Winter Estates Auction - January 28 & 29, 2022

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Winter Estates Auction January 28 & 29, 2022 FEATURING: Fine Art and Antiques from the Collection of John N. Palmer, Jackson, MS Modern Art and Photography from the Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989) Part II, Collection of Rare and Important Works by Clementine Hunter from the Estate of Esther Bondio Pattini (1932-2017), New Orleans Additional Property from the Collection of Brooke and Maria Fox, Metairie, LA Asian Art from the Estate of Warren Paul Balovich, New Orleans And Property of Others

EXHIBITION

Beginning Monday, January 17, 10 a.m. to 5 p.m.

Special Saturday Preview, January 22, 10 a.m. to 5 p.m..

AUCTION

Friday, January 28, beginning at 2:00 p.m., lots 1-206 Saturday, January 29, beginning at 11:00 a.m., lots 207-595

Neal Auction Company Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 www.nealauction.com • 504-899-5329 LA Auc. Lic., Neal Auction Co. #AB-107 Leckert #1514, Carroll #1874, Fagan #1935, Robinson #A-188

SELECT ARTWORK FROM THE ESTATE OF

AMERICAN ABSTRACT EXPRESSIONIST

CORA KELLEY WARD “There are no words to describe this feeling of wholeness which blooms in me... of being open to what is before me in great painting and drawing and sculpture.”

– Cora Kelley Ward Neal Auction is honored to present a selection of artwork from the estate of American abstract expressionist Cora Kelley Ward. These lots consist of a wide range of extraordinary pieces from her personal collection, featuring both works from her close friends and contemporaries, as well as an elite selection of her own creations.

Originally from Eunice, Louisiana, Ward moved to New Orleans at the age of seventeen. She worked as a registered nurse, eventually married Dr. Simon Ward and began taking classes at Newcomb Art School. In the late 1940s, her marriage deteriorated, and Ward fled New Orleans to follow her creative dreams. She enrolled at Black Mountain College to hone her skills and learn from some of the greatest and most innovative artists of the time. She befriended and worked alongside numerous soon to be world-renowned artists and intellectuals, including the formidable and highly admired art critic, Clement Greenberg who became a close confidant. She continued her studies at the IIT Institute of Design in Chicago and eventually landed in New York in 1955.

New York at the time was the bustling apex of the contemporary art movement, and Ward had no trouble finding a place for herself, inevitably making friends with the city’s greats such as Helen Frankenthaler, Robert Frost and the aforementioned Greenberg. Ward often remained behind the scenes and behind the camera at gallery openings, documenting her influential friends in attendance through her photography. The enigmatic Ward was at the center of the dynamic 1960s New York art scene and surrounded herself with the most successful artists of the day, many of whom whose work would later grace the most hallowed of museum walls. A passionate artist in her own right, Ward’s works stylistically followed those of her more famous friends with an aesthetic all her own evident in her many experiments with a variety of media. Her role within the scene, while long forgotten and much overlooked, is nonetheless incredibly significant in a realm boasting of few women. While the art world at the time was relegated mostly to men, they found their equal in Ward. Works by artists and photographers such as Anthony Caro, Kenneth Noland, Jules Olitski, Aaron Siskind, Harry Morey Callahan and more are all featured in her collection – many of them gifts from the artist.

In March of 2021, Garden and Gun published an extensive profile of Ward written by John Ed Bradley. Through Bradley’s careful research, Ward’s place among her contemporaries was finally cemented. The items offered here from her personal collection are a further testament to her truly unique role in a pivotal moment in American art history: both an observer and participant in a dazzling and exclusive world.

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SELECT OBJECTS FROM THE COLLECTION OF JOHN N. PALMER OF JACKSON, MS. Neal Auction is pleased to present select objects from the Collection of John N. Palmer of Jackson, MS, offered here in a single owner sequence, lots 1 through 158.

Palmer, described by President George W. Bush in his announcement of Palmer’s nomination to be Ambassador of the United States to Portugal as “…a telecommunications pioneer, public servant and philanthropist”, served as Ambassador from 2001 to 2004. According to the Council of American Ambassadors, Palmer’s numerous civic leadership efforts have included board memberships for the National Trustees of the National Symphony Orchestra; the Institute for Technology Development; Ogden Museum of Southern Art; Millsaps College and as President and Director for the University of Mississippi Foundation. Palmer holds B.A. and M.B.A. degrees from the University of Mississippi and honorary degrees from Millsaps College and Tougaloo College.

The Palmer Collection, assembled over more than three decades, comprises fine Continental paintings, English and Continental antiques and decorations, as well as Asian porcelains. The objects were sourced from carriage trade purveyors and auction houses from New Orleans to New York and abroad.

This well-edited, multi-layered collection was showcased in the handsome neo-classical residence designed by noted architect Lewis Graeber, seen here in photographs by Steve Saxton.

Photos by Steve Saxton 3

Session One

Friday, January 28, 2 p.m. featuring Fine Art and Antiques from the Collection of John N. Palmer, Jackson, MS 4

1. Pair of Cast Stone Putto Garden Figures, each on a rocaille scroll, one holding sheaf of wheat, the other grapes, conforming plinths, h. 30 in., w. 29 1/2 in., d. 12 in. [$800/1200]

2. Regency Inlaid and Parcel Gilt Rosewood Center Table, c. 1825, circular banded and inlaid top, spreading support with acanthus collar, incurvate triangular plinth, paw feet, h. 29 1/2 in., dia. 50 in. [$2000/4000] Provenance: Kentshire Galleries, NY.

3. Large French Gilt Bronze-Mounted Chinese Export Imari Porcelain Centerbowl, probably 19th c., porcelain with continuous landscape with mountains, bamboo, trees, pavilions, and figures with gilt and iron red highlights, elaborate bronze foliate handles and rim, footed base with grape clusters, h. 14 in., w. 19 3/4 in., d. 16 in. [$1500/2500] Provenance: Antiques & Interiors, 1992.

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4. Fine Dutch Rococo Burl Walnut and Marquetry Automaton Tallcase Clock, early 18th c., silvered chapter ring signed “J.M. WEYGEL, AMSTELDAM”, surmounted by a figure of Atlas holding the world, flanked by trumpeting angels, the dial with calendar aperture and subsidiary sweep second hand dial; below is a painted landscape with moon phase aperture, and automaton figures on swings and seesawing on a log; the pendulum window with gilt bronze surround, on ball and claw feet, h. 112 in., w. 30 1/2 in., d. 12 in. [$7000/10000] Provenance: Dixon & Dixon, New Orleans, 1989.

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5. Édouard Léon Cortès (French, 1882-1969), “Boulevard Bonne-Nouvelle, Paris”, oil on canvas, signed lower left, titled en verso, 2 pinholes center and mid-left, “Bryant Galleries, Jackson, MS” framing label on backing paper, 18 1/4 in. x 22 in., framed with artist and title plaque. [$15000/25000] Provenance: Findlay Galleries, Inc., Chicago, IL; Private Collection; Sotheby’s, New York, Dec. 10, 1982, lot 17.

6. Édouard Léon Cortès (French, 1882-1969), “Place Vendôme, Paris”, oil on canvas, signed lower right, pinhole mid-right, “Sotheby’s, New York” auction labels on stretcher and reverse of frame, 13 in. x 18 1/4 in., framed. [$10000/15000]

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7. Elie Anatole Pavil (Russian, 1873-1948), “Pont Neuf, Paris”, oil on canvas, signed lower left, 23 3/4 in. x 32 in., framed. [$2500/3500] Provenance: Sotheby’s, New York, Dec. 10, 1982, lot 14A.

8. Reginald Marsh (American, 1898-1954), “Gardens, Paris”, 1926, oil on panel, unsigned, “Frank K. M. Rehn, Inc., New York, NY” label with artist and title, “Marsh Collection” stamp and inscribed “26-54” en verso, 6 1/4 in. x 8 3/4 in., framed. [$3000/5000] Provenance: Sotheby’s, New York, Mar. 31, 1994, lot 307.

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9. Fine Pair of George III Chinese Chippendale Carved Giltwood Mirrors, c. 1760, each surmounted by a pagoda, enclosing male and female figures seated on rockwork; C-scroll, latticework, and foliate surround, h. 74 in., w. 28 in., d. 6 in. [$8000/12000] Provenance: Florian Papp, New York, 1995.

10. Pair of Adam-Style Satinwood Inlaid Mahogany Demilune Cabinets, bench made, banded fan motif top, Classical urn panels, conforming door, shelf interior, tapered legs, h. 37 in., w. 48 1/2 in., d. 20 in. [$800/1200] Provenance: Antiques & Interiors, 1990.

11. Louis XVI-Style Gilt Bronze and Marble Figural Mantel Clock, c. 1900, movement marked Samuel Marti and by retailer Bailey, Banks & Biddle, h. 12 1/2 in., w. 10 1/2 in., d. 5 in. [$500/700]

12. Regency Japanned and Gilt Decorated Fire Screen, 19th c., black ground, scalloped screen, scroll legs, h. 45 in., dia. 18 1/2 in. [$300/500]

13. Georgian-Style Carved Mahogany Sofa, arched crest rail, floral terminals, tapered legs, spade feet, h. 33 1/2 in., w. 73 in., d. 21 in. [$700/1000]

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14. Edwardian Inlaid Mahogany Tray Table, c. 1900, oval gallery tray inlaid with trophée centered patera, conforming stand with square tapering legs, incurvate stretchers, h. 28 in., w. 31 in., d. 21 in. [$500/700]

15. Antique Georgian-Style Mahogany Wingchair, early 20th c., square legs, box stretchers, blue damask upholstery, h. 42 in., w. 31 in., d. 24 in. [$500/700]

16. Antique Chippendale-Style Carved Mahogany Tilt-Top Tea Table, shell-carved piecrust top, foliate vasiform standard, cabriole legs, acanthine feet, h. 27 1/2 in., w. 31 in., d. 30 1/2 in. [$700/1000]

18. Pair of Empire-Style Patinated and Gilt Bronze Five-Light Figural Candelabra, late 19th c., depicting Psyche and Cupid, foliate base, h. 30 in., dia. 9 1/2 in. [$1200/1800]

17. Antique Chippendale-Style Mahogany “Gainsborough” Chair, 19th c., serpentine crest, padded pack, square seat. blind fretwork arms and legs, reticulated stretcher, cream and blue twill upholstery with nailhead trim, h. 39 1/2 in., w. 26 5/8 in., d. 24 in. [$500/700]

19. Japanese School (Momoyama/Edo Period, 17th c.), “Garden with Aviary in Pond”, ink, color and gold leaf on paper mounted as a six-panel screen, 66 in. x 135 1/2 in.; accompanied by copy of 1987 receipt. [$8000/12000] Provenance: Maison Gracie, New York, Jan. 1987.

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20. Black Lacquer and Parcel Gilt Low Table, 20th c., dished lobed top decorated with a gilt landscape, conforming frieze, cabriole legs, pad feet, h. 24 1/2 in., w. 38 1/2 in., d. 28 1/2 in. [$600/900]

21. French Bronze Figural Jardiniere, 19th c., winged-term handles, allover design of foliage and cherubs, paw feet, h. 9 1/8 in., w. 12 3/4 in., d. 9 in. [$800/1200]

22. Pair of Louis XVI-Style Mahogany Fauteuils, arched back, padded arms, serpentine seats, fluted and blocked legs, stripe upholstery with fringe and nailhead trim, h. 35 1/2 in., w. 24 1/2 in., d. 20 in. [$400/600]

23. Pair of Napoleon III-Style Upholstered Barrel-Back Chairs, labeled Baker Furniture, tufted seat back, bullion fringe skirt, h. 34 in., w. 29 1/2 in., d. 36 1/2 in. [$600/900]

24. Pair of Neoclassical-Style Gilt Bronze and Lapis Lazuli Gueridons, inset top, scrolled supports, medial shelf, acorn finialed stretcher, paw feet, h. 26 1/2 in., dia. 20 1/2 in. [$3000/5000]

25. Pair of Louis XVI-Style Carved Fruitwood Fauteuils, oval back surmounted by a bowknot, scrolled arms, fluted tapered legs, h. 39 1/2 in., w. 24 in., d. 19 in. [$500/700]

26. George III Inlaid Mahogany Pembroke Table, drop-leaf top with patera radiating string inlay, frieze drawer, square tapering legs, brass cuffs and casters, h. 27 1/2 in., w. 32 in., d. 20 1/2 in. [$700/1000]

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28. Pair of Chinese Wucai Porcelain Gu Vases, Qing Dynasty (1644-1911), upper sections decorated with figural scenes, raised mid-sections with antiques, lower sections with flowers, h. 17 5/8 in., now mounted as lamps, h. (incl. finial) 37 1/2 in. Note: Restoration to one. [$1000/2000]

27. Queen Anne-Style Burl Walnut Side Table, 18th c. and later, molded top, herringbone inlaid drawer, shaped apron, cabriole legs, pad feet, h. 27 1/2 in., w. 33 1/2 in., d. 17 1/2 in. [$500/700]

30. Chinese Sodalite Covered Vase, carved with dragons amid ruyi clouds contesting the flaming pearl, h. 9 1/2 in., stand, overall h. 10 1/2 in. Note: losses to dragon finial. [$300/500] 29. Chinese Lapis Lazuli Covered Vase, carved with a pair of qilong dragons contesting a flaming pearl, pyrite inclusions, h. 4 3/4 in., stand, overall h. 6 in. [$300/500]

31. Two Chinese Lapis Lazuli Figures of Beauties, each carved standing, one next to a ledge with flowers holding a lantern, h. 3 1/4 in., stand, overall h. 4 1/8 in.; other holding lotus sprays, h. 3 1/4 in., stand, overall h. 3 7/8 in. [$400/600]

32. Baccarat-Style Bronze-Mounted Cut Crystal Box, domed top, h. 5 in., w. 6 1/4 in., d. 4 1/4 in. [$400/600]

33. Baccarat-Style BronzeMounted Crystal Box, diamond point with star-cut bottom, working lock and key, h. 4 in., w. 5 1/4 in., d. 3 1/2 in. [$300/500]

35. Pair of Antique French Gilt Bronze Figural Candlesticks, each draped female figure holding a cornucopia, h. 8 1/2 in., dia. 4 in. [$600/900] 34. Fine George III Chippendale Giltwood Mirror, c. 1755, surmounted by herons and acanthus scroll centering a gothic castle, mirror plate flanked by foliage with recumbent ram below, h. 61 in., w. 38 in., d. 3 in. [$7000/10000] Provenance: Florian Papp, New York, 1991.

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36. Chinese Blue and White Porcelain Gu Vase, decorated with dragons pursuing the flaming pearl, base with double ring mark, h. 13 7/8 in. Note: losses. [$150/250]

37. Large Chinese Blue and White Porcelain “Magpie and Prunus” Sleeve Vase, Qing Dynasty (1644-1911), base with double ring mark, h. 12 1/8 in. [$400/600]

39. Pair of Chinese Blue and White Porcelain Small Vases, ovoid bodies decorated with figures in a continuous landscape, bases with double ring marks, h. 5 1/2 in., wood stands, overall h. 6 3/4 in. [$200/400]

41. Three Chinese Porcelain Sleeve Vases, 18th c. and later, incl. famille rose “Mandarin Palette” decorated blue and white, h. 7 1/4 in.; blue and white with “Antiques” cartouches on prunus and cracked ice ground, Kangxi mark, h. 8 in.; and blue and white prunus on cracked ice, Kangxi mark, h. 6 in. [$400/600]

43. Large Japanese Blue and White Porcelain Brush Pot, early 20th c., decorated with a continuous waterscape between floral and foliate bands, h. 10 3/4 in., dia. 8 5/8 in. [$300/500]

45. Pair of Chinese Blue and White Porcelain Jars, 19th c., decorated with prunus branches on cracked ice grounds, bases with double ring marks, h. 8 1/2 in., later wood covers, overall h. 9 1/4 in., certificate of antiquity from Hong Kong Art Craft Merchants Association, Nov. 1980. [$600/800]

38. Chinese Blue and White Porcelain Brush Pot, Kangxi Period (1662-1722), decorated with noblemen in a continuous landscape, base with Yu Dian Chuan Lu Shou Chang mark, h. 5 3/4 in., dia. 7 1/4 in. [$1500/2500]

40. United Wilson Chinese Export-Style Blue and White Porcelain Tazza, 20th c., transfer painted with village waterscape scenes, h. 5 1/4 in., dia. 8 1/8 in. [$100/150]

42. Large Chinese Blue and White Porcelain Bowl, decorated with a continuous village landscape, base with apocryphal Xuande mark, h. 5 7/8 in., dia. 13 7/8 in. [$300/500]

44. Two Chinese Provincial Blue and White Porcelain Shallow Bowls, decorated with flowers and insects, h. 1 7/8 in. and 2 1/4 in.; dia. 9 3/4 in. and 9 1/2 in. [$200/300]

46. Pair of Chinese Export Blue and White Porcelain “Ginger” Jars, late 19th/early 20th c., decorated with flowering prunus branches on cracked ice grounds, bases with double ring marks, lacking lids, h. 7 in. [$200/400]

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47. Pair of Chinese Blue and White Porcelain Covered Vases, decorated with pairs of peacocks amid flowering prunus branches, bases with apocryphal Kangxi marks, h. 14 1/2 in.

Note: One neck restored. [$500/700] 48. Large Japanese Blue and White Porcelain Charger, probably 19th c., decorated in Chinese Export “Blue Willow” pattern style with pagoda and other buildings in a waterscape, spur marks, dia. 21 7/8 in. [$300/500]

49. Japanese Blue and White Porcelain Reticulated Jardiniere or Cachepot, 19th c., tapering hexagonal form, pierced side panels, six bracket feet, h. 4 3/4 in., w. 6 1/4 in. [$100/150]

50. Thomas Benjamin Kennington (British, 1856-1916), “No! Gossip”, 1907, oil on canvas, signed and dated lower right, artist name pencil-inscribed en verso, label with artist and title, “Chapman Brothers, London Framers”, “Dicksee & Co., Liverpool Framers” and “Sotheby s, New York” labels on reverse of frame, “Sotheby’s, New York” label on stretcher, 20 1/4 in. x 30 1/8 in., framed. [$20000/30000] Provenance: Sotheby’s, New York, Feb. 28, 1990, lot 307.

Note: Born in Grimsby, England, Thomas Benjamin Kennington studied at the Liverpool School of Art, then the Royal College of Art, and finally the Académie Julian in Paris, where he worked alongside William Bouguereau, Jules Lefebvre and Tony Robert-Fleury. Upon his return to England, Kennington established himself in Chelsea and enjoyed a successful career as a painter in oils and watercolor, winning a reputation as a portraitist and genre painter. He exhibited regularly at the Royal Academy, and his work was also seen at the Royal Society of British Arts and the famous Grosvenor Gallery.

Furthering his renown at portraiture, he painted Queen Victoria in 1898.

Kennington was also a social activist who cared deeply about the poor and believed strongly in the artists’ community. He was a founder and first secretary of the New English Art Club whose purpose was to provide exhibition opportunities for artists who were not accepted to show at the Royal Academy or who were dissatisfied with its supremacy. Kennington was also a founder of the Imperial Arts League, which still exists as The Artists’ League of Great Britain. The Artists’ League was founded in 1909 with the purpose of protecting and promoting the interests of artists in matters of business such as copyrights, contracts and insurance.

Kennington often painted, like many of his contemporaries, the plight of the impoverished and destitute in order to draw attention to the need for social reform. He was a painter of beauty and scenes from everyday life as well. In the aptly titled work offered here, three women sit in a close circle, seemingly captivated by the conversation at hand. The sumptuous fabrics of the dresses and drapery beautifully contrast against their porcelain complexions and draw the viewer into the intimate scene.

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51. Edmond Marie Petitjean (French, 1844-1925), “Bords de la Rivière”, oil on canvas, signed lower left, 15 1/2 in. x 22 1/2 in., framed. [$800/1200]

52. Continental School, 19th c., “Landscape with Château and Boaters”, oil on canvas, unsigned, “Societé Nouvelle Atlantic, France” shipping label on stretcher, 28 1/2 in. x 30 1/2 in., framed. [$2000/3000]

53. Johann Amandus Winck (German, 1748-1817), “Still Life of a Rose, Morning Glories and Other Flowers in a Vase”, oil on canvas, initialed lower left, partial handwritten label on stretcher, 14 in. x 10 7/8 in., ornate gilt frame. [$10000/15000] Provenance: Sotheby’s, New York, Jan. 15, 1993, lot 282 Note: A German painter of the Antwerp School, Johann Amandus Winck was born in 1748 in the small, picturesque town of Eichstätt, situated on the River Altmühl in Bavaria, Germany. As a boy, Winck was inspired to become an artist upon viewing the botanical engravings of Basilus Besler. He attended the Academy of Fine Arts in Antwerp, as Holland was at the time the center of the still life masters. At the academy, Winck studied alongside his contemporary, Pieter Faes, and continued in the tradition of still life painting begun under Jan van Huysum. Winck’s sensitive still lifes display a harmonious palette and fine brushwork. In the work offered here, the artist’s particular skill at floral depictions is clear in the wide assortment of flowers presented.

54. Roberto Figerio (Italian, 20th c.), “Portrait of a Man”, oil on masonite, signed lower right, 14 in. x 10 1/4 in., framed. [$300/500]

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55. Johannes “Jan” Zoetelief Tromp (Dutch, 1872-1947), “The Toy Sailboat”, oil on canvas, signed lower right, auction label on stretcher, 31 1/2 in. x 39 1/2 in., framed. [$20000/30000] Provenance: Sotheby’s, New York, May 23, 1990, lot 238.

Note: Jan Zoetelief Tromp studied at the Academy of Arts of The Hague and Rijks Academie of Amsterdam, headed by the genre and still life painter, August Allebé, who influenced him greatly. Tromp’s style and themes were similar to those of the Laren School painters, and he moved to Blaricum in 1899. Like others in the Laren School, he chose local children and their parents in and around their farmhouses as his subjects.

Beginning in 1905, Tromp and his family spent their summers in the coastal village of Katwijk, where eventually they would live on a permanent basis. His work evolved into a more flowing, impressionistic style with a luminous palette and focused on scenes of children in the local landscape, with or without their parents. In the charming work offered here, three children play with a toy sailboat along the shoreline, overlooked by a distant line of figures. The delightful scene radiates joy and the optimistic view innate to the artist.

