December 2, 3 & 4, 2016 - Louisiana Purchase Auction

Neal Auction Company

Neal Auction Company Louisiana Purchase Auction™ December 2, 3 & 4, 2016

December 2, 3 & 4, 2016

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

Michelle LeBlanc Leckert, CAI Vice President

Bettine Field Carroll Vice President Business Development

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Louisiana Purchase Auction December 2, 3 & 4, 2016

™

On Our Premises • 4038 Magazine Street & 3923 Carondelet Street FEATURING:

18th and 19th c. American, French and English Antiques, Important Paintings, Historical Material and Decorative Arts especially consigned by discerning collectors, estates and institutions including: The Gaspar Cusachs Collection of Important Historic Louisiana Material Culture An Impressive Collection of English and Continental Furniture, Paintings and Decorative Arts from a Prominent Collector Fine and Decorative Art from the Estate of Janice Lane Young, Richmond, VA Property from the Estate of Dr. Eleanor M. Worsley, Natchitoches, LA Important Fine Art from a Distinguished Baton Rouge Collection Fine Art from a Jackson, MS Lady Property from the Murfee/DeBardeleben Collection, Riverview, Columbus, MS Property of the New Orleans Museum of Art, Sold to Benefit the Acquisitions Fund And Property of Others EXHIBITION Both galleries, beginning Monday, November 21, 10 a.m. to 5 p.m.

Closed Thursday, November 24 and Friday, November 25 Special Saturday Preview November 26, 10 a.m. to 5 p.m.

Evening Preview Reception, Wednesday, November 30, 5 to 8 p.m.

AUCTION SCHEDULE Friday, December 2, 2 p.m., 4038 Magazine Street Saturday, December 3, 10 a.m., 4038 Magazine Street Sunday, December 4, 11 a.m., 3923 Carondelet Street

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

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Neal Auction Company is pleased to present property from the Estate of Janice Lane Young (1930-2015) of Richmond, VA. Mrs. Young spent her childhood in Izmir, Turkey where her father was an executive with American Tobacco. She grew up in her family’s historic Psiachi-Lane House (seen below at left) in the Bornova district, which is noted for its handsome Levantine mansions. The family’s roots in Izmir go back to the 19th century when it was the commercial center for transactions between the Ottoman Empire and the West, and her Ralli and Psiachi ancestors, from the well-known Greek merchant families, were prominent in that trade.

Adelina Helene Ralli Psiachi (Mrs. Young’s greatgrandmother) is shown at left Her daughter, Marie Adeline Psiachi married American diplomat Rufus W. Lane in 1898, bringing the Psiachi House and its contents as her dowry.

Mr. Lane served as U.S. Consul to Izmir from 1898 to 1905.

At the outbreak of World War II the young Janice Lane came to Virginia to attend St. Catherine’s School in Richmond.

She would marry Armistead Churchill Young III who ran his family’s E.M. Todd Co., famous for their Virginia hams, and spend her adult life in Richmond.

This many-layered collection includes fine 19th c. paintings and traditional French antiques and decorations, as well as exotic objets reflecting her family’s history in international trade and diplomacy.

Built between 1847 and 1853 by architect/ builder James Lull for Col. Charles McLaren, Riverview is one of the grandest examples of residential Greek Revival architecture in Mississippi. However, when Dr. and Mrs. John Murfee purchased the house in 1970 it had seen better days. The Murfees undertook an extensive and thoughtful restoration, and brought the same scholarly approach to assembling their collection of appropriate period objects to furnish it. Riverview is on the National Register of Historic Places and is the only National Historic Landmark in Columbus.

Riverview, the stately Greek Revival home sited on a bluff above the Tombigbee River showcased the Murfee/DeBardeleben collection of 19th c. furniture, paintings and decorative arts for almost fifty years.

Over the years, Patty Murfee DeBardeleben has generously shared Riverview and its collection by opening it to scholars, preservationists and architecture students.

Neal Auction Company is pleased to offer select objects from the Murfee/DeBardeleben Collection in our 2016 Louisiana Purchase Auction™

Gaspar Cusachs Collection

of Important Historic Louisiana Material Culture

Exhibited by the Louisiana State Museum for over 100 years, The Gaspar Cusachs Collection contains some of Louisiana’s most treasured historical objects. These artifacts were an instrumental part of the early exhibits displayed at the museum and variously remained on view to thousands of museum visitors until early 2016.

The collection was originally loaned to the museum by Gaspar Cusachs beginning in 1909 and includes pieces exhibited at the Louisiana Purchase Exposition at the St. Louis World’s Fair in 1904.

Gaspar Cusachs (1855-1929) was a successful entrepreneur through business ventures in civil engineering and construction. Cusachs was born in New Orleans in 1855 to a Spanish-born father and a mother of French descent. At the age of five, he was sent to be educated in France and returned home to New Orleans in 1867 when he was 12 years old. After completing his education in Pass Christian, Mississippi, Cusachs went to work in banking for his maternal uncle until 1878, when he became a dealer of building material for the construction of canals in the New Orleans area. During the 1890s, Cusachs’ business achieved considerable success after he spearheaded civil engineering projects in Beaumont, Texas, shortly after oil was discovered in the region.

Gaspar Cusachs was active in numerous social and philanthropic organizations and was a member of the Orleans Parish School Board. He had an immense passion for history and served as the seventh president of the Louisiana Historical Society from 1914 until his death in 1929. While president, Cusachs published a number of essays in the Louisiana Historical Quarterly, the society’s quarterly periodical.

Cusachs also served on the board and on various committees of the Louisiana State Museum, after it was founded by the Louisiana Historical Society in 1906.

Along with his passion for history, Cusachs maintained a vast collection of antiques and historical ephemera. According to historian and former president of the Louisiana Historical Society Alcee Fortier, Cusachs had “one of the most valuable collections of curios to be seen anywhere in the country.” In addition to extremely rare and important objects such as the “Jordan B. Noble Infantry Snare Drum” and the “Andrew Jackson Presentation Flag Celebrating the Victory at the Battle of New Orleans,” offered as lots 111 and 112, Cusachs collected countless swords, pistols, maps, documents, colonial manuscripts, paintings, and an abundance of other unique items from Louisiana’s past, which he generously loaned to the Louisiana State Museum. This important historic collection is being offered in the Friday, December 2 session of Neal Auction’s annual Louisiana Purchase Auction™.

Bibliography Fortier, Alcee, ed. “Cusachs, Gaspar.” Louisiana: Comprising of Sketches of Parishes, Towns, Events, Institutions, and Persons, Arranged in Cyclopedic Form. Vol. 3. Madison, WI: Century Historical Association, 1914, p. 606-607; The Louisiana Historical Quarterly. Vol. 1, No. 1. New Orleans, LA: The Louisiana Historical Society, January 8, 1917; Official Catalogue of Exhibits, Universal Exposition Saint Louis 1904. The Official Catalogue Company: 1904; Second Biennial Report of the Board of Curators of the Louisiana State Museum 1908 – 1910. New Orleans: 1910.

Session One Friday, December 2, 2 pm 4038 Magazine

1. Louisiana School, 19th c., “Portrait of Madame Céleste D’Estrehan Marigny de Grailhe (1808‑1885)”, c. 1860, oil on canvas, unsigned, 30 1/4 in. x 25 1/4 in., antique frame. $800/1200 Pub.: Harter, John Burton and Mary Louise Tucker. The Louisiana Portrait Gallery, Volume 1 to 1870. New Orleans: Louisiana State Museum, 1979, p. 97, no. 215.

Note: Marie Céleste d’Estrehan, daughter of Jean Noël d’Estrehan (1754-1823) and Marie Claude Robin de Logny (1768-1822), grew up on her father’s plantation, Destrehan, which still stands today in Destrehan, Louisiana. She first married Prosper François de Marigny de Mandeville, and the couple had two children. After his death, Céleste remarried, this time to prominent New Orleans attorney Alexandre Grailhe; the couple had several children. The Egyptian revival-style Grailhe family tomb was erected in St. Louis Cemetery #2 and was designed by architect J.N.B. de Pouilly.

2.

John James Audubon (American, 1785‑1851), The Quadrupeds of North America, New York, 1854, 3 vols., octavo, second edition, original gilt‑tooled red leather boards, all edges gilt, with 155 hand‑colored lithographs by J.T. Bowen; together with volume 1 from Audubon’s The Birds of America, NY/Philadelphia, Audubon/Chevalier, 1840, with 24 (out of 70), hand‑colored lithographs, 11 in. x 8 1/2 in. Note: Condition. $3000/5000

4. John James Audubon (American, 1785‑1851), “Summer Wood Duck”, “Brown Pelican”, and “Night Heron or Qua Bird”, Plates 391, 423, and 363, 3 chromolithographs from The Birds of America, Bien edition, sheets 39 1/4 in. x 26 1/2 in., unframed. $400/600

7. De Fer, Nicholas (French, 1646‑1720), “Cartes et Descriptions Generales et Particulieres Pour l’Intelligence Des Affaires du Temps, au Sujet de la Sucession de la Couronne d’Espagne, en Europe, en Asie, Afrique et Amerique...”, Paris, Chez l’Autheur, 1701, 12 in. x 9 1/2 in, full calf, with views and portrait dedicated to King Philipe V, and 20 double‑page maps (8 1/2 in. x 12 3/4 in.), including one larger (17 1/2 in. x 22 in.) $1000/1500

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3. Louisiana Herbarium, 19th c. or earlier, 3 vols., blue boards with leather spines, manuscript title “Herbal of Louisiana”, 13 in. x 8 in., 92 pages, mounted with pressed plants, most labeled in Latin and with origin (Red River area, New Orleans swamp, etc.) $700/1000

5. Bossu, Jean Bernard, Nouveaux Voyages dans L’Amerique Septentrionale..., Amsterdam [Paris], Changuion, 1777, first edition, full calf, marbled endpapers, four engraved plates (one fold‑out), detailing Bossu’s third exploration in Louisiana, 7 3/4 in. x 5 in. $500/700

6. Alexander Wilson (Scotland/ Pennsylvania, 1766‑1813), “Mottled Owl...”; “Canada Jay...”; “Carolina Parrot...”; “Louisiana Tanager...”; “Carolina Cuckoo...”, plates 19, 20, 21, 26, 28, 5 engravings, from American Ornithology or The National History of Birds of the United States, 1808‑1814, sheets 13 3/4 in. x 10 1/2 in. $800/1200

8. De L’Isle, Guillaume (French, 1675‑1726), “Carte du Mexique et de la Floride des Terres Angloises et des Isles Antilles du Cours et des Environs de la Riviere de Mississipi”, Paris, Quai de l’Horloge, 1703, engraving, faint outline color, 18 1/2 in. x 25 1/2 in. $800/1200

9. Tirion, Isaak (Dutch, 1705‑1765), “Grondvlatke van Nieuw Orleans, de Hoofstad van Louisiana...”, Amsterdam, 1769, three engraved maps on one sheet, 13 in. x 17 1/2 in. $500/700

10. Ross, Lieutenant and Robert Sayer, “Course of the Mississipi River from the Balise to Fort Chartres...”, London, 1772, engraved map in outline color, 43 in. x 13 1/2 in. Note: Condition, in four pieces. $300/500

11.

Collot, George Henri Victor (French, 1750‑1805), “A General Map of the River Ohio, From its source to its mounth [sic]: containing the names of the Towns, Villages and Farms established at present on its banks: together with its soundings and course “ Plates 8, 9, 10 and 11, engraved map on 4 sheets, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 11 1/2 in. x 19 in., 11 1/2 in. x 37 in., 11 1/2 in. x 28 1/4 in. and 11 1/2 in. x 37 in., total w. 121 1/4 in., each linen backed. $4000/6000

13. Collot, George Henri Victor (French, 1750‑1805), “Plan of an Old Fort in the State of Kentucky”, Plate 12, engraved plan, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 7 in. x 4 1/2 in., linen backed. $400/600

12. Collot, George Henri Victor (French, 1750‑1805), “Map of the Missouri; of the higher parts of the Mississipi; and of the elevated Plain, where the Waters divide...”, Plate 29, engraved map, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 19 in. x 17 1/2 in. $1500/2500

16. Collot, George Henri Victor (French, 1750‑1805), “Plan of St. Lewis With the Project of an intrenched Camp French”, Plate 27, engraved map, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 7 3/4 in. x 10 7/8 in. $800/1200

14. Collot, George Henri Victor (French, 1750‑1805), “Plan of the Town of Pittsburg”, Plate 6, engraved plan, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 7 3/8 in. x 11 in. $700/1000

15. Collot, George Henri Victor (French, 1750‑1805), “Plan of Cape Girardo”, Plate 26, engraved plan, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 7 3/8 in. x 10 7/8 in. $600/900

17. Collot, George Henri Victor (French, 1750‑1805), “An American Log‑house”, Plate 16, engraved view, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 5 1/2 in. x 7 5/8 in. $1000/1500

Additional information at www.nealauction.com

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18. Collot, George Henri Victor (French, 1750‑1805), “View of Pittsbourgh”, Plate 5, engraved view, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 5 1/2 in. x 7 3/4 in. $600/900

19. Collot, George Henri Victor (French, 1750‑1805), “General Map of the Course of the Ohio from its Source to its Junction with the Mississipi”, Plate 2, engraved map, 27 1/4 in. x 39 1/2 in., linen backed; “View of Long Reach”, Plate 15, engraving, 7 1/4 in. x 9 1/4 in., from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804). 2 pcs. $1000/1500

20. Collot, George Henri Victor (French, 1750‑1805), “Sketch of new Orleans taken from fort St. Charles. Sketch of Plaquemine Fort”, Plate 36, engraved map, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 9 5/8 in. x 6 in. $800/1200

24. Collot, George Henri Victor (French, 1750‑1805), “Road from Limestone to Frankfort in the state of Kentucky”, Plate 22, engraved map, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 14 3/4 in. x 14 5/8 in., linen backed. $400/600

28. Collot, George Henri Victor (French, 1750‑1805), “Plan of Nogales”, Plate 32, engraved plan, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 7 3/4 in. x 10 1/4 in. $500/700

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21. Collot, George Henri Victor (French, 1750‑1805), “Passage of a Branch of the river Juniata across a chain of Mountains uninhabited and covered with Wood”, Plate 23, engraved map, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 7 1/4 in. x 10 7/8 in. $400/600

25. Collot, George Henri Victor (French, 1750‑1805), “Plan of the Rapids or Falls of the Ohio, Latitude of Louisville”, Plate 17, engraved plan, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 5 7/8 in. x 7 1/2 in. $500/700

22. Collot, George Henri Victor (French, 1750‑1805), “Plan of Fort Erie”, Plate 3, engraved plan, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 7 7/8 in. x 9 1/4 in., linen backed. $400/600

23. Collot, George Henri Victor (French, 1750‑1805), “Plan of Fort Niagara”, Plate 4, engraved plan, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 7 7/8 in. x 10 1/2 in., linen backed. $500/700

26. Collot, George Henri Victor (French, 1750‑1805), “View of the Rapids of the Ohio and of Louisville taken from the village of Clarkesville”, Plate 18, engraved view, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 5 1/2 in. x 7 1/2 in. $600/900

27. Collot, George Henri Victor (French, 1750‑1805), “Plan of Fort Des Ecores at Margot”, Plate 31, engraved plan, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 7 3/4 in. x 10 3/4 in., linen backed. $400/600

29. Collot, George Henri Victor (French, 1750‑1805), “Plan of the Fort of New Madrid or Anse a la Graisse”, Plate 30, engraved plan, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 10 5/8 in. x 7 5/8 in., linen backed. $400/600 30. Collot, George Henri Victor (French, 1750‑1805), “View of the Fort of the Natchez”, Plate 13, engraved view, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 5 1/2 in. x 7 1/2 in. $800/1200

32. Collot, George Henri Victor (French, 1750‑1805), “Indian of the Nation of the Shawanoes”, plate 19; “Indian of the Nation of Kaskaskia”, plate 20; “Indian of the Mandanes”, plate 24, 3 engravings, from Voyages dans Amerique Septentrionale..., Paris, 1826, printed 1804, sheets 14 in. x 10 in. $300/500

33. Fourteen Antique Louisiana and French Colonial Maps, incl. “La Louisiane et Pays Voisins”, c. 1762; “Plan de la Ville du Cap, a la Côte Septentrionale de Saint Domingue”, c. 1728; “Plan de la Nouvelle‑Orleans”, c. 1744; and others, 6 1/2 in. x 8 in. to 10 1/2 in. x 15 1/2 in. $800/1200

31. Collot, George Henri Victor (French, 1750‑1805), “Chart of the Sources of the Mobile and of the River Yazoo, Including a part of the Course of the Mississipi From the River Margot to the Natches”, Plate 33, engraved map, from Voyages dans l’Amerique Septentrionale..., Paris, 1826 (printed 1804), 15 3/4 in. x 23 3/4 in. $1000/1500 36. Andrew Jackson and Martin Van Buren Land Grants, 2 partial printed documents, on vellum; October 1, 1835, secretary signed, land grant issued to William Glover for land in Vincennes, Indiana, 9 1/2 in. x 16 in.; April 1, 1837, secretary signed, land grant issued to Aaron Phelps for land in Detroit, Michigan, 10 in. x 16 in. $300/500

34. Hennepin, Louis (French, 1640‑1705), “Carte de la Nouvelle France et de la Louisiane”, Paris, 1683, engraved map by Roussel, cartouche by Guerard, 11 1/2 in. x 18 3/4 in. $600/900

37. States of Georgia and South Carolina Land Grants, two partial printed documents; August 4, 1794, land grant issued to Richmond Dawson for land in Montgomery County, Georgia, 12 in. x 13 1/2 in.; September 13, 1793, land grant issued to Robert Middleton for land in the Washington district of South Carolina, 12 in. x 16 in. $400/600

35. State of Nevada Lincoln Mourning Proclamation, printed broadside, dated May 16, 1865, by Henry G. Blasdel, Governor, proclaiming June 1, 1865 “as a day of fasting, humiliation and prayer”, sheet 16 3/4 in. x 14 in., folded, as issued. $400/600 41. State of South Carolina Land Grant Signed by Gov. William Moultrie, partial printed document dated February 19, 1791, issued to John Fisher, incl. corresponding survey certificate dated May 27, 1794, Orangeburgh District, 13 in. x 16 in. $300/500

38. President James Madison Signed Land Grant, dated April 5, 1814, partially printed, on vellum, with embossed paper label, 8 1/2 in. x 13 3/4 in. $200/300

39. [Louisiana Governor Signed Documents], incl. autograph letter signed Antonio de Ulloa, regarding a book of observations made near the equator, Apr. 13, 1749, 11 1/2 in. x 8 in.; autograph letter signed Estevan Miro, application for purchase of “Isle a Cayou”, Oct. 4, 1787, 12 in. x 8 in.; autograph letter signed Francisco Luis Héctor de Carondelet, petition requesting grant of Timballier Island, June 26, 1793, 12 in. x 8 in.; autograph letter signed Jean‑Jacques Blaise d’Abbadie, regarding grant of land at Atakapas, June 12, 1764, 2 sheets, 12 in. x 7 1/2 in.; partial printed document signed James Villere, certification of signature, Dec. 29, 1817, 9 1/2 in. x 7 1/2 in.; together with manuscript signed Juan Jos. de Loyola, 1767. (6 pcs.) $300/500

42. [Continental Congress/ Philadelphia Assembly], 2 partial printed documents, salary voucher for John Balstone for attendance in general assembly, Oct. 9, 1779, signed John Bayard, Speaker, 4 in. x 6 1/2 in.; salary voucher for Mark Bird for attendance in general assembly, Oct. 2, 1781, signed David Rittenhouse, State Treasurer, 6 in. x 9 in. (2 pcs.) $200/300

40. Autograph Document Signed Governor William C.C. Claiborne, March 2, 1807, act of divorce for John Valentine Duforest and Mary Louisa Martha Deblanc, sheet 9 3/4 in. x 8 in. $500/700

43. Napoleon Autograph Document Signed, partially printed vellum, dated March 5, 1812, signed by Napoleon, co‑signed by the Minister of Justice and the Secretary of State, patent authorizing Jean Michel Murat to remain in the service of the King of the Two Sicilies, 17 1/4 in. x 22 1/2 in. $1000/1500 Additional information at www.nealauction.com

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45. Pair of French Dueling Épées, 19th c., triangular blades, shagreen and twisted wire grips, urn pommels, kidney form guards, remnants of leather and brass scabbards, blade l. 34 1/2 in. $500/700

44. Empire Brass Copernican Armillary Sphere, early 19th c., bands engraved in French, showing the signs of the Zodiac, solstice and equinox, the orrery showing the planets, the geared mechanism presenting the orbits of the earth and moon, raised on an ebonized wood base, h. 19 3/4 in., dia. 12 in. $3000/5000

46. Three Antique British and French Swords, incl.

French small sword, decorated with crown and fleur‑de‑lis, gilded and blued triangular blade, l. 30 in.; British gentlemen’s small sword, 18th c., silver‑wire grip, gilt hilt, folding guard, double‑edge blade, l. 25 1/2 in.; and French sword marked “Klingenthal” and “Coulaux”, brass hilt, blade l. 27 in. $700/1000

47. Queen Anne Flintlock Pistol, 18th c., marked “Ketland & Co.” and “London”, turn‑off barrel with cannon muzzle, box lot, silver grotesque mask butt, barrel l. 4 1/8 in. $400/600

48. Group of Five Engravings Pertaining to Colonial Pursuits, 18th c., various subjects incl. fishing, and sugar and indigo production, 9 1/2 in. x 7 1/2 in. $800/1200

50. Attributed to Louis Antoine Collas (French, 1775‑1856, act. Louisiana, 1822‑1829), “Madame Andry”, c. 1826‑29, gouache miniature, unsigned, 3 1/2 in. x 3 in., period frame. $1200/1800

51. Alexandre Alaux (French/New Orleans, 1851‑1932), “Louisiana Governor Jacques P. Villere (1761‑1830)”, watercolor miniature, signed lower left, handwritten inscription identifying sitter en verso, sight 3 1/4 in. x 2 1/2 in., period frame. $1500/2500

Exh.: Louisiana State Museum, continuously exhibited as “Model of Solar System from College of Orleans, 1812” according to Third Biennial Report of the Board of Curators of the Louisiana State Museum, 1910, p. 36.

49. Group of Nine Exploration‑Themed Prints, various subjects, incl. De Soto and Christopher Columbus, 6 1/2 in. x 3 3/4 in. to 21 1/2 in. x 31 in. $700/900

Pub.: Harter, John Burton and Mary Louise Tucker. The Louisiana Portrait Gallery, Volume 1 to 1870. New Orleans: Louisiana State Museum, 1979, p. 37.

52. Alexandre Alaux (French/New Orleans, 1851‑1932), “Portrait of Free Woman of Color Wearing a Tignon (previously thought to be Marie Laveau)”, oil on copper, signed mid‑right, 3 3/4 in. x 3 in., period frame. $1500/2500 Note: Alexandre Alaux was born in France, but New Orleans became his home by the time he was just four years old. A talented artist from a young age, Alaux studied with Francois Bernard (1812-1875) and began earning medals and prizes in 1869. An accomplished artist, Alaux was proficient in painting miniatures, landscapes, portraits, and historical paintings. Among the subjects of his portraits, Alaux enjoyed copying earlier works of prominent New Orleans citizens such as Etienne de Boré and Don Andres Almonaster y Roxas.

The woman in this miniature, although of unknown identity, presents a fascinating look at a prosperous free woman of color. The mixture of patterns on the fabric of her dress and tignon add an interesting layer of exoticism, while still maintaining the current fashion in western society. Probably self-commissioned as evidenced by the sitter’s apparent control of the manner and style of the painting, the painting includes a tignon to signify the sitter’s racial status; however its bright pattern makes a beautiful complement to her face, and the pose has a sense of refinement and strong sense of self. The sitter’s elaborate jewelry, as well as the fact that she had the means to commission a portrait, indicates that she had both wealth and position in society. Other well-known artists painting portraits of free women of color in Louisiana, just one to two decades earlier, were Jacques Amans and Franz Fleischbein, whose works Alaux undoubtedly had studied.

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53. Alexandre Alaux (French/New Orleans, 1851‑1932), “Louisiana Governor Manuel Luis Gayoso de Lemos (1747‑1799)”, watercolor miniature, inscribed “Reprod. par A. Alaux” lower right, handwritten inscription identifying sitter en verso, 3 in. x 2 3/8 in., period frame. $1200/1800

54. Alexandre Alaux (French/New Orleans, 1851‑1932), “Jean Etienne de Bore (1741‑1820)”, watercolor miniature, inscribed “reprod par A. Alaux” mid‑right, sight 3 in. x 2 1/4 in., period frame. $1000/1500

55. French School, early 19th c., “Emperor Napoleon Bonaparte in Coronation Robes”, watercolor miniature, unsigned, 3 in. x 3 in., framed. $300/500

56. Continental School, early 19th c., probably after an 18th c. miniature, “Bernard‑Xavier‑Philippe de Marigny de Mandeville (1785‑1868)”, oil on canvas, unsigned, 36 in. x 28 in., antique frame. $4000/6000 Ill.: Harter, John Burton and Mary Louise Tucker. The Louisiana Portrait Gallery, Volume 1 to 1870. New Orleans: Louisiana State Museum, 1979, p. 41.

Note: Two ineluctable circumstances prove that this portrait is an original work of the 1820s or c.

1830. The first is that this particular subject proudly displays his award—the highest of the recently-restored French royal court—of the Étoile du Saint-Esprit; his father’s tombstone, in the Cathedral of New Orleans (while citing his father’s lesser Order, that of St-Louis) conspicuously omits any mention of this higher Order. The second even more persuasive circumstance is that four early carte-de-visite albumin photographs, made in August 1883 by the New Orleans author/ journalist Edward Clifton Wharton (1827-1891) for Mme. Gustave de Marigny, the daughter-inlaw of this very subject are all clearly labeled by Wharton as “Bernard de Marigny,” with copious biographical notes about him and her. (Gustave de Marigny is noted as Bernard’s son by his first wife, whereas “Col. Marigny de Mandeville is correctly noted on the carte-de-visite photographs as Bernard’s fourth son, by his second wife.)

Extrinsic as well as intrinsic features also convincingly tie this portrait to the circle of LouisPhilippe, King of the French (1773-1850, reigned 1830-1848). A year before the death in 1800 of Philippe de Marigny in New Orleans, on the occasion of a French royal visit to America, the Marignys had entertained the Duc d’Orléans and his brothers at their estate near Mandeville; the Duke was then 25 years old, and young Bernard de Marigny was at that point a youth of 14.

Their continuing friendship resulted in Bernard’s spending no less than ten years in France, by the direct invitation of the Duke (later the King; hence Bernard’s extraordinary award of the Star of the Holy Spirit, and the notably Royalist cast of this portrait). The motif of the sitter’s hand inserted into the central opening of his uniform of course derives from the well-known use of that pose by Napoleon (First Consul 1799-1804; Emperor 1804-1815), while the golden epaulets demonstrate the high rank that Bernard de Marigny’s royal favor afforded him.

Ref.: Historic New Orleans Collection (acc. no. 58-101-L.3,MSS 216.35-6, Folders 35-36).

57. Continental School, 19th c., probably after an 18th c. miniature, “Soldier of the Marigny de Mandeville Family, Either Francois‑Philippe (1680‑1728) or His Son, Antoine Philippe (1722‑1779)”, oil on canvas, unsigned, “Louisiana State Museum” label en verso, 36 in. x 29 in., antique frame. $3000/5000 Ill.: Harter, John Burton and Mary Louise Tucker. The Louisiana Portrait Gallery, Volume 1 to 1870. New Orleans: Louisiana State Museum, 1979, pp. 40‑41.

Note: This handsome image is a copy on canvas of an untraced engraving, mezzotint, or portrait miniature, possibly executed before 1728, or in 1763, when its possible sitters were probably in France. The first specific record of this present painting is an early albumin carte-de-visite photograph, made in August 1883 by the New Orleans author/ journalist Edward Clifton Wharton (1827-1891), for this portrait’s owner, Mme. Gustave de Marigny [née Bienvenue], the daughter-in-law of Bernard Xavier Philippe de Marigny de Mandeville. As noted on the carte-de-visite, this sitter was “either the father or the grandfather of Bernard Xavier Philippe de Marigny de Mandeville [1785-1868]”. Although in all likelihood, Mme. Gustave de Marigny meant the grandfather or great-grandfather of Bernard Xavier Philippe de Mandeville. Bernard’s “father” would have been Pierre-Philippe Enguerrand de Marigny de Mandeville (1751-1800), while his “grandfather” would have been Antoine-Philippe de Marigny de Mandeville (1722-1779), who was born in Mobile while his own father, Francois-Philippe de Marigny de Mandeville (1680-1728) was in colonial service. AntoinePhilippe was married in New Orleans in 1748, and is successively described as a “Lieutenant of Colonial Troops” in the New Orleans 1762 power of attorney to his wife, preceding his voyage to France. He was also described as “Capitaine de l’infanterie au service de France” on his tombstone, where both he and his father are named as “chevalier[s] de l’ordre royale et militaire de Saint-Louis,” the decoration displayed on this breastplate. Since the highly accurate depiction of this armor is datable to the early 18th c. or just possibly, in retrospect, to 1763, it is likely that the compilers of the 1979 Cabildo catalogue [cited above] were at least partly correct—that this portrait represents either AntoinePhilippe de Marigny de Mandeville, or his father, Francois-Philippe de Marigny de Mandeville.

Ref.: The Historic New Orleans Collection (acc. no. 58-101-L.3, MSS 216.37, Folder 37).

Additional information at www.nealauction.com

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Note: This painting remains faithful to the pictorial legacy of Nicholas Poussin in a number of ways. The density of its trees and its shadowed foreground, as well as its central temple silhouetted against another castle-topped crag, recall (albeit at a distance of at least several decades) the composition and arrangement of that master’s great painting of 1648, The Ashes of Phocion Collected by His Widow, in the Earl of Derby’s collection at Knowsley. Also proximate is a generic similarity with Poussin’s 1657 Landscape with Diogenes in the Louvre, with its distant town, leafy foreground, and tranquil pools. This picture manifests its later date by its denser, more crowded composition, its more complicated cloudscape, and the episodic narrative implied by its more randomly-placed figures. It seems close enough to Poussin’s painterly character to justify the conclusion that it may be principally indebted to Poussin examples, although influences from later painters such as Gaspard Dughet (1615-1675) may also be detected, particularly in the conspicuously stormy sky, that frequently formed a special feature of Dughet’s landscapes.

The intended subject of this impressive painting remains enigmatic due to the deterioration of the legend on the fallen inscription tablet in the right foreground, to which the closest couple gesture meaningfully from their position on the road in the center. That tablet’s fictive inscription was once legible; plausibly it once held the key to this (probably Classical) iconography.

58. Manner of Nicolas Poussin (French, 1594‑1665), “Classical Landscape”, 18th/19th c., oil on canvas, unsigned, “Louisiana State Museum” labels en verso, pencil‑inscribed “This picture came from Hungary” on reverse of frame, 33 3/4 in. x 45 1/2 in., antique frame. $3000/5000

Ref.: Hugh Brigstocke, “Poussin,” in Grove Dictionary of Art, Jane Turner, ed., 34 vols., London, 1996, vol. 25, pp. 385-397; Marie-Nicole Boisclair, “Dughet,” ibid., vol. 9, pp. 375-8; Howard Hibbard, Poussin: The Holy Family on the Steps, New York, 1974, esp. pp. 36-37.

61. Pair of Spanish Double Barrel Percussion Pistols, c. 1858, 60 caliber, barrels marked in inlaid silver “Retorgido de Herraduras/ Por Jose Ygnacio Alberdi/ En Eiber Ano de 1858”, fluted grip, lanyard ring, barrel l. 6 1/4 in. $500/700

59. French School, 19th c., “Portrait of a Woman in a Black Dress and Jewelry”, watercolor, unsigned, “Jules Berville, Paris” label en verso, 3 1/2 in. x 3 in., period gilt metal frame. $600/800

60. Louisiana School, late 19th/early 20th c., “Pére Antoine de Sedella (1748‑1829)”, watercolor enhanced engraving on paper, unsigned, pencil inscription identifying artist “M. Valle” and sitter, 3 3/4 in. x 3 in., period frame. $800/1200

62. Parker Seven Barrel Percussion Volley Gun, 19th c., 52 caliber, lock plate marked “W. Parker”, barrel rib with partial mark “olborn, [Holborn] London”, checkered walnut stock, front‑action lock, barrel l. 15 1/2 in. $3000/5000

64. Pair of Belgian Sea Service Flintlock Pistols, 19th c., 67 caliber, marked with a crown over “DN”, brass furniture, lanyard ring, barrel l. 9 in., with brass‑bound mahogany case. $1000/1500

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63. Spanish Sapper’s Short Sword and Scabbard, mid-19th c., blade marked “J.B.S./B.”, lion head pommel, brass mounted leather scabbard with frog mount, blade l. 16 in. $3000/5000 Provenance: According to Publications of the Louisiana Historical Society vol. VII, 1915, this sword was loaned as “sword of Pierre Maspero” (1771-1822) to the Louisiana State Museum.

65. Model 1832 Ames Foot Artillery Sword, marked with eagle and “N.P. Ames/ Springfield/ United/ States/ 1832”, Gladius form, fullered blade, blade l. 19 in. $800/1200

66. Near Pair of Spanish Miquelet Flintlock Pistols, 19th c., brass wire inlay, engraved furniture, barrel l. 7 in. and 8 3/4 in. $400/600

67. English Percussion Pistol, 19th c., 50 caliber, marked “Lewis & Tomes” and “London‑Fine Twisted”, octagonal barrel, belt hook, barrel l. 4 1/2 in. $700/1000

70. Three Antique French Percussion Pistols, incl. Model 1822 cavalry pistol, lock marked “M.D. de Mutzig”, stock marked “1283/ St Etienne/ D”, barrel l. 7 3/4 in.; model “AN XIII” cavalry pistol, lock marked “M. imp de St...”, converted from flintlock, barrel l 7 3/4 in.; and belt pistol, 60 caliber, octagonal barrel, swamped muzzle, barrel l. 6 1/4 in. $700/1000

71. Three Antique American Percussion Pistols, incl. 54 caliber converted pistol, marked “A. Waters/ Milbury, MS/ 1843”, captured ramrod, barrel l. 8 1/2 in.; 36 caliber vest pocket pistol, marked “Hero/ M.F.A. Co.”, barrel l.

2 in.; and 68 caliber large bore, probably Southern, octagonal barrel, bag‑form grip, engraved with flowers, barrel l. 6 1/4 in. $500/700

73. Three American Double‑Barrel Percussion Pistols, 36 caliber, bag style grips, barrel l. 2 7/8 in., 4 in. and 4 in. $400/600

76. Two Turkish Flintlock Pistols, 19th c., 60 caliber, relief‑carved stocks, engraved iron and brass hardware, barrel l.

11 1/2 in. and 12 3/4 in. $500/700

68. English Brass Barrel Flintlock Pistol, 19th c., 58 caliber, marked “W. Ketland & Co.”, barrel l. 7 3/4 in. $400/600

69. Pettengill Concealed Hammer Percussion Revolver, 19th c., 44 caliber, octagonal barrel l. 7 1/2 in. $700/1000

72. French Percussion Pistol, mid‑19th c., 60 caliber octagonal barrel, maple stock, butt compartment, lock bears engraved block letters, “Jeff Davis / 1846”, barrel l. 5 1/8 in. $1000/1500 Provenance: Continuously exhibited by the Louisiana State Museum as a pistol used by Jefferson Davis, per museum exhibition label.

74. Three Antique Belgian Percussion Pistols, incl. dueling pistol with Liege proof mark, 50 caliber, octagonal barrel gold inlaid “Damas Pia” and “2”, barrel l. 9 3/4 in.; 50 caliber double‑barreled pistol mounted in white brass, percussion compartment, barrel l.

15 1/2 in; 45 caliber single‑shot, Liege mark, octagonal barrel, captured ramrod, ram mask compartment lid, barrel l. 5 1/4 in. $800/1200

77. Flobert Rimfire Parlor Pistol, 19th c., 32 caliber, carved stock, octagonal barrel, barrel l. 9 in., together with the remnants of a French percussion pistol, 60 caliber, barrel l. 5 in. (2 pcs.) $300/500

79. Japanese Matchlock Musket, 19th c., 30 caliber, barrel with silver inlay of birds and spiral bands, barrel l. 26 1/2 in. $600/900

78. Metropolitan Five‑Shot Police Revolver, c. 1870, 36 caliber, marked “Metropolitan Arms Co., New York”, serial #3680, barrel l. 6 1/2 in. $700/1000

80. Japanese Matchlock Musket, 19th c., 54 caliber, octagonal barrel decorated with a dragon, butterfly and clouds, original ramrod, barrel l. 33 1/4 in. $500/700

82. Attributed to Alexandre Alaux (French/New Orleans, 1851‑1932), “Possibly Captain Pierre Georges Rousseau (French/ New Orleans, 1751‑1810)”, watercolor on paper, unsigned, pencil inscription identifying artist and sitter en verso, 6 1/2 in. x 4 1/2 in., framed. $700/900

75. Five Antique Edged Weapons, incl. a Caucasian Kindjal, horn grip, niello mounts, double edge, with brass, iron and velvet scabbard, blade l. 14 1/2 in.; Philippines bolo knife and scabbard, blade l. 13 1/2 in.; fraternal Hewer form sword, blade l. 16 in.; an American primitive knife, diamond cross‑section, double‑edged blade, l. 9 3/8 in.; and Spanish American War‑era Collins machete, gauntlet symbol, illegible model number, green horn handle, blade l. 20 1/4 in. $700/1000

81. Carl (Carlos) Nebel (German, 1805‑1855), “Assault on Contreras”, 2 copies; “Storming of Chapultepec”, hand‑colored chromolithographs, from The War Between the United States and Mexico Illustrated, Embracing Pictorial Drawings of All Principal Conflicts, Philadelphia: 1851, sheet 17 1/4 in. x 23 in.

(3 pcs.) $400/600

83. Alexandre Alaux (French/New Orleans, 1851‑1932), “President Theodore Roosevelt”, watercolor miniature, signed lower right, handwritten inscription identifying sitter en verso, sight 1 1/2 in. x 1 1/4 in., rose gold pendant and bezel (missing glass). $400/600 Additional information at www.nealauction.com

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84. Alexandre Alaux (French/New Orleans, 1851‑1932), “Mrs. Chauncey Goodrich, née Mary Ann Wolcott (b. 1765)”, watercolor miniature, after steel engraving by John Rogers, 1868, published in “Women of the American Revolution and Early Republic”, The Republican Court or American Society in the Days of Washington, monogrammed lower left, inscription identifying sitter en verso, sight 2 3/4 in. x 2 1/4 in, period frame. $700/900

92. [Battle of New Orleans], incl. manuscript requisition for stationery for General David B. Morgan, Jan. 1815, 13 1/2 in. x 8 1/4 in.; autographed document signed Capt. David C. Hatch, Jan. 14, 1815, request for provisions at Camp Morgan, 6 1/2 in. x 8 in.; manuscript report of Captain Debucht, Jan. 16, 1815, 4 1/4 in. x 8 1/2 in.; printed broadside, “Head Quarters, Division of the South, General Orders”, July 3, 1815, 13 1/4 in. x 8 in. (4 pcs.) $300/500

85. Alexandre Alaux (French/New Orleans, 1851‑1932), “Mrs. Ralph Izard, née Alice de Lancey (c.

1745‑1832)”, watercolor miniature, monogrammed lower left, pencil inscription identifying sitter en verso, sight 2 3/4 in. x 2 1/4 in., period frame. $700/900

93. [Battle of New Orleans], incl. autographed letter signed M. Stanley, 1st Mate of Gen. David B. Morgan, December 22, 1814, request for medical leave, 8 1/2 in. x 12 in.; autographed letter signed Gen. S. Hopkins, to Gen. David B. Morgan, request for provisions, January 15, 1815, 8 in. x 6 in.; letter to Gen. David B. Morgan regarding flood damage, January 23, 1815, 2 sheets, 8 in. x 5 in.; autographed letter signed Gen. William Carroll, to Gen. David B. Morgan, January 13, 1815, request to send men across river to Carroll’s company, 10 in. x 8 1/4 in. (4 pcs.) $300/500

86. [Ursuline Nuns], manuscript, dated May 26, 1740, testimony of Ursuline Nuns of New Orleans that Sr. Marie Jeanne St. Marc is still a living member of their community and should receive her annuity, signed Salmon, 7 in. x 8 in. $500/700 87. [New Iberia, Louisiana], autographed letter signed Daniel Clark, dated Nov. 12, 1811, to William S. Hamilton, proposing to sell land near New Iberia and Bayou Sarah, folded sheet, 13 1/2 in. x 16 in. $500/700 88. [Battle of New Orleans], autographed letter signed General David B. Morgan, dated Jan. 19, 1815, to Dr. William Goforth, order to return to Camp Morgan with medicine and supplies to treat the sick, sheet 6 3/4 in. x 8 1/2 in. $400/600 89. [Battle of New Orleans], 2 autographed letter signed J.A. Gordon to General David B. Morgan, both dated Jan. 1, 1815, regarding possible British spies and Americans captured by the British, 10 in. x 8 1/2 in. $500/700 90. [Louisiana Bible Society], account ledger, dated Feb. 15, 1815 ‑ Jan. 2, 1817, for distribution of French copies of the New Testament by the Louisiana Bible Society, 13 in. x 8 in. $500/700 91. [Battle of New Orleans], 3 manuscripts incl. autographed document signed Gen. David B. Morgan, general orders to “keep every commissioned officer and soldier at his quarters during this present alarm”, Dec. 24, 1814, 10 in. x 8 in.; autographed letter signed General David B. Morgan, to Major M. Reynolds, order for “constant communication”, Jan. 4, 1815, 8 in. x 6 1/2 in.; autographed letter signed Gen. David B. Morgan to Andrew Jackson, acknowledging receipt of order to destroy buildings that could interfere with the defense, Jan. 10, 1815, 9 1/2 in. x 7 3/4 in. $500/700

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94. Baptismal Certificate Signed Antonio de Sedella, January 25, 1801, issued for child named Contancia Catarina, from “Los Libros de Bautismos de Gente de Color”, 12 in. x 8 in. $200/300 95. [Slavery Documents], incl. partial printed document, passport to cross Lake Pontchartrain issued by the City of New Orleans to Madame Osorno, for self and slaves, Mar. 14, 1817, 13 in. x 8 in.; partial printed document, emancipation of slave named Rosalie, dated Aug. 9, 1821, Parish of Orleans, signed G.W. Morgan, Sheriff, 9 in. x 14 in.; autographed letter signed Thomas Dunlap, Philadelphia, to Dona Isabel de Osorno, Havana, regarding payment of goods transported by ship carrying slaves, December 31, 1824, 2 sheets, 13 1/4 in. x 8 in.; 3 manuscripts, petitions of Joseph Martin for emancipation of slave named Marie Antoinette and her four children, September 16, 1847, 13 in. x 8 in.; autographed document signed Deriocourt, notary public, petition by Pauline Toussaint for emancipation of her sons, January 29, 1850, 12 1/2 in. x 8 in.; partial printed document, City of New Orleans, mortgage note for slave named Rosa, August 12, 1850, 6 1/2 in. x 7 1/2 in. (6 pcs.) $500/700 96. [Louisiana Slave Documents], incl. partial printed document, notice of emancipation of slave name Balaon, by Clarice Rillieux, City of New Orleans, Aug. 2, 1821, 9 1/2 in. x 14 in.; 2 partial printed documents, mortgage issued to Anatole Laurent for slave named Mary Ann and her 3 children, Jan. 16‑19, 1851, Jefferson and Orleans Parishes, 6 1/4 in. x 8 in.; autographed document signed L.M. de James, auctioneer, sale of slaves to Augustin Rousseua, Apr. 2, 1857, 12 1/2 in. x 8 in.; act of sale of La Concession Plantation and slaves by R.D. Urquhart to James C. Zunts, Feb. 8, 1859, 5 sheets 12 1/2 in. x 8 in.; partial printed document, certificate of mortgage in good standing for plantation and slaves owned by George Waggaman, Jefferson Parish, Mar. 25, 1859, 14 in. x 9 in.; partial printed document, act of sale for slave named Isaac, Nov. 23, 1859, 14 in. x 9 in. (6 pcs.) $300/500

97. Battle of New Orleans Shrapnel Spherical Case, c. 1814‑1815, dimpled surface, dia. 5 3/4 in. $300/500

98. French Cast Iron Three‑Pounder Cannon, early 18th c., unmarked, filled bore, l. 47 in., w. 10 in., (bore) dia. 2 in. $4000/6000 Exh.: Louisiana State Museum, continuously exhibited as “French Cannon from Bienville’s house, 1718”, From First Biennial Report of the Board of Curators of the Louisiana State Museum, 1906‑1908, p. 47.

102. American Carved Powder Horn, 19th c., relief carved with a squirrel on a branch and a running turkey, wood domed plug, silver mount, l. 14 in. $300/500

99. American Silver‑Mounted Carved Powder Horn, 19th c., relief‑carved with owls on a branch and a diving bird, wood domed plug, l. 13 1/2 in. $300/500

101. American Silver‑Mounted Carved Powder Horn, 19th c., relief carved with a duck, molded bands, and cartouche incised “PL1816”, wood domed plug, l. 13 in. $400/600

103. Three Small American Carved Powder Horns, 19th c., one carved with a fish and bird, all with wood domed plugs, largest l. 10 1/2 in. $200/300

104. Three Antique Belgian Percussion Pistols, incl. dueling pistol with Liege proof mark, 50 caliber, octagonal barrel gold inlaid “Damas Pia” and “2”, barrel l. 9 3/4 in.; 50 caliber double‑barreled pistol mounted in white brass, percussion compartment, barrel l. 15 1/2 in; 45 caliber single‑shot, Liege mark, octagonal barrel, captured ramrod, ram mask compartment lid, barrel l. 5 1/4 in. $800/1200

105. Greek Flintlock Pistol, early 19th c., 63 caliber, covered with chased brass panels, barrel l. 11 1/4 in. $200/300

107. Three American Powder Horns, 19th c., one with silver mounts, all with wood domed plugs, largest l. 17 in. $250/350 100.

Attributed to Pierre Joseph Landry (American/ Louisiana, 1770‑1843), early 19th c., floral relief‑carved powder horn, wood plug carved with a moon face, rawhide lanyard, l. 11 1/2 in. $1800/2500

108. Three American or English Powder Flasks, 19th c., two leather, one with quail; the other brass with a hunter and dog, largest h. 9 in. $150/250

106. American Carved Powder Horn, 19th c., relief‑carved with an alligator eating a man, a bison, and foliage, wood domed plug, l. 15 1/2 in. $400/600

109. [Battle of New Orleans], 3 autographed documents signed James H. Gordon, Brigade Major, dated Dec. 23‑26, 1814, for parole issued to C. Lign, 5 in. x 8 in. $300/500 110. [Battle of New Orleans], 4 Camp Morgan manuscripts, incl. “Report of Strength of Troops at Camp Morgan”, Jan. 17, 1815, 7 1/2 in. x 13 in.; detail of Camp Morgan Guard, Jan. 20, 1815, 12 in. x 8 in.; receipt for clothing for Captain Scotts Company, Feb. 15, 1815, 7 1/2 in. x 8 in.; Committee of Clothing receipt, signed Isaac Roberts, Feb. 13, 1815, 6 1/2 in. x 8 1/2 in. $300/500 Additional information at www.nealauction.com

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Eugene Louis Lami (1800 -1890), The Battle of New Orleans, 1839, Oil on canvas, Courtesy of the Louisiana State Museum.

Jordan Bankston Noble (1800-1890) was the drummer who beat the call to arms for General Andrew Jackson’s troops at the Battle of New Orleans in 1815, the final battle of the War of 1812. Most recognized for his time on the battlefield as Jackson’s drummer, Noble’s life spanned almost an entire century and he left a legacy as one of the most revered figures of 19th century New Orleans. Noble became an accomplished military drummer through his service in four wars and his frequent performances at battle commemoration events were widely popular.

Outside of his rise to fame as a prominent military drummer, Noble was a community leader and an active participant in the fight for equality and citizenship.

Born in 1800 as a slave in Georgia, Noble and his mother passed through the slave trade of the American South and landed in New Orleans after being sold to John Noble in 1812. John Noble was a member of the U.S. 7th Infantry Regiment, commanded

by General Andrew Jackson, part of the defense of New Orleans against the British. The young Jordan Noble served as the drummer boy of the 7th Infantry and fulfilled the important role of rallying the troops for battle.

According to writer Jerry Brock, “With young strong arms, Jordan Noble powerfully alerted the call to arms, the long roll of attack or a quick and definite retreat from fighting.” General Jackson’s forces were ultimately victorious over the British, and Jackson and his men, including Jordan Noble, were proclaimed the new heroes of New Orleans.

During the decades following the Battle of New Orleans, Jordan Noble continued his service as a military drummer. Noble served President Andrew Jackson in 1836 during the Second Seminole War as a member of the Louisiana Volunteers. Noble was also the drummer for the Washington Artillery during the Mexican War in 1846, under the command of General Zachary Taylor.

After his return to New Orleans following the Mexican War, Noble began regular performances playing his drum at public events.

Beloved by the public who knew him as Andrew Jackson’s drummer, Noble had no difficulty drawing a crowd. His performances included yearly Battle of New Orleans commemorations, the dedication of the Andrew Jackson monument in 1856, the Abraham Lincoln Memorial Convention and Emancipation Celebration in 1864, ceremonies held in New Orleans after the death of President James Garfield in 1881, and, at the age of 84, several performances at the 1884 World’s Industrial and Cotton Centennial Exposition in New Orleans.

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111. The Exceptionally Important Jordan B. Noble Infantry Snare Drum, early 19th c., label inscribed in ink “JB Noble” and engraved “Klemm & Brother’s / Piano Forte & Music Warehouse,” shell painted with Federal eagle, brass tack decoration, calfskin heads, rope and leather tensioners, h. 16 1/2 in., dia. 16 3/4 in. $200000/250000

Provenance: Jordan B. Noble (1800-1890); Gaspar Cusachs (1855-1929), acquired from the wife of Noble, prior to 1903; The Gaspar Cusachs Collection, Louisiana State Museum.

Exh.: Transfer of Louisiana from France to the United States Centennial, Colonial Museum, New Orleans, 1903; Louisiana Purchase Exposition, St. Louis World’s Fair, 1904; Louisiana State Museum, Cabildo, New Orleans, 1909-2016, 107 years.

Additional information at www.nealauction.com

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Eugene Louis Lami (1800 -1890), The Battle of New Orleans, 1839, Oil on canvas, Courtesy of the Louisiana State Museum.

While Jordan Noble was venerated by the general public for his distinguished military record, he was regarded by the black community as a leader in the movement for racial equality. Noble traveled to Cleveland in 1854 to attend a meeting of the National Emigration of Colored People, where he was elected to serve as the organization’s delegate from Louisiana. During the Civil War, Noble served on the Union side as Captain of Company C of the 7th Regiment of the Louisiana Volunteer Infantry. Near the end of the war, Noble attended the Convention of Colored Men of Louisiana, held in January of 1865 in New Orleans, where he served on a committee alongside prominent black Louisiana political figures, including Oscar J. Dunn, who would later serve as Lieutenant Governor during Reconstruction.

He served under Gen. Jackson, on the plains of Chalmette, and under Gen. Taylor, on the fields of Mexico, and it had been his fortune to have come under immediate observation of those distinguished men, both of whom had taken him by the hand and complimented him for his services, not caring whether his skin was white or black.

- “Old Jordan.” The Daily Picayune.

October 29, 1855.

After Jordan Noble’s death in 1890, The Daily Picayune ran Noble’s obituary under the headline “Answered the Last Roll: Death of the Drummer Boy of Chalmette.” The obituary detailed the events of Noble’s remarkable life and notably stated that “many will remember the white-headed old man and his well-worn drum.” Along with “The Andrew Jackson Presentation Flag Celebrating the Victory at the Battle of New Orleans” once owned by Noble, the well-worn drum described in the obituary was displayed at the 1904 World’s Fair in St. Louis and at the Louisiana State Museum for over 100 years.

Postcard of elderly Jordan B. Noble, Courtesy of The Historic New Orleans Collection, acc. no. 58-101-L.3.1

Battle of New Orleans Centennial Celebration at Jackson Square, 1915, gelatin silver print, Courtesy of the Louisiana State Museum.

Bibliography: “Answered the Last Roll.” The Daily Picayune. June 21, 1890; Brock, Jerry. “Jordan Noble: Drummer, Soldier, Statesman.” Louisiana Cultural Vistas. Winter 2015; Letter from Jordan Noble to Edward C. Wharton. October 19, 1881. MSS 201 Jordan B. Noble Collection. The Historic New Orleans Collection; Nott, G. William. “Gaspar Cusachs: My Interest in Louisiana History.” The Times Picayune. March 9, 1924; Official Catalogue of Exhibits, Universal Exposition Saint Louis 1904. The Official Catalogue Company: 1904; Official Souvenir Programme of the Transfer of Louisiana from France to the United States. Louisiana Historical Society: 1903; Rankin, David C. “The Origins of Black Leadership in New Orleans During Reconstruction.” The Journal of Southern History 40.3 (1974); Roumillat, Shelene. “From the Hour of Her Darkest Peril to the Brightest Page of Her History: New Perspectives on The Battle of New Orleans.” Tulane University Dissertation (2014); Roumillat, Shelene. “The Glorious Eighth of January.” Louisiana Cultural Vistas. Winter 2014; Second Biennial Report of the Board of Curators of the Louisiana State Museum 1908–1910.

New Orleans: 1910; Vincent, Charles. Black Legislators in Louisiana During Reconstruction. Louisiana State University Press: 1975.

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112. The Andrew Jackson Presentation Flag Celebrating the Victory at the Battle of New Orleans, probably early 19th c., blue silk, gold bullion and blue silk ties, embroidered with a laurel and oak wreath motif around “Andrew Jackson. / 1814 and 1815.,” mounted with a later partial engraved document regarding drummer Jordan B. Noble’s military service, 42 in. x 45 in., mounted and framed. $200000/250000 Provenance: Jordan B. Noble (1800-1890); Gaspar Cusachs (1855-1929), acquired from the wife of Noble, prior to 1903; The Gaspar Cusachs Collection, Louisiana State Museum, continuously exhibited as the “Flag given to Andrew Jackson by the Ladies of New Orleans after the Battle of New Orleans, 1815,”

Exh.: Transfer of Louisiana from France to the United States Centennial, Colonial Museum, New Orleans, 1903; Louisiana Purchase Exposition, St. Louis World’s Fair, 1904; Louisiana State Museum, Cabildo, New Orleans, 1909; Louisiana State Museum, Capitol Park Museum, Baton Rouge, LA, 2006-2016.

References: “Curiosities of the Colonial Museum.” The Daily Picayune, December 18, 1903; Nott, G. William. “Gaspar Cusachs: My Interest in Louisiana History.” The Times Picayune, March 9, 1924; Official Catalogue of Exhibits, Universal Exposition Saint Louis 1904. The Official Catalogue Company: 1904; Official Souvenir Programme of the Transfer of Louisiana from France to the United States.

Louisiana Historical Society: 1903; Second Biennial Report of the Board of Curators of the Louisiana State Museum 1908 – 1910. New Orleans: 1910.

Additional information at www.nealauction.com

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114.

[Battle of New Orleans], 6 manuscripts, incl. autographed letter signed Major James H. Gordon to Gen. David B. Morgan, giving news of change in position of British troops, Jan. 9, 1815, 10 in. x 8 in.; autographed letter signed James H. Gordon to Gen. David B. Morgan, report of unsanctioned firing upon small raft in river, request to ask Andrew Jackson to send artillery and reliable officers, Jan. 12, 1815, 8 in. x 6 in.; autographed letter signed Major Michael Reynolds to Gen. David B. Morgan, regarding the transport of four Spaniards captured by the British, Jan. 13, 1815, 9 1/2 in. x 8 in.; together with 3 additional autographed letters pertaining to Camp Morgan. $500/700

113. [Jordan Bankston Noble], admission ticket issued to Jordan Noble, “The North, Central and South American Exposition, From Nov. 10th, 1885 to April 1st, 1886”, inscribed “Jordan B. Noble, #6369”, incl. ID photograph of elderly Jordan Noble, punched for admission, 4 1/2 in. x 6 in. $1500/2500

115. Pair of Spanish Colonial Brass Riding Stirrups, probably late 18th c., curved toe‑end, ornate band with rod across top, each h. 5 in., l. 11 in., w. 5 in. $300/500

117. Flemish Carved Ivory Group of the Virgin Mary and Christ Child, late 17th/ early 18th c., inscribed “Maria”, h. 5 1/2 in., later turned fruitwood base, overall h. 9 1/2 in. $1500/2500

118. Wrought Iron Communion Wafer Iron, early 18th c., accompanied by plaster cast of wafer design, l.

28 1/2 in., w. 6 3/4 in. $1000/1500 116. Spanish Colonial Wood Figure of St. John the Baptist,probably 18th/19th c., painted and gessoed wood, glass eyes, h. 11 3/4 in., turned wood base, overall h. 13 3/4 in.; together with Spanish altar lamp, h. 8 1/2 in. $1000/1500

Exh.: Louisiana State Museum, continuously exhibited as “Wafer Iron from the Old Ursuline Convent”, according to Louisiana State Museum, Fourth Biennial Report of the Board of Curators, 1914, p. 43.

120. [Battle of New Orleans], 4 manuscripts incl. chart of companies and divisions of British 85th Infantry, c. 1814, 8 1/2 in. x 12 1/4 in.; autograph document signed James H. Gordon, Brigade Major, orders to commanding officers to put troops in order, Dec. 23, 1814, 10 in. x 8 in.; autographed letter signed by secretary of Gov. Claiborne, to David B. Morgan, granting leave of absence to Col. de Jean, Jan. 11, 1815, 12 1/2 in. x 8 1/2 in.; autographed document signed Gen. Robert Butler, general orders to ready troops for possible attack by the British, Feb. 13, 1815; 10 in. x 8 in.; together with engraved invitation to ball celebrating “peace between the United States and Great Britain”, c. 1815, 3 1/2 in. x 5 in. $300/500

119. Napoleonic Carved Coconut Lid, early 19th c., carved scene with two military figures, foliate border, brass plate at lower end, h. 4 1/2 in., w. 3 1/4 in., d. 1 3/4 in. $200/300 121. [Louisiana Purchase Centennial], 1903, incl. invitations to events celebrating the centennial of the Louisiana Purchase, issued to Gaspar Cusachs by the Louisiana Historical Society, 3 in. x 5 in. to 12 in. x 9 in. $200/300

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122. [Louisiana Purchase Exposition, St. Louis World’s Fair, 1904], incl. Committee of the French Exhibition of Louisiana reception invitation, Sept. 16, 1904, 5 in. x 6 in.; “Louisiana Day” celebration invitation, Sept. 14, 1904, framed, 4 in. x 5 in.; together with wedding ball invitation, hosted by Lucien Capdeville, Iberville Parish, Jan. 29, 1857, 6 1/4 in. x 4 in.

