical Vase, mid-19th c., decorated en grisaille, with Cupid and Psyche on front, standing putto on reverse, blue base, cartouche and scroll feet, gilt highlights throughout, h. 13 1/2 in., dia. 7 in. [$300/500]

1122. Paris Polychrome and Gilt Porcelain Amphora Vase, 19th c., painted with scene of an artist and subject and a country landscape, h. 10 in., now mounted as a lamp, h. (incl. finial) 28 1/2 in. [$200/400] Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

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

1120. Four Antique French Porcelain Gilt and Polychrome Veilleuses, various designs, tallest h. 9 1/2 in. [$300/500]

1124. Fourteen Assorted Continental Polychrome Porcelain Figures of Dwarves, 19th/early 20th c., 3 dwarf figures, crown over Neopolitan N marks; 4 figures of dwarfs, crown over Neopolitan N marks, modeled holding a beer mug, sword, tambourine, or bag pipes; 3 figures of dwarf musicians, crown over Neopolitan N marks; 4 figures., variously marked, 3 modeled with musical instruments, 1 with a sword, h. from 3 5/8 in. to 4 in. (14 pcs.) [$600/800]

1123. Seven Scheibe-Alsbach Polychrome Porcelain Musicians, 20th c., each marked, each stamped “Germany”, variously modeled standing or seated playing an instrument, h. 4 1/2 in. to 4 3/4 in. [$200/400] Provenance: Heritage, Dallas, Apr. 26, 2007.

1126. Pair of Blue and White Faience Candleholders, 19th/20th c., marked “SC” and “27”, in the form of lions rampant holding medieval helmets, h. 11 in., w. 7 in., d. 4 1/4 in. [$200/400]

1128. Blue and White Vase, 19th c., probably Wedgwood, reserve with day and night deities, red handles and accents, h. 11 1/2 in. [$150/250]

1125. Pair of French Bisque Porcelain Flare Vases, mid-19th c., molded with opposing male and female figures and applied foliate decoration, h. 14 1/2 in., w. 8 3/4 in., d. 6 1/4 in. [$400/600]

1127. Continental Repousse Copper Panel of a Vineyard Scene, early 20th c., h. 22 1/4 in., w. 59 in. [$200/300]

1129. English Transfer-Painted Porcelain Plaques of Queen of Hearts and Jack of Diamonds, 19th c., enamel highlights, gilt rims, 5 in. x 4 in., mounted in wood frames. [$150/250] Provenance: Windham Collection, Oxford, MS. Additional information at www.nealauction.com

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1130. Royal Worcester “The Polo Player”, porcelain, modeled by Doris Lindner, marked on underside, h. 7 in., w. 8 in., self-base. [$400/600]

1131. Royal Worcester “Arab Stallion”, 1963, porcelain, modeled by Doris Lindner, marked on underside, h. 10 in., w. 12 in., wood base. [$400/600]

1133. Ten English Armorial Creamware Plates, late 19th c., incl. 8 with coat of arms above “Quod Ero Spero” (“what I hope to accomplish, I shall accomplish)” banner, dia. 8 3/8 in.; and 2 with coat of arms and red and black borders, dia. 9 3/4 in. [$150/250]

1134. Royal Crown Derby “Red Aves” Porcelain Partial Coffee and Dessert Service, marked, incl. teapot, h. 9 3/8 in.; 6 demitasse cups, h. 2 3/8 in., dia. 2 in.; 6 saucers, dia. 4 3/4 in.; and 5 dessert plates, dia. 8 3/8 in. (18 pcs.) [$200/400]

Provenance: The Estate of Caroline P. Ireland.

1132. Assembled Staffordshire Gilt-Banded Pottery Tea and Dessert Service, 19th c., incl. cream pitcher, h. 5 1/4 in.; covered sugar, h. 6 1/2 in.; lidded teapot, h. 7 1/2 in.; 8 dessert plates; odd plate; 4 small plates; 6 butter pats; 12 berry bowls, dia. 5 1/2 in.; and 7 cups with 10 saucers. (51 pcs.) [$300/500]

1135. Four Staffordshire Porcelain Figures of Poodles, incl. pair modeled crouching on pillows, h. 3 3/4 in., l. 5 in.; single seated on plinth, h. 4 1/8 in., l. 4 1/4 in.; and single seated, h. 3 in. [$150/250] Provenance: The Estate of Caroline P. Ireland.

1137. Twelve Royal Doulton Polychrome and Gilt Porcelain Plates, c. 1922-27, marked, rims with blue ground and floral vignettes, gilt accents dia. 8 7/8 in. [$150/250] 1136. Two Polychrome Porcelain Figures of Dwarf Musicians, 19th c., probably Derby, red crown over cursive D marks, modeled standing with a violin or bag pipe, h. 3 1/4 in. and 3 in. [$150/250]

Provenance: Schwitz Collection, Franklin, LA.

1138. Six Chinese Export Blue and White Porcelain Covered Cups, 19th c., fruit finials, branch handles, decorated with seascapes, h. 4 in., w. 5 1/4 in.; together with pair of Japanese blue and white porcelain teapots, h. 5 1/2 in., w. 7 in. (8 pcs.) [$300/500] Provenance: The Estate of Caroline P. Ireland.

Provenance: Harbor View Antiques, Stamford, CT, 2007.

1139. Chinese Export Porcelain Covered Teapot, late 18th/early 19th c., berry finial, entwined branch handles, remnant gilt, h. 5 3/4 in., w. 9 1/2 in.; together with famille rose armorial porcelain cup and saucer, saucer dia. 5 1/2 in. (3 pcs.) [$150/250]

1140. Pair of French Gilt and Patinated Bronze Seven-Light Figural Candelabra, late 19th c., maiden standard, on bead-mounted onyx base, h. 30 in., di. 12 in. [$700/1000]

1143. William IV Burl Walnut Sunderland Table, lyre-form standard, shaped trefoil feet, h. 27 1/2 in., w. 40 in., d. 37 1/2 in. [$300/500] 1142. Pair of Louis XVI-Style Creme Peinte Bergères, attractively upholstered, nailhead trim, fluted tapered legs, h. 36 1/4 in., w. 26 1/4 in., d. 26 in. [$800/1200] Provenance: Karla Katz.

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1141. Continental Gilt and Patinated Bronze Covered Urn, 20th c., putto finial, Bacchic frieze, grapevine handles, marble base, h. 23 in., w. 12 in., d. 8 1/4 in. [$200/300] Provenance: Schwitz Collection, Franklin, LA.

1144. Louis XVI-Style Carved Walnut Bouillotte Table, 20th c., rouge marble top, frieze drawer, stop-fluted tapered legs, h. 29 in., dia. 24 1/2 in. [$300/500] Provenance: The Estate of Caroline P. Ireland.

1148. Continental Carved Mahogany Fire Screen, bowknot crest, foliate finials, fluted columnar supports, fabric panels, scrolled acanthine legs, h. 41 in., w. 21 1/2 in., d. 15 in. [$200/300]

1145. Antique Parquetry and Breche Violette Marble Side Cabinet, brass banded top, open shelf over two doors, tapered legs, sabots, h. 29 in., w. 18 in., d. 12 1/4 in. [$400/600]

1146. Antique Baroque-Style Carved Walnut Armchair, molded framed back, shaped arms, spiral turned supports, stretcher base, h. 50 1/2 in., w. 27 in., d. 29 in. [$500/700]

1149. American Classical Carved Mahogany Games Table, c. 1840, foldover swivel top, canted corners, ogee frieze, flared standard, molded base, casters, h. 30 1/2 in., w. 40 in., d. 19 3/4 in. [$400/600]

1150. Pair of Belle Epoque Carved Walnut Armchairs, c. 1900, square back, acanthus scrolled lion mask arms, acanthus scrolled legs, shaped stretchers, h. 44 in., w. 27 in., d. 32 in. [$400/600]

1151. Pair of Louis XVI-Style Carved Walnut Console Tables, sienna marble top, floral reticulated frieze, stop-fluted tapered legs, shaped stretcher shelf, beaded toupie feet, h. 36 1/2 in., w. 56 1/2 in., d. 22 1/4 in. [$500/1000] Provenance: Schwitz Collection, Franklin, LA.

1152. Pair of Neoclassical-Style Carved and Ebonized Pedestals, each with square top, tapered and fluted standard, stepped base, h. 42 1/2 in., w. 11 1/2 in., d. 11 1/2 in. [$200/300]

1154. Louis XV-Style Inlaid and Brass-Mounted Mahogany Demilune Commode, late 19th/early 20th c., shaped marble top, two drawers, shaped apron, sabre legs, sabots, h. 30 in., w. 26 in., d. 14 in. [$200/400]

Provenance: Schwitz

Collection, Franklin, LA.

Provenance: Windham Collection, Oxford, MS.

1147. Antique Queen Anne-Style Walnut Demilune Games Table, 19th c., foldover top, baize playing surface, game piece wells, swing leg, shaped apron, tapered legs, pad feet, h. 28 1/2 in., w. 32 1/2 in., d. (closed) 16 3/8 in., d. (open) 32 1/2 in. [$300/500]

1153. Pair of French Provincial Carved Walnut Petite Commodes, shaped backsplash, pierced case, floral apron, cabriole legs, scrolled toes, h. 29 in., w. 16 1/2 in., d. 12 in. [$200/400] Provenance: The Estate of Caroline P. Ireland. 1155. Antique French Pine Farmhouse Table, 19th c., four board top, frieze drawer on one end, chamfered tapered legs, h. 30 1/2 in., w. 31 1/2 in., d. 67 1/4 in. [$300/500]

1156. Pair of Antique Louis XV-Style Giltwood Fauteuils, pierced foliate crest rail, padded arms, serpentine seat, cabriole legs, h. 42 1/2 in., w. 27 in., d. 26 in. [$500/750]

1157. Louis XVI-Style CrĂ¨me Peinte Console Table, shaped polished wood top, conforming frieze with single drawer, tapered fluted legs, h. 33in., w. 58 1/4 in., d. 14 1/2 in. [$200/400]

Additional information at www.nealauction.com

127

1158. French Bronze-Mounted Mahogany Side Table, inset marble top, fluted standard, tripod base, brass paw feet, casters, h. 30 in., dia. 25 1/2 in. [$400/600]

1159. Set of Four Flight, Barr & Barr Worcester Porcelain “Bird” Plates, 19th c., marked, pink scalloped rims with gilt accents, dia. 8 7/8 in. [$100/125]

1160. English Blue and White Transfer-Decorated Ironstone Platter and Japanese Imari Porcelain Vase, 19th and 20th c., platter decorated with Chinese scenes, l. 16 1/4 in.; vase with exotic bird and tree panels, h. 10 1/2 in. [$150/250] Provenance: Ron Barber, Columbia, SC, 2004.