56. Georgian-Style Leather Wingchair, labeled “Hancock & Moore”, tufted upholstery, brass nailhead trim, h. 41 in., w. 31 1/2 in., d. 27 in., [$1000/1500]

57. Leather Chesterfield Sofa, labeled “Hancock & Moore”, tufted upholstery, brass nailhead trim, bun feet, h. 29 in., w. 82 in., d. 33 1.2 in. [$1000/1500]

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58. Leather Club Chair and Ottoman, labeled “Hancock & Moore”, tufted seat back, brass nailhead trim, casters, h. 32 1/2 in., w. 32 in., d. 35 in., ottoman h. 14 in., w. 22 1/2 in., d. 18 in. [$500/700]

59. Chinese Marble-Inset Hardwood Low Table, early 20th c., openwork apron carved with flowers and foliage, foliate carved legs, claw and ball feet, h. 21 1/2 in., w. 37 5/8 in., d. 22 in. [$400/600]

60. Pair of Gilt BronzeMounted Japanese SatsumaStyle Moriage Pottery Bowls, probably early 20th c., decorated with figural scenes and textile patterns; branch handles, pierced rims, floral branch feet, h. 6 3/4 in., w. 7 1/2 in., d. 6 in. [$150/250]

61. Diminutive French Brass Carriage Clock with Case, visible top escapement, original leather case, clock h. 2 3/4 in., w. 2 in., d. 1 5/8 in. [$300/500]

62. French Tole and Brass Bouillotte Lamp, dished base, fitted with two-light fixture, h. 34 in., dia. 15 in. [$500/700] 63. Antique Caucasian Runner, red and blue ground, central medallions, 3 ft. x 13 ft. 3 in. [$700/1000]

65. Antique Georgian-Style Mahogany Library Armchair, needlepoint upholstery, scrolled arms, cabriole legs, drake feet, h. 41 in., w. 28 1/2 in., d. 25 1/2 in. [$400/600]

64. Antique William and Mary-Style Burl Walnut Chest, serpentine top, two paneled drawers, shaped apron, tapered octagonal supports, conforming stretcher, bun feet, h. 30 in., w. 34 1/2 in., d. 21 in. [$700/1000]

66. George III Inlaid Mahogany Tray-Top Bedside Commode, c. 1790, tambour door, pull-out stand with lidded compartment, h. 30 in., w. 19 in., d. 16 5/8 in. [$300/500]

67. Antique Georgian-Style Mahogany Library Armchair, needlepoint upholstery, scrolled arms, cabriole legs, drake feet, h. 41 in., w. 28 1/2 in., d. 25 1/2 in. [$400/600]

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68. American Brass and Cut Crystal Standish, turned handle, inset pen tray, h. 5 in., w. 13 in., d. 6 1/4 in. [$200/300]

69. Late Georgian Tortoiseshell Tea Caddy, 19th c., serpentine front, interior with two lidded compartments, h. 5 1/4 in., d. 8 in., d. 5 1/8 in. [$800/1200]

71. Pair of English Wool Needlepoint Architectural Landscapes, towered bridge, and a country estate, framed, 14 1/2 in. x 19 in. [$300/500]

70. Antique Bronze Carcel Lamp, reticulated body, griffin legs, electrified, h. (with socket) 22 in., dia. 8 in. [$300/500]

72. George III Mahogany Pembroke Table, late 18th c., drop-leaf top with blind fretwork carved border, legs en suite, brass cuffs, casters, h. 29 1/2 in., w. 25 1/2 in., d. 23 1/2 in. [$600/900]

73. Antique Georgian-Style Carved Walnut Armchair, shaped crest rail and splat, scrolled accents, cabriole legs, hoof feet, h. 40 in., w. 23 in., d. 19 1/2 in. [$200/300]

74. Napoleon III Bronze and Marble Inkwell, 19th c., lidded inkpot, flanked by griffin handles, paw feet, h. 5 5/8 in., w. 4 3/4 in., d. 3 5/8 in. [$500/700]

75. Antique English Inlaid Mahogany Barometer, William Dobbs, Falkirk, fitted with clock, thermometer and hygrometer, h. 42 in., w. 12 in., d. 2 3/4 in. [$800/1200]

76. Tiffany & Co. Sterling Silver “Oil Can” Vermouth Dropper, h. 3 7/8 in., wt. 1.35 troy ozs. [$150/250]

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77. George III Sterling Silver Nutmeg Grater, Peter and Jonathan Bateman, London, 1790, oval with reeding and bright-cut engraving, hinged cover and bottom, l. 1 3/4 9 in., wt. .90 troy ozs. [$300/500] Provenance: Sotheby’s, New York, 1983.

78. Georgian Sterling Silver Nutmeg Grater, Birmingham. maker L & A untraced, marks rubbed, oval with bright-cut engraving, l. 1 3/4 in., wt. 1.00 troy oz. [$300/500]

79. Pair of Charles X Gilt and Patinated Bronze Campagna Urn Candle Vases, 19th c., lid converts to candle nozzle, Gothicized standards, h. 11 3/4 in., d. 4 in. [$800/1200]

“Cabinet of Curiosities” Photo by Cameron McHarg

80. Four Chinese Export Famille Verte Porcelain “Eight Immortals” Dishes, 18th c., central ducks in lotus pond roundels, rims with the Daoist Immortals holding their attributes atop mythical beasts amid waves and rocks, bases with “Stair & Co. / New York” labels, dia. 8 3/4 in. [$2000/4000]

81. Portuguese Faience Inkwell and Sand Pot, probably Cavaquinho, late 18th/early 19th c., lion mask decoration, h. 2 1/2 in., dia. 3 1/2 in. [$300/500] Provenance: Palacio do Correio Velho, Lisbon, Faience Collection of Antonio Capucho.

82. Chinese Grayish-White Jade Ruyi Plaque or Buckle, Qing Dynasty (1644-1911), rounded oval body carved with characters and auspicious emblems including umbrella, conch, and endless knot, l. 4 1/4 in., w. 2 1/4 in., wood stand with Sotheby’s label, overall l. 5 3/4 in., w. 3 3/4 in. [$600/800]

84. American Sterling Silver-Mounted Rock Crystal Inkwell, probably early 20th c., hinged mushroom cover, underside cut in chair bottom pattern, retains removable liner, h. 5 1/2 in., w. 3 5/8 in., d. 3 3/4 in. [$200/300]

83. Pair of Chinese Famille Rose Decorated Yellow Ground Phoenix and Dragon Cups, probably late 19th c., each painted with a dragon and phoenix contesting the flaming pearl, bases with Tongzhi marks, h. 1 7/8 in., dia. 3 5/8 in. [$500/700]

85. Antique French Gilt Bronze Mounted Chinese Export Famille Rose Porcelain Bowl, the porcelain 18th c., decorated in Mandarin Palette with figural scenes and sepia and iron red floral sprays, base with “Vaughan’s Imports” label, h. 6 1/8 in., dia. 9 1/2 in.

Note: Detached from bronze base. [$800/1200]

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86. Antique Georgian-Style Inlaid Mahogany Secretary Bookcase, arched cornice centered by an urn finial, geometric glazed doors, fitted secretary drawer with secret compartments, three graduated drawers, bracket feet, h. 100 in., w. 45 in., d. 22 in. [$1200/1800]

87. Antique George III-Style Mahogany Library Chair, serpentine arched back, padded arms, square seat, square legs, stretchers, casters, celadon damask upholstery, h. 38 in., w. 26 1/2 in., d. 24 in. [$300/500] 88. Antique George III-Style Mahogany Open Bookcase, graduated shelves, fluted tapered legs, spade feet, h. 58 in., w. 23 in., d. 16 1/2 in. [$400/600]

89. Directoire-Style PaintDecorated Fauteuil, floral decorated crest rail, pierced urn splat, sabre legs, h. 35 in., w. 22 in., d. 19 in. [$400/600]

90. Antique Georgian-Style Mahogany Settee, padded back, scroll arms, square tapering legs, stretchers, brass cuffs, casters, quilted floral upholstery, h. 35 1/2 in., w. 62 1/2 in., d. 27 in. [$300/500]

92. Antique Georgian-Style Mahogany Sofa Table, drop-leaf top with reeded edge, frieze drawers, fluted supports, foliate carved sabre legs, brass cuffs, casters, h. 30 in., w. 37 1/2 in., d. 26 in. [$700/1000]

20

91. Pair of Pate-surPate-Style Table Lamps, c. 1900, with Neo-Grec bronze mounts, h. (with socket) 26 in., dia. 7 in. [$400/600]

93. Chinese Blue, White and Copper Red Decorated Celadon Porcelain Vase, possibly 18th c., elephant mask-ring handles, decorated with panels enclosing antiques and a dragon-fish, sides molded with bamboo and bats, h. 14 1/2 in., now mounted as a lamp, h. (incl. finial) 33 in. [$800/1200]

94. Louis XVI-Style Gilt Bronze Figural Lamp, cherub standard, rouge marble base, fitted with modern lamp standard, h. (with socket) in., w. 5 1/2 in., d. 5 1/2 in. [$300/500]

95. Louis Philippe Paris Porcelain Bronze Mounted Portico Clock, 19th c., dial flanked by faceted columns, floral-painted reserves, striking bell movement, h. 18 1/4 in., w. 10 in., d. 5 1/4 in. [$500/700]

96. Chippendale-Style Mahogany Linen Press, antique and later, broken pediment with pierced decoration, blind fretwork frieze and stiles, paneled doors, five lower drawers, French bracket feet, h. 94 in., w. 48 1/2 in., d. 21 in. [$500/700]

97. George III Mahogany Dressing Table, late 18th c.,drop-leaf top, frieze drawer fitted with dressing mirror and covered compartments, incurvate stretcher shelf, casters, h. 28 1/2 in., w. 26 in., d. 24 1/2 in. [$600/900]

98. Three Chinese Hardstone Trees, each realistically modeled potted within cloisonne enamel or hardstone and brass jardinieres, h. 5 7/8 in. to 15 3/4 in. [$400/600] 99. Large Chinese Famille Verte Porcelain Fish Bowl/Jardiniere, interior decorated with fish and water plants, exterior with mythical beast panels against stippled green ground with butterflies and flowers, h. 20 1/4 in., dia. 23 1/2 in. [$800/1200]

100. Chinese Export Famille Verte Porcelain Tazza, 19th c., shallow bowl with iron red dragons, splayed stem foot with waves, h. 3 1/4 in., dia. 5 1/2 in. [$100/150]

101. Chinese Export Famille Rose Porcelain Basin, 19th c., decorated with phoenix roundel encircled by antiques and precious objects, exterior with iron red foliage, h. 4 1/2 in., dia. 13 1/4 in. [$100/200]

21

102. Chinese Export Famille Rose Porcelain Charger, 18th c., decorated with flowers and rocks in a fenced garden, h. 2 1/4 in., dia. 15 1/4 in.

Note: Loss and restoration. [$300/500]

103. Chinese Export Famille Rose Decorated Blue and White Porcelain Bowl, 18th c., painted with figural scenes and sepia landscapes, h. 4 1/2 in., dia. 11 1/4 in. Note: Restoration. [$300/500]

105. Pair of Napoleon III Four-Light Candelabra, 19th c., foliate arms, fluted shaft, grotesque mask legs, now mounted as lamps, h. (with socket) 23 in., dia. 6 in. [$400/600]

106. Antique Louis XV-Style Giltwood Mirror, rocaille crest, foliate scroll surround, h. 61 in., w. 31 in., d. 4 in. [$1000/1500]

107. Antique Georgian-Style Mahogany Settee in the Sheraton Taste, sloped arms, vasiform foliate supports, reeded tapered legs, brass cuffs, casters, h. 36 in., w. 55 in., d. 25 1/2 in. [$800/1200] 108. Pair of Continental Giltwood Stands, inset marble tops, foliate scrolled legs, h. 16 1/2 in., dia. 17 in. [$500/700]

22

104. Chinese Famille Rose Decorated Blue and White Porcelain Square Brush Pot, probably early 20th c., decorated with figures boating or fishing in waterscapes, base with Daoguang mark and Sotheby’s label, bracket feet, h. 4 1/2 in., w. 3 1/4 in., d. 3 1/4 in. [$600/800]

109. Group of Four Antique Botanical Engravings, 17th c., “Carím-Góla”, “Nálugu”, “Pánel” and “Nella-Landasé-Cottí”, 4 handcolored copper engravings, from Hortus Malabaricus, published by Hendrik Adriaan van Reede tot Drakenstein, Amsterdam, sights 13 3/4 in. x 17 in., framed alike. (4 pcs.) [$400/600]

110. After Robert Ker Porter (Scottish, 1777-1842), “Bring Me Wine in Brimming Urns”, “Arm’d with Hyacinthine Rod”, “Methinks the Pictur’d Bull Me See”, “A Youth the While, with Loosen’d Hair”, “Now Let a Floating Lucid Veil” and “Alomæon Once as Legends Tell”, 1805, 6 soft-ground etchings, etched by Giovanni “John” Vendramini (Italian, 1769-1839), from Odes of Anacreon, published by John F. Thompson, London, each sight 12 3/4 in. x 9 3/4 in., framed alike. (6 pcs.) [$300/500]

111. Richard Purcell (British, fl. 1746-1766), “Benjamin Griffin Jossia Jackson”, mezzotint, after R. Donaldson (British, 18th c.), published by George Pulley, London, sheet 6 1/4 in. x 4 5/8 in., framed. [$50/100]

23

112. Antique George III-Style Mahogany Linen Press, Brighton upholsterer’s label, broken pediment, blind fretwork frieze, paneled doors, lower case with four drawers, blind fretwork bracket feet, h. 90 in., w. 49 in., d. 24 in. [$700/1000]

114. Pair of Empire-Style Patinated and Gilt Bronze Three-Light Candelabra Lamps, serpentine-entwined reeded standard on paw feet, incurvate triangular plinth base, h. 14 in., dia. 35 in. [$700/1000]

113. Georgian-Style Mahogany Secretary Bookcase, shaped cornice with vasiform finials, lancet-carved frieze, glazed doors, well-fitted secretary drawer, three graduated drawers, “French” feet, h. 102 in., w. 46 in., d. 21 1/2 in. [$2000/4000] Provenance: Antiques & Interiors 1997.

115. Antique English Inlaid Mahogany Barometer, Adamson, London, fitted with clock, thermometer and hygrometer, h. 43 in., w. 11 1/2 in., d. 3 in. [$800/1200]

116. George III Mahogany Sofa Table, c. 1810, drop-leaf top, two frieze drawers, shaped supports, turned stretcher, sabre legs, brass cuffs, casters, h. 28 1/2 in., w. 31 in., d. 24 in. [$800/1200]

117. George III Inlaid Mahogany Pembroke Table, 18th c., banded and string inlaid, square tapering legs, casters, h. 29 in., w. 34 in., d. 20 1/2 in. [$700/900]

118. Pair of Antique Queen Anne-Style Burl Walnut Side Chairs, scrolled accents, vasiform splat, cabriole legs, turned stretchers, pad feet, h. 38 1/2 in., w. 21 in., d. 18 in. [$400/600] 119. Antique Irish Victorian Mahogany and Marquetry Breakfast Table, tilt-top, bulbous carved standard, cabriole legs with scroll feet, h. 29 in., dia. 51 in. [$800/1000]

24

121. Regency Polychrome and Gilt Porcelain Partial Dessert Service, 19th c., marked “2/298”, fruiting grapevine handles and accents, incl. compote, h. 4 3/4 in.; pair of sauce tureens, h. 6 in.; pair of fruit baskets, l. 9 1/2 in.; and pair of oblong cake plates, l. 9 in.

(7 pcs.) [$600/900]

122. Chinese Export Blue and White Porcelain Charger, Qing Dynasty (1644-1911), dia.

15 1/2 in. Note: Frits to rim. [$400/600]

120. George III Carved Mahogany Cellarette, c.1810, octagonal case, custome-made tole liner, conforming stand, with reeded legs, brass cuffs, casters, h. 27 in., w. 17 in., d. 17 in. [$500/700]

124. Chinese Export Blue and White Porcelain Cover and Tureen, late 18th c., associated, pomegranate finial, hare’s head handles, decorated with village waterscapes, h. 7 1/2 in., w. 14 1/8 in., d. 8 3/4 in. [$300/500]

126. Pair of Chinese Export Blue and White Porcelain Octagonal Dishes, 18th c., decorated with birds amid flowers, trees and rocks in a fenced garden, dia. 8 7/8 in. and 9 1/8 in. [$400/600]

123. Large Chinese Export Blue and White Porcelain Bowl, Qing Dynasty (1644-1911), decorated for the Islamic market with tear-drop and circular foliate medallions with bands of foliate sprays, h. 6 3/8 in., dia. 13 3/4 in. [$600/800]

125. Three Chinese Export Blue and White Porcelain Narcissus Bulb Pots, 18th/19th c., rectangular form, pierced sides, bracket feet, h. 1 7/8 in., w. 7 in., d. 4 1/2 in. [$400/600]

127 Chinese Export Blue and White Porcelain Chestnut Basket and Underplate, early 19th c., decorated with village waterscapes, pierced sides and rims, basket h. 3 5/8 in., w. 9 1/2 in., d. 8 1/2 in.; plate w. 9 7/8 in., d. 8 5/8 in. (2 pcs.) [$200/400]

128. Chinese Export Blue and White “Nanking” Porcelain Tureen Bowl and Platter, early 19th c., associated, each decorated with houses in watery landscape, bowl with foliate handles, h. 2 3/4 in., w. 12 1/2 in., d. 8 1/2 in.; platter l. 14 1/4 in.

(2 pcs.) [$300/500]

129. Chinese Export Blue and White Porcelain “Ginger” Jar, 19th/20th c., decorated with peony and rock, lacking lid, h. 7 3/4 in. [$200/400]

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130. Old Sheffield Plate Hot Water Urn, 19th c., cover with rose and roseleaf finial, foliate scroll handles, inset silver shield with engraved lion rampant crest, lacks interior fittings, octagonal plinth base on reticulated shell and scroll feet, h. 15 1/2 in. [$400/600]

131. American Neo-Grec Sterling Silver Oval Soup Tureen, John C. Moore for Tiffany & Co., 18651869, cover with Gothic “P” monogram, squared handles with palmettes, strapwork and egg-and-dart borders throughout, h. 10 1/2 in., w. 15 1/2 in., wt. 69.15 troy ozs. [$2000/4000] Provenance: Sotheby’s, New York, 1984.

132. Pair of Old Sheffield Plate Three-Light Candelabra, 19th c., removable candlearms converting to single candlestick, urn-shaped candlecups with removable bobeches, tapered shaft with foliate decoration, gadroon and shell banding throughout, h. 19 1/2 in., w. 15 1/2 in. [$500/700]

133. Old Sheffield Plate Three-Bottle Decanter Stand, 19th c., stand with reeded handle and bottle holders, base with floral and scroll border and scroll feet, retains original tinned back, h. 10 1/4 in., w. 10 1/4 in., d. 10 in., fitted with antique cut glass decanters (note small losses). [$250/350]

134. Pair of Georgian-Style Cut Crystal Covered Sweetmeat Urns, 19th c., crenellated rim, square step cut base, h. 11 3/4 in. [$400/600] 135. William IV Sterling Silver Claret Jug, Edward, Edward Jr., John and William Barnard, London, 1831, footed vase form with foliate hinged cover, branch-form handle and foliate details, h. 11 1/8 in., wt. 21.85 troy ozs. [$800/1200] Provenance: Sotheby’s, New York, 1987.

136. Ten Wallace Sterling Silver Water Goblets, mid-20th c., no. 14, Gothic “P” monogram, h. 6 3/4 in., wt. 55.60 troy ozs. [$800/1200]

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138. Yvette Sturgis (Panamanian/Mississippi, b. 1938), “Meadow with Flowers”, oil on canvas, signed lower right, artist business card on reverse of frame, 36 in. x 48 in., framed. [$1000/1500]

137. Enzo Russo (Italian, b. 1936), “Courting Couple”, 1975, oil on canvas, signed and dated lower left, 36 in. x 24 in., framed. [$800/1200]

Note: Born in Panama, Yvette Sturgis moved to the United States at the age of fifteen. After receiving a degree in bacteriology, she began her graduate work in microbiology. Realizing that a medical career was not her true calling, she decided instead to study art. In addition to formal art classes, Sturgis worked on her own to formulate her unique style and technique, culminating in her first solo exhibition and a group show at the Mississippi Museum of Art in 1976. Inspired by the French Impressionists, Sturgis has explained: “I consider myself a colorist. I like to capture the images of what I see and think. I paint spontaneously from the events in my life and the effect they have on me.” The work offered here highlights her sensitive appreciation for the beauty and colors of nature. The sense of movement communicated through the broad brushstrokes and dynamic composition adds a feeling of life to the sun-dappled landscape. Sturgis’ works are highly sought-after and have been sold in galleries nationwide since her debut on the professional art scene in the 1970s.

Ref.: “Biography.” Yvette Sturgis. www.yvettesturgisart.com. Accessed Dec. 6, 2021

139. Andrew Bucci (American/Mississippi, 1922-2014), “Field - Bright Day”, 1995, oil and graphite on paper, pencil-signed lower left, titled and dated en verso and on backing board, handwritten label with artist, title and date on backing paper, 22 1/4 in. x 30 in., framed. [$1500/2500]

27

140. Joan Miró (Spanish, 1893-1983), “Composition”, 1969, felt pen on paper, signed and dated lower left, 11 in. x 8 1/2 in., framed. [$30000/50000] Provenance: Gift of the artist; Ivo Vejvoda, Yugoslavian ambassador to Paris in the late 1960’s; by descent; Sotheby’s, New York, May 14, 1992, lot 196.

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141. Antique Patinated Cast Iron Campagna Urn on Pedestal, urn with figural frieze, pedestal with giallo siena faux marbre top and cast classical masks, h. 55 in., w. 19 in., d. 19 in. [$2000/3000]

142. Pair of Regence-Style Carved Oak Fauteuils à la Reine, serpentine crest rail, scrolled arms, rocaille apron, cabriole legs, h. 42 1/2 in., w. 23 1/2 in., d. 21 in. [$300/500]

Provenance: Jimmy Graham, Memphis, 1990.

143. Louis XV-Style Carved Walnut Stool, foliate scrolled handles, acanthus seat rail, cabriole legs, scrolled toes, h. 27 in., w. 27 in., d. 16 in. [$200/300]

144. Louis XV-Style Fruitwood Side Table, molded top, sliding upholstered firescreen, frieze drawer, attenuating cabriole legs, h. 28 in., w. 22 in., d. 14 in. [$300/500]

145. French Provincial Inlaid Walnut Side Table, galleried top, fitted frieze drawer, tapered legs, h. 27 1/2 in., w. 21 in., d. 15 1/2 in. [$300/500]

147. Group of Antique Polychrome and Gilt English Ironstone China, 19th c., incl. 2 fan-shaped cake dishes, marked “MASON’S IRONSTONE CHINA”, l. 9 ½ in., navette-shaped compote, l. 12 in., square cake dish, l. 8 ½ in. and 2 soup plates, impressed marks. (6 pcs.) [$150/250]

146. Regence-Style Giltwood Mirror, foliate and scroll crest, gadrooned border, h. 69 in., w. 39 in., d. 3 1/2 in. [$600/900]

148. Pair of Antique Neoclassical-Style Verdigris Patinated Metal Urns, 20th c., scroll handles terminating in masks, foliate lobed body, granite base, h. 21 in., w. 21 1/4 in., d.15 in. [$600/900]

29

149. Pair of Neo-Grec Bi-Color Bronze Urns, 19th c., encircled with a relief battle scene, h. 14 1/2 in., w. 5 1/2 in., d. 5 in. [$300/500]

151. Antique Bronze ThreeLight Candelabrum Lamp, foliate arms and base, now fitted with two socket fixture, h. (with socket) 22 in., dia. 10 in. [$300/500]

150. Pair of Antique Neo-Grec Gilt and Patinated Bronze Townley Vases, after the Roman example now in the British Museum, with high-relief Bacchic scene, on black marble bases with female masks and bracket feet, h. 17 in., w. 7 3/4 in., d. 7 in. [$600/900]

152. Pair of Louis XV-Style Bronze Candlesticks, h. 10 in., dia. 5 1/2 in. [$300/500]

153. Pair of Louis XV-Style Gilt Bronze and Rouge Marble Candelabra Lamps, foliate arms and standard, scroll feet, single light fixture, h. (with socket) 24 in., shade dia. 19 in. [$600/900]

154. Pair of Japanese Imari Porcelain Vases, 19th/20th c., decorated with alternating garden and phoenix cartouches on an iron red ground with floral heads, h. 12 in. [$400/600]

155. Five Japanese Porcelain Dishes, late 19th/20th c., incl. 3 Imari, 1 “wucai”, and 1 blue and white, some marked incl. Fukugawa koransha and pseudo Chinese Chengua, w. 4 3/4 in. to dia. 8 3/4 in. [$100/200]

156. Japanese Imari Porcelain Charger, central floral roundel encircled by garden scenes and butterfly cartouches, dia. 16 in. [$150/250]

30

157. Japanese Imari Porcelain Charger, 19th/20th c., central floral roundel encircled by landscape and mythical beast panels, base with pseudo Qianlong mark, dia. 18 1/8 in. [$300/500]

158. Early Chinese Painted Pottery Bowl, h. 2 1/8 in., dia. 8 3/4 in., Note: Condition. [$50/100]

159. Tiffany & Co. 18 kt. Yellow Gold Bud and Branch Pin, l. 3 3/8 in., wt. 6.5 dwt. [$200/300]

160. Cartier “Must de Cartier” Tank Watch, 1970s, gold plated sterling silver, mechanical movement, cream dial, serial #6-104728, case width 24 mm., brown crocodile band. [$500/700]

161. Cartier 18 kt. Yellow Gold Love Bracelet, designed by Aldo Cipullo, marked “Cartier” in script, “LOVE BRACELET”, “Aldo Cipullo” in script, wt. 23.5 dwt., with gold-plated screwdriver. [$2000/3000]

162. Cartier 18 kt. Tricolor Gold Trinity Ring, comprised of three interlocking rolling ribbed bands, approx. size 9, wt. 5.5 dwt. [$300/500]

163. 14 kt. White Gold and South Sea Pearl Necklace, 39 round/off round white cultured pearls, 10-13 mm; gold plunger style bead clasp; l. 17 3/4 in.; AIGL report. [$800/1200]

164. 14 kt. White Gold, South Sea Pearl and Diamond Ring, center round white cultured pearl, 15 mm; double bezel with 54 round brilliant cut diamonds, 1.60-1.80 mm, total wt. approx. 1.16 cts., G-H color, SI1-SI2 clarity; size 7.5; AIGL report. [$1200/1800]

165. 14 kt. White Gold and Tahitian Pearl Necklace, 33 round graduated very dark gray cultured pearls, 12-14 mm; gold plunger style bead clasp; l. 18 in.; AIGL report. [$1000/1500]

166. 14 kt. Yellow Gold and Golden South Sea Pearl Necklace, 37 graduated off round/drop gold cultured pearls, 10-13 mm; gold plunger style bead clasp; l. 17 1/2 in.; AIGL report. [$800/1200]

168. 14 kt. Yellow Gold and Diamond Ring, set with a marquise cut diamond, approx. .95 ct., IJ color, SI2 - I1 clarity, and 20 small full cut diamonds totaling approx. .60 ct. [$800/1200]

167. 14 kt. Yellow Gold and Diamond Bangle Bracelet, comprised of 31 prong set round brilliant cut diamonds, total wt. approx. 3.36 cts.; flexible band with clasp; circ. (interior) 6 3/4 in. [$1800/2500]

169. 18 kt. White, Yellow and Rose Gold and Diamond Necklace, comprised of 12 marquise, 12 round brilliant cut, and 12 emerald cut diamonds, total wt. approx.