(3 pcs.) $200/300

123. American Carved Powder Horn, 19th c., relief‑carved with a pelican and three figures, one holding a long rifle, wood plug, l. 14 1/2 in. $300/500

124. Two Antique Lithographs of Louisiana Political Figures, early 19th c., portrait of Pierre Soulé, signed “L. Audibert”, 10 in. x 8 in.; portrait of Bernard de Marigny, “Lith de Villiar, Paris 1816”, 16 in. x 11 in. $150/250

127. Autograph Letter Signed James Buchanan as U.S. Senator, dated from Washington, April 14, 1841, to Richard Smith, Esq., in part “...the bearer, Richard Posey (of color) has now $1051 in Treasury notes...please deposit them...He is an excellent & honest servant & deserves encouragement in his economy”, one sheet, 10 in. x 8 in. $500/700

128. Autograph Letter Signed Achille Murat, c.

1835, to Bernard Villars, 7 3/4 in. x 10 in.; incl. partial printed document, court order to seize property of Achille Murat for debt owed to Bernard Villars, Nov. 17, 1837, 13 in. x 8 in. $300/500

125. Pair of Mexican War American Officer’s Epaulets, c. 1846, incl. silk badge marked “Louisiana. 1846. We Answered.”, each l. 8 in. $300/500 Exh.: Louisiana State Museum, continuously exhibited as “Pair of Epaulettes, Washington Artillery, from Capt. Owen”, according to Louisiana State Museum, Annual Report, 1919, p. 59.

129. English Silver Pocket Watch, early 19th c., marked “William Hill, Walsingham”, scenic painted face, h. 2 1/2 in., w. 1 3/4 in., d. 1 in. $500/700 Provenance: The Gaspar Cusachs Collection; belonging to Gaspar Cusachs’ grandfather.

126. [Battle of New Orleans], Ordre des Ceremonies, du Huit de Janvier, 1828”, broadside listing events celebrating the anniversary of the battle, sheet 12 1/2 in. x 15 in. $150/250

130. Three Engravings of Prominent Louisianans, “Andre Bienvenu Roman (1795‑1866), Ninth Louisiana Governor”, “Paul Octave Hebert (1818‑1880), Fourteenth Louisiana Governor” and “Laurent Millaudon (1785‑1868)”, unsigned, sitters’ identified in plates, sheets 5 1/2 in. x 4 1/2 in., in matching antique gilt oval frames. $800/1200 132. Governor Andre B. Roman Signed Documents, incl. partial printed document, affidavit signed J. Paris and Pierre Dinet before Bermudez, regarding fishing profession and residency, June 2, 1833, 3 sheets, 13 in. x 8 in.; partial printed document appointing J. Bermudez as Associate Judge of the City Court of New Orleans, Jan. 4, 1833, 13 in. x 8 in.; together with 2 manuscripts regarding J. Paris and Pierre Dinet and purchase of Isle de Cayou, 1806‑1833. (4 pcs.) $400/600

131. Group of Four Photographs of French Quarter Scenes, c. 1903, 2 photographs of Louisiana Purchase Centennial celebrations; 2 of slave quarter sections of French Quarter buildings, 8 3/4 in. X 7 1/4 in. to 6 3/4 in.x 8 1/4 in.; together with photo of Ames Crevasse, 1919, 7 1/2 in. x 9 1/2 in., all unframed. (5 pcs.) $600/900

133. Confederate First National Flag, c. 1861, silk, double‑sided stars made from sequins and buillon, 21 1/4 in. x 40 in. $3000/5000

134. Confederate Presentation Model 1840 US Cavalry Officer’s Sword and Scabbard, mid‑19th c., blade marked “Clauberg/ Solingen”, nickel silver grip and scabbard, brass mounts, blade etched with “US” and an American eagle, scabbard mount engraved “Edgar Roman/2nd La/Cav. Regt./1861”, blade l. 34 1/2 in. $2000/3000 Additional information at www.nealauction.com

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135. Adolph D. Rinck (French, c. 1810‑1871, act.

New Orleans, 1840‑1871), “Judah Touro (1775‑1854)”, watercolor miniature, signed mid‑right, pencil inscription identifying artist and sitter on reverse of frame en verso, 3 1/4 in. x 2 1/2 in., period frame. $3000/5000 136. Louisiana School, mid‑19th c., “Rose Nicaud’s Coffee Stand, French Market”, oil on canvas, unsigned, typed Louisiana State Museum accession label reading “Clague, Richard (Artist) Attributed To / Coffee Stand in French Market in 1800s”; also with an updated LSM label indicating “Louisiana School …” en verso, 20 in. x 24 in., framed. $4000/6000 Note: Born a slave in 1812 in New Orleans, Rose Nicaud eventually bought her freedom and joined the many free people of color operating businesses in the city. Credited with owning the first outdoor coffee stand in New Orleans, by 1871 Nicaud was listed in the City Directory with a location in the French Market at the corner of Dumaine and Chartres Streets. The current lot depicts Nicaud, wearing a dress, apron, and tignon, serving coffee to three seated customers. A similar scene, titled “Rose, who sells coffee in the French Market,” was published in a book of “New Orleans Characters” by artist Leon Joseph Fremaux (1821-1898) in 1876. According to contemporary descriptions, Nicaud was known to call out “Café Noir!” and “Café au Lait!” to attract customers and was a fixture in the French Market community for over thirty-five years.

Ref.: Field, Martha Reinhard Smallwood. The Story of the Old French Market, New Orleans. New Orleans: The New Orleans Coffee Co., 1916; Grayson, Sandra M. Symbolizing the Past: Reading Sankofa, Daughters of the Dust, & Eve’s Bayou as Histories. Lanham, MD: University Press of America, 2000.

137. New Orleans School, late 19th c., “Saenger Halle, Lee Circle, New Orleans”, 1890, oil on board, monogrammed “G.S.”, dated “II/90” and inscribed “NOLA” lower left, 18 1/2 in. x 24 1/2 in., period frame. $2000/3000 Note: In February of 1890, the city of New Orleans was host to the Twenty-Sixth North American Saenger Bund festival, also called Saengerfest. Builders of the Saenger Halle, a structure specifically erected for the purpose of housing the Saengerfest, had begun construction in late 1889. Located across from the Lee Circle monument with its main façade on St. Charles Avenue, the building was demolished after the German singing festival. Few visual representations, including an 1890 photograph of the interior in the collection of the New Orleans Public Library and the current lot, remain to provide a detailed view of the Saenger Halle as it appeared in 1890.

138. John P. Couret (American/ New Orleans, 1881‑1967), “Pere Antoine’s Date Palm”, 1907, oil on artist board, signed and dated lower center, pencil‑titled and inscribed en verso, 6 in. x 5 in., antique frame. $800/1200

Ref: Schlesinger, Brett. “Saengerhalle.” May 30, 2012. http://medianola.org/discover/place/161.

Accessed October 20, 2016.

140. Photograph of Captain T.P. Leathers of Steamboat Natchez, c. 1895, inscribed “Washburn, 111 Canal St. New Orleans”, sheet 6 1/2 in. x 4 1/4 in., unframed. $300/500

139. William Henry Buck (Norwegian/New Orleans, 1840-1888), “Christ on the Mount”, hand‑cut silhouette, signed mid‑right, “Gaspar Cusachs Collection” label with title en verso, sight 21 1/2 in. x 21 1/2 in., period frame. $1500/2500

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141. Four Louisiana Confederate Muster Rolls, Crescent Regiment, Louisiana Volunteers; March 5, 1862 ‑ April 30, 1862, Company J, under Captain C.C. Campbell, 2 sheets, 17 in. x 27 in.; December 31, 1862 ‑ April 30, 1863, Company II, under Captain David Collie, 2 sheets, 19 1/2 in. x 24 1/2 in. $500/700

142.

145.

144.

143.

147.

148.

146.

150.

149.

151.

152.

142. [Civil War/Confederate Cavalry Division], 1864, ledger book, Alexandria and New Orleans, special orders of Brig. General Arnold, 15 1/2 in. x 10 1/2 in. $400/600 143. [Civil War], Confederate States of America, enrollment and license for the vessel Anola, New Orleans, April 26, 1861, sheet 17 1/2 in. x 11 in. $200/300 144. [Civil War/Reconstruction], incl. Oct. 1876 broadside “Letter of Gen. Benj. F. Butler to Judge Ebenezer Rockwood Hoar.”, 23 in. x 22 in.; May 1, 1862 broadside proclamation of New Orleans surrender to the Union, 22 1/2 in. x 9 in.; political cartoon, “A Piece of the Loaf is Better than No Bread”, 12 in. x 9 in., Mar. 1873 broadside “Gen. Butler’s Action in Regard to the Salary Grab”, 12 in. x 8 1/2 in.; July 1876 broadside “Is Gen. Butler the Soldier’s Friend?”, 12 in. x 9 in.; Nov. 1876 broadside “President Grant, Gen. Banks and Gen. Gordon Deny Gen. Butler’s Statements”, 12 1/4 in. x 9 in.; Daily Citizen, Vicksburg, Mississippi, July 2, 1863, printed on wallpaper, 19 in. x 11 in. $500/700 145. [Civil War/Louisiana Confederate Army], 1862‑1864 account ledger for the Quartermaster of Company G, Consolidated Crescent Infantry Regiment, 12 1/2 in. x 8 in. $400/600 146. [New Orleans/Reconstruction], printed broadside, dated Dec. 13, 1872, “To the People of the North” asking citizens of the North to protest against Federal Reconstruction in New Orleans, 11 in. x 16 1/2 in. $200/300 147. Confederate States of America Post Master Booklet, Oct. 1, 1861, “New Postage Acts, Instructions to Post Masters, The following laws have been enacted by the Congress of the Confederate States of America”, 7 in. x 5 in. $400/600 148. [Civil War], incl. autograph letter signed Menninger, Secretary of Treasury, C.S.A., to R.M. Davis, regarding coin of the Bank of Louisiana, Nov. 13, 1862, 10 in. x 8 in.; autograph document signed James B. Raseen by order of Col. A.W. Bosworth, general orders to officers for commanding troops, July 13, 1863, 10 in. x 8 in.; partial printed document, military pass issued to E. Drovet by the Union Army from New Orleans to Jefferson Parish, May 15, 1865, 5 1/2 in. x 7 1/2 in.; partial printed document, oath of allegiance to Union/United States issued by United States Commissioner’s Office in New Orleans, June 13, 1865, 8 1/2 in. x 9 1/2 in. $300/500

153.

149. [Civil War], incl. printed document, “Confederate Armory and Foundry Co.”, call for citizens to invest in manufacture of artillery, c. 1861, 8 in. x 10 in.; autograph document signed Lt. Col. Geo. Soulé, orders to Lt. Forstall to report to Capt. Collie, July 10, 1862, 8 in. x 5 in.; manuscript inventory of artillery, Brashear City, July 14, 1863, 12 1/2 in. x 8 in.; autograph document secretary signed for Gen. Kirby Smith, special orders for recruitment in North Louisiana, September 1, 1863, 10 1/2 in. x 8 1/4 in.; autograph document signed Major Taylor, special orders to Capt. Collie assigned recruiting officer for Crescent Consolidated Louisiana Volunteers in DeSoto Parish, December 11, 1863, 8 in. x 8 in.; autograph letter signed A. Guerrison, to Governor Moore, request for cancellation of bond, June 7, 1861, 10 1/2 in. x 8 1/4 in. (6 pcs.) $500/700 150. [Civil War], incl. “Loan for the Defence of the Confederate States”, printed document dated April 4, 1861, 2 sheets, 11 in. x 8 1/2 in.; autograph document signed Capt. M. McDougall, June 18 ‑ July 5, 1862, invoice of Quartermaster of Crescent Regiment, 2 sheets, 13 in. x 8 in.; partial printed document, Oath of Citizenship to the United States, signed by Mrs. E. Mobler, September 30, 1862, 8 in. x 10 in.; partial printed document, Confederate Army “Certificate of Disability of Discharge”, for Private George Shilling, January 13, 1863, 14 in. x 8 in.; partial printed document, Confederate Army, “Certificate of Disability for Discharge” for Private Julian Richards, July 30, 1863, 10 1/4 in. x 8 1/2 in. (5 pcs.) $300/500 151. [Civil War], incl. autographed document, secretary signed for Gen. Kirby Smith, authority granted to Capt. David Collie to recruit in DeSoto Parish, December 21, 1863, 10 1/2 in. x 8 in.; partial printed document, C.S.A., Crescent Regiment Quartermaster’s report, February 28, 1865, 5 1/4 in. x 5 in.; partial printed document, C.S.A., expenses voucher to Capt. David Collie, April 1865, 10 1/2 in. x 8 in., envelope addressed to Capt. David Collie. (4 pcs.) $200/300 152. Four Louisiana Confederate Muster Rolls, May 1, 1862‑November 1, 1862, Company J, Crescent Regiment, Louisiana Volunteers, under Captain Mumford McDougall, George Soulé as mustering officer, four sheets (one is a duplicate), 20 1/2 in. x 33 in. $500/700 153. Collection of Antique American Political Ephemera, incl. “Our Candidates/ Grant and Colfax. 1868.” badge, 9 in. x 3 1/2 in., framed; “James K. Polk, The People’s Candidate for the Eleventh Presidency of the United States of America, 1834” badge, 9 1/4 in. x 3 3/4 in. framed; “Democratic Ticket, 10th Representative District”, c. 1840s election ticket, 8 3/4 in. x 3 in.; “Cass & Butler Democratic Ticket”, November 1848 election ticket, 8 in. x 5 1/2 in., gilt frame; “Henry Clay, Born April 12th, 1777, Died June 29th, 1852, Monumental Inauguration, New Orleans, April 12, 1860”, silk badge, 9 in. x 3 in. $200/300 Additional information at www.nealauction.com

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154. Two Republic of Texas Bank Notes Signed Sam Houston, “Government of Texas”, $10, No. 1979, May 1, 1838; “City of Houston”, $10, June 9, 1837, 3 1/2 in. x 7 in. $200/300 155. [Battle of Liberty Place], “Battle of New Orleans for Freedom, September 14, 1874”, lithographed map, 1874, by T.S. Hardee, published by H. Lewis, 22 St. Charles St., with history of the revolt and a list of the wounded and killed, 17 3/4 in. x 23 in., mounted board. $400/600

158. [United States Military Printed Circular], Jan. 14, 1846, “Headquarters, Western Division”, regarding the security of the Mississippi River, 3 sheets, 11 1/2 in. x 8 in. $200/300

156. Louisiana Constitution Club Broadside, 1860, lithograph, with motto; “Do your duty. Our name we will sustain.”, with list of officers and active members, 23 in. x 16 3/4 in. $400/600

159. Upper Missouri Historical Expedition Broadside, c. 1925, invitation to Gaspar Cusachs to attend celebratory events related to expedition centennial, sheet 20 1/2 in. x 13 in. $200/300

157. W.S. Hamilton’s Congressional Candidacy Broadside, May 1822, Feliciana Parish, Louisiana, issued to “The Electors” of the Second Congressional District, 19 in. x 16 in. $200/300

160. Two Reconstruction‑Themed Prints, late 19th c., political cartoon “Ulysses King and First Emperor of America”; and “Design for 14th of September Monument to be Erected at Liberty Place”, 9 1/2 in. x 14 1/4 in. and 7 3/4 in. x 5 3/4 in. respectively, unframed. $800/1200

161.Group of Four Photographs Pertaining to the 1891 Italian Lynchings in New Orleans, incl. photographs of sites where killings occurred, mounted and labeled, 11 in. x 14 in., unframed. $700/900 Note: On the evening of October 15, 1891, during an ongoing investigation of possible Italian Mafia activities of the Matranga family in New Orleans, police chief David C. Hennessey was shot multiple times by a group of assailants.

Before succumbing to his gunshot wounds the following day, Hennessey identified the assailants as a group of Italian men. Public outrage encouraged police to round up any Italians who they felt had a connection to the murder of Hennessey, which led to the arrest of nineteen men. In February and March of 1891, all nineteen Italian men were acquitted due to lack of evidence or mistrial, inciting an outraged public to form a mob. The mob stormed the Orleans Parish prison where they carried out the lynching of eleven of the acquitted men, with little interference from police. According to historians Joseph Maselli and Dominic Candeloro, the incident, which was heavily covered by the national press, introduced terms like “Mafia” and Mafioso” into the popular lexicon of American culture.

Ref.: Nystrom, Justin A. “Sicilian Lynchings in New Orleans,” KnowLA Encyclopedia of Louisiana. Ed. David Johnson, Louisiana Endowment for the Humanities, June 23, 2013, web. Maselli, Joseph; Candeloro, Dominic, “New Orleans’s 1891 Nightmare: Eleven Italians Lynched,” Italians in New Orleans. Arcadia Publishing, 2004. pp. 35–42.

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162. Group of Three Photographs of New Orleans Dock Scenes, late 19th/early 20th c., mounted to paper, 2 labeled “Between Second and Eighth Streets”; one labeled “Looking Up River from Second Street”, smallest 9 3/4 in. x 11 1/2 in., unframed. $500/700

164. Collection of World War I Ephemera, c. 1914‑1918, incl. small U.S. service flag with crossed cannons pin, l. 15 in.; felt shoulder patch; small brown leather snap pouch; Austrian uniform brass belt buckle; canvas red cross arm band, stamped “92982”; pair of canvas goggles with yellow lenses; U.S. Army uniform cap; U.S. Army officer’s peaked cap; German uniform cap; aluminum mess cup; tin mess cup stamped “U.S.” on handle; U.S. Army identification tag marked “Joachim Cusachs Lt. Batt. B. 53rd D.F.A.”; German identification tag marked “Max Kasper, Helfenberb. b. Dresden”. $300/500 Provenance: The Gaspar Cusachs Collection; collected by Gaspar Cusachs son, Joachim Cusachs, during his time serving in Europe during WWI.

163. Group of Eight Photographic Portraits of Performers at New Orleans’ French Opera House, late 19th c., 7 cabinet cards of Julia D’orgy and one large albumen photograph of Henri Plain, most by Peyton’s Photography Studio, New Orleans, 6 1/2 in. x 4 1/4 in. to 17 in. x 10 1/2 in., unframed. $800/1200 165. [New Orleans Yellow Fever], ledger book, register of yellow fever cases, August 20‑October 21, 1878, attended by Dr. Wm. Ryan, 11 in. x 17 in. $200/300 Note: In 1878, there were 4,046 deaths from yellow fever in New Orleans, making that year the city’s third-worst yellow fever epidemic and its worst epidemic of the disease after the Civil War. Between 1817 and 1905, over 40,000 people in New Orleans died of yellow fever, before the 1905 discovery of mosquito-transmission of the disease.

Source: “Yellow Fever in New Orleans, 1817-1905.” Louisiana Division, New Orleans Public Library. www.nutrias.org. Accessed October 5, 2016.

167. [Louisiana Plantations], 2 ledger books, 1875‑1877, “record of work” unidentified plantation, 8 in. x 6 1/2 in.; 1876, daily work journal of John B. Pleitas, owner of Villere Plantation, 8 in. x 7 in. $500/700

166. New Orleans Railroad Stock Certificate, Public Belt Railroad Association, February 6, 1892; specimen copy, for two shares valued at five dollars per share, sheet 19 in. x 16 in. $200/300

168. [Civil War/Westward Expansion], 2 tables “showing camps between Fort Leavenworth and Denver City, with distances between each, and remarks”, c.

1865, 10 in. x 15 1/2 in., mounted to paper 15 in. x 11 in. $200/300 Note: Fort Leavenworth (Kansas) was the location of a large training and recruitment operation for the Union Army during the Civil War. Beginning in 1865, troops at Fort Leavenworth engaged in multiple combat incidents with neighboring Native American tribes.

Ref.: Partin, Dr. John W. A Brief History of Fort Leavenworth, 1827‑1983.

Combat Studies Institute, 1983.

170. [Fort Proctor, St. Bernard Parish, Louisiana], bill of sale, dated Mar. 24, 1856, for 100 acres of land at Proctor’s Landing on Lake Borgne, sold by S.R. Proctor and Family for site of fort, signed Bvt. Major G.T. Beauregard, Corps of Engineers, 10 in. x 8 in. $400/600

169. State of Massachusetts Thanksgiving Proclamation, printed broadside, dated November 29, 1866, proclaiming November 29th “a day of Public Thanksgiving and Praise”, sheet 28 in. x 19 1/2 in. $200/300

172. [Louisiana School for the Deaf], c. 1858‑1859, first specimen of printing for the blind by the Louisiana Institution for the Deaf and Dumb and the Blind, later renamed Louisiana School for the Deaf (1908), sight 3 1/4 in. x 8 in., framed 6 3/4 in. x 12 in. $200/300

171. [New Orleans French Opera House], c. 1877‑1878 journal of Louis Placide Canonge (1822‑1893), writer, playwright, and former Impresario of the New Orleans’ French Opera House, 8 3/4 in. x 6 in. $200/300

173. [Pierre Soulé], 6 manuscripts incl. excerpts of letter to Farragut, c. 1862, 2 sheets, 9 1/2 in. x 7 1/2 in.; manuscript account sheets of Pierre Soulé, July 3, 1854, 2 sheets, 12 in. x 8 in.; partial printed document signed Pierre Soulé, July 22, 1855, “Legation of the United States at Paris and Madrid”, 18 in. x 11 in.; autographed document signed Franklin Pierce, Mar. 28, 1854, regarding Pierre Soulé diplomatic relations with Cuba, 17 in. x 11 in.; autographed document signed William L. Macy, regarding Pierre Soulé and diplomatic relations with Spain, July 11, 1853, 17 in. x 22 in.; manuscript account sheet for Pierre Soulé, minister to Spain, c. 1855, 16 in. x 20 in. (6 pcs.) $500/700 Additional information at www.nealauction.com

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174.

178.

182.

175.

176.

177.

180.

181.

184.

185.

179.

183.

174. State of Kentucky Thanksgiving Proclamation, 1866, broadside proclaiming November 29th “as a day of Thanksgiving and Prayer”, sheet 12 1/2 in. x 8 in. $300/500

180. Pocket Map of Washita [Ouachita] Parish, Louisiana, 1860, McCerren, Landry & Powell, hand‑colored, folded with original cover, 29 3/4 in. x 39 1/2 in. $200/300

175. Pocket Map of Franklin Parish, Louisiana, 1860, McCerren, Landry & Powell, hand‑colored, folded with original cover, 39 1/2 in. x 30 in. $200/300

181. Pocket Map of Morehouse Parish, Louisiana, 1860, McCerren, Landry & Powell, hand‑colored, folded with original cover, 29 3/4 in. x 39 1/2 in. $200/300

176. Pocket Map of Madison Parish, Louisiana, 1860 McCerren, Landry & Powell, hand‑colored, folded with original cover, 30 in. x 39 1/2 in. $200/300

182. Pocket Map of Catahoula Parish, Louisiana, 1860, McCerren, Landry & Powell, hand‑colored, folded with original cover, 43 in. x 40 in. $200/300

177. Pocket Map of Tensas Parish, Louisiana, 1860, McCerren, Landry & Powell, hand‑colored, folded with original cover, 39 in. x 29 1/2 in. $200/300

183. Pocket Map of Concordia Parish, Louisiana, 1860, McCerren, Landry & Powell, hand‑colored, folded with original cover, 40 in. x 29 3/4 in. $200/300

178. Pocket Map of Winn Parish, Louisiana, 1860, McCerren, Landry & Powell, hand‑colored, folded with original cover, 39 1/2 in. x 29 3/4 in. $200/300

184. Pocket Map of Carroll Parish, Louisiana, 1860, McCerren, Landry & Powwl, hand‑colored, folded with original cover, 39 3/4 in. x 29 3/4 in. $200/300

179. Pocket Map of St. Martins and St. Landry Parishes, Louisiana, 1860, McCerren, Landry & Powell, hand‑colored, folded with original cover, 39 1/2 in. x 30 in. $200/300

185. Pocket Map of Caldwell Parish, Louisiana, 1860, McCerren, Landry & Powell, hand‑colored, folded with original cover, 26 1/2 in. x 38 in. $200/300

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187.

188.

189.

186.

190.

191.

195.

192.

197.

193.

194.

198.

199.

196.

186. Two Antique Prints of California Scenes, 19th c., incl. “Spanish Missionary”, 9 in. x 6 in.; “San Francisco, 1856”, 12 1/2 in. x 9 in. $300/500

192. [Mardi Gras], C.C.C. Club, ball invitation, “Odd Fellow’s Hall, Saturday Night, Feb. 23rd, 1895”, 13 1/2 in. x 7 1/2 in. $400/600

187. Twenty‑One Prints of American Political Figures, marked “copyright 1903 by G. Barrie & Sons”, 5 1/2 in. x 4 1/2 in. to 6 in. x 8 1/2 in. $400/600

193. [Mardi Gras], C.C.C. Club, ball invitation, “Odd Fellow’s Hall, Saturday Night, Feb. 23rd, 1895”, 13 1/2 in. x 7 1/2 in. $400/600

188. Alexandre Alaux (French/New Orleans, 1851‑1932), “Mrs. Harrison Gray Otis, née Sally Foster (1770‑1838)”, watercolor miniature, after steel engraving by John Rodgers, 1868, published in “Women of the American Revolution and Early Republic”, The Republican Court or American Society in the Days of Washington, monogrammed lower left, inscription identifying sitter en verso, 3 in. x 2 3/8 in., period frame. $700/900

194. [Mardi Gras], C.C.C. Club, ball invitation, “Odd Fellow’s Hall, Saturday Night, Feb. 23rd, 1895”, 13 1/2 in. x 7 1/2 in. $400/600

189. [Mardi Gras], C.C.C. Club, ball invitation, “Fancy Dress and Masquerade Ball at Odd Fellow’s Hall, Saturday Evening, February 3, 1894”, 13 3/4 in. x 10 1/4 in. $500/700

196. Choctaw Stickball Raquette and an Antique Ice Skate, late 19th c., skate stamped “A.W.” on wood base, raquette l. 28 in., skate l. 13 3/4 in. $200/300

Note: The fancy dress and masquerade balls of the Two Well Known Gentlemen and C.C.C. Club known as the “French Balls” showcased the thriving prostitution industry in New Orleans prior to the establishment of the red-light district in Storyville in 1897. An example of this rare invitation is illustrated in Henry Schindler’s Mardi Gras Treasures: Invitations to the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 148.

Exh.: Louisiana State Museum, continuously exhibited as “Raquette, Choctaw Indian, Bayou Lacombe, 1888” according to Louisiana State Museum, Fourth Biennial Report, 1914, p. 41.

195. Indian Bead Embellished, Brass and Bone Betel Nut Cutter, 19th c., steel blade, h. 8 1/4 in. $300/500

Ref.: Schindler, Henri, Mardi Gras: New Orleans, Paris: Flammarion, 1997, pp. 111 112.

197. Collection of Mesoamerican Stone Figures, Pre‑Columbian, incl. eight figures of various designs, one stone plummet; together with three pottery fragments, h. 1 in. to 6 in. (12 pcs.) $400/600

190. [Mardi Gras],The Original Two Well Known Gentlemen, ball invitation, Mardi Gras Night, February 26th, 1895, Odd Fellows’ Hall, 13 in. x 10 1/2 in. $500/700

198. Collection of Mesoamerican Clay Spindle Whorls, Pre‑Columbian, 130 count in various sizes and decoration, dia. 1/2 in. to 2 1/2 in. $300/500

Note: One of the “Two Well-Known Gentlemen” was Tom Anderson, saloon and bordello owner who was considered the unofficial Mayor of Storyville. An example of this rare invitation is illustrated in Henri Schindler’s Mardi Gras Treasures: Invitations of the Golden Age, Gretna: Pelican Publishing Co., 2000, p. 148.

199. Pair of French Glass Gazogene Seltzer Bottles, late 19th c., marked “L. Gilles & Cie. Breveté”, covered with wire mesh, one bottle lacking spout, h. 17 in., w. 6 1/2 in., d. 6 1/2 in. $150/250

Ref.: Schindler, Henri, Mardi Gras: New Orleans, Paris: Flammarion, 1997, pp. 111 112.

191. [Mardi Gras], C.C.C. Club, ball invitation, “Odd Fellow’s Hall, Saturday Night, Feb. 23rd, 1895”, 13 1/2 in. x 7 1/2 in. $400/600 Additional information at www.nealauction.com

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Session Two Saturday, December 3, 10 am 4038 Magazine

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201. Paris Porcelain Partial Coffee and Tea Service, early 19th c., incl. coffee pot, teapot, sucrier, fruit bowl, 4 coffee cups, 5 tea cups and 7 saucers, foliate and gilt decoration, coffee pot h. 10 1/2 in. $500/700 Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

200. Rare Pair of Empire Gilt Cartonnage and Parian Table Stands, early 19th c., with paper retail labels, one label indicating “provenance du Duc de Bassano”, h. 12 1/2 in., dia. 8 in. $700/900 Provenance: Ex‑Collection of Rose Sachs, Palm Beach.

203. Ten Art Deco Lenox Porcelain Dinner Plates, ret. by Ovington Bros., New York, rim with raised gilt decoration on cobalt ground, marked “1830) X‑115‑B”, dia. 10 1/4 in. $400/600

206. French Bronze‑Mounted Parquetry Cave à Liqueur, late 19th/ early 20th c., with porcelain plaques of putti, folding case opens to reveal fitted interior, h. 11 1/2 in., w. 14 3/4 in., d. 11 in. $1000/1500

209. French 1st Standard Silver Gilt Ice Cream Service, Maison Odiot, Paris, late 19th c., “Chateaubriand” pattern, incl. ice cream slice, ice cream spade, ice cream scoop and 12 ice cream spoons, spade l. 9 5/8 in., total wt. 29.75 troy ozs., in original chamois‑lined tooled leather case marked “MAISON ODIOT/ PRÉVOST, RÉCIPON & CIE/ ORFEVRES/ PARIS. $1500/2500

202. Six Paris Schoelcher Porcelain Plates, 19th c., reserve with various fruit and floral decoration, matte and burnished gilt borders, dia. 8 3/4 in. $1000/1500

204. Tiffany Studios Gilt and Patinated Bronze Cigarette Humidor in the Neoclassical Taste, marked “TIFFANY STUDIOS/NEW YORK/1854”, cedar lined, h. 1 3/4 in., w. 5 in., d. 3 5/8 in. $300/500 Provenance: Estate of Janice Lane Young, Richmond, VA. 205. Twenty‑One Specimen Semi‑Precious and Hardstone Eggs, h. 2 5/8 in., acrylic stands, overall h. 3 1/4 in. $800/1200

207. Louis XVI Gilt Bronze Urn‑Shaped Chenets, 19th c., with husk swag, cobalt cabochon, fluted plinth, h. 15 in., l. 12 1/2 in. (3 pcs.) $500/800

208. Pair of American Sterling Silver Three‑Light Candelabra, Frank Whiting, “Talisman Rose” pattern, convertible to single candlesticks, weighted, h. 17 1/8 in. $800/1200

210. Buccellati “Torsade” Pattern Sterling Silver Flatware Service, incl. 8 each: dinner forks, dinner knives, salad forks and teaspoons, total weight (weighable) 48.75 troy ozs.; together with 1 silverplate dinner fork. $4000/6000

Provenance: Estate of Janice Lane Young; by family repute, a gift to her grandfather, Rufus Walt Lane, US Consul to Izmir, Turkey, from Sultan Abdul Hamid II. Additional information at www.nealauction.com

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211. Pair of Buccellati Sterling Silver Shell Dishes, h. 1 1/2 in., w. 4 5/8 in., d. 3 5/8 in., wt. 8.25 troy ozs. $500/700

212. Pair of Buccellati Sterling Silver Dolphin-Form Candlesticks, Milan hallmarks, h. 7 5/8 in., wt. 27.95 troy ozs. $1200/1800

213. Cartier Sterling Silver “Revere” Bowl, h. 6 1/4 in., dia. 11 3/5 in., wt. 48.80 troy ozs. $1000/1500

215. Buccellati Sterling Silver Dresser Box, h. 2 1/8 in., w. 4 5/8 in., d. 3 1/8 in., wt. 7.60 troy ozs. $300/500 214. Buccellati Sterling Silver Mushroom‑Form Mustard Pot, white porcelain liner, h. 3 5/8 in., w. 3 7/8 in., wt. (weighable) 7.20 troy ozs. $500/700

216. Austro‑Hungarian Art Nouveau .800 Silver Tray, c. 1900, reticulated floral border, l. 15 in., w. 11 3/8 in., wt. 21.15 troy ozs.; together with a Gorham sterling silver repoussé hand mirror, date mark for 1897, l. 8 5/8 in.; and an American Art Nouveau sterling silver overlay perfume bottle, c. 1900, marks rubbed, probably Alvin, h. 5 in. $300/500 Provenance: Estate of Janice Lane Young, Richmond, VA.

217. Egyptian Revival Chased Silver Bowl, early 20th c., marked “T.90” in rectangle, pharaonic figural frieze in high relief, h. 5 3/8 in., dia. 8 1/4 in., wt. 19.80 troy ozs. $300/500 Provenance: Estate of Janice Lane Young, Richmond, VA.

218. Continental .900 Silver Vase, probably early 20th c., maker BU untraced, chased with lozenges and stippled ground, gilt floral appliqué, retains traces of gilt wash interior, h. 5 1/4 in., wt. 26.05 troy ozs. $300/500

219. Pair of .800 Silver Repoussé Urns, probably Colonial, floral and foliate repousse on a stippled ground, h. 4 1/2 in., wt. 11.90 troy ozs. $150/200 Provenance: Estate of Janice Lane Young, Richmond, VA.

220. Peruvian Hand‑Hammered Silver, Rosewood and Onyx Salad Serving Fork and Spoon, l. 16 1/2 in.; together with a Mexican sterling silver gravy boat and underplate, Sanborns, Mexico City, c. 1930, h. 5 in. x w. 9 5/8 in., wt. 20.45 troy ozs. $300/500 Provenance: Estate of Janice Lane Young, Richmond, VA.

Provenance: Estate of Janice Lane Young, Richmond, VA.

221. Pictorial Kashan Carpet, red and blue ground, allover design of animals and birds, 5 ft. x 6 ft. 10 1/2 in. $2000/2500

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222. Antique Qashqai Carpet, blue and cream ground, repeating medallion design, 4 ft. 2 in. x 7 ft. 1 in. $1400/1800

223. American Silvered Bronze Figural Sinumbra Lamp, c. 1835, attr. to Messenger and Son, Birmingham, silvered figure of Atlas on a pedestal, bulbous shade cut with a dove, h. 34 in., dia. 10 1/2 in. $1500/2500

224. William IV Marble Sundial and Thermometer, 19th c., thermometer scale signed “Carver/Falmouth”, the sundial fitted with a compass, h. 13 in., w. 4 3/4 in., d. 4 3/4 in. $700/1000

225. Good English Gilt and Patinated BronzeMounted Rouge Marble Thermometer, 19th c., bronze bust of a Classical maiden, thermometer with silvered scale, h. 19 in., w. 4 3/4 in., d. 4 3/4 in. $700/1000

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

226. George III Carved Mahogany Sofa, late 18th c., serpentine crest, volute arms, serpentine seat rail, feather carved, fluted tapered legs, brass cuffs, casters, h. 36 in., w. 81 in., d. 36 in. $800/1200

227. English Carved Rosewood Canterbury, mid‑to‑late 19th c., labeled Edwards & Roberts, London (act. 1845‑1899), divided superstructure, low drawer, turned feet, brass ferrules, casters, h. 22 1/2 in., w. 26 1/2 in., d. 17 in. $700/1000

229. Edwardian Chinese Chippendale‑Style Carved Mahogany Vitrine, early 20th c., blind fretwork glazed top and sides, bracketed legs, fretwork stretcher, incl. pair of enameled pins, cross, 5 covered circular boxes, square box, charm, and cylinder, (11 pcs. silver). $400/600 Provenance: Estate of Janice Lane Young, Richmond, VA.

228. Antique English Mahogany Serving Table, marble top, frieze drawers, tapered legs, pad feet, h. 30 1/2 in., w. 48 1/2 in., d. 23 in. $1000/1500 Provenance: Estate of Janice Lane Young, Richmond, VA.

230. Late Regency Carved Mahogany Library Armchair, early 19th c., acanthus carved crest rail, volute arms, molded blocked seat rail, turned tapered legs, cuff casters, h. 40 1/2 in., w. 26 in., d. 22 in. $700/1000

231. Fine Antique Irish Carved Mahogany Supper Table, 19th c., after the designs of Thomas Chippendale, dished swivel top, baluster support, acanthus carved arched legs, ball and claw feet, h. 28 1/2 in., dia. 27 in. $600/900

Provenance: Murfee/ DeBardeleben Collection, Riverview, Columbus, MS.

Additional information at www.nealauction.com

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232. Monumental William IV Carved Mahogany Étagère, c. 1830‑1840, vasiform supports, four shelves, two drawers, melon carved feet, h. 63 in., w. 25 in., d. 25 in. $1000/2000 233. Continental Neoclassical Giltwood Console, early 19th c., inset marble top, foliate frieze, stopfluted legs, h. 30 1/2 in., w. 34 1/2 in., d. 19 1/2 in. $1200/1800

234. Portrait Miniature of Uniformed Napoleon in Profile, signed “Delaroche” lower right, dia. 2 in., faux tortoiseshell frame. $500/700

Provenance: Estate of Janice Lane Young, Richmond, VA.

235. French School, 19th c., “Napoleon” and “Josephine”, 2 portrait miniatures, both signed “Latour” lower right, backs with inlaid gilt brass ciphers, sights 3 1/2 in. x 2 1/2 in., gilt brass filigree frames with half pearls. $300/500 236. After Francois Gerard (French, 1770‑1837), “Madame Juliette Recamier”, portrait miniature, signed “David” lower right, sight 2 1/4 in. x 1 3/4 in., framed. $300/500

237. Four Napoleonic Items, incl. portrait miniature of Napoleon in uniform, unsigned, sight 1 3/4 in. x 1 1/4 in., framed; hand‑colored print of Napoleon in uniform, sight 5 1/2 in. x 4 1/2 in., églomisé mat with star motif, framed; Napoleon’s chapeau, polychromed painted metal, stamped “G. Fouille” on reverse, h. 1 1/4 in., w. 2 1/4 in., d. 2 in.; dresser box, mixed media, inscribed “Le Petit Chapeau”, h. 1 in., dia. 3 1/4 in. $200/300

238. French School, 19th c, “ Woman in White Dress Seductively Posed”, portrait miniature, signed “H. Denis” lower left, 4 in. x 3 in., gilt metal frame with beribboned crest. $300/500 Provenance: Estate of Janice Lane Young, Richmond, VA.

239. French School, 19th c., “Napoleon” and “Josephine”, 2 portrait miniatures, both signed “C. Charles” lower center, each dia. 2 1/2 in., matching faux tortoiseshell frames. $1000/1500

240. Continental School, 19th c., “A Decorated General”, watercolor portrait miniature, signed “Moreau” lower right, 4 in. x 3 in., framed. $200/300

241. Creil Creamware Covered Tureen and Undertray, c. 1808‑1818, with transfer vignettes of “King Louis XVI”, “Napoléon I” and “Empress Josephine”; the bases numbered respectively “12” and “20”, stenciled with cipher of “Stòne, Coquerel et Le Gros \ Paris”, assembled h. 10 1/2 in., l. 15 1/4 in., w. 10 3/4 in. $1500/2500

242. Creil Creamware Shallow Bowl, c. 1808‑1818, with titled transfer vignette of “View of Aqueduct near Catania (Sicily)”; the reserve stenciled with cipher of “Stòne, Coquerel et Le Gros \ Paris”, l 10 1/2 in., w. 7 1/2 in. $500/800

Note: Creil was founded in the French Department of Oise in the late 1700’s by a group of English potters. These potters were the first to introduce Creamware (also called Queen’s Ware) to France. Using the process perfected by Joseph Wedgewood, Creil is also known for introducing transfer printing on pottery to France, making some of France’s finest examples in the early 19 century.

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243. Creil Creamware Reticulated Undertray, c. 1808‑1818, with transfer vignette of “Caesar pardoning Marcellus, in 47 BC”; the reserve impressed “CREIL” and stenciled with cipher of “Stòne, Coquerel et Le Gros \ Paris”, l. 13 3/4 in., w. 9 1/2 in. $500/800

244. Creil Creamware Teapot, c.

1808‑1818, with titled transfer vignettes of “Marc Anthony offering Caesar the ‘Kingly Crown’” and “Anthony’s Oration over the body of Caesar”; the base numbered “47” and stenciled with cipher of “Stòne, Coquerel et Le Gros \ Paris”, h. 6 1/2 in.

Note condition: flat countersunk cover repaired and spout with minor chips. $300/500

246. Set of Eight Creil Creamware Plates, by Creil et Montereau, Paris, c. 1880‑1920, with different titled transferred Roman vignettes from the era of Julius Caesar; the reserve impressed “MONTEREAU”, dia. 8 1/2 in. $500/1000

245. Creil Creamware Coffeepot, c. 1808‑1818, titled transfer vignettes of “The Origin of Dalliance’” and “Cupid Offering a Rose to Young Lovers”; the base impressed “CREIL” and stenciled with cipher of “Stòne, Coquerel et Le Gros \ Paris”, h. 10 1/4 in., Note condition: domed cover with button finial replaced. $200/400

247. Large Creil Creamware Undertray, c. 1808‑1818, with transfer vignette of an elaborate battle; the reserve impressed “CREIL” and stenciled with cipher of “Par Brevet D’Invention \ S C L \ Paris”, l. 21 3/4 in., w. 16 in. $800/1200

249. After Horace Vernet (French, 1789‑1863), “Napoleon à la Bataille de Wagram”, portrait miniature, signed “D. Vincent” lower right, titled en verso, sight 3 3/4 in. x 5 1/4 in., gilt frame with eagle motif. $2000/3000

248. Pair of Jacob Petit Paris Porcelain “Tulip” Vases, mid-19th c., signed “J.P.” in underglaze blue, h. 5 in., w. 6 in., d. 3 1/2 in. $700/1000

Note: In 1835 Louis‑Philippe commissioned Horace Vernet to paint Napoleon’s decisive victory at Wagram. The painting remains at Versailles in the Galerie des Batailles.

Provenance: Estate of a New Orleans Lady.

252. French Provincial Carved Walnut Bellows, mid-to-late 19th c., lyre-form body with griffin and acanthus decoration, studded leather bellows with brass nozzle, l. 22 1/2 in., w. 8 1/2 in. $700/900

250. French School, mid‑19th c., “Apotheosis of Napoleon”, hand‑tinted mezzotint, 9 1/2 in. x 13 1/2 in., framed. $250/500 251. Attributed to Pierre‑Philippe Thomire (French, 1751‑1843 ), “Napoleon” and “Josephine”, 1807, 2 wax profile bust reliefs, later inscribed “Josephine / Thomire 1807” on truncation, busts 5 1/2 in. x 4 in., framed alike. (2 pcs.) $500/800

Additional information at www.nealauction.com

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254. Pair of Continental Carved Amethyst Urns, 20th c., on plinths, h. 10 in. $1200/1800

255. French Parian Figure of Napoleon, 19th c., after Canova, on marble base, with gilt metal mounts, h. 9 in., w. 4 in., d. 4 in. $600/900

253. Five Grand Tour Table Articles, mid‑19th c., incl. 3 bronze commemorative columns, one bronze obelisk, and one painted plaster obelisk, 4 mounted with thermometers, h. 9 in. to 17 in. (5 pcs.) $600/800

258. Baron Antoine‑Jean Gros (French, 1771‑1835), “Napoleon I, Emperor of the French (1769‑1821)”, oil on canvas, inscribed “J. Gros. / 1807” en verso, 26 1/2 in. x 22 1/4 in., original frame. $15000/25000 Provenance: Probably Victor-Marie Maurin (1784-1836), son of Baron Jacques-Marie-Joseph Maurin and nephew of Baron Antoine Maurin, Brigadier General in the Napoleonic Armies; Major Victor-Auguste Maurin (1818-1875), of the Army of the Confederate States of America; Joseph Maurin (18731904); Nolan Maurin (1903-1988); by descent to the present owner.

256. French Gothic Brass Reliquary Case, 19th c., in the form of a cathedral, stepped cover, glazed sides, h. 12 in., w. 12 1/2 in., d. 7 in. $600/900

257. Catherine II Silver Beaker, Moscow, 1780s, assayer Alexei Viklyayev (act. 1781‑1809), probably part of a traveling canteen, hand‑hammered from a disc, chased with eagle, bowknot and laurel wreath, h. 3 1/16 in., wt. 2.5 troy ozs. $300/500 Provenance: Estate of Janice Lane Young, Richmond, VA. Ref.: Tardy, pp. 352‑354, Waldon, p. 166.

Note: This informal portrait shows “le grand Empereur” bareheaded and wearing an ordinary uniform, decorated only with the star of the Sant’Esprit and several lesser ribbons; its sense of majesty and power comes from Gros’ intimate relationship with the sitter and his mastery in the handling of paint. This inspired characterization clearly demonstrates why Gros was recognized as the fountainhead of the Romantic Movement. The almost Leonardesque sfumato, or haziness of outline (especially in the handling of the eyes), the delicate treatment of features and the vivacious coloring, all bring this portrait very close to an ideal of ‘the romantic hero.’ Gros takes full advantage of Napoleon’s youth and vigor to transmit a vision of the perfectibility of state portraiture, even in so private and personal an image as the one offered here.

An independent confirmation that the Emperor actually had such an aspect, at the time this picture was painted, is afforded by a full-length portrait by Robert Lefèvre (1755-1830), Napoléon en Costume du Sacre (Napoleon in Coronation Robes), of 1806 [Château de Versailles], and its nearly 40 autograph replicas, extending at least until 1808. The Emperor himself is said to have approved these many versions particularly for their apt likeness; in this picture by Baron Gros, we find the same informal curl of hair across the forehead, the same smoldering gaze, and the same sense of majesty, albeit in a much more relaxed costume.

The inscription on the verso (if probably not in Gros’ own handwriting, with which it has slight differences) is at least certainly contemporaneous, as evidenced by the date of 1807, and the degree to which the likeness parallels Lefèvre’s of the same years. The superb frame is almost as important as the painting: its laurel wreaths accurately symbolize military prowess, and the huge sheaf of thunderbolts (modeled on ancient Greek coins of Olympia, Zeus’ sanctuary in Elis) stand for the omnipotence of a monarch who was then at the height of his power and reputation.

We are grateful to Professor O’Brien and his colleague at the Château de Versailles for their kind commentaries on this painting.

Ref.: O’Brien, David. After the Revolution: Antoine-Jean Gros—Painting and Propaganda Under Napoleon. University Park: Pennsylvania State University Press, 2006.

259. Narcisse Garnier (French, late 18th/early 19th c.), “Portrait de Femme Coifée d’un Turban”, 1810, oil on canvas, signed and dated “fecit 1810” lower right, printed label in French with title and artist identified as “Elève de David [Student of David]” en verso, 25 1/2 in. x 21 in., period gilt frame. $1500/2500 Note: Narcisse Garnier painted in the Neoclassical style, adopting techniques in portraiture similar to those used by his teacher, Jacques-Louis David (1748-1825).

Garnier was commissioned to paint both posthumous depictions of historical figures as well as contemporary French aristocrats, such as Baron Carl Mayer von Rothschild. The lovely woman depicted in the current lot wears the height of Empire era fashion. The squareneck dress with short, puffed sleeves and high waistline were all aspects of this famous style. In 1809, stronger colors such as reds and greens came into popularity. The patterned shawl and turban-like headdress here were inspired by clothing worn in India and show an increased interest in the exotic in early 19th century fashion.

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260. Louis XV/XVI-Style Gilt Bronze, Chinoiserie Lacquer and Porcelain Encrier, 19th c. $800/1200

261. Charles Camoin (French, 1879‑1965), “Le Jardin de Pigonnet, Aix en Provence”, oil on canvas, signed lower right, pencil‑titled, “M. Gadin, Couleurs et Toiles, Paris” stamp and “Christie’s, New York” labels en verso, 21 1/2 in. x 25 3/4 in., framed with artist and title plaque. $8000/12000 Provenance: In Christie’s, London, Mar. 19, 1991, lot 43; Northgate Gallery, Chattanooga, TN; a Tennessee Collection Note: Charles Camoin was part of the infamous group, along with Henri Matisse, André Derain, and Jean Puy, who exhibited their artwork in the 1905 Salon d’Automne in Paris, where the term “Fauves” was notoriously coined by the shocked and disgusted art critic, Louis Vauxcelles.

Vauxcelles, in seeing the bold and strident canvases, declared that they were the works of “wild beasts” or fauves; hence Fauvism was born. Camoin’s ties to Aix-enProvence can be traced back to 1901, when he was stationed there for military service and developed what would be a life-long friendship with Paul Cézanne. In the lot presented here, Camoin’s dedication to the Fauvist style is evident in the thick brushstrokes and simplified forms of the flora in the garden. He enhances the natural vibrancy of the scene by utilizing overly saturated hues.

Ref.: “Vit et Oeuvre.” Charles Camoin. www.charlescamoin.com. Accessed Oct. 23, 2016.

263. Good Pair of French Bronze Bacchantes, 19th c., h. 8 1/2 in., w. 7 1/2 in., d. 4 1/4 in. $200/400 Provenance: Estate of Janice Lane Young, Richmond, VA.

262. Louis Émile Pinel de Grandchamp (French, 1831‑1894), “Portrait of Adelina Helene Ralli (1833‑1904)”, 1857, oil on canvas, signed, dated and inscribed “Const.ple” mid‑left, 46 1/4 in. x 35 1/2 in. (painted oval), period Rococo Revival giltwood frame. $5000/8000 Provenance: The sitter; her granddaughter, Marie Louise Psiachi (1868-1937); her son, John Howard Lane (b. 1901); his daughter, Janice Lane Young (1930-2015).

Note: Louis Émile Pinel de Grandchamp was a student at the Ecole des Beaux-Arts de Paris and studied under Edouard Picot and Hippolyte Dubois, making his debut in the Salon of 1849 at the young age of 18. Traveling to Egypt and Constantinople, Grandchamp spent many years creating Orientalist style genre scenes, as well as portraits of prominent locals, such as this lovely portrait of Adelina Ralli.

Adelina Ralli was the daughter of Adele Wilkinson (1811-1904) and George Ralli (1806-1874). She married John Psiachi (1818-1883), and the couple had a daughter, Marie Louise Psiachi (1868-1937), who married the United States Consul to Turkey, Rufus Walt Lane (1869-1943), in 1898. The Ralli and Psiachi families are buried in the Bornova Anglican cemetery in Izmir, Turkey.

264. Bronze Figure of Cossack on Horseback, after Luigi Belli, inscribed “L. Belli” and “1918” on self‑base, “Fumagalli Fuse” foundry name inscribed on underside, h. 23 in., w. 23 in., d. 7 in. $800/1200 Additional information at www.nealauction.com

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265. Etienne‑Henri Dumaige (French, 1830‑1888), “Classical Lady Seated on a Lion‑Mounted Throne”, 1875, silvered bronze with bronze doré base, inscribed signature and date on right, “2b449” on reverse, h. 20 1/4 in., w. 9 1/2 in., d. 6 in. $1500/2500

266. Fine Continental Carved, Polychromed and Parcel Gilt Mirror, c. 1875, surround modeled as branches, intertwined with grapevines and game trophees, h. 75 1/4 in., w. 46 3/4 in. $7000/10000

268. Diminutive Empire Gilt Bronze Figural Clock, early 19th c., depicting Apollo playing his lyre, with other attributes, musical frieze, cornucopia feet, h. 11 in., w. 8 in., d. 2 3/4 in. $700/900

267. Louis XVI‑Style Gilt and Patinated Bronze Figural Mantel Clock, c. 1860, dial and movement marked “DENIERE/A PARIS”, the Classical maiden watching a bird defend its nest from a snake, shaped base with marble inserts, h. 15 1/4 in., w. 20 1/2 in., d. 9 in. $2500/3500

269. A Fine Swiss Paillard Interchangeable Cylinder Music Box, c. 1890, marked “Manufactured by C. Paillard & Co., Ste. Croix, Switzerland” and with Washington, D.C. retailer’s label, burled walnut, ebonized and satinwood inlaid case, gilt handles, 6 cylinders playing 6 songs each, with conforming storage box, h. 11 1/2 in., w. 43 in., d. 16 1/2 in., cylinder dia. 2 1/2 in. $2000/3000

270. Pair of Louis XV Carved Beechwood Fauteuils, late 18th c., shaped floral carved crest, scroll arms, serpentine seat, cabriole legs, h. 34 in., w. 24 1/4 in., d. 25 1/2 in.

Note: Restorations. $400/600 Provenance: Estate of Janice Lane Young, Richmond, VA.

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271. Antique Italian Neoclassical Ebonized, Gilt and Bronze‑Mounted Guéridon, 19th c., circular specimen marble top, tapered standard, incurvate triangular plinth, bun feet, h. 25 7/8 in., dia. 27 in. $1000/1500

272. Louis Philippe Carved Mahogany Settee, 19th c., architectonic crest rail, reeded arms carved with anthemia, paneled seat rail, lobed legs, cuff casters, h. 35 in., w. 65 in., d. 22 3/4 in. $800/1200 273. Continental School, 17th/18th c., “Portrait of a Noblewoman”, oil on wood panel, unsigned, remnant of old red wax collector’s seal en verso, 12 3/4 in. x 9 3/4 in., antique frame. $1200/1800 274. Louis XV Provincial Carved Walnut Console, 18th c., serpentine faux marbre top, three foliate carved frieze drawers, acanthus carved C scroll legs, floral stretcher, volute feet, h. 30 in., w. 41 1/2 in., d. 24 1/2 in. $2000/3000

275. Very Good Pair of Belle Époque Bronze‑Mounted, Ebonized and Burled Walnut Pedestals, each with marble top, tapered column on coved base, h. 45 in., w. 14 1/2 in., d. 14 in. $2000/3000

276. Continental Oil on Canvas Folding Screen, 19th c., four panels with floral and fruit motifs in bowls and urns or amid acanthus scrolls, h. 83 in., w. 97 in. $5000/8000

277. Louis XV Fruitwood Commode, 18th c., serpentine top, two shell carved paneled drawers, shaped skirt, cabriole legs, hoof feet, h. 35 3/4 in., w. 48 1/4 in., d. 24 3/4 in. $4000/6000

278. Near Pair of Italian Faux Marbre and Gilt Columnar Table Lamps, 20th c., each with Corinthian capital, electrified, h. 25 in., w. 6 in., d. 6 in. $600/900

Additional information at www.nealauction.com

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279. Rare English Tôle Peinte Tray, c. 1860, depicting a Crimean war scene, inscribed “Sergeant Davies Defending the Colours”, 13 1/2 in. x 16 1/2 in. $1500/2500 Note: This scene is after the January 27, 1855 Cassell’s newspaper illustration depicting Sergeant Davies of the Grenadier Guards defending his regiment’s colours against Russian infantry at the Battle of Inkerman.

280. Pair of Napoleon III Gilt and Silvered Bronze Eight‑Light Candelabra, 19th c., base marked “F. BARBEDIENNE”, vasiform standard, scrolled supports, allover foliate design, h. 34 in., dia.

17 in. $1000/1500

281. Fine French Neoclassical Gilt and Patinated Bronze Figural Candlestick, probably 19th c., mtd. as a table lamp, marble base. $500/700

282. Louis Philippe Églomisé Barometer, c. 1845, fitted with thermometer, h. 34 1/2 in., w. 20 1/2 in., d. 2 1/2 in. $1200/1800 284. Regency Carved Giltwood Girandole Mirror, early 19th c., hippocampus crest, cavetto mounted with spherules Greek key surround, ebonized rabbet, candlearms mounted with Egyptian busts, foliate pendant. $3000/5000

283. Pair of English Patinated Bronze Rhyton-Form Argand Lamps, early 19th c., attr. to Thomas Messenger and Sons, Birmingham, with dolphin terminals, frosted shades, each h. 12 1/2 in., w. 12 in., d. 7 in. $4000/6000 285. Antique Louis XVI Oil on Canvas Folding Screen, late 18th c., eight panels, depicting military vignettes, trophées and putti, backed with later cloth, h. 73 1/2 in., w. 185 in. $5000/8000

286. Fine Empire Stenciled and Ebonized Walnut Sécrétaire à Abattant, c. 1800, molded top, frieze drawer, fall front opening to an elaborately fitted interior, cabinet doors below, gilt and ebonized caryatid stiles, blocked feet, h. 59 in., w. 37 3/4 in., d. 18 1/4 in. $2500/3500

287. Empire‑Style Gilt Bronze‑Mounted Mahogany Méridienne, late 19th/early 20th c., shaped back, scroll arms, flared feet, h. 30 1/2 in., w. 54 in., d. 22 in. $800/1200 Provenance: Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

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288. Antique Italian Painted Credenza, probably 19th c. or earlier, canted sides, frieze drawers over recessed panel doors, shelf interior, shaped bracket feet, h. 40 1/2 in., w. 60 1/2 in., d. 19 in. $1200/1800

289. Louis XV Carved Walnut Chaise de Bureau, 18th c., stamped “I‑B‑CRESSON” for Jean‑Baptiste Cresson (1714‑1781), floral carved crest, padded arms, carved serpentine seat rail, caned back and seat, cabriole legs, h. 34 in., w. 26 3/4 in., d. 21 in. $3000/5000

291. Louis XV Provincial Carved Walnut Commode, 18th c., shaped top, conforming blocked drawers, shell‑carved skirt, cabriole legs, whorl feet, h. 35 1/2 in., w. 48 1/2 in., d. 25 1/2 in. $4000/6000

290. Louis XV Provincial Carved Walnut Side Table, late 18th c., galleried top, shaped frieze with drawer, galleried stretcher shelf, tapered legs, h. 28 1/2 in., w. 21 in., d. 13 3/4 in. $1000/1500

292. Suite of Four Louis XV Painted Fauteuils, stamped “OG MATHON” (Augustin Mathon, received his maitre in 1763), arched foliate crests, serpentine arms and seat rail, cabriole legs, h. 36 3/4 in., w. 26 in., d. 20 in. $10000/20000

Additional information at www.nealauction.com

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293. Martin Rico y Ortega (Spanish, 1833‑1908), “Picnic”, oil on wood panel, signed “Rico” lower right, “M. Knoedler & Co.” label en verso, 11 1/2 in. x 6 1/2 in., framed. $7000/9000 Note: Martin Rico Y Ortega was born in 1833 in Madrid during a time of civil unrest.

