November 20 & 21, 2025
LOUISIANA PURCHASE AUCTIONTM
November 20 & 21, 2025
Featuring:
Collection of Former Governor Murphy J. “Mike” Foster, Jr. (1930-2020) Part II
Works from the Collection of Charlotte and the late Jean (1930-2022) Seidenberg.
Select Property from Estates and Private Collections; Southern Fine Art, Antique Furniture and Decorative Objects, Jewelry and Couture, Fine Silver, Chandeliers and Lighting, Sculpture, Carpets, Porcelain, Mirrors, and more!
EXHIBITION
Beginning Monday, November 10, 10 a.m. to 5 p.m.
Saturday Exhibition, November 15, 10 a.m. to 3 p.m.
Evening Exhibition, Tuesday, November 18, 5 p.m. to 7 p.m.
COLLECTION OF CHARLOTTE AND THE LATE JEAN SEIDENBERG (1930-2020)
Celebrated for his impressive artistic career which spanned many decades and different media, Jean Seidenberg was born in New York and spent his childhood visiting the city’s best museums and galleries. After graduating from Erasmus Hall High School in 1947, he immersed himself in art school and was the beneficiary of scholarships to the Brooklyn Museum School and Syracuse University School of Fine Art. He also attended night classes at Cooper Union.
In the 1950s, Seidenberg moved to New Orleans where he continued his art career and became an integral part of the local art scene. He was a founding member of the revered artist-run Orleans Gallery which featured artwork by his contemporaries Ida Kohlmeyer, Robert Helmer, Lin Emery, and George Dunbar, among others. While he was a multi-faceted artist who was a master of a variety of media—oil, graphite, egg tempera, wood and even founding the first independent foundry for lost wax casting in the South – Seidenberg’s figural paintings were particularly celebrated. In 1962, the Museum of Modern Art selected his portrait of his daughter Eugenie to be featured as one of seventy-four works showcased in their “Recent Painting USA - The Figure” traveling exhibition.
Seidenberg shifted careers in the 1970s, opting to work as a full-time real estate developer, but soon he returned to painting upon meeting his future wife, Charlotte. In 1981, Jean married Charlotte, a garden expert, author and naturalist. Subsequently, he maintained his art studio, working on commissioned drawings and paintings while also developing his personal artistic practice. His lifetime of impressive works garnered him a retrospective at the Ogden Museum of Southern Art in 2008. He passed away on November 6, 2022 with Charlotte by his side.
Together Charlotte and Jean built a collection as varied and inspired as Jean’s own oeuvre. Neal Auction is honored to present works from the Collection of Charlotte and the late Jean (1930-2022) Seidenberg.
COLLECTION OF FORMER GOVERNOR MURPHY J. “MIKE” FOSTER, JR. (1930-2020) PART II
Neal Auction is honored to present select objects from the collection of former Governor Murphy J. “Mike” Foster, Jr. (1930-2020).
Governor Foster was raised on Bayou Teche in St. Mary Parish, LA. He attended Virginia Military Institute for one semester, then transferred to Louisiana State University, where he pursued a chemical engineering degree. Foster then joined his family’s sugar cane farming operation, and soon after formed Bayou Sale Contractors so that his farm employees would have work during the off season.
Foster’s grandfather and namesake, Murphy J. Foster (1849-1921), had served as governor of Louisiana from 1892 to 1900, and later as a United States Senator from 1901 to 1913. Foster followed in his grandfather’s footsteps into politics. After fulfilling two terms in the state senate beginning in 1988, he was elected governor, serving two terms from 1996 to 2004.
An avid outdoorsman and nature enthusiast, Foster was also a motorcyclist, private pilot as well as helicopter pilot, and was known for parking his seaplane on Bayou Teche. He was a certified welder and held a 100-ton boat captain’s license. While in office, he attended Southern University Law School and graduated with a J.D. in 2004.
Among Foster’s political accomplishments, he spearheaded the building of the New Orleans Center for the Creative Arts, created the TOPS scholarship program and passed constitutional amendments dedicated to coastal restoration.
Foster’s enthusiasm for the natural world is evident in his collection which includes some of the rarest natural history books and prints to be published, including a complete large folio set of Audubon’s Quadrupeds, a wonderful set of Gould Hummingbirds, as well as octavo sets of Audubon’s The Birds of America, Quadrupeds, and Jardine’s extensive Naturalist’s Library. The natural history prints were perfectly complemented by Foster’s large collection of woodcarvings of birds, primarily the work of master carver Don Gomez.
Foster’s collection was carefully curated and beautifully displayed at his historic Oaklawn Manor home in Franklin, LA.
SESSION 1
Thursday, November 20, 1 p.m.
LOTS 1-300
Click on the item to go directly to the lot online lot description!
1. Antique Continental Verdure Tapestry, 19th c., or earlier, depicting a courting couple, surrounded by figures in a landscape, the border featuring floral garlands, and winding roads through a sylvan landscape, linen backed, velcro to top edge, verso, lower portion shortened, 9 ft. x 8 ft. 6 in.
[1000 / 1500]
2. Antique Continental Verdure Tapestry, depicting a scene in one of poet Virgil’s Eclogues, with Amarelis and one of her lovers, linen-backed, with hanging loops, lower portion shortened, 7 ft. 1 in. x 6 ft. 4 in.
[1000 / 1500]
3. Persian Carpet, blue and red ground, 9 ft. 4 in. x 13 ft. 5 in.
[700 / 1000]
4. Antique Persian Carpet, 9 ft. 3 in. x 10 ft. 9 in.
[800 / 1200]
5. Antique Serapi Carpet, 11 ft. x 14 ft. 9 in.
[600 / 900]
6. Persian Carpet, 11 ft. 10 in. x 16 ft. [700 / 1000]
7. Antique Persian Runner, 3 ft. 3 in. x 16 ft. 7 in.
[700 / 1000]