Provenance: Schwitz Collection, Franklin, LA.

1161. Royal Worcester Doris Lindner Metal-Mounted Polychrome Porcelain Figure of a Percheron Stallion, 1965, marked, self-base with wood stand, h. 10 in., w. 10 1/2 in., d. 4 1/4 in. [$200/300] Provenance: Estate of James H. Stone, New Orleans, LA.

Provenance: Schwitz Collection, Franklin, LA.

1164. Pair of American Brass and Cut-Glass Sconces, 20th c., foliate backplates, prism hung scroll arms, etched glass shades, electrified, h. 13 3/4 in., w. 7 in., d. 14 in. [$300/500]

1162. Two Continental Patinated Metal Figural Bookends, 20th c., taller h. 9 in., w. 5 1/4 in., d. 4 in. [$150/250]

1163. American Bronze Two-Light Argand Lamp, 19th c., marked “John B. Jones/ Boston”, foliate arms, electrified, h. 22 1/2 in. w. 18 1/2 in., d. 8 1/2 in. [$300/500]

1165. Wedgwood Black Basalt Figural Oil Lamp, early 19th c., unmarked, woman pouring vessel, h. 7 5/8 in., w. 7 1/2 in., d. 4 in. Note: Lacking base and lid. [$200/300]

1168. Alvin Batiste (American/Louisiana, b. 1962), “Princess Diana”, 1997 and “Big Moma Fay Praying to See a New Day”, 1998, 2 oils on panel, each signed and dated lower right, latter signed, titled and dated en verso, unframed. (2 pcs.) [$300/500]

1166. Two American or English Glass Hurricane Shades, baluster form, folded foot rim, h. 25 1/2 in., dia. 9 1/2 in., and h. 23 1/4 in., dia. 8 3/4 in. [$500/750]

1169. Luis Cruz Azaceta (Cuban/American, b. 1942), “Millennium”, 2001, silkscreen on paper, pencil-signed, titled, dated and numbered “65/115” lower margin, signed in plate lower right, from CAC Collectors Club, sight 20 3/4 in. x 26 1/2 in., framed. [$200/300] Provenance: The Estate of Caroline P. Ireland.

128

1167. Mario Villa (Nicaraguan/New Orleans, b. 1953), “Winged Victory”, 1988, bronze, signed, dated and numbered “21/50” on self-base, h. 8 3/4 in. [$300/500]

1170. Josephine Sacabo (American/Texas, b. 1944), “El Angel Salvaje”, 1995, silkscreen on paper, pencil-signed and numbered “60/350” lower margin, from CAC Collectors Club, sight 20 in. x 17 in., framed. [$200/400] Provenance: The Estate of Caroline P. Ireland.

1171. Alan A. Gerson (American/ Louisiana, b. 1952), “Neodeconstructed New Wave”, 2002, silkscreen on paper, pencil-signed, dated and numbered “24/350” lower margin, from CAC Collectors Club, sight 20 1/2 in. x 16 1/2 in., framed. [$200/300]

1073. Antique Italian Pottery Punchbowl, frolicking putti with vintage border, dolphin motif base, crazing, h. 8 3/8 in., dia. 16 in. [$200/400]

1172. Phillip Anthony Sage (American/New Orleans, b. 1942), “Professor Longhair” and “Dr. John”, 1999, 2 lithographs on paper, each pencil-signed, titled, dated and edition number lower margin, both signed and dated in plate, 25 3/4 in. x 19 1/2 in. and 20 1/2 in. x 22 in., unframed. (2 pcs.) [$150/250]

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

Provenance: The Estate of Caroline P. Ireland.

1174. French Aubusson-Style Carpet, rose ground, floral cartouche and border, 8 ft. 10 in. x 12 ft. 2 in. [$600/900]

1175. Indo Kashan Runner, green ground, vining floral design, 2 ft. 5 in. x 21 ft. 8 in. [$700/1000]

1176. Dhurrie Rug, teal and red ground, geometric design, 8 ft. 4 in. x 9 ft. 9 in. [$400/600]

1179. Pair of Louis XVI-Style Two-Light Sconces, vase and cherub backplate, h. 21 in., w. 12 in., d. 6 in. [$400/600]

1178. Tiffany-Style Leaded Glass Lamp, fluted patinated bronze base, h. 25 in., dia. 25 in. [$200/300]

1181. Vintage Steuben Glass “Grotesque” Bowl, etched mark, model #7535, designed 1925 by Frederick Carder, h. 6 1/2 in., w. 11 1/4 in., d. 7 1/2 in. [$150/250]

1183. Four Brown Leather Wingback Chairs, arched back, nailhead trim, tufted loose cushions, cabriole legs, h. 37 1/2 in., w. 27 3/4 in., d. 30 in. [$600/900]

1177. Dhurrie Rug, teal and red bands, repeating designs, 8 ft. x 9 ft. 10 in. [$400/600]

1180. Pair of Continental Gilt Bronze Figural Lamps, c. 1900, modeled as figures reading books, velvet covered bases, h. 17 1/2 in., w. 12 in., d. 5 in. [$500/700] Provenance: Schwitz Collection, Franklin, LA.

1182. American Classical Faux Bois and Gilt Mirror, ogee surround, with foliate corners, divided mirror plate, h. 47 1/2 in., w. 23 1/2 in. [$300/400]

1184. Four Brown Leather Wingback Chairs, en suite with the previous lot, h. 37 1/2 in., w. 27 3/4 in., d. 30 in. [$600/900]

1185. Hollywood Regency Mirror-Inset Chest of Drawers, mid-20th c., piano hinged top with mirrored interior, one false drawer, two lower drawers, recessed block base, h. 30 in., w. 25 1/8 in., d. 16 1/4 in. [$200/300] Additional information at www.nealauction.com

129

1186. American Rococo-Style Carved, Laminated Rosewood and Rosewood-Grained Child’s Meridienne, after John Henry Belter, floral crest, shaped back, serpentine seat rail, cabriole legs, casters, h. 31 1/2 in., w. 35 1/2 in., d. 22 in. [$300/500]

1187. Two American Late Classical Mahogany Drop-Leaf Work Tables, mid-19th c., one with reverse tapered square support, bun feet; other with floral carved scroll support over scroll feet, taller h. 29 1/2 in., w. (closed) 18 1/4., w. (open) 32 1/4 in., d. 18 1/4 in.; other h. 29 in., w. (closed) 19 in., w. (open) 36 1/2 in., d. 18 in. [$300/500] Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.

1188. Antique English Carved Walnut Child’s Chair, slatted back, turned legs, box stretcher, h. 29 3/4 in., w. 19 3/4 in., d. 10 1/4 in. [$300/500] Provenance: Windham Collection, Oxford, MS.

1190. Regency-Style Carved Mahogany Games Table, foldover top with baize-lined playing surface, concertina action, reeded tapered legs, button feet, note: top warped, h. 30 in., w. 32 1/2 in., d. (closed) 16 in., d. (opened) 32 1/2 in. [$150/250] 1189. Antique Elizabethan-Style Carved Walnut High Chair, 19th c. or earlier, spindled linen fold carved back, lion’s mask and feather-carved stiles, turned padded arms, tooled leather seat, turned legs, stretcher base. [$200/300]

1191. Antique English Mahogany Hanging Vitrine Cabinet, mid-to-late 19th c., flat top, molded cornice, single door with astragal molded mullions, glazed sides, shelf interior, molded base, key, h. 45 in., w. 32 1/4 in., d. 10 in. [$100/200]

1192. Pair of Aesthetic Movement Mahogany Side Chairs, hipped crest, caned seats, tapered legs, h. 38 in., w. 16 in., d. 17 in.; together with Victorian side chair, shaped crest, spindled back, shaped caned seat, h. 34 in., w. 17 in., d. 18 in. Note: Condition of each. [$150/250]

Provenance: Windham Collection, Oxford, MS.

1193. Pair of William IV Mahogany Side Chairs, 19th c., shaped tablet crest, baluster turned legs, toupie feet, h. 34 in., w. 18 in., d. 19 1/2 in. [$150/250]

1194. Empire-Style Brass-Mounted Mahogany Bedstead, late 19th/early 20th c., headboard with arched crest, rosette mounted panel flanked by fluted columns, conforming foot board, toupie feet, h. 55 in., l. 76 1/2 in., w. 53 in. [$400/600]

1195. Antique Provincial Painted Ladderback Child’s Armchair, probably 20th c., shaped slats, finialed turned stiles, turned feet, h. 21 1/2 in., w. 14 in., d. 13 in. [$200/400]

1196. Continental Marble Columnar Pedestal, 20th c., swivel top, square base, h. 42 1/2 in., w. 13 1/2 in., d. 13 1/2 in. [$200/400] 1197. Assembled Early Limoges Anneau d’Or Porcelain Tea and Dessert Service, mid-19th c., some pieces with impressed “CFH” for Charles Field Haviland, incl. covered teapot, h. 9 in.; covered sugar, h. 7 in.; creamer, h. 6 in.; waste bowl, dia. 6 1/4 in.; 19 dessert plates, dia. 7 1/8 in.; 10 berry bowls, dia. 4 7/8 in.; 2 cake plates, dia. 9 3/4 in.; and 18 teacups with 20 saucers. (73 pcs.) [$400/600]

130

1198. Pair of Dutch Polychrome and Gilt Porcelain Footed Bottle Vases, 19th c., marked and numbered on bases, decorated with floral sprays, h. 13 in. [$150/250]