It is perhaps because of the conflict in Spain and resulting lingering effects that Rico felt drawn towards Paris and, later, Venice to establish himself as a painter. At the Escuela de Bellas Artes de San Fernando, he studied under Jenaro Pérez Villaamil, who himself was highly influenced by the works of English artists such as John Constable. As a result, Rico became quite accomplished at rendering the interplay of light, shadows, sky and clouds. In 1860, he was able to further his artistic studies in Paris, where he became acquainted with Barbizon painters like Charles-Francois Daubigny. Rico’s works certainly reflect the plein-air approach of the Barbizon school, while also including the detailed representation of everyday minutia in the style of the Realists. Later in life, Rico would often return to his native Spain. He would spend time exploring the scenes of once Moorish areas and committing them to canvas. In the painting offered here, Rico captures a picnic outside the walls of an impressive villa. His realistic depiction of the ornate building in the background as well as the shadows cast by the high sun, the attention to color and the meticulous detail are all characteristics of the skilled artist.

294. Manner of Bamboccianti Painters, 17th c., “Flocks and Figures beside a River, with Boatmen and Swimmers”, oil on canvas, unsigned, 18 1/4 in. x 24 in., antique gilt frame. $800/1200 Provenance: Estate of Dr. Eleanor M. Worsley, Natchitoches, LA.

295. School of Cornelis Janssens van Ceulen I (Dutch/British, 1593‑1661), “Portrait of Jane, Daughter of Baroness Clifford, Age 1 1/2”, 1635, oil on canvas, inscribed and dated “AETATIS.SVAE 1 1/2 / ANNO. 1635.” upper right, retains partial old paper labels en verso, 42 1/4 in. x 34 1/8 in., antique giltwood frame with artist and title inscription. $2000/3000

Ref.: Whitmore, Jane. “Martin Rico y Ortega.” Rehs Galleries. www.rehsgalleries.com. Accessed Oct. 23, 2017.

296. Continental School, 18th c., “Classical Landscape with Lovers”, oil on canvas, unsigned, remnants of labels en verso, 24 1/2 in. x 39 1/2 in., framed. $1500/2500

298. Pair of Chromolithographs of Antique Greek Vases from Griechische Keramik After Albert Genick (German, 1836‑1906), “Krater/ Zweitrinkhorner” and “Kuhlgefass/ Amphoren”, 1883, published by Ernst Wasmuth, Berlin, sights 16 in. x 25 in., framed alike. $400/600

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299. Grand Tour Gilt Bronze Warwick Vase, 19th c., after the wellknown ancient Roman marble prototype now in the Burrell Collection, Glasgow, h. 9 1/2 in., w. 15 in., d. 11 in. $800/1200

297. Four Chromolithographs of Antique Greek Vases from Griechische Keramik, after Albert Genick (German, 1836‑1906), “Hydria”, and 3 “Amphora”, 1883, published by Ernst Wasmuth, Berlin, sights 24 in. x 15 1/4 in., framed alike. $800/1200

300. Antique English Rosewood Nécessaire de Toilette, mid‑19th c., ret. Tiffany & Co., New York, extensively fitted with sterling silver mounted accoutrements, hallmarked Thomas Johnson, London, 1865, all with arabesque chasing and period monogram, case h. 8 1/2 in., w. 13 3/4 in., d. 10 in. $1200/1800

301. William IV Brass Inlaid Rosewood Sarcophagus‑Form Tea Caddy, c. 1830, interior fitted with two lidded compartments, ring handles, bun feet, h. 6 in., w. 8 1/4 in., d. 5 in. $700/900

302. George III Tortoiseshell Sarcophagus-Form Tea Caddy, early 19th c., interior fitted with two lidded compartments, bun feet, h. 5 in., w. 5 3/4 in., d. 4 1/8 in. $800/1200

303. Pair of Regency‑Style Bronze Sphinx Garniture Figures, after design by Thomas Hope, h. 18 1/2 in., w. 13 1/2 in., d. 24 in. $800/1200

304. Set of Four Paris Porcelain Plates, c. 1816‑1820, iron red stenciled mark “M.ture de MADAME./Duchesse d’Angouleme/P.L. Dagoty.E.Honoré/a Paris”, sepia scenic decoration, each titled on reverse, burnished gilt borders, dia. 8 3/4 in. $200/400 Ref.: Guillebon. Paris Porcelain 1770‑1850, p. 227, mark illustrated p. 332, no. 67.

306. Pair of English Gilt and Polychromed Porcelain Footed Dishes, 19th c., floral decoration, each h. 4 1/4 in., w. 12 3/4 in., d. 9 in. $300/500

307. Continental Figured Walnut and Gilt Metal‑Mounted Petite Commode, 19th c., the lockplates stamped “P. Wertheim & Co...”, serpentine top, conforming drawers, cabriole legs, h. 30 1/2 in., w. 26 in., d. 19 in. $800/1200

309. Antique English Rosewood Table, 19th c., carved Roman marble top, faceted standard, incurvate triangular plinth base, disc feet, casters, h. 28 1/2 in., dia. 22 in. $2500/3500

305. Pair of Coalport Gilt and Polychrome Porcelain Covered Urns, early 20th c., marked, reserves painted with fruit still lifes, cobalt ground, raised gilt decoration, h. 15 in., w. 5 1/2 in., d. 5 in. $700/1000

308. English Carved Mahogany Metamorphic Library Steps/ Armchair, probably 19th c., incurvate paneled crest rail, scrolled arms, caned seat, sabre legs, opening to three treads, h. 36 1/4 in., w. 22 in., d. 24 in. $2500/3500

310. Fine George III‑Style Carved Mahogany Pedestal Desk, 19th c., possibly Gillows of Lancaster and London, inset tooled leather top, blind fretwork frieze with drawers, pedestals with three drawers, columnar stiles, block base, h. 30 in., w. 59 3/4 in., d. 35 1/4 in. $4000/6000 Ref.: Chippendale, Thomas. The Gentleman’s and Cabinet Maker’s Directory, pl. LXXXV.

Additional information at www.nealauction.com

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311. Regency Rosewood Inlaid Maple Lady’s Writing Desk, 19th c., stamped Gillows, inset gilt tooled leather writing surface with hinged inkwell, two frieze drawers, fluted ring turned legs, brass casters, h. 29 in., w. 36 in., d. 20 1/2 in. $1000/1500

312. British School, 1697, “Portrait of a Lady within a Fictive Oval Stone Frame”, oil on canvas, possibly a member of the Chichester family according to pencil inscription on stretcher, faintly signed and dated lower right, 30 1/4 in. x 25 in., framed. $1500/2500

313. British School, 19th c., “Cattle in a Stream at Sunset”, oil on canvas, unsigned, 20 in. x 36 in., period gilt frame. $1500/2500

316. China Trade Reverse Glass Painting, 19th c., painted with various scenes of figures outside a royal pavilion amid mountains, cliffs and trees, sight 24 in. x 40 in., framed. $3000/5000

318. Pair of Napoleon III Gilt and Patinated Bronze Urns, 19th c., laurel wreath handles, foliate lyre mounts, square base, h. 12 5/8 in. $500/700 Provenance: Estate of Janice Lane Young, Richmond, VA.

319. Continental Gilt Metal‑Mounted and “Bejeweled” Enameled Box, 19th c., cover with a Romantic scene of ladies in a garden, padded silk interior, h. 3 3/4 in., w. 6 1/8 in., d. 4 7/8 in. $300/500 Provenance: Estate of Janice Lane Young, Richmond, VA.

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314. Alexander Pope, Jr. (American, 1849-1924), four lithographs from Upland Game Birds and Water Fowl of the United States, New York, Scribner’s Sons, 1877, sight 14 1/2 in. x 20 1/2 in., framed. $800/1200

315. Alexander Pope, Jr. (American, 1849-1924), four lithographs from Upland Game Birds and Water Fowl of the United States, New York, Scribner’s Sons, 1877, sight 14 1/2 in. x 20 1/2 in., framed. $800/1200

Provenance: W. Graham Arader, New York, NY.

Provenance: W. Graham Arader, New York, NY.

317. Good Assembled Chinese Export Blue and Gilt Armorial Porcelain Partial Dinner Service, 18th c., variously decorated with draped, tassel‑hung shields in gilt and blue, gilt, iron red and blue, and gilt, black and blue enamels, some with monograms, incl. covered soup tureen, h. 10 3/4 in., w. 13 3/4 in.; pair of covered tureens, h. 5 in., w. 11 in and 11 1/4 in.; covered tureen, h. 6 in., w. 7 3/4 in.; 11 oval platters, l. 11 5/8 in. to 21 3/8 in.; oval platter with mazarine, l. 17 5/8 in.; sauce boat; 24 plates, dia. 9 3/4 in. to 9 7/8 in.; 16 shallow bowls, dia. 9 3/4 in.; 12 plates, dia. 7 1/2 in.; 6 plates, dia. 6 1/8 in.; 7 teabowls and saucers; 2 coffee cups; and a creamer. (93 pcs.) $5000/7500

320. Pair of Charles X‑Style Gilt Bronze and Marble Garniture Urns, 19th c., floral rim, cylindrical body, square base, bracket feet, h. 8 1/2 in., dia. 5 1/2 in. $600/900

321. Grand Tour Patinated Bronze Warwick Vase, 19th c., inscribed “F. Barbedienne Fondeur”, rouge marble footed base, h. 6 7/8 in., w. 8 1/4 in. $800/1200

322. Pair of French 1st Standard Silver‑Mounted Glass Claret Jugs, Robert Linzeler (1872‑1941), Paris, Piault‑Linzeler, wc. 1897‑1926, mounts retain traces of gilt wash, h. 11 5/8 in. $800/1200 Note: Robert Linzeler’s mark was registered in 1897. The firm Piault‑Linzeler was the successor to Jules Piault, silversmith to Napoleon III. Linzeler’s own work was also recognized, notably with gold medals at the Paris World’s Fair of 1900.

323. Seymour Joseph Guy (British/New York City, 1824‑1910), “Portrait of a Gentleman in His Study”, 1856, oil on canvas, signed and dated lower left, “Masterworks from Private Connecticut Collections, Wadsworth Atheneum, Hartford, CT, 1993‑94” exhibition label and “Fine Arts Conversation Inc., Montclair, NJ” stamp en verso, 36 in. x 29 in., period frame. $1200/2000 Exh.: Masterworks from Private Connecticut Collections, Wadsworth Atheneum, Hartford, CT, Oct. 1993 ‑ Jan. 1994.

324. James Holland (British, 1800‑1870), “After Rain: Sailing Boats Moored on the Shore”, oil on board, signed, titled and dated “18??” en verso, “From Thomas McLean, Printseller and Publisher, Dealer in Works of Art, London” and “Hearn” collection label inscribed with provenance en verso, 19 1/2 in. x 19 1/2 in., framed. $1500/2500 Provenance: According to labels en verso, the painting was sold by Thomas McLean, London; George A. Hearn, NYC; to his daughter Mrs. Clarkson Cowl, Great Neck, NY, Dec. 1987

325. Humboldt, Alexander (1769‑1859) and Bonpland, Aime (1773‑1858), Monographie des Melastomacees. Rhexies, Paris, Gide Fils, 1823, two parts in one volume, folio (19 7/8 in. x 13 1/4 in.), from the monumental work Voyage aux Regions Equinoxiales du Nouveau Continent, fait en 1799‑1804, with 75 stipple engravings printed in colors and finished by hand, after Poiteau and Turpin. $700/1000 Provenance: The volume contains the library inventory plate of Judge Albert G. Brice and the front cover has the ownership badge of his wife Mary B. Brice. Judge Brice was the first justice of the peace for the Parish of Orleans (1858‑1862) and was mayor of Carrollton in 1874‑1875.

328. Palissy Trompe l’Oeil Charger, 19th c., impressed mark, with central frog and various applied reptiles, h. 4 in., dia. 16 in. $700/1000 326. Large Chinese Export Famille Rose Porcelain Phoenix, 19th c., modeled perched atop a tall tree stump with flowering branches and lingzhi, “Sallea Antiques, New Canaan, CT” label, h. 19 3/4 in. $500/700

330. Good Berlin K.P.M. Porcelain Plaque, “Le Secret”, c. 1900, impressed KPM and scepter mark, signed “O. Dietriche”, after William Adolphe Bouguereau (French, 1825‑1905), in a giltwood frame, plaque 13 in. x 7 3/4 in. $2000/3000

327. Chinese Export Teh Ling Silver Overlay Glass “Pinch” Bottle, probably c. 1920s, overlaid with dragons pursuing flaming pearls amid cloud scrolls, glass marked “Wu Hua Lou Oi On”, silver hallmarked “Teh Ling” and 935, h. 9 in. $400/600

331. Pair of Antique Portuguese Rococo Carved Mahogany Side Chairs, late 19th c., cartouche crest, vasiform splat, shaped stiles, serpentine seat rail, foliate cabriole legs, hoof feet, h. 45 1/2 in., w. 21 in., d. 17 in. $400/600 Provenance: St. Charles Ave. Estate.

329. Set of Seven Limoges Porcelain Fish Plates, late 19th c., Haviland & Co., ret. Davis Collamore & Co., New York, finely painted with fish and shellfish, dia. 9 in. $300/500 Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

332. Louis XV Carved Walnut Commode, 18th c., serpentine marble top, conforming case with three drawers, shaped skirt, blocked feet, h. 35 1/2 in., w. 52 3/4 in., d. 27 3/4 in. $3000/5000 Additional information at www.nealauction.com

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333. Very Fine Régence Carved Walnut Fauteuil, 18th c., arched crest rail, shaped arms, serpentine shell carved seat rail, cabriole legs, scrolled toes, h. 41 1/4 in., w. 29 1/4 in., d. 23 in., marked “…

DESHOMAL…”, possibly a collection. $4000/6000

334. Louis XVI‑Style Carved Mahogany Table à Rognon, late 19th c., marble top with brass gallery, pierced shaped supports, shaped trestle base, h. 29 1/4 in., w. 53 in., d. 19 1/2 in. $2500/3500

335. Fine English Papier‑Mâché and Lacquered Tilt‑Top Table, mid‑19th c., top with exotic birds, lyre support, hipped sabre legs, scroll feet, h. 29 in., w. 24 in., d. 18 1/2 in. $500/700

338. Pair of Regency Mahogany Side Chairs, early 19th c., paneled tablet crest with palmette terminals, slip seat, tapered reeded legs, h. 36 1/2 in., w. 19 in., d. 19 in. $400/800 Provenance: Provenance: Murfee/ DeBardeleben Collection, Riverview, Columbus, MS.

336. Napoleon III Ebonized and Parcel Gilt Armchair, mid‑19th c., scrolled crest, padded arms, scroll supports, serpentine seat rail, cabriole legs, casters, h. 45 1/4 in., w. 25 in., d. 21 in. $800/1200

337. Regency Brass Inlaid Mahogany Grecian Sofa, early 19th c., scrolled back, arm and foot, paneled seat rail, sabre legs, brass cuff casters, h. 31 1/2 in., w. 77 1/2 in., d. 27 in. $700/900

340. Louis Philippe Carved Mahogany Center Table, 19th c., dished marble top, conforming frieze, vasiform reeded standard, eaglecarved legs, paw feet, casters, h. 30 in., dia. 38 1/2 in. $1500/2500 339. English Gilt Decorated Tôle Peinte Tray, 19th c, mounted on a later custom stand, h. 20 1/4 in., w. 24 in., d. 19 in. $600/900 Provenance: Thomas Connelly, Greenwich, CT. 341. Louis XV Carved Walnut Fauteuil, 18th c., arched foliate crest, shaped arms, serpentine seat rail, foliate cabriole legs, stamped “IAVISSE” for Jean Avisse (1723‑1796), h. 37 in., w. 27 1/4 in., d. 20 1/4 in. $2500/3500

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342. Rustic Carved Root and Vine Jardinière, late 19th c., probably English, cut bamboo decoration, h. 32 1/4 in., w. 30 in., d. 10 1/2 in. $1000/1500

343. Rustic Carved Root and Vine Jardinière, late 19th c., probably English, cut bamboo decoration, h. 32 in., w. 21 1/2 in., d. 11 in. $800/1200

Provenance: Gordon Getty.

Provenance: Gordon Getty.

Ref.: Newman, Bruce. Fantasy Furniture.

Ref.: Newman, Bruce. Fantasy Furniture.

345. Pair of Monumental Rouge Marble Obelisks, paneled pedestals, molded plinths, h. 80 in., w. 19 1/2 in., d. 19 1/2 in. $2000/3000

346. Pair of Antique French Gilt Bronze and Cut Crystal Two‑Light Sconces, c. 1900, lyre-form mirrored backplate, spear finials and pendeloque prisms, electrified, h. 21 in., w. 9 3/4 in., w. 4 1/2 in. $700/1000

344. Beaux Arts Mahogany BronzeMounted Jardinière, late 19th c., tray top with gallery, stop-fluted legs, stretcher shelf, h. 45 1/2 in., w. 24 1/2 in., d. 15 in. $400/600 347. Very Fine Italian Neoclassical Carved Giltwood Mirror, late 18th/early 19th c., divided mirror plate, surround with inset panels of old beveled mirror plates. $4000/6000

348. Charles X Giltwood Mirror, early 19th c., anthemion and cornucopia details, h. 53 in., w. 42 1/4 in. $1000/2000

349. Very Fine Louis XVI Gilt Bronze and Porphyry Mantel Clock, c. 1780, silk thread movement marked “T & N”, lyre‑form case surmounted

by Classical mask, porcelain dial with floral bezel, acanthine collar, scrolled cartouche feet, h. 29 in., w. 13 in., d. 7 3/4 in. $8000/12000

350. Empire Gilt Bronze Mantel Clock, c. 1790, porcelain dial signed “Lepaute à Paris”, Greek vase case mounted with allegorical figures, plinth base, h. 16 in., w. 6 1/4 in., d. 5 in. $1500/2500

351. Fine English Brass Inlaid Rosewood Clock Barometer, 19th c., marked “Johnson, London”, case with brass colonettes, incorporating a thermometer, clock, level indicator and weather dial, h. 51 in., w. 14 3/4 in., d. 4 in. $3500/4500

Additional information at www.nealauction.com

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352. Fine and Rare Regency Girandole Mirror of Monumental Scale, c. 1810, surmounted by an ebonized spread-wing eagle flanked by acanthus, spherule mounted frame, ebonized rabbet, convex mirror plate, three-light candlearms, acanthus pendant, h. 72 in., w. 57 in., d. 14 in. $8000/12000

353.

Contemporary French Shagreen Side Table, stamped “R & Y Augousti Paris”, four frieze drawers, square tapered legs. $800/1200

354. Pair of Antique Venetian Rococo‑Style Crème Peinte Consoles, each with faux marbre serpentine top, shaped frieze, cabriole legs, h. 37 in., w. 48 in., d. 21 in. $2500/3500

356. French Provincial Carved Walnut Side Table, 18th c. and later, overhanging top, shaped apron, with drawer, cabriole legs, whorl feet, h. 29 in., w. 29 1/4 in., d. 19 3/4 in. $800/1200

355. Antique Italian Neoclassical Carved Walnut Triple Chairback Settee, probably late 18th c., serpentine crest, pierced splats, molded shaped arms, fluted tapered legs, h. 37 1/2 in., w. 54 3/4 in., d. 18 in. $600/800

357. Régence Carved Walnut Mantel, late 18th c., serpentine shelf, raised panel and floral carved surround, h. 44 3/4 in., w. 81 3/4 in., d. 11 3/4 in. $3000/5000

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358. Highly Decorative Silverplate Centerpiece in the French Taste, cut glass centerbowl on figural standard with conforming mirrored plateau. $3000/5000

360. Louis XVI‑Style Gilt Bronze and Marble Figural Mantel Clock, 19th c., movement marked by retailer “Tiffany & Co.”, surmounted by Cupid, mounted with floral garlands, hoof feet, h. 18 1/4 in., w. 9 1/2 in., d. 5 5/8 in. $2000/3000

359. Italian Rococo Painted Tall Case Clock, late 18th c., probably Venetian, architectonic bonnet with incurvate glazed panels, the brass dial framed by reticulated rocaille surround; conforming case in mustard yellow ground, painted with European landscapes and genre scenes, h. 98 in., w. 20 1/4 in., d. 15 in. $4000/6000

Provenance: Didier, Inc., New Orleans.

361. Louis Philippe Gilt Bronze Figural Mantel Clock, 19th c., silk‑thread movement, surmounted by Elizabethan figure, silvered dial, scrolled feet, h. 17 3/4 in., w. 15 1/4 in., d. 6 in. $700/900

362. Fine Regency‑Style Mahogany Table Étagère, bench made, graduated tiers with bound reed moldings, ball feet, h. 40 in., w. 19 in., d. 19 in. $700/1000

365. French Provincial Walnut Farm Table, 18th c., plank top, shaped frieze, cabriole legs, h. 27 1/4 in., l. 78 1/4 in., w. 29 in. $800/1000

368. Near Pair of Antique Spanish Colonial Carved Hardwood Armchairs, arched crest centering roundel, acanthus carved scrolled arms, blocked and turned legs, “Spanish” feet, bulbous stretchers; later rattan back and seat, h. 52 3/4 in., w. 27 1/4 in., d. 26 1/2 in., and h. 55 1/2 in., w. 27 1/4 in., d. 26 1/2 in. $1000/1500

363. Rare Miniature French Provincial Carved Walnut Buffet à Deux Corps, 19th c., arched cornice, raised panel doors, serpentine apron, cabriole legs, 13 1/2 in., w. 7 3/4 in., d. 4 1/2 in. $700/900

366. Louis XIII‑Style Carved Walnut Center Table, 19th c., molded top, frieze with inset marble plaques, pendant corners, paired turned legs, plinth base, bun feet, h. 30 1/2 in., w. 53 1/2 in., d. 29 3/4 in. $1200/1800

364. French Provincial Walnut Candle Box, late 18th c., arched backplate, lift top, small drawer. $500/700

367. Antique Louis XV‑Style Carved Fruitwood Bench, attractively upholstered, floral carved shaped frame, cabriole legs, incurvate stretchers, h. 19 3/4 in., w. 40 1/2 in., d. 14 7/8 in. $400/600

369. Louis XV‑Style Gilt Bronze Two‑Light Bouillotte Lamp, 20th c., gilt‑stenciled tôle peinte shade, h. 22 in. $500/800

370. Neoclassical‑Style Patinated Brass Three‑Light Bouillotte Lamp, 19th c., gilt‑stenciled black tôle peinte shade, h. 24 1/2 in. $700/1000

Additional information at www.nealauction.com

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371. Pair of Art Nouveau Gilt Bronze and Frosted Cut Glass Sconces, c. 1900, dolphin and cattail backplate, h. 13 in., w. 11 1/2 in., d. 7 1/2 in. $700/1000

372. Louis XV-Style Bronze Mounted Cobalt Porcelain Six Light Chandelier, 20th c., urn form, foliate branches with masks, beribbon supports, h. 44 in., dia., 22 in. $1000/1500

373. Pair of Terracotta Figural Groups of Wine‑Making Putti, signed “G.T. Flamand”, h. 8 1/2 in., truncated bases, overall h. 10 in. $800/1200 374. Bronze Figure of a Late Roman Warrior, cast with body armor and skin sleeves, naturalistic self‑base, h. 20 in., w. 6 in., d. 4 1/2 in. $600/800

377. Prof. Antonio Frilli (Italian/Florentine, d. 1902) “Bust of a Nubian Maiden”, marble, inscribed “A. Frilli / Firenze” on reverse of truncation, h. 30 1/2 in., w. 21 in., d. 13 1/2, contemporary marble socle, overall h. 37 in. $4000/6000

375. Juan Clara (Spanish, 1875‑1958), “Pulling the Cat’s Tail”, bronze patinated metal, inscribed signature, Goldsheider Foundry Seal and “53” on self‑base, h. 11 in., w. 10 in., d. 3 1/2 in. $500/700 Provenance: Estate of Janice Lane Young, Richmond, VA.

376. Art Nouveau Bronze Bust of a Maiden, late 19th c., inscribed “Nelson”, Goldscheider foundry mark on reverse, h.

20 1/2 in., w. 14 1/2 in., d. 9 in. $800/1200

378. An Egyptian Revival Gilt Metal and Black Marble Mantel Clock, late 19th c., white enamel dial, the works marked “Blot & Drouard Paris...”, initialed in script “E.D.”, case with a sphinx atop a marble plinth adorned with fronds and herm head masques, height 16 1/2 in., width 17 in., depth 9 1/2 in. $1000/1500

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Note: Antonio Frilli was a Florentine sculptor who worked primarily with Carrara marble and alabaster.

His delicately executed original works and replicas garnered national acclaim, and he was highly sought-after in his lifetime, notably commissioned

by Leland Stanford to create several of the impressive statues that decorate the Stanford University Campus. Frilli founded the Frilli Gallery in 1860, as a studio and art atelier in Florence, the capital art city of the Belle Epoque. An astute businessman, Frilli ensured that his gallery participated in many World Fairs, garnering international attention and taking home awards and prizes throughout the year. In 1904, he posthumously won the Grand Prix at the Louisiana Purchase Exposition in St. Louis for his exquisite marble sculpture entitled “Woman Lying on a Hammock,” which showcased his exceptional talent and ability to manipulate a notoriously difficult medium.

In this lot, Frilli’s tremendous skills are on display, particularly in the various textures that create the composition. His execution of the coarse fringed textile compared to that of the ringlets of hair and the details of the cabbage leaf crown is remarkable given the challenge inherent in accurately rendering each component. The maiden’s shawl falls open, revealing her left breast, a striking visual reminiscent of Amazonian warriors which lends gravitas to the figure who is being presented in such high esteem.

Ref.:“About Us.” Frilli Gallery. www.frilligallery.com.

Accessed Oct. 22, 2016.

379. Continental Brass Lantern Clock, 19th c., movement marked “Marti & Cie”, turned finials, reticulated gallery, h. 19 1/2 in., w. 7 1/2 in., d. 7 1/2 in. $600/900

380. Pair of Antique Louis XVI‑Style Inlaid and Bronze‑Mounted Kingwood Commodes, each with marble top, three drawers, chamfered stiles, shaped skirt, cabriole legs, h. 32 in., w. 34 1/2 in., d. 17 1/4 in. $1500/2500 Provenance: Estate of Janice Lane Young, Richmond, VA.

382. Regency‑Style Painted and Parcel Gilt Low Table, late 19th c., marble top, carved frieze, sabre legs, h. 15 3/4 in., w. 29 3/4 in., d. 19 in. $500/800 Provenance: Estate of Janice Lane Young, Richmond, VA.

383. Georgian Inlaid Mahogany Pembroke Table, early 19th c., satinwood and rosewood banded drop-leaf top, frieze drawer, ring‑turned tapered legs, h. 27 3/4 in., w. (open) 39 3/4 in., d. 30 in. $600/800

381. Pair of Neoclassical‑Style Faux Marbre and Parcel Gilt Consoles, scrolled acanthus‑carved supports, blocked feet, h. 36 1/2 in., w. 51 1/2 in., d. 18 in. $2500/3500

384. Twelve Kirk Sterling Silver Goblets, marked “S. KIRK & SON INC.”, monogrammed with Gothic “H”, one goblet also engraved on underside “TO/ CAPTAIN OF/ MITHRAS/ 1920‑1930”, h. 6 7/8 in., total wt. 68.05 troy ozs. $1500/2500

387. Twelve S. Kirk and Son Sterling Silver Repoussé Goblets, hand‑chased, h. 6 3/4 in., total wt.

88.90 troy ozs. $3000/5000

385. Good Group of Antique and Vintage S. Kirk & Son Repoussé Silver, incl. coin silver dressing spoon, l. 11 7/8 in.; sterling flatware: 3 berry spoons, l. 8 7/8 in., casserole spoon, l. 9 3/8 in., cold meat fork, l. 7 1/2 in., jelly spoon, food pusher, child’s knife and teaspoon (as is); and sterling bonbon dish, dia. 5 in. and coaster, dia. 4 1/8 in; total wt. 29.70 troy ozs. $500/700

386. Antique American Sterling Silver Wine Coaster, Theodore B. Starr, New York, act. 1877‑1924, reticulated floral scroll border, h. 1 3/8 in., dia. 6 7/8 in., together with a sterling silver repoussé vesta case, l. 2 3/8 in., 5 sterling silver napkin rings and an antique silverplate example; total wt. (weighable) 9.35 troy ozs. $300/500

Provenance: Estate of Janice Lane Young, Richmond, VA.

388. Twelve S. Kirk and Son Sterling Silver Repoussé Bread Plates, 20th c., repoussé partial chased floral decoration, dia. 6 1/4 in., total wt. 50.80 troy ozs. $1500/2500 390. Gorham Sterling Silver Medallion Pattern Soup Ladle, last quarter 19th c., marked with Gorham trademark, pat. 1864, sterling and for retailer Harry R. Smith & Co., Cincinnati, wc. 1867-1900, l. 12 1/2 in., wt. 7.3 troy ozs. $500/700

391. George III Sterling Silver Wine Funnel, John Chapman II, London, 1787, with detachable strainer, l. 4 7/8 in., wt. 2.45 troy ozs. $400/600

389. Wallace “Grande Baroque” Pattern Sterling Silver Flatware Service, pattern introduced 1941, incl. 12 each: dinner forks, dinner knives, salad forks, cream soup spoons, teaspoons and butter knives (fh); 2 2‑pc. salad/berry serving sets, tablespoon, 2 pierced tablespoons, med. cold meat fork, tomato server, cake knife (hh), lg. jelly server, 2 sugar spoons and lemon fork, 86 pcs., total wt. (weighable) 129 troy ozs. $3000/5000 Additional information at www.nealauction.com

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393. Late Georgian Sheffield Plate Covered Tureen, sunburst mark of Matthew Boulton, c. 1825, engraved crests, lion’s head and acanthus handles, gadroon and shell border, paw feet, h. 10 1/2 in., w. 15 7/8 in., d. 9 1/2 in. $1000/1500

392. Set of Four Antique English Silverplate Candlesticks in the Neoclassical Taste, William Hutton and Sons, Sheffield, 19th c., h. 11 5/8 in. $600/900

394. Scottish George V Sterling Silver Tea Service, Hamilton & Inches, Edinburgh, 1924, incl. teapot, sugar and creamer, each squat form with gadrooned border, fluted lower body and scroll handle with serpents, teapot h. 5 1/8 in., wt. 47.60 troy ozs. $1000/1500 395. George III Sterling Silver Serving Tray, London, 1804, Thomas Hannam & John Crouch II, wc. 1799-1805, reg. 1799, with engraved crest and mottoes “Deus Pascit Corvos” and “Virtutis Lans Actio”, gadrooned border and handles decorated with acanthus, gadrooned scroll feet, 29 in. x 18 5/8 in., wt. approx.. 127 troy ozs. $5000/8000

398. French Tôle Peinte Tray, 19th c., decorated with French‑flagged galleons at sea, l. 23 3/4 in., w. 18 1/2 in. $400/600 396. English Polychrome Porcelain Covered Urn, early 19th c., unmarked, possibly Nantgarw, old M.S. Rau label, and old “Nantgarw Collection” label, of Warwick vase form, pineapple finial, h. 15 in., w. 13 in., d. 10 in. $800/1200

399. Pair of Antique Carved and Polychrome Busts, each h. 8 1/2 in. $400/800

397. Twelve Royal Doulton Porcelain Dinner Plates, 19th c., pale green border with raised gilt decoration, dia. 10 in. $500/700 402. American Southwest Sterling Silver and Turquoise Kachina Figure, David R. Freeland Jr., marked “DRF JR” and “STERLING”, titled “HEEE”, with removable cape and accessories. $1200/1800

400. Pair of Italian Carved and Polychrome Floral Garnitures, early 19th c., in the form of beribboned bouquets, with wall hangers, h. 12 in., w. 16 in., d. 8 in. $500/1000

401. Indian or Southeast Asian Handwrought Silver Footed Bowl, late 19th/early 20th c., relief decorated with figures, trees and wildlife, h. 4 1/4 in., dia. 5 1/8 in. $150/250 Provenance: Estate of Janice Lane Young, Richmond, VA.

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404. George III Satinwood, Inlaid and Paint-Decorated Secretary Desk, late 18th/ early 19th c., serpentine crest above conforming doors with classical oval medallions; fitted interior; faux drawers over three long drawers, canted stiles, molded skirt, tapered feet, h. 81 1/2 in., w. 49 1/2 in., d. 25 in. $2000/3000

403. Very Fine Pair of English Patinated Bronze Argand Lamps, c. 1825‑30, attr. to Thomas Messenger and Sons, Birmingham, foliate decorated urn form fonts with scrolled leaf basins and stepped plinth bases, frosted shades, each h. 19 1/4 in., w. 12 1/2 in., d. 6 1/4 in. $2500/3500

405. Fine American Late Federal Carved Mahogany and Brass-Mounted Dressing Chest, early 19th c., probably the workshop of Thomas Seymour, Boston, mirror on lyre-form supports, three drawer superstructure; the case with outset frieze drawers over three drawers flanked by acanthus carved tapered columns, blocked base, turned feet, casters, h. 77 in., w. 43 in., d. 21 1/2 in. $3000/5000 Note: Furniture related to this lot by Thomas Seymour (1771-1848) has been conserved by the Museum of Fine Arts, Boston. Various elements of this dressing table relate to a mirrored dressing table in the museum’s collection made for Elizabeth Derby West, notably the distinctive acanthus carved columns and the lyre mirror supports.

Ref.: Bates and Fairbanks. American Furniture, 1620 to the Present. New York, Mareck: 1981.

P. 251; Museum of Fine Arts Boston. www.mfa.org/collections/object/dressing-table-withlooking-glass-44462. Accessed October 27, 2016.

406. Louisiana Figured Mahogany Armoire, c. 1830, stepped cornice, plain frieze, pair of doors, pressed brass escutcheons, beehive-turned feet with brass spherules, h. 92 in., w. 67 1/2 in., d. 27 in. $7000/10000 Provenance: Purchased Mandeville, 1960s; conserved by Ruppert Kohlmaier; Murfee/ DeBardeleben Collection, Riverview, Columbus, MS. Note: The beehiveleg design, a feature of the armoire offered here, likely originated in New Orleans during the late Federal period. Most beehive-leg armoires follow a similar pattern of highly grained veneers and the unique leg, which often terminates in a brass-ball foot. Other related armoires have been conserved by the Stromeyer and Barras Family collections.

Ref.: Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835. This Historic New Orleans Collection: 2010. P. 125, 141.

407. American Federal Carved Mahogany Four-Part Banquet Table, early 19th c., probably Baltimore, incl. pair of D‑ends, two foldover center sections, plain frieze, reeded turned tapered legs, brass cuff casters, h. 29 1/2 in., l. (closed) 43 7/8 in., l. (extended) 132 1/4 in., w. 47 3/4 in. $1500/2500 Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

408. Eight American Classical Mahogany Side Chairs, early 19th c., shaped crest rail, urn splat, trapezoidal slip seat, saber legs, h. 32 in., w. 18 1/4 in., d. 20 3/4 in. $800/1200 Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS. Additional information at www.nealauction.com

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409. American Federal Carved Mahogany Server, School of Haines & Connelly, Philadelphia, top with outset corners, conforming case with two short over long drawers, lion’s mask and ring pulls, stretcher shelf, reeded legs, distinctive paw feet, h. 37 in., w. 36 in., d. 20 in. $1000/1500

410. American Late Classical Carved Mahogany Poster Bed, 19th c., vasiform floral carved posts, acanthus scrolled and paneled head board centered by a basket of fruit and nuts, straight rails, claw and ball feet, h. 85 in., l. 73 in., w. 59 1/2 in. $800/1200 411. Rare American Classical Carved Mahogany Rent Table, early 19th c., probably Philadelphia or New York, bookmatched octagonal swivel top, four frieze drawers, acanthus support, acanthus carved legs, paw feet, casters, h. 29 in., w. 28 1/2 in., d. 28 1/2 in. $2500/3500 Provenance: Sotheby’s, New York, The Americana Collection of Marc and Laurie Krasny Brown, Jan. 21, 2007, lot 1; Christie’s, New York, Important American Furniture, Jan. 18, 1997, lot 293.

412. Fine American Classical Carved Mahogany Gentleman’s Armchair, early 19th c., probably Boston, incurvate crest rail, lappet carved arms and scrolled supports, molded seat rail, foliate carved turned legs, casters, h. 39 1/4 in., w. 23 in., d. 22 in. $2000/3000

413. Thomas Addison Richards (British/New York, 1820‑1900), “An Outing; Hudson River Valley Landscape”, 1853, oil on canvas, signed, dated and inscribed “N.Y.” lower center, “A Heydenryk Frame, The House of Heydenryk, New York” label en verso, 48 1/2 in. x 48 1/4 in. (painted circle), framed. $20000/30000 Provenance: Henry B. Holt, Inc., Essex Fells, NJ, Oct. 1982; Private Collection, Louisiana.

Exh.: “The Romance of American Landscapes: The Art of Thomas Addison Richards” Georgia Museum of Art, Athens, GA, 1983 and listed in the accompanying catalogue Note: Thomas Addison Richards was born in London and immigrated to America in 1831 with his family, moving first to Hudson, New York, and then to Charleston, South Carolina. Around 1837, they settled in the small town of Penfield, Georgia, the original site of Mercer University, where Richards’s father, a Baptist minister, served as a charter trustee. In 1838, working first from Augusta, Georgia and then Charleston, Richards offered drawing lessons and began to write a series of illustrated travel accounts for which he would eventually earn national fame. His pioneering regard for the splendors of the American landscape, as evidenced in the monumental canvas offered here, was first recognized in an 1843 publication, which noted that his “drawings of the beautiful scenery of the Southern States are almost the first pictures which have been made from this rich store-house of nature.”Late in 1844, Richards settled permanently in New York City, where he gave art lessons from his studio and began taking classes at the National Academy of Design. He subsequently became a full academician and served as the institution’s corresponding secretary from 1852 to 1892. Many of the paintings he regularly contributed to academy exhibitions were romantic landscapes of the South and Hudson River Valley. From his base in New York, he continued to travel, seeking out both views for his brush and his pen. For the weekly Southern Literary Gazette, published by his brother out of Athens, Georgia, and Harper’s New Monthly Magazine (New York), he submitted essays on his travels through the South. Richards enlivened his travelogues with personal anecdotes, legendary stories, tips on lodging, and engravings after his on-site drawings. Tallulah and Jocasse, a collection of Richards’ short stories about the South named for two waterfalls in north Georgia, one being the famed Tallulah Falls, once known as the “Niagara of the South,” was published in 1852, just one year prior to the creation of the work offered here. In 1854, a series of engravings after Richards’s southern sketches appeared in Romance of American Landscape. Richards was painting at the height of his career when he created the panoramic and important landscape offered here. Clearly influenced by his Hudson River School contemporaries, the artist offers a scene that reflects man’s peaceful coexistence with nature and a reverence for the American landscape. The sweeping scene is anchored by the inclusion of a couple with a picnic basket in the foreground, highlighting the expansive countryside beyond them beautifully lit by the setting sun. The exacting brushwork of the foliage and expert composition attest to Richards’ skill at capturing a landscape.During and following the Civil War, Richards increased his teaching activity. He served as the first director of the Cooper Union School of Design for Women in New York, a position he held from 1858 to 1860, and taught at New York University from 1867 to 1887. Richards’ works can be found in the collections of the National Academy of Design, Brooklyn Museum, Harvard Art Museums/Fogg Museum, Morris Museum of Art, Gibbes Museum of Art and Ogden Museum of Southern Art. Ref.: Koch, Mary L. “Thomas Addison Richards (1820-1900).” New Georgia Encyclopedia. Sept.b10, 2013. Accessed Oct. 22, 2016. “Thomas Richards”. The Johnson Collection. www. thejohnsoncollection.org. Accessed Oct. 22, 2016. Bruce, Kate. “Thomas Addison Richards.” KnowLA Encyclopedia of Louisiana. Louisiana Endowment for the Humanities, Sept. 12, 2012. www.nola. org. Accessed Oct. 22, 2016.

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414. William Goodall (British, 1757‑1844), “Cat‑Bird, Muscicapa Carolinensis, after Mark Catesby (1683‑1749)”, “Turtle Dove, Columba Turtur”, “Flamed‑Crowned Finch, Linaria Flammca, after John Latham (1740‑1837)” and “Whiskered Gnat Snapper, Muscipeta Barbata, after William Swainson (1789‑1855)”, 4 watercolors and inks on paper, all signed, titled and inscribed lower margin, 13 in. x 7 3/4 in., unframed.

(4 pcs.) $1500/2500

415. Walter Launt Palmer (American, 1854‑1932), “Aqueducts near Rome”, 1873, oil on paper, monogrammed, inscribed “Rome” and dated en verso, dated “Dec. 26‑73” lower right, 5 1/2 in. x 16 1/2 in., unframed. $2000/3000 Provenance: Descended in the family of the artist, New York.

416. Walter Launt Palmer (American, 1854‑1932), “Castle Ruins”, 1873, oil on paper, unsigned, partially incised date “30‑73” lower left, 8 in. x 10 in., framed. $1200/1800 Provenance: Descended in the family of the artist, New York.

417. Charles Wellington Boyle (American/Louisiana, 1861‑1925), “Near Lewisburg, LA”, 1902, oil on canvas, signed and dated lower right, 18 in. x 29 in., original frame with brass title plaque. $7000/10000 Provenance: Malcolm Baird Wright, brother of New Orleans educator Sophie Bell Wright; by descent to Barbara Colvert Wright.

Note: Charles Wellington Boyle painted this idyllic Louisiana landscape near his home in Lewisburg, on the north shore of Lake Pontchartrain. Painted in his mature style, with impressionist brush work and a vivid palette, Boyle depicts the sandy shore of the lake on a calm day as a figure with a net hunts for crabs. A grove of cypress of trees anchors the large composition on the right as the lakeshore strewn with debris and barren tree roots curves to the left. A vivid blue sky is reflected in the lake waters. Boyle’s home in Lewisburg was a turn-of-the-century gathering place for artists such as Ellsworth and William Woodward, Alexander Drysdale and Andres Molinary.

418. Joseph Rusling Meeker (American/Louisiana, 1827‑1887), “Heron in the Bayou”, 1872, oil on canvas, signed and dated lower right, “McCaughen & Burr Fine Arts, St. Louis, MO” label en verso, 18 in. x 30 in., period frame. $10000/20000

420. William Aiken Walker (American/South Carolina, 1838‑1921), “Wood Sawyer (Man with a Bucksaw)”, oil on academy board, signed lower left, pencil‑titled and “Kennedy Galleries, Inc. New York” label en verso, 12 1/4 in. x 6 1/8 in., framed. $7000/9000 Provenance: Estate of Nuala O’Donnell Pell; Kennedy Galleries, Inc., NY. Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker.

419. William Aiken Walker (American/South Carolina, 1838‑1921), “Cabin Scene”, oil on academy board, signed lower left, pencil‑titled and inscribed en verso, 6 1/4 in. x 12 1/4 in., framed. $8000/12000 Provenance: Estate of Logan J. Sewell, Vidalia, LA; Louisiana collector.

Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker.

421. Southern School, 20th c., “Cabins in South Carolina”, watercolor on paper, initialed “G.G.N.” and titled en verso, 19 3/4 in. x 16 1/2 in., framed. $800/1200

Note: This distinctive and rare Walker portrait of a Reconstruction era African-American man. Best known for his depiction of cotton pickers posing in the fields, Walker painted a small body of work depicting figures in other pursuits or circumstances. This work with a man holding a bucksaw and a basket and having a chair frame around his shoulders is quite rare in his oeuvre. The man is quite dignified in the pursuit of his trade, standing before a building with split logs at his feet, casting a shadow on the verdant grass.

422. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Diptych: Autumn Glory”, 2 oil washes on board, signed lower left and right respectively, each sight 9 1/2 in. x 29 1/2 in., framed together. $4000/6000 Additional information at www.nealauction.com

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423. Attributed to James Guy Evans (American/New Orleans, 1809‑c. 1859, act. 1835‑1859), “U.S. Treasury Schooner Whig”, 1848, oil on canvas, unsigned and inscribed “Presented to Hon. Henry Clay by his Friend Capt. William Jones” lower margin, “Prepared by Edward Dechaux, New York” canvas stamp en verso, 25 in. x 30 in., period gilt frame. $35000/45000 Exh.: Ashland, The Henry Clay Estate, Lexington, KY, 2003.

Note: Biographical information about James Guy Evans has always been scarce.

Previously thought to have been born in England in 1810, United States Marine Corps records show that Evans was born in New York in 1809. Evans joined the Marine Corps as a young man and traveled throughout the Mediterranean area, including the island of Minorca, where he married his first wife, Ana. The couple had a son c. 1836 and after a brief stint in Cuba, Evans moved to Mobile, Alabama; two daughters were born c. 1837 and 1839, either in Alabama or Cuba. A Mobile marriage license indicates that Evans married a second time in 1842 to Frances Pennington, and 1850 census records show them living in New Orleans with two more daughters born c. 1843 and 1848 in that city. As a maritime painter, it is not surprising that Evans traveled often between Cuba, Mobile, and New Orleans. Evans established a brief partnership with fellow artist Edward Everard Arnold in New Orleans. He often painted ships at port or arriving in the city at the Balize, an old fort and landmark at the mouth of the Mississippi River, as shown in the two masterworks, “Tow Boat Conqueror of New Orleans, Capt. John Heaton, Coming up from the Balize, October 29th, 1847,” and “Arrival of Gen. Z. Taylor & Staff at Balize on the U. S. Steam Ship Monmouth, B. T. Willse Commander / November 30th 1847,” sold in these rooms in November 2010 and November 2011, respectively.

Captain William Jones of Raleigh, North Carolina, an ardent admirer of fellow Whig Henry Clay, disembarked at the Port of New Orleans from Vera Cruz, Mexico in the first half of 1848 on the Schooner Whig. Upon arrival, he commissioned James Guy Evans to paint a likeness of the ship, which Jones then sent as a gift to Henry Clay at his home, Ashland, in Lexington, Kentucky. Clay, a prominent lawyer and politician, helped found the Whig party and exemplified all of its best qualities, which particularly appealed to Captain Jones. The letter accompanying the painting still exists; in it, Jones speaks of his ardent admiration “both personally and politically” of Clay, and praises the ship’s “beauty of model, fleetness, and good sea qualities generally.” In the postscript, Jones proclaims a desire to know Clay’s thoughts about the recent Whig party nomination of Zachary Taylor for presidential candidate. Taylor, popular from his part in defending Texas during the Mexican-American War, won the election in 1848 and became the twelfth president of the United States. Aboard the ship Monmouth, Taylor was also a subject of an Evans painting in 1847.

In 2003, when the Whig painting, with its inscription indicating it was a gift to Henry Clay, was re-discovered in Boston, it was revealed that the letter from Jones to Clay, which originally accompanied the painting, was published in a book of Clay’s papers. The painting and the letter (which was in a family collection) were subsequently reunited and exhibited at Ashland, the Henry Clay Estate, in Lexington, Kentucky.

Ref.: Brooks, Eric. “Curator’s Comments.” Ashland – The Henry Clay Estate Newsletter, p. 5; John Mahé et al., Encyclopædia of New Orleans Artists, Historic New Orleans Collection, 1987, p. 129; United States Federal Census, 1850; Mobile, Alabama Marriage Records, 1816-1942; United States Marine Corps enlistment papers for James Evans, July 29, 1830.

424. Achille Peretti (Italian/New Orleans, 1857‑1923), “Interior at St. John the Baptist Catholic Church”, 1899, oil on canvas, signed and dated lower right, “Artists’ Association of New Orleans” exhibition label with artist and title en verso, 38 in. x 28 1/2 in., period frame. $8000/12000 Note: St. John the Baptist Church’s golden steeple has long been an architectural landmark in New Orleans. Built in the late 1860s and early 1870s, the church’s formal dedication was January 7, 1872. The original structure still stands today. Although the floor plan has not been altered, the interior has undergone several campaigns of restorations. The current lot provides a fascinating view into the original design of the interior. The renowned stained glass, which is now featured in the side windows of the church, had not yet been installed in every window.

The stained glass was donated over a course of almost a century – the first donation occurring in 1874 and the last in 1962. In 1963, the church underwent a more extensive renovation and restoration. Unfortunately, the ornate altar featured in this painting was damaged beyond repair by termites and was replaced. In 2002, a renovation took place that saw to the repainting of the interior and the gilding of the column capitals and other details throughout the church.

The figures portrayed in the church give the viewer a sense of the Catholic community in the late 19th century. The women depicted are, based on their clothing, fashionable ladies of means, adhering to the latest styles of dresses or blouses and skirts with high necks and long gigot sleeves. Hats with flowers, ribbons, or other decorations were extremely popular during this time period; ladies’ heads would have remained covered in a church during the late 1800s.

The inclusion of an African-American woman in the painting indicates that St. John the Baptist Church had an interracial congregation in the 1890s, a circumstance that was more common during the antebellum period than in the later part of the century. Many slaves were baptized and attended the same churches as their owners. After the Civil War, African-American Catholics began forming their own communities. Orders such as the Sisters of the Holy Family, which had been founded in 1842 by Mother Henriette Delille, evangelized and converted both slaves and free persons of color before the war and expanded into full congregations after the war. St. Augustine Church was another community where interracial worship was common. Free black and white people rented approximately the same number of pews, raised funds, and sang in the choir together. Post-Civil War, as more black Catholic communities were formed and money from religious leaders such as Sister Katharine Drexel was donated to those communities, interracial Catholic congregations became less common.

Although depictions of exteriors of the beautiful churches of New Orleans are quite common, views of the interior of a house of worship are relatively rare. Peretti, from the time he arrived in New Orleans in 1885 from his native Italy, had an interest in religious art. In addition to painting a number of varied subjects, he also worked decorating churches in Bay St. Louis, Mississippi at Our Lady of the Gulf and in New Orleans at numerous churches, including St. John the Baptist, St. Stephen’s, and St. Patrick’s. Through this fascinating look at a slice of life in the New Orleans Catholic community in the late 1800s, Peretti is able to provide some introspection into both the racial and religious history of the city.

Ref.: Nolan, Bruce and Pastor Lori Renee. “Black Catholicism: Religion and Slavery in Antebellum Louisiana.” M.A. Thesis. Dallas: University of Dallas, 2003; Dobie, Ann B. “Achille Peretti.” KnowLA: Encyclopedia of Louisiana. Sept. 12, 2012. www.knowla.org/entry/1328. Accessed Oct. 21, 2016; “History of the Church.” St. John the Baptist Catholic Church. www.goldensteeple.com. Accessed Oct. 21, 2016.

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425. Jacques Guillaume Lucien Amans (French/Louisiana, 1801‑1888), “Félicie Aime, Mme. Alfred Roman (1825‑1859)”, oil on canvas, unsigned, 36 1/2 in. x 29 1/4 in., framed. $15000/25000 Provenance: By descent in the family of the sitter.

Note: Félicie Aime, the daughter of prominent sugar planter, Valcour Aime, spent her childhood on the plantation officially known as St. James Plantation and widely referred to as “Le Petit Versailles” for its lavishness. The Aime, Fortier, and Roman families were intricately linked through multiple marriages, intertwining the family tree branches, and amassing many properties along the Mississippi River, including Elmwood, Felicity, Oak Alley, and Cabahanoce Plantations.

Louisiana artists would often travel to plantation owners’ homes to paint portraits of multiple family members on site. Many of Félicie Aime’s family members, including her father, Valcour Aime, her mother, Josephine Roman Aime, her sister, Félicité, and her cousins, Robert and Jeanne Roman (whose portraits were sold in these rooms in Nov. 2012) had likenesses painted by Amans in the late 1830s.

Félicie married her cousin, Alfred Roman (1824-1892) in 1849 in St. James Parish, Louisiana. She died in Paris in 1859, and her portrait was passed down in her sister, Félicité’s family. In 19th century portraits, girls and young women were often depicted in impeccable white gowns, whether indoors or with an outdoor background; the current lot has an almost identical pose and doublepuffed sleeve, off-the-shoulder dress as Amans’ portrait of Clara Mazureau from 1838. In both paintings, Amans’ remarkable brushwork detailing the facial features, hair, and dress of the sitter is beautifully offset by a brilliant blue sky and a low horizon landscape.

426. Louisiana Mahogany Petite Armoire, c. 1800, molded cornice, compass star inlaid frieze, flush‑panel doors with stop‑fluted false medial stile, hanging bar interior with two lower drawers, star inlaid scalloped and spurred skirt, cabriole legs with hoof feet, h. 79 7/8 in., w. 57 1/2 in., d. 25 1/2 in. $3000/5000 Provenance: Estates of William and Sarah McGehee, Dr. Dubs House, Natchez, MS. Note: Many features of the armoire offered here, including the star inlay, exaggerated skirt, and molded cornice, are related to similar Louisiana armoires conserved by the Judice Family and the Baudouin Collection. The example conserved by the Judice Family was originally used at the Ursuline Convent in New Orleans.

Ref.: Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835. This Historic New Orleans Collection: 2010. P. 181.

Additional information at www.nealauction.com

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427. American Federal Inlaid Cherrywood Sideboard, c. 1790, probably Southern, serpentine case with frieze drawer and doors, chamfered legs, h. 42 in., w. 71 in., d. 26 in. $2500/3500

428. Six American Classical Tiger Maple Side Chairs, c. 1825, probably New York, tablet crest rail, foliate scroll medial rail, tapered stiles, rush seat, saber legs, stretchers, h. 33 in., w. 17 in., d. 16 3/8 in. $700/1000

429. American Federal Inlaid Mahogany Washstand, 19th c., probably John Needles, Baltimore, King of Prussia marble top, backsplash with three storage compartments, two graduated drawers, sliding bidet drawer on casters, reeded stiles, turned tapered feet, h. 33 in., w. 24 3/4 in., d. 23 in. $2000/3000 Note: The specific gallery configuration on this washstand is nearly identical to one advertised by John Needles in 1826. A similar washstand was made for William Gibson Tighlman (1784-1844) of Grosses, Talbot County, was exhibited by the Maryland Historical Society in 1993.

Ref.: Weidman, Gregory. Classical Maryland, 1815-1845. Baltimore: Maryland Historical Society, 1993, p.

137, fig. 168.

431. American Federal Mahogany Bowfront Chest of Drawers, late 18th/early 19th c., two over three graduated drawers, shaped skirt, “French” bracket feet, h. 37 3/8 in., w. 38 7/8 in., d. 20 3/8 in. $500/750

430. Group of Three Louisiana Child’s Chairs, incl. a rocker and armchair, and side chair, acorn and knob finials, shaped arms, turned legs, stretchers, h. 34 in., w. 17 3/4 in., d. 14 in.; h. 24 1/4 in., w. 15 in., d. 12 in.; h. 20 3/4 in., w. 13 1/2 in., d. 16 1/2 in. $600/900 Provenance: A Royal St. Estate.

432. American Federal Walnut Candlestand, c. 1800, tilt top with incurvate corners, baluster support, “spider” legs, h. 25 1/2 in., w. 21 in., d. 17 1/2 in. $400/600 Provenance: Didier, Inc., New Orleans.

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433. Pair of American Federal Carved Mahogany Side Chairs, late 18th/early 19th c., reeded backs and stiles, trapezoidal seat, reeded tapered legs, H stretcher, h. 36 3/4 in., w. 22 in., d. 20 1/2 in. $600/900

434. American Hepplewhite Figured Birch Bowfront Chest of Drawers, c.

1790‑1800, New England, four graduated drawers, shell carved skirt, “French” feet, h. 34 in., w. 40 in., d. 21 1/2 in. $2500/3500

435. American Classical Mahogany Breakfast Table, early 19th c., shaped drop leaf top, frieze drawer, ring‑turned supports, incurvate plinth, acanthus carved hairy paw feet, casters, h. 28 3/4 in., w. 24 1/4 in., d. 39 in. $800/1200 Provenance: Hyde Park Antiques, New York; Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

436. American Late Federal Inlaid Mahogany Secretary Bookcase, early 19th c., shaped crest with finials, diamond mullioned doors, shelf interior; foldover writing surface, three drawers, shaped base, “French” feet, h. 73 1/2 in., w. 36 in., d. 18 in. $1500/2500

437. Fine Pair of American Classical Carved Mahogany Games Tables, c. 1825, probably New York, each having foldover top, foliate‑carved pedestal, acanthus-carved legs, hairy paw feet, brass casters, h. 29 1/2 in., w. 36 in., d. 18 in. $2500/3500

438. American Brass and Marble Camphene Lamp, c. 1850, marked Cornelius and Baker, Philadelphia, inverted pear‑shaped font, fluted standard, S‑shaped arm, marble base, swirled glass shade, h. 21 in., w. 13 in., d. 7 in. $700/1000

439. Rare American Victorian Cast Brass Four‑Light Mirrored Dressing Lamp, c. 1855, shield‑form mirror with floral decoration mounted with foliate arms fitted with cut camphene peg lamps, h. 12 in., w. 17 in., d. 8 in. $700/1000 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

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

440. Pair of American Gilt and Patinated Bronze Figural Argand Lamps, c.

1825, marked “J. & I. Cox, New York”, foliate finial, standard mounted with opposing spreadwinged eagles, h. 18 3/4 in., w. 12 in., d. 5 1/2 in. $2500/3500

441. Thomas Jefferson and James Madison Signed Ship’s Passport, dated June 12, 1805, in four languages, signed by Jefferson as President and Madison as Secretary of State, allowing the schooner John, commanded by William Lavender, passage from the Port of Washington to St. Thomas, carrying scantling, shingles, peas and tobacco, countersigned by William Keais, collector of the Port of Washington, with paper seal, folded, 17 3/4 9n. x 22 3/4 in. $3000/5000 Additional information at www.nealauction.com

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442. After Marie Adrien Persac (American/Louisiana, 1827‑1873), “Norman’s Chart of the Lower Mississippi River from Natchez to New Orleans”, 1858, by A. Persac, published by B.M. Norman, New Orleans, LA; printed and mounted by J.H. Colton & Co., New York, hand‑colored, linen backed, with original ebonized wooden rollers, showing the divisions of land with owner’s names; vignettes of New Orleans, Baton Rouge and plantations, the border with cotton and sugar cane motifs, sheet 62 in. x 32 1/4 in. $50000/70000 Note: An 1858 issue of the New Orleans Crescent described the map as offering “a perfect picture of the windings of the Father of Waters from this city to Natchez, with every plantation on its banks, drawn out and colored, with the name of the owner and whatever name he may have given his plantation.” And Mr. Persac “descended the river in a skiff, landing at every mile, and drawing every plantation line and taking down every name and landmark on both banks of the river and deserves the highest credit for his very able and useful labor.”