8. Antique Persian Rug, 3 ft. 6 in. x 6 ft. 2 in.
[300 / 500]
9. Antique Heriz Carpet, 11 ft. x 14 ft. [700 / 1000]
10. Persian Carpet, 10 ft. 2 in. x 14 ft. 7 in. [1000 / 1500]
11. Antique Persian Rug, 36 x 48 in. (91.4 x 121.9 cm.) [200 / 300]
12. Kirman Carpet, red ground, central medallion, 9 ft. 3 in. x 19 ft. 3 in. [700 / 1000]
13. Persian Carpet, red ground, 5 ft. 4 in. x 8 ft. 7 in. [500 / 700]
14. Persian Carpet, 5 ft. 9 in. x 13 ft. 10 in. [700 / 1000]
15. Persian Carpet, 10 ft. x 14 ft. 3 in. [700 / 1000]
16. Persian Carpet, 9 ft. 6 in. x 13 ft. 9 in. [600 / 900]
17. Turkish Carpet, repeating designs, 6 ft. 2 in. x 9 ft. 10 in. [700 / 1000]
18. Antique Persian Carpet, 8 ft. 9 in. x 11 ft. 5 in. [600 / 900]
19. Persian Heriz Carpet, 3 ft. 7 in. x 8 ft. 2 in. [900 / 1000]
20. Mahal Runner, 3 ft. 1 in. x 19 ft. 9 in. [1400 / 1600]
21. Persian Sultanabad Carpet, 6 ft. 6 in. x 8 ft. 3 in. [1500 / 1800]
22. Oushak Carpet, 6 ft. 1 in. x 9 ft. 6 in. [1800 / 2200]
23. Oushak Carpet, 7 ft. 6 in. x 8 ft. 9 in. [1500 / 1800]
24. Four Antique French Glazed Confit Jars, large, medium, and two small, loop handles, tallest h. 12 1/2 in. [500 / 700]
25. Three Antique French Glazed Pottery Vessels, two jugs, and a confit jar, tallest h. 12 1/2 in. [400 / 600]
26. Three Antique French Glazed Confit Jars, loop handles, tallest 11 1/2 in. [500 / 700]
27. Two Antique French Glazed Confit Jars, loop handles, taller 12 1/2 in. [300 / 500]
29. Antique French Olive Jar, 29 x 20 in. (73.7 x 50.8 cm.), [400 / 600]
30. Pair of Anduze Glazed Terracotta Garden Urns, stamped “La Madeleine/Anduze Gard”, brown glaze, 26 x 21 in. (66 x 53.3 cm.) [500 / 700]
28. Large Antique French Glazed Olive Jar, 36 x 25 in. (91.4 x 63.5 cm.), [700 / 1000]
31. Pair of Anduze Glazed Terracotta Garden Urns, stamped “Boisset a Anduze”, multicolor glaze, 28 x 23 in. (71.1 x 58.4 cm.), [400 / 600]
32. Antique French Olive Jar, 30 x 20 in. (76.2 x 50.8 cm.) [600 / 900]
33. Antique French Glazed Olive Jar, 32 x 24 in. (81.3 x 61 cm.) [500 / 700]
34. Large Antique French Glazed Olive Jar, 37 x 26 in. (94 x 66 cm.) [700 / 1000]
, 41 x 27 in. (104.1 x 68.6 cm.),
36.
, 39 x 27 in. (99.1 x 68.6 cm.),
/ 1000]
37. Antique French Olive Jar, loop handles, molded and incised decoration, 34 x 20 in. (86.4 x 50.8 cm.), [500 / 700]
38. Continental Terracotta Olive Jar, loop handles, molded and twist decoration, [400 / 600]
35. Large Antique French Glazed Olive Jar
[700 / 1000]
Large Antique French Glazed Olive Jar
[700
39. James K. Polk (President, 1845-1849) Presidential Porcelain Vegetable Dish, c. 1846, made by Edouard Honorè, Paris, white with lobed cavetto with molded and gilded scroll rims, reserved with a gilt scroll medallion, and with the shield of the United States in red, white and blue and the motto “E Pluribus Unum” on a banner, scroll handles, marked with Ed. Honorè rust color scroll mark, incised “1901/7,” h. 3 3/8 in., w. 10 in., d. 9 in., lacking cover. [3000 / 5000]
Note: The Polk White House service is the first service to bear this patriotic emblem. The shield contains 27 stars which represents the number of states in the Union from 1845 to 1846, the year the china was ordered.James K. Polk was the 11th President of the United States, serving from 1845 to 1849. On March 3, 1845, a furniture fund was established by an Act of Congress for the new president. Polk engaged his good friend William W. Corcoran to act as his agent and set about acquiring china on the Presidentís behalf. In March 1846, Alexander Stewart & Co., the famous dry goods house in New York City, procured a new presidential service from Edouard Honorè of Paris. The scroll mark on the service used by Honorè lists addresses for the decorating shop and showroom on Boulevard Poissonniëre in Paris and the factory, which moved to Champroux (Allier) in 1824. The mark was used by Honorè until he died in 1855. Reference: Klapthor, Margaret Brown, Official White House China: 1789 to the Present, Second Edition, New York: Harry N. Abrams, 1999, p. 68-73
40. Two James K. Polk (President, 1845-1849) Presidential Porcelain Dinner Plates, c. 1846, made by Edouard Honorè, Paris, white with lobed cavetto with molded and gilded scroll rims, reserved with a gilt scroll medallion, and with the shield of the United States in red, white and blue and the motto “E Pluribus Unum” on a banner, marked with Ed. Honorè rust color scroll mark, h. 1 3/8 in., dia. 9 5/8 in. [4000 / 6000]
41. Two James K. Polk (President, 1845-1849) Presidential Porcelain Dinner Plates, c. 1846, made by Edouard Honorè, Paris, white with lobed cavetto with molded and gilded scroll rims, reserved with a gilt scroll medallion, and with the shield of the United States in red, white and blue and the motto “E Pluribus Unum” on a banner, one marked with Ed. Honorè rust color scroll mark, h. 1 3/8 in., dia. 9 5/8 in. [4000 / 6000]
42. Two James K. Polk (President, 1845-1849) Presidential Porcelain Soup Bowls, c. 1846, made by Edouard Honorè, Paris, white with lobed cavetto with molded and gilded scroll rims, reserved with a gilt scroll medallion, and with the shield of the United States in red, white and blue and the motto “E Pluribus Unum” on a banner, h. 1 in., diam. 9 in., one with partially worn Ed. Honorè mark, both with incised “1901/G.” [4000 / 6000]
43. Jefferson, Thomas. An Account of Louisiana, being An Abstract of Documents, in the Offices of the Departments of State, and of the Treasury, November 1803, Printed John Conrad, Philadelphia (and others), 12mo (8 3/8 x 5 1/8), 50 pp., now bound in a modern binding, erroneously dated 1808, sold together with a modern facsimile reading copy. [800 / 1200]
Note: THE “FIRST OFFICIAL DESCRIPTION OF THE NEWLY ACQUIRED TERRITORY” (Wagner-Camp), published the year before Lewis and Clark set out on their expedition. A contemporary note in the Yale copy explains that it was written by Mr. Wagner, chief-clerk in the office of Secretary of State James Madison. He is believed to have worked from accounts assembled by Jefferson, including that of Dr. John Sibley of Natchitoches.
44. Commemorative New York State Firemen’s Helmet, 2001, by Cairns & Brother, Inc., Clifton, NJ, painted leather and metal, presented to Louisiana Governor Murphy Foster, Jr. from New York Governor George Pataki. [500 / 700]
Note: Following the events of September 11, the people of Louisiana raised funds and purchased a fire truck for New York City called “The Spirit of Louisiana.” Governor Foster and others delivered the truck on December 19th, 2001.
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
45. John William Hill (American, 1812-1879) and Benjamin Franklin Smith (American, 1830-1927), “New Orleans from St. Patrick’s Church 1852”, hand-colored lithograph, published by Smith Brothers & Co., 225 Fulton Street, New York, 1852, sight 22 1/2 x 39 in., frame 34 x 49 3/4 in. [2500 / 3500]
Note: This view looks down-river across the Central Business District and the Vieux Carre from atop the tower of St. Patrick’s Church, a popular perch for artists of bird’seye views. It offers a superb depiction of the center of the city, highly accurate except for the St. Charles Hotel, which after burning down in 1851, was rebuilt without a dome.1.
Reference: 1. Poesch, Printmaking in New Orleans, Univ. Press. of Miss., HNOC, 2006. pg. 106.; Lemmon, Magill & Weise, Charting Louisiana, HNOC., pg. 298.