7.35 cts.; l. 22 1/2 in. [$1800/2500]

31

170. 14 kt. Yellow, White and Rose Gold and Diamond Three Ring Set, bezel set with numerous round brilliant cut diamonds, total wt. approx. 1.12 cts., G-I color, VS-I clarity; size 6.5; IAS report. [$800/1200]

171. 18 kt. Yellow and White Gold and Diamond Bracelet, comprised of 54 bezel set mixed cut fancy yellow diamonds, total wt. approx. 13.03 cts., 3.00 x 2.50-4.00 x 3.00 mm, VS2-SI2 clarity; and 210 round brilliant cut colorless diamonds, total wt. approx. 2.68 cts., 1.10-1.50 mm, F-G color, VS2-SI2 clarity; l. 7 in.; AIGL report. [$12000/18000]

172. Platinum and Diamond Flexible Link Bracelet, comprised of 41 prong-set round faceted diamonds, total wt. approx.

10.40 cts., l. 6 7/8 in. [$8000/12000]

173. Pair of 14 kt. White Gold and Diamond Stud Earrings, 1 prong set round brilliant cut diamond, wt. approx. 2.06 cts., 8.08-8.00 x 4.80 mm, E color, I-1 clarity; and 1 prong set round brilliant cut diamond, wt. approx. 2.01 cts., 8.08-8.00 x 4.80 mm, H color, I-1 clarity; AIG report. [$10000/15000]

174. 18 kt. White Gold and Diamond Necklace, comprised of 135 graduated round brilliant cut diamonds, total wt. approx. 19.79 cts., 2.80-5.00 mm, H-J color, SI1-I1 clarity, l. 17 3/4 in.; AIGL report. [$12000/18000]

175. 18 kt. White Gold and Diamond Eternity Band Ring, comprised of 16 bezel set round brilliant cut diamonds, total wt. approx. 4.35 cts.; size 6 3/4. [$2500/3500]

176. 14 kt. White Gold and Diamond Tennis Bracelet, comprised of 42 round brilliant cut diamonds, total wt. approx.

4.37 cts.; l. 7 1/8 in. [$2000/3000]

32

177. 14 kt. White Gold and Diamond Tennis Bracelet, comprised of 30 round brilliant cut diamonds, total wt. approx.

13.16 cts.; l. 7 in. [$10000/12000]

178. Pair of 18 kt. White Gold and Diamond Earrings, stylized cascade design, each with 25 prong set round brilliant cut diamonds with pave diamond rim, total wt. approx. 6.36 cts., l. 1 in. [$2500/3500]

179. Pair of 18 kt. White Gold and Diamond Stud Earrings, one prong set round brilliant cut diamond, wt. approx. 1.02 cts.; and one prong set round brilliant cut diamond, wt. approx.

1.08 cts.; bezels with numerous round brilliant cut diamonds, total wt. approx.

0.33 ct. [$3000/5000]

180. Pair of 14 kt. White Gold and Diamond Hoop Earrings, each set with 35 round brilliant cut diamonds, total wt. approx. 7.74 cts. [$3000/5000]

181. 18 kt. White Gold and Diamond Pendant with Chain, center prong set heart shape diamond, bezel with numerous round brilliant cut diamonds, total wt. approx. 0.72 ct.; chain l. 16 in. [$1000/1500]

182. 14 kt. White Gold and Diamond Necklace, center prong set round brilliant cut diamond, wt. approx.

0.40 ct.; linked with numerous graduated round brilliant cut diamonds, total wt. approx. 8.54 cts.; l. 17 in. [$4000/6000]

183. 18 kt. White Gold and Diamond Necklace, set with 112 round brilliant cut diamonds, total wt. approx. 13.43 cts.; l. 16 in. [$8000/10000]

184. Pair of Platinum, Emerald and Diamond Earrings, comprised of 8 prong set pear shaped emeralds, total wt. approx. 12.50 cts., 5.00 x 2.50 to 13.00 x 8.5 mm; stylized bezels with channel set baguette cut diamonds, total wt. approx. 2.00 cts., G-H color, SI1 clarity; l. 1 1/2 in.; IAS report. [$5500/6500] 185. Platinum, Emerald and Diamond Necklace, comprised of 17 brilliant cut crown/step cut pavilion pear/oval shaped emeralds, total wt. approx. 23.44 cts.; bezels and links with 776 round brilliant cut diamonds, total wt. approx. 6.77 cts., 1.00-1.40 mm, G-I color, VS2-SI2 clarity; l. 16.75 in.; AIGL report. [$15000/25000]

186. 14 kt. White Gold, Emerald and Diamond Ring, center rectangular cut cornered step cut emerald, wt. approx.

5.88 cts., 12.00 x 9.00 mm; bezel and support with 50 round brilliant cut diamonds, total wt. approx. 0. 89 ct., 1.50-2.0 mm, F-G color, VS2-SI1 clarity; size 7; AGL and AIGL reports. [$3000/5000]

187. 18 kt. White Gold, Emerald and Diamond Ring, center prong set square step cut emerald, wt. approx. 5.14 cts., 10.55 x 9.40 x 7.00 mm; shoulders with 2 prong set brilliant cut triangle shaped diamonds, total wt. approx. 1.49 cts., 7.00 x 6.80 mm, G-H color, I-1 clarity; size 6.75; AIGL report. [$3500/4500]

188. 18 kt. White Gold, Emerald and Diamond Ring, center prong set oval cut emerald, wt. approx. 0.78 ct.; bezel and split shoulders with numerous round brilliant cut diamonds, total wt. approx. 0.31 ct., G-H color, VS clarity; size 6.75; IAS report. [$1000/1500]

33

189. 14 kt. Yellow Gold, Emerald and Diamond Ring, comprised of 2 prong set heart shape emeralds, total wt. approx. 1.18 cts.; 1 prong set heart cut diamond and 2 prong set round brilliant cut diamonds, total wt. approx.

0.81 ct., H-I color, VS2 clarity; size 7.5; SGL report. [$1000/1500]

191. Pair of 18 kt. White Gold, Diamond and Emerald Stud Earrings, center bezel set round brilliant cut diamonds, wt. approx. 1.00 ct. and 1.01 cts.; double halos with numerous diamonds and emeralds. [$2500/3500]

193. 18 kt. White Gold, Emerald and Diamond Ring, center prong set brilliant step cut pear shape emerald, wt. approx. 5.20 cts., 15.96 x 10.25 x 5.14 mm; double bezel with numerous round brilliant cut diamonds; size 7; GIA report. [$3000/5000]

195. 18 kt. White Gold, Diamond, Emerald and Ruby Ring, center bezel set round brilliant cut diamond, wt. approx. 1.00 ct.; stylized floral double bezel with rubies and emeralds; size 7. [$2000/3000]

34

196. 14 kt. Yellow Gold, Ruby and Diamond Necklace, comprised of 36 oval mixed cut rubies, total wt. approx. 39.03 cts., 7.00 x 5.00 mm; and numerous round brilliant cut diamonds, total wt. approx. 6.71 cts., H-J color, SI2-I2 clarity, l. 16 3/4 in.; AIGL report. [$5000/7000]

190. Pair of 18 kt. Yellow Gold, Emerald and Diamond Dangle Earrings, drops with center prong set rectangular cut cornered step cut emeralds, total wt. approx. 2.24 cts., 7.00 x 5.00 mm; hung with and encircled by approx. 157 round brilliant and baguette cut diamonds, total wt. approx. 3.44 cts., G-H color, VS1-SI2 clarity; l. 2 in.; AIGL report. [$4500/5500]

192. 18 kt. White Gold, Diamond and Emerald Ring, center bezel set round brilliant cut diamond, wt. approx. 1.21 cts.; 2 adjacent bezel set round brilliant cut diamonds, total wt. 0.90 ct.; double halo with numerous diamonds and emeralds; size 7. [$2500/3500]

194. Pair of 18 kt. White Gold, Emerald and Diamond Earrings, 2 center prong set brilliant step cut oval shaped emeralds, total wt. approx. 6.01 cts.; bezel with numerous round brilliant cut diamonds; GIA report. [$1800/2500]

197. 18 kt. Yellow Gold, Ruby and Diamond Ring, center oval brilliant/step cut ruby, wt. 2.03 cts., 8.85 x 6.20 x 4.40 mm; surrounded by 6 baguette and 76 round brilliant cut diamonds, total wt. approx.

1.33 cts., G color, SI1-SI2 clarity; size 6.75; GIA (ruby) and SGL reports. [$3500/4500]

198. Platinum, Diamond and Ruby Ring, center bezel set round brilliant cut diamond, wt. approx. 1.54 cts., H color, I1 clarity; inner surround with 20 square/ trapezoid rubies, total wt. 1.01 cts.; outer surround with 20 round brilliant cut diamonds, total wt. approx.

0.36 ct., G color, SI1-SI2 clarity; size 6.75; AIGL report. [$3500/4500]

201. 18 kt. White Gold, Sapphire and Diamond Ring, center prong set modified brilliant cut oval shape sapphire, wt. approx.

2.20 cts., 9.11 x 6.71 x 4.35 mm; stylized bezel with numerous round brilliant cut diamonds; size 7; GIA report. [$1000/2000]

199. Platinum, Sapphire and Diamond Ring, comprised of center prong set brilliant cut oval shaped blue sapphire, wt. 2.77 cts., 9.02 x 6.89 x 5.70 mm; bezel with 18 prong set round brilliant cut diamonds, total wt. approx. 0.28 ct., 1.60-1.50 x 0.96 mm, E-G color, SI1-I1 clarity ; supports with 102 prong set round brilliant cut diamonds, total wt. approx. 0.36 ct., 1.00-0.90 x 0.59 mm, F-H color, SI1-I1 clarity; size 6. 75; GIA (sapphire) and AIG reports. [$4000/6000]

200. Art Deco-Style 18 kt. White Gold, Diamond and Sapphire Ring, center round brilliant cut diamond, wt. approx. 1.03 cts.; surround with numerous diamonds and sapphires; size 7. [$1800/2500]

202. 18 kt. White Gold, Tanzanite and Diamond Ring, center prong set oval cut tanzanite, wt. approx. 3.88 cts.; double bezel and supports with round brilliant cut diamonds, total wt. approx. 0.61 ct., G-H color, VS-SI clarity; size 6.75; IAS report. [$1500/2500]

203. 18 kt. White Gold, Tanzanite and Diamond Necklace, comprised of 27 modified brilliant cut tanzanite, total wt. approx. 59.84 cts., incl. 6 triangular shaped, 9.00 x 9.00 mm, 14 pear shaped, 8.00 x 6.00-11.00 x 8.00 mm, and 7 marquise shaped, 10.00 x 6.00-13.00 x 7.00 mm; bezels and links with 634 round brilliant cut diamonds, total wt. approx. 7.85 cts., 1.30-1.50 mm, G-I color, VS2-SI2 clarity; l. 17 in.; AIGL report. [$18000/25000]

204. Platinum, Tanzanite and Diamond Ring, center prong set triangle brilliant cut tanzanite, wt.

8.17 cts., 12.68 x 12.70 x 8.34 mm; double bezel and supports with 72 prong set round brilliant cut diamonds, total wt. approx. 0.95 ct., 1.60-1.30 x 0.87 mm, F-H color, VS1-SI1 clarity; size 7.25; AIG and GIA (tanzanite) report. [$4500/5500]

205. 14 kt. White Gold, Aquamarine and Diamond Ring, comprised of 3 center prong set oval cut aquamarines, total wt. approx. 5.88 cts.; bezels with round brilliant cut diamonds, total wt. approx. 1.01 cts., G-H color, VS-SI clarity; size 8.25; IAS report. [$1800/2500]

206. 18 kt. White Gold, Aquamarine and Diamond Ring, center prong set oval cut aquamarine, wt. approx. 1.41 cts.; bezel with round brilliant cut diamonds, total wt. approx.

0.48 cts., G-H color, VS-SI clarity; size 6.75; IAS report. [$700/900]

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Session Two

Saturday, January 29, 11 a.m.

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207. Clementine Hunter (American/Louisiana, 1886-1988), “Funeral”, oil on board, monogrammed upper right, inscribed en verso, 15 7/8 in. x 19 3/4 in., framed. [$3000/5000] Provenance: Estate of Esther Bondio Prattini (1932-2017), New Orleans.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

208. Clementine Hunter (American/Louisiana, 1886-1988), “Black Jesus and Angels”, oil on canvas, monogrammed lower right, inscribed and partial sketch en verso, 24 in. x 18 in., framed. [$4000/6000] Provenance: Estate of Esther Bondio Prattini (1932-2017), New Orleans.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

209. Clementine Hunter (American/Louisiana, 1886-1988), “Zinnias”, oil on board, monogrammed lower right, inscribed en verso, 24 in. x 18 in., framed. [$4000/6000]

210. Clementine Hunter (American/Louisiana, 1886-1988), “Court Room”, oil on canvas, monogrammed mid-right, inscribed and partial sketch en verso, 18 in. x 24 in., framed. [$4000/6000]

Provenance: Estate of Esther Bondio Prattini (1932-2017), New Orleans.

Provenance: Estate of Esther Bondio Prattini (1932-2017), New Orleans.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

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211. Clementine Hunter (American/Louisiana, 1886-1988), “Saturday Night at the Juke Joint”, oil on board, monogrammed lower right, inscribed en verso, 18 in. x 24 in., framed. [$4000/6000] Provenance: Estate of Esther Bondio Prattini (1932-2017), New Orleans.

212. Clementine Hunter (American/Louisiana, 1886-1988), “Wedding”, oil on canvas, monogrammed lower right, inscribed and partial sketch en verso, 12 x 16 in., framed. [$2500/3500] Provenance: Estate of Esther Bondio Prattini (1932-2017), New Orleans.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

213. Clementine Hunter (American/Louisiana, 1886-1988), “Cotton Picking”, oil on board, monogrammed lower right, inscribed en verso, 18 in. x 24 in., framed. [$4000/6000] Provenance: Estate of Esther Bondio Prattini (1932-2017), New Orleans.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

214. Clementine Hunter (American/Louisiana, 1886-1988), “Hauling Cotton”, oil on canvas, monogrammed lower right, inscribed and partial sketch en verso, 18 in. x 24 in., framed. [$4000/6000] Provenance: Estate of Esther Bondio Prattini (1932-2017), New Orleans.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

215. Clementine Hunter (American/Louisiana, 1886-1988), “Cookout”, oil on canvas, monogrammed mid-right, inscribed and partial sketch en verso, 18 in. x 24 in., framed. [$4000/6000] Provenance: Estate of Esther Bondio Prattini (1932-2017), New Orleans.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

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216. Clementine Hunter (American/Louisiana, 1886-1988), “Going to Church”, oil on canvas board, monogrammed mid-right, inscribed en verso, 18 in. x 24 in., framed. [$4000/6000] Provenance: Estate of Esther Bondio Prattini (1932-2017), New Orleans.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

217. Clementine Hunter (American/Louisiana, 1886-1988), “African Mask”, oil on board, monogrammed lower right, inscribed en verso, 24 in. x 18 in., framed. [$4000/6000] Provenance: Estate of Esther Bondio Prattini (1932-2017), New Orleans.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

218. Clementine Hunter (American/Louisiana, 1886-1988), “Saturday Night at the Juke Joint”, oil on canvas board, monogrammed mid-right, inscribed and monogrammed en verso, 18 in. x 24 in., framed. [$4000/6000] Provenance: Estate of Esther Bondio Prattini (1932-2017), New Orleans.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead

219. Clementine Hunter (American/Louisiana, 1886-1988), “African House”, oil on board, monogrammed mid-right, inscribed en verso, 16 in. x 20 in., framed. [$3000/5000] Provenance: Estate of Esther Bondio Prattini (1932-2017), New Orleans.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

220. Clementine Hunter (American/Louisiana, 1886-1988), “Nativity”, oil on canvas, monogrammed mid-right, inscribed and partial sketch en verso, 12 in. x 16 in., framed. [$2500/3500] Provenance: Estate of Esther Bondio Prattini (1932-2017).

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead

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221. Clementine Hunter (American/Louisiana, 1886-1988), “Flower Garden with Blackbirds”, oil on canvas, monogrammed mid-right, inscribed and partial sketch en verso, 12 in. x 16 in., framed. [$2500/3500] Provenance: Estate of Esther Bondio Prattini (1932-2017), New Orleans.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

222. Clementine Hunter (American/Louisiana, 1886-1988), “Canasta Players”, oil on board, monogrammed mid-right, 16 in. x 23 7/8 in., framed. [$4000/6000] Provenance: Gift of the artist; Collection of Blythe White Rand, Alexandria, LA; thence by descent.

Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

Note: Descended in the family, “Canasta Players” was part of the important collection of Clementine Hunter works owned by Blythe White Rand, of which seven examples are now conserved in the collection of The Smithsonian National Museum of African American History and Culture. The Rand family of Alexandria, Louisiana leased a site on Cane River to build a fishing camp on the property of Melrose Plantation, thus becoming neighbors with their good friends, the Henry family, and artist Clementine Hunter.

The scene depicts three identified figures, a rarity in the artist’s work, and was inspired by an occasion when Hunter, who was working at the Big House on Melrose at the time, witnessed Mrs. Rand and her two friends playing canasta, a popular new card game. Although depicted as Black, the three women are (left to right): Cammie Henry, owner of Melrose Plantation; Blythe White Rand, a close friend of Henry and fellow gardener and weaver; and Caroline Dorman, author, artist, botanist and founder of the Caroline Dorman Botanical Nature Preserve, located just fifty miles from Melrose.

Completed in the late 1950s or early 1960s, this painting was delivered to Mrs. Rand by Hunter, whose cabin was located just a short ten-minute walk away, and Hunter explained that it was “a painting of her, and Miss Cammie, and Miss Caroline playing canasta.” The work is reputedly the first of her famous card-playing series and exhibits Hunter’s distinctive style of creating depth through different color choices and shading. Unique in the series, the center figure depicting Mrs. Rand appears to be suspended in mid-air at the wrought iron table, an endearing technique by Hunter to indicate Mrs. Rand’s small stature.

223. Clementine Hunter (American/Louisiana, 1886-1988), “Wedding”, oil on board, monogrammed mid-right, 16 in. x 24 in., unframed. [$3000/5000] Note: This painting has been authenticated by renowned Clementine Hunter expert Tom Whitehead.

224. Rare Louisiana Creole Cherrywood Armoire, early 19th c., probably River Parishes area, two doors with old fiche hinges, interior with original belt of three drawers with period oval brasses, restrained cabriole legs, h. 83 in., w. 47 1/2 in., d. 19 in. [$4000/6000] Provenance: Ex-Collection of Antiquarian Thomas Wilmot “Twik” Klein (19462014), St. Francisville, LA.

225. Southern Walnut Garde Manger, 19th c., two glazed doors, two drawers, two glazed and paneled lower doors, h. 84 3/4 in., w. 50 1/2 in., d. 20 3/4 in. [$1000/1500]

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226. Pair of Louisiana Inlaid Mahogany Campeche Chairs, demilune crest, diminutive finials, flat serpentine arms, ring and vasiform turned supports, turned stretchers, curule base, h. 40 1/4 in., w.

25 1/2 in., d. 29 1/2 in. [$7000/10000] Note: With origins in the “Butac” chair known in Campeche, a port city on the Yucatan Peninsula, scholars Cybele Gontar and Francis Puig posit that this Central American chair form disseminated in the Lower Mississippi River Valley during Spanish rule of the late eighteenth century. Notably, the design was further adapted by Thomas Jefferson for the “Campeachy” chair at Monticello and by a handful of Anglo cabinet makers in the Federal era.

Matched pairs of Campeche chairs are very rare, and these chairs share design characteristics with several chairs known as the “Flowerbasket” group. The full demilune crest, diminutive finials, flat serpentine arms and distinctive ring turnings on the stretchers of this pair are all very similar to those on the chair descended in the family of New York and New Orleans merchant James Collas (1788-1883) now at the Metropolitan Museum of Art, a chair descended in the family of Alabama planter James Jackson (died 1840) and a chair purchased in Houston for Mistletoe Plantation, now in the Holden collection.

Ref.: Jack Holden, et al. Furnishing Louisiana, Creole and Acadian Furniture 1735-1835. New Orleans: The Historic New Orleans Collection, 2010, pp. 345-347, fig. 2-3. Francis Puig. “The Early Furniture of the Mississippi River Valley,” The American Craftsman and the European Tradition, 1989, Minneapolis: Minneapolis Institute of Arts. P. 165; Cybele Gontar, “The Campeche Chair in the Metropolitan Museum of Art” Metropolitan Museum Journal, 2003, p. 202, p. 38; Cybele Gontar, The Louisiana Campeche’ Chair: Origin, History, and Transference Parson’s School for Design Master of Art Thesis, 2000.