444. [Rare Atlas of New Orleans], Robinson, Elisha and Roger Pidgeon. Atlas of the City of New Orleans, Louisiana. Based upon Surveys furnished

by John F. Braun, Surveyor & Architect, New Orleans, New York, E. Robinson, 1883, folio (19 1/2 in. x 15 in.), rebound in 3/4 leather, with 30 hand‑colored lithographed maps, each double page (18 in. x 27 in.), featuring homes, commercial buildings, geographic landmarks, railroad and streetcar tracks; brick buildings in pink, wooden structures in yellow. $2000/3000

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443. Collot, General Georges Henri Victor (French, 1750‑1805), “Map of the Course of the Mississippi from the Missouri and the Country of the Illinois to the Mouth of this River”, 1826, Paris, copper‑plate engraved map, Plate 25 from Voyages dans l’Amerique Septentrionale...

34 5/8 in. x 9 1/4 in., framed. $5000/7000

445. [New Orleans and City of Lafayette Map], “New Orleans Comprising Its Municipal Divisions and The City of Lafayette”, c. 1842, anonymous, outline color, showing the First, Second and Third municipalities and the City of Lafayette (later annexed into New Orleans), with a key below, 10 3/4 in. x 14 1/4 in., matted and framed. $2000/3000 Note: This map is undated, unattributed and unrecorded: this is the only located copy. It portrays not only cultural details and structures in New Orleans proper (keyed below), but also shows ferry crossings and the Mexican Gulf, Carrollton and Pontchartrain railroads.

446. [New Orleans Exposition Map], “The World’s Industrial and Cotton Centennial Exposition, New Orleans, LA...Plan No. 2 Map of the City of New Orleans showing the location of exposition grounds and all approaches thereto by land & water”, 1884, Southern Litho. Co., New Orleans, with 13 insets or vignettes, 27 in. x 36 7/8 in. $1000/1500 447. [Rare Bird’s‑Eye‑View of New Orleans], “City of New Orleans and Suburbs”, 1883, color lithograph, by Gustave Koeckert, New Orleans, showing highly detailed view from the French Market to Exposition Park, sheet 27 in. x 34 in. $500/700

448. John Melish (Scottish/ American, 1771‑1822), “Map of New Orleans and Adjacent Country”, Philadelphia, John Melish, 1815, hand‑colored engraved map, with folds, as issued, from A Military and Topographical Atlas of the United States, 15 in. x 20 3/4 in., framed. $1500/2500 Note: Based on Lafon’s extremely rare map of 1806, this map focuses on the coastal region from the Mississippi delta to Pensacola. The atlas itself was produced to satisfy the public’s interest in the War of 1812 and the national pride that arose from Britain’s defeat.

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

450. Jean Covens and Corneille Mortier/Publishers, “Tabula Geographica Mexicae et Floridae/ Carte du Mexique et de la Floride”, Amsterdam, 1722, in outline color after Delisle’s 1703 map, 19 in. x 24 in., frame. $1000/1500

451. Nicolas de Fer (French, 1646‑1720), “Partie Meridionale de la Riviere de Missisipi, et ses Environs, dans l’Amerique Septentrionale”, Paris, Chez J.F. Benard, 1718, hand‑colored engraved map, with numerous vignettes or villages, hunters, animals, canoes and ships, 18 1/4 in. x 25 1/4 in., framed. $6000/9000

452. Restauration Carved Giltwood Barometer, early 19th c., love bird crest, floral garlands, thermometer over weather dial, h. 39 in., w. 14 in., d. 3 1/4 in. $1200/1800

453. Louis Philipp Painted Stick Barometer, early 19th c., signed “Pedraglio, Opti. a Nantes”, with weather tube and thermometer, h. 37 1/2 in., d. 4 in. $1000/1500

454. Group of Three Etched Glass Hurricane Shades, 19th c., baluster form with folded foot rim, vintage motif, tallest h. 23 1/2 in. $1200/1800 Provenance: Noted antiquarian, David Stockwell, Wilmington, DE.

455. Pair of American Classical Gilt Pier Mirrors, c. 1830, New York, labeled “Augustus F. Cammeyer No. 148 William St.” old divided mirror plate, matte and burnished gilt surface, h. 61 in., w. 33 1/2 in. $1200/1800 Provenance: Provenance: Murfee/ DeBardeleben Collection, Riverview, Columbus, MS.

Additional information at www.nealauction.com

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456. Good Late Federal Inlaid Mahogany Bowfront Chest of Drawers, early 19th c., New England, top with outset corners, conforming case with four drawers flanked by reeded colonettes, ring‑turned legs, h. 41 1/4 in., w. 45 in., d. 24 1/2 in. $1400/1800

457. American Chippendale Carved Mahogany Tilt-Top Tea Table, partially 18th c., piecrust top, turned and spiral-carved support, acanthus carved legs, claw and pad feet, h. 28 in., w. 30 1/4 in., d. 30 1/4 in. Note: Restorations. $500/700

458. American Classical Figured Mahogany Washstand, c. 1820, Philadelphia, stenciled label “Robert Liggi / 420 / Market St. / Philad / Warranted”, arched gallery, original marble top, scrolled supports, stretcher shelf with drawer, turned tapered legs, h. 38 1/2 in., w. 25 in., d. 19 in. $1000/1500

459. American House of Representatives Carved Oak Armchair, c.

1857, attr. to Bembe and Kimbel, New York, after a design by Thomas Ustick Walter, federal shield crest, bellflower carving, beaded seat rail, faceted legs, cuff casters, h. 42 1/2 in., w. 24 1/2 in., d. 22 1/2 in.; accompanied by a copy of the 1952 Sloan catalogue cover and entry. $10000/15000

460. Rare American House of Representatives Carved Oak Desk, c. 1857, stenciled label of Doe Hazelton, Boston, after a design by Thomas Ustick Walter, gallery centered with Federal shield, lift‑top writing surface, trellis back, scrolled brackets on modified trestle base, casters; together with possibly original tin lidded containers and green glass inkwells, h. 36 5/8 in., w. 29 1/2 in., d. 21 in.; accompanied by a copy of the 1952 Sloan catalogue cover and entry. $8000/12000

Provenance: Estate of Frank C. Littleton, Oak Hill (James Monroe House), Loudon, VA; C.G. Sloan & Co. Auctioneers, Dec. 9-13, 1952, lot 188; private collection.

Provenance: Estate of Frank C. Littleton, Oak Hill (James Monroe House), Loudon, VA; C.G. Sloan & Co. Auctioneers, Dec. 9-13, 1952, lot 189; private collection.

Note: The designer of this chair, Thomas Ustick Walter (1804-1887), architect of the U.S. Capitol, was responsible for the interiors of the House of Representative wing.

The chairs were in use from 1857 to 1873, when remodeling resulted in the sale of Walter’s furnishings.

Note: This desk follows a design by Thomas Ustick Walter for the House of Representatives Chamber in use after 1857. Desks in the chamber were of two forms: a two-compartment desk and a single seat desk such as the lot featured here.

An illustration of the United States House Chamber in the March 1865 edition of Frank Leslie’s Illustrated News announcing the passage of the 13th Constitutional Amendment abolishing slavery depicts a desk like the one seen here in detail.

Ref.: Office of the Clerk, U.S. House of Representatives, “Art, Artifacts, and Architecture.” http://artandhistory.house.gov/art_artifacts/capitol-furniture/walterfurniture.aspx; “A Real Rare Victorian Mystery,” http://rarevictorian.com/2008/06/areal-rare-victorian-mystery-part-iii.html.

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Ref.: Office of the Clerk, U.S. House of Representatives, “Art, Artifacts, and Architecture.” http:// artandhistory.house.gov/art_artifacts/capitol-furniture/walter-furniture.aspx; “A Real Rare Victorian Mystery,” http://rarevictorian.com/2008/06/a-real-rare-victorian-mystery-part-iii.html.

461. Everett B.D. Fabrino Julio (St. Helena, 1843‑1879, act. Louisiana, 1870‑1878), “Life along a Louisiana Bayou”, 1877, oil on canvas, signed, dated and inscribed “N.O. LA” lower left, 15 1/4 in. x 30 1/4 in., framed. $100000/150000 Note: Everett B.D.F. Julio created a very small body of work as his life was cut short by illness at the young age of thirty-six. His grand masterpiece, The Last Meeting of Lee & Jackson, earned him fame and recognition during his lifetime. The painting was on almost constant display in New Orleans from 1870 to 1879, either in Julio’s studio or at the Wagner Art Gallery on Camp Street. The monumental painting is currently on view at the Museum of the Confederacy in Richmond, Virginia.

In 1873, Julio traveled to France and studied with Leon Bonnat, considered the best colorist of the modern French artists. He returned to New Orleans in 1875, and in addition to painting, he arranged exhibitions of his work and of other artists, such as Richard Clague.

The magnificent canvas offered here was painted in 1877, several years after his return to New Orleans. It is an extremely detailed and accomplished composition remarkable for its fine brushwork and accurate depiction of place. A bayou diagonally traverses the composition where two men ply the waterway with a skiff loaded with logs. In the right foreground, a man poles his tented pirogue.

All along the left bank of the bayou, various goats and cows populate the scene, many finding shade under the moss-laden live oak tree. Their presence indicates the proximity of a nearby important plantation. All of the lush foliage is finely painted and juxtaposed against a brilliant blue sky. Julio paintings rarely appear on the market and as yet not one with this complexity has ever been found.

462. Andres Molinary (American/New Orleans, 1847‑1915), “Lakefront, New Orleans”, oil on canvas, signed lower left, 8 in. x 14 in., period gilt frame. $15000/25000 Provenance: Previously in the Collection of Martha Ann Samuel, New Orleans, LA.

463. Annie L. Colladay Braidwood (American/Pennsylvania, mid‑19th c.), “Portrait of Andrew Jackson”, 1866, oil on canvas, signed, inscribed “From a Portrait from life / by E.D Marchant at New Orleans / in 1839”, dated and “L. Hausz, Philadelphia” stencil en verso, 24 1/4 in. x 20 in., framed with plaque. $15000/25000 Provenance: Private Collection, Arkansas; Hammer Galleries, New York; Collection of Sam Wyly, Dallas, TX, Private Collection, New Orleans.

Note: As noted en verso of the canvas, this portrait of Andrew Jackson was based on a well-known portrait drawn from life of the illustrious Jackson by Edward Dalton Marchant, a former student of Gilbert Stuart. The famous portrait was completed by Marchant in early 1840, upon the occasion of New Orleans hosting a Silver Jubilee for Jackson celebrating his 1815 victory over the British in the Battle of New Orleans. The Marchant portrait was re-discovered in the mid-1990s at the Union League of Philadelphia, after decades spent misattributed to other artists or listed as artist unknown.

The artist of the work offered here, Annie Colladay Braidwood graduated from the School of Design for Women in Philadelphia (now Moore College of Art) and studied at the Pennsylvania Academy of Fine Arts. In 1865, she married the principal of the School of Design for Women, Thomas W. Braidwood. One year later, she painted this portrait of Jackson, seventh president of the United States, after the well-known image by Marchant. She perhaps may have seen the original portrait on display in Philadelphia or utilized one of the many miniatures and engravings already completed by other artists after the famous likeness as her inspiration.

Braidwood’s skill as a copyist is evident, although her depiction of Jackson softens the features and presents a more approachable, animated visage. As part of a donation on behalf of the School of Design for Women in 1867 to a State Gallery of Art, this painting was placed in the new library room of the Pennsylvania House of Representatives.

Ref.: Barber, James G. “Who’s Who?” American Heritage Magazine. July/Aug. 1995, Volume 46, Issue 4. www.americanheritage. com. Accessed Oct. 22, 2016.

Additional information at www.nealauction.com

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464. Antonio Jacobsen (Dutch/American, 1850‑1921), “Schooner Blakely”, 1919, oil on board, signed and dated lower right, “New York Frames & Pictures, N.Y.C.” label en verso, 20 in. x 35 3/4 in., period frame. $7000/10000 Provenance: Descended in the family of Captain Lemuel Alton Scott (1879‑1945).

Note: Antonio Jacobsen, known as the most prolific American marine painter, immigrated from his hometown of Copenhagen to New Jersey at just 18 years old. Situated across New York Harbor from Manhattan, Jacobsen had significant access to the ships waiting at port and was known for accuracy in his works. The depiction offered here of the Blakely, a schooner built by the Hall Brothers of Bainbridge Island, WA, incorporates this meticulous attention to minutiae, with detailed rigging and billowing sails. In 1919, the Blakely was purchased and refitted with modern conveniences in Tacoma, WA, by Lemuel Alton Scott.

Captain Lemuel Scott worked with his brother, Jewett McLaughlin Scott (1873-1929), for the J.M. Scott & Bros. Company in the Bank of Mobile Building, Mobile, AL. The brothers worked as lumber exporters, shipyard owners, and merchants with alternate locations in New York, NY and Bluefields, Nicaragua. The Scott brothers were born on Cayman Brac, one of the Cayman Islands in the British West Indies. A ship captain, Lemuel Scott moved his family to Mobile, AL in 1912 – the brothers owned many ships such as the Blakely, the Hilbert L. Smith (also offered in this sale), the Salem, and the Mabel Gale. The Scott brothers’ business was a profitable one; ships with their wares sailed throughout the continental United States, Hawaii, South America, the West Indies, and Europe.

Ref.: National Marine Number Shipping. Vol. 11. New York: Shipping Publishing Co., Inc., 1920; The Morning Oregonian. Portland, OR. Thursday, May 15, 1919.

468. John James Audubon (American, 1785‑1851), Audubon’s Fifty Best from The Original Havell Engravings of the Birds of America...The Field Museum, Chicago, Oppenheimer Editions, 1999, copy #1 from a limited edition of 150, 50 fine color prints on English Somerset velvet cotton and rag paper, publisher’s blindstamp in lower right corner, limitation statement stamped on verso of each print, signed by Field Museum librarian Ben Williams, in custom gilttooled leather binding, sheets 39 1/2 in. x 26 1/2 in. $5000/7000

470. McKenney & Hall/ Publishers, group of 12 hand‑colored lithographs, from The History of the Indian Tribes of North America, 1836‑1844, 19 1/2 in. x 13 3/4 in.; together with 12 uncolored and later colored lithographs of unknown vintage (one image repeated 7 times), 21 1/2 in. x 15 in. $1500/2500

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471. John James Audubon (American, 1785‑1851), “Plumed Partridge and Thick Legged Partridge”, Plate 423, hand‑colored aquatint engraving, from The Birds of America, Havell edition, elephant folio watermarked “J. Whatman”, sheet 21 1/8 in. x 28 1/4 in., framed. $800/1200

465. Antonio Jacobsen (Dutch/American, 1850‑1921), “Schooner Hilbert L. Smith”, 1917, oil on canvas, signed and dated lower right, “Val. Brown, Pictures” label en verso, 22 in. x 36 in., framed. $7000/10000 Provenance: Descended in the family of Captain Lemuel Alton Scott (1879‑1945).

466. After George Caleb Bingham (American/Missouri, 1811‑1879), “The Jolly Flat Boat Men”, 1847, engraving on paper, engraved by T.Doney, printed by Powell & Co., published by American Art Union, sight 21 3/4 in. x 25 in., framed. $3000/5000

467. Currier & Ives, New York/ Publishers, “The Levee, New Orleans”, chromolithograph, after William Aiken Walker (American/South Carolina, 1838‑1921), signed and dated “1883” in plate lower right, copyright 1884, sight 22 in. x 31 in., framed. $2500/3500

469. John James Audubon (American, 1785‑1851), The New York Historical Society Edition of Audubon’s Fifty Best Watercolors from The Original Watercolors Preparatory for...Birds of America, Chicago, Oppenheimer Editions, 2006, limited edition, #26 of a total edition of 200, 50 color prints on archival cotton sheets, blind stamped with the NY Historical Society and Oppenheimer seals; verso with stamped limitation statement and signed by the President of the New York Historical Society, Louise Mirrer; each print enclosed in paper wraps “ (39 1/2 in. x 26 3/4 in.), in 5 cloth covered clam‑shell cases with gilt‑tooled leather titles, the whole presented in custom mahogany floor stand, total h. 45 1/2 in., w. 16 in., d. 36 1/2 in. $5000/7000

472. John James Audubon (American, 1785‑1851), “Zenaida Dove”, Plate 162, hand‑colored aquatint engraving, from The Birds of America, Havell edition, elephant folio paper watermarked “J. Whatman/1834”, sheet 38 in. x 25 5/8 in., unframed. $1000/1500

473. John James Audubon (American, 1785‑1851), “Sharp‑tailed Grouse”, Plate 382, hand‑colored engraving with aquatint and etching, from The Birds of America, Havell edition, “J. Whatman/1837” watermark, sheet 25 1/2 in. x 34 1/2 in., unframed. $1800/2500

474. Jean Joseph Vaudechamp (French, 1790‑1866, act. New Orleans, 1831‑1839), “Portrait of a Lady in a Fur Stole”, 1828, oil on canvas, signed and dated lower left, canvas stencil “Age. Ottoz, Eleve de Mr. Belot, Rue de la Michodiere, Paris, No. 2. A. Paris” and handwritten label “M. Gadon, 1 piece, 73 x 60, de vernis, rectoy (?) restauration vernis” en verso, 28 3/4 in. x 23 1/2 in., period frame. $8000/10000 Note: Before Jean Joseph Vaudechamp traveled to New Orleans, he studied at the École des Beaux-Arts under Anne-Louis Girodet (1767-1824) and established himself as a portrait painter in Paris. Vaudechamp soon made a name for himself depicting wealthy, fashionable citizens of Paris and in 1831, he decided to travel to New Orleans, where portraitists were widely sought after in the Franco-American community. The lady depicted here wears a classic 1830s style dress with an off-the-shoulder neckline, gathered bodice, natural waist, and sheer, puffed sleeves. Her luxurious dress, fur stole, and gold jewelry indicate that she is a woman of the upper class. Vaudechamp applies his flawless technique to depict the woman’s porcelain skin, the different fabrics of the dress, and the short fur of the stole to create a sophisticated portrayal of a prominent French woman. One can clearly see how Vaudechamp subsequently became Louisiana’s most prominent portrait painter.

476. Hyde & Goodrich Coin Silver Repoussé Pitcher, c. 1850, New Orleans, wc. 1828‑1861, marked “HYDE & GOODRICH” in rectangle, lobed pear shape with alternating panels of Continental landscapes and floral scrolls, vacant cartouche, foliate scroll handle, reticulated shell and scroll feet, h. 10 3/4 in., wt. 28.05 troy ozs. $1200/1800 Note: Two Hyde & Goodrich pitchers with identical handles and feet are illustrated in Crescent City Silver, p. 14 and p. 17.

Reference: Hollan, Catherine B. Philadelphia Silversmiths, p. 220.

Provenance: Mary Frances Hayward (1823-1898) to her son, James Daniel Hayward (1850-1924) to his daughter Laura Hayward Howard (1891-1963) to her son Alvin Hayward Howard (1915-1969) and thence by descent.

This tureen was a wedding anniversary gift to Mrs. Hayward from her husband, Sawyer Hayward, who owned the Alabama & Factors’ Cotton Press on Tchoupitoulas St., New Orleans.

Note: Tureens are a rare form in New Orleans silver. An example by Adolphe Himmel for Hyde & Goodrich, now in the collection of the LSU Art Museum, is illustrated in Crescent City Silver, p. 53, fig. 55. For two examples, both by Adolphe Himmel for Hyde & Goodrich, sold in these rooms, see Neal Auction Company Nov. 19, 2011, lot 208, and Nov. 20, 2010, lot 325.

477. New Orleans Coin Silver Beaker, Jean‑Marie Lamothe (b. Sainte‑Domingue 1795, d. New Orleans 1880) and Jean‑Baptiste Lamothe (b. Sainte‑Domingue 1800, d. New Orleans 1874), wc. 1824‑1846, marked “Lamothe” in conforming cartouche, triple struck; seamed construction with applied molded rims, script monogram “AG”, h. 3 1/4 in., wt. 2.90 troy ozs. $2000/3000 Note: The Lamothe brothers were members of the largest family of silversmiths in 19th century New Orleans, which included their father, master silversmith Pierre Lamothe, their maternal grandfather Jean Couvertie, uncles Jean-Baptiste and LouisGabriel Couvertie, as well as cousins. The family fled their home in Sainte-Domingue during the slave uprising, going to Santiago de Cuba in about 1803. They came to New Orleans in 1810 when the French were expelled from Cuba. Jean-Marie Lamothe served as sergeant in Plauche’s Battalion, Louisiana Militia, during the Battle of New Orleans.

Ref.: Crescent City Silver, pp. 68-73, closely related beakers illustrated pp.72 and 73, mark illustrated p. 126; Mackie, Carey Turner et al. New Orleans Silversmiths, Goldsmiths, Jewelers, Clock and Watchmakers 1720-1870, pp. 100-101.

478. American Classical Coin Silver Five‑Piece Coffee and Tea Service, R. & W. Wilson, Philadelphia, act. 1825-1846, marked variously “R & W. WILSON” in rectangle and “R&W.W.” in rectangle; incl. coffee pot, teapot, covered sugar, creamer and waste bowl, vasiform with acanthus scroll handles, stiff leaf and beaded borders, coffee pot h. 10 3/8 in., total wt. 140.05 troy ozs. $3000/5000 Provenance: Didier, Inc., New Orleans, LA.

475. Important New Orleans Coin Silver Tureen, Adolphe Himmel (wc.

1852‑1877) for Hyde & Goodrich (wc. 1828‑1861), marked “H”, “HYDE & GOODRICH” in arc and “NEW ORLEANS” in arc; cast stag finial, lion’s head and drop ring handles, beaded borders, molded pedestal foot with scroll supports, presentation inscription “MF. Hayward/August 25, 1866”, h. 11 1/2in., dia. 11 in., wt. 60.10 troy ozs. $12000/18000

479. Three American Sterling Silver Presentation Julep Cups, incl.

1938 Rock Creek Riding Club Harness Racing and 1935 KY State Fair presentations, both by Manchester Silver Co., Providence, RI, and 1977 service presentation, by Mark J. Scearce, Shelbyville, KY, with Presidential date mark for Jimmy Carter, h. 3 1/2 and 3 3/4 in., total weight 13.95 troy ozs. $400/600

480. American Coin Silver Presentation Cup, Jones, Ball & Co., Boston, wc. 1853‑1855, marked incuse “JONES BALL & CO” over “BOSTON” over “PURE SILVER COIN” in arc, seamed construction with center point, applied molded borders, hollow cast angular handle, acanthus scroll cartouche engraved “B of GT to Samuel Hale Parker”, h. 4 1/8 in., wt. 6.45 troy ozs. $200/400

Additional information at www.nealauction.com

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481. Gorham Coin Silver Presentation Cup in the Renaissance Revival Taste, c. 1860, floral repoussé panels, strapwork, stippled ground, molded borders with beading, hollow cast angular handle, engraved “John A. Wiser”, h. 3 in., wt. 2.60 troy ozs. $200/300

485. American Coin Silver Repoussé Presentation Cup, James & William Moir, New York, act. 1844‑1869, marked “J &W. MOIR” in rectangle, seamed construction with molded beaded rims, shield‑shaped cartouche engraved “Hobart”, flanked by scrolling flowers, h. 3 3/8 in., wt. 4.45 troy ozs. $250/350

482. Virginia Coin Silver Julep Cup, Charles A. Burnett (1769‑1849), act.

Fredericksburg, 1788‑1793; Alexandria, 1793‑1796; Georgetown, D.C., 1796‑1840; marked “CãAãBURNETT” in rectangle; seamed construction, molded rims, reeded barrel banding, old script monogram “GEB”, h. 3 1/2 in., wt. 5 troy ozs. $600/900 Ref.: Hollan, Catherine B. Virginia Silversmiths, pp. 104‑117, mark ill. p. 111, fig. b.

Provenance: Found in a New Orleans Estate sale c. 1998.

Provenance: Morton’s Auction, New Orleans.

Note: Creole-style armoires similar to the lot offered here have descended through families of the River Parishes in Louisiana.

Two almost identical cherry and cypress armoires have been conserved in the collection of Majorie and Wade Hollensworth.

One of the armoires in the Hollensworth collection, found in a home along River Road, possibly descended through the Hebert family.

Ref.: Furnishing Louisiana: Creole and Acadian Furniture, 17351835. This Historic New Orleans Collection: 2010. P. 125, 141.

484. Five American Sterling Silver Julep Cups, Web Silver Company, Philadelphia, act. 1950 to present, molded rims, Gothic “B” monogram, h. 3 5/8 in., total wt. 15.30 troy ozs. $600/800

Note: “Coquet” possibly refers to Bernard Coquet, who was proprietor of a ballroom where free people of color held weekly dances in the late 18th century. In 1809 he initiated the “Blue Ribbon Balls” which became the celebrated Quadroon Balls.

486. [Map of New Orleans Canal], “Plan du canal de jonction du Mississippi au Lac Pontchartrain”, with “Canal de Louisville”, and “Canal a la Delaware”, 1834, by Guillaume Poussin, hand‑colored engraving, from the atlas Travaux d’amelioration en Amerique, 14 7/8 in. x 21 1/8 in., full margins. $500/700

488. Louisiana Creole Cherrywood and Cypress Armoire, early 19th c., stepped cornice, recessed panel doors, enclosing a medial belt of three drawers centered within shelf interior, scalloped apron, cabriole legs, h. 79 1/4 in., w. 54 1/4 in., d. 23 in. $8000/12000

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483. French Colonial Coin Silver Tablespoon, late 18th/early 19th c., probably New Orleans or SainteDomingue, maker untraced, marked “F” in serrated rectangle, double struck, engraved “coquet” on back of handle, “Uniplat” pattern, l. 8 3/16 in., weight 1.95 troy ozs. $1500/2500

489. American Classical Walnut Bookcase, c.

1840‑1850, ogee cornice, paneled glazed doors, original shelf interior, ogee bracket feet, h. 92 1/2 in., w. 64 in., d. 20 1/2 in. $2000/4000 Provenance: “Bonnie Burn” House, Clinton, East Feliciana Parish, LA, owned by planter, jurist, Louisiana legislator and Confederate Captain James Gilliam Kilbourne (Mississippi/Louisiana, 1828‑1893); descended in the family; Nan Dennard Kilbourne, East Feliciana Parish, LA.

487. American or English Carved Giltwood Four‑Light Girandole Mirror, early 19th c. and later, laurel leaf‑carved frame surmounted by lyre with acanthus brackets, ebonized rabbet, scrolled candlearms. $2000/3000 Provenance: Didier, Inc., New Orleans.

490. American Classical Walnut Bookcase, mid‑19th c., stepped ogee molded cornice, pair of paneled glazed doors, original shelf interior, ogee bracket feet, h. 93 in., w. 64 in., d. 22 in., en suite with preceding lot. $2000/4000 Provenance: “Bonnie Burn” House, Clinton, East Feliciana Parish, LA, owned by planter, jurist, Louisiana legislator and Confederate Captain James Gilliam Kilbourne (Mississippi/Louisiana, 1828‑1893); descended in the family; Nan Dennard Kilbourne, East Feliciana Parish, LA.

491. American Late Classical Inlaid Mahogany Extension Dining Table, probably late 19th c., segmented, banded top opening to receive six leaves, paneled pedestal, incurvate plinth, massive paw feet, h. 30 1/4 in., l. (closed) 60 1/4 in., l. (extended) 144 1/4 in., w. 60 1/4 in. $3000/5000

492. Fine Pair of American Late Federal Mahogany Games Tables, early 19th c., each with shaped foldover top with reeded edges, conforming frieze, reeded legs, spherical feet, h. 29 1/2 in., w. 36 in., d. 18 in. $2000/3000

494. Louis Oscar Griffith (American/Indiana, 1875‑1956, act.

New Orleans, 1916‑1917), “Luggers, Old Basin Canal, New Orleans”, aquatint etching on paper, pencil‑signed and numbered “40/100” lower margin, 9 3/4 in. x 11 5/8 in., sheet 14 in. x 16 3/4 in., unframed. $500/700

498. French Bronze Signal Cannon, c. 1900, the carriage with plaques engraved “Defence, Feb. 1864”, adjustable barrel, working wheels, h. 8 1/2 in., l. 18 1/2 in., w. 6 1/4 in., barrel l. 10 1/2 in. $600/900

495. Louis Oscar Griffith (American/Indiana, 1875‑1956, act.

New Orleans, 1916‑1917), “Old House, Mississippi”, aquatint etching on paper, pencil‑signed, titled and inscribed “1st Proof” lower margin, 8 in. x 10 in., sheet 11 in. x 15 in., unframed. $500/700

493. Interesting American Classical Rosewood Faux Bois Rocking Chair, c. 1830, New England, tablet crest rail, caned back and seat, scrolled arms, saber legs on rockers, h. 41 1/4 in., w. 22 1/2 in., d. 33 1/2 in. $300/500

496. Rare Cased 1st Model Tranter’s Patent Five‑Shot Self‑Cocking Percussion Revolver Retailed by Hyde and Goodrich, New Orleans, c. 1853, No. 21021.Y,.497 caliber, 7 1/2 inch octagonal barrel with London proofs and engraved band at muzzle; top strap engraved “Hide (sic) & Goodrich New Orleans”, Adams patent frame with engraved panels and Tranter patent trigger; blued finish with casehardened cylinder; checkered walnut grip; complete with baize‑lined mahogany case; Tranter bullet mold, James Dixon & Sons powder flask, nipple wrench, screwdriver, cleaning rod, Dixon & Sons oiler, can of Tranter lubricating composition, a tin of F. Joyce & Co. percussion caps and a removable rammer marked “W. Tranters/No. 36/Patent. $6000/9000

497. A New Orleans Double Barrel Percussion Shotgun by Jean Baptiste Revol, 19th c., lock plates marked “J.B. Revol & Fils a New Orleans”, iron mounts, double pinned barrels, back action lock, checked wrist, ramrod with wiper and puller, barrel length 39 in. $2500/3500

499. Steamboat Natchez Captain Thomas P. Leathers’ 18K Gold Presentation Pocketwatch, c. 1875, engraved “Cha. H. Grosclaude/Fleurier, Switzerland/Eight Days Running/ Ind.p.t. Full & Quarter Seconds/40 Ruby Jewels/ Ben Roach to T.P. Leathers” outer case engraved with trotter horse racing and duck hunting scenes; the crown set with mine‑cut diamond, dial set with dual‑time dials; the outer ring with sweep second hand, leather fob, case dia. 2 1/2 in. $7000/10000 Provenance: Descended in the Leathers family. The “Ben Roach” who presented this watch was almost certainly Benjamin Roach (1812‑1986), a wealthy planter and merchant in Carrollton, Mississippi.

Note: Thomas Paul Leathers (1816‑1896) was probably the most famous Mississippi steamboat captain in the golden age, having won the famous race against the Robert E. Lee in 1870, immortalized in the iconic Currier & Ives print.

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500. William Henry Buck (Norwegian/Louisiana, 1840‑1888), “Fishermen in the Shade of the Live Oak Tree, Louisiana Bayou”, oil on canvas, signed and inscribed “N.O.” lower right, 16 in. x 22 in., framed. $80000/120000 Note: The painting offered here is an exquisite example of a William Henry Buck Louisiana landscape painting. The composition is dominated by a large moss-laden oak tree, a hallmark of Buck’s work, which is silhouetted against a cerulean blue sky which reflects on the water of the bayou in the left foreground. Two African-American figures are on the pier fishing. Buck uses fine detail and brushwork throughout the composition which is striking for its luminosity and effects of light and shadow.

502. George Frederick Castleden (British/Louisiana, 1861‑1945), “Covington, Louisiana”, oil on canvas board, signed lower right, signed, titled and inscribed “Studio, 622 St. Peter St., N.O.” en verso, 12 1/4 in. x 18 1/4 in., antique frame. $2000/3000

501. Alexander John Drysdale (American/New Orleans, 1870‑1934), “City Park Oak and Lagoon”, 1929, oil on canvas, signed and dated lower right, 36 in. x 39 in., period frame. $5000/7500

503. Louisiana School, late 19th/early 20th c., “Lake Pontchartrain”, oil on canvas, unsigned, handwritten “Pa...ne Ca..t” and “Sammons, Clark & Co., Picture Frames, Chicago” labels en verso, 16 in. x 25 in., period wood and gilt‑stenciled frame with “Lake Ponchartrain[sic]” title plaque. $3000/5000

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504. William Woodward (American/New Orleans, 1859‑1939), “On Chartres Street (Rue de Chartres) ‑ Horse and Wagon Days ‑ In 1905”, 1905, Raffaelli oil crayon on board, signed, dated and inscribed “Rue Chartres, N.O.” lower right, sight 21 1/4 in. x 27 in., framed. $100000/150000 Provenance: By descent in the family of the artist.

Ill.: Woodward, William. French Quarter Etchings of Old New Orleans. New Orleans: Franklin Printing Company, 1938, pl. 3.

Note: Through his paintings of New Orleans, William Woodward was intent on capturing the French Quarter in the late 19th and early 20th centuries. He depicted street scenes of iconic structures that still exist today, such as St. Louis Cathedral, the French Market, and the Arsenal, as well as private homes and commercial structures, some of which were later lost. Woodward’s intent – to preserve a moment in time of a city that constantly changed and morphed – yielded important and revered works of art such as the one offered here. The current lot depicts 522 and 524 Chartres Street in 1905, the location of the Ibos Brothers Tinsmith and Plumbing Company and a residence.

Based on city directory records, Bertrand Firmin Ibos and Joseph Baptiste Ibos owned and operated the Ibos Brothers company on Chartres Street until 1923. In the scene, one can see a horse-drawn cart traveling down Chartres with an “Ibos Bros. – Tin Smiths – 524 Chartres Street” sign on the side while two children stand in the archway of the building. The attention to detail and sensitive use of color attest to Woodward’s skill as an artist and his goal of architectural preservation through his paintings.

Later in Woodward’s life, he began a group of etchings based on his sketches and paintings; fifty-four of them form a book printed in 1938, French Quarter Etchings of Old New Orleans. While working on that group of etchings, Woodward meticulously noted the state of the buildings depicted, many of which had changed greatly in the 40 years since he painted them. Of the Ibos Brothers building, he wrote, “This shop and residence at 524 Chartres Street no longer exists. It was probably built in the late 1790s as its site was directly in the path of the great fires of 1788 and 1794 which deprived New Orleans of 1068 houses of the older type of Creole construction.”

Ref.: Woodward, William. French Quarter Etchings of Old New Orleans. New Orleans: Franklin Printing Company, 1938, pl. 3; Hinckley, Robert, ed. William Woodward: American Impressionist. New Orleans: MPress, 2009.

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Note: Among Salazar’s oeuvre of portraits exist likenesses of some of the most prominent Louisiana citizens of the late 18th and early 19th century. The men and women he painted lived during a fascinating time in Louisiana history, residing first in Spanish Colonial territory during the turn of the 19th century, then observing the transition of the Louisiana Territory from Spain to France, and finally to America with the Louisiana Purchase in 1803. Known Salazar works include paintings of bishops, governors, mayors, military officials, and wealthy planters – most of whom were interconnected through business transactions or familial contacts in the vast web of Colonial Louisiana society. A few of Salazar’s sitters, such as Daniel Coxe, did not reside permanently in the New Orleans area, but visited the region and maintained connections there for many years.

Born in Philadelphia in 1769, Daniel William Coxe was the brother of Tench Coxe (1755-1824), a merchant and politician who served as a delegate for Pennsylvania to the Continental Congress. The Coxe brothers descended from prominent colonial families with ties to the Founding Fathers. Their grandfather, Tench Francis, Sr. (d. 1758), an attorney in Pennsylvania, was a founding trustee, along with Benjamin Franklin, for the school that would become the University of Pennsylvania. Their great-grandfather, Dr. Daniel Coxe, Sr. (1640-1730), owned lands granting him the nominal title Colonial Governor of West Jersey, and their grandfather, Daniel Coxe, Jr. (1673-1739), traveled to the colonies and founded the American line of the Coxe family in the New Jersey/Pennsylvania area.

As a young man, Daniel Coxe began his career in his brother Tench’s mercantile firm, and by 1791 he was at the firm of Reed & Forde. On an expedition for that firm to the West Indies and New Orleans in 1791-92, certainly the trip where he sat for this portrait, Coxe made the acquaintance of Daniel Clark, a merchant and dignitary with connections to the Spanish government in Colonial Louisiana. Together, Coxe and Clark mapped trade routes from Mexico to Philadelphia through the Caribbean, and back down the American rivers from Philadelphia to New Orleans, providing an exchange of goods that benefited each of the port cities where the ships docked. The two men formed a profitable firm together in 1793, and in 1801 they merged with Beverly Chew and Richard Relf, prominent attorneys and merchants in the city. In 1803, before knowledge of the Louisiana Purchase became public, Coxe and Clark began buying lands in Louisiana and Florida, including a tract of land on the Ouachita River that had been granted to the Marquis de Maison Rouge by Governor Carondelet in 1797.

During the years surrounding the Louisiana Purchase a sense of instability encompassed the mercantile trade. The Spanish, who controlled the port of New Orleans, openly traded with the United States but imposed hefty fines and tariffs on goods shipped down the Mississippi River. In 1784, Spain closed New Orleans to trade with the United States, and as a result, discussions between the United States and France were held to attempt to negotiate trade laws with the Spanish. Thomas Pinckney of South Carolina successfully treated with Don Manuel Godoy of Spain to define the boundaries of the United States and Spanish colonies, as well as to obtain navigational rights on the Mississippi River and to remove cargo fees for Americans trading in the port of New Orleans. The Treaty of San Lorenzo, or Pinckney’s Treaty, was a major success for the United States. Coxe and Clark, both of whom benefited greatly from the treaty, are known to have assisted negotiations by gathering intelligence on Spanish trade before the Treaty was ratified and Spanish compliance with the treaty after it came into effect in 1795.

Daniel Clark’s ties to the Spanish government were certainly helpful to his mercantile business. However, they also brought him to the periphery of a major United States scandal. Having worked in New Orleans with W.C.C. Claiborne, General James Wilkinson, Pierre Clement de Laussat, and other colonial Louisiana politicians, Clark was in a unique position to observe the behind-the-scenes dealings during the Louisiana Purchase. General Wilkinson’s now well-known treasonous schemes with Aaron Burr to separate from the United States and form an independent union were under dispute in the early 1800s. In an 1809 letter from Clark to Coxe, he mentioned a “pamphlet respecting Wilkinson – Our object is to make known the villainy of that man,” most likely referring to their 1809 publication Proofs of the Corruption of Gen. James Wilkinson, and of his Connexion with Aaron Burr. Although Wilkinson attempted to discredit Clark, the extent of the General’s scheming was not fully realized until historians uncovered more of his personal correspondence after his death, proving Clark’s innocence and Wilkinson’s involvement in many duplicitous activities.

After a series of misfortunes and poor investments, Coxe and Clark, whose firm was in great debt, decided to dissolve their partnership. Clark, still working with Chew and Relf, shouldered all of the debts; in exchange, Coxe disavowed any interest in their jointly purchased Louisiana properties. Upon Clark’s death in 1813, he still owed money to multiple creditors, including Coxe. Chew and Relf divided his lands to settle his debts, with Coxe acquiring almost three quarters of the original land grant gifted to the Marquis de Maison Rouge on the Ouachita River.

After Daniel Clark’s death, his will was disputed by his daughter, Myra Clark Gaines. Clark’s assets had been left to his mother, Mary Clark, and many legal issues surfaced regarding the vast property he owned. Coxe, Gaines, and Mary Clark, along with the lawyers handling Clark’s estate, Chew and Relf, were involved in multiple lawsuits, including the longest chain of cases in United States History, beginning with W.W. Whitney v. Eleanor O’Bearn, et al, in 1834, and ending with City of New Orleans v. Whitney, in 1891. The case went to the Supreme Court and, although the main participants of the original cases were long deceased, the suit was finally resolved with the City of New Orleans paying just under one million dollars to Gaines’ heirs.

One of the most interesting aspects of Salazar’s painting is that its elliptical format is contained within a feigned oval stone molding, in what became known—a full generation after this picture—as the ‘porthole technique.’ Many of Salazar’s contemporaries, such as Charles Willson Peale (1741-1827) and Francis Cotes (1726-1770), applied similar treatments to their portraits. The tromp l’oeil oval serves to highlight the distinguished visage of Daniel Coxe. Salazar’s treatment of the brushwork on the face and the lace at Coxe’s neck and wrists is indicative of his distinctive style, although the inclusion of a natural background is a rarity.

The illustrious figure Salazar painted perfectly fits this prominent citizen; Coxe’s contributions to the mercantile trade and his aide in establishing trade routes and securing beneficial trade laws were certainly a boon to the newly established United States and Louisiana Territory.

Ref.: Bradley, William Asp, ed. and Jared William Bradley. Interim Appointment: W. C. C. Claiborne Letter Book, 1804-1805. Baton Rouge: LSU Press, 2002; Clark, Daniel, and Daniel Coxe. Proofs of the Corruption of Gen. James Wilkinson, and of his Connexion with Aaron Burr. Philadelphia: Wm. Hall, Jun. & Geo. W. Pierie, printers, 1809; Johnson, Allen and Dumas Malone. “Daniel Clark.” Dictionary of American Biography. Volume IV. New York: Scribner’s, 1930; Keyes, Pam. “Beverly Chew: The Man Behind the Curtain in Early New Orleans.” Nov. 19, 2015. http://www.historiaobscura.com/beverly-chew-the-man-behind-the-curtain-inearly-new-orleans. Accessed October 4, 2016; Trogdon, Jo Ann. The Unknown Travels and Dubious Pursuits of William Clark. Columbia: University of Missouri, 2015; Series 245, Daniel W. Coxe Papers (Collection 2091), The Historical Society of Pennsylvania.

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505. José Francisco Xavier de Salazar y Mendoza (Mexican/New Orleans, c. 1750‑1802), “Portrait of Daniel William Coxe (1769‑1852)”, 1792, oil on canvas, signed, dated and inscribed “Josef de Salazar America/Pinxit Nueva Orleans/Anno 1792” lower left, “Loan Exhibition of Historical Portraits, Pennsylvania Academy of the Fine Arts, Philadelphia, 1887” label en verso, 38 1/2 in. x 30 in., antique frame. $100000/150000 Provenance: Family of the sitter; by descent.

Exh.: Listed in the catalogue for the “Loan Exhibition of Historical Portraits” at the Pennsylvania Academy of the Fine Arts, Philadelphia, 1887, no. 101, p. 29. In the catalogue’s introductory note, Charles Henry Hart wrote “This collection of original historical portraits is believed to be the first of the kind ever systematically brought together for exhibition in this country.” In addition to the “Daniel W. Coxe” portrait by J. de Salazar, Brinton Coxe loaned family portraits of “Charles S. Coxe, Judge of the District Court, Philadelphia” by H. Inman and “Tench Coxe, Commissioner of Revenue, U.S.”

by J. Paul.

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506. Clementine Hunter (American/Louisiana, 1886‑1988), “Baptism”, oil on paperboard, unsigned, “Eleanor M. Worsley, M.D.” handwritten en verso, 16 in. x 20 in., framed. $5000/8000 Provenance: Estate of Dr. Eleanor M. Worsley, Natchitoches, LA. Ill.: “Melrose Artist To Have Delgado Museum Exhibit”.

Natchitoches Times Apr. 29, 1955.

Note: Dr. Eleanor Mendell Worsley (1918-2003), born in New Bedford, Massachusetts, began practicing medicine in Cloutierville in 1945 after graduating from Boston University Medical School and working as a fellow at Charity Hospital in New Orleans. As Natchitoches Parish’s first licensed female physician, Dr. Worsley and her husband lived in the historic Kate Chopin House in Cloutierville for two years, taking over the practice of Dr. Wenk, before moving to Natchitoches where she continued to practice medicine until 1998. Respected for her knowledge and experience and beloved for her dedication, Dr. Worsley treated those who came to her clinic, as well as traveled to rural areas to make charitable house calls to those too sick or too poor to come to her. Patients who were treated by her often commented that Dr. Worsley would accept unconventional forms of payment such as eggs, or even whole chickens. Named one of Louisiana’s Women of the Century in 2000, Dr. Worsley also helped found an Alzheimer’s facility in Natchitoches that now bears her name.

Dr. Worsley was Clementine Hunter’s personal physician for many years. The current lot, depicting a church congregation with a baptism performed in the foreground, is an early work; a 1955 article in the Nachitoches Times on Hunter’s Delgado Exhibit of that same year includes a photograph of this painting from Dr. Worsley’s collection. Over the years, Dr. Worsley acquired a lovely collection including some of Hunter’s most iconic scenes of cotton picking, a hospital where Hunter convalesced, laundry day scenes, and the African House at Melrose Plantation.

507. Clementine Hunter (American/Louisiana, 1886‑1988), “Doctor Visiting the Hospital Ward”, oil and pencil on canvas board,monogrammed lower right,pencil‑monogrammed en verso, 18 in. x 24 in., framed. $4000/6000 Provenance: Estate of Dr. Eleanor M. Worsley, Natchitoches, LA.

508. Clementine Hunter (American/Louisiana, 1886‑1988), “Cotton Gin”, 1957, oil on board, initialed lower right, “Paintings of Plantation Life in Louisiana by Clementine Hunter” label with handwritten title and date en verso, 10 in. x 16 in., framed.$4000/6000 Provenance: Estate of Dr. Eleanor M. Worsley, Natchitoches, LA.

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510. Clementine Hunter (American/Louisiana, 1886‑1988), “Melrose Plantation”, cotton stitched quilt with brown paper backing, monogrammed lower right, 27 1/2 in. x 36 in., framed. $7000/10000 509. Clarence Millet, A.N.A. (American/Louisiana, 1897‑1959), “Acadian Cottage with Cistern and Indigo Pot”, oil on canvas board, signed lower right, 15 in. x 18 in., period frame. $5000/8000

Provenance: Sold in these rooms Apr. 25, 2011, lot 362.

511. Irma Sompayrac Willard (American/Louisiana, 1900‑1991), “Natchitoches Home”, 1955, watercolor and mixed media on paper, signed and dated mid‑right, sheet 12 in. x 18 in., framed. $2000/3000 512. Cornelius Haly Hankins (American/Mississippi, 1863‑1946), “Live Oak Tree among the Ruins”, oil on canvas, signed lower right, 16 in. x 20 in., period frame. $3000/5000 513. Theora Hamblett (American/ Mississippi, 1895‑1977), “Girl at the Duck Pond”, 1974, oil on canvas board, signed and dated lower right, 10 in. x 8 in., framed. $7000/10000 Note: Theora Hamblett began her professional career late in life, dismissing the abstract style popular at the time for something more personal and unique.

Many of Hamblett’s paintings concentrated on her childhood memories, especially of the chicken farm in Paris MS where she spent her childhood.

In nearly all of her landscape paintings, she included animals or people, with the belief that those additions gave life to the scenes. She also painted many landscapes that featured children playing games to evoke a sense of nostalgia. After an accident that broke her hip and required surgery in 1954, she began to paint her dreams and visions, with many of her visions showing religious scenes. The same year, New York gallery owner and famous collector, Betty Parsons, discovered Hamblett’s work and subsequently one of her paintings was included in a 1955 show of new acquisitions at the Museum of Modern Art. In “Girl at the Duck Pond” offered here, the scene showcases two of Hamblett’s hallmarks – pattern and color. Almost obsessively flat areas of color off-set by the equally flat subjects are in drastic contrast to the highly patterned trees. The resulting effect of the foliage evokes movement and accentuates the background, drawing the eye to the key figures of the girl and ducks.

Ref.: Wertkin, Gerard, ed. Encyclopedia of American Folk Art. New York, NY: Routledge, 2003, pp. 243-244. “Theora Hamblett.” Greg Thompson Fine Art. www.gregthompsonfineart.com.

Accessed Oct. 24, 2016.

514. Knute Heldner (Swedish/New Orleans, 1877‑1952), “Sharecroppers”, 1943, oil on canvas, signed lower right, signed, monogrammed, titled and dated on label en verso of frame, 31 in. x 25 in., original frame. $10000/15000 Provenance: Sold in these rooms Oct. 6, 2007, lot 512.

Note: Making his way from Verderslov, Sweden to New Orleans, Knute Heldner had many stops throughout his new country – Boston, Massachusetts, Duluth and Minneapolis, Minnesota, and Washington, D.C. were just some of the cities visited by the artist before he arrived in New Orleans for the first time in the winter of 1923. After their stay in New Orleans, he and his wife, Colette, decided to make it their winter home, spending summers in Duluth. Throughout his travels, Heldner, a religious man by nature, held a variety of jobs including cabin boy, shepherd, woodland guide, dishwasher, and cook in a lumber camp. This variety in employment allowed Heldner to interact with diverse groups of people and experience their hardships. One of his main goals in painting was to attempt to reach people through his art and inspire a reaction connecting the adversity in everyday life with a sense of divine purpose.

The idea of finding God through art is not an uncommon one and can be seen in a number of Heldner’s works, both religious and secular. The current lot, depicting a family in a muledrawn cart, the mother nursing a young baby, calls to mind the Biblical story of the Flight to Egypt; framing the plight of the contemporary poor as a modern day Holy Family. Heldner’s lifelong passion for spirituality and social idealism are deeply felt through this empathetic portrait of a working class family.

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515. Emily Hamilton Huger (American/Louisiana, 1881‑1946, act. Newcomb College, 1897‑1902), “Evangeline”, 1928, oil on canvas, signed and dated lower left, inscribed “Evangeline painted by Emily H. Huger, Presented by Lionel Jeanmard and Robert L. Mouton, Nov. 10, 1928” en verso, 36 in. x 48 in., framed with artist and title plaque. $10000/15000 Note: Emily Hamilton Huger was a graduate of the Art Department at Newcomb College who went on to study with such art world luminaries as William Merritt Chase, John Connah, and William A. Bell in New . Upon her return to New Orleans, she became a charter member of the Arts & Crafts Club and also belonged to the Art Association of New Orleans and the Southern States Art League among other organizations. Huger was an accomplished painter who embraced impressionism in her depiction of the distinctive Southeastern Louisiana landscape with it’s moss-laden live oak trees. The work offered here depicts Longfellow’s tale of Evangeline, and shows the young woman seated under a large live oak tree. Utilizing a fauvist palette and impressionist brushwork, Huger brings a great deal of energy to the composition.

Interestingly, the painting bears a presentation inscription en verso; one of the men, Robert L. Mouton, was a two time mayor of Lafayette and later a member of Congress.

516. Clarence Millet, A.N.A. (American/Louisiana, 1897‑1959), “Home in the Louisiana Countryside”, oil on canvas, signed lower right, 21 in. x 27 in., framed. $12000/18000 517. Knute Heldner (Swedish/New Orleans, 1877‑1952), “Barataria Moonlight”, oil on canvas, signed lower left, pencil‑signed, monogrammed, titled and “Binder Picture Frame Co., Atlanta, GA” label en verso, 12 in. x 16 in., framed. $3000/5000

518. Colette Pope Heldner (American/New Orleans, 1902‑1990), “City Park, New Orleans, Louisiana”, c. 1930, watercolor on paper, signed lower left, pencil‑signed and titled on mat board, signed, titled and dated “193?” en verso, sight 8 1/2 in. x 11 1/4 in., framed. $1000/2000

519. Wilson Henry Irvine (American, 1869‑1936), “Evening in the Brulatour Courtyard, New Orleans”, c. 1927‑28, oil on canvas, signed lower left, 24 in. x 27 in., framed. $7000/9000

Note: Considered one of the masters of American Impressionist painting, Wilson Henry Irvine was active in art circles in Chicago in the late 19th c. In 1918, he established his permanent residence at the art colony in Old Lyme, CT. Irvine traveled extensively throughout Europe and the United States. He spent part of the winter of 1927-28 painting in New Orleans and informed a journalist the reason was that twenty-five years earlier he had a passion for reading George Washington Cable and never forgot. The reporter noted Irvine “had a mild word of praise for the renovated courts of the quarter, but kept his unstinted encomium for the old grey places where the walls were decaying.” Irvine painted a series of paintings of the courtyards of the Vieux Carré during this visit. The work offered here depicts the Brulatour Courtyard, at the time the home of the Arts & Crafts Club of New Orleans, and one of the best-known courtyards in the French Quarter. Here, the moonlight and its ethereal glow beautifully combine in an atmospheric scene.

Ref.: The Item-Tribune New Orleans. Feb. 2, 1928, p. 12.

521. Marie Rosalba Faure (American/Louisiana, 1865‑1927), “Still Life of Pink Roses in a Pitcher”, 1908, oil on canvas, signed and dated “Fev. 1908” lower right, “Jean Bragg Gallery, Magazine St., New Orleans, LA” label en verso, 20 in. x 26 in., period gilt frame. $4000/6000 Provenance: Jean Bragg Gallery, New Orleans, LA.

520. Mabel May Woodward (American, 1877‑1945), “Vegetable Market”, watercolor on paper, signed lower right, 8 in. x 10 in., framed. $1500/2500

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Note: A lifelong resident of New Orleans, Marie Rosalba Faure was active in the vibrant New Orleans art community from 1897 to 1927. Faure served as a teacher at the Guillot Institute, McDonogh High School 2 and Sophie B. Wright Girl’s High School. She was a member of the Artists’ Association of New Orleans and took classes at Newcomb Art School in the summer of 1908. Faure’s rare surviving works attest to her skill with traditional still life, as seen in the sensitive work offered here, and scenes of the Louisiana bayou.

523. John Clemmer (American/New Orleans, 1921‑2014), “Posthorn”, 1974, ink on paper, signed and dated lower right, artist label with title and date en verso, 14 in. x 13 in., framed. $1200/1800 Provenance: Gift of the artist to Clayre Barre Lewis, a student at Newcomb Art School and the New Orleans School of Art.

522. Southern School, 20th c., “New Orleans Southern Yacht Club (SYC)”, 1936, pencil‑initialed “EB” and dated lower right, 8 1/4 in. x 10 1/4 in., framed. $400/600

524. Ellsworth Woodward (American/New Orleans, 1861‑1939), “A Grove of Live Oak Trees”, 1937, watercolor on board, signed and dated lower left, “Williams Frame Shop, St. Louis St., New Orleans” label en verso, 15 1/4 in. x 20 in., framed. $2500/3500

525. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Portuguese Man O War in Bucket”, watercolor and graphite on paper, unsigned, 11 in. x 8 1/2 in., framed; accompanied by letter of authenticity from the Walter Anderson Estate with title, signed

by Mary Anderson Pickard, 1983. $6000/8000

526. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Scaup Ducks Landing”, watercolor and graphite on paper, unsigned, estate stamp lower right, 8 1/2 in. x 11 in., framed. $10000/15000

527. Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Flying Gulls”, watercolor and graphite on paper, unsigned, estate stamp lower right, 8 1/2 in. x 11 in., framed. $10000/15000

528. Louis Oscar Griffith (American/Indiana, 1875‑1956, act. New Orleans, 1916‑1917), “Three Boys in a Doorway, New Orleans”, oil on canvas laid down, signed and inscribed “N.O.” lower right, 14 1/4 in. x 17 1/4 in., framed. $12000/18000 529. Louis Oscar Griffith (American/ Indiana, 1875‑1956, act. New Orleans, 1916‑1917), “At Dusk, Old Basin Canal, New Orleans”, oil on canvas board, signed lower left, “Joseph Sartor Galleries, Dallas, TX” label with title en verso, 10 in. x 14 in., framed T. $10000/15000

530. Louis Oscar Griffith (American/Indiana, 1875‑1956, act. New Orleans, 1916‑1917), “Shadows (Southern Shanty)”, watercolor on paper, signed lower right, sight 13 in. x 17 1/4 in., framed. $800/1200

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532. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Lost Island, Louisiana Boat Dock”, watercolor and graphite on paper, unsigned, “From the Studio of Morris Henry Hobbs” label with title en verso, sight 14 in. x 20 1/4 in., framed. $800/1200 Provenance: Descended in the family of the artist.

531. Clarence Millet, A.N.A. (American/Louisiana, 1897‑1959), “French Quarter Garden”, oil on canvas board, signed lower right, signed and titled on backing paper en verso, 15 in. x 18 in., original frame. $8000/12000

Note: Clarence Millet returned to New Orleans in 1924 after completing studies at the Art Students’ League in New York. His favored subject during this time was the distinctive buildings and life of the French Quarter. In this vividly colored painting, Millet depicts a verdant courtyard with two young girls in the foreground. The distinctive architecture of the Vieux Carré lies beyond the garden wall, with the spires of St. Louis Cathedral visible in the background. As is found in Millet’s best paintings, there is an atmospheric quality to his rendering of light and shadow and a sense of the breeze moving through the trees.

537. Alberta Kinsey (American/ Louisiana, 1875‑1952), “Courtyard with Olive Jar, French Quarter”, oil on canvas board, signed lower right, “Farish Art Store Inc., New Orleans” label en verso, 14 1/4 in. x 13 in., period frame. $800/1200

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538. Adolph Kronengold (American/Louisiana, 1900‑1986), “French Quarter Street Scene”, oil on artist board, signed lower right, “Marx Art Store, New Orleans” label en verso, 9 1/2 in. x 13 1/4 in., framed. $600/800

Provenance: Descended in the family of the artist.

534. Robert Malcolm Rucker (American/ Louisiana, 1932‑2001), “Docked Shrimp Boats”, watercolor on paper, signed lower right, “Jean Bragg Antiques, Magazine St., NOLA” label en verso, 12 in. x 15 1/4 in., framed. $1200/1800

Provenance: Acquired from the Artist; Doris Crary Bennett, New Orleans; thence by descent.