1199. Paris Porcelain Pôts-de-Crème Set, mid-19th c., green and gilt bands on a white ground, the covers with acorn and oak leaf finials, lozenge-shaped stand with inset handles, stand l. 15 1/2 in., w. 9 1/2 in. (8 pcs.) [$250/350]

1200. Norwegian Carved Walnut Tankard, 18th c., hinged lid with lion relief, h. 9 1/2 in., dia. 6 1/4 in. [$200/400]

1201. Pair of French Tole Peinte Two-Light Candelabra, 20th c., lyre-form, floral mounts, electrified, h. 16 1/4 in., w. 10 1/2 in., d. 5 in. [$200/300]

1202. American Brass Twelve-Light Chandelier, 20th c., vasiform standard, h. 31 in., dia. 35 in. [$400/600]

1204. Continental Gilt and Patinated Metal Columnar Lamp, 19th c., fluted standard with Classical mask capital, circular support with foliate bands, h. (to socket) 19 1/4 in., dia. 5 1/2 in. [$250/350] Provenance: Schwitz Collection, Franklin, LA. 1205. Antique Wrought Iron Window Grille, 19th c., fan shaped, spherule and boss accents, h. 21 in., w. 41 1/2 in. [$400/600] 1203. Pair of Charles X-Style Patinated Bronze Six-Light Candelabra, 20th c., foliate scroll arms, fluted standard, incurvate triangular base with lion’s mask legs, h. 28 3/4 in., dia. 10 1/2 in. [$500/750]

1206. Antique Wrought Iron Window Grille, 19th c., fan shaped, scroll design, h. 24 1/4 in., w. 47 1/2 in. [$500/700]

1207. Pair of Chinese Marble Inset Hardwood Tables, 19th c., waisted rectangular inset top, cloud scroll frieze, straight legs, curled toes, h. 20 1/4 in., w. 16 1/4 in., d. 12 in; with a Chinese hardwood table, waisted inset rectangular top, reticulated scrollwork frieze, straight legs, scroll toes, h. 35 in., w. 73 3/4 in., d. 31 3/4 in. (3 PCS) . [$400/600]

1208. Glazed Stoneware Storage Jug, incised foliate decoration and banding, h. 28 1/4 in. [$200/300]

1210. [Leather Bindings], Ruskin’s Works, 13 volumes, gilt tooled. [$150/250] 1209. [Leather Bindings], Bulwer’s Novels, c. 1860, 18 volumes, gilt tooled. [$150/250]

1211. [Leather Bindings], The Poetical Works of Elizabeth Barrett Browning, London, Smith, Elder, & Co., 1889, 6 vols, 3/4 red leather, 9 in. x 6 in. [$200/300]

1212. [Leather Bindings], Bronte’s Works, London, Smith, Elder & Co., 1910, 7 vols., 3/4 blue leather. [$150/250]

1213. [Leather Bindings], Trollope’s Works, c. 1912, 14 vols., in 3/4 red leather, 7 in. x 5 in. [$150/250]

Additional information at www.nealauction.com

131

1214. [Leather Bindings], The Works of Robert Burns, London/Glasgow, Blackie & Son, 1888, 5 vols, 3/4 red leather, 8 3/4 in. x 6 1/4 in. [$200/300]

1218. [Leather Bindings], 9 volumes, 3/4 leather, gilt tooled, by John Greenleaf Whittier. [$100/150] Provenance: The Friedle-Garrison Collection, New Orleans.

1222. [Leather Bindings], Scott’s Life, 1839, 9 volumes, gilt tooled. [$100/150]

1215. [Leather Bindings], Strickland, Agnes. Lives of the Queens of England, from the Norman Conquest, London, Colburn & Co., 1851, 9 vols., full brown leather, 8 5/8 in. x 5 3/4 in. [$200/300]

1219. [Leather Bindings], Works of Shakespeare the Pictorial Edition, 1867, 8 volumes, gilt tooled. [$100/150]

1223. [Leather Books], Prescott’s Works, London, George Routledge & Sons, 1867, 11 vols., full brown calf, 8 5/8 in. x 5 3/4 in. [$175/250]

1227. [Leather Bindings], Waverly Novels, 19th c., 12 volumes, gilt tooled. [$150/250] 1226. [Leather Bindings], The Novels of Jane Austen, 1901, 12 vols., in 3/4 brown/green leather, 7 in. x 4 1/2 in. [$150/250]

1230. American Federal-Style Carved Mahogany Tilt-Top Candlestand, 20th c., octagonal top, feathered vasiform standard, tripod base, h. 29 1/2 in., w. 22 in., d. 15 1/2 in. [$300/500]

132

1216. [Leather Books], Milton, John. Paradise Lost. A Poem, in Twelve Books, London, Tonson and Draper, 1746, 4 vols., full leather, 5 3/8 in. x 3 3/8 in.; together with 12 misc. leather vols. [$200/300]

1220. [Leather Bindings], Shakespeare, 19th c., 8 volumes, gilt tooled. [$100/150]

1224. [Leather Bindings], George Elliot’s Works, Boston, Dana Estes & Co., c. 1887, 24 vols., 3/4 dark blue/black leather, 7 1/2 in. x 5 in. [$350/550]

1217. Fitzgerald, F. Scott. The Great Gatsby, New York, Scribner’s, 1925, first edition, first issue, dark green cloth, blind-stamped lettering on front cover, spine lettered in gilt, with all first issue points; together with a first edition, second state of Fitzgerald’s The Beautiful and Damned; no dust jackets. [$300/500]

1221. [Leather Binding], The History of England, 1810, 7 volumes, incomplete set, gilt tooled. [$100/150]

1225. [Leather Bindings], The Poetical Works and other Writings of John Keats, London, Reeves & Turner, 1883, 4 vols., 3/4 brown/green leather, 9 in. x 6 1/4 in. [$150/250]

1228. [Leather Bindings], Dicken’s Works, 1865, 6 vols., 3/4 leather bindings, 8 1/2 in. x 5 1/2 in. [$75/150] 1229. [Leather Bindings], The People’s Standard History of the United States, 1898, 6 volumes, gilt tooled. [$100/150]

1231. American Renaissance Rosewood Center Table, mid-to-late 19th c., shaped oblong top, block front frieze drawer, fluted tapered legs, shaped stretcher surmounted by a carved urn, blocked feet, casters, h. 30 in., w. 49 1/2 in., d. 28 in. [$200/400]

1234. Four French Rococo Parcel Ebonized and Carved Mahogany Balloon-Back Side Chairs, mid-19th c., floral and acanthine scrolled back, serpentine seat, cabriole legs, h. 38 in., w. 17 1/2 in., d. 18 in. [$300/500] Provenance: Schwitz Collection, Franklin, LA.

1232. Georgian-Style Inlaid Mahogany Games Table, 20th c., shaped foldover top, conforming frieze, tapered legs, h. 30 in., w. 36 in., d. 18 1/4 in. [$150/250]

1233. Pair of Louis XVI-Style Carved Giltwood Demilune Consoles, verde antico marble top, rosette-blocked frieze, tapered fluted legs, stretcher, toupie feet, h. 34 1/2 in., w. 19 in., d. 9 1/2 in. [$300/500]

Provenance: Williamson-LeBlanc Collection, Cornstalk

Provenance: Schwitz Collection, Franklin, LA.

Fence House, New Orleans.

1235. Antique Louis XV-Style Bronze-Mounted Marquetry and Kingwood Petite BombĂŠ Commode, rouge marble top, two drawers, cabriole legs, h. 35 1/2 in., w. 30 in., d 15 3/8 in. [$300/500] Provenance: Schwitz Collection, Franklin, LA.

1236. French Provincial Carved Walnut Stool, 19th c., shaped top, serpentine apron, cabriole legs, h. 13 in., w. 23 in., d. 19 1/2 in. [$200/300]

1237. Pair of Continental Gilt Bronze and Marble Lamps, 20th c., vasiform standard, h. (to socket) 18 in. [$400/600]

1238. Eighteen Antique American Brass Tie Backs, Cupid with bow and arrow design, dia. 1 1/2 in. [$150/250]

Provenance: Schwitz Collection,

Provenance: Schwitz Collection, Franklin, LA.

Franklin, LA.

1240. American Bronze and Brass Fire Fender, 19th c., frieze panels depicting harvest and geometric designs, h. 9 in., w. 61 in., d. 15 in. [$200/400]

1239. Eight Antique American Brass Tie Backs, dia. 2 1/4 in. [$150/250] Provenance: Schwitz Collection, Franklin, LA.

1241. Pair of Empire-Style Bronze-Mounted Tole Four-Light Candelabra, 20th c., electrified, h. 17 in., dia. 12 in. [$200/300]

1242. Pair of Paris Porcelain Gilt and Polychrome Table Lamps, 20th c., oblong shades, h. 24 in., w. 13 1/2 in., d. 9 1/4 in. [$200/400]

1243. American Mahogany Eight-Day Shelf Clock, c. 1870, E.N. Welch, CT, tablet of the New Orleans Opera House, h. 26 1/4 in., w. 15 1/2 in., d. 4 in. [$200/400]

1244. Patinated Metal and Tooled Leather Torchere, 20th c., h. 63 in., w. 12 in., d. 12 in. [$250/350]

Provenance: Schwitz

Collection, Franklin, LA.

Provenance: Schwitz

Collection, Franklin, LA.

Provenance: Schwitz Collection, Franklin, LA.

Additional information at www.nealauction.com

133

UPCOMING AUCTIONS Important Fall Estates Auction September 12-13, 2020 Louisiana Purchase Auction November 21-22, 2020 TM

We are especially interested in Fine American, Continental and Contemporary Paintings, Drawings, Prints and Photography • Sculpture • Period Furniture & Decorative Objects Asian Art • Lighting • Silver • Art Pottery • Historical Documents, Books, and Maps.

Neal Auction AUCTIONEERS & APPRAISERS OF ANTIQUES & FINE ART

134

4038 Magazine Street, New Orleans, LA • 504-899-5329 • www.nealauction.com • clientservices@nealauction.com 134

Buyer’s Premium: 25% of the hammer price on each lot up to and including $200,000, plus 15% of the hammer price greater than $200,000.