46. Vintage Pictorial Map of Louisiana, c. 1948, by Wendt Andry, color lithograph, showing various Louisiana sights and activities including agriculture, oil fields, hunting, fishing, the compass rose decorated with a magnolia blossom, crawfish, and various crops, 22 x 34 in., unframed. [500 / 700]
Note: Margaret Wendt Andry (New Orleans, 1920-1996), a graduate of Newcomb College, was a graphic designer for the U.S, Navy in Washington D.C., and various businesses in New Orleans. Later, she worked as a New Orleans reference librarian for thirty-five years, retiring in 1995. Reference: Lemmon, Alfred, John Magill and Jason Wiese. Charting Louisiana, New Orleans, HNOC, 2003, pg. 251
47. Survey of Napoleon Avenue from the Mississippi River to Arcadia (Clara) Street, c. 1851, lithograph by X. Magny, No. 117 Exchange Alley, N.O., includes the New Orleans and Carrollton Railroad, Nayades Street (St. Charles Avenue), Church and College Square (St. Stephenís), Samuel Square, and the branch railroad that ran along Napoleon from the riverfront to Nayades, 17.25 x 25 in., frame: 20 x 30 in.
[600 / 800]
48. Carte Gènerale du Canada, de la Louisiane, de la Floride, de la Caroline, de la Virginie, de la Nouvelle Angleterre, 1776, by Paolo Santini, second edition map of the British and French Colonies in North America, based upon D’Anville’s seminal map of 1746., 26 x 19.25 in., frame: 20 x 30 in.
[400 / 600]
Note: The map provides a highly detailed treatment of the Great Lakes and Mississippi Valley, on the eve of the American Revolution. The map shows numerous French forts throughout, along with substantial Indian detail, along with a massive “Tecas” and Louisiana. One of the best large-format maps of the region during the latter part of the 18th c.
49. Five Manuscript Louisiana Land Survey Maps, (1818 - 1881), incl. 1.) unidentified location, likely on the Red River near Natchitoches, La., dated October 13, 1818. 11 x 14.75 in., frame: 16 x 20 in.; 2.) On the Red River in Natchitoches Parish, about fifteen miles up the river from the town of Natchitoches, La., dated October 29, 1824. 9.75 x 14 in., frame: 16 x 20 in.; 3.) On Black Bayou in Terrebonne Parish, near Thibodaux, La., dated May 16, 1842. 10.75 x 15.5 in., frame: 16 x 20 in.; 4.) Westbank of Orleans Parish, near English Turn. “Plan showing that portion of Mrs. Couretís rice field through which the fire passed,” dated May 7, 1878. 15.5 x 20.5 in., frame: 18 x 24 in.; and 5.) On the Red River in Rapides Parish, near Alexandria, La., dated November 7, 1881. Compiles earlier surveys from 1816, 1829, 1849, and 1850 into one map. 14.5 18.25 in., frame: 18 x 24 in., 5 pcs. [400 / 600]
50. Pagus Hispanorum in Florida (St. Augustine), London, 1671, engraved view, from John Ogilby’s seminal atlas America: Being the Latest, and Most Accurate Description of the New World, one of the earliest illustrations of St. Augustine, 10.5 x 14 in., frame: 18 x 24 in. [200 / 400]
52. Four Antique Mississippi River Maps, incl. U.S Coast and Geodetic Survey “Progress of the Triangulation of the Mississippi River Delta to Memphis”, 1881, with hand-coloring (26 1/2 x 22 1/2 in.), “Board of Engineers for Rivers and Harbors Port Facilities at New Orleans, LA”, n.d. but pencil notation of 1924 (15 x 40 in.), “Plan of the Front Part of the City of New Orleans”, 1827, by J. Pilie (7 x 21 1/2 in.), and “Sheet No. 2 Mississippi River, Grand Gulf, Turner’s Pt., New Carthage”, A.D. Bache, 1864 (20 1/2 x 16 in.), all maps folding. [300 / 500]
51. Louisiana Spanish Governor Estaban Mirû (1744-1795) Signed Manuscript Document, 1789, in French and Spanish, detailing a real estate transfer, double-sided, 12 x 15.25 in., frame: 16 x 20 in. [1000 / 1500]
Note: Mirû arrived in Louisiana as an officer in the Spanish army in 1777, served under Governor Benardo de Galvez in the campaigns against the British at West Florida during the American Revolution, was appointed governor of the territory in 1785, and is credited with restoring order in the colony during the crisis caused by the Great Fire of 1788.
53. Monumental Antique Army Engineers Flood Map of the Mississippi River, “Alluvial Valley of the Mississippi River. Northern SheetMemphis District and Southern SheetNew Orleans District”, Prepared by the Mississippi River Commission under the direction of the Secretary of War and the Supervision of the Chief of Engineers, United States Army, 1930, two folded, color lithographic maps, to which is overlaid the “Plan of the Army Engineers for Flood Control. Adopted by the Act of May 15, 1928”, each sheet 43 in. x 29 in., combined 86 in. x 29 in., folded, unframedNote: The map shows the Army Corps of Engineers’ plan to enlarge existing levees and build new levees in response to the ‘Great Mississippi Flood of 1927’. That flood was the most destructive river flood in United States history, with 27,000 square miles inundated by up to 30 feet of water and over 630,000 people were affected. [500 / 700]
54. [Texas-Louisiana Oil Fields], Fenneman, N.M., Oil Fields of the TexasLouisiana Gulf Coastal Plain, Washington, Government Printing Office, 1906, Bulletin No. 282, United States Geological Survey, softcover 9 1/8 x 5 3/4 in., 139 pgs., a survey of the various oil fields, with history and details of each field, extensive information, charts, maps, and several illustrations. [100 / 150]
55. Five Antique Insurance Map Folios of New Orleans, 1908-1909, 1937, published by Sanborn Map Co., NY, hand-colored maps showing details of real estate in the French Quarter, Warehouse District, Canal St., and the Garden District, includes volumes 1 (1908 and 1937) 3 (1908), 4 (1909) and 5 (1909), 26 1/2 in. x 18 1/2 in., note: various condition. [1000 / 1500]
56. [Antique Map of the City of Jefferson, LA], “Plan of the City of Jefferson”, 1860, by Wm. H. Williams, Surveyor & Civil Engineer, lithograph on linen by J. Manouvrier & Co., 30 Camp Str. N. Orls., some hand-coloring, showing the area bounded by the Mississippi River, State, Arcadia, and Toledano Streets, neat line 12 1/2 in. x 17 1/2 in., sight 15 x 19 3/4 in., framed.
[500 / 700]
Note: “The sparsely-settled New Orleans suburb, an amalgam of seven privately-developed individual faubourgs, received a city charter from the state legislature in 1850. For twenty years after that, Jefferson City had an independent existence complete with its own mayor, aldermen, courts, public schools, cemeteries, public market, port, and other facilities.” (Friends of the Cabildo and Associates of the Louisiana State Museum, New Orleans Architecture. Volume VII: Jefferson City, p. 27)
57. After Jean Hyacinthe de Laclotte French 1766-1828/1829, active New Orleans, 18041817 “Dèfaite De L’armèe Anglaise Forte De 12,000 Hommes Commandèe Par Sir Edward Packenham”, 1817, engraved by Philibert-Louis Debucourt (French, 1755-1832), printed and published Paris, France, unframed., Sheet: 23 3/4 x 31 7/8 in. (60.3 x 81 cm.)