535. Clementine Hunter (American/Louisiana, 1886‑1988), “Pickin’ and Weighin’ Cotton”, oil on board, monogrammed mid‑right, 18 in. x 24 in., framed. $3000/5000

533. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Sailboats off the Coast”, oil on canvas board, signed lower left, 15 in. x 18 in., framed. $1000/1500

Provenance: Jean Bragg Gallery, New Orleans, LA.

536. Clementine Hunter (American/Louisiana, 1886‑1988), “The Wedding”, oil on canvas board, monogrammed lower right, titled en verso, 18 in. x 24 in., antique frame. $3000/5000

539. Granville Perkins (American, 1830‑1895), “Tropical Sunset with Palm Trees” and “Anchored Sailing Ship at Sunset”, 1875, 2 watercolors on paper, signed and dated lower left, sight 10 in. x 6 in., framed alike. (2 pcs.) $1200/1800

540. Alberta Kinsey (American/ Louisiana, 1875‑1952), “Blue Door, French Quarter”, oil on board, signed lower left, 10 in. x 8 in., period frame. $800/1200

541. Newcomb College Art Pottery Vase, 1910, decorated by Sadie Irvine in the Moon and Moss design, semi‑matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. DX41, and “B” for buff clay body, h. 5 1/2 in., dia. 6 in. $1000/1500

542. Newcomb College Art Pottery Vase, 1926, decorated by Sadie Irvine with spiderwort modeled in low relief, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, shape no. 121, and reg. no.

PL85, h. 5 in., dia. 6 in. $1000/1500

543. Newcomb College Art Pottery Candlestick, 1910, decorated by Sadie Irvine with black‑eyed Susans, semi‑matte glaze with blue, green and white underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. DP92, and “B” for buff clay body, h. 9 1/4 in., dia. 5 1/2 in. $1500/2500

544. Newcomb College Art Pottery Vase, 1925, decorated by Sadie Irvine with budding flowers, semi‑matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. PK97, and shape no.

75, h. 4 1/4 in., dia. 4 3/4 in. $1200/1800

545. Fine Newcomb College Art Pottery High Glaze Vase, 1907, decorated

by Marie de Hoa LeBlanc with relief‑carved landscape design of cedar trees, blue, green and mustard yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. BN26 and “Q” for buff clay body, h. 14 1/4 in., dia. 5 1/4 in. $30000/50000

546. Large George Ohr Bisque Folded Vessel, cursive signature, h. 5 in., w. 9 in., d. 8 3/4 in. $1500/2500 547. Pair of Newcomb College Art Pottery Candlesticks, 1923, decorated by Anna Frances Simpson with relief‑carved oleander design, matte glaze with blue, green and pink underglaze, bases marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. NF6 and shape no. 311, one retains original paper label, h. 9 3/4 in., dia. 5 1/4 in. $1800/2500 548. George Ohr Pitcher, cursive signature, gun metal glaze, h. 4 1/2 in., w. 4 7/8 in., d. 3 5/8 in. $1200/1800 549. Newcomb College Art Pottery High Glaze Vase, 1904, decorated by Harriet Coulter Joor with incised design of clovers, blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. VV92, and “W” for white clay body, h. 11 1/2 in. $12000/18000

550. Newcomb College Art Pottery Vase, 1927, decorated by Anna Frances Simpson in the Moon and Moss design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. QO85, and shape no. 150, h. 10 3/4 in., dia. 4 1/2 in. $8000/12000

Provenance: Drs. Arnold and Helene Gerall, New Orleans, LA and Chapel Hill, NC. Additional information at www.nealauction.com

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551. Newcomb College Art Pottery Bowl, 1930, decorated

by Anna Frances Simpson with relief‑carved Cherokee roses, matte glaze with blue, green, white and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Jonathan Hunt’s potter’s mark, reg. no. SG26 and shape no. 49, h. 6 in., dia. 8 in. $2500/3500 Provenance: Drs. Arnold and Helene Gerall, New Orleans, LA and Chapel Hill, NC. Exh.: “Women, Art, and Social Change: The Newcomb Pottery Enterprise”, Smithsonian Institution Traveling Exhibition and Newcomb Art Gallery, New Orleans, Oct. 3, 2013 ‑ Mar. 9, 2014.

Ill.: Poesch, Jessie. Newcomb Pottery. Atglen: Shiffer, 1984, catalogue no. 185, p. 141; and Poesch, Jessie and Sally Main. Newcomb Pottery & Crafts: An Educational Enterprise for Women 1895‑1940. Atglen: Schiffer, 2003. fig. 5‑49, p. 211.

555. George Ohr Pottery Vessel, stamped, low molded bowl, spinach green glaze, h. 1 7/8 in., dia. 4 in. $500/700 554. George Ohr Pottery Vessel, stamped mark, brown glaze, crimped rim, h. 2 3/4 in., dia. 3 1/8 in. $500/700

558. George Ohr Bisque Pottery Vessel, cursive signature, folded vessel, h. 3 3/4 in., w. 5 1/8 in., d. 4 in. $500/700

560. George Ohr Pottery Vessel, stamped mark, vasiform, green/brown glaze, h. 4 1/2 in., dia. 2 3/4 in. $400/600

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552. Newcomb College Art Pottery Vase, 1929, decorated by Henrietta Bailey with pine boughs modeled in low relief, semi‑matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator’s mark, Jonathan Hunt’s potter’s mark, reg. no. RZ29, and shape no.

72, h. 5 1/4 in., dia. 5 in. $1000/1500

553. George Ohr Pottery Vessel, stamped mark, brown glaze, dimpled body, lid with applied snake, h. 6 in., dia. 4 1/4 in. $700/1000

556. Two George Ohr Novelty Inkwells, stamped marks, largest h. 3 1/8 in., w. 5 in., d. 2 3/4 in. $600/900

557. George Ohr Pottery Vessel, stamped mark, molded body, red and gun metal glaze, h. 3 in., dia. 3 in. $400/600

559. George Ohr Novelty Cup, stamped mark, mustard ground, green and brown decoration, interior with “surprise”, h. 1 7/8 in., dia. 3 1/8 in. $500/700

561. George Ohr Pottery Footed Vase, stamped mark, spinach green glaze, h. 3 1/4 in., dia. 2 1/4 in. $300/500

562. Alvyk Boyd Cruise (American/New Orleans, 1909‑1989), “Exterior View of Church Apse, probably New Orleans”, 1939, watercolor on paper, signed and dated lower right, 21 in. x 15 in., framed. $1500/2500

563. Robert Malcolm Rucker (American/Louisiana, 1932‑2001), “Steamboat Choctaw”, oil on canvas, signed lower right, “Nahan Galleries” label with title en verso, 20 in. x 30 in., framed. $4000/6000

564. Clementine Hunter (American/Louisiana, 1886‑1988), “Going to Church”, oil on canvas board, monogrammed lower right, titled en verso, 9 in. x 12 in., framed. $4000/6000

565. George Rodrigue (American/Louisiana, 1944‑2013), “Inferno”, 1992, acrylic on canvas, signed lower right, 30 in. x 24 in., framed. $30000/50000 Note: George Rodrigue first painted the Red Dog in 1990, near the beginning of his transition from the Cajun loup-garou into the Blue Dog, an image that moved well beyond the Cajun ghost story. Often interpreted as the darker, or devilish side, of the Blue Dog, the Red Dog was at that time more of an alter ego. Throughout the early 1990s in particular, paintings of the Red Dog alongside the Blue Dog or alone appeared in the artist’s body of work.

As seen in the painting offered here, the black and white version of the dog most closely resembling Rodrigue’s original inspiration, his former studio dog, Tiffany, also occasionally joined the group, making an enigmatic trio and furthering the idea that the dog could have a “split personality.”

The often used Rodrigue symbol of candles (presumably representing the three dogs, although most likely also influencing this work’s dramatic title), the looming dark and anthropomorphic trees and a background awash in swirling, intense colors combine for this truly spectacular and mysterious canvas titled “Inferno.” As Rodrigue continued with his explorations of the Blue Dog later in his career, the explanation for dogs in colors other than the famous blue would shift, as the artist made clear with his paintings that he was primarily creating “something that does not have all of the answers, but rather poses questions about life, while at the same time leaving no doubt as to each composition’s deliberate design and George Rodrigue’s passion for and study of color.”

Ref.: Rodrigue, Wendy. “Red Dog.” Musings of an Artist’s Wife. www. wendyrodrigue.com. Jan. 28, 2010.

Accessed Oct. 22, 2016.

Additional information at www.nealauction.com

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567. After Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Jack the Giant Killer”, hand‑colored linocut, unsigned, label with title en verso, 72 1/2 in. x 18 1/4 in., wooden scroll on top and bottom. $1500/2500

566. George Hand Wright, A.N.A (American, 1872‑1951), “Sieur George’s House, New Orleans” and “Pig Scraping”, 2 etchings on paper, both pencil‑signed and titled lower margin, sheets 16 in. x 11 1/2 in. and 11 in. x 15 1/4 in., unframed. (2 pcs.) $600/900

Ill.: Pickard, Mary Anderson and Patricia Pinson, eds.

Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 82.

568. After Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Billy Goats Gruff #3”, hand‑colored linocut on paper, signed by the artist and titled on label en verso, printed from original block

by Carolyn Fournier Anderson, sheet 80 1/2 in. x 20 1/2 in., unframed. $800/1200 Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 88.

569. After Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Tall Pines”, hand‑colored linocut on paper, signed by the artists and titled en verso, printed from original block by Carolyn Fournier Anderson, colored

by Adele Anderson Lawton, sheet 20 1/2 in. x 58 1/4 in., unframed. $700/900 Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 76.

570. After Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Least Tern (Single Tern)”, linocut on paper, signed by artist and titled on label en verso, printed from original block by Carolyn Fournier Anderson, sheet 20 1/2 in. x 27 1/2 in., unframed. $700/900 Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 68.

571. After Walter Inglis Anderson (American/ Mississippi, 1903‑1965), “Pelican Soaring”, hand‑colored linocut on paper, signed by the artists and titled on label en verso, printed from original block

by Carolyn Fournier Anderson, colored by Adele Anderson Lawton, sheet 20 1/2 in. x 58 in., unframed. $700/900 Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 70.

573. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Anomaly Drawing #1”, 1981, oil and mixed media on paper, signed and dated lower right, “Heath Gallery, Atlanta, GA” label with title en verso, 16 3/4 in. x 19 in., framed. $5000/7000 Provenance: Private Collection, CA. 574. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Composite 91‑2”, 1991‑92, oil and mixed media on canvas, signed and dated lower right, handwritten label with title and date en verso, 48 in. x 48 in., period frame. $18000/25000 Exh.: “Ida Kohlmeyer: Paintings and Sculpture”, Mary Ryan Gallery, New York, Apr. 8 ‑ May 8, 1993, and illustrated in the accompanying catalogue.

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572. Joan Miro (Spanish, 1893‑1983), “Rouge et Bleu (M. 269)”, 1960, color lithograph on Arches watermarked paper, pencil‑signed lower right, numbered “60/100” lower left, “Miro ‑ Rouge bleue/Olith lithograph fr.

850‑” pencil‑inscribed en verso, 26 in. x 18 1/2 in., framed. $2000/3000

575. Enrique Alferez (Mexican‑American/New Orleans, 1901‑1999), “Repose”, patinated bronze, brown and verdigris patina, h. 30 in., w. 24 in., d. 27 in. $15000/25000 Provenance: Private Collection, New York.

Note: This elegant and sensitive sculpture by Enrique Alferez is stunning for its grace and beauty.

Aptly titled Repose, the serene nude sits with her legs bent in a seemingly meditative state. Another version of this sculpture is installed at the Helis Foundation Enrique Alferez Sculpture Garden at the New Orleans Botanical Garden. As exemplified by this bronze, Alferez was a master of rendering the female physique.

576. Eugenie Frederica Shonnard (American, 1886‑1978), “Grey Heron”, 1922, bronze, inscribed “Eugenie F. Shonnard” and dated on self‑base, h. 39 in., w. 12 in., d. 20 in. $5000/7500

577. Richard Misrach (American, b. 1949), “Crucifix and Union Carbide Plant ‘Cacner Alley’, Louisiana”, 1998, chromogenic print, signed, titled, dated, numbered “2/25” and inscribed lower margin, sheet 20 in. x 24 in., framed. $3000/5000 Note: Misrach is one of the most influential photographers of his generation, in the 1970s he helped to pioneer the renaissance of color photography and its use in large scale works. Most famous for his ongoing series, Desert Cantos, Misrach has captured landscapes for over 40 years, focusing on the human and industrial impact on nature. The artist says of his work: “My own agenda is foregrounding the importance of time in photos, in its infinite number of permutations.”

Misrach was commissioned in 1998 by the High Art Museum in Atlanta to produce an exhibit entitled “Picturing the South.” His time in Louisiana consisted of traveling between Baton Rouge and New Orleans in the area known as “Cancer Alley,” documenting the relationship of the local people and the petrochemical industry. Shocked at the environmental conditions he encountered, the artist returned in 2012 to complete a continuation of the series.

Referring to the haunting nature of these photos, art critic Jeff Davis used an example of the photograph offered here as the best model of what Misrach was portraying “...the themes of death and pollution at the hands of machinery and the petrochemical industry…” Editions of this print are included in the collections of the Museum of Modern Art, Chicago Art Institute, High Museum of Art, Stanford University Cantor Arts Center and Aperture Gallery New York.

Ref: Harris, Melissa. “Richard Misrach and Kate Orff Discuss Petrochemical America.” Aperture.

Sept. 17, 2012. www.aperture.org. Accessed Oct. 18, 2016. Davis, Jeff. “Richard Misrach’s Cancer Alley.” Creative Loafing Atlanta. Oct. 5, 2012. clatl.com. Accessed Oct. 18, 2016.

578. Alexander Calder (American, 1898‑1976), “Fleches: Derriere le Miroir”, Paris, Maeght, 1968, first edition, special issue number 78 of 150 signed by Calder, folio (15 x 11 in.), loose as issued, chemise and slipcase, 8 lithographs, 6 internally (two double page) and front and rear covers. $700/1000

579. Louis Kronberg (American, 1872‑1965), “Dancer in White”, 1929, oil on canvas, signed lower right, dated lower left, monogrammed “L [Star of David] K” upper left, signed, titled, Star of David, custom’s stamps and inscribed “Theatre du Chatelet, Paris”, “Mlle.

Bae” and “Salon Nationalle, 1954, Paris” en verso of stretcher and canvas, 2 handwritten labels “Lefebvre Foinet, 2 rue Brea, agent” and “Pour Le Salon Nationale, 1957, Dancer in White, Louis Kronberg, 39 Rue Boissande” and red sticker with title en verso of frame, 37 in. x 25 1/2 in., period frame. $2500/3500

Additional information at www.nealauction.com

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580. American School, early 20th c., “Dressed for the Theatre”, oil on canvas, unsigned, 36 in. x 24 in., framed. $2500/3500 Note: In the intriguing painting offered here, a fashionably-dressed woman is dramatically posed in front of a red wall covered with a trio of playbills, each partially visible in the background. Her vibrant costume, including a spectacularly plumed hat, is indicative of theatre culture in New York City in the 1930s. One playbill perhaps references the 1936 film “The Marriage of Corbal,” a British historical drama set against the backdrop of the French Revolution, while the another hints at the rise of African American theater and playwrights during the Harlem Renaissance.

581. Hilda Belcher (American/Georgia, 1881‑1963), “Tree” and “Returning Home”, 1928, 2 watercolors and pencil on paper, both signed lower right, former dated and inscribed en verso, 11 in. x 9 in. and 10 in. x 11 1/2 in. respectively, framed alike.

(2 pcs.) $2000/3000

The playbill on the far right gives references to James Weldon Johnson.

Songwriter, poet, novelist, journalist, critic, and autobiographer, Johnson, much like his contemporary W.E.B. Du Bois, was a man who bridged several historical and literary trends. Born in 1871 during the optimism of the Reconstruction period, in Jacksonville, Florida, Johnson possessed an eclectic set of talents. Over the course of his sixty-seven years, Johnson was the first African American admitted to the Florida Bar since the end of Reconstruction; the co-composer in 1900 (with his brother John Rosamond) of ‘Lift Every Voice and Sing,’ the song that would later become known as the Black American National Anthem; field secretary in the NAACP; journalist; publisher; diplomat; educator; translator; librettist; anthologist; and English professor; in addition to being a well-known poet and novelist and one of the prime movers and shakers of the Harlem Renaissance. James and his brother, John, wrote more than 200 songs for the Broadway musical stage.

Ref.: Beavers, Herman. “James Weldon Johnson’s Life and Career.” Modern American Poetry. http:// www.english.illinois.edu/maps/poets/g_l/johnson/life.htm. Accessed Oct. 23, 2016.

582. Governor Jimmie H. Davis Tooled Leather and Sterling Silver Bohlin Saddle, Martingale and Headstall, stamped “Bohlin made, Hollywood, Calif., Sterling”, with silver nameplate “Jimmie H. Davis”, LA governor 1944‑1948 and 1960‑1964, Edward Bohlin, silversmith; together with You Are My Sunshine: The Jimmie Davis Story by Gus Weill (Pelican, 1991), autographed

by Jimmie Davis after an appearance at Mel Tillis Theatre, Branson, MO, Nov. 17, 1991; accompanied by provenance documentation incl.: letter from Jimmie Davis to Kenny [Gill], dated Dec. 22, 1980; letter from Jimmy H. Davis to Kenny Gill, dated Jan. 5, 1984; copy of a letter from Jimmy Davis to Kenny [Gill], undated; letter from Danny M. Lang, President, Edward H. Bohlin, to W. Kenny Guillot [Gill], dated June 22, 1988; notarized letter from Former Governor Jimmie H. Davis, dated July 26, 1988; letter from Kenny Gill to Earl [Northrup], dated Oct. 7, 1992; autographed photograph from Kenny Gill to Earl and Mrs. Northrup; letter from Audie W. Northrup, dated Mar. 28, 2013; and paperwork from Rio Grande Trading Co. $25000/30000 Provenance: with Buck Jones (1891-1942), soldier, racecar driver, cowboy, Hollywood stuntman, and Western movie star; by descent to his wife, actress Odille Osborne; to Jimmie H. Davis (1899-2000), singer, songwriter, and two-term Louisiana Governor (1944-48 and 1960-64), c. 1942; to Kenny Gill (aka Walker Kenny Guillot, 1936-2010), world class guitarist inducted into The Louisiana Music Hall of Fame, The Rockabilly Hall of Fame, The North American Country Music Hall of Fame, and The Order of Living Legends, 1980 or 1981; to Earl W. Northrup (1934-2012), proprietor of world famous Earl’s Drive-In and Country Music Park, Chaffee, NY, offering “food for the body, music (including performances by Jimmie Davis) for the soul,” 1992; by descent to his heir and executor, Audie W. Northrup; to Bruce Bartlett, Western Americana collector, author and proprietor of Rio Grande Trading Co., San Antonio, TX, 2013; to Private Collector, Louisiana.

Note: Leaving his home in Sweden at age 15 to immigrate to America, Edward Bohlin dreamed of horses, cowboys, and the Wild West. His visions of cowboy life were made a reality as he found work in Montana herding cattle. Finally settling in Cody, Wyoming, Bohlin opened a shop selling saddles and silver accessories of his own creation; the Edward H. Bohlin Company operated from the 1920s to the 1980s. During that time, Bohlin crafted elaborate saddles, in addition to spurs, holsters, buckles, bolos, and various accoutrements. Gaining popularity during the golden age of Hollywood Western films, Bohlin was called upon to outfit celebrities such as Mae West, Hopalong Cassidy, and Ronald Reagan.

Before he began his political career, Louisiana Governor James “Jimmie” Davis had gained critical acclaim for his musical skills. Recording many country-western albums in the 1930s and 1940s, Davis also acted in several films, usually playing the part of a singing cowboy with his famous horse, Sunshine. For these roles, Sunshine wore the Bohlin saddle offered here, that Davis had purchased from the wife of Buck Jones, the famous Western movie star. Jones, with more than 160 film credits to his name, used the saddle in many of his roles. This “Louisiana-style” saddle features square skirts, elaborately tooled leather and intricately engraved sterling silver accents with conchos throughout.

Born into extreme poverty to sharecropping parents in Beech Springs, Louisiana, Davis valued his education. He graduated from high school in Winnfield, Louisiana and earned his Bachelor’s degree from Louisiana College in Pineville, as well as his Master’s degree from Louisiana State University. In addition to his singing and acting work, he also served as a teacher and court clerk before seeking public office. His most popular song, “You Are My Sunshine,” which was written as an ode to his beloved palomino, was well known by the time Davis ran for Governor of Louisiana in 1944, and he would ride Sunshine, singing the song while campaigning.

After a successful first term and a twelve year hiatus, Davis sought the governorship again. Upon winning the general election in 1960, Davis rode Sunshine up the steps of the Louisiana State Capitol, singing his song in victory. Davis’ accomplishments as governor include instituting mandatory licensing for all automobile drivers, building hospitals and roads, repairing infrastructure, and raising teacher salaries. However, it is likely the image of him on Sunshine, wearing a white cowboy hat and singing “You Are My Sunshine” for which Davis is best known.

Ref.: Weill, Gus. You Are My Sunshine: the Jimmie Davis Story. Waco, TX: Word Books, 1977.

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583. American Brilliant Period Cut Glass and Sterling Silver Mounted Punch Bowl, Shreve & Co., San Francisco, late 19th/early 20th c., reticulated silver rim decorated with lotus blossoms and leaves, h. 7 5/8 in., dia. 14 1/8 in.; with matching inlaid mahogany and sterling silver mounted circular undertray, also Shreve & Co., dia. 20 5/8 in.; and associated silverplate and cut glass punch ladle, Pairpoint Mfg. Co., l. 15 1/8 in. $3000/5000 584. Decorative Bronze and Polychrome Figure of a Pharaonic Warrior, h. 43 1/4 in., w. 15 in., d. 16 1/4 in., painted wood base, overall h.

58 1/4 in. $1000/1500

585. French Art Deco Patinated Cast Iron Mirror, early 20th c., hexagonal surround flanked by bound reeds with pendant tassels, conforming beveled mirror plate. $800/1200

586. Handel Reverse Painted “Daffodil” Lamp, c. 1915, shade signed “Handel, 7122” and artist monogram “A.P.”, domical shade in “chipped ice” finish, the interior painted with continuous daffodils, red flowers and foliage on a black, green and pale blue ground; three socket cluster, over bronzed neoclassical urn base, incised “Handel”, h. 24 in., dia. 18 in. $3500/4500

587. Rare Cast Iron Conservatory Bench, late 19th c., probably English, upholstered lift seat, trestle base with lyre supports, h. 23 in., w. 47 1/2 in., d. 15 in. $500/800

Ref.: De Falco, Robert; Carol Hibel, John Hibel. Handel Lamps, Painted Shades & Glassware, New York, H & D Press, 1986, pg. 169.

588. British or American Bronze Figural Group of Two Children Playing Tug of War, 19th c., h. 30 1/4 in., w. 24 1/2 in., d. 16 1/4 in. $1500/2000

589. John Crookshanks King (American/Boston, 1806‑1882), “Bust of Robert Burns”, 1859, carrara marble, signature, title, and date inscribed on reverse of truncation, h. 25 in., w. 21 in., d. 11 in., replaced wooden socle, overall h. 28 1/2 in. $2500/3500

591. Empire‑Style Bronze‑Mounted Mahogany Tall Chest, 19th c., marble top, frieze drawer over five drawers, columnar stiles, blocked feet, h. 52 in., w. 32 1/2 in., d. 15 in. $800/1200

590. Antique Continental Baroque Brass Repoussé Cushion Mirror, early 19th c., rocaille molded frame with putto crest and shell terminal, h. 36 1/2 in., w. 19 3/4 in. $500/700

592. Louis XV‑Style Marquetry, Kingwood and Bronze‑Mounted Bombé Commode, 20th c., serpentine marble top, two drawers, tapered legs with sabots, h. 38 in., w. 57 in., d. 24 in. $1000/1500 Additional information at www.nealauction.com

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593. Good French Carved and Figured Walnut Bureau Plat, probably early 20th c., top with canted corners, gadrooned frieze, kneehole configuration of drawers, winged griffin legs, paw feet, labeled “Meubles & Art M. Lerolle Fabricant Paris”, h. 31 1/2 in., w. 59 in., d.

35 1/2 in. $3000/5000

596. Louis XV‑Style Bronze‑Mounted Marquetry Bombé Commode, marble top, three drawers above a long drawer, cabriole legs, h. 33 1/4 in., w. 48 3/4 in., d. 21 3/4 in. $800/1200

597. Louis XVI‑Style Bronze‑Mounted Mahogany Low Table, 1st half 20th c., marble top, marquetry frieze with floral porcelain medallions, tapered fluted legs, h. 18 in., dia. 24 in. $500/700

Provenance: Estate of Janice Lane Young, Richmond, VA.

Provenance: Estate of Janice Lane Young, Richmond, VA. 598. Attributed to Michael Dahl (Swedish/British, 1656/1659‑1743), “Portrait of a Mother and Child”, oil on canvas, unsigned, handwritten label identifying artist en verso, 50 in. x 41 1/4 in., antique frame. $3000/5000 Provenance: Estate of Frances and Frank Auspitz, York, PA. Note: Frank Auspitz was a self‑educated expert in 18th century furniture and architecture. He owned and operated the Auspitz Cabinet Shop in York for over fifty years.

600. Antique Venetian Etched Glass Mirror, early 20th c., segmented octagonal surround with rosettes, conforming beveled mirror plate, stenciled label “G. David Suc...”. $500/700 Provenance: Estate of Janice Lane Young, Richmond, VA.

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601. Antique Louis XV/XVI‑Style Gilt Bronze Repoussé Cushion Mirror, arched reticulated crest with putti, shaped sides, segmented surround, h. 41 1/4 in., w. 28 in. $600/800

594. French Provincial Inlaid Fruitwood Armoire in the Louis XV Taste, probably 19th c., arched molded cornice, paneled door, shelf interior; the base fitted with drawer, cabriole legs, scrolled toes, h. 96 5/8 in., w. 47 in., d. 28 1/2 in. $800/1200

595. Pair of Louis XVI‑Style Carved Giltwood Fauteuils, probably mid‑20th c., arched crest rail, acanthus-carved arms, beaded seat rail, stop‑fluted legs, h. 42 in., w. 25 3/4 in., d. 20 1/8 in. $700/1000

599. Eugène Galien‑Laloue (French, 1854‑1941), “Villagers Feeding Fowl beside a Path”, oil on canvas, signed lower left, 12 1/2 in. x 18 1/4 in., framed. $3000/5000 Note: Though mostly known for his gouaches and watercolors of bustling Parisian street scenes, Eugene Galien-Laloue also painted the countryside of Normandy and excelled with oils. Due to the exclusive representation he had with a single gallery, Galien-Laloue would frequently paint in different styles and under different aliases including, “E Galiany,” “J. Lievin,” and “L. Dupuy” in order to sell his works through other vendors.

Not one for the outdoors, he often looked to photos and postcards for inspiration for his country scenes.

In the oil painting presented here, Galien-Laloue depicts a clear sunny day in rural France with a farmhouse in the distance. While his Parisian scenes are densely packed with details and people, energetic in their compositional complexity, his provincial landscapes are serene, while maintaining the same technical excellence for which he is known.

Ref.: “Eugene Galien Laloue.” Rehs Galleries. www.rehs.com. Accessed Oct. 24, 2016.

602. Patinated Bronze Figural Group of Dogs, after “Trois chiens de chasse devant un terrier” by Jules Moigniez, inscribed signature on self‑base, h. 20 1/2 in., w. 34 in., d. 19 3/4 in. $2000/3000

603. Continental School, 18th/19th c., “Views of European Cityscapes”, 6 watercolors and ink on paper, incl. El Escorial near Madrid, Arch of Septimius Severus in the Roman Forum, Acqua Felice in Rome, capriccio of the Fondamenta Nuova at Venice, historicizing capriccio of Ancient Rome and a northern European townscape, some extensively inscribed in French and Dutch en verso, 10 1/4 in. x 16 3/4 in. to 11 1/4 in. x 16 3/4 in., framed alike.

(6 pcs.) $8000/12000 Note: The six engaging works presented in this lot represent tangible places in Europe as well as several architectural capricci, or imagined scenes, of different famous landmarks. Among the realistic representations are the highly detailed iterations of the El Escorial near Madrid and the Acqua Felice in Rome. Of the capricci, the most striking and telling is the one featuring the Arch of Septimius Severus, which is extensively inscribed in French en verso. The translation reveals detailed, almost studious, descriptions of the architectural elements of the arch as well as historical notes on its origin. While the Church of Santi Luca e Martina is accurately represented to the right of the Arch as it stands in the Roman Forum, the third building in the center background is an imaginative displacement of a Baroque church, possibly the Santa Susanna located northeast of where the other two buildings stand.

604. Attributed to Theodore (Theodorus) Jacques Ralli (Greek/ French, 1852‑1909), “Study of a Young Girl, possibly Marie Louise Psiachi”, oil on canvas laid on panel, unsigned, “Dupont & Cie, Paris” label en verso, 6 3/4 in. x 5 3/4 in., framed. $1200/1800

605. Attributed to Theodore (Theodorus) Jacques Ralli (Greek/ French, 1852‑1909), “Study of a Young Girl, possibly Marie Louise Psiachi”, oil on canvas laid on panel, unsigned, “Dupont & Cie, Paris” label en verso, 6 3/4 in. x 6 in., framed. $1200/1800

Provenance: The sitter, Marie Louise Psiachi (1868‑1937); her son, John Howard Lane (b.

1901); his daughter, Janice Lane Young (1930‑2015).

Provenance: The sitter, Marie Louise Psiachi (1868‑1937); her son, John Howard Lane (b.

1901); his daughter, Janice Lane Young (1930‑2015).

605A. Paul Émile Lecomte (Belgian, 1877‑1950), “Village Market”, oil on canvas, “Paris, France” canvas stamp en verso, signed lower right, 18 in. x 21 1/2 in., framed. $2000/3000

606. Continental School, late 18th/early 19th c., “Death Approaches”, oil on wood panel, unsigned, 20 1/2 in. x 16 in., antique frame. $800/1200

Additional information at www.nealauction.com

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609. French Bronze Figure of Venus, 19th c., after Etienne Maurice Falconet, h. 16 in., w. 5 3/4 in., d. 6 in., rouge marble and ormolu base, overall h. 20 1/4 in. $600/900 607. French Bronze Bacchanalian Figural Group of a Nymph and Satyrs, 19th c., in the manner of Claude Michel “Clodion”, inscribed “GRAUX‑MARLY Frères, BRONZIERS/À PARIS” on self‑base, h. 22 3/4 in., w. 16 in., d. 11 1/2 in., wood and velvet stand, overall h. 27 1/4 in. $2000/3000

608. Bronze Figural Group of Two Women and a Putto, after “Bacchantes” by Claude Michel Clodion, indistinctly inscribed on self‑base, h. 31 3/4 in., w. 11 3/4 in., d. 10 1/2 in. $2000/3000

610. Bronze Figure of a Roman Warrior with Sword and Shield, after Alphonse Carrier, inscribed “A. Carrier” on self‑base, h. 25 3/4 in., w. 13 in., d. 8 in., black marble base, overall h. 29 3/4 in. $600/900

611. French Terracotta Group of Cupid and Psyche, with “Sèvres” stamp of interlaced “L”s and “31D” inside base, h. 17 3/4 in., w. 16 1/2 in., d. 9 3/4 in. $600/900

612. Monumental American Aesthetic Carved Cherrywood Mirror, late 19th c., labeled “Allen & Bro./Philadelphia”, shingled crest, cove‑molded frieze, rosette and reeded stiles, beveled mirrored panels above large mirror plate, h. 103 in., w. 58 in. $1000/1500

613. Fine American Carved Walnut and Gilt‑Incised Sofa and Armchair, c. 1870, stamped “Hunzinger/N.Y./Pat. March 30, 1869”, (George Hunzinger), each swagged crest with gilt medallion, padded back and curved seat, distinctive canted paw feet, turned stretchers, sofa h. 46 1/2 in., w. 67 in., d. 36 1/2 in.; chair h. 44 in., w. 31 in., d. 26 1/2 in. $3000/5000

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 Kimbel 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.

Note: Seat furniture by Hunzinger has been conserved in several collections including The National Trust at Lyndhurst (Tarrytown, New York), the Strong Museum in Rochester, New York, and the New York State Museum in Albany. A chair featuring a similar gilt medallion has been conserved by the Brooklyn Museum in New York City. The distinctive ornamented design of this sofa and armchair has been described as resembling machine works by some scholars and is considered the apogee of Hunzinger’s oeuvre.

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.

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Ref.: “Collection.” Brooklyn Museum. www.brooklynmuseum.org/opencollection/objects/2358; Flint. “George Hunzinger”, Nineteenth Century Furniture, Innovation, Revival, and Reform. pp. 122-131; Harwood. The Furniture of George Hunzinger, Invention and Innovation in the 19th Century, p. 76, fig. 72; Johnson, 19th Century America: Furniture and Other Decorative Arts, pl. 186.

614. American Classical Parcel‑Gilt, Stenciled and Ormolu‑Mounted Mahogany Pier Table, early 19th c., marble top, cove‑molded frieze, columnar supports, mirror plate flanked by half‑columns, gadrooned plinth, lobed feet, h. 39 1/2 in., w. 40 3/4 in., d. 18 1/2 in. $1800/2500

615. Good American Neo‑Grec Inlaid and Ebonized Center Table, c. 1870, oblong top with exotic woods inlaid cartouche and banding, distinctive sunflower carved frieze, on blocked, turned and tapered legs, incurvate stretcher with turned final, casters, h. 30 in., w. 44 1/2 in., d. 29 in. $1200/1800 616. Very Rare American Carved Oak and Gilt‑Incised Armchair, attr. to R.J. Horner, New York, reeded crest rail, winged arms, griffin supports, volute-carved seat rail, paw feet, h. 40 in., w. 31 in., d. 37 in. $3000/5000 Note: Robert J. Horner (New York, d. 1922) established the R.J. Horner firm in 1886 specializing in finely and exuberantly carved oak and mahogany furniture. The carved griffin supports shown in this lot were commonly featured on sofas and armchairs manufactured by Horner.

Ref.: Lindquist and Warren. Victorian Furniture. Krause Publications, Iola, Wisconsin: 1995. P. 185; Schiffer, Nancy.

America’s Oak Furniture. Schiffer Publishing, West Chester, Pennsylvania: 1988. p. 64.

617. Very Rare American Carved Oak and Gilt‑Incised Sofa, attr. to R.J. Horner, New York, reeded crest rail, winged arms, griffin supports, volute-carved seat rail, paw feet, h. 40 in., w. 79 in., d. 28 in. $3000/5000

618. American Modern Gothic Carved Walnut Bookcase, mid19th c., attr. to Daniel Pabst, Philadelphia, molded pediment, glazed doors with lappet molding, lower doors and returns decorated with low stipple carved leaves centered by a flower, molded plinth, h. 104 1/2 in., w. 72 1/4 in., d. 21 3/8 in. $5000/7500 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 (acc. 38-1-78 and 38-1-80).

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 (acc. 73-42. 1-3) 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 18751920. 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.

619. American Neo-Grec Gilt, Ebonized and Incised Walnut Sofa, c. 1870, bearing stamp of George Hunzinger, New York, N.Y., patent March 30, 1869, button tufted back with blocked and turned architectonic crest centered by a classical mask, bentwood stiles, blocked uprights with ball finials, upholstered seat with female mask terminals, swagged rail, canted legs, ball feet connected by stretchers, h. 43 1/2 in., w. 65 in., d. 29 in. $4000/6000

620. Rare Pair of American Aesthetic Ebonized Corner Chairs, c. 1870‑1880, spindle-turned backs and uprights, conforming stretchers, h. 30 in., w. 16 in., d. 16 in. $500/700

621. Good American Renaissance Carved Walnut Music Cabinet, mid‑19th c., inset colorful marble top, turreted corners with fluted stiles, frieze drawer above pair of arched glazed doors, divided interior long drawer, fluted legs, h. 35 in., w. 28 1/2 in., d. 18 in. $600/900

Additional information at www.nealauction.com

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622. American or English Satinwood and Mahogany Collector’s Cabinet, late 19th/early 20th c., highly figured paneled doors, upper case with fitted interior, lower case with shelves, blocked base, h. 83 in., w. 42 in., d. 23 in. $1000/1500

623. American Ebonized and Gilt-Decorated Bedside Commode, mid‑19th c., likely Hart and Ware, Philadelphia, retains original marble top, h. 33 1/2 in., w. 18 in., d. 18 in. $400/600

624. Edwardian Satinwood and Paint‑Decorated Kidney‑Shaped Dressing Table, probably early 20th c., banded top, kneehole configuration of drawers, reeded tapered legs, h. 29 in., w. 48 1/2 in., d. 22 3/4 in. $500/1000

625. Regency‑Style Figured Elmwood and Stenciled Games Table, foldover top, baize playing surface, conforming frieze, blocked standard, incurvate plinth, acanthus scrolled feet, casters, h. 31 3/8 in., w. 36 1/8 in., d. 18 in. $600/900

626. Regency‑Style Painted Window Bench, 20th c., upholstered seat, reeded curule legs, hoof feet, h. 17 1/4 in., w. 52 in., d. 16 in. $400/600

627. Georgian Mahogany Wingchair, 18th c., arched crest, shaped wings, scroll arms, square legs, H stretcher. $1000/2000 Provenance: Provenance: Murfee/ DeBardeleben Collection, Riverview, Columbus, MS.

628. Sheraton Carved Mahogany Bedstep, probably 19th c., leather inset treads with hinged tops, center commode, caned panels, turned legs, h. 15 3/4 in., w. 28 1/4 in., d. 27 in. $600/900

629. Henry Pember Smith (American, 1854‑1907), “On the Flanders Road, East Lyme, New London, Connecticut”, oil on canvas, signed lower right, “Kulick’s Frames, Inc., New York” label en verso, 29 3/4 in. x 36 1/4 in., framed with artist and title plaque. $2000/3000

630. George Curtis (American, 1826‑1881), “Ruins of a Doorway at Dusk”, 1878, oil on board, signed and dated lower left, pencil‑inscribed “Mr. Fred Barns” en verso, 12 in. x 10 in., period frame. $1500/2500

632. Franklin Dullin Briscoe (American, 1844‑1903), “Hauling in the Nets”, oil on canvas, signed lower right, 8 1/2 in. x 15 1/4 in., framed. $800/1200

631. Edmund Darch Lewis (American, 1835‑1910), “Couple Canoeing and Watering Cows in the Lake”, 1882, watercolor on paper, signed and dated lower left, 29 1/2 in. x 24 3/4 in., framed with artist plaque. $800/1200

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633. J. Ralph Wilcox (American/ Florida, 1866‑1915), “Florida Swamp”, watercolor on paper, signed lower right, 7 1/4 in. x 15 1/4 in., antique frame. $700/900

634. Hans Kleiber (German/ Wyoming, 1887‑1967), “Pintails at Grand Chenier Marshes”, watercolor on paper, signed lower right, titled lower left, “Farish Art Store Inc., Royal St., New Orleans” stamp en verso, sheet 8 3/4 in. x 11 3/4 in., framed. $1500/2500

635. John J. Korver (American/Louisiana, 1910‑1988), “Steamboat with Bales of Cotton, Port of New Orleans”, watercolor on paper, signed lower right, sheet 23 in. x 30 in., framed. $1500/2500 Provenance: Estate of Dr. Eleanor M. Worsley, Natchitoches, LA.

638. Steele Burden (American/ Louisiana, 1900‑1995), “Ringing the Plantation Bell at the End of the Day”, oil on canvas, 1991, signed and dated en verso, 9 in. x 12 in., unframed. $1000/1500 Provenance: St. Delphine Plantation, West Baton Rouge Parish, LA.

642. Giuseppe Gennaro (Italian, b.

1855), “Portrait of a Dark‑Haired Girl”, 1887, oil on canvas, signed and dated upper right, 36 in. x 25 in., period frame with artist plaque. $800/1200

639. Antoine Verret (American/ Louisiana, 1901‑1955), “Coulee through the Swamp”, 1952, oil on canvas, signed lower right, signed, titled, dated and inscribed “Reserve, LA” en verso, 30 1/4 in. x 26 in., cypress frame. $500/800

643. Thomas Smythe (British, 1825‑1906), “Barnyard Scene”, oil on artist board, signed lower left, 14 1/4 in. x 14 1/4 in., antique frame. $1200/1800 Provenance: Estate of Janice Lane Young, Richmond, VA.

645. American Late Federal Cherrywood Banquet Table in the Sheraton Taste, early 19th c., incl. pair of D‑end and drop leaf center sections, figured friezes, spiral turned legs, distinctive turned feet, cuff casters, h. 29 1/4 in., l. (closed) 44 3/4 in., l. (extended) 106 1/2 in., w. 45 1/2 in. $800/1200

636. Southern School, late 19th/early 20th c., “Portrait of Carey Hansford Blanchard (1805‑1861), oil on canvas, unsigned, 36 in. x 29 in., period frame. $5000/7000

640. Colette Pope Heldner (American/New Orleans, 1902‑1990), “Swamp Idyl (Louisiana Bayou Country), oil on canvas, signed lower left, signed, titled and “Ben’s Studio, Art & Painted Gifts, Hotel Monteleone, Royal St.” label en verso, 30 1/4 in. x 36 in., framed. $1200/1800

637. Southern School, early 19th c., “Colonel Robert A. Crain (1791‑1852)”, oil on canvas, unsigned, 30 in. x 25 1/2 in., period frame. $5000/7000

641. Philadelphia School, 19th c., “Still Life of Grapes, Peaches and Melon in a Wicker Basket”, oil on canvas, unsigned, in the manner of James Peale (American, 1749‑1831), 16 1/2 in. x 21 1/4 in., period gilt frame. $600/900

644. American Classical Carved Mahogany Settee, early 19th c., probably New York, tubular crest rail with acanthus-carved terminals, out scrolled arms, paneled seat rail, cornucopia carved paw feet, h. 34 in., w. 68 in., d. 23 in. $1000/2000 Provenance: Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS. 646. American Classical Carved Mahogany Sideboard, attr. to the workshop of Charles White, cornucopia backsplash flanking columned pedimented mirror, drop center with small drawer over bolection drawer and cupboard doors, drawer and cupboard to each side flanked by columnar supports, plinth base, gadrooned turned feet, h. 57 1/4 in., w. 67 1/2 in., d. 23 in. $1200/1800

Additional information at www.nealauction.com

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647. American Classical Carved Mahogany Pier Table, early 19th c., presently with a faux marbre top, figured frieze, columnar supports, mirrored back flanked by pilasters, incurvate plinth, on bulbous leaf carved feet, h. 35 in., w. 41 in., d. 19 1/4 in. $1200/1800 648. American Classical Carved Mahogany Games Table, c. 1825, probably Boston, foldover top, leaf‑carved lyre support, incurvate plinth, carved, acanthine saber legs, brass paw feet, casters, h. 29 1/2 in., w. 34 3/4 in., d. 17 1/2 in. $1200/1800

649. American Classical Carved Mahogany Curule Stool, early 19th c., ogee molded frame, boss-carved legs, joined by turned stretcher, h. 15 1/2 in., w. 18 in., d. 14 in. $300/500

653. Frank Knox Morton Rehn, N.A. (American, 1848‑1914), “Late Summer Landscape”, oil on canvas, signed lower right, partial New York City gallery label with title en verso, 16 in. x 28 in., framed. $400/600

651. William Sherman Potts (American, 1876‑1930), “Along the Seine River, Paris”, 1902, oil on wood panel, pencil‑signed en verso, titled, dated and inscribed lower left, 9 1/2 in. x 7 1/2 in., framed. $800/1200

654. Charles Henri Verbrugghe (Belgian, 1877‑1974), “Le pont de L’Hydromel, Groenerei Canal à Bruges, Belgium”, oil on canvas, signed lower left, titled en verso, 16 in. x 19 1/4 in., framed. $500/700

657. Large Dutch Carved Mahogany Press in the Neoclassical Taste, 19th c., broken arch pediment with swags and urn, paneled doors with shelf interior, bombé lower case with four drawers, “French” feet, h. 101 in., w. 67 in., d. 21 3/4 in. $1500/2500

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652. Gustav Wolff (German/St. Louis, 1863‑1935), “Life along the Canal”, oil on canvas, signed lower left, 12 in. x 16 in., framed. $1000/1500

650. Continental Fruitwood Marquetry Commode, 19th c., floral inlaid top, three drawers, bun feet, h. 32 in., w. 46 1/2 in., d. 24 in. $500/750

655. French School, late 19th/early 20th c., “Elegant Lady with Her Wolfhound”, oil on canvas, unsigned, 42 1/2 in. x 30 3/4 in., antique frame. $800/1200

658. Belle Époque Bronze‑Mounted Mahogany Bed, late 19th c., attr. to Joseph Emmanuel‑Zweiner, head and foot board with convex panel, shaped rails, paw feet, h. 57 3/8 in., l. 78 in., w. 60 in. $800/1200

656. Louis XV‑Style Gilt Bronze‑Mounted Chinoiserie Bombé Commode, serpentine rouge marble top, two drawers, cabriole legs, sabots, h. 35 1/4 in., w. 51 1/2 in., d. 23 in. $1000/1500

659. Pair of Antique Empire‑Style Bronze‑Mounted Mahogany Side Chairs, early 20th c., padded back, shaped seat rail, turned tapered legs, h. 37 3/4 in., w. 18 in., d. 16 in. $300/500

660. Anglo‑American School, 19th c., “Portrait of a Lady and Gentleman”, 2 watercolor miniatures, each 4 1/2 in. x 3 1/2 in., framed alike. (2 pcs.) $300/500

661. Sevres‑Style Gilt‑Mounted Porcelain Centerpiece, late 19th c., beaded rim, Greek key handles, painted with floral and genre scenes, h. 12 in., w. 18 1/2 in., d. 9 in. $700/1000

662. Dutch School, 19th c., “Portrait of S.M. Meyer”, watercolor miniature, signed “Schreiber, pinxit” lower left, handwritten label with sitter and inscribed “Geborem a, 21th April, 1788” en verso, sight 2 in. x 1 1/2 in., framed. $300/500

664. Pair of French Rose Pompadour Porcelain and Silver Overlay Cachepots, 19th c., foliate cartouche centered by coat of arms, h. 4 1/2 in., w. 3 in., d. 3 in. $250/350

663. Pair of Sevres‑Style Gilt Bronze‑Mounted Polychrome Porcelain Lidded Urns, 19th c., painted with classical scenes and floral sprays, h. 12 1/2 in., w. 5 1/2 in., d. 4 1/2 in. $600/900

666. Eight French Stingray and Shagreen Covered Vases and Boxes, all marked R & Y AUGOUSTI, Paris, incl. 3 vases, one sculptural and two baluster form, largest vase h. 21 in., w. 9 1/2 in.; 5 decorative boxes in various shapes and sizes, largest h. 3 1/2 in., w. 8 in. $600/900

668. Continental Reticulated Mother‑of‑Pearl, Gilt and Painted Folding Fan, 19th c., with various Grecian scenes, guard and ormolu mounts and mirror detail, flattened in a giltwood shadowbox frame on stand, h. 17 3/4 in., w3 22 1/2 in. $400/600

665. Paris Porcelain Gilt Decorated Centerpiece Corbeille, 19th c., marked “Edouard Honoré”, navette‑form, paw feet, h. 9 3/4 in., w. 16 1/4 in., d. 11 in. $700/900

667. Gilt-Tooled Morocco Leather Cave à Liqueur, early 19th c., case with domical lid, brass strapwork hinges, bail handle, fitted with decanters, mixing glass, bitters bottle and eight glasses, h. 9 1/4 in., w. 14 in., d. 9 3/4 in. $1000/1500

671. Decorative Silverplate Champagne Bucket and Ice Basin, marked, bucket with applied garlands of fruit, basin with foliate handles and foliate cabochon cartouches, h. 10 1/4 in., w. 21 in., d. 18 in. $1000/1500

669. Continental Reticulated Mother‑of‑Pearl, Gilt and Painted Folding Fan, 19th c., with figures in 18th c. dress, floated in giltwood shadowbox frame, h. 17 1/4 in., w. 27 3/4 in. $250/350 670. Continental Madonna and Christ Child Porcelain Plaque, 19th c., sight h. 5 in., w. 3 3/4 in., in gilt frame. $400/600 Provenance: Estate of Janice Lane Young, Richmond, VA.

Additional information at www.nealauction.com

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672. Pair of Regency‑Style Silverplate Cannon‑Form Wine Trolleys, movable carriage, l. 12 in. $700/100

673. Gorham Silver Medallion Pattern Tazza, c. 1860‑1870, marked with Gorham trademark and “150”, handles with cherub masks, bowl centering medallion, spreading standard, h. 4 in., w. 11 1/8 in., wt. 14.50 troy ozs. $500/700 674. Georgian Sheffield Plate Soup Tureen, early 19th c., inset silver shields with engraved crests, foliate scroll handles, gadroon borders, winged paw feet, h. 10 3/4 in., w. 17 1/4 in., d. 10 1/2 in. $1500/2500

676. Four Regency Sheffield Plate Candlesticks, early 19th c., foliate decoration. $400/600

675. Antique English Silverplate Salver, 19th c., probably T. & J. Creswick, Sheffield, engraved crest, shell and scroll border, winged paw feet, dia. 16 3/8 in. $300/500

677. Pair of Louis XV‑Style Gilt Bronze and Porcelain Seven‑Light Chandeliers, 20th c., rope and basket form, applied flowers, floriform shades, h. 27 in., dia. 21 in. $1000/1500

680. Tiffany & Co. 14 kt. Yellow Gold and Diamond “New Orleans Saints 2009 World Championship” Super Bowl XLIV Ring, set with 103 round brilliant‑cut diamonds, total wt. 2.2 cts., H color, VS1‑2 clarity, top with raised letters “World / Champions” flanking fleur‑de‑lis, sides with “Saints Colts / 31 ‑ 17 / Super Bowl XLIV / 02 07 10 / Miami FL” and “Bonin / Saints”, relief decorated with NFL shield, St. Louis Cathedral, fleur‑de‑lis, parade float, Superdome, and song notes to “When the Saints Go Marching In”, interior inscribed, size 8 1/4; accompanied by original presentation box, Tiffany box, and a copy of the Tiffany & Co. “Retail Replacement Valuation”. $20000/30000 Provenance: Presented to Russell “Rusty” Bonin.

678. Pair of Louis XVI‑Style Argenté Two‑Light Sconces, 19th c., tapered backplate surmounted by shell, scrolling arms, h. 19 in., w. 14 1/4 in., d. 6 1/2 in. $700/1000 679. French Gilt Bronze Three‑Light Bouillotte Lamp, early 20th c., tôle peinte shade, h. 15 in., shade dia. 13 3/4 in. $500/800

681. Platinum and Diamond Lady’s Engagement Ring, c. 1930, unmarked, set with “transitional” cut diamond, approx. wt. 2.92 cts., M‑N color, VVS clarity, flanked by 2 baguettes, size 5, total wt. 2.5 dwt. $15000/25000

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682. 18 kt. Yellow Gold, Peridot and Diamond Jewelry Suite, incl. flexible bracelet, l. 8 1/4 in.; dome ring, size 9; and pair omega clip and post earrings, l. 1 in.; total wt. 89.5 dwt. $10000/15000

683. 18 kt. Yellow Gold, Citrine and Diamond Ring, set with oval‑cut citrine, wt.

22.25 cts., full prong mount pavé set with round brilliant‑cut diamonds, total wt. approx.

5.0 cts., stamped RBB for Robert Bruce Bielka, size 8 1/2, total wt. 9 1/2 dwt. $8000/12000

684. Valentin Magro 18 kt. Yellow Gold, Pearl and Gemstone Toursade Necklace, comprised of 40 strands of fresh water pearls, 3.0‑8.0 mm., signed circular clasp with multicolored stones and diamonds, l. 18 1/4 in., total wt. 151 dwt. $4000/6000

685. Pair of 18 kt. Yellow and White Gold and Diamond Earring, interlocked delta forms pavé bead‑set with round brilliant cut diamonds, total wt. 5.86 cts., omega clip backs, total wt. 14 dwt. $8000/12000

686. 18 kt. Yellow Gold and Diamond Lavalier Necklace, oval link chain with bezel‑set round brilliant‑cut diamond, wt. approx. .65 cts., suspending a length of chain and bezel‑set round brilliant cut diamond, wt. approx. 1.41 cts., l. 15 in., l. (with pendant) 9 1/2 in., total wt. 6.0 dwt. $6500/7500

687. Memoire 18 kt. Yellow Gold and Diamond Bangle Bracelet, bead‑set with three rows of round brilliant‑cut diamonds, total wt. 7.92 cts., interior dia. 2 1/2 in., total wt. 25.0 dwt. $5000/7000

688. Pair of 18 kt. White Gold and Diamond Earrings, pavé set with round brilliant‑cut diamonds, total wt. 3.27 cts., dia. 3/4 in., total wt. 14.5 dwt. $4000/6000

689. 14 kt. Yellow Gold and Diamond “Diamonds by the Yard” Necklace, double strand chain with clusters of three bezel‑set round brilliant cut diamonds, total wt. approx. 5.5 cts., l. 36 in., pave diamond clasp, total wt. 11.0 dwt. $6000/8000

Additional information at www.nealauction.com

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690. Pair of 18 kt. Yellow Gold and Pavé Diamond Hoop Earrings, pavé set on three sides, total wt. approx. 4.0 cts., and lattice opening on fourth side, dia. 1 3/8 in., total wt. 9.0 dwt. $5000/7000

692. Fine 18 kt. Yellow Gold, Emerald and Diamond Ring, central cabochon emerald, wt. 10.89 cts., flanked by pavé‑set round brilliant‑cut diamonds, total wt. approx. 6.5 cts., size 8.5, total wt. 6.5 dwt. $15000/25000

691. 14 kt. White Gold and Diamond “Diamonds by the Yard” Necklace, double strand chain with clusters of three bezel‑set round brilliant‑cut diamonds, total wt. approx. 5.5 cts., l. 36 in., pavé diamond clasp, total wt. 11.5 dwt. $6000/8000

693. Pair of Neoclassical‑Style Tôle Peinte and Iron Jardinières on Stands, molded legs, scroll feet, h. 48 1/2 in., dia. 13 1/2 in. $600/900

694. Faux Bois Welsh Dresser, late 19th c., flared cornice, scalloped frieze, three plate shelves, base with three drawers, pair of cupboard doors flanking an arch, turnip feet, h. 84 1/4 in., w. 57 1/2 in., d. 19 3/4 in. $1000/1500

696. French Provincial Carved Walnut Armoire, late 18th/early 19th c., cove‑molded cornice, flower basket and vine frieze, pair of shaped paneled doors, shaped vine carved skirt, cabriole legs, h. 96 1/2 in., w. 69 1/2 in., d. 24 1/2 in. $800/1200

695. Ten Provincial Dining Chairs, incl. 4 armchairs and 6 side chairs, shaped crest rails with foliate terminals, rush seats, blocked and turned legs and stretchers, armchair h. 37 1/4 in., w. 20 1/2 in., d. (seat) 18 1/2 in.; side chair h. 35 in., w. 16 1/2 in., d. (seat ) 15 in. $1000/1500 Provenance: Keil’s Antiques, New Orleans, 1993.

697. English Elm and Yewwood Child’s Windsor Armchair, 19th c., hoop back, saddle seat, canted turned legs, stretchers, h. 27 1/4 in., w. 16 in., d. 16 1/4 in. $300/500

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698. Louis XVI‑Style Bronze and Cut Crystal Eight‑Light Chandelier, scalloped corona with rosettes, button chains, bronze ring with scroll arms, garlands of prisms with faceted ball pendant, h. 39 1/2 in., dia. 28 in. $1200/1800

699. Pair of Continental Brass‑Mounted Japanese Celadon Porcelain Oil Lamps, early 20th c., porcelain decorated with flowers and seasonal grasses and foliage, winder knob marked “Kosmos Burner”, h. 15 1/2 in., now mounted as lamps, h. (to sockets) 23 1/4 in. $300/500

700. Continental Faux Marbre and Gilt Bronze Cherub Lamp, 20th c., pleated drum shade mounted with small scorpion, h. 19 in. $150/250

704. Three 14 kt. White Gold and Diamond Gentleman’s Dress Studs, set with 33 small diamonds totaling approx. 2 cts., VS1‑VS2. $2000/3000

701. Neoclassical‑Style Brass and Crystal Twelve‑Light Chandelier, prisms-hung corona, oval button chains, ring with scrolled arms and garlands, h. 49 in., w. 41 in. $1000/1500

705. Gioielliamo 18 kt. Yellow Gold, Black Onyx, Mother‑of‑Pearl and Pearl Necklace, circular twisted wire links with mother‑of‑pearl, onyx and pearl decoration in asymmetrical arrangement, l. 28 in., l. (with pendant) 18 1/4 in., wt. 68.5 dwt. $2500/3500

709. 18 kt. Yellow Gold and Chrysoberyl Cat’s Eye Ring, central oval cabochon set in heavy “Florentine” gypsy mount, size 8 3/4, wt. 11.5 dwt. $4000/6000

702. Italian Patinated Gilt Metal and Crystal Eight‑Light Chandelier, with vine and crystal leaves, scroll arms, crystal spires, pendeloque prisms , h. 24 1/2 in., dia. 22 in. $700/1000

706. Solid 18 kt. Yellow Gold and Diamond Link Bracelet, flattened “S” links alternating with open hoop links pavé set with round brilliant‑cut diamonds, totaling approx. 1.0 ct., l. 8 1/4 in., overall wt. 36.0 dwt. $4000/6000

710. Suite of Three Flexible Bracelets, incl. one 18 kt. yellow gold and diamond hand‑made twisted wire and two Sleeping Beauty turquoise and diamond, w. 2 5/8 in. $2500/3500

714. Pair of Sabbadini 18 kt.

Yellow Gold and Diamond Earrings, set with central cluster of round brilliant‑cut diamonds, totaling approx.