227. Antique Cast Iron Indigo Pot, stub handles, h. 25 in., dia. 36 in. [$500/700]

229. Southern Federal Satinwood Inlaid Mahogany Breakfast Table, early 19th c., drop-leaf top, single drawer, tapered legs, h. 30 in., w. (closed) 26 3/4 in., w. (open) 47 1/4 in., d. 35 in. [$800/1200]

228. French Terracotta Olive Jar, yellow glazed interior, h. 22 1/2 in., dia. 17 in. [$500/700]

230. Fine Louisiana Mahogany Four Poster Bed, c. 1825, retains original tester, stepped baluster and ring-turned posts, headboard with backscrolled crest, bookmatched panel, baluster turned legs, bun feet, h. 104 in., l. 75 1/2 in., w. 55 in. [$3000/5000]

231. American School, 18th/19th c., “Colonial Lady” and “Colonial Gentleman”, 2 oils on canvas, both unsigned, remnants of wax seals en verso and on stretcher of gentleman, each 15 1/2 in. x 12 in., framed alike. (2 pcs.) [$800/1200]

232. Southern School, 19th c., “Cow Drinking at Stream”, oil on panel, unsigned, illegibly pencil-inscribed en verso, partial “Foster Brothers” label on backing paper, 10 3/8 in. x 14 1/2 in., framed. [$800/1200]

41

234. Attributed to Jacques Guillaume Lucien Amans (French/Louisiana, 1801-1888), “Thomas Benjamin Helm (1830-1880)”, oil on canvas, unsigned, inscribed on stretcher, 36 in. x 29 in., framed. [$4000/6000]

233. Cornelius David Krieghoff (Canadian, 1812-1872), “Basket Seller”, oil on canvas, signed lower right, 11 in. x 8 3/4 in., framed. [$10000/15000] Provenance: Oscar Pratt Benson, Benson Art Store, Buffalo, NY; thence by descent.

Note: Thomas Benjamin Helm was born in Mississippi in 1830 to William Meredith Helm (1802-1866) and Sarah M. Kitchens (1805-1892). After a brief stint in Princeton, New Jersey around 1850, Helm later established himself as a prosperous sugar planter with substantial lands and property near Bayou Boeuf in Cheneyville, Rapides Parish, Louisiana. He was married to Jane Wells Tanner (c. 1834-1870) from c. 1853 until her death in 1870. Jane was a member of a so-called pioneer family of Rapides Parish and daughter of Branch Tanner. Once a widower, Helm married Elizabeth Pomroy Wilson (1855-1883) also from Louisiana. Helm had four children, and he was one of the first wardens of Trinity Church in Cheneyville, along with his first father-in-law Branch Tanner.

Trinity Church was officially organized as a parish on April 25, 1859.

In the portrait on offer here, Helm is depicted in aristocratic dress seated and holding a cane and wearing a gold watch fob, shirt stud and ruby ring. His satin waistcoat and velvet collar present the sumptuous fabrics that Jacques Guillaume Lucien Amans often portrayed so dexterously in his portraits. This work was likely done while Amans was traveling throughout Louisiana painting the portraits of wealthy landowners.

235. John S. Marsh (American/New Orleans, 19th c.), “Out on a Hunt” and “Rigolets [sic], Outlet of Lake Pontchartrain”, 1873, 2 watercolors on paper mounted to board, each pencil-signed, titled and dated on mount, each 4 7/8 in. x 8 3/8 in., original matching frames. (2 pcs.) [$2000/3000]

236. John James Audubon (American, 1785-1851), “Golden-Eye Duck”, Plate CCCCIII, hand-colored aquatint with engraving, from Birds of America, Havell edition, “J.Whatman” watermark visible, sheet 25 1/2 in. x 38 1/4 in., framed. [$1000/1500] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

42

237. John James Audubon (American, 1785-1851), “Soft-Haired Squirrel” and “Collies Squirrel”, Plates XIX and CIV, 2 hand-colored lithographs, from Viviparous Quadrupeds of North America, Bowen edition, “The Old Print Shop, New York, NY” labels on backing papers, sheets 27 7/8 in. x 21 7/8 in. and 27 3/8 in. x 21 1/8 in., framed alike.

(2 pcs.) [$600/900]

238. Jean Joseph Vaudechamp (French/Louisiana, 1790-1866), “Young Boy Leaning on Table with Bookplate”, oil on canvas, unsigned, 44 in. x 33 3/4 in., framed. [$10000/15000] Note: Before Jean Joseph Vaudechamp traveled to New Orleans, he studied at the Ecole des Beaux-Arts under AnneLouis Girodet (1767-1824) and established himself as a portrait painter in Paris. Vaudechamp soon made a name for himself depicting wealthy, fashionable citizens of Paris, and in 1831, he traveled to New Orleans, where portraitists were highly sought within the Creole community. In his monograph on the artist, William Keyse Rudolph notes that: “By 1833, Vaudechamp’s style had crystallized. For the remainder of his time in New Orleans, he rarely experimented with more complex compositions…exceptions to the rule, like a series of portraits of the Forstall and Freret families, are just as revealing as the more traditional works.”

In the portrait of a young boy offered here, Vaudechamp employed a neutral background, yet deviated from his traditional compositional pose for his sitters by adding layers of additional complexity. The standing boy leans his arm on a table, perhaps the same table seen in Vaudechamp’s portrait of James P. Freret and his son William P. Freret, and he rests his hand on a black and white bookplate. A similar bookplate device can be found in several of Vaudechamp’s portraits of children, such as the one of Mathilde Freret and Eugénie Freret from 1837 and the group portrait of the Forstall children of 1836. The young boy’s formal attire and the lavish dimensions of the portrait indicate the wealth of his family. According to family lore, this lot and the following lot of a Louisiana gentleman descended in the Bouchereau side of the family of Confederate general John C. Pemberton (1814-1881) and hung for many years in the family apartment in the Pontalba Buildings.

Ref.: Rudolph, William K. Vaudechamp in New Orleans. New Orleans: The Historic New Orleans Collection, 2007.

239. Attributed to Samuel Lovett Waldo (American, 1783-1861) and William Jewett (American, 1792-1874), “Louisiana Gentleman”, oil on panel, unsigned, 2 “Waldo & Jewett, New York, 1834” stencils en verso, 36 in. x 28 in., framed. [$6000/8000]

240. Louis Aston Knight (American, 1873-1948), “Pastoral River Scene”, watercolor on paper, signed lower right, pencil-inscribed en verso, 14 1/2 in. x 10 1/4 in., framed with artist plaque. [$1000/2000]

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241. American School, 19th c., “Child with Ball”, oil on canvas, unsigned, partial period Boston dealer label on stretcher, 21 in. x 17 in., framed. [$1000/1500]

242. American School, 19th c., “Thomas McKean, Governor of the Commonwealth of Pennsylvania (1734-1817)”, oil on canvas, unsigned, inscribed on stretcher, 36 in. x 26 3/4 in., framed. [$2000/3000]

243. Diminutive New Orleans Coin Silver Tea Service probably for a Child, mid-19th c., incl. teapot (h. 5 3/4 in.), covered sugar (h. 4 3/4 in.) and creamer (h. 5 in.), all marked by Himmel for Hyde & Goodrich, oval tray (13 7/8 x 10 1/8 in.), apparently unmarked, 2 cups (h. 2 1/4 in.), marked Terfloth & Kuchler, 2 matching cups marked Hyde & Goodrich, 4 saucers with French punch marks, cake plate (dia. 7 1/4 in.) with French punch mark, 1 teaspoon (l. 4 3/8 in.), apparently in Wood & Hughes “Bead” pattern, marked Hyde & Goodrich and with French punch mark; all engraved “Alice” in script; total wt. 67.20 troy ozs. [$4000/6000] Provenance: Purchased at auction in Marseille earlier this year. By repute, descended in the family of the original owners who purchased the set when living in New Orleans and carried it with them when they returned to France in the 1860s.

Note: The New Orleans silver markings indicate manufacture between 1853 and 1869 for the Himmel for Hyde & Goodrich pieces, and between 1858 and 1866 for the Terfloth & Kuchler pieces.

One notable New Orleans resident to return to France during this period was banker Michel Heine, who by 1869 was living in Paris with his wife Amelia Miltenberger and their young daughter Alice.

Alice Heine (1857-1925) would marry the Duc de Richelieu in 1875, and later, in 1889, Prince Albert I of Monaco, becoming the first American Princess of Monaco. Could Alice Heine have been the original owner of this charming New Orleans teaset?

244. Mississippi Coin Silver Coffee Pot, Klein & Bro., Vicksburg, act. 1854 c. 1870, marked “KLEIN & BRO.” incuse, overstruck, “COIN” and with pseudo hallmarks; pyriform with domed cover, foliate scroll handle and molded pedestal foot, flat-chased foliate scroll and shell decoration, cartouche engraved “Dr. G. Owen/ from/ Mrs. R. Smith”, h. 11 1/4 in., wt. 26.65 troy ozs. [$500/700]

245. Gorham Sterling Silver Presentation Platter, date mark for 1906, no. A4529, engraved presentation “DR. JAMES H. SHORTER/In Memory of his able Professional Services to me/VARINA JEFFERSON DAVIS/1906.”, reeded border, engraved script monogram, 21 1/8 in. x 14 1/4 in., wt. 90.80 troy ozs. [$2000/3000] Note: Varina Davis (b. 1826, Natchez, MS., d. 1906, New York) was the second wife of Jefferson Davis, President of the Confederacy.

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246. American Classical Coin Silver Tea Set, James Bogert, Newburgh, NY, act. 1843-1856, for Ball, Tompkins & Black, act. 1839-1851, successors to Marquand & Co., incl. teapot, covered sugar and creamer, each paneled vase form with applied die-rolled borders, scroll handle and floriform finial, teapot h. 11 3/4 in., total wt. 63.55 troy ozs. [$1200/1800]

247. New York Sterling Silver Repousse Coffee and Tea Service, Wood & Hughes, act. 18451899, ret. W. Moir, act. 1869-1896, incl. coffee pot, teapot, covered sugar, covered milk pot and waste bowl; floral repousse, trompe l’oeil branch handles, coffee pot h. 11 1/2 in., total wt. 101.45 troy ozs. [$2000/4000]

248. S. Kirk & Son Coin Silver Repousse Covered Sugar and Creamer, 1880-1890, marked “S. Kirk & Son” in script and “11 OZ”, floral repousse on stippled ground, sugar with shell-form handles and pod finial, w. 5 5/8 in., helmet-form creamer, h. 7 in., total wt. 14.75 troy ozs. [$400/600]

250. Pair of Old Sheffield Plate Four-Light Candelabra, removable candle arms with urn-form candle cups, removable bobeches, straight gadroon borders, tapered shafts, h. 24 in. [$500/700]

253. American Rococo Carved Mahogany Bedstead mid-19th-c., stamped “C. LEE/ 319”, foliate carved crest, paneled headboard with bookmatched veneers, serpentine shaped rails, turned finials on faceted posts, conforming plinth feet, h. 79 in., l. 77 1/2 in., w. 85 in. [$700/1000] Provenance: Property of the Mobile Museum of Art, Mobile, AL, sold to benefit their Collections, Care and Acquisitions Fund.

249. American Coin Silver Repousse Kettle-on-Stand, Jones, Ball & Poor, Boston, act. 1846-1853, marked incuse “JONES, BALL & POOR/ BOSTON/ PURE SILVER COIN (in arc)”, globular kettle with floral repousse garland, reserve with Gothic monogram “MML”, cabriole leg stand with foliate feet, h. 12 in., w. 9 1/4 in., wt. 37.50 troy ozs.

Note: missing burner and 1 pin. [$800/1200]

251. Late Victorian Silverplate Egg Cruet, Walker & Hall, Sheffield, 1904, navette-form stand fitted with 4 egg cups and spoons, stand h. 6 7/8 in., w. 10 in. [$150/250]

252. American Sterling Silver Water Pitcher, Frank M. Whiting, “Talisman Rose” pattern, mid-20th c., h. 9 in., wt. 21.85 troy ozs. [$400/600]

254. American Rococo Carved Rosewood Center Table, attr. John Henry Belter, serpentine marble top, apron with scroll and flower applique, cabriole legs with fruit on knees, X stretcher with twist finial, acanthus scroll feet, casters, h. 28 1/2 in., w. 42 3/4 in., d. 33 1/2 in. [$2000/3000] Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

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255. American Modern Gothic Carved Walnut Bookcase, mid-19th c., attr. to Daniel Pabst, Philadelphia, molded pediment, glazed doors with lappet molding, lower doors and returns decorated with stipple carving, molded plinth, h. 104 1/2 in., w. 72 1/4 in., d. 21 3/8 in. [$2000/3000] Provenance: Civil War Society of Philadelphia.

Note: Several design elements on this bookcase are closely related to known case pieces from the workshop of Daniel Pabst. The finely rendered “coin” stiles are similar to examples from Pabst’s Renaissance Revival work including those on a sideboard and parlor cabinet, both conserved by the Philadelphia Museum of Art. The incised and stippled panels on this bookcase resemble panels on pieces within Pabst’s Modern Gothic oeuvre related to the work of English designer Christopher Dresser. Pabst examples with similar carving include a bedroom suite in the Philadelphia Museum of Art and an armchair from a private collection illustrated in The Art that is Life by Wendy Kaplan.

Ref.: Kaplan, Wendy. The Art that is Life, The Arts and Crafts Movement in America 1875-1920. New York: Bulfinch Press, 1998, p. 73, fig. 13; Talbott, David and Page. “Daniel Pabst: Philadelphia Cabinet Maker,” Philadelphia Museum of Art Bulletin, (April 1977), p. 10, fig. 4; p. 12, fig. 6; p. 16, fig 11.

256. Large American Beaux Arts Giltwood Oval Mirror, late 19th c., reticulated crest with flowers and sunburst cartouche, oval mirror frame with beaded and foliate molding, beveled mirror plate, acanthus pendant, h. 46 1/2 in., w. 33 in., d. 9 in. [$500/700]

257. Monumental American Aesthetic Carved Cherrywood Mirror, late 19th c., labeled “Allen & Bro./Philadelphia”, shingled crest, cove-molded frieze, rosette and reeded stiles, beveled mirror panels above large mirror plate, h. 103 in., w. 58 in. [$600/800] Note: The Allen and Brother firm, founded in 1835 in Philadelphia, exhibited and won prizes at the 1876 Centennial Exposition in Philadelphia. The design of this monumental mirror is related to pieces shown by other firms at the Centennial, including Mitchell and Rammelsberg of Cincinnati and Kimble and Cabus of New York City. The Centennial allowed these firms the opportunity to examine the work of their peers which influenced the design of later pieces.

258. American Paint-Decorated Satinwood Extension Dining Table in the Adams Taste, 20th c., labeled “J.N. Slack & Company Fifth Avenue, New York”, oval banded top, tapered legs, shaped stretcher, three leaves, incurvate feet, h. 30 1/4 in., w. (closed) 75 in., w. (open) 123 in., d. 44 in. [$1200/1800]

Ref.: Talbot. “Allen and Brother, Philadelphia Furniture Makers”, Magazine Antiques, (May, 1996) pp. 716, pl. I, pp. 720-722, pl. VI-IX; Dubrow. American Furniture of the 19th c., p. 13.

259. Bevolo Copper and Steel Hanging Lantern, fitted for gas, h. 25 1/2 in., w. 14 1/4 in., d. 14 1/4 in., circular hanger, total h. 30 1/2 in. [$300/500]

260. Four French Bronze and Colored Crystal Wall Sconces, h. 16 in., w. 9 in., d. 5 1/2 in. [$800/1000]

261. Pair of French Bagues-Style Two-Light Rock Crystal Sconces, with bird design, h. 28 in., w. 23 in., d. 5 in. [$1800/2000]

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262. French NeoclassicalStyle Bronze and Crystal TenLight Chandelier, 20th c., urn finials, scrolled arms, electrified, h. 48 in., dia. 34 in. [$1500/2500]

263. Charles Schneider Glass and Wrought Iron Compote, 20th c., marked “Ovington New York”, h. 7 in., dia. 11 1/2 in. [$300/500]

264. George III Tortoiseshell Tea Caddy, 19th c., silverplate bail handle, interior with two removable, lidded compartments, h. 5 in., w. 8 in., d. 5 in. [$1000/1500]

265. George III Tortoiseshell Pagoda-Form Tea Caddy, 19th c., interior with two lidded compartments, on ball feet, h. 5 3/4 in., w. 7 1/4 in. d. 4 3/4 in. [$1000/1500]

266. George III Tortoiseshell Bombé Tea Caddy, 19th c., interior with two lidded compartments, on ball feet, h. 5 3/4 in., w. 7 in., d. 4 1/4 in. [$1000/1500]

267. Antique Continental Carved and Polychromed Ship’s Figurehead, 19th c., female figure with scroll body, fitted with iron hanger, remnants of old paint, h. 34 in., w. 3 in., d. 5 1/4 in. [$800/1200] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

269. Set of Four Italian Carved and Silvered Musical Trophées, beribboned, with violins, horns, acorns and oak leaves, h. 36 in., w. 11 1/2 in. [$1000/2000]

268. Pair of Italian Neoclassical-Style Marble Plaques, 20th c., iron frames, h. 20 in., w. 20 in., d. 2 1/2 in. [$3000/5000]

270. Pair of Italian Specimen Marble Obelisks, 20th c., tapered form, molded base, h. 22 in., w. 6 in., d. 6 in. [$1000/2000]

47

271. Pair of Large Continental Carved Marble Figures of Griffins, 20th c., opposing figures, plinth bases, h. 25 in., w. 41 1/4 in., d. 14 in., raised on faux marbre wood platforms. [$4000/6000]

272. Pair of Monumental French Carved and Polychromed SingleLight Sconces, 18th c., painted with cherubs and scrolls, opening now fitted with fabric decoration, single pricket, h. 87 in., w. 28 in., d. 18 in. [$1500/2500]

274. Louis XVI-Style Parquetry and Mahogany Table-Top Collector’s Cabinet, late 19th c., oval Sevres-style plaques, 2 doors, interior fitted with bank of eight drawers, canted corners, tapered legs, h. 15 in., w. 21 1/2 in., d. 12 3/4 in. [$1000/1500]

273. Monumental Louis XV-Style Bronze-Mounted Plateau and Jardiniere, 20th c., black ground Chinoiserie surface, scroll feet, h. 18 in., w. 73 in., d. 36 in. [$8000/10000]

275. American Late Classical Carved Mahogany Pedestal Sideboard, early-to-mid 19th c., foliate scroll backsplash, reverse breakfronted top, blind frieze drawer, two arched beaded cabinets, shelf interior, blocked base, h. 52 in., w. 78 in., d. 28 in. [$1000/1500]

276. American Late Classical Mahogany Bookcase, c. 1840, probably New Orleans, stepped ogee molded cornice above two glazed and paneled doors, molded base, ogee bracket feet, h. 90 in., w. 62 in., d. 20 1/2 in. [$1500/2500]

277. American Classical Carved Mahogany Child’s Chair, early 19th c., New York, in the manner of Duncan Phyfe, carved spreadwing eagle slat, slip seat, sabre legs, h. 30 1/2 in., w. 17 3/4 in., d. 16 in. [$500/700] Provenance: Neal Auction.

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278. Five American Classical-Style Carved Mahogany Side Chairs, 1960, Joseph Bruno, New Orleans, scrolled crest, vasiform splat, sloped stiles, sabre legs, h. 32 in., w. 18 in., d. 17 in.; together with antique American Classical-style mahogany side chair, h. 33 in., w. 18 in., d. 18 1/2 in.

(6 pcs.) [$400/600] Provenance: Selma Plantation, Washington, MS.

279. American Classical Carved Mahogany Games Table, early 19th c., Boston, foldover swivel top, columnar standard, acanthus scroll saber legs, brass paw feet, casters, h. 28 in., w. 35 1/2 in., d. (closed) 17 3/4 in., d. (open) 35 1/2 in. [$800/1200]

281. Robert Malcolm Rucker (American/Louisiana, 1932-2001), “French Quarter Market Scene”, oil on canvas, signed lower right, 24 in. x 30 in., framed. [$2000/3000]

280. American Cast Iron Garden Urn on Pedestal, 19th c., lobed urn, cast stone pedestal, h. 47 in., dia. 21 1/2 in. [$600/900]

282. Robert Malcolm Rucker (American/Louisiana, 1932-2001), “Spring Landscape with Gazebo”, 1986, oil on canvas, signed and dated lower right, artist card attached to stretcher, 34 in. x 50 in., framed; accompanied by “Louisiana, This One’s For You” by Jimmie Davis, published by Ed Cheshire Publications, Baton Rouge, 1985. (2 pcs.) [$2000/3000]

283. Don Stewart (American/New Orleans, 20th c.), “Moonlit New Orleans Courtyard”, 1996, oil on board, signed and dated lower right, signed, dated and handwritten label with title en verso, 23 1/4 in. x 23 3/4 in., framed. [$500/800]

49

284. Colette Pope Heldner (American/ Louisiana, 1902-1990), “Swamp Idyl (Louisiana Bayou Country)”, oil on canvas, signed lower left, signed and titled en verso, 48 in. x 35 3/4 in., unframed. [$1500/2500]

285. Colette Pope Heldner (American/Louisiana, 1902-1990), “Old Patio, Royal Street, French Quarter, Old New Orleans, The Paris of America”, oil on canvas, signed lower left, signed and titled en verso, 24 in. x 30 in., framed. [$1000/1500]

286. Colette Pope Heldner (American/Louisiana, 19021990), “Antoine’s Courtyard, French Quarter”, oil on wood plate, signed lower center, “Ben’s Studio HandPainted Plates, New Orleans, LA” label en verso, dia. 6 1/2 in. [$800/1200]

287. Alexander John Drysdale (American/New Orleans, 1870-1934), “Twilight at City Park”, 1911, oil on board, signed and dated lower left, signed, titled, dated and inscribed en verso, 11 7/8 in. x 17 7/8 in., framed. [$2000/3000]

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288. Alexander John Drysdale (American/New Orleans, 1870-1934), “Louisiana Bayou with Live Oak”, oil wash on board, signed lower right, 20 in. x 29 3/4 in., framed. [$1000/1500]

290. Chestee Harrington (American/Louisiana, b. 1941), “Mule Sled”, oil on carved wood, incised signature lower left, penciltitled en verso, handwritten label with artist and title on backing paper, 6 1/8 in. x 9 7/8 in., framed. [$600/800]

289. Chestee Harrington (American/Louisiana, b. 1941), “Steamship Elva”, 1974, oil on carved wood, incised signature and date lower right, illegible label en verso, 19 1/4 in. x 23 7/8 in., framed. [$1500/2500]

291. Roy A. McLendon (American/Florida, b. 1932), “Florida Sunset”, oil on board, signed lower right, 24 in. x 36 in., framed. [$1000/1500]

292. Louise Sarrazin (American/Louisiana, 1888-1967), “Saturday” and “Cabin on Solitude Road”, 2 watercolors on paper, each signed lower left, both pencil-signed and titled on mat, each 9 in. x 11 5/8 in., framed alike. (2 pcs.) [$800/1200]

293. Louise Sarrazin (American/Louisiana, 1888-1967), “Morning Gossip” and “Catfish for Suppah?”, 2 watercolors on paper, each signed lower left, both pencil-signed and titled on mat, each 9 in. x 11 5/8 in., framed alike. (2 pcs.) [$800/1200]

294. Dorothy Stanley Emmons (American/Massachusetts, 1891-1960), “The Old Citadel, Charleston, SC”, oil on canvas board, signed lower left, partial pencil sketch and handwritten label with artist and title en verso, “Schmidt’s, Tampa, FL” label on reverse of frame, 12 in. x 14 in., framed. [$1200/1800]

295. Shearwater Art Pottery Mug, decorated by Walter Anderson with a design of ducks, base inscribed “Shearwater” in sgraffito, h. 4 in. [$1000/1500]

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296. Walter Inglis Anderson (American/Mississippi, 1903-1965), “Waterfowl”, watercolor and graphite on paper, unsigned, 8 3/8 in. x 10 7/8 in., framed. [$6000/8000]

297. Marie Atkinson Hull (American/Mississippi, 1890-1980), “Fall Landscape along the Pearl River”, oil on canvas, signed lower left, 25 1/4 in. x 30 in., framed. [$6000/8000]

Provenance: Gift of the artist; thence by descent.