[700 / 1000]
58. Three Antique Hand-Colored Maritime Prints, incl. Nathanial Currier /Publishers , “U.S. Mail Steamship Baltic”, 1850, large folio lithograph, published by N. Currier, New York, sight 16 in. x 22 1/2 in.; After William Callcott Knell (British, 1830-1876), “Steamship President”, published by Ackermann, 1840, London, hand-colored aquatint by Papprill, sight 18 3/4 in. x 26 in.; After Joseph Walter (British, 1783-1856), “In Commemoration...The Magnificent Steam Ship Great Western”, published by Ackermann, 1840, London, aquatint and hand-coloring by Reeve, sight 25 1/4 in. x 39 in., all framed, (3 pcs.) [700 / 1000]
59. After Marie Adrien Persac (American/Louisiana, 1823-1873), “Plantations on the Mississippi River from Natchez to New Orleans, 1858”,, “, New Orleans, Pelican Publishing, 1967, showing the divisions of land with owner’s names, vignettes of New Orleans, Baton Rouge and plantations, decorative border composed of cotton plants and sugar cane, sight 52 3/4 in. x 30 1/2 in., framed (no glazing) [700 / 900]
60. Jean Baptiste Bourguignon d’Anville (French, 1697-1782), “Carte de la Louisiane”, Paris, 1752, hand-colored engraved map, with an inset map of the upper Mississippi River Valley, sight 21 1/4 in. x 37 1/4 in., matted and framed. [1000 / 1500]
Note: The map extends east just past St. Joseph Bay, west to include Adayes, the Spanish capital of “Tecas”, and north to show Le Grande Ponte Coupee on the Mississippi. It is also the first map to show “Le Baton Rouge.”
U.S. Coast Survey Map of Horn Island Pass, Mississippi Sound, 1853, hand-colored lithograph, showing soundings, tides, dangers, bearings, and sailing directions, sight 13 x 16 1/4 in., matted and framed. [700 / 1000]
U.S. Coast Survey Map of Mobile Bay, 1851, hand-colored
showing soundings, currents, winds, tides, and sailing directions, matted and framed, sight 17 3/4 in. x 13 3/4 in. [600 / 900]
65. [Antique Mississippi Coast Map], “Ship Island Inlet to Mississippi Sound Surveyed in January and February, 1841 by L.M. Powell, Lt. Commanding U.S. Brig Consort, under Instruction from the Hon. the Board of Naval Commissioners”, chart of the Gulf Coast of Mississippi and the sound around Cat Island, Ship Island, and Horn Island, with numerous soundings, sight 23 1/4 in. x 36 in., matted and framed. [600 / 900]
62. U.S. Coast Survey Map of the Gulf Coast, “Sketch H. Showing the Progress of the Survey in Section No. 8, 1846-1853”, lithograph, detailing the coast from Atchafalaya Bay, LA to Mobile Bay, AL, matted and framed, sight 15 1/4 x 26 3/4 in. [700 / 1000]
64. U.S. Coast Survey Map of the Harbor of Pass Christian, 1851, lithograph, showing soundings and tides, sight 10 x 11 1/2 in., matted and framed. [600 / 900]
61.
63.
lithograph,
67. Antique Folding Map of the United States, c. 1916, “The Official Map of the United States Compiled from United States Government Surveys, Official State Surveys, and Original Sources, published by The National Survey Company, Chester, Vermont, L.V. Crocker, topographer, colored lithograph, linenbacked, with original boards, sheet 41 3/4 in. x 63 in., folded 5 3/4 in. x 11 in. [300 / 500]
68. Louis XV Miniature Atlas, Gèographie des Dames ou Almanach Gèographique Historique..., published Paris: Jacques J. Pasquier & Louis Denis, 1762, 48mo (2 1/2 x 4 in.), hand-colored engraved plates, later gilt-tooled full calf binding, with 15 pgs. of cartographic globes, 2 hemisphere maps, 9 double-page hemisphere maps, and 23 double-page maps of FranceNote: Interestingly, as the title, dedication, and preface indicate, this atlas is geared towards women. [300 / 500]
66. [Antique Map of Alaska], General Chart of Alaska, published by USC & GS, Thomas Corwin Medenhall, superintendent, 1890, compiled and drawn by A. & H. Lindenkohl, two-sheet lithograph, neat line 26 x 49 1/2 in., sheet 29 x 51 1/4 in. [300 / 500]
69. Antique Pocket Map of Palestine, c. 1897, Rand McNally, hand-colored lithograph, with inset map of “Modern Jerusalem and Environs”, verso with index of “Divisions, Lakes, Mountains, Rivers and Wadies and Towns”, folded, in original boards, map sheet 21 x 13 3/4 in., boards 6 3/4 x 4 1/4 in. [300 / 500]
71. [Warren Map of the United States], “Map Of The Territory Of The United States From The Mississippi To The Pacific Ocean Ordered by the Hon. Jeff’n Davis, Secretary Of War To accompany the Reports of the Explorations For A Railroad Route ... Compiled from authorized explorations and other reliable data by Lieut. G.K. Warren, Topl. Engrs. In the Office of Pacific R.R. Surveys, War Dep...”, Washington, c. 1861, folding lithograph, two-sheet, neat line 42 in. x 45 1/2 in., sheet 46 1/2 in. x 47 in. [300 / 500]
70. [Antique Holy Land Map], Nuremberg, Homann Heirs, 1750, revised by Johann Harenberg, hand-colored copperplate engraving, titled in French and Latin, showing Palestine divided into the twelve tribes of Israel, with elaborate dedication and title cartouches, sheet 22 x 19 1/2 in., unframed. [300 / 500]
72. Antique Folding Map of Massachusetts, Rhode Island, and Connecticut, THE NATIONAL PUBLISHING COMPANY. NATIONAL PUBLISHING COMPANY’S RAILROAD, POST OFFICE, TOWNSHIP AND COUNTY MAP OF MASSACHUSETTS, RHODE ISLAND AND CONNECTICUT. With Distances in Figures Compiled from the Latest Surveys and Original Sources. Boston: The National Publishing Company, 1902, color lithograph, linen backed, with original covers, opened 36 x 38 in., folded 9 1/2 x 5 in. [200 / 300]
73. Collection of International Obsolete Currency, most 20th c., incl. large group of Japanese occupation currency (three sealed stacks of pesos, and 20 other loose notes); 4 stacks of Bank Indonesia notes; Chinese (stack of 5 fen notes, and 11 loose misc.); Africa (4 from Nigeria, 3 from Biafra, and 13 from Ghana); 9 from Bulgaria; 4 early Russian notes; 19 German notes, 7 Greek notes; 17 Hungarian notes; 38 South American notes; and 38 other misc. notes. [200 / 300]
76. Michael Wening (German, 1645-1718), 5 engravings from Historico-Topographica Descriptio, incl. 2 single page (11 3/4 x 15 1/2) and 4 double-page (11 3/4 x 29 3/4 in.), sold together with a c. 1650 view of Lisbon “Olisippo Lisabona” by Matthaus Merian (13 1/4 x 15 in.), unframed. [300 / 500]
74. Collection of US Obsolete and Confederate Currency, incl. 13 US fractional currency notes, one North Carolina 1859 $5 note, a T-64 Confederate $500 note (Feb. 17, 1864), a Confederate Treasury warrant to pay Surgeon Chisolm, April 29, 1863, a Confederate Certificate of Deposit, signed Mobile, AL, April 12, 1864, and two CSA stamps, affixed to home-made envelope, addressed to Col. Wm. Preston Johnson, ADC to Jefferson Davis, 17 pcs. [200 / 300]