1.1 cts., clip backs, dia. 1 1/4 in., overall wt. 16.0 dwt. $2500/3500 713. 14 kt. Yellow Gold and Coral Necklace, pendant natural coral branches graduating from 1/4 in. to 3 1/8 in. in center, bar and circle clasp, l. 40 in., total wt. 89 dwt. $1000/1500

703. Gentleman’s Rolex Oyster Pearl Perpetual Datejust Wristwatch, two toned dial with diamond set numerals, display window at three o’clock position, black leather band, wt. 36.5 dwt. $1500/2000

707. Pair of 18 kt. Yellow Gold, Smokey Quartz and Diamond Earrings, rectangular step‑cut quartz pendant in diamond set frame, wire top, total diamond wt. approx. 2.0 cts., l. 2 1/8 in., overall wt. 7.0 dwt. $2000/3000

711. 18 kt. White Gold and Diamond Eternity Band, set with seventeen bezel‑set princess‑cut diamonds, totaling approx. 2.0 cts., size 8 1/2, overall wt. 4.0 dwt. $2000/3000

715. 18 kt. White Gold and Diamond Bangle Bracelet, oval with back opening, set with twenty‑five round brilliant‑cut diamonds across the top, totaling approx. 1.25 cts., sides and back with white gold spheres, interior dia.

5 3/4 in., overall wt. 11.0 dwt. $2000/3000

708. Heavy 18 kt. Yellow Gold, Fire Opal, Peridot, and Diamond Ring, bezel‑set square cabochon opal flanked by two shield‑cut peridot and two trillion‑cut diamonds at sides, size 8 3/4 in., overall wt. 16.0 dwt. $2500/3500

712. Pair of Jean Vitau GemLok 18 kt. Yellow Gold, Black Onyx and Diamond Earrings, set with round brilliant‑cut diamonds, totaling approx.

4.0 cts., clip backs stamped GemLok, dia. 1.5 in., overall wt. 23.5 dwt. $3000/5000

716. 18 kt. and 22 kt. Yellow Gold and Peridot Necklace, briolette faceted beads, 22 kt. yellow gold spacers and 18 kt. yellow gold hook clasp, l. 37 1/2 in., wt. 93 dwt. $2000/3000

Additional information at www.nealauction.com

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717. Lady’s Rolex Oyster Perpetual Datejust Wristwatch, black dial with stick indices, display window at three o’clock position, brown leather band, wt. 18.0 dwt. $1000/1500

718. 14 kt. Yellow Gold and Diamond Engagement Ring, central prong‑set round brilliant‑cut diamond, approx. 1.09 cts., diagonal ribbed mount, overall wt. 4.0 dwt. $1000/1500

719. Judith Leiber Crystal Bead‑Encrusted Minaudière, hidden chainlink shoulder strap, retains original coin purse and dust bag, h. 2 7/8 in., w. 4 1/4 in., d. 5 in. $700/1000

720. 14 kt. White Gold and Diamond Band Ring; together with pair of fitted ring guards, center stone approx. .40 ct., 2 flanking stones each .

15 ct., and numerous small round and baguette diamonds, color approx. I‑J, clarity SI1‑I1. $1500/2500

721. 14 kt. Yellow Gold and Cultured Pearl Bracelet, thirteen oval wire decorated links each set with 8.5 mm. pearl, l. 7 1/4 in., wt. 21.5 dwt. $500/700

722. 14 kt. Yellow Gold and Blue Topaz Bracelet, twelve faceted oval prong set stones, wt. approx. 84.0 cts., l. 7 in., total wt. 19.5 dwt. $300/500

723. 14 kt. Yellow Gold and Cabochon Chrysoberyl Cat’s Eye Stickpin. $500/750

725. American Oak Tall Case Clock, c. 1910, retailed by Tiffany, brass and silvered dial with moon phase, signed “Tiffany & Co.”, striking gong movement, case with carved scrolls and beveled window, h. 99 in., w. 21 1/2 in., d. 15 1/2 in. $3000/5000

724. Two Continental Bronze Figures of Mercury and Fame, after Giambologna, h. 15 3/4 in., w. 6 1/4 in., d. 7 1/4 in., black marble bases with classical‑motif reliefs, overall h. 21 1/4 in. $800/1200

726. Gilt Bronze‑Mounted Chinese Export Famille Rose Porcelain Punch Bowl, probably 19th c. and later, porcelain decorated with alternating bird and butterfly panels and figural scenes on a gilt decorated white ground strewn with fruit and flowers, overall h. 12 5/8 in., w. 16 3/4 in. $1500/2500

727. Pair of Chinese Polychrome Painted Red Lacquer Console Tables, probably late 19th/early 20th c., demilune banded tops, shaped friezes, molded legs, stretchers, h. 32 in., w. 34 in., d. 17 in. $800/1200

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728. Chinese Carved and Inlaid Hardwood Horseshoe Back Swivel Chair, scrolled backsplat, carved and shaped supports, columnar support, scroll legs, scroll feet, h. 13 1/2 in., w. 23 1/2 in., d. 21 in. $400/600

729. Chinese Carved Hardwood Side Table, inset panel top, reticulated S‑scroll and ball frieze, turned legs, shaped stretchers, h. 22 in., w. 17 in., d. 12 3/4 in. $300/500

730.

Chinese Carved Hardwood Side Table, inset panel top, reticulated bamboo frieze, shaped legs and stretchers, ball feet, h. 27 1/4 in., w. 14 in., d. 14 in. $200/400

731. Semi‑Antique Kirman Carpet, c. 1940, red ground, central medallion, stylized floral design, 9 ft. 9 in. x 17 ft. 4 in. $800/1200 732. Semi‑Antique Kirman Carpet, c. 1940, red ground, central medallion, stylized floral design, 8 ft.

11 in. x 12 ft. $800/1200 733. Antique Persian Malayer Runner, repeating boteh design, 3 ft. 5 in. x 12 ft. 2 in. $500/800 734. Persian Carpet, red border on blue ground, 7 ft. 7 in. x 10 ft. 7 1/2 in. $1000/1500 735. Qashqai Carpet, red ground, double medallion, 5 ft. 2 1/2 in. x 9 ft. 2 in. $1400/1800 736. Persian Turkaman Carpet, red ground, repeating medallion grid design, 7 ft. x 10 ft. 2 1/2 in. $1500/2000

736A. Continental Marble Bacchanalian Figural Group, 1886, carved as a young boy and girl frolicking with a goat and grapes, after Claude Michel Clodion, inscribed “Clodion” and dated on base, h. 40 in., w. 34 in., d. 20 in. $2500/3500

737. Heriz Carpet, red ground, central medallion, serrated spandrels, overall stylized floral design, 9 ft. 5 1/2 in. x 12 ft. 6 1/2 in. $3500/4500 738. Antique Tabriz Carpet, red and blue ground, central medallion over scalloped field, stylized floral design, 8 ft. 8 in. x 11 ft. 4 1/2 in. $3000/4000

741. Antique Sarouk Carpet, blue central ground, red border, tree of life design, 5 ft. 4 in. x 9 ft. 7 1/2 in. $1500/2000

739.

Antique Sarab Carpet, red ground, central medallion, 10 ft. 4 in. x 13 ft. 10 in. $2000/3000

742. Heriz Carpet, red ground, central medallion, shaped spandrels, overall floral design, 6 ft. 4 1/2 in. x 10 ft. 1 in. $2000/3000

740. Tabriz Carpet, red and cream design, overall repeating leaf design, 9 ft. 10 in. x 12 ft. 8 in. $3000/4000

743. Antique Malayer Carpet, red and blue repeating stylized floral design, 6 ft. 9 1/4 in. x 9 ft. 11 in. $2500/3500

Additional information at www.nealauction.com

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744. Two Antique Southeast Asian Carved and Gilded Wood Figures of Buddha, each seated in dhyanasana on a triangular base with hands held in bhumisparsa mudra, h. 15 5/8 in. and 10 3/4 in. $300/500

745. Indian School, “Elegant Couple in a Landscape”, gouache heightened with gold on thick paper, probably Wasli, 13 1/4 in. x 8 7/8 in., framed and glazed. $150/250

746. Japanese Imari Porcelain Charger, Meiji Period (1868‑1912), decorated with a central dragon‑and‑pearl roundel encircled by bands with stylized phoenix roundels and cartouches, base with Fuki Choshun mark, dia. 14 1/4 in. $100/200 Provenance: Estate of Janice Lane Young, Richmond, VA.

747. Japanese School, probably Meiji Period (1868‑1912), “Tethered Falcons tied with Blue Jess”, two paintings, ink and color on paper, sight 49 1/8 in. x 18 in., matted and framed alike. $1000/1500 Provenance: Estate of Janice Lane Young, Richmond, VA.

748. Japanese School, probably Edo Period (1615‑1868), “Court Scenes”, two paintings, each ink, color and gold leaf on paper, sight 9 1/2 in. x 8 1/4 in., double matted and framed alike. $500/700

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Session Three Sunday, December 4, 11 am 3923 Carondelet

Additional information at www.nealauction.com

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749. Two Newcomb College Art Pottery Vases, green glaze vase, base marked with Newcomb cypher, Joseph Meyer’s potter’s mark, h. 3 1/2 in., dia. 3 in.; and an unglazed floriform vase, with Joseph Meyer’s potter’s mark, h. 3 3/4 in., dia. 4 in. $500/700 Provenance: The unglazed vase: Estate of Joseph Meyer; his daughter Nora Walther; Jean Bragg Gallery, May, 2000.

750. Newcomb College Art Pottery Low Vase, 1916, decorated by Anna Frances Simpson with Cherokee roses modeled in low relief, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. IJ17, and shape no. 261, h. 2 5/8 in., dia. 5 in. $700/1000

751. Newcomb College Art Pottery Vase, 1929, decorated by Sadie Irvine with pink Cherokee roses modeled in relief, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator’s mark, Jonathan Hunt’s potter’s mark, reg. no. RT78, and shape no.

186, h. 4 3/4 in. $500/700

752. Newcomb College Art Pottery Vase, 1918, decorated by Sadie Irvine with a landscape design of moss‑laden live oak trees against a pink sky, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. JP56, and shape no. 286, h. 3 5/8 in., dia. 4 1/4 in. $700/1000

753. Fulper Pottery Centerpiece, stamped, oval two handled, with removable flower frog, in a green and mustard glaze, h. 3 1/4 in., w. 12 3/8 in., d. 6 1/2 in. $300/500

754. Four Paul Cox New Orleans Pottery Vessels, each marked, various glazes, largest h. 6 in., dia. 8 1/2 in. $500/700

755. Early Shearwater Pottery Woman with Basket, stamped mark, gun metal glaze, h. 10 in., w. 8 1/2 in., d. 5 in. $700/1000

759. Three Shearwater Pottery Football Player Figures, marked, white glaze, tallest 7 1/2 in. $400/600 757. Shearwater Pottery Plate, stamped mark, with two giraffes over blue geometric design, dia. 10 5/8 in. $500/700

761. Four Shearwater Pottery Figural Pieces, marked, incl. pelican bookend, duck ashtray, gull lamp, and woodpecker cup, gull without base, h. 7 1/4 in. $600/900

760. Three Shearwater Pottery Figures, marked, incl. “Pied Piper”, “Don Quixote” and “Sancho Panza with Mule”, tallest 10 5/8 in. $500/700

758. Shearwater Pottery “Mr. Aspirin” Figure, marked, h. 8 7/8 in., w. 5 3/4 in., d. 5 3/4 in. $400/600

762. Rookwood Pottery Standard Glaze Teapot and Sugar Bowl, 1889 and 1900, brown and green glaze with floral decoration, teapot h. 8 1/2 in. $300/500

764. Six Shearwater Pottery Baseball Player Figures, ink stamp, tallest h. 6 in. $300/500 763. Pair of Newcomb Pottery Candlesticks, c. 1915, attributed to Martha Gasquet, decorated with camellias, matte glaze with blue, green and white underglaze, bases with decorator’s mark only, h. 6 1/2 in., dia. 3 1/4 in. Note: Repaired break at neck on one. $500/700 Provenance: Jean Bragg Antiques, New Orleans.

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756. Large Shearwater Pottery Charger, Christopher Inglis Stebly, signed, in a Hurricane Katrina design, dia. 16 in. $600/900

765. [Mardi Gras], Rex ball invitation, envelope with sticker, and admit card, “Ivanhoe” 1885, lithograph by F. Appel, Paris.

(3 pcs.) $600/800 Note: The mounted horseback riders in the 1885 Rex parade costumed as the different countries represented in the World’s Industrial and Cotton Centennial held in Audubon Park.

766. [Secret Societies, St. Louis, MO], Veiled Prophets, ball invitation and envelope, theme “The Return of Shakespeare”, 1884. $300/500

768. Battalion Washington Artillery Ball Invitation and Envelope, 1885, with dance card and program; together with Order of Cincinnatus envelope and Proteus dance card in fragments, “The Myths and Worships of Chinese”, 1885. (6 pcs.) $300/500

769. Great Seal of the Confederacy, 1862, copper, dia. 3 1/2 in., featuring George Washington on horseback, border of wheat, cotton, corn, sugar, tobacco and rice; text “The Confederate States of America: 22 February 1862/Deo Vindice”, brass and glazed frame, velvet-lined leather case. $1000/1500

770. Confederate Cavalry Guidon, 19th c., eleven four‑pointed stars on a blue field, broad red and white stripes, 11 in. x 17 in., matted and framed. $2000/3000

767. [Mardi Gras], “St. Valentine as Rex, as Prince Carnival, Then Comes Lent and the D‑ to Pay”, Fed. 14, 1893, pen and ink, 10 1/4 in. x 9 3/4 in., framed. $100/150 Note: With the theme of “Fantasies”, the Rex ball was held on Feb. 14, 1893 at Washington Artillery Hall.

769A. Carte de Visite Photograph Album, “Greer‑Meltzer‑Poozer Families of Charleston, SC and Meltzer Family of Atlanta, GA, incl. Confederate Soldiers”, carte de visites and tintypes, 6 in. x 4 3/4 in., gilt‑tooled leather album. $1200/1800

771. Great Seal Of the Confederacy, 1862, silver electroplate on copper, dia. 3 1/2 in., featuring George Washington on horseback, border of wheat, cotton, corn, sugar, tobacco and rice, text “The Confederate States of America: 22 February 1862/Deo Vindice”, brass and glazed frame, velvet-lined leather album. $1000/1500

772. Cabinet Card of Confederate General Jeb Stuart, by Cook of Richmond, VA, image 5 1/4 in. x 3 7/8 in. $300/500

773. American Leather Trunk, c.

1850, labeled “James Boyd & Sons, Boston and New Orleans”, top monogrammed “R.G.”, nailhead trim, h. 13 in., w. 36 in., d. 18 in. $300/500 775. After Roy Cross (British, b. 1924), “Port of New Orleans, from the West Bank”, oil on wood panel, unsigned, 12 in. x 16 in., framed. $1000/1500 774. American School, 19th c., “Sailing Ship Ticondaroga of New York”, oil on canvas, unsigned, titled lower center, 29 in. x 36 in., birdseye maple frame. $2000/3000 Additional information at www.nealauction.com

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776. After Arthur Fitzwilliam (British/New York, 1819‑1905), “A Check, Keep Your Distance!”, 1853, hand‑colored lithograph, published by Nathaniel Currier, sight 14 1/4 in. x 20 1/2 in., framed. $1000/1500

777. American Half‑Plate Hand‑Colored Ambrotype Portrait of Gentleman in Union Case, c.

1860, photographer “W. L. Germon, Phila.” embossed on brass mat, Littlefield, Parsons & Co. case, depicting Elizabethan knights escorting a lady riding an ox, case 6 1/4 in. x 5 in. $300/500

778. “Original New Orleans Minstrels” Poster, 1857, color lithograph depicting the blackface minstrel John Stiles, published by The Courier Litho.

Co. Buffalo, N.Y., 28 1/4 in. x 21 in., unframed. $600/900

779. Caroline Wogan Durieux (American/Louisiana, 1896‑1989), “Mardi Gras Day, The Coach Dogs”, lithograph on paper, pencil‑signed, titled and inscribed “printed by the artist ‑ 15 prints” lower margin, sheet 15 1/2 in. x 10 in., framed. $500/800

780. Caroline Wogan Durieux (American/ Louisiana, 1896‑1989), “Swine Masker, Mardi Gras Day”, lithograph on paper, pencil‑signed, titled and inscribed “printed by the artist ‑ 10 prints” lower margin, sheet 15 1/4 in. x 9 3/4 in., unframed. $400/600 Note: The book Mardi Gras Day was published in 1948 and featured the drawings and lithographs of John McCrady and two professors of the recently established LSU Art Department, Caroline Durieux and Ralph L. Wickiser.

781. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Submarine Garden”, etching on paper, pencil‑signed and titled lower margin, sight 7 1/4 in. x 4 1/4 in., framed. $200/400 Provenance: Gift of Agnes Harmanson, Harmanson’s Art and Book Store, 333 Royal St., New Orleans, LA.

783. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “’Pops’ Whitesell, New Orleans”, 1944, etching on paper, pencil‑signed, titled, dated and inscribed “Ed/15” and “to Wayman Adams ‑ with best wishes ‑” lower margin, sight 10 1/2 in. x 8 1/4 in., framed. $300/500

787. Irma Sompayrac Willard (American/Louisiana, 1900‑1991), “Mildred L. McCoy’s Bayou Folk Museum & Kate Chopin Home, Natchitoches Parish at Cloutierville, LA”, 1976, limited first edition print, pencil‑signed, dated and inscribed “Office of Dr. Eleanor Mendel [sic] Worsley and Residence” lower margin, 9 1/2 in. x 13 3/4 in., framed. $150/250 Provenance: Estate of Dr. Eleanor M. Worsley, Natchitoches, LA.

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784. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Nocturnal Adventure”, aquatint, pencil‑signed, titled inscribed “Ed/150” lower margin, sight 13 1/2 in. x 9 1/2 in., framed. $300/500

785. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Satyr” and “The Bibliophile A.D. 1957”, 2 postage stamp etchings on paper, both pencil‑signed, latter titled and former dated lower margin, former titled in image, sights 1 3/8 in. x 3/4 in. and 1 5/8 in. x 1 1/8 in., matted and framed alike. $250/450 Provenance: Harmanson’s Art and Book Store, 333 Royal St. New Orleans, LA.

782. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Daydreams” and “Resting”, 1929, 2 etchings on paper, both pencil‑signed, titled, numbered and embossed monogram lower margin, latter dated lower margin, each ed. 75, sights 6 1/2 in. x 4 1/2 in., framed alike. (2 pcs.) $300/500

786. Ellsworth Woodward (American/New Orleans, 1861‑1939), “The Courtyard”, etching on paper, initialed “E.W.” in plate lower left, pencil‑signed, titled and inscribed “#22 ‑ edition 75” lower margin, 10 in. x 8 in., sheet 15 in. x 11 in., framed. $400/600

790. After Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Blue Heron”, hand‑colored linocut on paper, unsigned, sheet 37 1/2 in. x 20 1/2 in., unframed. $500/700 788. Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Shotgun House, Old New Orleans”, “French Market‑Gallatin St., Old New Orleans” and “News of the Day”, 3 etchings on paper, all pencil‑signed and titled lower margin, sights 3 3/4 in. x 3 1/2 in. to 5 1/2 in. x 4 in., framed.

(3 pcs.) $500/700

789. Eugene E. Loving (American/ New Orleans, 1892‑1967), “Iron Lace Balconies, Old New Orleans”, etching, pencil‑signed, titled and inscribed “Ed/200” lower margin, 10 in. x 7 1/8 in., sheet 13 1/8 in. x 9 3/8 in., unframed. $200/300

Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 69.

791. Charles Henry Reinike (American/Louisiana, 1906‑1983), “Docked Shrimp Boats”, 1954, watercolor on paper, signed and dated lower left, sight 20 in. x 26 3/4 in., framed. $700/1000

792. Charles Henry Reinike (American/New Orleans, 1906‑1983), “Landscape with Farmer, Horse Team and Barn”, oil on masonite, signed lower right, 16 in. x 20 in., framed. $1000/1500

793. Marie de Hoa LeBlanc (American/New Orleans, 1874‑1954, act. Newcomb College, 1895‑1914), “Live Oak Tree”, watercolor, signed lower right, “Dr. James W. Nelson, Gonzales, LA” label en verso, 7 1/2 in. x 11 in., framed. $1000/1500 Provenance: Jean Bragg Gallery, New Orleans.

Ill.: Bragg, Jean Moore and Dr. Susan Saward. The Newcomb Style: Newcomb College Arts & Crafts and Art Pottery Collector’s Guide. New Orleans: Jean Bragg Gallery, 2002, no. 160, p. 106.

794. Steele Burden (American/ Louisiana, 1900‑1995), “Grand Isle”, oil on canvas board, unsigned, titled, inscribed “Ione Burden” and “Taylor Clark, Government St.” label en verso, 8 in. x 10 in., framed. $1200/1800 Provenance: Gift of the artist.

795. Steele Burden (American/ Louisiana, 1900‑1995), “Evening on the Bayou”, oil on canvas board, unsigned, 10 in. x 8 in., handmade cypress frame. $2000/4000 Provenance: Gift of the artist.

796. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Live Oaks, Louisiana Bayou”, 1917, oil wash on board, signed and dated lower left, 15 1/2 in. x 20 in., framed. $1500/2500

797. John J. Korver (American/Louisiana, 1910‑1988), “Live Oak on the Bayou”, 1968, oil on canvas, signed and dated lower right, 24 in. x 30 in., framed. $2000/3000 798. Louisiana School, late 19th c., “Bayou at Sunset”, oil on canvas, unsigned, “W.E. Seebold, Art Dealer and Stationer, N.O.” label en verso, 11 in. x 16 1/2 in., framed. $2000/3000

799. Richard Clague (French/New Orleans, 1816‑1878), “Portrait of a Gentleman”, oil on canvas, signed mid‑right, 30 in. x 25 in., framed. $2000/3000

800. Two Antique American Pressed Portrait Medallions, 19th c., one depicting George Washington, dia. 21 in., d. 1 1/2 in. $800/1200

Additional information at www.nealauction.com

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801. Robert John Curtis (American/Charleston, 1816‑1877), “Portrait of William J. Gerald (1811‑1874)”, oil on canvas, pencil‑signed “R.J. Curtis of Charleston SC”, sitter identified and inscribed “Intendant of the town of Camden S.C. from April 1866 to April 1868” and “Newman Galleries, Philadelphia” labels en verso, 30 in. x 25 in., framed. $2000/3000 Provenance: Descended in the family of the sitter.

Note: Robert J. Curtis, known for his portraiture in Charleston and the surrounding areas, was trained in Philadelphia under John Neagle (1796-1865). In the early 1830s, Curtis began advertising in the Charleston Courier and by the late 1830s had received critical acclaim from the same publication. His 1838 portrait of the Seminole Indian Osceola was widely praised and reproduced in lithograph form by William Keenan (b. 1810).

William J. Gerald, a merchant in Camden, SC, married Eliza Jane Clarkson in 1833; the couple had nine children. After his wife’s death and the end of the Civil War, Gerald acted as Intendant (a past term for mayor) of Camden for two years following his efforts, along with residents of Augusta, GA, and Newberry, SC, to provide goods for the citizens of Columbia, SC. The city of Columbia had been looted and burned by some of General Sherman’s troops at the end of the war.

Ref.: Charleston Courier. Charleston, SC. Feb. 21 and Apr. 26, 1838; The Daily Phoenix.

Columbia, SC. Apr. 22, 1865.

803. Bronze Bust of George Washington, after the famous prototype by Jean-Antoine Houdon, apocryphal signature, inscribed on reverse, h. 21 3/4 in., w. 12 in., d. 11 1/4 in., black marble base, overall h. 25 in., $300/500

802. Bronze Figure of “Victoria “, after Émile‑Louis Picault, “E. Picault” inscribed on self‑base, “Fabrication Francaise / Made in France” cast seal, h. 11 1/4 in., w. 7 1/4 in., d. 4 3/4 in., verde antico base, overall h. 13 1/4 in. $600/800 805. Set of American Cast Iron Laurel Pattern Garden Furniture, 19th c., incl. settee and two armchairs, each with foliate back, pierced seat and winged griffin legs, settee h. 28 1/2 in., w. 42 1/4 in., d. 29 in.; armchair h. 27 in., w. 25 3/4 in., d. 23 1/2 in. $1500/2500

804. Heinrich Manger (German/ Philadelphia, 1833‑1891), 19th c., “Bust of a Young Man”, bronze, inscribed “H. Manger S[cul]p[to]r / Phila. PA / 1898 / U.S.”, h. 26 in., w. 21 1/2 in., d. 13 1/2 in., wood pedestal with repoussé metal reliefs, overall h. 65 3/4 in. $800/1200 806. American Cast Iron Fern Pattern Garden Settee, probably mid‑19th c., h. 33 in., w. 54 1/4 in., d. 20 in. $1000/1500

807.

American Painted Iron Wardian Case, 19th c., strapwork panels, hinged top, h. 24 in., w. 20 1/4 in., d. 20 1/4 in. $300/500 Note: The Wardian case was invented in 1829 by Dr. Nathaniel Bagshaw Ward, after his collection of ferns was poisoned by London’s pollution.

The cases were quickly adopted by plant explorers, prospecting the world for new plants. By mid-century, handsome examples were found in stylish drawing rooms.

Ref.: Lichten, Frances, Decorative Art of Victoria’s Era, p. 160.

808. American Cast Metal Figural Garden Fountain, 20th c., after the well-known model by Fiske, New York, cherub and shells, over addorsed egrets, the basin cast with lily, frog and turtle border, h. 89 3/4 in., dia. 69 1/4 in. $4000/6000

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809. Pair of American Cast Iron Fern Pattern Armchairs, mid‑19th c., intertwined frond back, pierced seat, conforming legs, h. 32 1/2 in., w. 24 1/4 in., d. 19 1/2 in. $800/1200

810. American Cast Iron Indigo Pot, 19th c., flared rim with two rod handles, deep rounded bowl, h. 21 in., w. 40 in., d. 36 in. $1000/1500

811. American Classical Carved Giltwood Mirror, early 19th c., attr. to Isaac Platt, New York, fleur‑de‑lis corners, split columnar frame, divided mirror plate, h. 41 3/4 in., w. 22 in. $500/1000

813. Winterhalder & Hofmeier Inlaid Mahogany Tall Case Clock, early 20th c., movement marked “W & H/Sch./Germany”, Whittington and Westminster chimes striking on 5 gongs and 8 bells, “moon phase” dial, case inlaid with cornucopiae and urns, h. 90 in., w. 21 1/4 in., d. 14 1/4 in. $1500/2500

Provenance: Historic “Sally Mill”, Middleburg, VA.

812. American Classical Carved Giltwood Pier Mirror, molded pediment, églomisé panel depicting a house on a hill, possibly an early view of Mt. Vernon, old mirror plate, flanked by fluted and carved columns, h. 31 in., w. 18 in. $300/500

814. Austrian Carved and Ebonized Walnut Regulator Clock, c. 1890, the dial and pendulum with floral and maiden reliefs, h. 50 in., w. 18 1/2 in., d. 7 3/4 in. $700/1000

815. William IV Pine Partners’ Desk, 19th c., inset leather top, kneehole configuration of drawers on each side, h. 31 in., w 63 in., d. 51 in. $800/1200

Provenance: Estate of Harry Sim Kaufman III (1941‑2016), New Orleans, LA; Sold to Benefit the New Orleans Museum of Art Acquisitions fund.

816. Georgian Carved Mahogany Bowfront Chest of Drawers, early 19th c., two over four drawers, shaped skirt, “French” feet, h. 50 in., w. 44 7/8 in., d. 22 1/8 in. $400/600

818. Louis‑Honore‑Frederic Gamain (French, 1803‑1871), “USS Kearsage”, 1864, watercolor and gouache on paper, signed and dated lower right, titled on mat board, sheet 14 1/2 in. x 22 1/2 in., framed. $1200/1800

817. Antique Oak Welsh Dresser, 19th c., molded cornice, three plate shelves, base with three drawers, turned supports, stretcher shelf, block feet, h. 78 1/2 in., w. 51 in., d. 17 1/2 in. $800/1200

819. Antique George II‑Style Burled Walnut Lowboy, 19th c., crossbanded top, three drawers, shaped skirt, cabriole legs, pad feet, h. 29 1/2 in., w. 26 1/4 in., d. 17 3/4 in. $700/1000

Note: The USS Kearsage sank the famous Confederate raider CSS Alabama led by Captain Raphael Semmes off the coast of France on June 12, 1864. Crowds gathered on the shore of Cherbourg Harbor to watch the spectacular battle. It is believed that Gamin, a Le Havre painter, was an eyewitness to the sinking of the CSS Alabama.

820. James Milton Sessions (American, 1882‑1962), “Tropical Scene of Palm Trees and Woman Carrying a Basket”, 1936, watercolor on board, signed and dated lower right, 6 3/4 in. x 8 1/2 in., board 10 3/4 in. x 12 in., framed. $300/500 821. Hamilton Hamilton (British/California, 1847‑1928), “Mountainous Landscape”, oil on canvas, signed lower right, 18 in. x 28 in., period frame. $2000/4000

Additional information at www.nealauction.com

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822. Harry Nolan (American/ Louisiana, 1891‑1929), “Arch Bridge, City Park, New Orleans”, oil on canvas board, signed lower right, 12 in. x 16 in., period frame. $1200/1800

823. Will Ousley (American/ Louisiana, 1866‑1953), “The West Fork of Calcasieu River, S.W. Louisiana”, 1938, oil on canvas, signed lower right, titled and numbered “909” lower center, signed, titled, dated and inscribed en verso, 18 in. x 34 in., framed. $1500/2500 824. Clementine Hunter (American/Louisiana, 1886‑1988), “Wash Day and Feeding Chickens”, oil on board, monogrammed mid‑right, 13 1/4 in. x 22 in., framed. $3000/5000 Provenance: Acquired from the artist, Natchitoches, LA, c. 1960s; sold in these rooms, May 4, 2008, lot 872.

825. Clementine Hunter (American/Louisiana, 1886‑1988), “Mary and Baby Jesus”, oil on canvas board, monogrammed mid‑right, pencil‑monogrammed and “Sincerely Yours, Inc., Natchitoches, LA” label en verso, 18 in. x 24 in., framed. $3000/5000

828. Robert Miller (American/ Natchitoches, 20th c.), “School Recess”, 1993, oil on canvas, signed and dated lower right, 12 in. x 24 in., framed. $500/700 827. Louisiana Folk Art School, 20th c., “Melrose Plantation”, oil on canvas, signed “Moss” lower right, 26 in. x 16 in., cypress frame. $500/700

Provenance: Estate of Dr. Eleanor M. Worsley, Natchitoches, LA.

826. Clementine Hunter (American/Louisiana, 1886‑1988), “Haulin’ Cotton”, oil on board, monogrammed mid‑right, monogrammed, inscribed “Mrs. Mathilda Geary ‑ Hunt, New Orleans, LA” and stamped “Collection, Richard C. Edgeworth, Chicago” en verso, 18 in. x 24 in., framed. $3000/5000

829. Southern Folk Art School, mid‑20th c., “Picking Cotton by the Cabin”, oil on canvas, inscribed en verso, 16 in. x 20 in., framed. $400/600 Provenance: Estate of Dr. Eleanor M. Worsley, Natchitoches, LA.

830. Alberta Kinsey (American/ Louisiana, 1875‑1952), “Sunshine: Still of Pansies”, 1933, oil on canvas, signed and dated lower left, titled en verso, 18 in. x 16 in., period frame. $500/800 Provenance: Estate of Dr. Eleanor M. Worsley, Natchitoches, LA.

Provenance: Estate of Dr. Eleanor M. Worsley, Natchitoches, LA. 831. Colette Pope Heldner (American/ New Orleans, 1902‑1990), “Patio, Little Green Shutter Inn, French Quarter, New Orleans”, oil on canvas, signed lower left, signed and titled en verso, 48 in. x 24 in., framed. $1500/2500

832. William Ousley (American/Louisiana, 1866‑1953), “West Fork of Calcasieu River, LA, No. 342, Moonlight”, 1929, oil on canvas, signed lower right, titled lower center, signed, titled, dated and inscribed en verso, 17 3/4 in. x 33 3/4 in., period frame. $2500/3500

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834. Wilson Bigaud (Haitian, 1931‑2010), “Mermaid”, oil on masonite, signed lower right, “Galerie Monnin/ Port‑au‑Prince/ Haïti” inscribed en verso, 24 in. x 16 in., framed. $1500/2500

833. Charles Woodward Hutson (American/Louisiana, 1840‑1936), “Autumn”, pastel on board, initialed “C.H.” lower right, titled, “Mobile Art Center Gallery Alabama” label and printed artist’s biography en verso, 8 in. x 10 in., framed. $1000/1500

835. Sénèque Obin (Haitian, 1893‑1977), “Four à Chaux”, oil on board, signed and inscribed “Cap‑Haïtien” lower right, titled lower center, “Grand Central Artists’ Materials, New York” framer label and ink sketch en verso, 20 in. x 24 in., framed. $2500/3500

836. Philome Obin (Haitian, 1892‑1986), “Une noce de paysans à Plaisance”, oil on masonite, signed and inscribed “Cap‑Haïtien” lower right, titled lower center, 16 in. x 20 in., framed. $3000/5000 Note: Philome Obin was a painter and muralist working in a naive, folk-art style who depicted street scenes, Haitian history, allegorical themes, native figures and genre scenes within his large body of work. Obin is credited as largely responsible for the flowering of Haitian Art since 1945, and he is described by some critics as “the greatest of all Haitian artists. “Obin tried to emulate French classicism in his draftsmanship, resulting in what the critic Selden Rodman referred to as “magical-pseudo realism.” Obin’s style was considerably more subtle than his contemporaries, but one that influenced all northern Haitian artists since he first became a noticed painter in the 1940s.

The painting offered here is a scene of a country wedding, evidencing the artist’s subtle use of color to capture the quiet dignity of his countrymen through the his own unique sense of perspective.

837. Antoine Obin (Haitian, b.

1929), “Portrait of a Woman with Flowers”, oil on masonite, signed and inscribed “Haïti” lower right, 10 1/4 in. x 8 1/4 in., framed. $800/1200

Ref.: Rodman, Selden. Where Art is Joy Haitian Art: The First Forty Years. New York: Ruggles & LaTour, Inc ., 1988.

838. Préfète Duffaut (Haitian, 1923‑2012), “Port Scene”, 1965, oil on canvas, signed and inscribed “Haïti” lower left, “E.H. & A.C. Friedreicks Co., New York” label en verso, “Anco bilt/ Glendale, NY” stamp on stretcher, 24 in. x 30 in., framed. $800/1200 Note: Painting from his hometown of Jacmel, Haiti, Prefete Duffaut work’s are characterized by the vibrant colors typical of south Haitian painters. Duffaut was an early member of the Centre d’Art, joining in 1946, and he was one of the few artists selected to paint the landmark murals in the Trinity Cathedral in 1951 (since destroyed in the earthquake of 2010). Duffaut became known for his paintings of imaginative constructions of mountains dotted with small houses and always referencing the coast. Each of his works, such as the one offered here, are filled with didactic meaning expressing the artist’s moral, philosophical and religious ideals.

839. Préfète Duffaut (Haitian, 1923‑2012), “Jacmel Haiti”, oil on masonite, signed and titled lower center, 16 1/4 in. x 20 in., framed. $500/700

Ref.: “Prefete Duffaut.” Indigo Arts Gallery. www.indigoarts. com. Accessed Oct. 24, 2016.

841. Franklin LaTortue (Haitian, b.

1942), “Jungle”, oil on masonite, signed lower right, 16 in. x 30 in., framed. $300/500

840. Petion Savain (Haitian, 1906‑1973), “Market Scene, Haiti”, oil on masonite, signed and inscribed “Haiti” upper right, 15 3/4 in. x 8 in., period frame. $500/700

842. Latin American School, 20th c., “Open Air Market (incomplete Market Scene en verso)”, watercolor on paper, indistinctly signed “Frank....e” lower left, 15 1/4 in. x 22 in., unframed. $300/500 843. Mexican School, late 20th c., “Woman Carrying a Rooster”, watercolor on paper, illegibly signed and inscribed “Mexico” lower left, sight 14 1/2 in. x 10 3/4 in., matted and framed. $500/800 Additional information at www.nealauction.com

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845. Frank Ashley (American, 1920‑2007), “The Birth of Jazz”, 1952, oil on canvas, signed and dated lower right, “Spanierman Gallery, NY” and “Cahoon Museum of American Art” labels en verso, 23 in. x 27 in., framed with artist plaque. $2500/3500

844. George Orry‑Kelly (Australian/ New York, 1897‑1964, act. New Orleans, mid‑20th c.), “Old Absinthe House, Corner of Rue Bourbon and Rue Iberville, French Quarter”, oil on masonite, signed lower left, 9 1/4 in. x 17 3/4 in., framed. $600/800

847. Noel Rockmore (American/New Orleans, 1928‑1995), “Julio Prol, No. 2, Classical Spanish Guitarist”, 1962, watercolor on paper, signed, titled and dated lower right, pencil‑inscribed “old mentor, special and Douglas Macagy, Dallas” en verso, sheet 16 1/2 in. x 13 1/2 in., framed. $500/700

Provenance: Spanierman Gallery, New York, NY. Exh.: Striking the Right Notes ‑ Music in American Art, Cahoon Museum of American Art, Cotuit, MA, Oct. 25 ‑ Dec. 31, 2005.

848. William Tolliver (American/Louisiana, 1951‑2000), “Watching the Sunset in the Fields”, oil on board, signed lower left, 26 1/4 in. x 36 in., framed. $3000/5000 Exh.: The Zigler Art Museum, Jennings, LA, Apr. 2009.

846. Noel Rockmore (American/ New Orleans, 1928‑1995), “French Market Cafe”, 1987, pastel on paper, signed and dated lower right, sight 23 1/4 in. x 35 1/4 in., framed. $1000/1500

849. William Tolliver (American/ Louisiana, 1951‑2000), “Cotton Picker Liz”, acrylic monotype on paper, signed lower right, pencil‑signed, titled and inscribed en verso, sheet 30 in. x 22 in., unframed. $3000/5000 Provenance: Descended in the family of the artist.

850. Andrew LaMar Hopkins (American/New Orleans, 20th c.), “A Typical Day in Antebellum New Orleans”, 2015, acrylic on canvas board, signed and dated lower right, signed, titled, dated and artist’s card en verso, 20 in. x 16 in., framed. $1000/1500 Note: Born in Mobile, AL, Andrew Hopkins’ art is greatly influenced by New Orleans and his love of all things French. Hopkins, an avid student of history, meticulously researches and immaculately executes his historic tableaus of the 18th and 19th centuries, resulting in beautifully rendered architectural interiors with period dress and exacting detail such as the work offered here. Each object included in his composition is period correct and often inspired by items within Hopkins’ own collection of antiques.

A person of Creole descent, Hopkins is passionate about his ancestry, and his subjects typically focus on Creole and free people of color in New Orleans. On his paternal side, he is a direct descent of Nicolas Baudin, who obtained a land grant in 1710 for an island south of Mobile, which he named Mon Louis. As a descent of Baudin, Hopkins is related to several French governors of Louisiana.

As evidenced in “A Typical Day in Antebellum New Orleans,” Hopkins creates scenes that are both familiar and intriguing. Combining his period subject matter with simple, non-dimensional renderings of people reminiscent of the Early American Primitive School of portrait painters, Hopkins is often compared to artists such as Joshua Johnson and Julien Hudson. However, his contemporary use of color and often whimsical elements imbue his works with a style uniquely his own.

Ref.: Cutrone, Lee. “Andrew LaMar Hopkins.” New Orleans Homes & Lifestyles. Spring 2015. www.myneworleans.com. Accessed Oct. 23, 2016.

852. George Rodrigue (American/ Louisiana, 1944‑2013), “I See You, You See Me: Split Font”, 1993, silkscreen, signed lower left, inscribed “Artist Proof” lower right, edition of 35 plus artist proofs, 16 in. x 23 in., unframed. $1500/2500 Ill.: Rodrigue, George. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007.

New York: Harry N. Abrams Inc., 2008, p. 85.

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853. George Rodrigue (American/ Louisiana, 1944‑2013), “Chicken in a Basket”, 1993, silkscreen, signed and numbered “65/100” lower right, 23 in. x 34 in., framed. $1500/2500 Ill.: Rodrigue, George. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007.

New York: Harry N. Abrams Inc., 2008, p. 86.

851. Larry Zingale (American, b.

1938), “Girl in a Cafe”, 1974, acrylic and mixed media on canvas board, signed and dated upper left, titled on label en verso, 10 in. x 8 in., framed. $500/800

854. George Rodrigue (American/ Louisiana, 1944‑2013), “Group Therapy: Red”, 1995, silkscreen, signed lower left, numbered “29/40” lower right, 27 in. x 20 1/2 in., framed. $1500/2500

855. George Rodrigue (American/ Louisiana, 1944‑2013), “New Orleans Edition III”, 1996, silkscreen, signed and numbered “32/90” lower left, sight 24 3/4 in. x 20 3/4 in., framed. $1000/1500

Ill.: Rodrigue, George. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007.

New York: Harry N. Abrams Inc., 2008, p. 142.

Ill.: Rodrigue, George. George Rodrigue Prints: Catalogue Raisonné 1970‑2007.

New York: Harry N. Abrams, Inc., 2008, p. 145.

856. George Rodrigue (American/ Louisiana, 1944‑2013), “Baby Blues”, 1994, silkscreen, signed lower left, numbered “216/350” lower right, 9 in. x 8 in., framed. $500/700 Ill.: Rodrigue, George. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007.

New York: Harry N. Abrams Inc., 2008, p. 98.

860. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Layered Landscape”, 1973, serigraph on paper, pencil‑signed, titled, dated and numbered “96/100” lower right, “Landfall Perss, Inc., Chicago” stamp and pencil inscriptions en verso, 44 1/2 in. x 29 3/4 in., framed. $500/700

857. Milton Avery (American, 1885‑1965), “Nursing Baby”, 1933, drypoint etching, signed in plate upper right, estate stamp “Milton Avery” in red lower right, pencil‑dated and numbered “31/100” lower left, edition of 100 printed posthumously, 4 1/8 in. x 4 1/8 in., sheet 15 in. x 13 in., framed. $400/600

861. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Two Totems in Gay Colors”, 1973, serigraph on paper, pencil‑signed, titled, dated and numbered “35/100” lower margin, “Landfall Press, Inc., Chicago”, stamp and pencil inscription en verso, 30 1/2 in. x 24 in., framed. $400/600

858. Roy Ahlgren (American, 1927‑2011), “Convergent Inversions”, “Universe”, and “Infinity”, 1970, 3 silkscreens, all pencil‑signed, titled and dated lower margin, sights 11 in. x 11 in. to 10 1/2 in. x 10 1/2 in., framed alike.

(3 pcs.) $700/900

862. French Carved and Polychromed Wood Folk Art Figure, 1888, modeled with articulated arms, metal hat visor and brass‑tack buttons, base inscribed “Japonai. Par./ Franciere à Courcelles Epayelle 1888”, h. 25 1/2 in., w. 9 3/4 in., d. 7 1/2 in. $800/1200

859. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Kohlmeyer Kloud”, 1973, serigraph on paper, pencil‑signed, titled, dated and numbered “2/100” lower margin, “Landfall Press, Inc., Chicago” stamp and pencil inscription en verso, 31 in. x 24 in., framed. $400/600

863. Two Antique Leather Hat Boxes, early 20th c., one fitted and lined with red leather “Woodrow, 46 Piccadilly, London” label; other with striated upholstered interior, exterior “Wells Fargo & Co.’s Express” travel sticker, each h. 11 in.; together with three collapsible top hats, two bearing “Dunlap & Co. New York” labels. $200/300 Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

Provenance: Ex‑Florida Collection.

866. Antique Italian or Spanish Baroque‑Style Carved Giltwood and Argenté Reliquary, fitted with sacred heart embroidery cartouche in silver filigree and “paste” mount, h. 22 1/2 in., w. 10 1/2 in., d. 7 1/2 in. $300/500

864. Victorian Woolwork Wreath, 19th c., worked in multi‑colored threads with flowers and foliage, h. 18 1/2 in., w. 15 1/8 in., shadowbox frame, h. 25 3/4 in., w. 23 3/4 in., d. 5 in. $300/500

865. Pair of Mexican Brass Five‑Light Candelabra in the Rococo Taste, leaf scroll arms, reticulated acanthus standard, foliate pierced base, h. 15 3/4 in., w. 9 in. $250/350

869. Fine American Gilt and Silvered Bronze Six‑Light Gasolier, c. 1852, attr. to Cornelius and Baker, vasiform standard, floral supports and garlands, electrified, h. 62 in., w. 32 in. $4000/6000 867. Pair of Italian Painted Cast Iron Candlesticks, 19th c., trumpet‑form candle sockets, acanthus scrolls, paw feet, h. 9 1/2 in., dia. 7 in. $300/500

868. English Neoclassical‑Style Wall Hanging, Timney Fowler, London, grisaille printed fabric, framed, 53 1/2 in. x 53 1/2 in. $400/600

Additional information at www.nealauction.com

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870. American Patinated Bronze Sinumbra Lamp, c. 1840, attr. to Henry Hooper, Boston, brown patinated candlestick form, fitted with a bulbous shade cut with flowers, h. 25 in., dia. 10 1/2 in. $700/1000 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

871. Miniature American Cut Glass Sinumbra Lamp, mid‑19th c., marked “E. Glass Co./Boston”, baluster form with brass mount, bulbous shade cut in a fern design, h. 17 in., dia. 6 1/2 in. $600/900

872. Small American Gilt Brass Hanging Solar Lamp, 19th c., smoke bell, foliate cut shade, h. 17 in., dia. 10 in. $600/900

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

Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH. 873. Pair of English Patinated Bronze Argand Lamps, early 19th c., attr. to Thomas Messenger and Sons, Birmingham, classical relief decorated urn, with openwork handles, mounted with satyr masks, square base on raised lion’s paw feet, each h. 13 1/4 in., dia. 5 1/2 in. $1500/2500

874. Pair of English Green Cut Glass Ship’s Decanters, 19th c., star cut stoppers, pontil bottoms, each h. 10 in., dia. 7 1/2 in. $700/1000

876. Bronze Bust of Abraham Lincoln. after George Edwin Bissell, inscribed “Geo. E. Bissell” on truncation, h. 17 3/4 in., w. 12 1/2 in., d. 11 1/2 in., marble base, overall h. 19 1/4 in. $800/1200 877. Monumental American Late Classical Gilt Mirror, 19th c., outset cornice with egg‑and‑dart molding, fluted Corinthian columns, beaded inner border, h. 61 1/2 in., w. 83 in. $400/600

878. Antique Louis XV‑Style Giltwood Mirror, 19th c., rocaille and shell carved crest, floral vine and branchwork surround, h. 72 in., w. 49 1/2 in. $800/1200

879. French Provincial Painted Diorama Clock, 19th c., depicting French store fronts, in original case, with bale handle and wall hangers, h. 18 1/4 in., w. 23 in., d. 6 1/2 in. $500/1000

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875. Bronze Bust of Theodore Roosevelt, after Richard Henry Park, inscribed “R.H. Park” on back of proper right shoulder, h. 29 3/4 in., w. 23 3/4 in., d. 12 1/2 in., wood pedestal, overall h. 71 in. $800/1200

880. Chinese School, probably 19th c., “Auspicious Birds “ ink and color on paper, inscribed and sealed mid‑left, sight 51 x 28 in., framed. $800/1200

881. Chinese School, probably late 19th/early 20th c., “Ancestor Portrait: Husband and Wife of Civil Rank”, ink, color and gold on paper, sight 65 in. x 36 1/4 in., matted and framed. $700/1000

Provenance: Estate of Janice Lane Young, Richmond, VA.

882. Good Regency‑Style Chinoiserie Decorated Writing Table, 20th c., probably custom made, original inset leather top, faux bamboo molded edge and frieze, three drawers, shaped supports, sabre legs, brass caps and casters, h. 30 in., w. 57 in., d. 30 1/2 in. $1200/1800

884. Regency Mahogany Drop‑Leaf Table, frieze drawer, spiral reeded standard, foliate collar, molded sabre legs, paw feet, casters, h. 28 in., w. (open) 53 1/2 in., d. 40 in. $700/900

887. French Empire‑Style Mantel Clock, 19th c., dial with swan and torch crest, tiered case with caryatids, h. 16 1/2 in., w. 8 in., d. 4 in. $400/600

883. Regency‑Style Mahogany Two Pedestal Dining Table, probably early 20th c., oval top with reeded edge, turned pedestals, outswept reeded legs ending in brass caps and casters, with two leaves, h. 30 in., l. 73 in., w. 45 in. $800/1200 Provenance: Estate of Janice Lane Young, Richmond, VA.

885. Antique Georgian‑Style Carved Mahogany Serving Table, 19th c., shaped top, conforming frieze drawers, tapered spade feet, h. 33 3/4 in., w. 66 in., d. 26 in. $1200/1800

888. Belgian Gilt Bronze Three‑Piece Clock Garniture, late 19th c., dial marked “A. de Lambert/ Liege”, reticulated case with griffins and classical mask, conforming five‑light candelabra, clock h. 21 in., w. 12 1/2 in., d. 4 3/4 in., candelabra h. 19 in. $500/800

886. English Rococo Carved Mahogany Dressing Table, mid‑19th c., mirrored superstructure with three serpentine drawers, conforming base, with long drawer, cabochon carved cabriole legs, h. 60 7/8 in., w. 38 1/2 in., d. 23 in. $600/900

889. Large Pair of Highly Decorative Chinese Famille Rose Porcelain Vases, probably mid‑20th c., with applied gilt Buddhist lion handles and qilong, decorated with figural and floral cartouches, h. 37 1/4 in., wood stands, overall h. 49 1/2 in. $400/600

890. Chinese Blue and White Porcelain Covered Baluster Jar, probably 19th c., decorated with “double happiness” characters on a pea vine ground, h. 16 1/4 in., now mounted as a lamp, h. (to socket) 18 1/2 in. $300/500

Additional information at www.nealauction.com

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891. Large English Mahogany Revolving Bookcase, early 20th c., molded top, four tiers, iron and wood plinth base, casters, stenciled “Manufactured by Trubner & Co. Ludgale Hill London”, h. 65 3/4 in., w. 22 in., d. 22 1/4 in. $500/700

892. Napoleon III Gilt Bronze‑Mounted Fruitwood Marquetry and Mahogany Bibliothèque, late 19th c., glazed doors with floral marquetry panels below, shaped apron, cabriole legs, sabots, h. 81 1/4 in., w. 40 1/4 in., d. 18 1/2 in. $500/700

Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

894. Italian Baroque‑Style Carved Walnut, Parcel Gilt and Iron Hall Bench, molded back with coat of arms, plank seat, splayed legs joined by scrolled iron stretcher, h. 39 in., w. 49 in., d. 17 1/4 in. $500/700 893. Antique Italian or Spanish Elm Trestle Table, three plank top, tenoned stretcher, h. 29 in., w. 69 1/4 in., d. 27 1/4 in. $1000/1500

895. Portuguese Baroque‑Style Brass‑Mounted Carved Walnut Desk, 19th c.; gadrooned top, kneehole configuration of ripple molded drawers, spiral colonettes, stepped base, turned feet, h. 32 in., w. 59 1/4 in., d. 31 1/2 in.; together with leather upholstered chair, h. 43 3/4 in., w. 21 in., d. 17 3/4 in. $2000/3000

897. Pair of Louis XVI‑Style Carved Beech Fauteuils, early 20th c., guilloche carved crest, stiles and arms, conforming seat rail, fluted legs, h. 37 5/8 in., w. 24 1/4 in., d. 21 1/2 in. $400/600

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898. Louis XV‑Style Gilt Bronze‑Mounted Burled Walnut Bombé Commode, 20th c., serpentine marble top, two drawers, shaped base, cabriole legs, sabots, h. 34 1/2 in., w. 47 3/4 in., d. 19 7/8 in. $700/900

896. French Provincial Fruitwood Desk, antique elements, molded top, kneehole configuration of drawers, cabriole legs, h. 30 1/2 in., w. 60 1/2 in., d. 30 in. $500/750

899. Louis XVI-Style Gilt Bronze‑Mounted Kingwood Parquetry Guéridon, 20th c., paneled frieze, fluted legs, bronze cuffs, h. 29 3/4 in., dia. 24 in. $400/600

900. John Jackson (British, 1778‑1831), “Portrait of a Gentleman”, oil on canvas, unsigned, handwritten label en verso, 30 in. x 25 in., period frame with artist and donor plaques. $800/1200

901. Attributed to John Baverstock Knight (British, 1785‑1859), “The Serpentine, Hyde Park, London”, watercolor on paper, unsigned, pencil‑titled and typewritten label identifying artist en verso, 7 in. x 10 in., framed. $150/250 902. British School, late 18th/early 19th c., “Portrait of a Gentleman in a Red Waistcoat”, watercolor on paper, unsigned, 4 in. x 3 in., gilt frame. $150/250

904. English Majolica Figural Covered Tureen, 19th c., lid decorated with trout laid on a fern ground, base in form of an oval basket, lavender interior, Victorian Registry mark, h. 4 1/4 in., w. 19 in., d. 8 1/2 in. $1200/1800 Provenance: Estate of Richard Mellon Scaife.

903. Attributed to Walter Heath Williams (British, 1835‑1905), “Coastal Scene with Mountains”, oil on canvas, monogrammed “WW” and dated lower right, 8 in. x 12 in., period frame. $1000/1500

905. Assembled Chinese Export Iron Red Decorated Porcelain Partial Tea and Coffee Service, 18th/early 19th c., incl. covered coffee pot with famille rose flower spray, h. 9 3/4 in.; covered teapot, h. 5 3/4 in., w. 9 1/2 in.; creamer with famille rose flower spray, h. 4 3/4 in.; sugar, h. 3 3/4 in.; 6 cups; and 2 saucers, dia. 5 1/2 in.; and helmet form creamer, and sauce boat, h. 5 in. (13 pcs.) $600/800

906. Pair of American Brass and Iron Ball‑Topped Andirons, early 19th c., probably Boston, rounded plinths, pronounced spurs, pointed slipper feet, h. 16 1/2 in., w. 10 3/4 in., d. 19 3/4 in.; together with brass and iron urn‑topped tongs and shovel, l. 32 1/4 in. and 35 in.

(4 pcs.) $300/500

907. Twelve Antique American Gilt Brass Stair Rods, 20th c., with turned acorn finials, l. 30 in. $250/350 908. Five American Gilded and Pressed Brass Tie Backs, 19th c., largest with rosette on black ground, dia. 6 1/4 in., l. 7 in.; two pairs of floral medallions, from dia. 5 in. to 4 1/4 in. and l. 3 1/2 in. to 5 3/4 in. $400/600

910. Eight American Sterling Silver Water Goblets, mid‑20th c., ret.

Brodnax, Memphis, wc. 1907 to present, h. 6 5/8 in., wt. 35.85 troy o. $700/1000 909. Antique American Frosted and Cut Glass Figural Tazza, dolphin base, paneled bowl, h. 9 1/2 in., dia. 10 3/8 in. $150/250 Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

911. Good American Sterling Silver Tray, Whiting Mfg. Co., New York, wc.

1896‑1926, date mark for 1909, oval with molded border, 19 7/8 in. x 15 1/8 in., wt. 55.95 troy ozs. $1500/2500

912. Partial Set of Gorham “Chantilly” Pattern Sterling Silver Flatware, pat. 1895, incl. 6 forks, l. 7 3/8 in., 6 knives, l. 9 1/2 in., 5 salad forks, 6 teaspoons, 7 ice tea spoons, 1 dessert spoon and 8 butter spreaders (fh), total wt. (weighable) 37.75 troy ozs. $800/1200

913. American Sterling Silver Partial Flatware Service, Reed & Barton “Georgian Rose” pattern, pat.

1941, incl. 1 dinner fork, 10 salad forks, 9 dinner knives, 10 soup spoons, 5 dessert spoons, 6 teaspoons, 2 ice tea spoons, 2 cocktail forks, 4 demitasse spoons, youth fork, youth knife, 5 butter knives (fh), 3 tablespoons, cold meat fork, gravy ladle, sugar shovel, steak carving knife and fork, cake knife (hh) and flat server (hh), total wt. (weighable) 62 troy ozs. $500/700 Provenance: Estate of Janice Lane Young, Richmond, VA.

Additional information at www.nealauction.com

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914. Good Group of Antique and Vintage American Sterling Silver Bonbon Dishes, incl. oval repoussé example, J.F. Fradley Co., New York, late 19th c.; dodecagonal, Tiffany & Co., pattern introduced 1923; scalloped oval, Gorham, date mark for 1953; and shaped oval with rocaille border, Reed & Barton, date mark, for 1953; w. 4 1/2 in. to 7 3/4 in., total wt.

16.80 troy ozs. $300/400 Provenance: Estate of Janice Lane Young, Richmond, VA.

916. Pair of Fine American Sterling Silver Reticulated Bonbon Dishes, Whiting Mfg. Co., New York, wc.

1866‑1926, date mark for 1908, grape and grapeleaf repoussé decoration, dia. 5 3/4 in., wt. 4.95 troy ozs. $200/300 915. American Sterling Silver Water Pitcher, mid‑20th c., Redlich, New York, wc. 1895‑1946, h. 9 5/8 in., wt. 18.95 troy o. $600/800

Provenance: Estate of Janice Lane Young, Richmond, VA.

917. American Sterling Silver Partial Flatware Service, Reed & Barton “Hampton Court” pattern, pat.

1964, incl. 1 dinner fork, 7 salad forks, 8 knives, 6 butter knives (hh), 4 dessert spoons, 5 teaspoons and 6 ice tea spoons, (37 pcs.), total wt. (weighable) 28.25 troy ozs. $300/500 Provenance: Estate of Janice Lane Young, Richmond, VA.

918. Group of Antique and Vintage American Sterling Silver Flatware, incl. vermeil and enamel preserve spoon, Dominick & Haff “Louis XIV (Old)” pattern, pat. 1888, l. 7 1/2 in.; fish serving knife, Towle “Canterbury” pattern, pat. 1893, gilt wash blade, l. 10 in.; 7 dessert spoons, Whiting “Louis XV” pattern, pat.