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298. Marie Atkinson Hull (American/Mississippi, 1890-1980), “Dancers”, oil on canvas, signed lower right, inscribed en verso, 37 3/4 in. x 34 in., framed. [$7000/10000]

299. Aleen Aked (Canadian/Florida, 1907-2003),”Study for ‘By the Open Window’”, oil on canvas, unsigned, “The Estate of Aleen Aked” stamp en verso and on stretcher, inscribed with artist and “Sarasota, Florida” on backing board, 12 1/8 in. x 16 1/8 in., framed. [$1000/1500]

300. Rolland Harve Golden (American/New Orleans, 1931-2019), “Dock with Shrimp Boats”, 1961, watercolor on paper, signed and dated lower right, 22 1/8 in. x 29 7/8 in., framed. [$1000/1500]

301. Marie de Hoa LeBlanc (American/New Orleans, 1874-1954), “Bayou Liberty in Slidell, St. Tammany Parish”, watercolor on board, signed lower left, 16 in. x 20 in., framed. [$1000/1500] Provenance: By descent to the artist’s niece, Anita de Hoa LeBlanc Breisacher.

302. Newcomb College Art Pottery Vase, 1915, decorated by Alma Mason, orange blossom motif, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. HQ93 and shape no. 89, h. 6 in., dia. 3 3/4 in. [$700/1000]

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303. American Federal Tiger Maple Tall Post Bed, early 19th c., arched and paneled headboard with boss terminals, ring and urn turned posts, tapered legs, toupie feet, h. 89 in., l. 71 1/2 in., w. 42 1/2 in. [$700/1000]

304. American Federal Carved Mahogany Sarcophagus-Form Teapoy, early 19th c., possibly Boston, hinged lid, fitted interior, reverse tapered standard, reeded hipped sabre legs, brass caps, casters, h. 32 in., w. 23 in., d. 19 in. [$1000/1500]

305. Antique Federal-Style Carved and Inlaid Mahogany Settee, arched crest rail, foliate carved arm supports, blocked seat rail, reeded and tapered legs, h. 34 in., w. 82 in., d. 24 in. [$500/700]

306. American Federal Cherrywood Bookkeeper’s Desk, early 19th c., case with slant top, three drawers, stretcher base, turned toupie feet, h. 57 3/4 in., w. 76 1/4 in., d. 32 in. [$800/1200]

308. American Federal Mahogany Tilt-Top Tea Table, early 19th c., likely Baltimore, beehive-turned standard, sabre legs, brass paw feet, casters, h. 30 in., dia. 41 in. [$1000/2000] Provenance: Neal Auction Company.

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307. American Federal Mahogany Work Table, early 19th c., Massachusetts, top with outset corners, conforming case with ring-turned stiles, two beaded drawers, tapered reeded legs, casters, h. 29 1/4 in., w. 21 1/4 in., d. 18 1/4 in. [$500/700] Provenance: Neal Auction Company.

309. Antique Mixed Woods “Ferry” Corner Bench, slatted back and seat, shaped legs, conforming stretcher, h. 36 1/4 in., w. 66 in., d. 78 in. [$800/1200]

310. Pair of Monumental Rococo-Style Carved Walnut Figural Torcheres, 20th c., winged angels, tripartite bases, h. 71 in., w. 35 in., d. 25 in. [$6000/8000]

311. Pair of French Gilt Bronze-Mounted Marble Cassolettes, c. 1890, bud finial, grotesque masque handles, h. 17 1/4 in., w. 5 1/2 in., d. 4 1/2 in. [$1000/1500]

312. Antique French Rococo-Style Bronze Serpentine Fireplace Fender, mid-19th c., gadrooned border, reticulated foliate design, reeded bun feet, h. 9 1/2 in., w. 66 in., d. 20 in. [$800/1200]

313. Pair of Empire Patinated and Gilt Bronze and Marble Figural Three-Light Candelabra, early 19th c., maiden standard, green marble base, h. 20 3/4 in., dia. 8 in. [$800/1200]

314. Continental Carved Pine Figural Side Table, modelled as a tree with roosting birds, glass top, h. 28 ½ in., dia. 35 ¾ in. [$600/900]

315. Patinated Bronze Grouping of Lovers, signed and dated “Rodelle ‘79”, edition 4 of 75, h. 19 in., w. 11 in., d. 11 1/4 in. [$800/1200]

316. Carved Amethyst Figure, possibly Russian, giltwood base, h. 8 in., w. 3 1/2 in., d. 3 1/2 in. [$500/700]

317. Pair of Empire-Style Gilt Bronze Three-Light Figural Candelabra, 19th c., swan arms, cherub standard, h. 14 1/2 in., dia. 6 in. [$600/800]

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318. Pair of Continental Patinated and Polychromed Bronze Blackamoor Figural Torcheres, 20th c., opposing figures cast with elaborate costumes, h. 62 in., w. 29in., d. 18 in. [$3000/5000]

319. Decorative Pair of Shell Encrusted Obelisks, h. 29 in., w. 8 in., d. 8 in. [$800/1200]

320. Pair of Empire Gilt and Patinated Bronze Sphinx Figural Candlesticks, 19th c., tall onyx and black marble base, h. 8 3/4 in., w. 4 1/4 in., d. 2 1/2 in. [$600/900]

321. Moroccan Presentation Grade Parade Saddle, leather, fiber and silver thread, incl. conforming harness, bridle and stirrups, wood stand, h. 52 in., w. 57 in., d. 20 in. [$500/1000]

323. Antique English Walnut Monk’s Bench, convertible table-top back, scrolled arms, paneled base, h. 27 1/2 in., w. 60 in., d. 31 1/2 in. [$400/600] Provenance: Collection of Brooke and Maria Fox, Metairie, LA. 322. Five Antique Elm Yorkshire Dining Chairs, incl. 1 rocker, spindled back, rush seat, turned stretcher, chair h. 39 in., w. 18 1/2 in., d. 15 in.; rocker h. 38 in., w. 20 in., d. 15 in. [$500/700] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

325. George III Inlaid Burl Walnut Chest-on-Chest, late 18th c., molded cornice, reeded chamfered corners, upper case with three short over three long drawers, lower case with three graduated drawers, shaped bracket feet, h. 73 in., w. 43 in., d. 22 in. [$1500/2500]

324. Pair of Edwardian Mahogany Hall Chairs, early 20th c., square back with swag applique and cameo, blocked arm supports, wood seats, square legs joined by box stretcher with flower urn, h. 42 1/2 in., w. 28 in., d. 20 in. [$800/1200]

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327. Antique George III-Style Walnut Chest of Drawers, molded edge top, four graduated drawers, bracket feet, h. 30 in., w. 31 1/2 in., d.

17 in. [$700/1000] Provenance: Collection of Brooke and Maria Fox, Metairie, LA. 326. English Mahogany Partners Desk, inset leather top, three frieze drawers, pedestal supports with three drawers, casters, h. 30 in., w. 60 in., d. 47 1/2 in. [$600/900]

329. George III Mahogany Games Table, late 18th c., foldover top, frieze drawer, square legs, h. 27 1/4 in., w. (open) 32 1/2 in., w. (closed) 16 1/2 in. d. 31 1/2 in. [$800/1200]

328. George III Inlaid Mahogany Bowfront Chest of Drawers, 19th c., four graduated drawers, brass escutcheons and circular pulls, French feet replaced, h.

35 1/2 in., w. 39 in., d. 21 1/2 in. [$300/500]

Provenance: Royal Antiques, 1997.

330. Antique GeorgianStyle Oak Chest-on-Chest, stepped crest, blind fretwork frieze, upper case with chamfered corners and six drawers, lower case with three drawers, bracket feet, h. 72 in., w. 44 1/2 in., d. 22 in. [$1000/1200]

331. George III Mahogany Slant Front Desk, early 19th c., well fitted desk interior, three short over three long graduated drawers, each with beaded moldings, brass escutcheons and bail handles, bracket feet, h. 44 1/2 in., w. 48 in., d. 22 1/2 in. [$600/800]

333. George III Inlaid Walnut Slant Front Desk, 19th c., with fitted interior, four graduated drawers, bracket feet, h. 39 1/2 in., w. 31 1/2 in., d. 19 1/2 in. [$800/1200]

332. Antique George III-Style Inlaid Mahogany Chest of Drawers, two drawers over two graduated drawers, shaped apron, French feet, h. 33 3/4 in., w. 35 1/2 in., d. 20 1/2 in. [$800/1200]

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334. Georgian-Style Burled Walnut Breakfront, molded cornice, four glazed doors, shelf interior, conforming base with drawers flanked by cupboard doors, h. 82 in., w. 75 1/4 in., d. 18 1/2 in. [$800/1200]

335. Japanese School, 19th/20th c., “Hawk Chasing Egret in a Landscape with Flowers and Stream”, ink and color on paper, inscribed and sealed mid-right, 49 1/2 in. x 22 in., silk mounted and framed. [$800/1200] Provenance: Estate of Warren Paul Balovich (1926-1992), New Orleans.

336. Japanese Silver Embellished Shibayama Lacquer Covered Koro, Meiji Period (1868-1912), with 2 inset gold lacquer panels embellished with birds on flowering prunus branches amid other flora with mother of pearl and hardstones, h. 5 in. [$1200/1800] Provenance: Estate of Warren Paul Balovich (1926-1992), New Orleans.

337. Collection of Japanese Kutani Porcelain, late 19th/early 20th c., 26 pieces, most marked, incl. 3 covered tureens, largest h. 7 1/2 in., w. 10 1/2 in., d. 9 1/2 in.; charger, dia. 13 1/2 in.; 2 bottle vases, h. 8 1/2 in. to 9 1/4 in.; pair footed vases, h. 5 1/4 in.; pair mugs, h. 3 7/8 in.; pair plates, dia. 7 1/8 in.; and others. (26 pcs.) [$500/700]

338. English RegencyStyle Mahogany Portfolio Stand, adjustable supports, sabre legs, brass cuffs, casters. [$800/1200] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

340. Pair of Regency-Style Carved Walnut and Pietra Dura Side Tables, robustly beaded top, vasiform standard, incurvate triangular base, paw feet, h. 30 in., dia. 26 1/2 in. [$4000/6000]

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339. Regency Lacquered Papier Mache Tray, c. 1820, impressed mark “CLAY/KING ST/ COVENT GARDEN”; together with custom mahogany stand, h. 19 in., w. 30 in., d. 22 in. [$500/700] Provenance: Collection of Brooke and Maria Fox, Metairie, LA. Note: Henry Clay of Birmingham received a patent in 1772 for “new improved paper ware”. In 1785 he opened the King St., Covent Garden, London location seen in the label here. After his death, the firm was taken over by Jennens & Bettridge.

341. Regency-Style Carved and PaintDecorated Console Table, demilune top with green ground and floral swags, fluted skirt, goat head-carved legs with hoof feet, h.

33 in., w. 46 1/2 in., d. 21 1/2 in. [$1200/1800] 342. Regency Mahogany Secretary Bookcase, early 19th c., glazed doors with Gothic mullions, shelf interior, lower case with fall front desk, interior fitted with inlaid drawers, letter shelves and prospect door, two cabinet doors below with oval panels, French feet, h. 94 in., w. 48 1/2 in., d. 23 in. [$1800/2400]

343. Regency Mahogany Standing Library Table, early 19th c., banded top, three drawers one side, center drawer, opposite side two drawers, faux center drawer, reeded apron, square legs, h. 34 1/4 in., w. 54 3/4 in., d. 34 3/4 in. [$1500/2500]

344. Regency Mahogany Tilt-Top Breakfast Table, early 19th c., molded rectilinear top, ring-turned standard, lappet carved outswept legs, caps, casters, h. 28 1/4 in., w. 63 in., d. 49 1/4 in. [$700/1000]

345. Antique Regency-Style Inlaid Mahogany Dining Table, reeded top, reeded ring-turned supports and stretchers, sabre legs, brass caps, casters, h. 30 in., l. 77 in., d. 46 in. [$1200/1400]

346. Fine Pair of William IV-Style Carved Mahogany Low Benches, 19th c., possibly Gillows, molded top, blocked corners, ring-turned foliate tapered legs, h. 18 in., w. 49 in., d. 14 in. [$1500/2500]

347. Scottish Mahogany Tall Chest of Drawers, mid-19th c., ogee blind frieze drawer, over three conforming deep drawers, barley twist colonnettes flanking three graduated drawers below, toupie feet, h. 56 in., w. 50 in., d. 23 3/4 in. [$500/800]

348. Pair of Paris Gilt-Decorated Porcelain Amphora Vases, foliate and floral decoration, h. 11 in. [$200/300]

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349. Extensive Paris Porcelain Table Service, 19th c., some marked “M”, some monogrammed “CSL”, gilt rims, black medallions with pink flowers, incl. 33 plates, dia. 8 3/4 in.; 23 plates, dia. 9 1/4 in.; 22 bowls, dia. 9 1/4 in.; 16 bread and butter plates, dia. 7 1/2 in.; 9 plates, dia. 6 1/8 in.; 21 handled dishes, dia. 4 3/4 in.; 17 knife rests, l. 3 1/2 in.; 17 garniture vases, h. 2 in.; coffee pot (detached finial), h. 11 in.; teapot, h. 10 3/4 in.; 2 open creamers, h. (taller) 8 1/2 in.; covered sugar (lacking finial), h. 6 1/2 in.; 18 after dinner coffee cups with 24 saucers, dia. 5 in.; 7 teacups and 7 saucers, dia. 5 3/4 in.; 9 breakfast cups with 16 saucers, dia. 6 1/4 in.; 9 egg cups, h. 2 1/4 in.; covered butter dish with drain plate, dia. 6 1/4 in.; lobed platter, l. 15 in.; handled double serving dish, l. 11 3/4 in.; 3 cake plates, dia. (largest) 15 in.; 2 dishes with reticulated handles, l. 12 in.; 3 lozenge shaped dishes, l. 9 in.; 3 dishes, dia. 6 in.; handled serving bowl, dia. 11 in.; serving plate, dia. 11 5/8 in.; mustard pot with spoon, h. 5 1/2 in.; pair of fish platters with sectional mazarines, l. 25 1/2 in.; pair of gravy boats with attached underplates, h. 4 1/4 in.; 3 open vegetable bowls, l. 12 1/4 in.; 4 oval platters, l. (largest) 19 1/2 in.; 5 footed tureens, h. (tallest) 5 in.; 2 round platters, dia. 12 3/4 in.; 2 serving bowls, dia. 8 1/4 in.; 2 lids, dia. (largest) 9 1/2 in.; single tier dessert stand, dia. 13 5/8 in.; and components to a dessert stand, incl. 3 dividers, 3 plates and finial (approx. 306 pcs.) [$1500/2000]

351. Suite of Sevres-Style Porcelain Cabinet Plates, probably late 19th c., spurious Sevres “Chateau de Tuileries 1846” marks, each well centered with gilt Louis Philippe cipher in laurel wreath, or figural group, outer border of gilt, 8 plates with bleu de ciel borders, 5 with bleu du roi borders, dia. 9 5/8 in. [$2000/3000] 350. Napoleon III Dore Bronze and Polychrome Porcelain Casket, 19th c., marked “Mson A. Giroux”, signed “B. Bragg” on putti finial, porcelain plaques with musical putti, blush velvet lined interior, h. 8 1/2 in., w. 13 1/2 in., d. 9 in. [$2000/3000]

352. Monumental Gilt Bronze-Mounted Limoges Porcelain Covered Urn, late 19th/early 20th c., marked “Limoges VF France” for Vignaud Freres, decorated with Classical figures by lake and temple, h. 29 in. [$300/500]

Provenance: Descended in the Family of Angele Longer (Mrs. Evan Jones McCall). The handsome portrait of Mrs. McCall by Francois Bernard, which also descended in her family, sold in these rooms Dec. 1, 2007, lot 415.

353. Pair of Italian Faience Figures of a Chinese Couple by Ugo Zaccagnini, 20th c., woman with basket, man with tray, h. 22 1/2 in., mounted on wood bases. [$400/600]

354. Chinese Export Glazed Porcelain Wall Pocket or Hanging Vase, probably 19th c., modeled as a colorful parrot perched atop rockery, reverse with faint impressed mark, h. 10 3/4 in., w. 6 1/4 in. [$600/800]

355. Chinese Export Famille Rose Porcelain Warming Dish, 18th/19th c., central armorial of goose and flames above shield centered by monogram, octagonal rim with floral swags, base with “Henry Stern / Antiques / New Orleans” label, h. 2 in., w, 10 7/8 in., d. 9 3/8 in. [$200/300]

356. Decorative Pair of Chinese ExportStyle United Wilson Bronze and Porcelain Cachepots, modern, crackle glaze with pink and yellow floral sprays, bronze gadrooned rims and lion’s mask loose ring handles, h. 10 in., w. 11 1/2 in., d. 10 in. [$600/800]

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357. Decorative Pair of Chinese Export-Style Famille Verte Porcelain Tea Caddies, modern, square bodies and covers, overall mythical beast decoration, h. 12 1/4 in., w. 7 in., d. 7 in. [$600/800]

358. Antique Continental Oak Blanket Chest, molded top, paneled case, h. 28 in., w. 55 1/2 in., d. 22 1/2 in. [$600/900] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

360. Continental Carved Walnut Cassone, 17th/18th c., hinged molded top, Gothicized front panel, turned feet, h. 21 1/2 in., w. 37 1/2 in., d. 19 in. [$400/600]

359. Antique Spanish Colonial Tropical Hardwood Console Table, two drawers, square legs, h. 31 in., w. 66 in., d. 29 in. [$600/900]

361. Louis XIII-Style Walnut Fauteuil à Oreilles, leather back and seat, heavily turned supports, stretchers and legs, h. 46 in., w. 26 in., d. 21 in. [$800/1000]

362. Pair of Louis XIV-Style Carved Walnut Fauteuils, incurvate crest rail, heavily scrolled arms, tapered legs, shaped stretcher, bun feet, velvet upholstery, h. 45 in., w. 32 1/2 in., d. 30 in. [$700/1000]

363. French Provincial Painted Work Table, 19th c., lift top, plain skirt with chevron decoration, attenuated cabriole legs, pegged construction, h. 27 in., w. 28 in., d. 19 in. [$400/600] Provenance: Henry Stern, New Orleans; Ormond Plantation.

364. Directoire Inlaid Mahogany Escritoire, 18th/19th c., tiered inset marble top and writing surface, scrolled corners, tapered legs, h. 33 1/4 in., w. 22 1/4 in., d. 14 3/4 in. [$500/700] Provenance: Henry Stern, New Orleans, c. 1940s; Ormond Plantation.

365. French Provincial Carved Walnut Lit en Bateau, probably 19th c., pedimented head and foot board, baluster turned supports, blocked base, h. 43 in., l. 78 in., w. 37 in. [$500/700] Provenance: Henry Stern, New Orleans.

366. Louis XV-Style Carved Walnut Draw Leaf Table, 19th c., plank draw leaf top, scalloped skirt carved with vines and centered by an urn, cabriole legs, whorl and hoof feet, h.

31 1/2 in., w. (open) 105 in., w. (closed) 56 in., d. 45 in. [$1000/1500] Provenance: Henry Stern, New Orleans.

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367. Antique Louis XV-Style Carved Walnut Settee, serpentine crest rail with floral decoration, scrolled arms, fanned seat rail, cabriole legs, h. 42 1/2 in., w. 78 1/2 in., d. 26 1/2 in. [$1500/2500]

368. Dutch Neoclassical Satinwood Inlaid Center Table, late 18th c., chinoiserie paneling, oval inset top, tapered legs, h. 30 1/4 in., w. 40 1/2 in., d. 28 1/2 in. [$1200/1800]

369. Pair of Antique Louis XV-Style Carved Fruitwood Fauteuils, possibly 18th c., floral crest rail, caned back, scrolled arms, leather cushions, serpentine seat rail, cabriole legs, h. 34 in., w. 24 in., d. 20 in. [$1200/1800]

370. Louis XV-Style Cherrywood Bibliotheque, upper case with two glazed doors, lower case with shaped panel doors, conforming plinth, pierced brass escutcheons, fiche hinges throughout, h. 110 in., w. 51 in., d. 22 in. [$1400/1800]

371. Louis XV Inlaid Walnut Petite Commode, probably 18th c., shaped marble top, two drawers, cabriole legs, pied de biche feet, h. 33 in., w. 34 3/4 in., d. 19 in. [$1000/1500]

372. Louis XIV-Style Carved Hardwood and Needlepoint Settee, rectangular back and seat upholstered with attractive Arts and Crafts style needlepoint of a procession, curved arms with acanthus terminals, turned and blocked supports with stretchers, bun feet, h. 45 1/2 in., w. 70 in., d. 29 in. [$1800/2400]

373. Eight Louis XVI-Style Dining Chairs, cream leather padded back and seat, relief carved seat rail, fluted tapered legs, h. 37 in., w. 18 in., d. 17 1/2 in. [$700/1000]

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374. Hunt Slonem (American/Louisiana, b. 1951), “Oriole”, 1992, oil on board, signed, titled and dated en verso, “Sotheby’s, New York” labels with artist, title and date on reverse of frame, 17 in. x 13 1/2 in., framed. [$3000/5000]

375. Hunt Slonem (American/Louisiana, b. 1951), “Cockatoos & Siddahs”, 2002, oil on canvas, signed, titled and dated en verso, 48 1/4 in. x 48 1/4 in., framed. [$10000/15000]

376. Douglas Bourgeois (American/ Louisiana, b. 1951), “The School Play”, 1985, oil on wood construction, signed and dated lower right, pencil-signed, titled and inscribed en verso, “Arthur Roger Gallery, New Orleans, LA” label with artist, title and date en verso, 12 in. x 11 1/4 in., artist frame. [$3000/5000] Provenance: Collection of George Febres (1943-1996); Arthur Roger Gallery, New Orleans; Neal Auction Company, Oct. 5, 1996, lot 316.

377. Audra Kohout (American/New Orleans, 20th c.), “Self-Portrait”, 2001, mixed media assemblage, signed, titled, dated and inscribed en verso, h. 26 3/4 in., w. 22 3/4 in., d. 4 1/2 in. [$500/800]

378. Audra Kohout (American/New Orleans, 20th c.), “Untitled”, 1999, mixed media assemblage, signed, dated and inscribed en verso, h. 22 5/8 in., w. 12 7/8 in., d. 4 1/4 in. [$500/800] Note: New Orleans-based artist Audra Kohout’s assemblages speak to a sense of the past, mystery and drama. Harkening to the boxes of Joseph Cornell, Kohout’s heavily layered work invokes a uniquely New Orleans sense of fetish, carnival and decaying extravagance – southern gothic literature in three dimensions. Her creations, such as the two offered here, both compel and deter the viewer with an addictive uneasiness perfectly described here: “There is whimsy, poetry, innocence and fantasy within Kohout’s boxes. The assemblages are balanced, wildly creative, and always compelling. Upon first glance, all seems innocent enough - pixies, dolls, animals, fairies and figurines interact within each of their own small theaters, the characters playing out elements of the human psyche. In some of the assemblages though, the milieu appears to be drawn from the Industrial Revolution era. Mary Shelly’s Frankenstein comes to mind, as certain of Kohout’s characters seem to be involved with experiments, creating artificial life.”

Ref.: “Audra Kohout.” Baton Rouge Gallery. www.batonrougegallery.org.

Accessed Dec. 8, 2021. “Audra Kohout at Soren Christensen.” New Orleans Art Insider. Oct. 20, 2019. www.insidenola.org. Accessed Dec. 8, 2021.