75. [Nuremberg Chronicle], 3 woodcut city views from Hartmann Schedel’s Liber Chronicarum/ Nuremberg Chronicle, Nuremberg, 1493, incl. Basilea (Basil, from Latin edition), Herbipols (Wurzburg, from Latin edition), and Bressla (Wroclaw, from German edition), sheets 17 x 23 3/4 in., unframed. [500 / 700]
77. Two Antique French Architecture Prints, 19th c., “Ecole Pour les Deux Sexes”, and “Ecole Primaire Superieure de Garcons”, lithographs from Le Recueil d’Architecture”, sights 11 1/2 x 17 in., matted and framed. [500 / 700]
78. Louisiana School 20th c. “Monumental Depiction of the Great Seal of the State of Louisiana”, unsigned, brass tag engraved with state motto “Union, Justice, Confidence” on selfbase.., 30 x 40 x 35 in. (76.2 x 101.6 x 88.9 cm.) [3000 / 5000]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA
79. Don Gomez American/Louisiana b. 1951 “Belted Kingfisher”, 1995, signed, titled and dated on self-base, 10 3/4 x 15 x 15 1/2 in. (27.3 x 38.1 x 39.4 cm.), [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
80. Don Gomez American/Louisiana b. 1951 “Blue Jays”, signed and titled on reverse, 10 1/4 x 16 x 9 in. (26 x 40.6 x 22.9 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
81. Don Gomez American/Louisiana b. 1951 “Meadow Lark”, 1999, signed, titled and dated on self-base., 10 x 10 1/2 x 6 1/2 in. (25.4 x 26.7 x 16.5 cm.), [300 / 500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
82. Don Gomez American/Louisiana b. 1951 “Purple Martins”, 1996, signed, titled and dated on side, 9 1/2 x 8 7/8 x 11 in. (24.1 x 22.5 x 27.9 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
83. Don Gomez American/Louisiana b. 1951 “Red-Winged Blackbird”, 1979, signed, titled and dated on underside of self-base., 6 x 9 x 6 in. (15.2 x 22.9 x 15.2 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr.,
84. Don Gomez American/Louisiana b. 1951 “American Robins”, 1996, signed, titled and dated on side, 10 1/2 x 17 1/2 x 9 in. (26.7 x 44.5 x 22.9 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
Oaklawn Manor, Franklin, LA.
85. Don Gomez American/Louisiana b. 1951 “Chimney Swift”, 1998, signed, titled and dated on self-base, 12 1/4 x 8 1/4 x 9 1/2 in. (31.1 x 21 x 24.1 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
87. Don Gomez American/Louisiana b. 1951 “House Wren”, 1996, signed, titled and dated on self-base, 9 1/4 x 10 1/2 x 10 5/8 in. (23.5 x 26.7 x 27 cm.) [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
86. Don Gomez American/Louisiana b. 1951 “House Sparrow”, 1996, signed, titled and dated on side, 5 1/4 x 10 3/4 x 5 1/4 in. (13.3 x 27.3 x 13.3 cm.), [300 / 500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
88. Don Gomez American/Louisiana b. 1951 “Mourning Dove”, 1995, signed, titled and dated on self-base, 15 x 15 x 10 in. (38.1 x 38.1 x 25.4 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
89. Don Gomez American/Louisiana b. 1951 “Starlings”, 1998, signed, titled and dated on side, 5 1/2 x 12 x 6 1/4 in. (14 x 30.5 x 15.9 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
90. Don Gomez American/Louisiana b. 1951 “Swallow-Tailed Kite”, signed and titled on self-base, 26 1/2 x 16 1/2 x 12 1/2 in. (67.3 x 41.9 x 31.8 cm.) [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
92. Don Gomez American/Louisiana b. 1951 “Barn Swallows”, 1998, signed, titled and dated on self-base, 8 x 10 x 6 in. (20.3 x 25.4 x 15.2 cm.), [300 / 500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
91. Don Gomez American/Louisiana b. 1951 “Tree Swallow”, titled and dated on self-base, 9 1/2 x 14 x 6 in. (24.1 x 35.6 x 15.2 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
93. Don Gomez American/Louisiana b. 1951 “Spring Birds”, signed and titled on self-base, 17 1/4 x 13 x 9 1/2 in. (43.8 x 33 x 24.1 cm.), [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
94. Don Gomez American/Louisiana b. 1951 “Cedar Wax-Wing”, 1996, signed, titled and dated on branch., 8 3/4 x 15 x 8 in. (22.2 x 38.1 x 20.3 cm.),
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA. [400 / 600]
95. Don Gomez American/Louisiana b. 1951 “Loggerhead Shrike”, signed and titled on self-base, 11 1/2 x 15 1/2 x 6 in. (29.2 x 39.4 x 15.2 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
96. Don Gomez American/Louisiana b. 1951 “Ringneck & Inca Doves”, 2013, signed, titled and dated on self-base., 6 3/4 x 14 x 11 1/4 in. (17.1 x 35.6 x 28.6 cm.), [300 / 500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
97. Don Gomez American/Louisiana b. 1951 “Carolina Chicadee”, 1999, signed, titled and dated on self-base., 6 x 8 1/4 x 5 1/2 in. (15.2 x 21 x 14 cm.), [300 / 500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
98. Don Gomez American/Louisiana b. 1951 “Killdeer”, 1997, signed, titled and dated on front edge, 8 x 7 x 10 3/4 in. (20.3 x 17.8 x 27.3 cm.), [400 / 600]
Povenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
99. Don Gomez American/Louisiana b. 1951 “Screech Owl”, 1996, signed, titled and dated on reverse, 18 1/4 x 10 x 11 1/2 in. (46.4 x 25.4 x 29.2 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
100. Don Gomez American/ Louisiana b. 1951 “Red-Tailed Hawk”, signed and titled on self-base., 24 x 18 x 16 1/2 in. (61 x 45.7 x 41.9 cm.), [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
101. Don Gomez American/Louisiana b. 1951 “American Bald Eagle”, 2007, signed, titled and dated on self-base, 43 x 19 1/2 x 16 in. (109.2 x 49.5 x 40.6 cm.), [600 / 800]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
102. Louisiana Duck Decoys Book, Frank, Charles W. “Louisiana Duck Decoys”, Gretna, Pelican Publishing, 1979, oblong 8 3/4 x 11 1/4 in., with dust jacket, 125 pgs. [200 / 300]
103. Alexander Wilson, Scottish/ Pennsylvania, 1766-1813, “Mississippi Kite, Tennessee Warbler, Kentucky Warbler, Prairie Warbler” and “Ivory Billed Woodpecker, Pileated Woodpecker and Red Headed Woodpecker”, 2 hand-colored engravings, Plates 9 & 29, from American Ornithology or Natural History of the Birds of the United States, engraved by Alexander Lawson (American/Pennsylvania, 1773-1846), published by Bradford and Inskeep, Philadelphia, each with “Catherine Sylvia Reiss” labels on backing paper, framed alike. (2 pcs.) Sheets: 14 7/8 x 11 1/4 in. (37.8 x 28.6 cm.), Frames: 21 1/2 x 18 1/2 x 1 in. (54.6 x 47 x 2.5 cm.)