Neal Auction Company Neal Auction Company Neal Auction Company Neal Auction Company

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Auctioneers Appraisers Antiques Fine ArtArtArt Auctioneers Appraisers Antiques Fine Auctioneers && Appraisers of of Antiques && Fine Art Auctioneers && Appraisers of of Antiques && Fine 4038 Magazine Street, New Orleans, Louisiana 70115 4038 Magazine Street, New Orleans, Louisiana 70115 4038 Magazine Street, New Orleans, Louisiana 70115 4038 Magazine Street, New Orleans, Louisiana 70115 s &AX s WWW NEALAUCTION COM s &AX s WWW NEALAUCTION COM s &AX s WWW NEALAUCTION COM s &AX s WWW NEALAUCTION COM

Confidential Absentee / Telephone Bid Form Confidential Absentee / Telephone Bid Form Confidential Absentee / Telephone Bid Form Confidential Absentee / Telephone Bid Form

15/06M 15/06M 16/08M 15/06M 16/08M 19/10M 15/06M 20/04M

PLEASE REVIEW GUIDELINES FOR AOR BSENTEE TELEPHONE BIDDING PLEASE REVIEW GUIDELINES F ABSENTEE & TELEPHONE BIDDING PLEASE REVIEW GUIDELINES FOR BSENTEE && TELEPHONE BIDDING : : : : PLEASE REVIEW GUIDELINES FAOR ABSENTEE & TELEPHONE BIDDING 4 ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE 4ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE 4 ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE 4ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW ! LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION !LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday ! LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday !LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday prior to the auction . )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE . !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE ! LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN !LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN ! LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN !LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE

First Last First Last First Last First Last Name: _________________________ Name: ____________________________________ Company: __________________________ Name: _________________________ Name: ____________________________________ Company: __________________________ Name: _________________________ Name: ____________________________________ Company: __________________________ Name: _________________________ Name: ____________________________________ Company: __________________________ Address: ______________________________________________________________________________________________________ Address: ______________________________________________________________________________________________________ Address: ______________________________________________________________________________________________________ Address: ______________________________________________________________________________________________________ #ITY ????????????????????????????????????????????? 0ROV 3TATE ??????????????????????? 0OSTAL #ODE ???????????????? #ITY ????????????????????????????????????????????? 0ROV 3TATE ??????????????????????? 0OSTAL #ODE ???????????????? #ITY ????????????????????????????????????????????? 0ROV 3TATE ??????????????????????? 0OSTAL #ODE ???????????????? #ITY ????????????????????????????????????????????? 0ROV 3TATE 0OSTAL #ODE : ??????????????????????? : ???????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ????????????????????? Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealer Resale# ________________________________ State __________ Email: __________________________________________________ Dealers must provide Neal Auction Company with proper documentation prior to bidding. Dealers must provide Neal Auction Company with proper documentation bidding. Dealers must provide Neal Auction Company with proper documentation prior to prior bidding. Dealers must provide Neal Auction Company with proper documentation prior to to bidding.

-534 02/6)$% -534 02/6)$% : : : : -534 02/6)$% -534 02/6)$% -534 0ROVIDE: -534 0ROVIDE: -534 0ROVIDE: -534 0ROVIDE: Cash Cash Credit Cash Cash 0AYMENT Credit 0AYMENT Credit 0AYMENT 0AYMENT Credit Check Check Card Check 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? 6ISA -# $ISCOVER !MEX??????????????????????????????????????? %XP ??????? Method: Card Method: Check Card Method: Method: Card 7IRE 7IRE 7IRE 7IRE Credit Card V-code:________ Credit Card V-code:________ )& 35##%33&5, PLEASE BILL MY CARD Credit Card V-code:________ Credit Card V-code:________ )& 35##%33&5, PLEASE BILL MY CARD )& 35##%33&5, PLEASE BILL MY CARD )& 35##%33&5, PLEASE BILL MY CARD .UMBER #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ?????????????????????????? .UMBER 4O #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ?????????????????????????? .UMBER 4O 4O #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ?????????????????????????? .UMBER 4O #ALL &OR 0HONE "ID ???? ?????????????????????????? ???? ??????????????????????????

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$ESCRIPTION $ESCRIPTION $ESCRIPTION $ESCRIPTION

"ID !MOUNT OR 4ELEPHONE .O "ID !MOUNT OR 4ELEPHONE .O "ID !MOUNT OR 4ELEPHONE .O "ID !MOUNT OR 4ELEPHONE .O

I Iunderstand that Neal Auction Company undertakes execution of absentee bids as aasconvenience clients and is not responsible inadvertent failI understand that Neal Auction Company undertakes the execution of absentee a convenience for clients and is not responsible for inadvertent failI Iunderstand that Neal Auction Company undertakes the execution ofofabsentee bids as aabids convenience for clients and is not responsible forfor inadvertent failure understand that Neal Auction Company undertakes thethe execution absentee bids as convenience forfor clients and is not for inadvertent failI Iunderstand understand that Neal Auction Company undertakes the execution of absentee bids as aaconvenience convenience for clients and isresponsible not responsible for inadvertent failure understand that Neal Auction Company undertakes the execution ofabsentee absentee bids convenience for clients and is not responsible inadvertent failthat Neal Auction Company undertakes the execution of bids as aas for clients and is not responsible for inadvertent failure ure to execute or any in the execution Iread have read and agree to the â&#x20AC;&#x153;Conditions Saleâ&#x20AC;? as stated in the catalogue. understand thatthat ure to execute bids, or for any error in the bids. Iand have read and agree to the â&#x20AC;&#x153;Conditions Saleâ&#x20AC;? in the catalogue. I understand that or for any error in the of bids. IIIhave read and agree toto the ofof Saleâ&#x20AC;? asas stated instated the I understand to execute or for any error inexecution the execution of of bids. I have read and agree toâ&#x20AC;&#x153;Conditions the â&#x20AC;&#x153;Conditions of Saleâ&#x20AC;? as stated incatalogue. the catalogue. I understand toure execute bids, orbids, forbids, error inerror the ofexecution bids. I bids. have agree to the â&#x20AC;&#x153;Conditions of Saleâ&#x20AC;? as of stated inas the catalogue. I understand thatthat toure execute bids, orany forfor any error inexecution the execution ofof bids. have read and agree to the â&#x20AC;&#x153;Conditions ofof Saleâ&#x20AC;? as stated in the catalogue. understand that to execute bids, any error in the execution of bids. have read and agree the â&#x20AC;&#x153;Conditions Saleâ&#x20AC;? stated in the catalogue. III understand that a aabuyerâ&#x20AC;&#x2122;s premium will be charged each lot purchased at 22% up to and including $200,000 plus 10% of hammer price greater than $200,000. ForFor apremium buyerâ&#x20AC;&#x2122;s premium will be charged on lot purchased at 22% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For buyerâ&#x20AC;&#x2122;s premium will be charged onon each loteach purchased at 25% 22% up toup and including $200,000 plus 10% of the price greater than $200,000. For abuyerâ&#x20AC;&#x2122;s buyerâ&#x20AC;&#x2122;s premium will be charged on each lot purchased at25% 22% up toincluding and including $200,000 plus 10% of the hammer price greater than $200,000. aabuyerâ&#x20AC;&#x2122;s will be charged on each lot purchased at up to and $200,000 plus 10% of thethe hammer price greater than $200,000. For buyerâ&#x20AC;&#x2122;s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% ofhammer the hammer price greater than $200,000. For premium will be charged on each lot purchased at to and including $200,000 plus 15% of the hammer price greater than $200,000. For purchase made by cash, check or wire transfer within 15 days of the auction, buyerâ&#x20AC;&#x2122;s premium shall be discounted of 22%. No exceptions. purchase by cash, or wire transfer within 15 days of the auction, the buyerâ&#x20AC;&#x2122;s premium be discounted 2.5% of this No exceptions. purchase made bymade cash, check orcheck wire transfer within 15 days of the auction, thethe buyerâ&#x20AC;&#x2122;s premium shall beshall discounted 2.5% ofthis this 22%. No22%. exceptions. purchase made cash, check orwire wire transfer within 15 days of the auction, the buyerâ&#x20AC;&#x2122;s premium shall be discounted 2.5% of this 22%. No exceptions. purchase made by cash, check or wire transfer within 15 days of the auction, the buyerâ&#x20AC;&#x2122;s premium shall be discounted 3%2.5% of3% 25%. No exceptions. purchase made byby cash, check or wire transfer within 15 days of the auction, the buyerâ&#x20AC;&#x2122;s premium shall be discounted 3% ofthis this 25%. No exceptions. purchase made by cash, check or transfer within 15 days of the auction, the buyerâ&#x20AC;&#x2122;s premium shall be discounted of this 25%. No exceptions.

Signature Required Signature Required Signature Required Signature Required

Date Date Date Date

Internal Use Only: Approved _____________Registered ___________ Entered ____________ Fax Form on or before Friday, 1/31/15 For Internal Use Only: Approved _____________Registered ___________ Entered ____________ Fax Fax Form on or before Friday, 1/31/15 ForFor Internal Use Only: Approved _____________Registered ___________ Entered ____________ Form on or before Friday, 1/31/15 For Internal Use Only: Approved _____________Registered ___________ Entered ____________ Fax Form on or before Friday, 1/31/15 Fax Form on or Friday,6/26/15 Fax Form on or Friday,6/26/15 Fax Form on or before Friday, 9/23/16 Fax Form on or Friday,6/26/15 Fax Form on or before Friday, 9/23/16 Fax Fax or E-mail Form form on or on or before Friday,6/26/15 Thursday, 2/6/20 6/11/20 Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________

to 504-617-6431 504-617-9990 to 504-617-6431 or504-617-9990 504-617-9990 504-617-6431 504-617-9990 toto 504-617-6431 or 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 or 504-617-9990 to 504-617-6431 oror 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 or to to 504-617-6431 504-617-6431 or bids@nealauction.com 504-617-9990

229 229 229 229

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PLEASE VISIT NEALAUCTION.COM TO REQUEST AND VIEW CONDITION REPORTS, REGISTER TO BID LIVE ONLINE, AND SUBMIT ABSENTEE/TELEPHONE BIDS CONDITIONS OF SALE; WAIVERS OF WARRANTY; LIMITATIONS OF LIABILITY Registering for and/or placing a bid at auction constitutes the acceptance of and agreement to these Conditions of Sale; WAIVERS OF WARRANTY; and LIMITATIONS OF LIABILITY (collectively, the “Conditions of Sale”). These Conditions of Sale are binding and enforceable on all bidders and buyers. 1. WARRANTY WAIVERS; LIABILITY LIMITATIONS. All lots are sold “AS IS, WHERE IS” – WITH ALL FAULTS and WITH NO EXPRESS OR IMPLIED WARRANTIES. No statement or description regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, value, size, or quality of a lot, whether made orally at the auction or at any other time, in electronic messages, online, in writing, or in a catalogue, website, correspondence, advertising, literature, or elsewhere, is or shall be construed to be a guarantee, an express or implied warranty, or assumption of liability, obligation, or responsibility. The bidder or buyer WAIVES any such warranty, WAIVES any warranty of fitness for ordinary use or for any intended use, and further WAIVES any warranty against redhibitory vices and defects, whether latent, hidden, or apparent, and whether imposed by the Louisiana Civil Code or any other applicable statute, law, jurisprudence, or legal authority. The buyer further WAIVES any rights or remedies in redhibition to a return or reduction of the purchase price for any lot, including for any lot with any defect rendering the lot useless, inconvenient, or of diminished usefulness. All sales are final, without exception.