379. Benny Andrews (American, 1930-2006), “Phyliss and the Church”, 1976, etching, pencil-signed, titled, dated and numbered “34/47” lower margin, 20 3/4 in. x 13 3/4 in., unframed. [$600/800]

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380. Karen Stastny (American/ New Orleans, 20th c.), “Two Figures”, oil and charcoal on gallerywrapped canvas, signed lower right, 36 in. x 36 in., unframed. [$1500/2500]

381. Karen Stastny (American/New Orleans, 20th c.), “Figure Study #2”, mixed media on unstretched canvas, signed lower left, exhibition label with artist and title on backing board, 8 7/8 in. x 30 1/8 in., framed. [$600/800]

382. Caroline Wogan Durieux (American/Louisiana, 1896-1989), “Mother and Child”, 1977, cliché-verre, signed, titled, dated and numbered “5/5” lower left, 14 7/8 in. x 16 7/8 in., unframed. [$600/800]

383. Caroline Wogan Durieux (American/Louisiana, 1896-1989), “Escape”, 1972, cliché-verre, pencil-signed, titled and numbered “10/10” lower margin, 7 in. x 7 3/4 in., unframed. [$300/500]

384. Caroline Wogan Durieux (American/ Louisiana, 1896-1989), “It Is Dark Inside”, 1973, electron print, pencil-signed, titled, dated and numbered “3/10” lower margin, 16 1/2 in. x 13 7/8 in., unframed. [$400/600]

387. Jeffrey Cook (American/New Orleans, 1961-2009), “Untitled”, 2001, mixed media assemblage, signed and dated en verso, h. 50 in., w. 10 3/4 in., d. 5 in. [$250/350]

385. Jeffrey Cook (American/New Orleans, 1961-2009), “Mother’s House”, 1999, mixed media assemblage on wood, signed and dated lower right, h. 36 in., w. 18 in., d. 3 1/2 in. [$400/600]

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386. Jeffrey Cook (American/New Orleans, 1961-2009), “(2) Josephs”, 1986-99, mixed media assemblage, signed, titled, dated, inscribed and 3 postage stamps en verso, h. 17 in., w. 18 in., w. 5 in. [$250/350]

388. Frank Relle (American/New Orleans, b. 1976), “Akers, Bedico, LA”, negative creation and print date 2018, c-print, signed, titled and dated lower margin, pencil-signed, titled, dated, numbered “1/16” and inscribed en verso, artist info sheet with signature, title, date and number on backing paper, from the series Until the Water, 17 3/8 in. x 26 1/4 in., framed. [$1000/1500]

389. Yousuf Karsh (Armenian/Canadian, 1908-2002), “Georgia O’Keefe, Abiquiu, New Mexico”, negative creation date 1956, print date 1980, silver gelatin print mounted to board, signed on mount, pencil-dated, artist stamp and copyright on reverse of mount, a copy of a letter of provenance from A Gallery for Fine Photography with artist, title and print date on backing board, 19 1/2 in. x 15 1/8 in., framed. [$3000/5000]

390. Enrique Alférez (Mexican/New Orleans, 19011999), “Nude”, 1940, charcoal on paper, pencil-signed and dated lower right, personalized en verso, 26 in. x 20 in., framed. [$1000/1500]

Provenance: A Gallery for Fine Photography, New Orleans, LA, April 8, 2003.

391. Enrique Alférez (Mexican/New Orleans, 1901-1999), “Woman in a Huipil”, 1985, bronze, signed and dated on reverse, h. 30 in., w. 18 1/2 in., d. 8 3/4 in., wood base, overall h. 32 in. [$20000/30000]

392. George Rodrigue (American/Louisiana, 1944-2013), “Moo-Cow Blues”, 1993, silkscreen, signed lower right, inscribed “Artist Proof” lower left, edition of 90 plus artist proofs, 23 1/4 in. x 34 in., framed. [$1200/1800] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 74.

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393. George Rodrigue (American/Louisiana, 19442013), “Second Line: Black”, 1994, silkscreen, signed lower right, inscribed “Artist Proof” lower left, edition of 40 plus artist proofs, 32 in. x 20 in., framed. [$1800/2500] Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 19702007. New York: Abrams, 2007, p. 141.

394. George Rodrigue (American/Louisiana, 1944-2013), “Four for Mardi Gras”, 2012, silkscreen, pencil-signed and numbered “42/190” lower margin, “Forstall Art Center, Birmingham, AL” and artist info label on backing paper, 22 in. x 36 in., framed. [$2000/3000]

395. Ashley Longshore (American/New Orleans, b. 1975), “You Suck”, mixed media on gallery-wrapped canvas, signed lower left, 30 in. x 30 in., unframed. [$3000/5000]

396. Ashley Longshore (American/New Orleans, b. 1975), “Wanna Lick It”, mixed media on gallery-wrapped canvas, signed lower right, 30 in x 30 in., unframed. [$3000/5000]

397. Ashley Longshore (American/New Orleans, b. 1975), “Pop Pop Pop”, mixed media on gallery-wrapped canvas, signed lower left, 29 3/4 in. x 30 in., unframed. [$3000/5000]

398.Ashley Longshore (American/ New Orleans, b. 1975), “Hopeless”, 1999, acrylic on canvas, signed and dated lower left, signed, titled and dated en verso, 36 in. x 24 in., unframed. [$2000/3000]

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399. Large Louis XVI-Style Verte Peinte and Giltwood Mirror, crest with crown and laurel branches flanking a shield, arched mirror plate with beaded rabbet, bellflower carved stiles, blocked and molded plinth, h. 90 in., w. 50 in. [$1000/1200]

400. Louis XVI-Style Carved and Painted Triple-Door Armoire, bowknot crest, pod finials, beveled mirror plates flanked by stopfluted stiles, base with rosette blocks, tapered legs, h. 92 in., w. 77 1/4 in., d. 20 1/4 in. [$1000/1500]

401. Louis XVI-Style Bronze-Mounted Kingwood and Parquetry Semainier, serpentine top, conforming case with seven drawers, bracket feet, h. 49 1/2 in., w. 28 in., d. 14 in. [$500/700]

402. Pair of Antique Louis XVIStyle Creme Peinte Fauteuils, bowknot crest, oval back, scrolled arms, foliate fluted tapered legs, spade feet, h.

40 1/2 in., w. 25 in., d. 22 in. [$1000/1400]

403. Regence-Style Carved Giltwood Fauteuil à la Reine, serpentine crest rail, rocaille arms and seat rail, cabriole legs, scrolled toes, h.43 in., w. 28 1/2 in., d. 22 in. [$800/1200]

404. Pair of Louis XV-Style Bronze-Mounted Kingwood and Parquetry Gueridons, oval top, paneled frieze, cabriole legs, scrolled toes, h. 29 1/4 in., w. 36 in., d. 24 1/2 in. [$1800/2400]

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405. Four Monumental Continental Crème Peinte and Parcel Gilt Architectural Panels, cartouche panel with musical trophée, h. 87 in., w. 37 1/4 in. [$5000/7000]

406. Pair of Rococo-Style Giltwood Canapes, each with reticulated floral crest, serpentine rail, padded triple back with lavender velvet button tufted and complementary floral damask upholstery, scroll and foliate arm terminals, rocaille carved seat rail, cabriole legs, h. 35 in., w. 49 in., d. 22 in. [$1800/2400]

407. Louis XVI-Style Petit Point and Crème Peinte Folding Screen, three beribboned panels with mullions above needlepoint panels depicting scenes after Watteau and Fragonard, h. 63 1/2 in., panel w. 23 in. [$1000/1200] 408. Large Louis XVI-Style Parcel Gilt Burlwood Console, demilune pietra dura top, reticulated skirt, tapering legs with rose garlands, h. 35 in., w. 68 in., d. 23 1/2 in. [$4000/6000]

409. Pair of Louis XV-Style BronzeMounted Marquetry Bombé Commodes, serpentine white marble top, case with two drawers, cabriole legs, sabots, h. 37 1/2 in., w. 55 1/2 in., d. 24 in. [$3000/5000]

411. Pair of Louis XV-Style Bronze-Mounted and Kingwood Marquetry Side Tables, serpentine top, shaped apron, cabriole legs, sabots, h. 29 1/2 in., w. 22 1/2 in., d. 22 1/2 in. [$800/1200]

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410. Pair of Louis XV-Style Carved Giltwood Canapés, serpentine back centered with panel of a court scene, cabriole legs, h. 34 1/2 in., w. 44 1/2 in., d. 21 in. [$1500/2500]

412. Pair of Louis XV-Style Carved Giltwood Consoles, each with serpentine King of Prussia marble top, pierced foliate apron, cabriole supports, h. 35 in., w. 35 1/2 in., d. 18 in. [$1400/1800]

413. Pair of Beaux Arts Giltwood Benches, exuberantly carved, fuschia button tufted and damask upholstery, h. 31 in., w. 58 in., d. 25 in. [$1500/2500]

414. Pair of Louis XVI-Style Gilt Bronze-Mounted Kingwood Gueridons, each with serpentine white marble top, shaped apron, cabriole legs, stretcher shelf, sabots, h. 30 in., dia. 16 in. [$500/700]

415. Pair of Louis XV-Style Bronze-Mounted Side Tables, serpentine white marble top with brass molding, cabriole legs, sabots, h. 30 in., w. 31 1/2 in., d. 31 1/2 in. [$1800/2400]

417. French Bronze-Mounted Kingwood and Marquetry Secretaire à Abattant, molded rouge marble top, fall-front door with fitted desk interior, three lower drawers, shaped apron, flared legs, sabots, h. 54 in., d. 30 in., d. 14 1/2 in. [$700/1000]

416. Antique French BronzeMounted Mahogany Vitrine, bronze galleried circular marble top, ram’s head mounts, conforming glass panels and door, cabriole legs, sabots, h. 59 in., dia. 25 1/4 in. [$500/700]

418. French Belle Epoque BronzeMounted Kingwood Vitrine Cabinet, early 20th c., shaped marble top, conforming tripartite case, central glass door, shelf interior, note: marble condition, h. 55 in., w. 70 1/2 in., d. 17 in. [$1200/1800]

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419. Carved Stone Bust of Benjamin Franklin, h. 25 in., w. 22 1/2 in., d. 12 in., plinth base, overall h. 31 in. [$1500/2500]

420. Sherry Salari Sander (American/Montana, b. 1941), “American Bison”, 1987, bronze, signed and dated on self-base, h. 18 1/4 in., w. 38 in., d. 16 1/2 in., marble and wood base, overall h. 22 in. [$2000/3000]

421. Art Moderne-Style Carved Marble Male Torso, h. 26 in., w. 15 in., d. 11 in. [$1200/1800]

422. Carved Marble Figure of a Dancing Woman, h. 44 in., w. 16 in., d. 14 in., wood base, overall h. 46 in. [$2000/3000]

423. Carved Marble Figure of “The Dying Gaul” or “The Dying Gladiator”, after the antique now conserved in the Capitoline Museums in Rome, h. 6 1/4 in., w. 10 3/4 in., d. 5 in., marble base, overall h. 9 1/2 in. [$600/800]

424. After Eugene Laurent (French, 1832-1898), “Psyche” and “Eros”, bronze figures, signed “E. Laurent”, on thin rouge marble bases, larger h. 17 1/2 in., w. 15 in., d. 8 in. [$700/1000] 425. Bronze Figure of a Prancing Horse, after the antique, plaque inscribed “L. Noli” on base, h. 15 1/2 in., w. 19 1/2 in., d. 7 3/4 in., green marble base, overall h. 17 1/2 in. [$500/700]

427. Carved Marble Figure of Napoleon, h. 48 in., w. 13 in., d. 16 in. [$2000/3000]

426. Pair of Bronze Figures of Seated Muses, after Etienne-Henri Dumaige each, signature inscribed on each self-base, both h. 14 1/2 in., w. 6 1/2 in., d. 7 1/2 in. [$1500/2500]

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428. Carved Stone Figure of a Seated Lady, after the antique, h. 8 1/4 in., w. 10 1/2 in., d. 4 3/4 in. [$600/800]

429. Bronze Figure of “Diana of Gabii”, after the antique now conserved in the Louvre, Paris, h. 20 1/2 in., w. 6 in., d. 6 in. [$800/1200]

431. Carved Marble Torso of Hercules, after the antique now conserved at the Museo Archeologico Nazionale di Napoli, mounted on granite base, overall h. 45 1/2 in. [$3000/5000]

430. Bronze Figure of a Female Athlete, after the antique, Ferdinand Barbedienne foundry stamp on self-base, h. 15 in., w. 9 in., d. 10 in. [$500/700]

432. Bronze Figure of “Comte Camille de Montalivet, Ministere de l’Interieur 1838”, after Jean-Auguste Barre, signature and “26 Janvier/1841” inscribed on self-base, h. 19 1/2 in., w. 7 5/8 in., d. 6 7/8 in. [$500/700]

433. Carved Marble Figure of “Dante Alighieri”, h. 18 1/2 in., w. 13 1/2 in., d. 7 3/4 in., wood base, overall h. 19 3/4 in. [$800/1200]

434. Carved Marble Classical Figure of a Woman Standing in Contrapposto, h. 49 in., w. 13 in., d. 13 in. [$3000/5000]

435. Carved Marble Bust of Woman with Water Lily, h. 23 1/2, w. 17 1/2 in., d. 13 in. [$1000/1200]

436. Bronze Figure of “Charmeuse de Serpents”, after Albert-Ernest Carrier-Belleuse, signature inscribed on self-base, h. 29 1/2 in., w. 12 in., d. 9 1/2 in., plinth base with brass artist and title plaque, overall h. 32 in. [$1000/2000]

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Modern Art and Photography from the Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989)

437. Harry Morey Callahan (American, 1912-1999), “Cora Kelley Ward”, gelatin silver print mounted to board, pencil-signed on mount, 6 in. x 6 1/8 in., unframed. [$1200/1800] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

438. Harry Morey Callahan (American, 1912-1999), “Forest”, gelatin silver print mounted to board, pencil-signed on mount, 4 3/4 in. x 8 1/8 in., unframed. [$1000/1500] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

439. Harry Morey Callahan (American, 1912-1999), “Cora Kelley Ward Against a Brick Wall”, gelatin silver print mounted to board, pencil-signed on mount, 3 5/8 in. x 4 3/5 in., unframed. [$1000/1500]

440. Nicholas Carl Hlobeczy (American/Ohio, 1927-2007), “Henry Mountains”, 1963, gelatin silver print, pencil-signed and dated lower margin, signed, titled and inscribed en verso, 9 in. x 11 5/8 in., unframed. [$500/700]

Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

441. Nicholas Carl Hlobeczy (American/Ohio, 1927-2007), “Euclid Creek #2”, 1976, gelatin silver print mounted to board, pencilsigned and dated lower margin, pencil-signed, titled and inscribed “For Cora” on reverse of mat, 9 in. x 11 1/4 in., framed. [$500/700] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

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442. Aaron Siskind (American/New York, 19031991), “Rock Formation”, 1944, gelatin silver print, signed, dated twice and inscribed en verso, 13 3/8 in. x 10 1/8 in., unframed. [$1500/2500] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

443. Harry Morey Callahan (American, 1912-1999), “Cora Kelley Ward under a Streetlight”, gelatin silver print mounted to board, pencil-signed on mount, 4 5/8 in. x 3 3/4 in., unframed. [$1000/1500] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

444. Cora Kelley Ward (American/Louisiana, 1920-1989), “Faces of the Art World in the 1960s”, 1962-68, 23 gelatin silver prints mounted to board, each pencil-signed, titled and dated on mount, 7 7/8 in. x 9 7/8 in. to 9 7/8 in. x 7 7/8 in., unframed in black hardcover folio; accompanied by 2 invitations for “Faces of the Art World in the 1960s” from André Emmerich Gallery, New York, NY. (25 pcs.) [$8000/12000] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

Exh.: “Cora Kelley Ward: Faces of the Art World in the 1960s”, André Emmerich Gallery, New York, NY, Oct. 7 - Oct. 28, 1978.

445. Cora Kelley Ward (American/Louisiana, 1920-1989), “Clement Greenberg Swimming”, 1965, gelatin silver print, unsigned, artist and date stamp en verso, 11 in. x 10 in., unframed. [$400/600] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

446. Clement Greenberg (American/New York, 1909-1994), “Landscape”, watercolor on paper, inscribed “For Cora from Clem” lower right, 14 in. x 17 1/4 in., matted. [$1200/1800] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

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447. Jules Olitski (Ukranian/New York, 1922-2007), “Lechaim!”, 1965, mixed media on paper, pencil-signed lower right, titled lower center, “Theo Waddington Galleries, Toronto” label with artist, title and date and “Kulicke Frames, New York, NY” label inscribed with artist, date and “gift Cora Kelley Ward” on backing board, 11 7/8 in. x 8 7/8 in., framed. [$3000/5000] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

448. Paul Terence Feeley (American, 1910-1966), “Untitled (Yellow Dots on Blue)”, 1964, watercolor and graphite on paper, pencil-signed and dated en verso, “André Emmerich Gallery, New York, NY” stamp and gallery label with artist, title and date, 2 “Kulicke Frames, New York, NY” labels one inscribed “C. Ward”, and inscription with artist and date on backing board, label with artist on side of frame, 11 5/8 in. x 8 15/16 in., framed. [$2500/3500] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

449. Paul Terence Feeley (American, 1910-1966), “Untitled”, 1964, watercolor and graphite on paper, pencilsigned and dated lower right, pencil-inscribed “Cora Ward, New York” en verso, “André Emmerich Gallery, New York, NY” stamp and gallery label with artist, title and date on backing board, 14 5/8 in. x 11 3/8 in., framed. [$2500/3500] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

450. Kenneth Noland (American/North Carolina, 1924-2010), “Untitled”, 1979, watercolor on handmade paper, pencil-signed and dated en verso, artist blind stamp “KN” upper left, “André Emmerich Gallery, New York, NY” stamp and gallery label with artist and title and label with artist and date on backing board, 10 3/4 in. x 13 3/4 in., framed. [$3000/5000] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

451. Susan Crile (American/New York, b. 1942), “Still Life”, 1965, pastel on paper, pencil-signed, dated and inscribed “For Cora” lower right, 9 in. x 11 1/2 in., unframed; AND “Landscape”, 1966, watercolor on paper, pencil-signed and dated lower left, 9 in. x 11 3/4 in., matted. (2 pcs.) [$300/500] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

452. Cora Kelley Ward (American/Louisiana, 19201989), “Listen”, 1979, acrylic on canvas, signed, titled and dated en verso, 24 in. x 18 in., framed. [$2500/3500] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

453. Cora Kelley Ward (American/Louisiana, 1920-1989), “Secret Aloft”, 1971, acrylic polymer emulsion on canvas, signed, titled and dated en verso, 24 in. x 32 in., framed. [$2500/3500] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

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454. Cora Kelley Ward (American/Louisiana, 1920-1989), “Together”, 1979, acrylic on canvas, signed, titled and dated en verso, 24 in. x 22 in., framed. [$2500/3500] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

455. Edward Avedisian (American/ Massachusetts, 1936-2007), “Untitled (Blue and Red Spheres)”, watercolor on paper, unsigned, inscription and “Kulicke Frames, New York, NY” label both with artist on backing board, 12 in. x 12 in., framed. [$300/500] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

456. Sidney Geist (American/New York, 1914-2005), “Abstract Form”, 1960, marker on paper, signed and dated upper left, signed, dated and sketch en verso, “Kulicke Frames, New York, NY” label inscribed with artist and date on backing board, 6 7/8 in. x 9 in., framed. [$400/600] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

457. Sidney Geist (American/New York, 1914-2005), “Abstract Form”, 1962, marker on paper, signed and dated lower left, 8 3/4 in. x 11 3/4 in., framed. [$300/500] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (19201989); thence by descent.

458. Clement Greenberg (American/New York, 1909-1994), “Abstract Composition”, 1978, ink on paper, signed and dated lower right, inscribed with artist and date on backing board, 18 in. x 18 5/8 in., framed. [$1000/1500] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

459. Anthony Caro (British, 1924-2013), “Untitled”, 1964, gouache on paper, signed and dated lower right, “Kulicke Frames, New York, NY” label and “André Emmerich Gallery, New York, NY” stamp and gallery label with artist, title and date on backing board, 18 in. x 24 in., framed. [$700/1000] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

460. Cora Kelley Ward (American/Louisiana, 1920-1989), “Brush Girl”, “The Separation”, “Tree Symbols”, “Moon and Mountain” and “Garden Girl Sleeping”, 1952, 5 lithographs, each pencil-signed, titled and dated lower margin, each 12 3/4 in. x 8 in., framed alike. (5 pcs.) [$1200/1800] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

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461. Jacques Hnizdovsky (Ukrainian/American, 19151985), “Asparagus Fern”, 1975, woodcut on washi paper, pencilsigned, titled, dated and numbered “AP 8/10” lower center, label with artist, title and date on backing paper, sheet 25 in. x 18 1/8 in., framed. [$600/600] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

Ill.: Tahir, Abe M. Jacques Hnizdovsky Woodcuts and Etchings.

Gretna, LA: Pelican Publishing, 1987, no. 208.

462. Jacques Hnizdovsky (Ukrainian/American, 1915-1985), “Suicide Oak, New Orleans”, 1974, woodcut on washi paper, pencil-signed, titled, dated and numbered “86/125” lower margin, 18 in. x 22 in., framed [$800/1200] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

Ill.: Tahir, Abe M. Jacques Hnizdovsky Woodcuts and Etchings. Gretna, LA: Pelican Publishing, 1987, no. 181.

463. Cora Kelley Ward (American/Louisiana, 1920-1989), “Seeds”, 1954, 3 watercolors on paper, each signed and dated lower right, 11 7/8 in. x 15 7/8 in. to 15 7/8 in. x 11 7/8 in., framed alike. (3 pcs.) [$1500/2500] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

464. Hugo Weber (Swiss/New York, 1918-1971), “Standing Female Figure”, 1963, watercolor on paper, pencil-signed and dated lower right, “Robert Elkon Gallery, New York, NY” label inscribed with artist, “Art Lending Service of the Museum of Modern Art New York” label and inscribed “Eklon 176 E” on backing board, 23 in. x 18 in., framed. [$1200/1800] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

465. Cora Kelley Ward (American/Louisiana, 1920-1989), “Abstract Composition in Blue, Orange, Yellow and Green”, 1962, oil on paper, signed and dated lower right, 3 Simon Barcham Green watermarks visible, 15 1/2 in. x 20 1/2 in., framed. [$600/800] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

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466. Hugo Weber (Swiss/New York, 1918-1971), “A Butterfly, Papillon for Cora”, 1961, watercolor on rice paper, pencil-signed lower right, signed, titled, dated and inscribed on backing board, 12 1/2 in. x 17 in., framed. [$800/1200] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

467. Ludwig R. Sander (American/New York, 1906-1975), “Geometric Abstract Composition”, charcoal on paper, signed lower left, 20 1/4 in. x 15 1/2 in., framed. [$400/600] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

468. Michael Steiner (American/New York, b.

1945), “Abstract Composition”, 1978, watercolor on paper, pencil-signed, dated and inscribed “To Cora With Love” lower right, inscribed with artist and date on backing board, 24 in. x 18 5/8 in., framed. [$300/500] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

469. Cora Kelley Ward (American/ Louisiana, 1920-1989), “Untitled”, “Tapa” and “Untitled”, 1981, 3 acrylics on canvas, each signed and dated and one titled en verso, 16 in. x 18 in. to 22 in. x 16 in., unframed. (3 pcs.) [$2000/3000] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

470. Cora Kelley Ward (American/Louisiana, 1920-1989), “Abstract Composition”, glazed terracotta wall plaque, unsigned, h. 22 in., w. 21 1/4 in., d. 3 1/2 in. [$500/700] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

471. Harry Morey Callahan (American, 1912-1999), “Cora Kelley Ward”, 7 gelatin silver prints mounted to board, each pencil-signed on mount, 4 1/2 in. x 3 3/4 in. to 6 3/4 in. x 5 3/8 in., all unframed. (7 pcs.) [$7000/10000] Provenance: Estate of American Abstract Expressionist Cora Kelley Ward (1920-1989); thence by descent.

This completes the offerings from the Estate of American Abstract Expressionist Cora Kelley Ward.