[300 / 500]
104. John Gould British 1804-1881 “Tochilus Alexandri” and “Heliopêdica Xantusi”, from “A Monograph of the Trochilidae or Family of Hummingbirds”, lithographer Henry Constantine Richter (British, 1821-1902), each with original text and “The Old Print Shop, New York, NY” label on backing paper, framed alike. (2 pcs.), Sheets: 21 3/8 x 15 in. (54.3 x 38.1 cm.), Frames: 28 x 21 1/2 x 1/2 in. (71.1 x 54.6 x 1.3 cm.)
[600 / 800]
105. John James Audubon, American, 1785-1851, “Roseate Spoonbill” lithograph, Plate 321, from The Birds of America, later reproduction, framed. Image: 22 x 35 1/4 in. (55.9 x 89.5 cm.), Frame: 35 1/4 x 47 x 1 in. (89.5 x 119.4 x 2.5 cm.)
[400 / 600]
106. John James Audubon American, 1785-1851,”Baltimore Oriole”, handcolored aquatint with engraving, Plate 12, from The Birds of America, Havell edition, “J.Whatman 1833” watermark, “Taylor Clark, Baton Rouge, LA” label on backing paper, framed. Sheet: 37 7/8 x 25 1/8 in. (96.2 x 63.8 cm.), Frame: 43 1/2 x 33 1/2 x 1 3/4 in. (110.5 x 85.1 x 4.4 cm.)
[3000 / 5000]
107. John James Audubon, American, 1785-1851, “Florida Jay”, hand-colored aquatint with engraving, Plate 87, from The Birds of America, Havell edition, “J.Whatman 1833” watermark, framed. Sheet: 37 7/8 x 25 7/8 in. (96.2 x 65.7 cm.), Frame: 41 5/8 x 31 5/8 x 1 in. (105.7 x 80.3 x 2.5 cm.)
[1800 / 2500]
108. John Henry Dick American/ New York 1919-1995 “Warblers”, 1955, signed and dated lower right, framed., 22 x 16 in. (55.9 x 40.6 cm.), Frame: 27 x 21 x 3/4 in. (68.6 x 53.3 x 1.9 cm.)
[800 / 1200]
109. Don Gomez American/Louisiana b. 1951 “Black-Crowned Heron”, signed and titled on self-base, 15 1/2 x 14 1/2 x 11 1/2 in. (39.4 x 36.8 x 29.2 cm.) [300 / 500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
112. Don Gomez American/ Louisiana b. 1951 “Red-Headed Woodpecker”, 2000, signed, titled and dated on top of found branch, 12 1/2 x 10 1/2 x 8 1/2 in. (31.8 x 26.7 x 21.6 cm.) [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
110. Don Gomez American/Louisiana b. 1951 “Cardinals”, 1995, signed, titled and dated on reverse, 17 x 12 x 9 in. (43.2 x 30.5 x 22.9 cm.) [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
111. Don Gomez American/Louisiana b. 1951 “Brown Thrasher”, 2000, signed, titled and dated on self-base, 6 1/2 x 12 3/4 x 8 1/2 in. (16.5 x 32.4 x 21.6 cm.)
[300 / 500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
113. Don Gomez American/Louisiana b. 1951 “Bobwhite Quail”, signed and titled on self-base.Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA., 7 x 10 1/2 x 8 1/2 in. (17.8 x 26.7 x 21.6 cm.) [400 / 600]
114. Don Gomez American/Louisiana b. 1951 “Purple Gallinule”, 1999, signed, titled and dated on self-base.Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA., 8 3/4 x 14 3/4 x 10 in. (22.2 x 37.5 x 25.4 cm.), [400 / 600]
116. Don Gomez American/Louisiana b. 1951 “Black Bellied Tree Duck Pair”, 1988, signed, titled, dated and inscribed on underside of one duck. (2 pcs.)Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA., 6 1/4 x 13 1/2 x 6 in. (15.9 x 34.3 x 15.2 cm.) and 7 1/2 x 13 1/2 x 6 1/4 in. (19.1 x 34.3 x 15.9 cm.) [500 / 700]
117. Don Gomez American/Louisiana b. 1951 “Lesser Scaup Hen ‘Dos Gris’” and “Lesser Scaup Male ‘Des Gris’”, 1985, each signed, titled, dated and inscribed on underside, accompanied by title plaques and “12th Annual Louisiana Wildfowl Carvers & Collectors Guild” third place ribbon. (5 pcs.), Hen: 5 1/2 x 11 3/4 x 6 in. (14 x 29.8 x 15.2 cm.), Male: 7 x 12 1/4 x 6 1/4 in. (17.8 x 31.1 x 15.9 cm.) [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
115. Don Gomez American/Louisiana b. 1951 “American Coot”, 1998, signed, titled and dated on side of self-base.Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA., 14 x 11 x 8 1/2 in. (35.6 x 27.9 x 21.6 cm.) [300 / 500]
118. Don Gomez American/Louisiana b. 1951 “American Merganser Hen” and “American Merganser Drake”, 1986, each signed, titled, dated and handwritten label on underside; accompanied by title plaques and “10th Annual Cajun Heritage Festival” second and third place ribbons. (6 pcs.), Hen: 7 x 16 x 6 in. (17.8 x 40.6 x 15.2 cm.), Drake: 8 3/4 x 19 x 6 1/2 in. (22.2 x 48.3 x 16.5 cm.) [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
119. Don Gomez American/Louisiana b. 1951 “Pintail Hen” and “Pintail Drake”, 1985, each signed, titled and dated on underside, “Hen” inscribed on underside; accompanied by title plaques. (4 pcs.), Hen: 6 x 13 1/2 x 5 1/2 in. (15.2 x 34.3 x 14 cm.), Drake: 8 x 17 3/4 x 6 1/4 in. (20.3 x 45.1 x 15.9 cm.) [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
121. Don Gomez American/Louisiana b. 1951 “Wood Duck Hen” and “Wood Duck Drake ‘At Rest’”, 1985, each signed, titled and dated on underside; accompanied by title plaques. (4 pcs.), Hen: 5 x 12 x 5 1/4 in. (12.7 x 30.5 x 13.3 cm.), Drake: 6 1/2 x 13 1/4 x 5 1/2 in. (16.5 x 33.7 x 14 cm.) [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
123. Don Gomez American/Louisiana b. 1951 “Hooded Merganser Hen” and “Hooded Merganser Drake”, 1986, each signed, titled and dated on underside; accompanied by title plaques. (4 pcs.), Hen: 5 1/2 x 12 x 4 3/4 in. (14 x 30.5 x 12.1 cm.), Drake: 6 x 13 1/2 x 5 in. (15.2 x 34.3 x 12.7 cm.)