Each bidder and buyer agrees and acknowledges that: (a) the bidder or buyer is not relying on Neal Auction Company’s actual, perceived, or expressed skill, expertise, experience, knowledge, or judgment in deciding to purchase any lot; (b) no oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value is the cause of or reason behind the buyer’s purchase of any lot; (c) the buyer would have purchased any lot regardless of any oral, written, or electronic statement or description about attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value, made in a catalogue, website, correspondence, advertising, literature, or elsewhere; (d) Neal Auction Company did not know, nor should it have known that attribution, authenticity, authorship, character, condition, kind, period, provenance, size, quality, or expressed value is the cause or reason why the buyer decides to purchase any lot; (e) the buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; (f) Neal Auction Company did not know, nor should it have known, that any oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere would cause a pecuniary or nonpecuniary loss to any bidder or buyer; (g) the bidder or buyer has had the opportunity prior to bidding to make independent inspections of, and conduct due diligence on, all lots being offered; (h) there is no inspection or examination period after the auction bidding; (i) the bidder’s or buyer’s failure to be fully informed as to the attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value of a lot will not be grounds for any reduction of the purchase price or rescission of the sale; (j) Neal Auction Company shall not be liable, obligated, or responsible for the presence of lead-based paint or any other environmental or other hazard of any lot; (k) Neal Auction Company shall not be liable, obligated, or responsible to the buyer as to third parties who may claims rights to or interests in any lot; (l) the buyer is buying at the buyer’s sole risk and peril; (m) Neal Auction Company shall not be liable, obligated, or responsible for any errors or omissions in any oral, written or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere. Each bidder and buyer WAIVES and RELEASES any and all claims arising out of the matters expressed above. All such waivers, releases, and limitations of liability shall apply to Neal Auction Company and its owners, officers, directors, representatives, insurers, agents, and employees. 2. Fine Art. Subject to the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, with respect to authorship of works of fine art, the following phrases have the following meanings: ARTIST - In our qualified opinion, we believe the work is by the artist named.

Attributed to ARTIST - In our qualified opinion, we believe the work may be ascribed to the artist named on the basis of style and period, but our opinion is less certain than in the previous category. Signed “ARTIST” - In our qualified opinion, the signature, monogram, or other indication of authorship is a signature of the artist. School of ARTIST - In our qualified opinion, the work is of the period of the artist named, by a student or a follower of the artist, but not by the artist.

Manner of ARTIST - In our qualified opinion, although the work is in the style of the artist named, it is actually of a later period. After ARTIST - In our qualified opinion, the work is a copy of a known work of the artist named.

Bears signature “ARTIST” - In our qualified opinion, although the work bears the signature or monogram of the artist, the work most likely is not that of the artist. 3. Discretionary Rescission. Notwithstanding the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale of a work of fine art on the basis of authenticity of authorship only under the following terms, conditions, and LIMITATIONS OF LIABILITY, all of which apply, and the buyer WAIVES and RELEASES any other rights, relief or remedies: A. Neal Auction Company shall not grant rescission of any lot identified by the terms “attributed to,” “signed,” “school of,” “manner of,” “after,” or “bears signature.” B. Neal Auction Company shall not grant rescission of any lot unless the buyer notifies Neal Auction Company in writing within 25 calendar days from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale. C. Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written document signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery. D. Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the original buyer, and any rights or interests of the original buyer are not transferrable, inheritable, or assignable. E. Neal Auction Company shall not grant rescission when: (a) there is a conflict of expert opinion as to the authorship; (b) expert opinion supported authorship at the time of auction, although expert opinion may have changed afterward; and (c) scientific or other tests, examinations, investigations, research, or processes that were unavailable, expensive, or impractical at the time of the auction have revealed since that time that the author, character, condition, kind, provenance, period, quality, or value Neal Auction Company believed to be accurate at the time of sale was inaccurate. In any dispute between Neal Auction Company and the bidder or buyer regarding authorship of a work of fine art, rescission of the sale and refund of the purchase price paid shall be the buyer’s sole recourse or remedy, if

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any is available. Neal Auction Company (and its owners, officers, directors, representatives, agents, insurers, and employees) shall not be liable, obligated, or responsible for any damages (including compensatory, general, incidental, consequential, exemplary, or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorneys’ fees, or any other monetary, declaratory, equitable, or injunctive relief or remedy. The buyer WAIVES and RELEASES any and all such damages, relief, and remedies. AUCTION BIDDING AND SALE 1. The auctioneer shall have absolute discretion in determining the highest and best bid on each lot. The auctioneer may decide that any original bid is not commensurate with the value of the lot offered, or that any advance thereafter is not of sufficient amount, and the auctioneer may reject or refuse to recognize that bid or advance.

2. At the fall of the auctioneer’s hammer, the bidder acknowledged by the auctioneer, whether in person or absentee, thereupon assumes the obligation to pay for the offered lot, and shall pay the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs. 3. Title to the offered lot shall pass to the bidder acknowledged by the auctioneer upon payment of the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs. The buyer thereupon assumes full risk, obligation, and responsibility for the lot. 4. At any time before the sale of a lot, Neal Auction Company reserves the right to withdraw the lot or any part of the lot, to combine lots, or to separate items within a lot. 5.

No lots will be released before the end of the auction.

6. If the buyer fails to comply with any of these Conditions of Sale, Neal Auction Company reserves the right to (a) hold such defaulting buyer liable, obligated, and responsible for the total amount due and to commence legal proceedings to recover the entire amount along with interest, reasonable attorneys’ fees, expenses, and costs; (b) charge outstanding amounts to the buyer’s credit card; (c) apply any payments to outstanding amounts chosen by Neal Auction Company notwithstanding the instructions of the buyer; (d) cancel the sale, retaining as liquidated damages any payment made by the buyer; (e) resell the lot without reserve at public auction, online-only auction, or privately on seven calendar days’ notice to the buyer; (f) enforce specific performance of the sale; (g) require a deposit in future auctions; (h) exclude the buyer from future auctions or bidding on particular lots; (i) exercise the rights and remedies of a person holding security and/or privilege over property in Neal Auction Company’s possession, whether by pledge, security interest or any other mechanism, to the full extent allowed under Louisiana law, and Neal Auction Company may hold the property of the buyer as collateral security for the buyer’s obligations; (j) and/or take such other actions allowed by law in Neal Auction Company’s sole discretion. If Neal Auction Company resells the lot, the defaulting buyer shall be liable, obligated, and responsible for the payment of any deficiency in the purchase price and any damages, including but not limited to all costs and expenses of both sales, such as, by way of example only, storage, handling, insurance, repairs, illustrations, consultations, examinations, moving, shipping, promotions, advertising, reasonable attorneys’ fees, commissions, and incidental damages.

7. Virtually all lots offered have been subject to use over a considerable period of time. No mention of cracks, scratches, chips, tears, breaks, weaknesses, or any damages or wear will be included in oral, written, or electronic statements or descriptions in the catalogue, website, correspondence, advertising, or literature. Condition reports may be provided upon request, but condition reports may not mention all cracks, scratches, chips, defects, hazards, tears, breaks, weaknesses, or other damages or wear. Neal Auction Company makes no representations or warranties as to the accuracy or completeness of any information or description in a condition report or elsewhere, whether oral, written, electronic, or online. Neal Auction Company reserves the right to decline to provide a condition report for any specific lot, at its sole discretion. 8. Neither high nor low estimates in a catalogue, website, advertising, correspondence, literature, or elsewhere should be relied on as a representation, prediction, appraisal, guarantee, or warranty that a particular lot will sell for a particular price or that a particular lot has a particular value.

9. Neal Auction Company has absolute discretion to admit a bidder to the auction premises, to expel a bidder from the auction premises, or to refuse a bidder from participating in the auction. 10. Neal Auction Company and its auctioneers shall not be liable, obligated, or responsible for failure to recognize or execute any bids for any reason whatsoever, or for no reason. Bidders and buyers WAIVE and RELEASE any rights to damages, and equitable, declaratory, and injunctive relief arising out of the failure or rejection of any bid, or any errors or omissions relating to the bidding process. 11.

Interfering with the auction in any way is prohibited.

13.

Canvassing or solicitating on the auction premises is prohibited.

12. Bid rigging is strictly prohibited. Any agreement, understanding, or arrangement not to bid against another or otherwise to dampen the bidding is unlawful. The auctioneer reserves the right to bid on behalf of the consignor for the protection of the consignor if this illegal activity by two or more bidders is detected, disclosed, alleged, or suspected. 14. The auctioneer has the sole discretion as to the increments of bidding, the recognition of any bid, the acceptance of the final bid, and resolving any disputes among bidders.