1891; 4 demitasse spoons, Towle “Old Colonial” pattern, pat. 1895; and 6 knives, Tiffany “Faneuil” pattern, pat. 1910, l. 9 3/8 in.; total wt. (weighable) 16.75 troy ozs. $150/250

920. Two Italian Sterling Silver‑Mounted Picture Frames, Raddi Renato, Florence, velvet easel backs, 10 1/4 in. x 8 1/4 in. and 6 in. x 8 3/8 in. $150/250

Provenance: Estate of Janice Lane Young, Richmond, VA. 919. Continental Silver Box, unmarked, velvet-lined interior, h. 2 1/4 in., w. 7 7/8 in., d. 5 7/8 in. $200/300

921. English Brass‑Banded Oak Silver Canteen, probably early 20th c., mounted on a later stand, fitted with partial set of silverplate “King’s” pattern flatware, Walker & Hall, Sheffield, incl. 12 dinner forks, 12 luncheon forks, 12 dessert spoons, 12 teaspoons, 8 tablespoons, soup ladle and 4 master salt spoons; together with 3 cheese scoops, Cooper Brothers & Sons; overall h. 25 3/4 in., w. 21 5/8 in., d. 14 3/8 in. $300/500

924. Old Sheffield Plate Entree Dish, early 19th c., scroll handle, gadroon and shell borders, h. 5 3/4 in., w. 12 1/8 in., d. 9 5/8 in. $200/400 922. Set of Four George IV Sterling Silver Master Salts, William Watson and Thomas Bradbury, 1827, Sheffield, mark. reg. 1826, shell and scroll border, acanthus bracketed feet, h. 1 5/8 in., dia. 3 5/8 in., wt. 16.40 troy ozs. $600/900

925. Associated Set of Eleven Hanoverian Pattern Sterling Silver Forks, incl. 2 Richard Crossley, London, 1802; 2 London, 1827, possibly Thomas Death; 3 Netherlands, 1818, maker VG untraced; 2 Netherlands, 1854, maker K untraced; 1 Netherlands, 1847, maker SB; and 1 Netherlands, after 1953, maker RH untraced, total wt. 22.30 troy ozs. $300/500 Provenance: Estate of Janice Lane Young, Richmond, VA.

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923. Pair of Antique Regency-Style Silverplate Candlesticks, 19th c., unmarked, weighted bases, h. 11 1/2 in., dia. 4 3/4 in. $300/500

926. Pair of Regency‑Style Silverplate Wine Coolers, marked “ROYAL CASTLE/ SHEFFIELD/ EP”, campagna urn form with removable liner with collar, h. 11 1/4 in. $800/1200

927. American Silvered Metal and Cut Crystal Twelve‑Light Gasolier, 19th c., basket form, reticulated ring, hung with beaded chains and spear prisms, h. 30 in., dia. 33 in. $1200/1800

Provenance: Estate of Janice Lane Young, Richmond, VA.

928. English Brass Single Arm Argand Lamp, 19th c., cut and etched glass shade, h. 12 3/4 in., w. 10 in., d. 5 in.; together with a small cut glass, brass and marble peg lamp. $300/500 Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

930. American Etched Glass Flycatcher, 19th c., etched bamboo decoration, h. 6 in., dia. 7 in. $400/600

931. Two Antique Anglo‑Irish Hand‑Blown and Cut Glass Pitchers, late 18th/early 19th c., each with polished pontil, h. 7 5/8 in. and 7 3/4 in. $500/800

929. English Brass Four‑Light Hall Lantern, scroll supports, h. 35 in., dia. 14 in. $600/900

932. American Classical Giltwood Looking Glass, early 19th c., split columnar surround with blocked rosette corners, divided mirror plate, h. 65 in., w. 33 1/2 in. $700/1000 933. American Classical Carved Mahogany Center Table, c. 1825, Philadelphia, circular tilt top, columnar support, incurvate triangular plinth, volute scrolled feet with rosettes, casters, h. 29 3/8 in., dia. 41 1/4 in. $300/500

934. American Restauration Mahogany Slipper Sofa, 19th c., foliate carved crest rail, molded serpentine seat rail, bracket feet. $500/700 Provenance: Estate of Dr. Eleanor M. Worsley, Natchitoches, LA.

935. American Chippendale Walnut Chest of Drawers, late 18th c., probably Mid‑Atlantic, molded top above four graduated drawers, on later ogee bracket feet, h. 34 1/2 in., w. 40 in., d. 19 in. $800/1200 Provenance: Estate of Janice Lane Young, Richmond, VA.

936. Mississippi River Valley Walnut Tester Bed, c. 1840, massive stepped tester, chamfered posts, arched headboard, plain rails, h. 98 5/8 in., l. 78 1/2 in., w. 58 1/2 in. $2500/3500 Provenance: Estate of Dr. Eleanor M. Worsley, Natchitoches, LA.

939. American Classical Carved Mahogany Tester Bed, egg‑and‑dart canopy, foliate scroll crest, shaped head and foot board, foliate-carved baluster posts, pineapple finials, ball feet, h. 98 in., l. 77 in., w. 56 1/2 in. $1000/2000 937. American Classical Mahogany Writing Desk, 19th c., shaped backsplash, foldover writing surface, three small drawers, base with long drawer, turned legs, cuff casters, h. 41 1/2 in., w. 29 in., d. 19 in. $600/900

938. American Classical Carved Mahogany Center Table, early 19th c., Boston, oval white marble top, molded frieze, lappet carved scrolled supports, incurvate stretcher shelf, foliate scroll feet, casters, retains original finish, h. 29 in., w. 49 in., d. 33 1/2 in. $800/1200 Additional information at www.nealauction.com

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940. American Classical Mahogany Sideboard, early 19th c., paneled backsplash, molded top, frieze drawers with lion mask and ring pulls, over cabinet doors flanked by Ionic columns, plinth base, acanthus carved paw feet. $800/1200

941. Antique Southern Walnut Bottle Case, probably mid‑19th c., probably Virginia, lift top, divided interior, square tapering legs, h. 28 1/2 in., w. 20 1/2 in., d. 15 in. $250/350

942. New Orleans Bench Made Mahogany Bookcase in the Regency Taste, 20th c., by Kohlmaier, molded cornice, plain frieze, glazed doors with Gothic tracery, glass shelves, paneled doors below, plinth base, h. 84 in., w. 42 in., d. 21 in. $1200/1800

Provenance: Estate of Janice Lane Young, Richmond, VA.

945. Four Late Regency Rosewood Side Chairs, c. 1835, labeled “J. Kendall & Co.”, molded backs, stylized lyre splats, chamfered turned tapered legs. $500/1000 943. American Classical Mahogany Chest of Drawers, 19th c., shaped top, two short drawers over three graduated drawers flanked by Ionic columns, blocked base, acanthine paw feet, h. 43 in., w. 48 in., d. 24 1/2 in. $300/500

944. American Classical Carved Mahogany Work Table, mid‑19th c., molded top, fitted drawer, flared standard, plinth base, disc feet, casters, h. 28 3/4 in., w. 22 1/2 in., d. 18 1/2 in. $200/400

946. Antique Bench‑Made Queen Anne‑Style Mahogany Candlestand, probably 19th c., shaped tilt top, vasiform standard, arched legs, slipper feet, h. 27 in., w. 19 in., d. 19 in. $500/700

947. William Henry Buck (Norwegian/New Orleans, 1840‑1888), “Grain Harvest, Lowlands”, 1878, after Hugh Collins (British, c. 1834‑1896), oil on canvas, signed, dated and inscribed “W.H. Buck after Collins” lower right, 30 in. x 42 in., period gilt frame. $5000/7000 Provenance: Purchased from the artist, descended in the Airey family of New Orleans. According to the family, this painting was commissioned by Thomas Lyon Airey (1837-1894), a New Orleans cotton broker in the late 19th and early 20th century. Airey held several prominent positions in the cotton industry at both the local and the national level; he was a partner in the cotton firm of T.L. Airey & Co. and served as Vice-President of the Louisiana National Bank, twice as President of the New Orleans Cotton Exchange, and as President of the National Cotton Exchange of America, among others. His son, Joseph A. Airey, Sr. (1872-1949) was also a New Orleans cotton broker and lived at 555 Audubon Street. Thomas L. Airey’s daughter, Cecile (1868-1945), married John Milliken Parker (1863-1939), who served as the 37th Governor of Louisiana from 1920-1924.

Note: William Henry Buck exhibited his work at the William Seebold Gallery on Canal Street in New Orleans. Seebold, a native of Germany, was active as an art dealer in New Orleans from c. 1865 to 1920. He was one of the foremost art connoisseurs in the city, exhibiting works by local artists as well as many of the top European artists of the day. From 1879 to 1916, almost every notable artist who visited New Orleans dined at his home on Prytania Street. His gallery was a meeting place for Clague, Buck, E.B. Julio and others. Seebold’s gallery and home were the nexus of the art world in late 19th century New Orleans. Buck and his contemporaries certainly benefited from the opportunity to see the many European paintings that Seebold had on offer at his gallery as well as installed in his gracious mansion.

Ref.: Encyclopaedia of New Orleans Artists 1718-1918, The Historic New Orleans Collection, 1987.

948. Italian School, 20th c., “Campo Pla., Italy”, oil on canvas board, unsigned, titled en verso, 22 3/4 in. x 17 in., period frame. $1500/2500 Provenance: Estate of Janice Lane Young, Richmond, VA.

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949. Alex de Andreis (British/Belgian, 1880‑1929), “Cavalier”, oil on canvas, signed lower right, 32 in. x 25 3/4 in., framed. $1500/2500

950. Continental School, 19th c., “Classical Landscape with Shepherds”, oil on canvas, unsigned, 18 in. x 21 in., antique frame. $700/1000

951. British School, probably late 19th c., “Portrait of Rev. Robert Hawker, D.D. (1753‑1827)”, oil on canvas, unsigned, 40 in. x 30 in., framed. $500/700

954. Richard Timm (American, 20th c.), “Mountain Lion”, Pl. 7, “Elk”, Pl. 3, “Bobcat”, Pl. 8, “Gray Fox”, Pl. 19, “Coyote”, Pl. 21, “Black Bear”, Pl. 24, “Snowshoe Hare”, Pl. 25, and “Lynx”, Pl. 26, from Wildlife Collector Classical Scenes and Second Scenes of Wildlife Classis; together with Richard Sloan (American, 20th c.), “Blue Jay”, Pl. 44, and “Red‑Tailed Hawk”, Pl. 23, 8 off‑set lithographs, each 28 in. x 22 in., unframed with custom sleeves, and one additional empty sleeve. (11 pcs.) $300/500

955. Basil Ede (English, 1931-2016), “The Great American Turkey in Sipsey River Valley”, 1977, reproduction, 14 out of an edition of 750, signed and with a remarque of a turkey, sight 22 1/2 in. x 31 in., framed. $300/500

958. British School, early 20th c., “Lady in an Interior”, chromolithograph, “The Graves Gallery, Birmingham, London” label en verso, sight 19 1/8 in. x 15 3/4 in., faux tortoiseshell frame; together with small print of a tavern scene, partial Paris frame label en verso, 5 1/4 in. x 7 1/4 in., framed. (2 pcs.) $150/250

959. Marc Chagall (Russian/French, 1887‑1985), “The Blue Cow”, Plate 29, color lithograph, printed by Mourlot, Paris, 1967, sheet printed to edges, 12 in. x 9 in., framed. $200/300

962. Tommy Manning Thompson (American/Mississippi, b. 1941), “Blues Man Babe”, etching on paper, pencil‑signed, titled, and numbered “16/150” lower margin, sight 9 1/2 in. x 12 in.; together with H. Alvin Sharpe (American/New Orleans, 1910‑1982), “Shadows in Old New Orleans”, aquatint on paper, pencil‑signed and titled lower margin, ed. of 100, sight 11 1/4 in. x 9 in., framed. (2 pcs.) $200/400

Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

952. Colin W. Burns (British, b.

1944), “Grouse”, oil on panel, signed lower left, “Tryon Gallery, London” label with title en verso, 7 in. x 11 in., framed. $600/900 Provenance: The Tryon Gallery Ltd., London; Collection of Mrs. Dudley J. Hughes, Jackson, MS.

956. John James Audubon (American, 1785‑1851), “Louisiana Heron”, Plate 217, color reproduction, Ariel Press edition, sheet 25 1/4 in. x 38 1/2 in., framed. $600/900

953. George Lothian Hall (British, 1825‑1888), “Rocky Coastal Scenes”, 1879, 2 watercolors on paper, signed and dated lower right or left, one with typewritten artist’s biography en verso, sights 10 3/4 in. x 18 1/2 in., framed alike.

(2 pcs.) $300/500 Provenance: Collection of John F.B. Wilkinson, New Orleans, LA.

957. Richard Timm (American, 20th c.), “Fox Squirrel”, “Wolverine”, “Elk”, “Pronghorn” and “White Tailed Deer”, 5 color lithographs on paper, all signed and titled in plate, printed descriptions of the animals and “Taylor Clark Gallery, Baton Rouge” labels en verso, sights 28 in. x 21 1/2 in. or 21 1/2 in. x 28 in., framed.

(5 pcs.) $300/500 Provenance: Gov. Jaques Dupré Plantation House, Jarreau, Pointe Coupée Parish, LA.

963. Set of Boehm Bisque Porcelain Creche Figures, mid‑20th c., from Boehm’s Christian Era Collection “Spirit of Bethlehem”, incl. Mary, Joseph, the Christ Child, 3 angels, 2 shepherds, donkey, ox and three Wise Men, with original fitted boxes, shepherd h. 11 1/8 in. $300/500

960. British School, 1837, “My Brother, H.N.C. (Standing Gentleman in a Top Hat)”, watercolor and graphite on paper, handwritten inscription “Taken by Mrs. Elford & Bracey, York”, titled and dated en verso, 11 3/4 in. x 8 1/2 in., framed. $100/200

964. Sèvres Bronze‑Mounted Porcelain Centerpiece Bowl, late 19th c., scrolling handles, center reserve with figures by a tree, floral panels on a magenta ground, paw feet, h. 7 in., w. 17 3/4 in., d. 13 3/4 in. $600/900

961. H. Alvin Sharpe (American/ New Orleans, 1910‑1982), “Little Theater, Old New Orleans”, etching on paper, pencil‑signed, titled and inscribed “ed. 100” lower margin, sheet 13 1/4 in. x 11 1/4 in., framed. $100/200

965. Pair of Paris Gilt and Polychrome Porcelain Vases, mid‑19th c., reserves of classical marble sculpture in a garden, h. 22 in., w. 12 in., d. 7 in. $800/1200

Additional information at www.nealauction.com

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966. Limoges Porcelain Fish Service, late 19th c., William Guerin & Co., incl. fish platter, sauceboat, underplate and 12 plates, platter l. 22 3/8 in., plate dia. 8 3/8 in. $800/1200 Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

967. Dresden Porcelain Figural Compote, late 19th c., reticulated flower encrusted bowl, pedestal with addorsed figures at rural pursuits, h. 12 3/8 in., w. 10 5/8 in. $300/500

968. Group of Paris Porcelain Table Articles, mid‑19th c., incl. pitcher, h. 8 1/2 in., and teapot with matching creamer, polychrome floral decoration with gilt highlights, floral decoration. $400/600 Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

969. Pair of Jacob Petit Paris Porcelain Scent Bottles, 19th c., one marked “JP”, each modeled in the form of a steeple with the male and female figures in Renaissance attire peering out the windows, bases drilled, h. 9 1/2 in., w. 3 1/2 in., d. 4 1/2 in. $200/300

970. Two Meissen‑Style Polychrome Porcelain Faun Figural Groups, probably 19th c., crossed sword marks, incised A96, first modeled holding wine bottles, second holding ram’s horns, each on grape‑strewn rocky surfaces, h. 9 1/4 in., w. 8 1/2 in. and h. 6 1/4 in., w. 9 1/2 in. $600/800

973. Pair of Chinese Export Famille Rose Porcelain Chargers, late 19th/early 20th c., decorated with figural and bird and butterfly panels on a gilt ground enameled with flowering vines and butterflies, dia. 15 in. $300/500 Provenance: Estate of Janice Lane Young, Richmond, VA.

976. Small Antique Olive Jar, 19th c., flared lip, bulbous body, h. 19 in., dia. 15 in. $300/500

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971. Pair of Paris Porcelain Vases, 19th c., scroll handles with female masks, floral painted bodies, h. 14 3/4 in., now mounted as lamps, h. (to sockets) 28 in. $150/250

974. Decorative Pair of Chinese Export‑Style Famille Rose Porcelain Lidded Jars, 20h c., decorated with birds, butterflies and flowering shrubs, bases with Kangxi marks, h. 18 1/2 in. $400/600

977. Pair of Italian Cast Stone Appliqués, each with bowknot suspending husk garland, h. 37 in., w. 14 1/2 in., d. 2 1/2 in. $400/600

972. Chelsea Porcelain Figure of a Parrot, gold anchor mark, a few small losses, h. 11 in. $200/300

975. Decorative Pair of Chinese Export Famille Rose Porcelain Covered Tea Caddies, probably 20th c., shaped rectangular bodies decorated with birds on fruiting and flowering branches, bases with Kangxi marks, h. 13 5/8 in., w. 9 1/2 in., d. 6 1/4 in. $600/800

978. Pair of Louis XVI‑Style Bronze Five‑Light Candelabra, late 19th c., tapered fluted standard, h. 19 1/2 in., dia. 13 1/2 in. $150/300

979. Pair of Neoclassical‑Style Tôle Jardinières, tapered form, ring handles, ball feet, each h. 20 in., w. 19 3/4 in., d. 19 3/4 in. $400/800

983. French Gilt Metal and Majolica Figural Jardinière, c.

1900, Majolica bowl, Classical maiden support, scrolled base, bowl now fitted with lights, h. 45 1/2 in., dia. 18 1/2 in. $600/900

980. Three Neoclassical‑Style Bisque Porcelain Plaques, 20th c., after Bertel Thorvaldsen, gilt frames, largest sight dia. 9 1/2 in. $400/600 Provenance: Estate of Janice Lane Young, Richmond, VA.

984. Antique Cut and Etched Glass Vase, attr. Moser, early 20th c., panel cut with etched leaf and berry banding, h. 14 3/4 in. $200/300 Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

987. Italian Metalwork Eight‑Light Sconce, mid‑20th c., in the form of a vine with painted leaves, electrified, h. 36 in., w. 43 in. d. 7 in. $400/600

991. Contemporary Wrought Iron and Glass Low Table, tempered glass top, quatrefoil scrolled base, h. 20 in., dia. 40 in. $500/700

981. Pair of Antique Louis XVI‑Style Bronze and White Marble Covered Urns, domed cover with pod finial, mask handles, floral garland mounts, h. 13 7/8 in. $300/500 Provenance: Estate of Janice Lane Young, Richmond, VA.

985. Pair of Dresden Porcelain Lidded Urns 19th c., polychrome classical scenes and floral sprays, gilt highlights, h. 6 1/4 in., w. 3 3/4 in., d. 3 in. $300/500

982. Pair of Bohemian White Overlay Green Glass Chestnut Urns, late 19th c., gilt highlights and polychrome floral decoration, h. 12 3/4 in. $300/400 Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

986. Gorham “Chantilly” Pattern Silverplate Coffee and Tea Service with Tray, incl. coffee pot, teapot, covered sugar, creamer and waste bowl, coffee pot h. 10 7/8 in., tray 26 7/8 in. x 19 1/2 in. $500/700

Provenance: Estate of Janice Lane Young, Richmond, VA.

988. Pair of Beaux Arts Gilt Bronze Figural Five‑Light Candelabra, c.

1890, foliate arms, cherub standards, scrolled base, h. 21 in., w. 11 in., d. 7 in.

Note: Lacking one candle cup. $800/1200

989. Beaux Arts Gilt Bronze Six‑Light Chandelier, c. 1890, floral standard and arms, electrified, h. 20 in., dia. 26 in. $800/1200

990. American Aesthetic Carved Walnut Commode in the Moorish Taste, late 19th c., rouge marble top, plaque carved frieze, asymmetrical configuration of seven highly carved drawers and small door flanked by colonnettes, blocked feet, original brass hardware, h. 31 1/4 in., w. 53 1/2 in., d. 23 in. $500/750

993. Antique Louis XV/XVI‑Style Gilt Bronze‑Mounted Inlaid Mahogany Sécrétaire à Abattant, bombé case with fall front writing surface, fitted interior, three drawers, cabriole legs, sabots, h. 51 1/2 in., w. 23 1/2 in., d. 12 1/2 in. $800/1000

992. Argentine Leather Bench, scrolled arms, loose cushion, tall bracket feet, brass nailhead trim, h. 30 in., w. 55 in., d. 24 in. $400/600

Additional information at www.nealauction.com

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994. Louis XVI‑Style Bronze‑Mounted Mahogany Parquetry Guéridon, 20th c., circular top, swagged frieze, square tapered beaded legs, bronze cuffs, h. 28 3/4 in., dia. 20 in. $500/700

995. Antique Louis XVI‑Style Crème Peinte Slipper Chair, 19th c., shaped back, cushion seat, seat rail with blocked rosettes, stop-fluted legs, h. 27 7/8 in., w. 16 1/2 in., d. 14 7/8 in. $250/350

998. Four Antique Acadian Hardwood Ladderback Chairs, probably Ville Platte, Louisiana, stiles with tall finials, original hide covered seats, turned legs, h. 35 in., w. 17 in., d. 14 in. $500/1000

996. Ottoman or Syrian Mother‑of‑Pearl Inlaid Carved Hardwood Tabouret, probably 19th c., molded top, Moorish arch sides, stretcher shelf, overall blind fretwork carving. $100/200

997. Louis XV‑Style Marquetry, Ebonized and Bronze‑Mounted Rosewood Work Table, probably late 19th c., lift‑top, fitted interior, shaped drawer below, cabriole legs, h. 28 1/4 in., w. 22 in., d. 15 1/4 in. $300/500

Provenance: Estate of Janice Lane Young, Richmond, VA.

Provenance: Estate of Janice Lane Young, Richmond, VA.

999. Shaker Meetinghouse Bench, 19th c., spindled back, h. 32 1/2 in., w. 107 1/4 in., d. 15 1/4 in. $500/800

1001. Antique American Walnut Rope Trundle Bed, early 19th c., posts with ball finials, low head and foot board, pegged rails, h. 15 in., l. 59 in., w. 39 1/2 in. $150/250 Provenance: Gov. Jaques Dupré Plantation House, Jarreau, Pointe Coupé Parish, LA.

1000. Shaker Meetinghouse Bench, 19th c., h. 32 1/4 in., w. 103 1/2 in., d. 15 in., en suite with preceding lot. $500/800

1003. Mary Katharine Loyacano McCravey (American/Mississippi, 1910-2009), “Still Life of Flowers in a Vase”, oil and mixed media on board, signed lower right, 12 5/8 in. x 11 in., framed. $2000/3000

1002. Pair of Anglo‑Colonial BambooTurned Hardwood Chairs, probably early 20th c., caned back and octagonal seat, canted arms, h. 36 in., w. 30 in., d. 21 1/2 in. $700/900

1004. Mary Katharine Loyacano McCravey (American/Mississippi, 1910-2009), “Mother and Child”, oil on board, signed lower left, 6 1/8 in. x 4 1/8 in., framed. $800/1200

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1005. Adolph Kronengold (American/ Louisiana, 1900‑1986), “The Cabildo and St. Peters St.” and “Horse and Buggy, French Quarter”, 2 watercolors on paper, each signed lower right, sights 14 1/2 in. x 5 1/4 in., framed alike. (2 pcs.) $500/800 1006. James McConnell “Mac” Anderson (American/Mississippi, 1907‑1998), “Harvesting Pine Trees for Turpentine”, 1997, oil on board, signed and dated lower right, “Ivey Ltd., Custom Framing, Ocean Springs, MS” label en verso, 16 in. x 24 in., framed. $2000/3000

1008. Ben Earl Looney (American/ Louisiana, 1904‑1981), “Shrimper Mending His Nets, Lafourche Parish”, watercolor on paper, signed lower right, sight 17 1/2 in. x 27 in., framed. $500/800

1009. Ben Earl Looney (American/ Louisiana, 1904‑1981), “Haunted House on River Road”, watercolor on paper, signed lower left, sight 17 in. x 27 in., framed. $500/800

1007. William Hemmerling (American/Louisiana, 1943‑2009), “Sweet Olive: Look Mama, This Wood Has a Hole in It”, mixed media on wood, 21 1/2 in. x 33 1/4 in., unframed. $4000/6000

1010. Gladys Morgan (American/ Louisiana, 1899‑1981), “Sailing on Lake Pontchartrain”, oil on canvas, signed lower right, “Jean Bragg Gallery, Magazine St., New Orleans” label en verso, 24 in. x 18 in., period frame. $400/600

1011. W.E. Dwyer (American/New Orleans, 20th c.), “Little Theatre Bldg.: St. Peter and Chartres”, 1962, oil on canvas, signed, dated, titled and inscribed “W.E. Dwyer, 2224 Annunciation St., NOLA” en verso, 16 in. x 20 in. $500/700

Provenance: Jean Bragg Gallery, New Orleans, LA.

1014. Sam Tuminello (American/ Louisiana, 1927‑2014), “Nature Morte: Quail” and “Nature Morte: Mallard Ducks”, 2 temperas and watercolors on paper, signed lower left and right respectively, printed artist biography en verso, sights 10 in. x 7 in., matted and framed alike. (2 pcs.) $300/500

1015. Rolland Harve Golden (American/New Orleans, b. 1931), “At Rest Capt. Pierre Delery (1771‑1815), Battle of New Orleans”, 1966, watercolor on paper, signed and dated lower right, sight 29 in. x 20 3/4 in., framed. $500/800

1012. Sister Mary Leo (American/ New Iberia, mid‑20th c.), “Still Life of Magnolias in a Vase”, 1953, watercolor on paper, signed lower right, pencil‑signed, dated and inscribed “Painted watercolor at Mt. Carmel, New Iberia, LA” en verso, 12 in. x 5 in., period frame. $300/500

1016. Alexander John Drysdale (American/New Orleans, 1870‑1934), “Live Oak on the Louisiana Bayou”, 1914, oil on board, signed and dated lower left, 12 in. x 18 in.; together with Louisiana School (late 19th/early 20th c.), “Along the Shore”, pastel on board, unsigned, 11 1/2 in. x 14 in., both unframed. (2 pcs.) $500/1000

1013. Louisiana Folk Art School, 20th c., “Wash Day”, 1975, oil on canvas, signed “Black” lower right, dated en verso, 16 in. x 20 in., framed. $400/600 Provenance: Estate of Dr. Eleanor M. Worsley, Natchitoches, LA.

1017. Rolland Harve Golden (American/New Orleans, b. 1931), “Boudroux’s Barn”, 1957, watercolor on paper, signed, titled and dated lower right, sight 20 1/2 in. x 27 3/4 in., framed. $500/800 Provenance: Acquired from the artist.

1018. Achille Perelli (Italian/ New Orleans, 1822‑1891), “Nature Morte of a Blue Wing Teal Drake”, watercolor on cardstock, signed and inscribed “N.O.” lower left, 24 1/2 in. x 14 3/4 in., framed. $4000/6000

1019. Achille Perelli (Italian/ New Orleans, 1822‑1891), “Nature Morte of a Quail”, watercolor on cardstock, signed and inscribed “N.O.” lower left, 19 1/2 in. x 12 1/2 in., framed. $1200/1800

1020. Attributed to Woodford J. Sanders (American/New Orleans, 1870‑1923), “Sheepshead Fish”, oil on academy board, monogrammed and dated lower right, “W.E. Seebold, New Orleans, LA” and “F. Weber & Co., Artists’ Materials, Philadelphia and St. Louis” labels en verso, 12 in. x 18 1/4 in., period frame. $400/600

Additional information at www.nealauction.com

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1021. Samuel B. Chapman (American/New Orleans, c. 1866), “Live Oak Tree”, 1905, watercolor on paper, signed, dated and inscribed “NOLA” lower right, 7 in. x 10 in., framed. $400/600

1025. Ellsworth Woodward (American/New Orleans, 1861‑1939), “Newcomb Art School Professors, possibly Mary Sheerer and Gertrude Roberts Smith”, 1901, 2 pencil drawings on paper, each initialed and dated lower left, loan labels from Angela Gregory to Tulane University dated 1983 en verso of each, sights 8 1/2 in. x 5 3/4 in., both framed. $200/300

1029. Caroline Wogan Durieux (American/Louisiana, 1896‑1989), “Socrates”, 1975, and “Uncertain One (Conversation en verso)”, 1970, 2 graphites on paper, each signed, titled and dated lower right, “Stone + Press Gallery, New Orleans” labels en verso, 11 in. x 7 5/8 in. and 11 in. x 8 1/8 in., framed alike. (2 pcs.) $300/500 Provenance: From the sketchbooks of the artist: Stone + Press Gallery, New Orleans, LA.

1033. Emerson Bell (American/ Baton Rouge, 1932‑2006), “Altar Boy”, mixed media on paper, signed upper right, sight 15 1/4 in. x 7 1/2 in., framed. $300/500

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1022. Ellsworth Woodward (American/New Orleans, 1861‑1939), “Reclining Nude” and “Abishag Came and Stood Before the King”, 2 graphites on board, former initialed “E.W.” and titled lower right, latter initialed “E.W.” lower left, 10 in. x 16 in. and 15 in. x 8 in., framed alike. (2 pcs.) $800/1200

1026. Bunny Matthews (American/ New Orleans, 20th c.), “Santa’s Helpas”, 1985, “A Very Merry New Orleans Christmas”, 1987, and “Mermaid Christmas”, 3 color pencil and inks on paper, 2 signed and dated lower margin, latter signed “Hachetman” lower margin, titled in images or lower margin, 17 in. x 14 in. or 14 in. x 17 in., unframed. (3 pcs.) $250/350

1023. Selina Elizabeth Bres Gregory (American/New Orleans, 1870‑1953), “Dutch Man Carrying a Basket and Jug with a Shoulder Pole”, 1895, watercolor on paper, signed and dated lower right, 15 1/8 in. x 10 1/2 in., framed. $400/600

1027. Luis Diaz (Costa Rican/ Mississippi, 20th c.), “Bougainvilleas”, watercolor on paper, signed lower right, “Nunnery’s Gallery, Jackson, MS” label en verso, 28 in. x 38 1/4 in., framed. $400/600 Provenance: Collection of a Jackson, MS Lady.

1024. Grace Blethen Dunn (American/New Orleans, 1885‑1970, act. Newcomb College, 1900‑1904, 1906‑1909), “Old Man”, pastel on paper, signed lower left and “Dueling Oaks, City Park, N.O., from Delgado Museum of Art”, pencil on paper, unsigned, titled lower left, sights 13 1/2 in. x 10 1/2 in. and 7 in. x 11 1/2 in., both framed. (2 pcs.) $300/500

1028. Caroline Wogan Durieux (American/Louisiana, 1896‑1989), “In Taiwan”, 1965, and “Two Figures (Priest, Puerto Rico en verso)”, 1920, marker on paper and graphite on paper respectively, each signed, titled and dated lower or upper right, 11 in. x 8 1/8 in. and 8 1/2 in. x 6 1/2 in., framed alike. (2 pcs.) $300/500 Provenance: From the sketchbooks of the artist; Stone + Press Gallery, New Orleans, LA.

1030. Charles Richards (American/ New Orleans, 1906‑1992), “Portrait of Evelyn”, oil on canvas, signed lower right, 18 in. x 15 in. and “Seated Female Nude”, 1969, graphite on paper, signed and dated lower right, sight 19 1/2 in. x 15 3/4 in., both framed. (2 pcs.) $500/700

1034. Xavier de Callatay (Belgian/ New Orleans, 1932‑1999), “Portrait d’une Jeune Dame, apres Roger van der Weyden”, 1953, graphite and charcoal on paper, monogrammed and titled lower right, “Dr. James W. Nelson, Gonzales, LA” label en verso, sight 16 1/4 in. x 10 1/2 in., framed. $500/700

1031. Eugene E. Loving (American/ New Orleans, 1907‑1971), “Cast Iron Gates, French Quarter Courtyard”, watercolor on paper, signed lower right, sight 14 in. x 10 in., framed. $150/250

1035. Charles Richards (American/ New Orleans, 1906‑1992), “Portrait of a Woman in a White Blouse”, oil on canvas, signed upper left, 14 in. x 17 in., framed. $400/600

1032. Emerson Bell (American/ Baton Rouge, 1932‑2006), “Study of Woman at a Piano” and “Study for Flowers”, 2 mixed medias on paper, each signed and titled lower center, sights 6 in. x 5 in. and 10 in. x 8 in., both framed. (2 pcs.) $700/900

1036. William Ousley (American/ Louisiana, 1866‑1953), “Red Buds of Louisiana”, 1937, oil on canvas, signed and titled lower right, signed, titled, dated and inscribed en verso, 16 in. x 27 3/4 in., framed. $300/500

1037. Nestor Hippoyle Frugé (American/New Orleans, 1916‑2012), “Royal Street” and “Courtyard”, 2 oils on canvas, signed lower left and right respectively, both pencil‑inscribed “Mrs. Boyle” en verso, each 20 in. x 16 in., framed alike. (2 pcs.) $700/1000

1038. American Late Classical Carved Mahogany Sofa, scrolled crest, tubular arms on lyre-form supports, blocked seat rail, acanthus-carved bracket feet, casters, h. 38 in., w. 85 1/4 in., d. 21 in. $800/1200

1039. American Late Classical Mahogany Secretary‑Bookcase, mid‑19th c., ogee cornice, beaded glazed doors over two short drawers, foldover writing surface, three graduated drawers, shaped bracket feet, h. 71 1/2 in., w. 41 5/8 in., d. 18 1/8 in. $700/1000 Provenance: Descended in the Ellis/Denis/Beauvais‑Decuir family.

1040. American Federal Tiger Maple Rope Bed, early 19th c., baluster turned posts, shaped head and foot board, pegged rails, h. 88 1/2 in., interior l. 70 in., interior w. 46 in. $800/1200

1042. Steele Burden (American/ Louisiana, 1900‑1995), “Candidate ‑ Politicians”, white crackle glazed ceramic, incised title on self‑base, signed and titled on underside, h. 2 1/8 in., w. 7 3/4 in., d. 5 1/4 in. $300/500

1046. Steele Burden (American/ Louisiana, 1900‑1995), “Sunday at Church”, white crackle glazed ceramic, signed and titled on underside, h. 3 1/2 in., w. 5 5/8 in., d. 4 1/4 in. $300/500

1041. Pair of Caribbean‑Style Hardwood and Caned Planter’s Armchairs, 20th c., each with sling back and seat, flat arms with extensions, turned legs, h. 29 1/4 in., w. 23 3/4 in., d. 50 1/2 in., and h. 30 3/4 in., w. 24 in., d. 55 in. $800/1200

1043. Steele Burden (American/ Louisiana, 1900‑1995), “Cypress Trees”, white crackle glazed ceramic, incised “SB” initials on self‑base, h. 6 in., w. 7 5/8 in., d. 6 in. $500/800

1044. Steele Burden (American/ Louisiana, 1900‑1995), “Bill + Hillary”, white crackle glazed ceramic, incised “SB” initials on self‑base, signed and titled on underside of base, h. 4 in., w. 5 1/2 in., d. 4 1/8 in. $300/500

1045. Steele Burden (American/ Louisiana, 1900‑1995), “Greedy Guts”, white crackle glazed ceramic, incised title on self‑base, signed and titled on underside of base, h. 3 1/4 in., w. 5 in., d. 4 1/2 in. $300/500

1047. American Carved Mahogany “Morris” Chair, late 19th c., probably Allen & Bro., Philadelphia, reeded crest rail, slat back, padded arms on spindled supports, square legs, stretchers, casters, loose cushions. $200/400

1048. Fine American Renaissance Carved Walnut Extension Dining Table, attr. to T. Brooks, New York, molded top, carved frieze, bracketed pedestal opening to receive three leaves, vasiform supports, stepped base, block feet, h. 30 1/2 in., l. (closed) 47 1/2 in., l. (extended) 90 1/4 in., w. 47 3/4 in. $2000/3000

Additional information at www.nealauction.com

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1049. George III‑Style Inlaid Mahogany Corner Cupboard, 19th c., broken scroll pediment, astragal glazed doors, shaped bracket feet, h. 89 in., w. 34 1/2 in., d. 18 in. $700/1000 Provenance: Collection of John F.B. Wilkinson, New Orleans, LA.

1050. Georgian Mahogany Slant‑Front Desk, late 18th c., molded lid, fitted interior, four graduated drawers, bracket feet, h. 40 in., w. 40 1/2 in., d. 21 3/4 in. $700/900

1051. Antique George III‑Style Mahogany Kneehole Desk, inset leather top, frieze drawer above recessed door, three short drawers to each side, bracket feet, h. 30 1/2 in., w. 31 1/2 in., d. 18 1/2 in. $500/800 Provenance: Estate of Janice Lane Young, Richmond, VA.

1052. Directoire‑Style Walnut Extension Dining Table, oval top, conforming frieze with blocked bosses, fluted tapered legs, 5 leaves, h. 29 5/8 in., l. (closed) 74 1/2 in., l. (extended) 144 in., w. 54 in. $800/1200

1053. George II‑Style Carved Walnut Table, scalloped top, frieze drawer, cabriole legs, paw feet, h. 30 1/4 in., w. 31 in., d. 20 5/8 in. $600/900

1057. Napoleon III Gilt Bronze Figural Mantel Clock, c. 1850, dial and silk thread movement marked “J. Leroy/a Paris”, putto standing beside a reticulated case, base with Greek key borders, toupie feet, h. 15 1/4 in., w. 11 1/4 in., d. 6 1/2 in. $400/600

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1054. Antique Queen Anne‑Style Mahogany Tilt‑Top Tea Table, 19th c., circular top, birdcage mechanism, tapered standard, arched legs, pad feet, h. 27 7/8 in., dia. 31 in. $300/500

1058. Large Pair of American Brass Andirons, late 19th c., ball finial, Corinthian columnar shaft, cabriole legs, h. 36 in., w. 15 in., d. 26 in. $600/800

1055. Continental Carved and Gilded Mirror, 19th c., reticulated shell and leaf surround. $250/350

1056. Antique Italian Inlaid Walnut Cushion Mirror, 19th c., surround with acanthus and vine inlay, beveled mirror plate. $300/500

1059. Pair of Sevres‑Style Gilt Bronze‑Mounted Porcelain Lidded Urns, 19th c., “Sevres bleu celeste” with classical scenes and floral sprays, lion’s head mounts, h. 11 3/4 in., w. 6 in., d. 4 1/2 in. $300/500

1060. Pair of Bronze Urns in the Neoclassical Taste, probably early 20th c., scroll handles, amphora bodies relief‑cast with masks flanked by torches, polished marble plinths, paw feet, h. 19 5/8 in. $300/500

Provenance: Estate of Janice Lane Young, Richmond, VA.

Provenance: Estate of Janice Lane Young, Richmond, VA.

1061. Three Vintage Judith Leiber Handbags, incl. two woven satin examples with gold hardware, detachable toggle‑straps, one with a crystal encrusted handle, another bears an interior oval “Saks Fifth Avenue” tag, largest h. 9 in.(with handle), w. 7 3/4 in.; third pleated satin Art Deco example, pierced silver hardware bar inset with faux stones, metal chain strap, h. 5 3/4 in., w. 7 in.; all with “Judith Leiber” placards inside, two Leiber boxes and one dust cover. $500/700

1064. Italian Carved Giltwood, Cut Crystal and Murano Glass Six‑Light Chandelier, baluster support, scrolled arms, swagged crystal beads and spear prisms, Murano glass pendants, h. 36 in., dia. 29 in. $800/1200

1062. Two Judith Leiber Pleated Leather Handbags, both with gold hardware, “Judith Leiber” placards inside and detachable toggle‑straps, largest h. 10 3/4 in., w. 11 1/4 in., one Leiber dust cover; together with a Roger Model of Bonwit Teller leather handbag, marked inside, loop handle, h. 10 in., w. 6 1/4 in. (3 pcs.) $300/500

1065. Neoclassical‑Style Gilt Bronze Three‑Light Bouillotte Lamp, 19th c., gilt‑decorated tôle peinte shade, h. 20 1/2 in. $700/1000

1067. Pair of Monumental Wrought Iron Gates, crest centered with anthemion, each mounted with brass lion rampant, h. 107 in., w. 78 1/2 in. $2500/3500

1070. Louis XVI‑Style Bronze‑Mounted Kingwood Parquetry and Marquetry Tric‑Trac Table, 19th c., foldover swivel top, floral reserve, fitted drawer, shaped apron, cabriole legs, sabots, h. 28 1/2 in., w. 31 1/2 in., d. 23 in. $700/1000

1063. Empire‑Style Gilt and Patinated Bronze Table Lamp, tapered standard, candlearms with female busts, tôle peinte shade, eagle finial, h. 26 in. $300/500

1066. Pair of French Silvered Metal and Cut Crystal Six‑Light Girandoles, 20th c., vasiform standard, scrolled arms with prisms, drilled for electricity, h. 31 in., dia. 15 in. $800/1200

1068. Antique Continental Carved Giltwood Mirror of Art Nouveau Inspiration, cartouche crest, foliate scroll tracery, h. 39 in., w. 19 in. $500/700

1069. Louis XVI‑Style Painted and Parcel Gilt Trumeau Mirror, oval reserve, swagged background, shaped mirror plate, h. 63 1/2 in., w. 41 1/2 in. $700/900

1071. Continental School, 19th c., “Nursery Scene: Sleeping Child, Mother and Spinning Wheel”, oil on panel, partial signature lower left, 10 in. x 8 in., framed. $1000/1500 Provenance: Estate of Janice Lane Young, Richmond, VA.

Additional information at www.nealauction.com

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1074. French Aubusson‑Style Verdure Tapestry, depicting a lady walking in a sylvan landscape, 7 ft. 7 in. x 3 ft. 2 in. $600/900

1073. French School, late 19th c., “Still Life with a Basket of Grapes and Chrysanthemums”, 1885, oil on canvas, signed “M.L. Debous” and dated lower right, 15 in. x 21 3/4 in., framed. $800/1200 1072. Dutch School, 19th c., “Portrait of a 17th Century Woman in White Ruff Collar”, oil on board, unsigned, 4 3/4 in. x 3 1/2 in., framed. $400/600 Provenance: Estate of Janice Lane Young, Richmond, VA.

1075. American Renaissance Gilt and Patinated Bronze Five‑Light Gasolier, c. 1875, vasiform standard, scrolled supports mounted with gilt leaves, diamond and floral shades, electrified, h. 41 in., w. 25 in. $1200/1800

1076. American Gilt Bronze Camphene Solar Lamp, c. 1850, attr. to Hooper and Company, baluster form with relief foliage, eagle shield and portrait of Washington on a stepped marble base, foliate‑cut shade, h. 25 1/2 in., dia. 7 1/4 in. $700/1000 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

1077. American Gilt Bronze Solar Lamp, c. 1850, marked “Cornelius & Co. / Philad. / July 24th.

1849 / Patent / April 1st. 1843”, foliate baluster on star‑form base, flora‑cut shade, h. 24 1/2 in., dia. 8 in. $500/750 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH. Ill.: Gowitt, 19th Century Lighting, Schiffer, 2002, p. 164.

1081. [Texas Map], “Colton’s New Map of the State of Texas Compiled from De Cordova’s Large Map”, published by G.W. and C.B. Colton, New York, 1859, hand‑colored lithograph, 16 1/2 in. x 25 in., framed. $400/600 1079. Antique American Twelve‑Inch Terrestrial Globe, early 20th c., with cartouche “Made by Weber Costello Co., Chicago Heights, Illinois”, turned wood pedestal, h. 20 in. $700/900

1080. [Mississippi Map], “Hardee’s...

Official Map of Mississippi, Embracing Portions of Alabama, Arkansas, Louisiana and Tennessee...”, New Orleans, Hugh Lewis, 1872, 36 1/2 in. x 22 3/4 in. $500/700 Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

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1078. Regency Carved Mahogany Cheval Mirror, c.

1810, ring‑turned and blocked frame with ebonized molding, lion’s head cast brass knobs, trestle base, brass cup casters, h. 53 in., w. 24 in., d. 20 1/2 in. $300/500

1082. [Hinderer’s Iron Works], three broadsides, c. 1890, from this New Orleans maker, advertising various fountains, fences, garden furniture and statues, 16 pages; together with Hansell’s Photographic Glimpses of New Orleans, 1908. $300/500

1083. American Cast Iron Bootscraper, c. 1900, surmounted by the figure of a boxer, h. 15 1/2 in., w. 18 1/2 in., d. 11 1/2 in. $700/900

1087. British School, late 19th/ early 20th c., “Sheep near Cliffwood”, oil on artist board, illegibly signed lower right, titled and signed “A. J...[?]” en verso, 9 in. x 12 in., period frame. $200/400

1091. Laughlin, Clarence John and David L. Cohn, New Orleans and Its Living Past: Photographs by Clarence John Laughlin, Text by David L. Cohn, Boston, Houghton Mifflin Company, 1941, signed by both on limitation page, number 549 of 1030, with 62 photogravures. $600/900

1084. Pair of American Cast Iron Horse Heads, 20th c., with wellmounting backplates, h. 32 1/2 in., w. 30 1/2 in., d. 21 1/2 in. $500/800

1088. [New Orleans/Batture Controversy], Virginia politician John Randolph’s personal copy, eight works relating to the Batture Controversy, bound together, octavo, leather spine, signed numerous times with other inscriptions in Randolph’s hand, also with ownership signature of prominent U. of Va. professor George Tucker, with note stating “Bought at J.R.’s sale‑1845”, list of pamphlets available. $800/1200

1085. Four British and Continental Paintings, 20th c., incl. “Along the Path by the Village”, oil on panel, signed “J. Robertson” lower right, “Stallion in the Stable”, oil on panel, unsigned, “Village Dock”, oil on canvas, signed “J. Oscar” lower left and “Sailing Schooner”, oil on canvas, signed “W. Hoper” lower right, 8 in. x 10 in. to 12 in. x 16 in., framed.

(4 pcs.) $300/500

1086. Attributed to David Cox (British, 1783‑1859), “English Landscape”, ink, gouache and graphite on paper, unsigned, pencil‑inscribed with artist and title on backing, 3 1/4 in. x 7 in., framed. $150/250

1090. Woodward, William, French Quarter Etchings of Old New Orleans, New Orleans, The Magnolia Press, 1938, dust jacket, with 54 plates. $400/600 1089. [Signed Huey P. Long Book], Every Man a King: The Autobiography of Huey P. Long, New Orleans, National Book Co., 1933, with signed dedication, dust jacket. $600/90

1093. Two Louisiana Splint Oak Storage Baskets, c. 1950, one lidded, with loop handles, h. 24 in., w. 15 in., d. 19 in., and h. 23 1/2 in., w. 15 in., d. 19 in. $400/600 1094. Louisiana Homespun Blanket, c. 1900, two panels, striped in blue and coton jeune, 61 in. x 80 in. $500/700

1092. Pair of American Cut Glass Photophores, floral shades, vasiform standard, spear prisms, electrified, h. 20 1/2 in., dia. 4 1/4 in. $400/600

Provenance: Washington, LA.

1095. Pair of American Sandwich Glass Peg Lamps, 19th c., star and bullseye pattern font, gilded girandole bases with mother and child, h. 24 in. $600/900

1096. Antique Brass Fireman’s Whale Oil Presentation Lantern, fixed cage, glass etched “HC Tyler, Deep River”, bale handle, h. 17 in., dia. 6 1/2 in. $300/500

1097. Antique Silvered Brass Fireman’s Presentation Lantern, fixed cage, globe inscribed “HCM Newburg VT” and with a trotting horse, h. 17 1/2 in., dia. 6 1/2 in. $300/500

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

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

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

1098. Antique “Configurated” Tin Lantern, pierced tin mounts with molded glass globe, simulating convex lenses, h. 17 1/2 in., dia. 4 3/4 in. $300/500 Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

Additional information at www.nealauction.com

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1101. American Leather and Wood Trunk, 19th c., brass nailhead trim and monogram, void interior, side handles, h. 12 in., w. 21 in., d. 12 in. $400/600 1099. American Brass Oil and Candle Powered Chandelier, late 19th c., green shade, foliate font, 9 candlecups, oil lamp now fitted for electricity, h. 36 in., dia. 26 in. $600/900

1100. American Colonial Revival Walnut Windsor Chair, 20th c., oxbow crest, spindled uprights, pierced vasiform splat, shaped arms, saddle seat, turned canted legs, stretcher, labeled “Sikes Chair Co. Buffalo”, h. 41 7/8 in., w. 24 3/4 in., d. 17 3/4 in. $200/400

Provenance: Descended in the family of Confederate General Daniel Govan.

1102. Pair of Antique Elm Windsor Chairs, 19th c., hoop backs, pierced splats, shaped arms, saddle seats, splayed turned legs, stretchers; together with pair of faux bamboo chairs, spindled backs, caned seats, tapered legs, stretchers. $400/600

1105. Samuel Peter Rolt Triscott (American, 1846‑1925), “Haystacks along the Marsh”, watercolor on paper, signed lower left, 7 in. x 9 1/2 in., framed. $500/750 1103. Queen Anne‑Style Mahogany Tea Table, 20th c., tray top, shaped frieze with two drawers, cabriole legs, pad feet, h. 26 7/8 in., w. 31 1/4 in., d. 19 3/8 in. $250/350

1107. Enoch Wood Perry Jr., N.A. (American, 1831‑1915), “Woodland Brook near the Village of Seis in Tyrol”, 1911, oil on canvas, signed, titled and dated lower left, 16 1/8 in. x 20 1/8 in., framed. $300/500

1106. After Harry Roseland (American, 1866‑1950), “Contemplating Lincoln”, oil on canvas, unsigned, inscribed en verso, 36 1/4 in. x 22 in., framed. $700/1000

1104. Hamilton Hamilton (British/ California, 1847‑1928), “By the Stone Wall, Silvermine”, watercolor on paper, unsigned, typewritten label with title en verso, 20 in. x 12 3/4 in., framed. $300/500

Note: Similar copy of the painting in the collection of the Smithsonian Institution, Washington, D.C.

1109. Carl Weber (American, 1850‑1921), “Pastoral Landscape: Mother and Child by the Farmhouse and Barn”, 1893, watercolor and gouache on paper, signed and dated lower left, sight 12 1/2 in. x 24 in., framed. $400/600 1108. Robert Walter Weir (American, 1803‑1889), “George Washington”, ink on paper, signed lower left, 8 1/2 in. x 6 1/4 in., antique Eastlake frame. $200/300

1110. American School, late 19th c., “Settlement along the River”, 1891, watercolor and pencil on paper, signed “Chr. Metz A.P. 1891” lower left, 11 1/4 in. x 16 1/4 in., framed. $150/250

1112. English Aesthetic Ebonized, Inlaid, Bronze‑Mounted Parlor Cabinet, late 19th c., mirrored superstructure with shelves, demilune base with central inlaid and gilt‑incised door flanked by glazed doors, columnar stiles, blocked base, toupie feet, h. 99 in., w. 54 in., d. 21 3/4 in. $800/1200

1111. Georgian Oak Hanging Corner Cupboard, probably late 18th/ early 19th c., molded cornice, paneled door, scalloped shelves, molded base, h. 43 in., w. 33 in., d. 15 in. $400/600

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1113. George II‑Style Carved Walnut Side Chair, rectangular upholstered back and seat, shell‑carved cabriole legs, ball and claw feet, cream damask upholstery. $200/400

1114. Renaissance‑Style Carved Walnut Table, plank top, two sunburst carved frieze drawers, chamfered blocked legs, h. 31 1/4 in., w. 73 1/4 in., d. 30 in. $800/1000

1115. Carved and Argente Console of Italian Baroque Inspiration, molded top, mirrored frieze, canted scrolled supports with paw feet flanking mirrored back, stepped plinth base, h. 32 1/2 in., w. 63 in., d. 24 in. $500/700

1117. Louis XVI‑Style Gilt Bronze and Cut Crystal Six‑Light Chandelier, early 20th c., crown and tasseled swag corona, rosette ring, bud pendant, four interior accent lights, h. 36 in., dia. 22 in. $800/1200

1116. Directoire‑Style Tôle Peinte Gas Lantern, 20th c., pagoda form, now electrified, h. 25 1/2 in., w. 18 in., d. 9 1/2 in. $800/1200

1118. Baccarat‑Style Molded Glass Four‑Light Candelabrum, 20th c., convertible, with spear prisms, h. 19 in., w. 12 1/4 in., d. 11 in. $500/700

Provenance: Collection of a Jackson, MS Lady.

1119. Pair of Decorative Iron Gates, with fleur‑de‑lis finials, C and S scroll design, h. 104 in., w. 123 in. $2000/3000

1120. Antique Louis XVI‑Style Carved Giltwood and Painted Overmantel Mirror, arched floral swagged inner frame, acanthus corners; later bleu céleste paint, h. 63 1/2 in., w. 53 1/2 in. $600/900

1121. Contemporary Bronze Figure of a Seated Girl, 20th c., inscribed “S. Seangtian” on proper left leg, h. 26 in., w. 29 1/2 in., d. 17 1/2 in. $1500/2000

1122. Louis XV/XVI‑Style Carved Giltwood Mirror, 20th c., C‑scroll crest, branchwork sides, acanthus and shell base. $600/900

1123. Classical Marble and Cast Stone Center Table, circular white marble top on cast stone caryatid support, h. 31 1/2 in., dia. 36 in. $400/600

Additional information at www.nealauction.com

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1124. Pair of French Patinated Metal Figures of Fencers, c. 1900, “Affaire d’Honneur”, after Charles Masse (French, 1855‑1913), h. 2 4in.; together with a pair of glazed pottery lamps, converted from oil lamps, h. 16 1/2 in. $300/500

1128. French Bronze Figure of Mucius Scaevola, 19th c., after the original by Louis‑Pierre Deseine in the Louvre, inscribed “Musée du Louvre” on self‑base, h. 13 3/4 in., w. 5 1/2 in., d. 6 1/4 in. $600/900

1125. Patinated Metal Sculpture of a Boy and Girl with Ball, after Auguste Moreau, inscribed “Aug Moreau”, J.B. Hirsch “Collection Française / Made in USA” stamp, and “CE807” plaque on self‑base, h. 19 in., w. 11 1/2 in., d. 12 1/2 in., black base, overall h. 20 in. $500/700

1126. Pair of Small Bronze Figures of Putti at Harvest, h. 7 3/4 in., w. 3 3/4 in., d. 3 1/4 in., sienna marble bases, overall h. 8 3/4 in. $200/300

1127. Bronze Figure of a Young Fisherboy, cast with anchor, net, and fish, h. 17 1/2 in., w. 8 1/2 in., d. 7 1/2 in., wood base, overall h. 20 in. $300/500

Provenance: Estate of Janice Lane Young, Richmond, VA.

Provenance: Estate of Janice Lane Young, Richmond, VA.

1129. Bronze Figure of a Lady with a Lamp, after Auguste‑Joseph Peiffer, inscribed “Peiffer”, h. 20 1/4 in., w. 8 3/4 in., d. 7 1/4 in. $600/900

1130. Bronze Figure of Moses Breaking the Tablets of the Law, after Yiannis Koutsis, signature and “590” inscribed on self‑base, h. 10 1/2 in., w. 4 in., d. 5 in. $500/700

1131. French Cast Iron Hall Stand, 19th c., marked “Corneau Freres a Charleville No. 25”, bleu paint, basket of flowers crest, six hat hooks, h. 81 1/2 in., w. 40 1/4 in., d. 18 1/2 in. $400/600

1133. Louis Philippe Carved Mahogany and Rosewood Low Table, circular top, vasiform reeded standard, lotus plinth, scrolled feet, h. 19 3/4 in., dia. 17 1/2 in. $250/350

1134. French Provincial‑Style Carved Fruitwood Bonnetière, 20th c., molded arched cornice, paneled door, medial drawer, door below, shell carved skirt, cabriole legs, h. 85 in., w. 43 1/2 in., d. 23 1/2 in. $500/800

1135. Flemish School, 19th c., “Reflections in a Mirror: An Elegant Lady and Her Dog”, oil on wood panel, signed “Serrure” lower left, 18 in. x 12 3/4 in., period frame. $700/1000

Provenance: Estate of Janice Lane Young, Richmond, VA.

1132. Villeroy & Boch Mettlach Basin, late 19th/early 20th c., gilt rim, handled borders, morning glory vine decoration. $200/400

1136. Charles Laurent Maréchal (French, 1801‑1887), “Coq et Poules dans le Poulailler [Rooster and Chickens in the Hen House]”, oil on canvas, signed lower left, 18 in. x 15 in., period frame. $400/600

128

1137. Augusto Daini (Italian, 1860‑1920), “A Welcome Drink: Two Ladies Pouring Wine for a Monk on Horseback”, watercolor on paper, signed lower right, sight 20 3/4 in. x 14 1/4 in., period frame. $300/500 Provenance: Estate of Janice Lane Young, Richmond, VA.

1138. V. Zabehlicky (Austrian, late 19th c.), “Town on a Lake”, 1886, oil on canvas, signed and dated lower right, 16 in. x 20 in., framed. $400/600

1139. Art Nouveau Brass Five‑Light Candelabrum, marked “PAIRPOINT MF’G CO”, with Pairpoint trademark and “6199”, applied floral decoration, h. 13 3/8 in., w. 17 1/8 in. $250/350 Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

1140. Handsome Silverplate Four Bottle Wine Cooler, marked “ROYAL CASTLE/ SHEFFIELD/ EP”, fitted with central covered ice well, h. 10 in., w. 13 in. $400/600

1141. Group of Small Silver Objects, incl. pair of sterling silver gilt gentleman’s hairbrushes, R. Blackinton & Co. for Cartier, Japanese mixed metals cigarette case and alarm clock with silver repousse frame (4 pcs.) $200/300

1142. Decorative Silverplate Lighthouse‑Form Cocktail Shaker, marked, h. 13 3/4 in. $250/500

1143. Pair of Louis XVI‑Style Carved Giltwood Two‑Light Sconces, each in the form of a beribboned trophée, h. 28 in., w. 9 in., d. 6 in. $500/700

1145. French Elm Low Table, composed of antique elements, top with rubbed grey paint, frieze drawers, turned legs, pegged construction, h. 18 in., w. 60 in., d. 33 in. $500/700

1146. Pair of Louis XV‑Style Carved Fruitwood Fauteuils, 20th c., cartouche shaped back, padded arms, carved seat rail, cabriole legs, h. 36 1/2 in., w. 24 1/2 in., d. 21 in. $150/250 1147. American “Modern” Iron Mesh Patio Set, c. 1960, Lee Woodard & Co., incl. a table, 4 side chairs, armchair and ottoman, table with fiberglass top and iron base, chairs with splayed legs, table h. 29 in., dia. 47 3/4 in. $800/1200

1144. Art Deco‑Style Patinated Bronze Boudoir Lamp, depicting a dancer on stage, h. 17 in., w. 10 1/4 in., d. 6 in. $300/500

1148. Newton Haydn “Tony” Stubbing (British/New York, 1921‑1983), “Handprint Abstraction”, 1963, oil on canvas, signed and dated lower right, “S. Roberson & Co., Ltd” canvas stamp en verso, 61 in. x 51 in., framed. $1000/1500

1149. Newton Haydn “Tony” Stubbing (British/American, 1921‑1983), “Sea Blue”, 1963, oil on canvas, incised signature and date lower right, signed and dated en verso, “WYES‑TV Auction” label en verso, “C. Roberson & Co., Ltd.” canvas stamp en verso, 29 3/4 in. x 24 3/4 in., framed. $700/900

Provenance: Property of the New Orleans Museum of Art, Sold to Benefit the Acquisitions Fund.