[500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
120. Don Gomez American/Louisiana b. 1951 “Blue-winged Teal Hen” and “Blue-winged Teal Drake”, 1985, each signed, titled, dated and inscribed on underside; accompanied by title plaques. (4 pcs.), Hen: 4 3/4 x 11 3/4 x 4 1/4 in. (12.1 x 29.8 x 10.8 cm.), Drake: 4 1/2 x 11 3/4 x 4 1/2 in. (11.4 x 29.8 x 11.4 cm.) [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
122. Don Gomez American/Louisiana b. 1951 “Cinnamon Teal Hen” and “Cinnamon Teal Drake”, 1986, each signed, titled and dated on underside; accompanied by title plaques. (4 pcs.) Hen: 4 1/2 x 11 1/4 x 4 3/8 in. (11.4 x 28.6 x 11.1 cm.), Drake: 5 x 12 1/4 x 5 in. (12.7 x 31.1 x 12.7 cm.)
[500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
124. Don Gomez American/Louisiana b. 1951 “Ring-Necked Hen” and “Ring-Necked Drake”, 1986 and 1985 respectively, each signed, titled, dated and inscribed on underside; accompanied by title plaques. (4 pcs.), Hen: 5 1/4 x 12 1/4 x 5 1/2 in. (13.3 x 31.1 x 14 cm.), Drake: 7 x 12 x 5 1/2 in. (17.8 x 30.5 x 14 cm.)
[500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
125. Don Gomez American/Louisiana b. 1951 “Ruddy Hen” and “Ruddy Drake”, 1987, each signed, titled and dated on underside; accompanied by title plaques. (4 pcs.), Hen: 4 3/4 x 10 x 5 in. (12.1 x 25.4 x 12.7 cm.), Drake: 5 1/2 x 9 1/4 x 5 3/4 in. (14 x 23.5 x 14.6 cm.) [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
127. Don Gomez American/Louisiana b. 1951 “Northern Shoveler Hen” and “Northern Shoveler Drake”, 1987, each signed, titled and dated on underside; accompanied by title plaques. (4 pcs.), Hen: 5 1/4 x 13 1/2 x 5 in. (13.3 x 34.3 x 12.7 cm.), Drake: 5 1/2 x 15 x 5 1/2 in. (14 x 38.1 x 14 cm.) [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
129. Don Gomez American/Louisiana b. 1951 “Widgeon Hen” and “Widgeon Drake”, 1984 and 1985 respectively, each signed, titled, dated and inscribed on underside; accompanied by title plaques. (4 pcs.), Hen: 5 1/4 x 13 x 4 3/4 in. (13.3 x 33 x 12.1 cm.), Drake: 5 3/4 x 14 x 5 1/2 in. (14.6 x 35.6 x 14 cm.)
[500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
126. Don Gomez American/Louisiana b. 1951 “(Common) Mallard Hen” and “(Common) Mallard Drake”, 1988 and 1987 respectively, each signed, titled and dated on underside; accompanied by title plaques. (4 pcs.), Hen: 5 1/2 x 14 3/4 x 5 3/8 in. (14 x 37.5 x 13.7 cm.), Drake: 6 3/4 x 16 1/4 x 6 3/4 in. (17.1 x 41.3 x 17.1 cm.) [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
128. Don Gomez American/Louisiana b. 1951 “Redhead Hen” and “Redhead Drake”, 1986, each signed, titled and dated on underside; accompanied by title plaques. (4 pcs.), Hen: 6 1/4 x 13 x 5 1/2 in. (15.9 x 33 x 14 cm.), Drake: 8 1/4 x 15 x 5 3/4 in. (21 x 38.1 x 14.6 cm.) [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
130. Don Gomez American/Louisiana b. 1951 “Canvasback Hen” and “Canvasback Drake”, 1986 and 1985 respectively, each signed, titled, dated and inscribed on underside; accompanied by title plaques and “9th Annual Cajun Hunters Festival” first place ribbon. (5 pcs.), Hen: 7 x 13 1/4 x 6 1/4 in. (17.8 x 33.7 x 15.9 cm.), Drake: 8 x 14 x 6 1/2 in. (20.3 x 35.6 x 16.5 cm.)
[500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
131. Don Gomez American/Louisiana b. 1951 “Gadwall Hen” and “Gadwall Drake”, 1986, each signed, titled and dated on underside; accompanied by title plaques. (4 pcs.), Hen: 6 x 13 1/2 x 5 3/4 in. (15.2 x 34.3 x 14.6 cm.), Drake: 6 1/4 x 15 x 6 in. (15.9 x 38.1 x 15.2 cm.) [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
132. Don Gomez American/Louisiana b. 1951 “Louisiana Black Mallard Hen” and “Louisiana Black Duck Drake”, 1988, each signed, titled and dated on underside, “Hen” inscribed on underside. (2 pcs.), Hen: 6 1/2 x 15 x 6 in. (16.5 x 38.1 x 15.2 cm.), Drake: 6 x 16 x 5 1/2 in. (15.2 x 40.6 x 14 cm.) [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
133. Don Gomez American/Louisiana b. 1951 “Bufflehead Hen” and “Bufflehead Drake”, 2001, each signed, titled and dated on underside. (2 pcs.), Hen: 4 1/2 x 10 x 4 5/8 in. (11.4 x 25.4 x 11.7 cm.), Drake: 5 1/2 x 11 3/8 x 5 in. (14 x 28.9 x 12.7 cm.) [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
134. Don Gomez American/Louisiana b. 1951 “Green-Winged Teal Hen” and “Green-Winged Teal Drake”, 1985, each signed, titled, dated and inscribed on underside. (2 pcs.)Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA., Hen: 3 1/2 x 9 x 4 in. (8.9 x 22.9 x 10.2 cm.), Drake: 4 3/4 x 12 1/4 x 4 in. (12.1 x 31.1 x 10.2 cm.) [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
135. Don Gomez American/Louisiana b. 1951 “Mallard Drake”, signed and titled on underside, 4 1/2 x 9 3/4 x 4 in. (11.4 x 24.8 x 10.2 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
136. Don Gomez American/Louisiana b. 1951 “Cinnamon Teal Drake Gunner”, 1986, signed, titled and dated on underside, 5 x 12 3/4 x 5 in. (12.7 x 32.4 x 12.7 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
137. Don Gomez American/Louisiana b. 1951 “Purple Gallinule”, 1999, signed, titled and dated on underside, 5 3/4 x 11 x 5 1/4 in. (14.6 x 27.9 x 13.3 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
139. Don Gomez American/Louisiana b. 1951 “Northern Mockingbird”, unsigned, 24 1/2 x 21 x 13 in. (62.2 x 53.3 x 33 cm.), [300 / 500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
138. Don Gomez American/Louisiana b. 1951 “Painted Bunting”, 2003, unsigned, award plaque with artist, title and date on self-base, 8 1/2 x 8 1/2 x 6 1/2 in. (21.6 x 21.6 x 16.5 cm.),
[300 / 500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
140. Don Gomez American/Louisiana b. 1951 “Rose-Breasted Grosbeak”, signed and titled on self-base, 16 1/2 x 18 1/2 x 11 3/4 in. (41.9 x 47 x 29.8 cm.), [300 / 500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
141. Don Gomez American/Louisiana b. 1951 “Prothonotary Warbler”, signed and titled on self-base, 18 x 18 x 8 1/2 in. (45.7 x 45.7 x 21.6 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
142. Don Gomez American/ Louisiana b. 1951 “American Kestrel”, 1997, signed, titled and dated on reverse of post, 18 1/4 x 1 2 x 8 in. (46.4 x 30.5 x 20.3 cm.), [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
143. Don Gomez American/Louisiana b. 1951 “Pileated Woodpeckers”, 1996, signed, titled and dated on top, 18 x 14 x 9 1/2 in. (45.7 x 35.6 x 24.1 cm.), [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
144. Don Gomez American/Louisiana b. 1951 “Glossy Ibis”, 2002, signed, titled and dated on self-base, 10 x 20 1/2 x 11 1/4 in. (25.4 x 52.1 x 28.6 cm.), [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr.,
Don
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
Oaklawn Manor, Franklin, LA.