15. Neal Auction Company represents the consignors only and is not acting as agent or representative of bidders or buyers. The payment of the buyer’s premium by the buyer does not indicate a dual agency relationship. Neal Auction Company is to be paid a fee or commission by the consignor pursuant to a separate written agreement between the consignor and Neal Auction Company. The consignor is the seller of the lot sold. Neal Auction Company is the consignment agent or representative, not the seller. 16. The successful bidder is obligated to pay the purchase price in full unless Neal Auction Company has consented in writing at the time of the bidder’s registration that the bidder is acting as an agent on behalf of an identified person and that said principal is obligated to pay the purchase price in full. Neal Auction Company reserves the right to require an advance deposit for such bids.

17. Prior to placing any bid, all bidders must complete a standard Neal Auction Company Registration Form in use at the time of the auction. 18.

Dealers must provide Neal Auction Company with proper documentation prior to bidding.

20.

Bids are required to be made in U.S. dollars.

19.

First time bidders are required to produce a valid state-issued identification card or passport.

21. Neal Auction Company may require a bidder or buyer at any time to produce financial, banking, or trade references and information.

22. All bidders are required to provide credit card information (such as but not limited to the type of card, card number, name as it appears on the card, billing zip code, expiration date, and security code).

23. All bidders are required to select, and notify Neal Auction Company of, a method of payment (cash, check, wire, or credit card) in writing at the time of registration. 24. Neal Auction Company reserves the right to describe or to make photographic, video, or audio recordings of the auction, or any part thereof, and to publish such descriptions, photographs and/or recordings.

25. Lots may be offered subject to a reserve, which is the confidential minimum hammer price below which the lot will not be sold, for the protection of the consignor. Such reserve will not exceed the low estimate for the lot. The auctioneer may open the bidding on any lot by placing a bid on behalf of the consignor, auctioneer, or an absentee bidder that is below the reserve. The auctioneer may continue to bid on behalf of the consignor, auctioneer, or absentee bidder up to the amount of the reserve, by placing consecutive bids or by bidding in response to other bidders. Neal Auction Company may sell a lot at a hammer price below the reserve at its discretion, subject to its agreement with the consignor. ABSENTEE/TELEPHONE/ONLINE BIDS 1. All absentee bids and/or telephone bids must be received by Neal Auction Company by 5 p.m. Central Time the Thursday prior to the auction. 2. All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at the discretion of Neal Auction Company. Each lot must have a minimum low estimate of $500 for telephone bidding. Absentee bids are accepted for any lots regardless of estimate, at the discretion of Neal Auction Company.

3. Neal Auction Company intends to endeavor to protect the confidentiality of absentee/telephone bids. In the event that the identity of absentee/telephone bidders or buyers or of the amounts of absentee/ telephone bids is disclosed, Neal Auction Company shall not be liable, obligated, or responsible for such disclosure, and each bidder and buyer WAIVES and RELEASES Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any claims arising out of such disclosure. 4. Neal Auction Company reserves the right, in its sole discretion, to require that any advance bids be accompanied by a security deposit.

5. Neal Auction Company shall not be liable, obligated, or responsible for any failure, design flaw, error, act, omission, or negligence of third party sites or their agents. Bidders WAIVE and RELEASE any rights to damages and equitable, declaratory, and injunctive relief and remedies arising therefrom.

HANDLING AND STORAGE

Unless other arrangements are made and confirmed in writing by Neal Auction Company, all lots must be removed within 15 calendar days of the auction. On the first business day following that time period, any lots remaining in the Neal Auction Company gallery may be turned over to a storage facility, at Neal Auction Company’s discretion. The buyer will be responsible for all handling and storage charges. Handling charges shall be a minimum of $50 per lot. Storage costs shall be a minimum charge of $50 per month per lot. Storage charges accrue monthly and must be paid in full before any lots purchased by the buyer are released. At its discretion, Neal Auction Company may charge the full amount of any storage and handling charges, on a periodic basis, on the buyer’s credit card, including interest at the rate of one and one-half percent per month.

All purchased lots will be handled and stored at the buyer’s sole risk and peril. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for handling or storage, or for any damage to or loss of, any lot after the sale. The buyer WAIVES and RELEASES all such claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees). INTELLECTUAL PROPERTY RIGHTS

Neal Auction Company retains the copyright and other intellectual property rights to all photographs, video, illustrations, text, and other works in its catalogue, website, advertising, correspondence, literature, and elsewhere. Such photographs, video, illustrations, text, and other works may not be used, copied, published, exhibited, revised, or displayed without the prior written permission of Neal Auction Company. Neal Auction Company and the consignor make no representation or warranty that the buyer of a lot will acquire any copyright or other intellectual property right or interest in the lot. IMPORT/EXPORT

9. Neal Auction Company reserves the right to record any telephone bidding or conversation relating to said bidding, or any part thereof, and to publish said recordings. By participating in telephone bidding, the bidder consents to such recording and publication, notwithstanding the laws or regulations of the state or jurisdiction of the bidder.

Lots made of or incorporating endangered or protected wildlife materials, irrespective of age or amount of material, may require a license or certificate authorizing export from the United States as well as relevant authorizations from the country of import. It is the responsibility of the bidder or buyer to determine and be satisfied that the requirements of any applicable laws and regulations applying to the transportation, whether international or interstate, can be met before bidding. The inability of a buyer to transport lots containing endangered or protected wildlife material is not a basis for cancellation or rescission of the sale or discount of the purchase price. Although licenses may be obtainable to export certain types of endangered species, some types may not be exported at all, and other types may not be resold in certain states in the United States. Neal Auction Company cannot assist the bidder or buyer in attempting to obtain the appropriate licenses and/or certificates, and bidders and buyers can be given no assurance that an export license or certificate can be obtained. Each bidder should verify with an attorney or qualified shipping company if uncertain as to whether a lot is subject to export/import license and certificate requirements and any other restrictions or prohibitions on the interstate transportation or exportation from the United States. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for any oral, written, or electronic advice given or representations made by it or by any shipping company, legal counsel, or other person. Buyers WAIVE and RELEASE any and all claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) relating to such advice and representations.

PAYMENT

MANDATORY AND EXCLUSIVE FORUM SELECTION; CHOICE OF LAW

6. Prior to placing any absentee, telephone, or online bid, all bidders are required to complete the applicable Registration Form prior to such bidding.

7. In the event of ambiguity, uncertainty, or discrepancy, the lot number and not the lot description on any bid will be deemed to be the lot on which the bid is made.

8. If more than one absentee bid on a particular lot is received with the same maximum bid amount, and that bid amount is the highest and best bid for the lot, the lot will be sold to the bidder whose absentee bid was accepted first by Neal Auction Company after receiving it. If a bid placed on a lot by a bidder who is physically present at the auction is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is physically present at the auction. If a bid placed on a lot by a bidder who is present at the auction (in person or by telephone) is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is present at the auction (in person or by telephone).

1. The successful bidder (except a successful online bidder) shall pay a buyer’s premium in the amount of 25% of the hammer price on each lot up to and including $200,000, plus 15% of the hammer price greater than $200,000. For payments made by cash, check, or wire transfer (except by online bidders) within 15 calendar days of the auction, the buyer’s premium will be discounted to 22%. 2. The successful online bidder shall pay a buyer’s premium in the amount of 28% of the hammer price on each lot. A discount for payments made by cash, check, or wire transfer is not available for purchases made by online bidders. 3.

In the event of any dispute, the Neal Auction Company sale record is conclusive.

4. Unless exempt by law, the buyer will be required to pay Louisiana and local taxes, and, if applicable, any federal luxury or other tax, on the total purchase price. 5. Documentation of tax exemption must be provided upon registration. Billing name and address of a bidder must agree with that on the sales tax exemption certificate. 6. Payment in full of the purchase price must be made by the successful bidder in U.S. Dollars within 15 calendar days of the auction. Interest charges of one and one-half percent per month shall apply to invoices paid after this period expires. Neal Auction Company reserves the right to require payment in full of the purchase price immediately following declaration of the successful bidder. 7. Payment for all jewelry purchases must be made by cash, check or wire transfer.

8. VISA, MasterCard, Discover, and American Express are accepted for payment of invoices (except jewelry) up to $25,000 per buyer. 9. Checks must be drawn on a U.S. bank. All lots shall be held by Neal Auction Company until the check clears.

10. The buyer’s signature on a registration form (or other writing with the buyer’s credit card number) gives Neal Auction Company permission to charge the buyer’s credit card the full amount of the buyer’s invoice if full payment is not received within 15 calendar days of the auction or, in Neal Auction Company’s discretion, to charge the buyer’s credit card later, with interest at the rate of one and one-half percent per month. PACKING, MOVING, SHIPPING, AND DELIVERY

Neal Auction Company may furnish information on packers, movers, or shippers for bidders or buyers making packing, moving, shipping, and delivery arrangements, but Neal Auction Company shall not be liable, obligated, or responsible therefore, and buyers retain packers, movers, and shippers at their own risk and peril. Shipping, moving, packing, and delivery arrangements and agreements are strictly between the buyer and the shipper, mover, or packer. Neal Auction Company shall not be liable, obligated, or responsible for any damage to property, including vehicles, or for any personal injuries of buyer or any third parties involved in packing, moving, shipping, or delivery. Buyers WAIVE and RELEASE Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any and all claims relating to packing, moving, shipping, and delivery of purchased lots, and any damage or injuries to persons or property arising therefrom.