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472. Empire BronzeMounted Mahogany Mirror, 19th c., stepped crest, sphinx mounts, arched mirror plate, beaded surround, h. 75 1/2 in., w. 55 in. [$800/1200] 473. Empire-Style Black Painted Wood and Brass Curule Stool, 19th c., h. 21 in., w. 18 1/2 in., d. 12 1/2 in. [$300/500]

474. Pair of French Restauration Fruitwood Fauteuils, c. 1830, each with incurvate padded back, foliate carved arms, bowed seat rail, bamboo-turned legs (reduced), h. 37 in., w. 26 in., d. 11 in. [$500/700] Provenance: Henry Stern, New Orleans.

476. Biedermeier-Style Parcel Ebonized and Gilt Burlwood Secretaire à Abattant, acroterium on balloon form case with fall-front writing surface, interior extensively fitted, graduated drawers below, paw feet on plinth with French feet, h. 71 1/2 in., w. 43 in., d. 24 in. [$2000/3000]

475. Restauration-Style Bronze-Mounted Inlaid Birdseye Maple Buffet, molded top, four drawers over doors with columnar supports, shelf interior, paw feet, h. 41 in., w. 99 1/2 in., d. 22 1/4 in. [$600/800]

477.Pair of Biedermeier-Style Parquetry Work Tables, chamfered lift top, fitted interior, undulating supports, stretcher shelves, incurvate plinths, blocked feet, h. 31 1/2 in., w. 19 3/4 in., d. 15 1/2 in. [$600/800]

479. Charles X-Style Pietra Dura and Gilt Bronze Salon Table, rectangular top inlaid with fluorite matrix, sienna, and red marble with a Carrara marble egg and dart edge, elaborate curule base with medial stretcher with acanthus collars, scroll feet, h. 31 in., w. 42 in., d. 25 in. [$10000/12000]

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480. Empire-Style Bronze Low Table, rectangular green marble top, curule base, medial stretcher, paw feet, h. 16 1/2 in., w. 35 in., d. 18 1/2 in. [$600/800]

478. Biedermeier Parcel Ebonized Fruitwood Secretaire à Abattant, 19th c., frieze drawer, fall front door, wellfitted interior, lower cabinet, h. 61 1/2 in., w. 37 in., d. 17 1/2 in. [$1000/1200]

481. Large French Empire Faux Porphyry Painted and Parcel Gilt Overmantel Mirror, 19th c., cornice with egg and dart molding, foliate tablet, rectangular mirror plate flanked by colonnettes, h. 70 in., w. 71 1/2 in., d. 7 in. [$3000/5000]

482. Continental Giltwood Mirror, blocked frame with Gothic tracery, h. 76 1/2 in., w. 35 in. [$800/1000]

483. Napoleon III Giltwood Mirror, late 19th c., foliate and shell crest, gadrooned and beaded surround, h. 55 in., w. 34 1/2 in. [$700/1000]

484. Pair of Empire-Style Gilt Bronze-Mounted Mahogany Bibliotheques, stepped cornice, classical frieze, molded stiles, two shelves, block feet, h. 63 in., w. 40 1/2 in., d. 24 1/2 in. [$1500/2500]

485. Empire-Style Bronze-Mounted Mahogany Bureau Plat, inset black tooled leather top, kneehole configuration of drawers, square tapering legs, cuffs, h. 29 1/2 in., w. 52 in., d. 26 1/2 in. [$800/1200]

486. Empire-Style Ebonized and Gilt BronzeMounted Fruitwood Writing Table, inset leather writing surface, hocked legs with paw feet, trestle base, h. 29 in., w. 57 1/2 in., d. 27 in. [$1000/1500]

487. Pair of Boulle-Style Ebonized and BronzeMounted Pedestals, molded black marble top, tapered standard, serpentine base, flared feet with sabots, h. 48 1/2 in., w. 15 1/2 in., d. 15 1/2 in. [$800/1200]

488. American Classical Giltwood Mirror, c. 1835, attr. to Isaac Platt, New York, acanthus scroll crest, blocked rosette corners, h. 48 1/2 in., w. 58 3/4 in., d. 3 3/4 in. [$1000/1500]

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489. Elisabeth Weber-Fülöp (Hungarian/American, 1886-1966), “Venice”, 1923, oil on board, signed and dated lower right, “..Schöpfer...

Wienzeile..” label and 2 illegible German stamps en verso, 20 5/8 in. x 26 in., framed. [$1500/2500]

490. Continental School, late 19th c., “Harem Scene”, oil on canvas, indistinctly signed lower right, 14 in. x 16 in., framed. [$700/900]

491. Attributed to Manuel Ramírez Ibáñez (Spanish, 1856-1925), “Tending the Flock”, oil on canvas, unsigned, 23 1/4 in. x 39 1/2 in., framed with artist plaque. [$1000/1500]

492. Carved Marble Classical Figure of a Draped Woman Standing in Contrapposto, h. 47 1/2 in., w. 17 in., d. 12 in. [$3500/4000]

493. Albert-Tibule Furcy De Lavault (French, 1847-1915), “Still Life of Roses”, oil on canvas, signed upper left, French canvas stamp en verso, 32 in. x 23 3/4 in., unframed. [$1500/2500]

494. Constantin Isachie Popescu (Romanian, 1888-1976), “Floral Still Life”, oil on board, signed lower left, pencil-inscribed en verso, 13 3/4 in. x 18 1/8 in., framed. [$700/1000]

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495. William Trost Richards (American, 1833-1905), “Moonrise over the Beach”, oil on board, signed lower left, “Questroyal Gallery, New York” labels en verso one with artist and title, “Eli Wilner and Company Frames and Mirrors, New York” plaque and label on reverse of frame, 10 in. x 20 in., framed in “Eli Wilner and Company” replica frame. [$4000/6000] Provenance: Questroyal Gallery, New York, 2005.

497. Art Deco-Style Carrara Marble Figure of a Woman Disrobing, h. 55 1/2 in., w. 18 in., d. 13 in. [$2500/3500]

498. Cast Iron Figure of “Venus de Milo”, after the antique now conserved at the Louvre, Paris, h. 45 in., w. 11 in., d. 10 in. [$1500/2500] 496. Continental School, 1843, “Making Garland in the Countryside”, oil on canvas, signed “i. Baumann” and dated lower right, “Findlay Gallery, Chicago” label on backing board, 26 1/2 in. x 33 in., framed. [$2500/3500]

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499. William West (British, 1801-1861), “Waterfall and Road to Saeter”, oil on canvas, signed lower right, 45 in. x 36 3/4 in., framed with artist and title plaque. [$2000/3000]

500. After Albrecht Dürer (German, 1471-1528), “The Presentation of the Virgin in the Temple”, c. 1503 design of block, woodcut, monogrammed in plate lower right, from Life of the Virgin, original printed Latin text en verso, handwritten label with artist, title and inscription on backing paper, 11 3/4 in. x 8 15/16 in., framed. [$1000/3000] Ill.: Strauss, W.L. Albrecht Dürer Woodcuts and Wood Blocks. New York: Abaris Books, 1980, no. 79.

501. French Iron and Brass Baker’s Rack, marked “...Paris, France”, crest with sheaf of wheat, scroll supports, glazed shelves, h.

84 in., w. 49 1/2 in., d. 16 1/4 in. [$800/1200]

502. Monumental Wrought Iron Console Table, serpentine cast stone top, large bracket base with scroll apron, h. 40 in., w. 57 in., d. 36 3/4 in. [$800/1200]

503. Four Italian Carved and Parcel Gilt Solmonic Columns, foliate carving, molded plinth base, h. 106 in., w. 9 1/2 in., d. 9 1/2 in. [$1200/1400]

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504. Renaissance-Style Five-Panel Metal Screen with Lanterns, arched scroll lattice panels, h. 87 in., w. 85 in., d. 11 in. [$1200/1800]

505. Seashell Encrusted Grotto-Style Mirror, rectangular mirror plate surrounded with abalone, cowrie, conch and other shells with rock crystals, h. 58 in., w. 39 in., d. 4 in. [$4000/6000]

506. Venetian Grotto-Style Carved and Painted Three-Piece Suite, incl. settee and 2 armchairs, shell-form back and seat, foliate legs, settee h. 36 1/2 in., w. 58 1/2 in., d. 20 1/2 in., armchair h. 34 in., w. 23 in., d. 20 in. [$4000/6000] 507. Pair of Venetian Grotto-Style Painted and Parcel Gilt Side Chairs, shell-form back and seat, foliate legs, h. 33 in., w. 20 1/2 in., d. 17 in. [$1800/2400] 508. Moorish Abalone Inlaid Hardwood Chest of Drawers, case with outset stiles, four graduated drawers with cartouches containing Arabic poetry, blocked plinth, turned feet, h. 38 in., w. 41 1/2 in., d. 22 in. [$3500/4500]

509. Pair of Moorish Abalone Inlaid Hardwood Side Tables, octagonal top, conforming base with arched bracket legs, block feet, h. 24 1/2 in., w. 17 1/2 in., d. 17 1/2 in. [$1000/1500]

511. Pair of Large Moorish Abalone and Bone Inlaid Mirrors, each with outset corners, frames with geometrically inlaid stiles and panels, rectangular mirror plates, h. 45 1/2 in., w. 37 1/2 in. [$2500/3500]

510. Pair of MoorishStyle Mother-of-Pearl Inlaid Mirrors, scroll and foliate design, h. 72 in., w.

38 1/2 in., d. 1 1/4 in. [$800/1200]

512. Pair of Brass-Mounted Hardwood Camel Saddle Stools, pierced tan leather cushion, with yoke supports, h. 17 in., w. 22 in., d. 12 in. [$800/1200]

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513. Pair Art Deco-Style Amboyna Bedside Commodes, each case with two open compartments over drawers, waisted plinth, h. 25 1/2 in., w. 23 1/2 in., d. 15 1/2 in. [$600/800] 514. Pair of Louis XV-Style Bronze-Mounted and Zebra Painted Petite Commodes, serpentine top, bombe case, three drawers, cabriole legs, sabots, h. 29 in., w. 20 1/2 in., d. 13 1/2 in. [$600/800]

515. Decorative Pietra Dura Marble Coffee Table, circular top with gameboard and gothic motifs, contemporary painted metal stand, h. 19 3/4 in., dia. 37 in. [$1000/1500]

516. Large Patinated Metal Figure of a Crane, 20th c., presented on concrete base, h. 90 in., w. 16 in., d. 50 in. [$800/1000]

517. Attributed to Herman Mijnerts Doncker (Dutch, c. 1600-c. 1666), “A Double Portrait of a Couple Promenading with their Dogs through their Country Estate”, oil on canvas, unsigned, 38 in. x 48 in., framed. [$1000/1500] Provenance: Sotheby’s, London, Old Master Paintings, Apr. 27, 2006, lot 47; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

518. Dutch School, 20th c., “Lady with Feast”, oil on canvas, unsigned, 53 1/8 in. x 61 1/4 in., framed. [$700/1200]

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520. French School, 19th c., “Charles de Chabert (1703-1788)” and “Dame Marie Degras de Preigne (1728-1813)”, 2 oils on canvas, both unsigned, each inscribed with sitter information upper right, both 32 in. x 25 5/8 in., framed alike. (2 pcs.) [$1000/1500] 519. Continental School, 19th c., “Pastoral Landscape with Town along a River”, oil on canvas, unsigned, 25 3/4 in. x 39 3/8 in., framed. [$800/1200] 521. [Antique French/American Political Cartoon], “The debilitated situation of a monarchist Government _ The flourishing condition of a well-formed Industrious Republic”, c. 1836, hand-colored lithograph, anonymous, depicting Louis Philippe and Andrew Jackson facing off over France’s debt to the United States because of the Napoleonic Wars, 16 in. x 17 1/2 in., framed.

522. Patinated Bronze [$500/700] Figure of Poseidon, after the antique now conserved in the National Archaeological Museum, Athens, wood base, overall h. 27 1/4 in. [$600/800]

523. Bronze Figure of the “Dancing Faun”, after the antique now conserved at the Uffizi Gallery, Florence, unsigned, h. 22 1/4 in., w. 13 in., d. 9 in., on marble base, overall h. 23 1/2 in. [$600/800]

524. Jean Michel Laurent (French, 1898-1988), “Sailing Ships near the Shore”, oil on canvas, signed lower left, 24 in. x 36 in., framed. [$1500/2500]

525. Continental School, 19th c., “Portrait of a Boy”, oil on canvas, unsigned, 36 1/4 in. x 28 1/4 in., framed. [$2000/4000]

85

526. Continental School, 19th c., “Portrait of Girl with Spaniel”, oil on canvas, unsigned, 41 5/8 in. x 32 in., framed. [$1200/1400]

527. Continental Carved Marble Figure of a Mountain Goat, 20th c., climbing a rockwork base, h. 34 in., w. 39 in., d. 14 in. Note: Lacks horns. [$2000/3000]

528. Marble Bust of a Woman with Flowers at Neckline, h. 21 in., w. 14 in., d. 8 1/2 in., green marble pedestal base, overall h. 64 in. [$2000/3000]

529. Continental School, 19th c., “Priest”, oil on canvas, unsigned, heavily inscribed in Latin lower center, 55 1/2 in. x 36 1/2 in., framed. [$1200/1400]

530. Russian Icon, 19th c., tempera on panel with brass riza, 12 1/8 in. x 9 5/8 in. [$300/500]

531. Continental School, early 19th c., “Padre Andrea Villani (1706-1792)”, oil on canvas, inscribed “P. Villani” upper left and “1792” upper right, 34 in. x 24 in., framed. [$1500/2500]

532. Bronze Figural Group of “Bauerin Mit Gans”, after August Hudler, signature inscribed and foundry mark on self-base, h.

19 3/4 in., w. 8 1/2 in., d. 6 1/2 in. [$500/700]

86

533. Bronze Figure of “The Dying Gaul” or “The Dying Gladiator”, after the antique now conserved in the Capitoline Museums in Rome, “F. Barbedienne Fondeur” inscribed and foundry stamp on self-base, h. 11 in., w. 21 in., d. 10 in. [$1000/2000]

534. After Erté (Romain de Tiertoff) (Russian/French, 1892-1990), “Wings of Victory”, mixed media on panel, unsigned, 36 in. x 36 in., unframed. [$1000/1500]

535. Manner of Sir Peter Lely (British, 1618-1680), “Portrait of a Lady in Green Silk Robes”, oil on canvas, unsigned, 49 1/2 in. x 40 in., framed with artist plaque. [$3500/4500]

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536. Attributed to Alfred Fowler Patten (British, 1829-1888), “Seated Young Lady”, 1880, oil on canvas, signed and dated mid-left, London canvas stamp en verso, illegibly inscribed on label on stretcher, 24 in. x 20 1/8 in., framed with artist and date on liner. [$800/1200]

537. Attributed to Charles Sillem Lidderdale (British, 1831-1895), “Girl with Kerchief”, oil on canvas, monogrammed lower right, “George Rowney & Co., London” canvas stamp en verso, 14 in. x. 12 in., framed. [$400/600]

538. English School, 18th c., “Portrait of a Girl Holding Grapes”, oil on canvas, unsigned, 29 in. x 24 in., framed. [$600/800] Provenance: Sotheby Parke Bernet, Inc., New York, Old Master Painting, July 14, 1981, lot 51; Dixon & Dixon Art Gallery, New Orleans, LA.

539. Pair of Bronze and Brass Two-Light Wall Sconces, acanthus and fruit garland backplate, h. 21 in., w. 11 in., d. 5 in. [$800/1200]

540. Pair of French Iron and Rock Crystal Two-Light Sconces, 20th c., electrified, h. 20 in., w. 14 1/2 in., d. 9 in. [$400/600] 541. Pair of French Bouillotte Lamps, with tole shades, h. 25 1/2 in., w. 17 in. [$400/600]

542. Pair of Large Cold-Painted Bronze Figures of Lions, realistically rendered in mirror image, each h. 30 in., w. 14 in., d. 44 in. (2 pcs.) [$700/1000]

88

543. Pair of New Orleans Wrought Iron Scrollwork Window Grilles, 19th c., set in wood window frames, h. 30 1/4 in., w. 43 in., d. 2 1/2 in. [$600/900]

544. JoAnn Greenberg (American/New Orleans, 1928-2013) Ceramic Tableware, 20th c., signed, incl. bowl with nude in reeds, h. 3 in., dia. 6 1/4 in.; bowl with fish, h. 2 in., dia., 3 3/4 in.; footed vase with nudes in garden, h. 5 1/4 in., and miniature footed vase, h. 2 1/2 in.

(4 pcs.) [$600/800]

546. French Marble Mantel Clock, 19th c., porcelain dial marked by New Orleans clockmaker and retailer “Fournier/ New Orleans”, striking bell movement, h. 10 3/4 in., w. 10 in., d. 5 3/4 in. [$500/700] Provenance: Esplanade Ave Estate 1970s.

548. French Bronze Figural Clock, late 19th c., case surmounted by a cherub amidst cattails, faux marbre base, h. 20 in., w. 12 1/2 in., d. 11 in. [$800/1000]

545. JoAnn Greenberg (American/New Orleans, 1928-2013), “Three Figures”, pottery wall plaque, signed lower left, incised signature en verso, h. 14 3/8 in., w. 19 1/2 in., d. 1/2 in. [$400/600]

547. Antique French Marble and Slate Mantel Clock, retailed by Cowell & Hubbard, Cleveland, striking gong movement, visible escapement, h. 14 3/4 in., w.

10 in., d. 6 in. [$400/600]

549. French Boullework Mantel Clock, 18th c., backplate signed “Joüard Paris”, enameled numerals, h. 23 1/2 in., w. 23 1/2 in., d. 6 in. [$800/1000]

550. Antique French Six Aire Cylinder Music Box, marquetry and burlwood case, h. 7 in., w. 24 in., d. 10 in. [$600/900]

551. [Antique French Military Uniform Prints], Costumes L’Armee Francaise Depuis Louis XIV jusqu’a ce Jour, Paris, Ches Aubert, nd, oblong folio (11 in. x 16 in.), 39 hand-colored lithographs, showing the evolution of French uniforms from the 17th to 18th c. [$500/700] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

89

552. Kashan Carpet, ivory ground, central medallion, cartouche border, 10 ft. x 14 ft. [$500/700]

556. Turk Sivas Rug, pale yellow ground, allover vining floral design, 8 ft. x 11 ft. 10 in. [$500/700]

560. Egyptian Wool Carpet, olive and bluegray ground, repeating designs, 8 ft. 10 in. x 12 ft. 10 in. [$600/900]

90

553. Persian Carpet, red ground, blue border, vining foliate design, 5 ft. 11 in. x 8 ft.

10 in. [$500/700]

557. Turkish Carpet, central medallion, stylized floral design, 8 ft. x 10 ft. 5 in. [$300/500]

554. Pictorial Tabriz Carpet, central ivory ground, overall foliate design with deer and birds, 6 ft. 10 in. x 9 ft. 5 in. [$500/700]

558. Antique Tribal Rug, red ground, repeating designs, 4 ft. 7 in. x 5 ft. 8 in. [$200/400]

559. Antique Persian Carpet, repeating design, 4 ft. 8 in. x 9 ft. [$300/500] Provenance: Collection of Brooke and Maria Fox, Metairie, LA.

Provenance: Property deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

561. Heriz Carpet, ivory and red carpet, central medallion, 11 ft. 4 in. x 18 ft. [$800/1200]

555. Persian Rug, cream ground, overall vining design in red, pink and blue, 6 ft. 3 in. x 9 ft. 6 in. [$500/700]

562. Aubusson-Style Carpet, red ground, floral and geometric design, 8 ft. 5 in. x 12 ft. 3 in. [$600/900]

563. Persian Kerman Carpet, blue and cream ground, central medallion, wave cartouche, foliate design, 8 ft. 10 in. x 12 ft. 5 in. [$3000/4000]

564. Tabriz Silk and Wool Carpet, red and ivory ground, central medallion, spandrels, foliate design, 9 ft. x 12 ft. 6 in. [$3000/4000]

565. Oushak Carpet, ivory and blue-gray ground, stylized floral design, 9 ft. 2 in. x 12 ft.

5 in. [$2500/3500]

566. Sultanbad Carpet, khaki ground, stylized floral designs, 10 ft. x 13 ft. 11 in. [$3000/4000]

567. Oushak Carpet, rust and green ground, stylized foliate design, 9 ft. 1 in. x 12 ft. 5 in. [$1500/2000]

568. Persian Mahal Carpet, red-rust ground, overall vining foliate design, 9 ft. 5 in. x 13 ft. 4 in. [$1500/2000]

569. Persian Serapi Carpet, ivory and blue ground, central medallion, stylized designs in pink, light blue and olive, 10 ft. 1 in. x 12 ft. 8 in. [$3000/4000]

570. Persian Heriz Carpet, red, ivory and blue ground, central medallion, 9 ft. 10 in. x 13 ft. 3 in. [$3000/4000]

571. Antique Persian Lavar Kerman Carpet, red and cream ground, central medallion, foliate and animal design, 8 ft. 3 in. x 13 ft. 6 in. [$3500/4500]

573. Aubusson-Style Carpet, cream ground, floral medallion and borders, 8 ft. 10 in. x 12 ft. 4 in. [$300/500]

574. Aubusson-Style Wool Needlepoint Tapestry, early 20th c., beige central ground, floral central medallion with garland borders, 10 ft. x 12 ft. [$2000/3000]

572. Persian Kerman Carpet, burgundy ground, central medallion, foliate design, 11 ft. 5 in. x 16 ft. 2 in. [$5000/7000]

91

575. Pair of Chinese Carved and Painted Lacquer Four Panel Screens, decorated with figures in landscapes with bird-and-flower panels below, reverse with void panels above mythical creatures, each h. 74 3/4 in., w. 128 in. [$1000/1500]

576. Antique Chinese Carved and Painted Lacquer Eight Panel Screen, decorated with warriors in a continuous landscape with bird-and-flower panels above and beneath, reverse with bird-and-flower panels between landscape and floral scenes, h. 78 in., w. 104 in. [$1200/1800]

577. Pair of Chinese Oxblood Porcelain Vases, overall mottled copper red glaze thinning at rims and pooling at feet, h. 21 1/2 in. [$1000/1200]

578. Chinese Claire-de-Lune Glazed Porcelain “Beehive” Waterpot, Qing Dynasty (1644-1911), domed body incised with three archaic dragon roundels, base with Qianlong mark, h. 3 5/8 in., dia. 5 1/8 in., associated stand, overall h. 5 in. [$800/1200] Provenance: TK Oriental Art & Antiques, Williamsburg, VA, Oct. 1978 (copy of receipt); Estate of Warren Paul Balovich (1926-1992), New Orleans.

581. Chinese Silk “Bird and Flower” Kesi Panel, Qing Dynasty (1644-1911), worked in slit weave technique with colored and gold metallic threads depicting birds amid flowers and rocks, sight 64 in. x 26 1/2 in., kesi border, framed. [$1000/1500] Provenance: Estate of Warren Paul Balovich (1926-1992), New Orleans.

583. Chinese Embroidered Silk Panel, 19th c., worked in forbidden stitch/Peking knot, satin stitch and couched metallic threads with Buddhist lion and cub playing with a brocade ball amid cloud scrolls, geometric border with endless knots, 16 1/8 in. x 16 1/8 in., framed. [$400/600]

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579. Chinese Celadon Porcelain “Trigram” Cong Vase, probably 19th/early 20th c., square body molded with the Eight Trigrams, base with Qianlong mark, h. 8 in. [$800/1200] Provenance: Estate of Warren Paul Balovich (1926-1992), New Orleans.

580. Chinese Famille Rose Porcelain Bottle Vase, probably Republic Period (19121949), mask loop handles, decorated with figures in a garden and calligraphy between black filigree-style and fretwork bands, base with Qianlong mark, h. 7 3/8 in. [$600/800] Provenance: Estate of Warren Paul Balovich (1926-1992), New Orleans.