1150. Sandor Bernath (Hungarian/ American, 1892‑1984), “Adobes, New Mexico”, watercolor on paper, signed lower left, sheet 11 in. x 14 3/4 in., framed. $800/1200

1151. Caribbean School, 20th c., “Turret on a Fort by the Shore” and “City Gate”, 2 watercolors on paper, each illegibly signed lower right, 10 in. x 6 1/2 in., framed alike. $250/350

Provenance: Property of the New Orleans Museum of Art, Sold to Benefit the Acquisitions Fund.

1152. Andrew Cary Young (American/Mississippi, 20th c.), “Untitled: Sunset”, 3‑panel stained glass window, Pearl River Glass Studio, Inc., Jackson, MS, 40 1/2 in. x 56 1/2 in., framed. $400/600

1153. Walter Rutkowski (American/Louisiana, b. 1940), “Pontchartrain Suite: Bayou Scene”, colored pencil, graphite and mixed media on paper, unsigned, sight 27 3/4 in. x 38 in., framed. $300/500

Provenance: Collection of a Jackson, MS Lady.

Additional information at www.nealauction.com

129

1154. Walter Rutkowski (American/ Louisiana, b. 1940), “Chevy on the Levy II”, 1977, graphite, ink and mixed media on paper, unsigned, New Orleans Museum of Art shipping receipt with title and date from the 1997 Walter Rutkowski: Drawings exhibition en verso, 23 1/8 in. x 29 in., framed. $300/500 Exh.: Walter Rutkowski: Drawings, New Orleans Museum of Art, Dec. 6, 1997 ‑ Mar. 1, 1998 and listed in the accompanying catalogue, no. 2, p. 25.

1156. San Ildefonso Self‑Taught Group, c.

1900‑1935, Tonita Peña/Quah Ah (American/New Mexico, 1893‑1955), “Two Pueblo Dancers”, gouache on paper, signed lower left, 7 1/2 in. x 11 1/4 in. and Awa Tsireh/Alfonso Roybal/Cattail Bird (American/ New Mexico, 1895‑1949), “Snake Dance”, 1932, pochoir print, signed in plate lower right and numbered “28” upper right, printed “C. Zwedzicki, 1932” en verso, published by C. Szwedzicki, The North American Indian Works, Nice, France, 15 1/4 in. x 19 1/2 in., framed. (2 pcs.) $300/500

1155. Raine Bedsole (American/ New Orleans, 20th c.), “Things That Attract Them”, 2002, mixed media on wood panel, titled lower left, signed and dated en verso, 17 in. x 14 in., unframed. $400/600

1157. Emily Nichols Hatch (American, 1871‑1959), “Madison Square Park, New York City”, 1930, watercolor on paper, signed and dated lower left, typewritten label with title and “Royal Art Framing Co., NYC” labels en verso, 18 in. x 14 1/4 in., framed. $500/700

1160. Chris Burkholder (American/Texas, b. 1952), “Evening”, 1982, acrylic on canvas, signed and dated lower left, “Harris Gallery, Houston, TX” label with title en verso, 53 1/2 in. x 83 in., framed. $800/1200

Provenance: Collection of John F.B. Wilkinson, New Orleans, LA.

1158. Modernist Metal Figure of a Lady Holding a Shell, after Jules Werson, inscribed “Werson” on self‑base, h. 9 1/2 in., w. 2 3/4 in., d. 2 1/4 in., rouge marble base, overall h. 12 1/2 in. $600/900

1159. Italian Paint‑Decorated Parchment and Creme Peinte Escritoire, probably mid‑20th c., upper case with doors enclosing gilt‑tooled leather-$lined fitted interior; writing slide, frieze drawer, curule base, silver pulls, h. 47 1/2 in., w. 23 3/4 in., d. 12 in. $200/400

1161. Chris Burkholder (American/Texas, b. 1952), “Landscape”, 1981, acrylic on canvas, signed and dated lower left, 48 in. x 68 3/4 in., framed. $700/900

1162. Chris Burkholder (American/Texas, b. 1952), “Landscape”, 1982, acrylic on canvas, signed and dated lower left, 47 1/2 in. x 71 in., framed. $800/1200 1163. American Carved and Polychromed Carousel Horse, early 20th c., leather strap, metal stirrups, lacking stand, h. 45 in., l. 42 in., w. 10 in. $300/500

130

1164. Two Persian Silk Prayer Rugs, blue, red and cream ground, vase and flower design, 3 ft. 2 1/2 in. x 4 ft. 8 in. and 3 ft. 1 1/2 in. x 4 ft. 5 in. $600/900

1168. Charles Courtney Curran (American, 1861‑1942), “Portrait of a Seated Woman with Flowers”, 1906, oil on canvas, signed and dated lower right, 24 in. x 18 in., framed. $1200/1800

1165. Kashan Carpet, red and blue ground, central medallion, overall floral design, 9 ft. 11 in. x 14 ft. $800/1200

1169. Harry G. Berman (American, 1900‑1932), “Snow Scene”, 1927, oil on canvas, signed and dated lower right, “David Dike Fine Art, Dallas, TX” label with title en verso, 30 in. x 36 in., period frame. $1000/2000

1166. Kashan Carpet, red, blue and pink ground, central medallion, overall floral design, 10 ft. 2 1/2 in. x 14 ft. 10 in. $700/1000

1167. Persian Carpet, cream and red ground, allover designs of hunters and animals, 9 ft. 11 1/2 in. x 13 ft. 5 in. $800/1200

1170. Paris Porcelain Jardinière in the Neo-$Grec Taste, c. 1860, oval footed form, reserve with mother and child spinning, matte cobalt ground, gilt and black strapwork handles with anthemia, h. 9 in., w. 16 1/2 in., d. 10 3/8 in. $300/500

1171. Paris Porcelain Oval Platter, 19th c., claret border, gilt accents and monogram, l. 21 3/8 in.; together with a polychrome and gilt flare vase, h. 12 3/4 in. $300/500

Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

1172. Pair of Paris Porcelain Gilt Reticulated Corbeilles in the Rococo Taste, 19th c., h. 7 3/4 in., dia. 9 3/4 in. $400/600 1173. Royal Bonn Gilt and Polychrome Porcelain Covered Urn, c. 1890, impressed mark, decorated with floral garlands and raised gilt, h. 14 in., w. 12 in., d. 6 1/4 in. $400/600

1176. French or American Aesthetic Carved Oak Mirror, late 19th c., foliate scroll and beaded frame, beveled glass. $300/500

1177. Pair of English Polychrome Ceramic Jugs, with painted scenes of sailing ships, now mounted as lamps. $500/700

Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

1174. Pair of Fenton “Luxor” Porcelain Vases, 19th c., marked “Fenton/England/No. 69657”, polychrome and gilt decoration, h. 7 in., dia. 4 in. $400/600

1175. American Classical Carved Giltwood Overmantel Mirror, 19th c., split baluster frame with rosette corner blocks, divided mirror plate, h. 25 in., w. 63 in. $300/500 Provenance: Temple Heights, Columbus, MS.

Provenance: Estate of Janice Lane Young, Richmond, VA.

1178. French School, 20th c., “Boat on the Shore”, oil on wood panel, signed “S. Roux” lower right, 16 in. x 24 in., framed. $500/700 1179. Italian Painted Terracotta Campagna Urn, 20th c., with frieze of mythical beasts. $150/250 Provenance: Property of the New Orleans Museum of Art, Sold to Benefit the Acquisitions Fund.

Additional information at www.nealauction.com

131

1180. Aubusson‑Style Carpet, cream and teal ground, central bouquet, floral garlands, 9 ft. 9 1/2 in. x 13 ft. 10 1/2 in. $700/1000 1181. Heriz Carpet, red ground, central medallion, overall floral design, 9 ft. 4 1/2 in. x 12 ft. 2 in. $800/1200 1182. Heriz Carpet, cream ground, red border, central medallion, allover floral design, 5 ft. 1/2 in. x 7 ft. 10 1/2 in. $600/900 1183. Caucasian Runner, blue and red ground, repeating central medallions, double borders, 3 ft. 2 1/2 in. x 9 ft. $500/700 1184. Caucasian Runner, red ground, repeating central medallions, 3 ft. 2 1/2 in. x 13 ft. $500/700 1185. Persian Rug, red and blue ground, overall stylized floral design, triple border, 4 ft. 4 1/2 in. x 8 ft. 10 in. $400/600

1186. Italian Brass and Polychromed Marching Drum, c.

1900, decorated with an eagle and flaming bombs, leather and rope tensions, h. 14 in., dia. 15 3/4 in. $200/300

1187. Pair of Polychromed Cast Metal Whippets, square plinths, h. 29 in., w. 8 1/2 in., d. 9 1/2 in. $500/1000

1190. Reverend Russell Gillespie (American/North Carolina, b. 1922), “Mountain Cabin Scene”, carved wood, h. 22 1/2 in., w. 24 1/2 in., d. 22 1/2 in. $300/500 Provenance: Knoke Galleries, Atlanta, GA, 1998.

Ill.: Manley, Roger, Signs and Wonders: Outsider Art Inside North Carolina, North Carolina Museum of Art. 1188. Painted Cast Iron Leaping Frog Fountain, early 20th c., probably American, on pad‑form base, h. 24 1/4 in. $500/800

1189. Joseph “Joey” Bonhage (American/New Orleans, 1941‑2008), “Daffodils”, 1984, painted metal flower sculpture in Chinese bowl, signed and dated lower center, h. 17 in., w. 10 1/4 in., d. 9 1/2 in. $500/700

1191. Neoclassical‑Style Brass‑Mounted Inlaid Mahogany Table, oblong top, frieze drawer, curule base, disc feet, h. 30 1/4 in., w. 95 3/4 in. d. 42 in. $500/700 1192. Horace Talmage Day (American/Virginia, 1909‑1984), “Still Life of Magnolias in a Glass Vase”, 1938, oil on canvas, signed and dated lower right, 22 in. x 18 in., framed. $700/1000

1196. Large and Impressive Waterford Cut Crystal Punch Bowl, fan‑cut rim, h. 7 3/8 in., dia. 14 3/8 in. $300/500 1195. Val Saint Lambert Gilt Glass Vase, 20th c., decorated with Grecian figures, h. 10 1/2 in., dia. 6 in. $200/300

132

Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

Note: Born in a log cabin in rural North Carolina, Russell Gillespie sculpted from the roots and knots of trees and carved birds and animals from gourds. In this engaging sculpture, a man descends the stairs of his cabin with a bucket in hand to be filled by the dipper hanging next to the imaginary stream. Surrounding the cabin are a bird in a tree, several deer and small animals.

1193. David Noll (American/ Louisiana, 20th c.), “Peregrine Falcon”, 1973, watercolor on cardstock, signed and dated lower right, “A.L. Lowe, New Orleans” stamp en verso, 12 in. x 14 1/2 in., framed. $500/800

1197. Group of American Brilliant Cut Glass, late 19th/early 20th c., incl. pitcher, h. 11 1/4 in., berry bowl, h. 3 3/4 in., dia. 8 in.; and dish, dia. 8 1/8 in. $300/400 Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

1194. American School, late 19th/ early 20th c., “Coastal Scene”, oil on canvas, unsigned, “A Heydenryk Frame, The House of Heydenryk, New York” label en verso, 16 in. x 25 in., period frame. $300/500

1198. American Late Classical Giltwood Mirror, split columnar frame, blocked corners, divided mirror plate, h. 53 3/4 in., w. 20 in. $300/500

1199. American Late Classical Mantel Clock, late 19th c., labeled Davis Clock Co., Columbus, MS, with calendar, h. 25 in., w. 15 1/4 in., d. 4 1/2 in. $250/350 Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

1200. American Brass and Crystal Regulator Clock, late 19th c.,

by Ansonia, New York, visible escapement, striking gong, faux mercury pendulum, h. 15 in., w. 7 1/2 in., d. 6 1/4 in. $200/300 1201. American Classical Carved Mahogany Sideboard, c.

1835, pedimented backsplash, outset frieze drawers over cupboard doors flanked by turned tapered columns, plinth base, ball feet, h. 60 in., w. 75 1/2 in., d. 27 in. $500/1000

1203. American Rococo Carved Mahogany Chest of Drawers, mid‑19th c., serpentine marble top, conforming case, four graduated drawers, canted corners, shaped apron, bracket feet, h. 40 1/4 in., w. 43 in., d. 20 1/2 in. $250/500

1204. American Oak Roll Top Desk, 20th c., tambour lid, fitted interior, kneehole configuration of drawers, writing slides, square legs, h. 42 1/4 in., w. 60 1/4 in., d. 34 in. $200/400

1202. American Renaissance Carved Walnut Mirror‑Back Dresser, c. 1860, superstructure with arched mirror and candleshelves, white marble top on blocked case with turreted stiles, three graduated long drawers and blind plinth drawer, h. 94 in., w. 45 in., d. 21 in. $400/800

1205. American School, 19th c., “Indian Encampment in a Mountainous Landscape”, oil on academy board, signed “Colson” lower left, 9 1/2 in. x 13 1/2 in., unframed. $200/400

Provenance: Historic “Sally Mill”, Middleburg, VA.

1206. Brass and Milk Glass National Cash Register, 1910, Dayton, OH, model 313, serial no. 849208, drawer bottom with National Cash Register labels, h. 20 3/4 in., w. 10 1/4 in., d. 15 3/4 in. $700/1000

1210. Five Anglo‑Irish Cut Glass Serving Pieces, 19th/20th c., incl. oval platter, l. 12 in.; oval bowl, l. 10 3/4 in.; rectangular dish, l. 10 3/4 in.; and pair of oval dishes, l. 8 3/4 in. $300/400

1207. Oak and Brass National Cash Register, 1894, Dayton, OH, model 6, serial no. 87472, interior drawer with “J.A. Nelson/ Agent” and National Cash Register labels, drawer bottom with National Cash Register labels, h. 23 3/4 in., w. 18 3/4 in., d. 15 1/8 in. $600/900

1211. Group of Three Antique American Flycatchers, 19th c., two with stamp “EFV”, tallest h. 7 3/4 in., dia. 4 1/2 in. $300/500

1208. Two American Painted Fiberglass Architectural Casts, from molds taken from elements of the Carson, Pirie, Scott and Company Building, Chicago, after designs by Louis Henry Sullivan (American, 1856‑1924), h. 85 in., w. 30 1/2 in. and h. 49 1/2 in., w. 30 1/2 in. $300/500 Provenance: Property of the New Orleans Museum of Art, Sold to Benefit the Acquisitions Fund.

1212. Antique Blown and Cut Glass Tom and Jerry Jug with Lid, h. 11 1/4 in., dia. 8 in.; together with a blown and cut glass cheese dish and domed cover, h. 8 3/8 in., dia. 9 1/8 in. $300/400 Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS.

Provenance: Temple Heights, Columbus, MS.

1209. Handmade Wooden Model of a Galleon, 20th c., wood staves, cloth, rope, string and paint, on display base, total h. 44 1/2 in., l. 42 in., w. 12 3/4 in. $400/600

1213. Antique Flint Glass Centerpiece Pedestal Bowl, honeycomb design, h. 8 1/2 in., dia. 10 1/8 in.; together with a cut glass individual decanter, h. 8 in. $300/500

1214. Four American Glass Table Articles, 19th/20th c., incl. a thumbprint pattern celery vase, h. 10 1/2 in.; pair of printie block pattern tulip‑form vases, h. 9 3/8 in.; and a faceted cut decanter, h. 9 1/2 in. $250/350

Provenance: Murfee/DeBardeleben Collection, Riverview, Columbus, MS. Additional information at www.nealauction.com

133

1215. Two American Glass Footed Compotes, late 19th/early 20th c., incl. a flint example with scalloped splayed foot, h. 4 1/2 in.; and pressed example in “honeycomb” pattern, probably New England, h. 5 1/2 in. $150/250 Provenance: Didier, Inc., New Orleans, 2002.

1216. American Cut and Etched Glass Flip Glass, 20th c., with floral motifs, h. 6 1/4 in.; together with a star and vine pattern etched glass carafe, h. 6 in. $150/250 Provenance: Historic “Sally Mill”, Middleburg, VA.

1218. American Flint Glass Compote, 19th c., in the “Honeycomb” pattern, h. 5 1/2 in. $150/250 1217. Pair of American “Loop/ Leaf” Pattern Pressed Glass Celery Vases, mid‑19th c., probably Boston & Sandwich Co., Sandwich, MA; scalloped rims, paneled sides, circular feet, h. 10 1/4 in. $200/300

1220. R. Clark (American, 20th c.)

“Three Horses with Chuckwagon”, bronze, inscribed signature on self‑base, h. 13 1/2 in., w. 32 1/2 in., d. 9 in. $300/500 1219. Pair of American Blown Glass Decanters, 19th c., ribbed bell‑form bodies, original stoppers, h. 13 in. $200/300 Provenance: Didier, Inc., New Orleans, 2001.

1223. Southern Folk Art School, 20th c., “The Great Steamboat Race between the Robert E. Lee and the Natchez in the Summer of 1870”, watercolor on paper, unsigned, titled lower right, 22 in. x 28 in., framed. $100/200

1227. Carmen G. Sarre (American/ Louisiana, 1895‑1982), “Sunny Day in the Mountains”, oil on canvas, signed lower left, 28 in. x 36 in., framed. $300/500

134

1224. Pappy Kitchens (American/ Mississippi, 1901‑1986), “Old Farm”, “Fritz”, and “Water Wheel”, 1975‑76, one acrylic on paperboard, 2 acrylics and graphite on board, each signed lower right, 2 titled lower left, 2 dated lower left, sights 10 3/4 in. x 14 in. to 18 3/4 in. x 22 1/2 in., each framed. (3 pcs.) $700/900

1221. Kenny Ovah (American, 20th c.), “Kachina Doll”, carved and painted wood, signed and inscribed “1st Mesa” under base, h. 13 3/4 in., w. 5 in., d. 4 in. $100/150

1222. Sam Hernandez (American, b. 1948), “Pickin’ and Pecking Sometimes Just Don’t Do the Tri [ill.]”, 1976, toothpicks, paper armature and chewing gum, unsigned, h. 24 in., w. 23 in., d. 9 in., wood crate base, overall h. 29 in. $75/125]

Provenance: Property of the New Orleans Museum of Art, Sold to Benefit the Acquisitions Fund.

Provenance: Property of the New Orleans Museum of Art, Sold to Benefit the Acquisitions Fund.

1225. Pati Bannister (American/ Mississippi, 1929‑2013), “Home Is Where the Heart Is”, egg tempera on wood, incised signature lower left, 16 in. x 24 in., framed. $700/1000

1226. Pati Bannister (American/ Mississippi, 1929‑2013), “A Winter’s Day”, egg tempera on wood, signed lower left, inscribed “to my friend Bill, Patti Bannister” en verso, 23 in. x 33 in., framed. $600/800

Provenance: Property of the New Orleans Museum of Art, Sold to Benefit the Acquisitions Fund.

1228. American School, 19th c., “Untitled (At the River)”, pencil and crayon on paper, unsigned, 10 5/8 in. x 15 1/2 in., unframed. $100/150 Provenance: Property of the High Museum of Art, Atlanta, GA, Sold to Benefit Future Acquisitions.

Provenance: Property of the New Orleans Museum of Art, Sold to Benefit the Acquisitions Fund.

1229. Three American Duck Decoys, late 20th c., signed “Richard Connolly”, “Tom Taber” and “W.M.D.” $125/150

GLOSSARY OF TERMS Please note that all of the terms and descriptions used in this catalogue are intended as qualified opinions only and are subject to the Conditions of Sale and Limited Warranty set forth elsewhere. Neal Auction Company assumes no express or implied warranty with respect to these terms and descriptions, and they shall not be construed to be a warranty, representation or assumption of liability. Subject to the foregoing, with respect to authorship of works of art, the following terms shall have the following meanings: George Inness -$ In our qualified opinion, we believe the work is by the artist named.

Attributed to George Inness -$ In our qualified opinion, we believe the work may be ascribed to the artist named on the basis of style and period, but our opinion is less certain than in the previous category.

Signed “George Inness” -$ In our qualified opinion, the signature, monogram or other indication of authorship is a signature of the artist.

School of George Inness -$ In our qualified opinion, the work is of the period of the artist named, by a student or a follower of the artist, but not by the artist.

Manner of George Inness -$ In our qualified opinion, although the work is in the style of the artist named, it is actually of a later period.

After George Inness -$ In our qualified opinion, the work is a copy of a known work of the artist named.

Bears signature “George Inness” -$ In our qualified opinion, although the work bears the signature or monogram of the artist, the work most likely is not that of the artist.

PLEASE VISIT NEALAUCTION.COM TO REQUEST AND VIEW CONDITION REPORTS, REGISTER TO BID LIVE ONLINE, AND SUBMIT ABSENTEE/TELEPHONE BIDS. Additional information at www.nealauction.com

135

Artist Index •

A Roy Ahlgren, 858 Alexandre Alaux, 51-54, 82 (attr), 83, 84, 85, 188 Enrique Alferez, 575 Jacques Guillaume Lucien Amans, 425 American School, 49, 580, 660, 774, 1110, 1194, 1205, 1228 James McConnell “Mac” Anderson, 1006 Walter Inglis Anderson, 525-27, 567-71 (aft), 790 (aft) Alex de Andreis, 949 Frank Ashley, 845 John James Audubon, 2, 4, 468, 469, 471-73, 956 Milton Avery, 857

G

B

H

Bamboccianti Painters (mnr), 294 Pati Bannister, 1225, 1226 Raine Bedsole, 1155 Hilda Belcher, 581 Emerson Bell, 1032, 1033 Harry G. Berman, 1169 Sandor Bernath, 1150 Wilson Bigaud, 834 George Caleb Bingham (aft), 466 George Edwin Bissell, 876 Edward Bohlin, 582 Joseph “Joey” Bonhage, 1189 Charles Wellington Boyle, 417 Annie L. Colladay Braidwood, 463 Franklin Dullin Briscoe, 632 British School, 312, 313, 902, 951, 958, 960, 1085, 1087 William Henry Buck, 139, 500, 947 Steele Burden, 638, 794, 795, 1042-46 Chris Burkholder, 1160-62 Colin W. Burns, 952

December 2, 3 & 4, 2016

C

Alexander Calder, 578 Xavier de Callatay, 1034 Charles Camoin, 261 Caribbean School, 1151 Alphonse Carrier (aft), 610 George Frederick Castleden, 502 Marc Chagall, 959 Samuel B. Chapman, 1021 Chinese School, 316, 880-81 Richard Clague, 799 Juan Clara, 375 R. Clark, 1220 John Clemmer, 523 Claude Michel Clodion, 607 (mnr), 608 (aft) Louis Antoine Collas (attr), 50 George Henri Victor Collot, 11-32, 443 Continental School, 56, 57, 240, 273, 296, 603, 606, 950, 1071, 1085 John P. Couret, 138 David Cox (attr), 1086 Roy Cross (aft), 775 Alvyk Boyd Cruise, 562 Charles Courtney Curran, 1168 George Curtis, 630 Robert John Curtis, 801

D

Michael Dahl (attr), 598 Augusto Daini, 1137 Horace Talmage Day, 1192 Louis-Pierre Deseine (aft), 1128 Luis Diaz, 1027 Alexander John Drysdale, 422, 501, 796, 1016 Préfète Duffaut, 838, 839 Etienne-Henri Dumaige, 265 Grace Blethen Dunn, 1024 Caroline Wogan Durieux, 779, 780, 1028, 1029 Dutch School, 662, 1072 W.E. Dwyer, 1011

E

Basil Ede, 955 James Guy Evans (attr), 423

F

Etienne Maurice Falconet (aft), 609 Marie Rosalba Faure, 521 Arthur Fitzwilliam (aft), 776 Flemish School, 117, 1135 French School, 55, 59, 234, 235, 237-39, 250, 655, 1073, 1178 Prof. Antonio Frilli, 377 Nestor Hippoyle Frugé, 1037

Eugène Galien-Laloue, 599 Louis-Honore-Frederic Gamain, 818 Narcisse Garnier, 259 Giuseppe Gennaro, 642 Francois Gerard (aft), 236 Giambologna (aft), 724 Reverend Russell Gillespie, 1190 Rolland Harve Golden, 1015, 1017 William Goodall, 414 Louis Émile Pinel de Grandchamp, 262 Selina Elizabeth Bres Gregory, 1023 Louis Oscar Griffith, 494, 495, 528-530 Baron Antoine-Jean Gros, 258 Seymour Joseph Guy, 323 George Lothian Hall, 953 Theora Hamblett, 513 Hamilton Hamilton, 821, 1104 Cornelius Haly Hankins, 512 Emily Nichols Hatch, 1157 Colette Pope Heldner, 518, 640, 831 Knute Heldner, 514, 517 William Hemmerling, 1007 Sam Hernandez, 1222 Morris Henry Hobbs, 532, 533, 781-85, 788 James Holland, 324 Andrew LaMar Hopkins, 850 Jean-Antoine Houdon (aft), 803 Emily Hamilton Huger, 515 Clementine Hunter, 506-508, 510, 535, 536, 564, 824-26 Charles Woodward Hutson, 833

I

Indian School, 745 Wilson Henry Irvine, 519 Italian School, 948

J

John Jackson, 900 Antonio Jacobsen, 464, 465 Cornelis Janssens van Ceulen I (school), 295 Japanese School, 747, 748 Everett B.D. Fabrino Julio, 461

K

John Crookshanks King, 589 Alberta Kinsey, 537, 540, 830 Pappy Kitchens, 1224 Hans Kleiber, 634 John Baverstock Knight (attr), 901 Ida Rittenberg Kohlmeyer, 573, 574, 859-61 John J. Korver, 635, 797 Yiannis Koutsis (aft), 1130 Louis Kronberg, 578 Adolph Kronengold, 538, 1005

L

Latin American School, 842 Franklin LaTortue, 841 Marie de Hoa LeBlanc, 793 Paul Émile Lecomte, 605A Sister Mary Leo, 1012 Edmund Darch Lewis, 631 Ben Earl Looney, 1008, 1009 Louisiana School, 1, 48, 60, 124, 130, 131, 136, 503, 798, 827, 1013 Eugene E. Loving, 789, 1031

M

Heinrich Manger, 804 Charles Laurent Maréchal, 1136 Charles Masse (aft), 1124 Bunny Matthews, 1026 Mary Katharine Loyacano McCravey, 1003, 1004 Joseph Rusling Meeker, 418 Mexican School, 843 Robert Miller, 828 Clarence Millet, 509, 516, 531 Joan Miro, 572 Richard Misrach, 577 Jules Moigniez (aft), 602 Andres Molinary, 462 Auguste Moreau (aft), 1125 Gladys Morgan, 1010

N

Carl (Carlos) Nebel, 81 New Orleans School, 137 Harry Nolan, 822 David Noll, 1193

O

Antoine Obin, 837 Philome Obin, 836 Sénèque Obin, 835 George Orry-Kelly, 844 Martin Rico y Ortega, 293 Will Ousley, 823, 832, 1036 Kenny Ovah, 1221

P

Walter Launt Palmer, 415, 416 Richard Henry Park (aft), 875 Auguste-Joseph Peiffer (aft), 1129 Achille Perelli, 1018, 1019 Achille Peretti, 424 Granville Perkins, 539 Enoch Wood Perry, Jr., 1107 Marie Adrien Persac (aft), 442 Philadelphia School, 641 Émile-Louis Picault (aft), 802 Alexander Pope, Jr., 314, 315 William Sherman Potts, 651 Nicolas Poussin (mnr), 58

R

Theodore (Theodorus) Jacques Ralli (attr), 604, 605 Frank Knox Morton Rehn, 653 Charles Henry Reinike, 791, 792 Charles Richards, 1030, 1035 Thomas Addison Richards, 413 Adolph D. Rinck, 135 Noel Rockmore, 846, 847 George Rodrigue, 565, 852-856 Harry Roseland (aft), 1106 Robert Malcolm Rucker, 534, 563 Walter Rutkowski, 1153, 1154

S

José Francisco Xavier de Salazar y Mendoza, 505 San Ildefonso Self-Taught Group, 1156 Woodford J. Sanders (attr), 1020 Carmen G. Sarre, 1227 Petion Savain, 840 James Milton Sessions, 820 H. Alvin Sharpe, 961 Eugenie Frederica Shonnard, 576 Henry Pember Smith, 629 Thomas Smythe, 643 Southern School, 421, 522, 636, 637, 829, 1223 Spanish Colonial School, 116 Newton Haydn “Tony” Stubbing, 1148, 1149

T

Pierre-Philippe Thomire (attr), 251 Tommy Manning Thompson, 962 Richard Timm, 954, 957 William Tolliver, 848, 849 Samuel Peter Rolt Triscott, 1105 Sam Tuminello, 1014

V

Jean Joseph Vaudechamp, 474 Charles Henri Verbrugghe, 654 Horace Vernet (aft), 249 Antoine Verret, 639

W

William Aiken Walker, 419, 420 Carl Weber, 1109 Robert Walter Weir, 1108 Jules Werson (aft), 1158 J. Ralph Wilcox, 633 Irma Sompayrac Willard, 511, 787 Walter Heath Williams (attr), 903 Alexander Wilson, 5 Gustav Wolff, 652 Ellsworth Woodward, 524, 786, 1022, 1025 Mabel May Woodward, 520 William Woodward, 504 George Hand Wright, 566

Y

Andrew Cary Young, 1152

Z

V. Zabehlicky, 1138 Larry Zingale, 851

0358-$7040 0363-$1830 0364-$4880 0366-$1125 0368-$1464 0369-$2806 0370-$1024 0371-$1408 0374-$976 0375-$1280 0380-$1342 0382-$732 0385-$610 0386-$1098 0390-$1024 0391-$1342 0394-$1220 0395-$4026 0396-$768 0397-$854 0398-$3355 0400-$4160 0401-$1098 0402-$732 0403-$1830 0405-$854 0406-$1708 0407-$1586 0410-$1952 0411-$305 0412-$1220 0413-$6710 0415-$1220 0416-$1220 0419-$7930 0424-$3660 0427-$384 0430-$183 0432-$1586 0434-$896 0436-$1952 0437-$1750 0439-$854 0441-$732 0442-$2440 0443-$640 0444-$976 0446-$250 0447-$1220 0449-$732 0450-$183 0451-$384 0452-$2074 0454-$976 0456-$7320 0457-$2196 0459-$640 0460-$1088 0460A-$1708 0460B-$2074 0461-$610 0462-$1830 0463-$4270 0467-$3660 0470-$1125 0471-$3660 0472-$2440 0475-$1125 0476-$976 0478-$1952 0480-$2318 0482-$610 0486-$13440 0487-$6405 0489-$4480 0490-$1125

0493-$1464 0495-$366 0497-$1037 0500-$640 0502-$1037 0505-$1037 0506-$1708 0507-$1664 0511-$488 0512-$610 0513-$427 0514-$366 0516-$768 0518-$1408 0521-$1625 0523-$915 0526-$427 0527-$384 0528-$1952 0532-$4270 0535-$3355 0540-$366 0541-$427 0542-$640 0543-$896 0550-$854 0553-$915 0557-$305 0558-$671 0560-$305 0561-$488 0562-$671 0563-$854 0564-$732 0567-$732 0568-$1125 0569-$1375 0571-$976 0572-$625 0573-$512 0575-$832 0576-$375 0577-$187 0579-$544 0580-$1037 0581-$1625 0582-$7930 0585-$593 0593-$8640 0597-$9760 0599-$29280 0600-$1792 0601-$2562 0602-$384 0603-$256 0605-$12160 0610-$384 0614-$1408 0615-$768 0616-$250 0621-$512 0623-$854 0624-$250 0630-$183 0631-$2432 0633-$896 0636-$1464 0638-$218 0639-$305 0644-$549 0645-$3172 0646-$640 0648-$384 0651-$2440 0656-$244 0657-$256

0658-$384 0659-$384 0660-$244 0661-$183 0663-$256 0664-$128 0665-$512 0666-$512 0667-$768 0668-$384 0670-$579 0671-$384 0673-$244 0674-$704 0675-$128 0676-$125 0677-$281 0678-$384 0679-$183 0681-$375 0684-$64 0685-$11875 0686-$1152 0687-$750 0688-$1250 0689-$1375 0690-$1625 0691-$896 0694-$937 0696-$896 0697-$640 0698-$512 0699-$427 0702-$128 0708-$183 0709-$183 0710-$671 0713-$610 0714-$384 0716-$793 0717-$366 0718-$2750 0720-$812 0721-$112 0722-$640 0723-$91 0724-$152 0725-$125 0728-$1375 0730-$500 0731-$732 0732-$366 0733-$937 0734-$750 0736-$192 0737-$122 0739-$2500 0740-$384 0742-$640 0743-$640 0745-$512 0747-$625 0750-$1342 0751-$875 0752-$640 0756-$512 0758-$384 0759-$549 0760-$832 0761-$875 0762-$1586 0763-$1098 0771-$1250 0773-$732 0775-$305 0776-$448

0777-$1342 0779-$2135 0780-$2135 0782-$1464 0785-$125 0787-$366 0788-$793 0789-$1000 0789A-$375 0790-$375 0791-$793 0792-$793 0793-$768 0794-$427 0795-$488 0797-$610 0798-$1220 0800-$976 0802-$671 0803-$156 0807-$2000 0808-$1125 0809-$1830 0810-$1342 0811-$1500 0813-$244 0814-$1536 0817-$1000 0818-$4375 0820-$3050 0821-$2196 0823-$610 0824-$3538 0826-$320 0827-$625 0830-$854 0831-$4160 0832-$1342 0833-$2745 0834-$6100 0835-$1220 0836-$1250 0837-$1952 0839-$4514 0840-$1952 0841-$366 0843-$549 0844-$250 0846-$448 0847-$1024 0848-$2562 0849-$875 0850-$1342 0851-$305 0852-$3050 0853-$122 0854-$187 0855-$610 0857-$384 0859-$384 0860-$384 0861-$854 0864-$244 0865-$1098 0866-$256 0867-$854 0868-$915 0869-$244 0870-$576 0871-$122 0872-$183 0873-$610 0874-$125 0875-$312 0876-$2048 0877-$2304

0878-$427 0879-$244 0881-$187 0882-$512 0885-$915 0886-$437 0887-$750 0888-$854 0889-$1342 0891-$427 0892-$732 0893-$2806 0894-$1536 0895-$244 0896-$1088 0897-$2562 0898-$1625 0899-$732 0900-$1830 0901-$793 0902-$732 0903-$976 0904-$854 0905-$1037 0906-$915 0907-$915 0908-$671 0910-$793 0911-$671 0912-$244 0913-$427 0914-$704 0915-$437 0916-$732 0917-$488 0920-$732 0921-$312 0922-$128 0923-$305 0924-$384 0925-$1280 0926-$2432 0927-$704 0928-$160 0929-$625 0930-$437 0931-$3050 0932-$1187 0933-$671 0934-$1830 0935-$1159 0936-$1037 0937-$488 0938-$488 0939-$671 0940-$2196 0942-$3660 0943-$1830 0944-$1464 0946-$244 0947-$312 0948-$427 0950-$250 0951-$183 0952-$2304 0953-$1586 0954-$2048 0956-$1830 0961-$500 0962-$1220 0963-$687 0964-$750 0965-$750 0966-$640 0967-$750 0968-$1000

0969-$732 0970-$854 0971-$1830 0972-$732 0974-$256 0975-$256 0976-$192 0977-$256 0978-$93 0979-$256 0980-$562 0981-$2196 0984-$610 0985-$122 0986-$122 0987-$122 0988-$192 0989-$244 0990-$183 0991-$576 0992-$125 0995-$375 0997-$976 0998-$244 0999-$250 1001-$512 1003-$1708 1004-$183 1005-$549 1006-$256 1009-$183 1010-$250 1011-$244 1012-$5490 1013-$1464 1014-$732 1015-$1220 1016-$183 1018-$1342 1019-$244 1020-$244 1021-$1375 1022-$366 1027-$1464 1029-$3500 1030-$1098 1031-$750 1032-$366 1037-$875 1038-$610 1039-$488 1040-$366 1041-$2745 1043-$2440 1044-$183 1045-$976 1047-$305 1048-$384 1050-$312 1053-$549 1054-$549 1056-$610 1057-$427 1058-$244 1059-$244 1060-$500 1061-$427 1063-$183 1064-$122 1065-$256 1066-$244 1070-$244 1071-$305 1072-$183 1073-$488 1076-$2562

1077-$122 1078-$437 1079-$732 1083-$549 1084-$488 1086-$488 1088-$244 1089-$488 1090-$187 1092-$2304 1093-$183 1095-$488 1098-$1088 1099-$256 1100-$610 1101-$915 1102-$256 1103-$256 1104-$549 1105-$500 1107-$488 1108-$448 1109-$488 1116-$125 1118-$366 1121-$244 1122-$183 1123-$488 1124-$305 1125-$288 1126-$183 1127-$518 1128-$562 1129-$366 1130-$366 1131-$183 1132-$488 1133-$366 1134-$427 1135-$366 1136-$384 1137-$305 1139-$250 1141-$576 1142-$62 1145-$579 1146-$1037 1147-$183 1150-$732 1151-$256 1152-$366 1154-$187 1155-$640 1156-$256 1157-$875 1158-$384 1163-$512 1165-$213 1166-$384 1167-$213 1168-$244 1169-$562 1170-$213 1176-$183 1178-$183 1182-$366 1183-$437 1184-$256

September 24 & 25

0213-$1625 0214-$15860 0217-$976 0218-$976 0219-$976 0220-$1220 0221-$854 0222-$610 0223-$18910 0224-$6100 0228-$32940 0230-$10370 0231-$3172 0232-$5625 0233-$12200 0234-$2745 0238-$732 0240-$6100 0241-$6875 0242-$6100 0243-$4270 0244-$3050 0246-$1098 0249-$22500 0250-$854 0251-$2684 0254-$7930 0255-$46360 0256-$9760 0257-$24400 0258-$18300 0259-$8960 0260-$8845 0261-$31720 0262-$21960 0263-$8540 0264-$7015 0265-$6100 0266-$21960 0268-$1062 0269-$1586 0270-$4992 0271-$427 0272-$488 0273-$2684 0275-$256 0276-$732 0279-$2944 0280-$2074 0281-$976 0284-$1250 0285-$976 0288-$896 0289-$187 0290-$671 0291-$937 0294-$793 0295-$2562 0309-$976 0318-$17690 0329-$1220 0330-$976 0332-$2440 0334-$2440 0335-$3456 0336-$625 0340-$1875 0341-$875 0342-$1708 0345-$1586 0346-$2440 0348-$2560 0350-$512 0352-$2074 0355-$1952 0356-$1098

•

0110-$2562 0111-$3660 0116-$11285 0117-$1220 0118-$7930 0119-$2745 0120-$4270 0121-$7320 0122-$25620 0123-$4575 0124-$10065 0125-$1586 0127-$1586 0130-$1088 0131-$2440 0132-$671 0133-$1098 0134-$488 0135-$384 0136-$488 0138-$366 0142-$305 0143-$6100 0146-$1159 0147-$1159 0148-$4800 0149-$3840 0150-$366 0152-$2562 0153-$1152 0156-$375 0157-$6100 0157A-$2176 0158-$7625 0159-$24400 0160-$2500 0161-$6405 0162-$3355 0163-$6250 0164-$2375 0165-$4880 0166-$4375 0167-$1920 0168-$6100 0169-$2928 0170-$1750 0171-$4270 0173-$1464 0174-$1062 0175-$183 0177-$2440 0183-$244 0184-$3750 0185-$1098 0188-$2196 0189-$305 0190-$976 0191-$500 0192-$1098 0193-$6080 0194-$1708 0195-$1220 0196-$335 0199-$18300 0200-$4575 0201-$7360 0203-$61000 0204-$3750 0205-$2196 0206-$6100 0207-$5185 0208-$4480 0209-$42700 0210-$36600 0211-$8540 0212-$2440

Auction Results

0001-$640 0002-$1125 0004-$488 0005-$366 0006-$305 0007-$366 0008-$1098 0009-$625 0010-$2250 0011-$1375 0012-$1220 0013-$562 0014-$854 0016-$1830 0017-$1830 0018-$1464 0019-$854 0020-$671 0021-$122 0023-$1220 0024-$512 0025-$1280 0026-$1220 0027-$3172 0028-$488 0029-$6100 0030-$976 0032-$1098 0033-$1098 0035-$366 0038-$1586 0039-$183 0042-$488 0044-$640 0046-$640 0047-$2318 0048-$937 0049-$28060 0050-$21960 0053-$732 0055-$732 0060-$625 0061-$2440 0063-$500 0064-$1152 0065-$256 0066-$1830 0067-$5795 0069-$448 0070-$732 0071-$610 0072-$1098 0075-$3172 0076-$976 0079-$2928 0081-$732 0082-$1708 0083-$896 0085-$5490 0089-$1220 0090-$976 0091-$1280 0093-$3050 0094-$610 0096-$1664 0097-$4880 0098-$4375 0099-$976 0100-$1220 0101-$3172 0103-$1220 0104-$3072 0106-$488 0107-$1952 0108-$1098 0109-$85400

CONDITIONS OF SALE Placing a bid at auction constitutes buyer’s acceptance of and agreement to these Conditions of Sale.

1. WAIVER OF WARRANTY: All lots are sold “AS IS”. No statement regarding condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalogue or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. Any such warranty is WAIVED. Regarding works of art, Neal Auction Company does not make any express or implied warranty as to authorship. No statement in the catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. Buyer agrees and acknowledges that: (a) buyer is not relying on Neal Auction Company’s skill or judgment in selecting to purchase any lot; (b) no oral or written statements in the catalogue of Neal Auction Company or elsewhere regarding condition, attribution, kind, quality, value or authorship are the cause of or reason behind buyer’s purchase of any lot; (c) buyer would have incurred the purchase of any lot regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (d) Neal Auction Company did not know and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why buyer decides to purchase any lot; (e) buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; and (f) Neal Auction Company did not know, nor should it have known, that any oral or written statement about a lot in the catalogue or elsewhere would cause a nonpecuniary loss to buyer.

Notwithstanding the foregoing WAIVER OF WARRANTY, agreements and acknowledgements, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale on the basis of authenticity of authorship of a work of art under the following terms and conditions only, all of which must be met: A. Neal Auction Company shall not grant rescission regarding lots identified by Neal Auction Company by the terms “attributed to,” “school of,” “manner of,” “after,” or “signature of.”

B. Neal Auction Company shall not grant rescission regarding any lot unless the buyer notifies Neal Auction Company in writing within 25 calendar days from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale.

C. Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written document signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery.

D. Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the original buyer, and any rights of the original buyer are not transferrable or assignable.

E. Neal Auction Company shall not grant rescission when: (i) there is a conflict of expert opinion as to the authorship; (ii) expert opinion supported authorship at the time of sale, although expert opinion may have changed after the date of sale; and (iii) scientific processes that were unavailable, expensive or impractical at the time of sale have revealed since the time of sale that the author or period Neal Auction Company believed to be accurate at the time of sale was inaccurate.

F. In any dispute between Neal Auction Company and buyer regarding authorship of a work of art, it is stipulated that rescission of the sale and refund of the price paid shall be the buyer’s sole recourse or remedy, if any is available, and Neal Auction Company shall not be responsible or obligated for any damages (including compensatory, general, incidental, exemplary or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorney’s fees, or any other monetary or injunctive relief.

2. The auctioneer shall have absolute discretion in determining the successful bidder.

At the fall of the auctioneer’s hammer, title to the offered lot will pass to the bidder acknowledged by the auctioneer. The bidder thereupon assumes full risk and responsibility and will pay full purchase price for the said lot.

3. The auctioneer may decide that any original bid is not commensurate with the value of the article offered, or that any advance thereafter is not of sufficient amount, he may reject the same.

138

4. The auctioneer reserves the right to withdraw any item at any time before the sale of the item.

5. No merchandise will be released before the end of the auction.

6. If the buyer fails to comply with any of the Conditions of Sale, Neal Auction Company reserves the right to hold such defaulting buyer liable for the purchase price; to cancel the sale, retaining as liquidated damages any payment made by the buyer; resell the property without reserve at public auction or privately on seven days’ notice to the buyer or, take such other actions available by law as deemed necessary or appropriate. If Neal Auction Company resells the property, the original defaulting buyer shall be liable for the payment of any deficiency in the purchase price and all costs and expenses, including warehousing, the expenses of both sales, reasonable attorneys’ fees, commissions, incidental damages and all other charges due hereunder.

ABSENTEE/TELEPHONE BIDS

1. All absentee bids and/or telephone bids must be in our gallery by 5 P.M. CST the Thursday prior to the auction.

2. All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at the discretion of the Neal Auction Company. Each item must have a minimum low estimate of $500.

3. We assume no responsibility for failure to execute bids for any reason whatsoever.

4. We reserve the right to require that advance bids be accompanied by a 25% deposit.

PAYMENT

1. The successful bidder agrees to pay a buyer’s premium in the amount of 25% of the hammer price on each lot up to and including $200,000, plus 10% of the hammer price greater than $200,000. For payments made by cash, check or wire transfer within 15 days of the auction, the buyer’s premium shall be discounted 3% of this 25%.

2. Online bidding is available at a buyer’s premium in the amount of 28% of the hammer price. A cash discount is not available for purchases made online.

3. Unless exempt by law, the buyer will be required to pay Louisiana and local taxes, and, if applicable, any federal luxury or other tax, on the total purchase price.

4. Documentation of tax exemption must be provided upon registration.

5. Payment in full must be made by the successful bidder within 15 days of the auction date. Interest charges will apply to invoices paid after this period expires. We reserve the right to require payment in full of the sales price at the moment of the successful bid.

6. VISA, MasterCard, Discover and American Express are accepted for invoices up to $25,000 per customer.

TERMS

Any customer not accredited by Neal Auction Company must present a letter of reference from their bank or other suitable source acceptable to Neal Auction Company.

Neal Auction Company requires that the merchandise be held on premises until the check clears or money can be wired into the Neal Auction Company account.

SHIPPING

We will assist buyers in making shipping arrangements by furnishing information on packers and shippers. Handling of purchased items by us is at the risk of the buyer.

Final shipping arrangements and agreements are strictly between the buyer and the shipper.

STORAGE

Unless other arrangements are made and confirmed in writing, all items must be removed within 15 days of the auction. On the first business day following that time period, items remaining in the gallery will be turned over to a storage facility. The buyer will be responsible for handling and storage costs. Handling costs will be a minimum of $50. Storage rates will carry a minimum charge of $50 per month per item. All items handled or stored will be at the buyer’s risk. Storage charges are accrued monthly and must be paid in full before items are released. We are not liable for any damage to items after the sale.

MANDATORY AND EXCLUSIVE FORUM SELECTION; AND CHOICE OF LAW

Any action of any nature brought by either party against the other in any court, whether federal or state, shall be brought exclusively in Orleans Parish, Louisiana.

Each party agrees to submit to jurisdiction and venue in federal or state court in Orleans Parish, Louisiana, waives all questions of such jurisdiction or venue, and waives any rights to jurisdiction or venue in any other forum. Any dispute between the parties shall be governed by the law of the State of Louisiana, notwithstanding any conflicts of law principles.

GALLERY TALKS Saturday November 26 11 AM 4038 Magazine Street | New Orleans, LA

The Life and Art of Clementine Hunter Thomas Whitehead has co-authored two books on Clementine Hunter, Clementine Hunter: Her Life and Work and Clementine Hunter: The African House Murals. As an expert consultant, participant and producer, Whitehead has worked on numerous films and documentaries on the life and art of Clementine Hunter.

Whitehead’s friendship with Clementine Hunter began while he was an undergraduate in Natchitoches in the mid-1960s. Weekly meetings with her over the next 20 years resulted in a unique bond, giving Whitehead special insight into the artistic preoccupations and motivations of Hunter. Since Hunter’s death in 1988, Whitehead has continued to research and educate on Hunter’s artistic evolution and her continuing impact on southern artists.

His personal experiences help to highlight Hunter’s unique life story.

Presented by Thomas Whitehead, Author and Leading Expert on the Artist

Friday December 2 11 AM 4038 Magazine Street | New Orleans, LA

Jordan Noble and the Battle of New Orleans Shelene Roumillat received her Ph.D. from Tulane University in 2014. Her dissertation was a social and cultural history of the Battle of New Orleans titled “From the ‘Hour of Her Darkest Peril’ to the ‘Brightest Page of Her History’: New Perspectives on the Battle of New Orleans.” Roumillat published an article in Louisiana Cultural Vistas (Winter 2014) titled “The Glorious Eighth of January” for the 200-year anniversary of the Battle of New Orleans.

Presented by Shelene C. Roumillat, Ph.D.

Originally from Charleston, Roumillat moved to New Orleans to attend Tulane University in 2001 and instantly developed an intense passion for the city. Her love of Louisiana history and artistic talents grew simultaneously while in graduate school, and she became active in the local parading and costuming community. In October 2015, Roumillat launched The New Orleans Costume Center, an online hub for costume lovers and designers. Roumillat currently serves as Vice President of the nonprofits StayLocal! and Urban Conservancy.

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

NealAuction AuctionCompany Company Neal

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Auctioneers Appraisers Antiques Fine Auctioneers && Appraisers of of Antiques && Fine ArtArt 4038 Magazine Street, New Orleans, Louisiana 70115 4038 Magazine Street, New Orleans, Louisiana 70115 s &AX s WWW NEALAUCTION COM s &AX s WWW NEALAUCTION COM

ConfidentialAbsentee Absentee/ Telephone / TelephoneBid BidForm Form Confidential

15/06M 16/12M 15/06M

PLEASE REVIEW GUIDELINES FOR ABSENTEE TELEPHONE BIDDING PLEASE REVIEW GUIDELINES FOR ABSENTEE && TELEPHONE BIDDING : : 4ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE 4ELEPHONE BIDDING WILL BE TAKEN AT THE DISCRETION OF .EAL !UCTION #OMPANY %ACH ITEM MUST HAVE A LOW ESTIMATE OF OR MORE !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !BSENTEE BIDS ARE GLADLY ACCEPTED FOR ALL ITEMS BELOW !LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION Thursday !LL ABSENTEE BIDS AND OR TELEPHONE BIDS MUST BE IN OUR GALLERY BY 0 - #34 THE &RIDAY PRIOR TO THE AUCTION )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE )N THE EVENT IDENTICAL BIDS ARE SUBMITTED THE EARLIEST BID RECEIVED WILL TAKE PRECEDENCE ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS ! DEPOSIT MUST ACCOMPANY ALL BIDS ! CREDIT CARD NUMBER IS REQUIRED FOR SECURING YOUR BIDS !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE !UCTION ADDENDUM AVAILABLE PRIOR TO THE AUCTION ON THE WEBSITE OR VIA FACSIMILE !LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN !LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY REPRESENTATION OR ASSUMPTION OF LIABILITY )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE )N THE EVENT OF DISCREPANCIES LOT NUMBER AND NOT LOT DESCRIPTION WILL TAKE PRECEDENCE

First Last First Last Name:_________________________ _________________________Name: Name:____________________________________ ____________________________________Company: Company:__________________________ __________________________ Name: Address: ______________________________________________________________________________________________________ ______________________________________________________________________________________________________ Address: #ITY ????????????????????????????????????????????? ????????????????????????????????????????????? 0ROV 3TATE 0ROV 3TATE ??????????????????????? ??????????????????????? 0OSTAL 0OSTAL #ODE #ODE ???????????????? ???????????????? #ITY (OME 0H ????? ??????????????????? 7ORK 0H ????? ?????????????????????? &AX ????? ?????????????????????

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DealerResale# Resale# ________________________________ State __________ Email: __________________________________________________ Dealer ________________________________ State __________ Email: __________________________________________________ Dealers must provide Neal Auction Company with proper documentation prior bidding.

Dealers must provide Neal Auction Company with proper documentation prior to to bidding.

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I understand that to to execute forfor any error thethe execution of of bids.

I have read and agree to “Conditions thethe “Conditions of of Sale� as as stated in in the catalogue.

I understand toure execute bids, bids, orbids, fororany error inerror theinexecution of bids.

I bids. have and agree to the of Sale� as stated in the catalogue.

I understand thatthat a buyer’s premium will be charged each purchased at 22% to and including $200,000 plus 10% hammer price greater than $200,000.

For buyer’s premium will becharged charged onon each lotlot purchased at 25% 22% upup to and and including $200,000 plus 10% of the hammer price greater than $200,000.

For aabuyer’s premium will be on each lot purchased at up to including $200,000 plus 10% of of thethe hammer price greater than $200,000.

For purchase made by cash, check or wire transfer within days of auction, buyer’s premium shall discounted of this 22%.

No exceptions. purchase made cash, check orwire wire transfer within 1515 days of the thethe auction, thethe buyer’s premium shall be be discounted 2.5% this 22%.

Noexceptions. exceptions. purchase made bybycash, check or transfer within 15 days of auction, the buyer’s premium shall be discounted 3%2.5% ofofthis 25%.

No

SignatureRequired Required Signature

Date Date

Internal Use Only:Approved Approved _____________Registered ___________ Entered ____________ ForFor Internal Use Only: _____________Registered ___________ Entered ____________ Clerks Initial _______________ Account # _________________ Confirmed ______________________ Clerks Initial _______________ Account # _________________ Confirmed ______________________

Fax Form on or before Friday,1/31/15 1/31/15 Fax Form or before Friday, Fax Form on or Friday,6/26/15 Fax Form onon or before Thursday, 12/01/16 Fax Form on or Friday,6/26/15 to 504-617-6431oror504-617-9990 504-617-9990 504-617-6431 504-617-9990 toto 504-617-6431 504-617-9990 to 504-617-6431 to 504-617-6431 504-617-9990

229 229

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Neal Auction Company Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 s &AX s WWW NEALAUCTION COM

Auction Auction Date: AuctionDate: Date: December 2, 3 2015 &1,4,2015 2016 Jan. 3117-19, & Feb. April

Condition Report Request Form PLEASE REVIEW GUIDELINES FOR CONDITION REPORT REQUESTS:

)TEMS MUST HAVE A MINIMUM LOW ESTIMATE OF #ONDITION 2EPORTS WILL NOT BE GIVEN VERBALLY 4HE #ONDITION 2EPORTS $EPARTMENT IS AVAILABLE TO TAKE REQUESTS TWO WEEKS PRIOR TO EVERY AUCTION 0HOTO REQUESTS WILL ONLY BE PROCESSED FOR ITEMS NOT ILLUSTRATED IN OUR CATALOGUE OR ON OUR WEBSITE AT WWW NEALAUCTION COM $ETAIL PHOTOS PROVIDED UPON DISCRETION #ONDITION 2EPORT 2EQUESTS SHOULD BE SUBMITTED BY FACSIMILE TO OR VIA THE ONLINE REQUEST FORM BY prior to the 7EDNESDAY

. start of the auction. !LL PROPERTY IS SOLD h!3 )3v .O STATEMENT REGARDING CONDITION OF ANY ITEM WHETHER IT IS MADE ORALLY AT THE AUCTION OR ANY OTHER TIME OR IN WRITING IN THE CATALOGUE OR ELSEWHERE SHALL BE DEEMED TO BE A WARRANTY

REPRESENTATION OR ASSUMPTION OF LIABILITY

&IRST .AME ?????????????????????????????????????????????? ,AST .AME ?????????????????????????????????? #OMPANY ????????????????????????????? !DDRESS ???????????????????????????????????????????????????????? #ITY ??????????????????????????????????????????? 0ROV 3TATE?????????????????? 0OSTAL #ODE ??????????????????

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Fax this formtoto504-897-3808 504-897-3808 on or before Fax this form before Wednesday, Wednesday,1/28/15.

1/15/15.

11/30/16 228

Additional information at www.nealauction.com

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Notes

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Additional information at www.nealauction.com

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

Michelle LeBlanc Leckert, CAI Vice President

Bettine Field Carroll Vice President Business Development

ADMINISTRATION

CONSIGNMENTS

Director of Administration & Finance

Michelle LeBlanc Leckert, CAI Database Manager

Jackie Hernandez Client Services

Rebekah Abernathy Administrative Assistant/Internet Auction Administrator

Lisa Weisdorffer Administrative Assistant

Cameron McHarg

Furniture & Decorative Arts

Neal Alford; Polly Rolman-Smith Paintings, Prints & Photography

Marney Robinson; Sophie Hirabayashi

Casey Foote Books, Maps & Natural History Prints

Marc Fagan Silver & Decorative Arts

Katherine Hovas Asian Arts

Bettine Field Carroll Inventory Coordinator

Stephen Dewey Consignments Administrator

Johanna Darilek

GENERAL MANAGER

Jason Leckert

GRAPHICS Graphics Director

Dave Roberts Catalogue Design

Emory Nolan Photography

Jason Leckert

Tom Simpson

Jason Kruppa

AUCTION SERVICES

Owen Murphy

OPERATIONS Director of Operations

Charles Lee Operations Staff

Charlie Clay

Kelvin Gibson

Will Larkin

Jerry Majors

Larry Sudds

CATALOGUE CONSULTANTS Robert Wilson

EXHIBITION STAFF

Cecile Ballard Sybil Lawson Ann Mahorner

Cammie Mayer Clare Stewart Carolyn Wogan

AUCTIONEERS

Director of Museum Services & Research

Douglas Lewis, Ph.D., F.A.A.R. Trust & Estates Advisor

Henry G. McCall Senior Appraiser Fine Arts

Amanda Mantle Winstead Appraisals

Marc Fagan

Neal Alford #797 Michelle LeBlanc Leckert #1514 Bettine Field Carroll #1874 Marc Fagan #1935

Paintings & Fine Arts

Claudia Kheel; Amie Strickland Furniture & Decorative Arts

Doris Mollenkopf Newcomb Pottery & Decorative Arts

Sally Main Silver

Carey Mackie Decorative Arts & Victoriana

Ann M. Masson Asian Arts

Richerson Rhodes

Neal Auction Company

Neal Auction Company Louisiana Purchase Auction™ December 2, 3 & 4, 2016

December 2, 3 & 4, 2016