Any action of any nature brought by a bidder or buyer against Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot in any court, whether federal or state, shall be brought exclusively in Orleans Parish, Louisiana. Every bidder and buyer agrees to submit to jurisdiction and venue in federal or state court in Orleans Parish, Louisiana, waives all objections or challenges to such jurisdiction or venue, and waives any rights to jurisdiction or venue in any other forum. Any dispute between the bidder or buyer and Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot shall be governed by the law of the State of Louisiana, notwithstanding any conflicts of laws principles. MISCELLANEOUS LEGAL PROVISIONS

If any part of these Conditions of Sale is held to be invalid, null, or unenforceable, that part shall be reformed so as to implement the intent of the parties as expressed herein, and any such holding shall not affect the remaining provisions of these Conditions of Sale, which shall remain in full force and effect, subject to reformation to implement the intent of the parties as expressed herein. The paragraph headings contained herein are for convenience of reference only and shall not affect the meaning or interpretation of these Conditions of Sale. All prior and contemporaneous representations, communications, and agreements, if any, between the bidder or buyer and Neal Auction Company (and any of its owners, officers, directors, representatives, insurers, agents, and employees) relating to any of the lots offered for sale or to the auction or sale are hereby superseded and merged into these Conditions of Sale, which are the entire and only contract between the bidder or buyer and Neal Auction Company relating to the subject matter herein. Any modifications, amendments, or waivers of these Conditions of Sale must be made in a writing signed by both Neal Auction Company and the bidder or buyer. In the event of any disputes arising out of the auction or sale of lots or these Conditions of Sale, Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated or responsible for any general, special, exemplary, incidental, or consequential damages (including but not limited to lost profits and attorneys’ fees). Every bidder and buyer WAIVES and RELEASES any rights to such damages. This LIMITATION OF LIABILITY does not, and is not intended to, enlarge or expand any rights or interests of a bidder or buyer that are restricted or limited elsewhere in these Conditions of Sale (including but not limited to the WARRANTY WAIVERS and LIABILITY LIMITATIONS set forth herein). These Conditions of Sale constitute a binding legal contract between Neal Auction Company and each bidder or buyer. Each bidder and buyer acknowledges having read and understood these Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY. All bidders and buyers further acknowledge that they enter into these Conditions of Sale of their own free will, with full authority, and under no duress or coercion.

137

February 8 & 9, 2020 â&#x20AC;¢ Auction Results 138

0001 - 768 0002 - 384 0003 - 1152 0006 - 640 0007 - 1952 0008 - 671 0009 - 1920 0010 - 610 0012 - 625 0013 - 875 0014 - 437 0015 - 4125 0016 - 3625 0018 - 2196 0019 - 4480 0020 - 1625 0021 - 976 0023 - 366 0025 - 512 0026 - 732 0027 - 1152 0029 - 512 0031 - 2560 0033 - 2048 0036 - 1342 0037 - 1625 0039 - 1250 0040 - 4026 0041 - 896 0042 - 1830 0043 - 1500 0046 - 1152 0047 - 4480 0048 - 5937 0049 - 5120 0051 - 5120 0052 - 3200 0054 - 7680 0057 - 1792 0059 - 1280 0060 - 1280 0061 - 1792 0062 - 1280 0063 - 960 0064 - 1586 0065 - 1464 0066 - 3072 0067 - 549 0068 - 1342 0069 - 384 0070 - 576 0071 - 42700 0072 - 976 0073 - 854 0074 - 512 0075 - 610 0076 - 2048 0077 - 2500 0078 - 2806 0079 - 2304 0081 - 896 0082 - 1098 0083 - 1098 0084 - 1024 0085 - 1098 0086 - 1280 0087 - 1250 0088 - 1792 0090 - 2432 0091 - 732 0092 - 768 0093 - 488 0094 - 1152 0095 - 832 0096 - 2125 0097 - 625 0101 - 1125 0102 - 488 0103 - 1098 0105 - 39650 0108 - 54900 0109 - 3750

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0415 - 896 0416 - 610 0418 - 5312 0420 - 1464 0421 - 312 0423 - 1708 0424 - 732 0425 - 1920 0429 - 610 0430 - 854 0431 - 1220 0432 - 1024 0435 - 512 0436 - 3200 0437 - 1920 0438 - 250 0439 - 384 0440 - 448 0441 - 128 0442 - 704 0443 - 610 0444 - 976 0445 - 512 0446 - 640 0448 - 305 0449 - 1062 0450 - 896 0451 - 1220 0453 - 512 0454 - 1159 0455 - 671 0457 - 2000 0460 - 366 0467 - 437 0469 - 625 0470 - 812 0472 - 1708 0473 - 1220 0474 - 1024 0475 - 1792 0476 - 250 0478 - 437 0479 - 375 0480 - 2074 0481 - 625 0482 - 549 0483 - 562 0484 - 256 0485 - 704 0488 - 256 0489 - 732 0491 - 625 0492 - 500 0496 - 256 0497 - 384 0498 - 448 0499 - 192 0500 - 256 0501 - 183 0502 - 366 0507 - 427 0508 - 250 0509 - 1586 0510 - 250 0511 - 1024 0512 - 512 0513 - 427 0514 - 549

0515 - 427 0516 - 488 0517 - 488 0518 - 671 0519 - 305 0520 - 244 0521 - 366 0522 - 312 0523 - 2318 0524 - 854 0525 - 915 0526 - 1464 0527 - 915 0528 - 854

0529 - 2806 0530 - 4270 0531 - 1708 0532 - 1408 0533 - 244 0534 - 2440 0535 - 512 0537 - 256 0538 - 1830 0539 - 5490 0540 - 610 0541 - 610 0544 - 793 0546 - 793 0548 - 384 0549 - 416 0551 - 488 0552 - 640 0553 - 488 0555 - 4880 0556 - 1586 0558 - 793 0559 - 13420 0560 - 915 0561 - 305 0562 - 366 0563 - 610 0564 - 549 0565 - 427 0566 - 1220 0568 - 305 0571 - 305 0572 - 320 0573 - 2318 0574 - 256 0575 - 4375 0576 - 976 0580 - 384 0581 - 1464 0582 - 1408 0583 - 976 0584 - 1220 0586 - 732 0587 - 704 0588 - 4880 0589 - 1464 0590 - 244 0596 - 976 0597 - 244 0598 - 384 0599 - 976 0602 - 1220 0603 - 1280 0604 - 640 0605 - 1037 0608 - 976 0610 - 1664 0611 - 1152 0612 - 896 0613 - 305 0614 - 2806 0616 - 1536 0617 - 610 0623 - 480 0624 - 384 0627 - 610 0628 - 518 0631 - 427 0632 - 152 0633 - 480 0641 - 793 0647 - 244 0648 - 256 0649 - 288 0650 - 305 0651 - 793 0653 - 1586 0655 - 488 0657 - 1220 0659 - 671 0660 - 427 0661 - 288

0662 - 146 0665 - 244 0666 - 396 0667 - 396 0668 - 416 0669 - 335 0670 - 366 0671 - 274 0672 - 183 0674 - 183 0675 - 274 0676 - 244 0677 - 183 0679 - 183 0680 - 122 0684 - 549 0686 - 593 0687 - 960 0688 - 288 0689 - 320 0690 - 160 0691 - 512 0692 - 1408 0693 - 250 0694 - 915 0695 - 192 0696 - 183 0697 - 320 0698 - 457 0699 - 687 0700 - 224 0701 - 732 0702 - 128 0703 - 187 0704 - 250 0705 - 250 0706 - 562 0707 - 625 0708 - 500 0709 - 320 0710 - 250 0711 - 512 0712 - 250 0713 - 125 0714 - 1216 0715 - 793 0716 - 1464 0717 - 2196 0718 - 250 0719 - 2440 0720 - 3904 0721 - 896 0722 - 671 0723 - 305 0726 - 305 0727 - 576 0728 - 256 0730 - 320 0731 - 122 0732 - 122 0733 - 244 0734 - 549 0736 - 384 0737 - 625 0738 - 427 0739 - 256 0740 - 128 0741 - 366 0742 - 875 0743 - 288 0744 - 416 0745 - 640 0746 - 960 0747 - 732 0749 - 192 0750 - 448 0751 - 1159 0753 - 1088 0754 - 812 0755 - 2125 0756 - 2074 0757 - 1152

0758 - 1098 0759 - 896 0760 - 2684 0761 - 1216 0762 - 427 0763 - 610 0764 - 625 0765 - 500 0766 - 1024 0767 - 854 0769 - 406 0770 - 396 0771 - 305 0772 - 793 0773 - 1342 0775 - 250 0776 - 1708 0777 - 915 0780 - 1708 0781 - 1000 0782 - 1625 0783 - 250 0784 - 305 0785 - 960 0786 - 305 0787 - 2560 0788 - 1220 0789 - 500 0790 - 500 0791 - 256 0792 - 4160 0794 - 437 0797 - 244 0799 - 1792 0800 - 244 0801 - 183 0802 - 305 0803 - 1536 0804 - 396 0805 - 448 0807 - 1125 0808 - 625 0810 - 1250 0811 - 625 0812 - 366 0813 - 256 0814 - 1125 0814A - 896 0815 - 256 0816 - 875 0817 - 671 0818 - 2074 0821 - 896 0823 - 640 0824 - 1500 0825 - 1152 0826 - 288 0828 - 544 0829 - 320 0830 - 1830 0831 - 3660 0833 - 488 0834 - 244 0836 - 549 0837 - 2048 0838 - 1220 0841 - 4575 0842 - 1159 0843 - 854 0844 - 2318 0845 - 976 0846 - 375 0847 - 3660 0848 - 366 0851 - 960 0852 - 1664 0853 - 4270 0854 - 625 0855 - 576 0857 - 488 0858 - 366 0859 - 768

0860 - 1250 0861 - 915 0862 - 2684 0864 - 976 0865 - 512 0868 - 750 0869 - 640 0870 - 1220 0872 - 1280 0873 - 960 0875 - 704 0876 - 793 0877 - 1000 0878 - 549 0879 - 192 0880 - 3904 0881 - 2688 0882 - 384 0883 - 7680 0884 - 416 0885 - 128 0886 - 2074 0887 - 576 0888 - 250 0890 - 244 0891 - 192 0892 - 256 0893 - 256 0895 - 192 0896 - 244 0897 - 704 0898 - 1536 0899 - 366 0900 - 312 0902 - 320 0903 - 320 0904 - 192 0907 - 256 0908 - 305 0909 - 250 0910 - 384 0911 - 1586 0912 - 125 0913 - 250 0914 - 854 0915 - 183 0916 - 122 0917 - 250 0918 - 610 0919 - 183 0920 - 793 0921 - 562 0922 - 128 0924 - 305 0925 - 122 0926 - 125 0927 - 1280 0928 - 256 0929 - 854 0930 - 793 0933 - 1875 0934 - 704 0935 - 2560 0937 - 732 0938 - 750 0940 - 250 0942 - 1750 0943 - 732 0944 - 488 0945 - 512 0946 - 1098 0947 - 2196 0948 - 1098 0949 - 384 0950 - 640 0951 - 366 0952 - 576 0954 - 375 0955 - 384 0958 - 562 0959 - 312 0960 - 448