582. Chinese Blue Silk Dragon Robe, 19th c., embroidered in couched metallic and colored threads with nine five-clawed dragons amid cloud scrolls above rolling waves centered by a terrestrial diagram and lishui hem, l. 56 in [$1000/2000] Provenance: Property deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

584. Chinese Pale Celadon Jade Belt Hook, s-curved body carved as a dragon turned toward a qilong on its back, underside with beetle knob and painted accession numbers “1979.30.8”, l.5 1/4 in. [$600/800] Provenance: Property deaccessioned from the Louisiana State Museum, proceeds to be used for new acquisitions or the direct care of existing collections.

585. Chinese Greenish-White Jade Belt Hook, s-curved shaft carved as a dragon turned towards a qilong on its back, underside with circular knob, l. 3 3/4 in. [$600/800]

586. Three Antique Chinese Archaistic Jade Ornaments, incl. calcified bi disc carved with writhing qilongs to each side, w. 2 in.; calcified bi disc, dia. 1 1/2 in.; and stylized dragon plaque or pendant, l. 2 1/4 in. [$1000/1500]

Provenance: Estate of Warren Paul Balovich (1926-1992), New Orleans.

Provenance: Estate of Warren Paul Balovich (1926-1992), New Orleans.

587. Chinese Gold-Splashed Patinated Bronze Tripod Censer, Qing Dynasty (1644-1911), upright loop handles, bulbous body, 3 short, tapered legs, base with Xuande mark, h. 6 3/8 in., dia. 5 3/8 in. [$800/1200]

588. Chinese Hardwood Table, 19th c., inset rectangular top, pierced apron carved with scrollwork, high shelf, straight legs, scrolled toes, h. 31 in., w. 16 in., d. 12 in. [$400/600]

Provenance: TK Oriental Art & Antiques, Williamsburg, VA, May 1984 (copy of receipt); Estate of Warren Paul Balovich (1926-1992), New Orleans.

590. Chinese Painted Black Lacquer Chest on Stand, trunk decorated with a peacock amid flowers, two door cabinet with foliage panels, h. 48 in., w. 38 in., d. 24 1/2 in. [$700/900]

589. Chinese Polychrome Painted Black Lacquer Cabinet, 4 doors over 3 drawers, interior with medial drawer bank, shaped apron, square legs, decorated with figures in garden, h. 74 in., w. 50 1/2 in., d. 25 in. [$700/900]

591. Pair of Chinese Painted and Hardstone and Cloisonne Embellished Wall Panels, decorated with “Antiques” and embellished with applied mother-ofpearl, various hard and soft stones, and cloisonne enamel, h. 45 1/2 in. x 25 5/8 in., gilt bronze hanger. [$3000/5000]

592. Chinese Famille Rose Porcelain “Boys Day” Plaque, probably early 20th c., decorated with numerous young boys celebrating in a garden, inscribed and sealed upper left, sight 10 3/4 in. x 16 1/4 in., framed. [$300/500]

593. Four Chinese Famille Rose Porcelain Panels, each painted with a mountainous waterscape with houses, boats and figures, each inscribed upper left, sight 29 in. x 8 1/4 in., framed. [$1000/1500]

594. Chinese Gilt and Patinated Bronze Figure of Buddha, modeled seated in dhyanasana with hands held in uttarabodhi Mudra, h. 20 in. [$1000/1500] 595. Pair of Monumental Chinese Cloisonne Enamel Tripod Censers, 20th c., h. 21 in., dia. 28 in., carved wood stands, overall h. 40 3/4 in., dia. 33 in. [$4000/6000]

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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 22/02M

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 ?????????????????????????????????????????????

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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.

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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

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"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 “Conditions Sale” 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 “Conditions Sale” in the catalogue.

I understand that or for any error in the of bids.

IIIhave read and agree toto the ofof Sale” asas stated instated the I understand to execute or for any error inexecution the execution of of bids.

I have read and agree to“Conditions the “Conditions of Sale” as stated incatalogue. the catalogue.

I understand toure execute bids, orbids, forbids, error inerror the ofexecution bids.

I bids. have agree to the “Conditions of Sale” 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 “Conditions ofof Sale” as stated in the catalogue. understand that to execute bids, any error in the execution of bids. have read and agree the “Conditions Sale” stated in the catalogue.

III understand that a aabuyer’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 buyer’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 buyer’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 abuyer’s buyer’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. aabuyer’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 buyer’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, buyer’s premium shall be discounted of 22%.

No exceptions. purchase by cash, or wire transfer within 15 days of the auction, the buyer’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 buyer’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 buyer’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 buyer’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 buyer’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 buyer’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 1/27/22 Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________

to 504-617-6431 504-617-9990 to 504-617-6431 or504-617-9990 504-617-9990 504-617-6431 504-617-9990 toto 504-617-6431 or 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 or 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 504-617-9990 to 504-617-6431 to to 504-617-6431 504-617-6431 oror 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 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).

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23. All bidders are required to select, and notify Neal Auction Company of, a method of payment (cash, check, wire, or credit card) in writing at the time of registration.

24. Neal Auction Company reserves the right to describe or to make photographic, video, or audio recordings of the auction, or any part thereof, and to publish such descriptions, photographs and/or recordings.

25. Lots may be offered subject to a reserve, which is the confidential minimum hammer price below which the lot will not be sold, for the protection of the consignor. Such reserve will not exceed the low estimate for the lot. The auctioneer may open the bidding on any lot by placing a bid on behalf of the consignor, auctioneer, or an absentee bidder that is below the reserve. The auctioneer may continue to bid on behalf of the consignor, auctioneer, or absentee bidder up to the amount of the reserve, by placing consecutive bids or by bidding in response to other bidders. Neal Auction Company may sell a lot at a hammer price below the reserve at its discretion, subject to its agreement with the consignor.

ABSENTEE/TELEPHONE/ONLINE BIDS 1.

All absentee bids and/or telephone bids must be received by Neal Auction Company by 5 p.m. Central Time the Thursday prior to the auction.

2.

All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at the discretion of Neal Auction Company. Each lot must have a minimum low estimate of $500 for telephone bidding. Absentee bids are accepted for any lots regardless of estimate, at the discretion of Neal Auction Company.

3.

Neal Auction Company intends to endeavor to protect the confidentiality of absentee/telephone bids.

In the event that the identity of absentee/telephone bidders or buyers or of the amounts of absentee/ telephone bids is disclosed, Neal Auction Company shall not be liable, obligated, or responsible for such disclosure, and each bidder and buyer WAIVES and RELEASES Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any claims arising out of such disclosure.

4. Neal Auction Company reserves the right, in its sole discretion, to require that any advance bids be accompanied by a security deposit.

5.

Neal Auction Company shall not be liable, obligated, or responsible for any failure, design flaw, error, act, omission, or negligence of third party sites or their agents. Bidders WAIVE and RELEASE any rights to damages and equitable, declaratory, and injunctive relief and remedies arising therefrom.

6. Prior to placing any absentee, telephone, or online bid, all bidders are required to complete the applicable Registration Form prior to such bidding.

7.

In the event of ambiguity, uncertainty, or discrepancy, the lot number and not the lot description on any bid will be deemed to be the lot on which the bid is made.

8.

If more than one absentee bid on a particular lot is received with the same maximum bid amount, and that bid amount is the highest and best bid for the lot, the lot will be sold to the bidder whose absentee bid was accepted first by Neal Auction Company after receiving it. If a bid placed on a lot by a bidder who is physically present at the auction is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is physically present at the auction. If a bid placed on a lot by a bidder who is present at the auction (in person or by telephone) is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is present at the auction (in person or by telephone).

9.

Neal Auction Company reserves the right to record any telephone bidding or conversation relating to said bidding, or any part thereof, and to publish said recordings. By participating in telephone bidding, the bidder consents to such recording and publication, notwithstanding the laws or regulations of the state or jurisdiction of the bidder.

HANDLING AND STORAGE

Unless other arrangements are made and confirmed in writing by Neal Auction Company, all lots must be removed within 15 calendar days of the auction. On the first business day following that time period, any lots remaining in the Neal Auction Company gallery may be turned over to a storage facility, at Neal Auction Company’s discretion. The buyer will be responsible for all handling and storage charges. Handling charges shall be a minimum of $50 per lot. Storage costs shall be a minimum charge of $50 per month per lot. Storage charges accrue monthly and must be paid in full before any lots purchased by the buyer are released. At its discretion, Neal Auction Company may charge the full amount of any storage and handling charges, on a periodic basis, on the buyer’s credit card, including interest at the rate of one and one-half percent per month.

All purchased lots will be handled and stored at the buyer’s sole risk and peril. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for handling or storage, or for any damage to or loss of, any lot after the sale. The buyer WAIVES and RELEASES all such claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees).

INTELLECTUAL PROPERTY RIGHTS

Neal Auction Company retains the copyright and other intellectual property rights to all photographs, video, illustrations, text, and other works in its catalogue, website, advertising, correspondence, literature, and elsewhere. Such photographs, video, illustrations, text, and other works may not be used, copied, published, exhibited, revised, or displayed without the prior written permission of Neal Auction Company.

Neal Auction Company and the consignor make no representation or warranty that the buyer of a lot will acquire any copyright or other intellectual property right or interest in the lot.

IMPORT/EXPORT

Lots made of or incorporating endangered or protected wildlife materials, irrespective of age or amount of material, may require a license or certificate authorizing export from the United States as well as relevant authorizations from the country of import. It is the responsibility of the bidder or buyer to determine and be satisfied that the requirements of any applicable laws and regulations applying to the transportation, whether international or interstate, can be met before bidding. The inability of a buyer to transport lots containing endangered or protected wildlife material is not a basis for cancellation or rescission of the sale or discount of the purchase price. Although licenses may be obtainable to export certain types of endangered species, some types may not be exported at all, and other types may not be resold in certain states in the United States. Neal Auction Company cannot assist the bidder or buyer in attempting to obtain the appropriate licenses and/or certificates, and bidders and buyers can be given no assurance that an export license or certificate can be obtained. Each bidder should verify with an attorney or qualified shipping company if uncertain as to whether a lot is subject to export/import license and certificate requirements and any other restrictions or prohibitions on the interstate transportation or exportation from the United States. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for any oral, written, or electronic advice given or representations made by it or by any shipping company, legal counsel, or other person. Buyers WAIVE and RELEASE any and all claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) relating to such advice and representations.

MANDATORY AND EXCLUSIVE FORUM SELECTION; CHOICE OF LAW

PAYMENT

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.

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.

MISCELLANEOUS LEGAL PROVISIONS

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%.

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.

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.

97

November 19 & 20, 2021 • Auction Results 98

0001 - $2,432

0052 - $12,160

0117 - $12,810

0166 - $1,830

0220 - $2,688

0280 - $1,830

0338 - $768

0394 - $1,216

0454 - $1,342

0516 - $2,816

0002 - $1,088

0053 - $1,664

0118 - $10,880

0167 - $1,088

0221 - $3,584

0281 - $1,586

0339 - $1,280

0395 - $500

0455 - $488

0517 - $896

0003 - $544

0054 - $305

0119 - $37,820

0168 - $1,088

0222 - $305

0282 - $915

0340 - $854

0396 - $305

0457 - $960

0518 - $1,408

0004 - $1,664

0054A - $3,294

0120 - $17,920

0169 - $610

0223 - $1,098

0283 - $125

0341 - $3,712

0397 - $704

0458 - $976

0519 - $1,342

0005 - $4,880

0055 - $11,590

0121 - $20,740

0170 - $549

0224 - $1,220

0284 - $2,806

0342 - $7,320

0398 - $1,152

0459 - $610

0520 - $732

0006 - $576

0056A - $1,408

0122 - $41,480

0171 - $576

0225 - $1,408

0289 - $1,664

0343 - $1,342

0400 - $3,328

0461 - $5,625

0521 - $854

0007 - $62.50

0056B - $500

0123 - $34,160

0172 - $704

0226 - $4,160

0290 - $1,098

0344 - $704

0401 - $1,536

0463 - $2,816

0522 - $5,440

0008 - $3,538

0059 - $1,586

0124 - $12,810

0173 - $366

0227 - $1,098

0292 - $427

0345 - $768

0403 - $1,342

0464 - $1,586

0523 - $1,037

0009 - $3,328

0060 - $25,600

0125 - $10,880

0174 - $427

0228 - $1,250

0293 - $1,342

0346 - $384

0406 - $2,196

0465 - $256

0525 - $896

0010 - $2,304

0061 - $3,200

0126 - $10,980

0175 - $39,040

0230 - $1,952

0294 - $832

0347 - $2,688

0408 - $732

0466 - $3,584

0526 - $1,220

0011 - $7,320

0063 - $3,712

0127 - $12,200

0176 - $2,684

0231 - $1,408

0295 - $1,830

0348 - $7,680

0410 - $1,088

0467 - $18,300

0528 - $10,880

0012 - $91.50

0064 - $2,816

0128 - $23,180

0178 - $1,098

0233 - $1,280

0296 - $671

0349 - $1,216

0411 - $610

0468 - $2,000

0529 - $512

0013 - $128

0066 - $1,216

0129 - $17,080

0179 - $576

0235 - $793

0298 - $1,220

0350 - $320

0412 - $610

0469 - $7,040

0530 - $732

0014 - $256

0067 - $896

0130 - $9,760

0180 - $1,280

0236 - $1,920

0300 - $2,816

0351 - $488

0413 - $2,304

0470 - $875

0531 - $9,760

0015 - $976

0068 - $512

0131 - $12,800

0181 - $625

0237 - $896

0302 - $750

0352 - $1,536

0414 - $704

0471 - $2,176

0532 - $2,432

0016 - $3,172

0069 - $437

0132 - $18,300

0183 - $6,400

0238 - $1,220

0303 - $1,037

0353 - $640

0415 - $3,294

0473 - $17,080

0534 - $768

0017 - $4,880

0070 - $427

0133 - $10,370

0185 - $671

0239 - $2,304

0304 - $576

0355 - $1,342

0416 - $793

0474 - $1,664

0535 - $832

0018 - $544

0071 - $1,792

0134 - $7,930

0187 - $793

0240 - $1,920

0305 - $1,216

0357 - $183

0417 - $2,196

0475 - $23,750

0536 - $375

0019 - $256

0072 - $512

0135 - $3,712

0188 - $488

0241 - $2,688

0306 - $1,342

0359 - $1,098

0418 - $1,536

0476 - $10,370

0537 - $732

0020 - $3,965

0073 - $625

0136 - $10,880

0189 - $915

0242 - $4,160

0307 - $576

0361 - $976

0419 - $1,098

0478 - $812.50

0540 - $625

0021 - $250

0074 - $549

0137 - $5,490

0190 - $671

0243 - $3,200

0308 - $1,037

0363 - $704

0420 - $256

0480 - $512

0541 - $768

0022 - $375

0075 - $1,088

0138 - $12,160

0191 - $4,160

0244 - $3,456

0309 - $1,408

0364 - $854

0421 - $768

0481 - $3,416

0543 - $960

0023 - $183

0076 - $768

0139 - $10,980

0192 - $2,560

0245 - $448

0310 - $1,664

0365 - $768

0423 - $976

0482 - $2,928

0544 - $1,280

0024 - $256

0077 - $2,074

0140 - $12,160

0193 - $1,586

0246 - $1,342

0311 - $20,740

0366 - $8,320

0424 - $1,464

0483 - $1,024

0545 - $1,088

0025 - $768

0078 - $1,464

0141 - $19,520

0194 - $2,816

0247 - $1,464

0312 - $1,830

0367 - $1,875

0425 - $671

0484 - $1,280

0546 - $512

0026 - $12,160

0079 - $2,806

0142 - $7,680

0195 - $8,320

0248 - $1,088

0313 - $4,880

0368 - $9,600

0426 - $854

0485 - $1,464

0547 - $512

0027 - $256

0084 - $3,416

0143 - $4,375

0196 - $768

0249 - $2,250

0314 - $5,490

0370 - $2,560

0427 - $960

0486 - $1,250

0548 - $1,536

0028 - $1,280

0085 - $6,710

0144 - $3,200

0197 - $512

0250 - $1,250

0315 - $2,684

0371 - $2,928

0428 - $1,464

0487 - $2,304

0550 - $384

0029 - $335.50

0087 - $3,965

0145 - $5,795

0198 - $437

0251 - $6,710

0316 - $3,200

0372 - $24,400

0430 - $3,050

0488 - $4,270

0551 - $1,952

0030 - $160

0088 - $3,660

0146 - $10,370

0199 - $896

0252 - $976

0317 - $3,172

0373 - $9,150

0431 - $1,536

0489 - $5,440

0552 - $732

0031 - $122

0091 - $12,800

0148 - $500

0200 - $1,037

0254 - $732

0318 - $3,050

0374 - $1,342

0432 - $125

0490 - $2,562

0553 - $4,575

0032 - $1,088

0092 - $18,300

0149 - $625

0201 - $896

0255 - $896

0319 - $2,074

0375 - $976

0433 - $768

0491 - $1,586

0554 - $2,048

0033 - $4,880

0093 - $896

0150 - $549

0202 - $6,562

0256 - $1,037

0320 - $832

0376 - $2,928

0435 - $1,708

0492 - $29,440

0555 - $3,416

0035 - $21,350

0094 - $1,342

0151 - $427

0203 - $427

0257 - $4,880

0321 - $960

0377 - $19,520

0436 - $2,562

0493 - $2,196

0556 - $915

0036 - $62.50

0095 - $640

0152 - $512

0204 - $8,540

0258 - $2,196

0322 - $1,280

0378 - $12,800

0438 - $3,200

0494 - $2,816

0557 - $768

0037 - $128

0096 - $896

0153 - $384

0205 - $4,270

0259 - $1,464

0323 - $2,000

0379 - $15,860

0439 - $1,830

0497 - $500

0559 - $1,216

0038 - $384

0098 - $6,710

0154 - $1,000

0206 - $8,320

0261 - $2,196

0324 - $2,125

0380 - $12,200

0440 - $6,710

0498 - $1,000

0561 - $1,220

0039 - $448

0099 - $7,680

0155 - $640

0207 - $14,640

0262 - $15,860

0325 - $1,586

0382 - $7,320

0441 - $488

0500 - $6,710

0562 - $1,159

0041 - $152

0100 - $768

0155A - $640

0208 - $6,100

0263 - $854

0326 - $610

0383 - $4,880

0442 - $512

0501 - $6,100

0563 - $2,304

0042 - $640

0101 - $1,098

0156 - $1,708

0210 - $704,000

0264 - $11,590

0327 - $1,708

0384 - $25,620

0443 - $1,220

0503 - $1,920

0564 - $2,304

0043 - $1,152

0102 - $488

0157 - $3,965

0211 - $4,480

0265 - $4,880

0328 - $1,152

0385 - $3,250

0444 - $488

0505 - $5,120

0566 - $4,880

0044 - $1,342

0103 - $640

0158 - $2,816

0212 - $34,560

0266 - $1,098

0329 - $14,640

0386 - $2,562

0445 - $4,575

0506 - $13,420

0567 - $3,965

0045 - $1,342

0105 - $915

0159 - $1,664

0213 - $2,440

0267 - $3,172

0331 - $2,176

0387 - $21,960

0446 - $1,830

0507 - $10,240

0568 - $17,080

0046 - $610

0106 - $518

0160 - $1,536

0214 - $3,050

0269 - $1,952

0332 - $5,185

0388 - $24,400

0447 - $610

0508 - $8,960

0574 - $3,660

0047 - $1,664

0111 - $875

0161 - $960

0215 - $1,024

0272 - $3,416

0333 - $1,220

0389 - $8,960

0448 - $1,830

0511 - $625

0575 - $1,708

0048 - $704

0112 - $854

0162 - $2,560

0216 - $2,196

0273 - $1,152

0334 - $6,710

0390 - $3,660

0449 - $2,176

0512 - $8,320

0576 - $2,440

0049 - $2,745

0113 - $768

0163 - $2,432

0217 - $8,960

0275 - $2,944

0335 - $1,037

0391 - $3,965

0450 - $1,586

0513 - $2,176

0050 - $4,880

0115 - $2,432

0164 - $2,560

0218 - $7,680

0277 - $640

0336 - $671

0392 - $3,328

0451 - $732

0514 - $2,196

0051 - $6,405

0116 - $1,342

0165 - $1,920

0219 - $976

0279 - $1,024

0337 - $1,098

0393 - $704

0453 - $213

0515 - $1,792

A Enrique Alférez, 390, 391 Aleen Aked, 299 Jacques Guillaume Lucien Amans (attr), 234 American School, 231, 241, 242 Walter Inglis Anderson, 295, 296 Benny Andrews, 379 John James Audubon, 236, 237 Edward Avedisian, 455

C Harry Morey Callahan, 437-439, 443, 471 Anthony Caro, 459 Albert-Ernest Carrier-Belleuse (aft), 436 Continental School, 52, 490, 496, 519, 525, 526, 529, 531 Jeffrey Cook, 385-387 Édouard Léon Cortès, 5, 6 Susan Crile, 451

I Manuel Ramírez Ibáñez (attr), 491

J Japanese School, 19, 335 William Jewett (attr), 239

K Yousuf Karsh, 389 Thomas Benjamin Kennington, 50 Louis Aston Knight, 240 Audra Kohout, 377, 378 Cornelius David Krieghoff, 233

E Dorothy Stanley Emmons, 294 English School, 538 Erté (Romain de Tiertoff) (aft), 534

M John S. Marsh, 235 Reginald Marsh, 8 Roy A. McLendon, 291 Joan Miró, 140

S Ludwig R. Sander, 467 Sherry Salari Sander, 420 Louise Sarrazin, 292, 293 Aaron Siskind, 442 Hunt Slonem, 374, 375 Southern School, 232 Karen Stastny, 380, 381 Michael Steiner, 468 Don Stewart, 283 Yvette Sturgis, 138

T Johannes “Jan” Zoetelief Tromp, 55

V Jean Joseph Vaudechamp, 238

F Paul Terence Feeley, 448, 449 Roberto Figerio, 54 French School, 520 Elisabeth Weber-Fülöp, 489

N Kenneth Noland, 450

W Samuel Lovett Waldo (attr), 239 Cora Kelley Ward, 444, 445, 452-454, 460, 463, 465, 469, 470 Hugo Weber, 464, 466 William West, 499 Johann Amandus Winck, 53

Artist Index

L Eugene Laurent (aft), 424 Jean Michel Laurent, 524 Albert-Tibule Furcy De Lavault, 493 Sir Peter Lely (mnr), 535 Charles Sillem Lidderdale (attr), 537 Ashley Longshore, 395-398

R Frank Relle, 388 William Trost Richards, 495 George Rodrigue, 392-394 Robert Malcolm Rucker, 281, 282 Enzo Russo, 137

•

D Herman Mijnerts Doncker (attr), 517 Alexander John Drysdale, 287, 288 Etienne-Henri Dumaige (aft), 426 Albrecht Dürer (aft), 500 Caroline Wogan Durieux, 382-384 Dutch School, 518

P Alfred Fowler Patten (attr), 536 Elie Anatole Pavil, 7 Edmond Marie Petitjean, 51 Constantin Isachie Popescu, 494 Robert Ker Porter (aft), 110 Richard Purcell, 111

January 28 & 29, 2022

B Jean-Auguste Barre (aft), 432 Douglas Bourgeois, 376 Andrew Bucci, 139

H Chestee Harrington, 289, 290 Colette Pope Heldner, 284-286 Nicholas Carl Hlobeczy, 440, 441 Jacques Hnizdovsky, 461, 462 Marie de Hoa LeBlanc, 301 August Hudler (aft), 532 Marie Atkinson Hull, 297, 298 Clementine Hunter, 207-223

O Jules Olitski, 447 G Sidney Geist, 456, 457 Rolland Harve Golden, 300 Clement Greenberg, 446, 458 JoAnn Greenberg, 544, 545

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