0961 - 1664 0962 - 512 0963 - 305 0964 - 768 0965 - 1088 0966 - 256 0967 - 256 0968 - 256 0969 - 366 0970 - 448 0971 - 625 0972 - 320 0973 - 448 0974 - 976 0975 - 375 0976 - 384 0977 - 427 0978 - 384 0979 - 512 0980 - 256 0981 - 875 0982 - 192 0983 - 1875 0984 - 488 0986 - 2176 0987 - 1342 0988 - 640 0989 - 1125 0991 - 610 0992 - 1586 0993 - 1625 0995 - 1830 0996 - 2375 0998 - 1024 1000 - 384 1002 - 976 1003 - 732 1004 - 427 1005 - 427 1006 - 427 1007 - 187 1008 - 1952 1009 - 610 1010 - 854 1011 - 2560 1012 - 1280 1015 - 1586 1016 - 256 1017 - 1342 1018 - 1562 1019 - 488 1020 - 244 1021 - 704 1022 - 312 1023 - 5002 1025 - 1024 1026 - 3660 1027 - 3965

1029 - 1098 1030 - 427 1031 - 375 1032 - 375 1033 - 244 1034 - 732 1035 - 488 1036 - 500 1040 - 375 1042 - 512 1043 - 512 1044 - 625 1045 - 500 1046 - 448 1047 - 640 1049 - 320 1051 - 256 1052 - 366 1053 - 488 1055 - 448 1056 - 312 1057 - 427 1058 - 250 1059 - 854

1060 - 320 1061 - 610 1062 - 256 1063 - 427 1064 - 488 1065 - 192 1066 - 2440 1067 - 732 1068 - 250 1069 - 320 1070 - 192 1072 - 187 1073 - 488 1075 - 244 1076 - 732 1079 - 256 1080 - 250 1081 - 187 1082 - 976 1083 - 500 1085 - 183 1086 - 512 1087 - 384 1090 - 274 1091 - 1920 1092 - 274 1093 - 427 1094 - 256 1095 - 544 1096 - 183 1097 - 671 1098 - 152 1099 - 244 1100 - 305 1102 - 488 1103 - 793 1104 - 1952 1106 - 579 1107 - 1098 1108 - 312 1109 - 549 1110 - 244 1111 - 183 1113 - 448 1114 - 343 1116 - 768 1117 - 375 1118 - 384 1119 - 854 1120 - 549 1122 - 288 1123 - 544 1124 - 224 1125 - 518 1129 - 640 1130 - 1024 1131 - 384 1132 - 704 1133 - 384 1134 - 312 1135 - 244 1136 - 312 1137 - 960 1138 - 480 1140 - 256 1143 - 320 1144 - 976 1145 - 915 1147 - 274 1149 - 579 1150 - 192 1152 - 457 1153 - 256 1154 - 244 1155 - 312 1157 - 976

A Marie Fernande Alaux, 864, 865 Enrique Alferez, 319 Jacques Guillaume Lucien Amans, 325 American School, 936, 938, 956, 1053, 1099, 1100 Walter Inglis Anderson, 352, 369, 370 Asian School, 726, 742 John James Audubon, 312-315, 1062-1064, (aft) 1067, 1068 Luis Cruz Azaceta, 1169 B

C Debbie Fleming Caffery, 819-823 Alexander Calder, 480, 837, 838, 840 Grace Neville Carrothers, 934 Afro Celotto, 20, 21 Jose Chardiet, 4 Dale Chihuly, 209 K. Chin, 65, 66 Chinese School, 727-729 Carroll Cloar, 851 John Clymer, 756 Continental School, 424, 457, 531, 598, 755, 760, 954 Dan Corbin, 225, 226 Dennis Couvillion, 236 D

Rita Halbrook, 856 Peter Halley, 208 Betsy Burleson Harnden, 384 David Harouni, 479 Moses Harris, 1065 William Hart, 426 Colette Pope Heldner, 846 Clare Henshaw, 14, 31 Todd Hido, 215 Morris Henry Hobbs, 317, 382, 383, 877, 878 Toby Hollinghead, 1056 Jean-Antoine Houdon (aft), 304 Marie Atkinson Hull, 850 Charles Evald Hultberg, 937 Clementine Hunter, 234, 335, 371, 372, 810, 811 Alfred Hutty, 316 I Kienen Imao, 743 J Luke Jacob, 10 Christo Javacheff, 237 Bill Jonas, 229-231 K Rockwell Kent, 481 Charles Bird King (aft), 333, 1072 Alberta Kinsey, 844 Matthias Klering, 6 Ida Rittenberg Kohlmeyer, 342, 343, 346 Michelle Valborg Kondos, 889 Jeff Koons, 216 Adolph Kronengold, 867 L Edward Lear, 267 Annie Leibovitz, 218 Clare Veronica Hope Leighton, 1073 Rosie Lee Light, 945, 946 Ashley Longshore, 358 Louisiana School, 207, 373, 374, 527, 885, 888, 1055

Charles Whedon Rain, 76-79 Elmer Joseph Read, 368 Vera Reinicke, 890 Charles Parmelee Rising, 939 James “Jim” Ritchie, 1000 Mary Frances Robinson, 525 George Rodrigue, 330-332, 353, 354, 359-366, 522, 814-818 Mary Anne Sanders Ross, 870 Richard Royal, 9 Robert Malcolm Rucker, 845, 866, 875 John Michael Rysbrack (aft), 783 S Josephine Sacabo, 1170 Phillip Anthony Sage, 1172 William Schinzel, 1098 Charles Schneider, 18 David Schwarz, 13 John Tarrell Scott, 5 Frank Henry Shapleigh, 381 Pino Signoretto, 29 Aubrey Simpson, 880 Bernice Sims, 861, 942, 948 Hunt Slonem, 214, 356, 357 Beatrice Smith, 1058 Kiki Smith, 223, 224 Marshall D. Smith, 881 Frederic Soulacroix, 532 Saul Steinberg, 346A Paul Stotts, 857 Robert Striffolino, 997 Jimmie Lee Sudduth, 941, 943, 944 Joseph Swan, 1066 Frederick Oakes Sylvester, 454 T Romeo Villalva Tabuena, 521 Lino Tagliapietra, 32-38 Althea Dodson Tanner, 812, 940 Laurie Thal, 26 Emmitt Thames, 882-884, 949 Thomas Thomas, 433 Philip C. Thompson, 950 Henri de Toulouse-Lautrec (aft), 958 Fred Trenchard, 842 Gene Trindle, 220, 221 U Giuseppe Uva, 754

Cornelia Earle, 855 Monika Eaton, 7 Benjamin Edols, 8 Auguste Edouart, 809 William Eggleston, 347-351 Kathy Elliot, 8, 9 Ted Ellis, 1105 Leslie Emery, 68 Lin Emery, 340 Eva Englund, 27 Erte, 323 Elliott Erwitt, 219

Roderick Dempster MacKenzie, 887 Dante Marioni, 30 Mederic Matherne, 872, 873 John McClusky, 69, 70 Joseph Rusling Meeker, 328 James Michalopoulos, 210 Clarence Millet, 326, 874 Jules Moigniez (aft), 1104 Rocco Monticolo, 957 Elemore Morgan, Jr., 341 Ralph Mossman, 24 Mary Mullaney, 24 Anne Wells Munger, 813

Shepard Fairey, 355 Peter Falk, 836 Kelly Fearing, 520 Kit Whitsett Fields, 868 William C. “Billy” Ford, Jr., 871 Emmanuel Fremiet (aft), 322 French School, 753 Ken Frink, 233 Nestor Frugé, 876 Kyohei Fujita, 11, 12

Louise Nevelson, 482 Edmund Johann Niemann, 432 Isamu Noguchi, 140

G Simon Gate, 23 German School, 953 Alan A. Gerson, 1171 Giambologna (aft), 974 Rolland Harve Golden, 375 Tommy Goodman, 852

O Auseklis Ozols, 886 P Vincente de Garcia Paredes, 455 Pablo Picasso, 217, 336-339 Emile Louis Picault (aft), 444 Leon Pile (aft), 1028 Giovanni Battista Piranesi, 71 Jean Piron, 266 Alfred Pollentine, 431 Ernest Posey, 858 Stephen Rolfe Powell, 17

Frederick van Valkenborch (attr), 425 Victor Vasarely, 839 Jean Joseph Vaudechamp, 329 Elizabeth O’Neill Verner, 378-380 Hahn Vidal, 999 Mario Villa, 205, 1167 W William Aiken Walker, 377 Essie Treat Ward, 947 Andy Warhol, 211-213, 232 Pete Watson, 1059 Amy Weiskopf, 367 Dell Weller, 1061 Raymond A. Whyte, 72-74 Bror Anders Wikstrom, 327 James Ralph Wilcox, 1057 Karl Wolfe, 528, 849, 863 Rachel Woodman, 15 Lewis Dean Woodruff, 28 Ellsworth Woodward, 847, 1070, 1071 Peter Woytuk, 206, 227, 228

Artist Index

•

Franz Deckwitz, 67 Wayne Ditch, 1060 Alexander John Drysdale, 523, 524, 526, 859, 860 George Bauer Dunbar, 344, 345 Maggie Dunlap, 854 William Dunlap, 848, 853

June 12,13 & 14, 2020

Alvin Batiste, 1168 Gary Beecham, 1-3 Feliciano Bejar, 955 Ernest J. Bellocq (aft), 222 Robert Bénard, 951 Leonard C. Bernstein, 62 Alfonse Bini, 198 Bill Binnings, 834, 835 Norman Black, 63, 64 Laura Bodebender, 843 Stanislaw Borowski, 25 British School, 427, 599 Frederick J. Brown, 841 Linda Burgess, 869 Charles Albert Burlingame, 935

Robert Gordy, 478 John Gould, 75, 757-759 Gordon Hope Grant, 376 George Grosz, 952

Z Malcah Zeldis, 998 Guglielmo Zocchi, 456 Francisco Zúñiga, 324 Toots Zynsky, 22

139

Notes:

140

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