145.
Gomez American/Louisiana b. 1951 “White & White Faced Ibis”, signed and titled on self-base, 18 x 21 x 11 1/2 in. (45.7 x 53.3 x 29.2 cm.), [500 / 700]
147. Don Gomez American/Louisiana b. 1951 “Neotropic Cormorant”, 2000, signed, titled and dated on underside, 7 3/4 x 19 1/2 x 6 1/2 in. (19.7 x 49.5 x 16.5 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
149. Don Gomez American/Louisiana b. 1951 “Fulvous Whistling Duck - Louisianaís ‘Nocturnal’ Duck”, 1993, signed, titled and dated on underside, 7 1/2 x 12 1/2 x 5 3/4 in. (19.1 x 31.8 x 14.6 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
146. Don Gomez American/Louisiana b. 1951 “American Advocet”, 1998, signed, titled and dated on self-base, 13 1/2 x 14 x 9 1/2 in. (34.3 x 35.6 x 24.1 cm.), [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
148. Don Gomez American/Louisiana b. 1951 “Fulvous WhistlingDuck”, 1994, signed, titled and dated on underside., 6 1/2 x 13 1/2 x 5 1/2 in. (16.5 x 34.3 x 14 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
150. Don Gomez American/Louisiana b. 1951 “White-fronted Goose”, 1993, signed, titled and dated on underside., 12 x 22 x 7 1/2 in. (30.5 x 55.9 x 19.1 cm.), [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
151. Don Gomez American/Louisiana b. 1951 “Blue Goose”, 1994, signed, titled and dated on underside, 10 1/2 x 18 1/2 x 7 1/2 in. (26.7 x 47 x 19.1 cm.), [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
153. Don Gomez American/Louisiana b. 1951 “Western Canada Goose”, 1993, signed, titled and dated on underside, 14 1/2 x 22 1/4 x 9 1/4 in. (36.8 x 56.5 x 23.5 cm.), [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
152. Don Gomez American/Louisiana b. 1951 “Snow Goose”, signed, titled, dated and inscribed on underside, 10 x 18 x 8 1/4 in. (25.4 x 45.7 x 21 cm.), [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
154. Don Gomez American/Louisiana b. 1951 “Downy Woodpecker”, 2000, signed, titled and dated on self-base, 9 x 12 x 8 1/2 in. (22.9 x 30.5 x 21.6 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
155. Don Gomez American/Louisiana b. 1951 “Hooded Warbler”, signed and titled on self-base, 17 1/4 x 16 x 12 in. (43.8 x 40.6 x 30.5 cm.),
[400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
156. Don Gomez American/Louisiana b. 1951 “Cattle Egret”, signed and titled on self-base, 16 x 14 1/2 x 11 1/2 in. (40.6 x 36.8 x 29.2 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
158. Don Gomez American/Louisiana b. 1951 “Crow”, 1999, signed, titled and dated on self-base, 12 1/4 x 14 x 5 1/2 in. (31.1 x 35.6 x 14 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
157. Don Gomez American/Louisiana b. 1951 “American Woodcock”, 1998, signed, titled and dated on self-base., 16 x 12 x 8 1/4 in. (40.6 x 30.5 x 21 cm.), [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
159. Don Gomez American/ Louisiana b. 1951 “Common Crow”, 1999, signed, titled and dated on self-base., 16 x 17 x 5 1/2 in. (40.6 x 43.2 x 14 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
160. Don Gomez American/Louisiana b. 1951 “Common Grackel”, 1999, signed, titled and dated on self-base, 8 3/8 x 17 1/2 x 9 in. (21.3 x 44.5 x 22.9 cm.),
[500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
161. Don Gomez American/Louisiana b. 1951 “American Coot”, 1998, signed, titled and dated on self-base, 11 x 13 1/2 x 8 1/2 in. (27.9 x 34.3 x 21.6 cm.), [500 / 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
163. Don Gomez American/Louisiana b. 1951 “Orchard Oriole”, 1999, signed, titled and dated on self-base, 8 1/2 x 14 x 13 1/4 in. (21.6 x 35.6 x 33.7 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
Don Gomez American/Louisiana b. 1951 “Roseate
, signed and titled on self-base, 18 x 22 x 11 1/2 in. (45.7 x 55.9 x 29.2 cm.),
/ 700]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
A. Wiese American/Louisiana 20th c.
, signed on branch, 16 1/4 x 11 1/2 x 9 1/2 in. (41.3 x 29.2 x 24.1 cm.),
/ 300]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
162.
Spoonbill”
[500
164.
“American Black Duck”
[200
165. A. Wiese American/Louisiana 20th c. “Flying Goose”, signed on self-base, 10 x 22 1/4 x 24 in. (25.4 x 56.5 x 61 cm.), [200 / 300]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
167. D. Stafford American 20th c. “Ruddy”, 1999, twice signed, twice titled and dated on underside, 5 3/4 x 11 1/4 x 4 in. (14.6 x 28.6 x 10.2 cm.), [100 / 150]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
166. Clay Roberts American/Louisiana 20th c. “Hooded Merganser Drake”, 1974, signed, dated and inscribed “New Orleans” on self-base, 12 1/2 x 16 x 9 in. (31.8 x 40.6 x 22.9 cm.), [300 / 500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
168. Jules A. Bouillet American/Indiana 1939-2023 “Mallard”, 1992, printed artist label with artist, date and hand-numbered “120/120” on underside, artist hang tag with title on neck, 5 1/2 x 13 1/2 x 5 3/4 in. (14 x 34.3 x 14.6 cm.), [50 / 100]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
169. Lady and Peter Galatas American/Louisiana 20th c. “Duck”, 1982, signed by both artists and dated on underside., 7 1/4 x 8 1/4 x 5 in. (18.4 x 21 x 12.7 cm.), [300 / 500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
170. M. Hebert American/Louisiana 20th c. “Wood Duck Drake”, 2007, signed, titled and dated on underside, 6 3/4 x 13 x 5 1/2 in. (17.1 x 33 x 14 cm.)
[250 / 350]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
171. Michael G. Rhodes American/Louisiana 20th c. “Ring-Necked Drake”, 1999, signed, dated and inscribed “Thibodaux, LA” on underside; accompanied by “Cajun Heritage Festival / Louisiana State Wildfowl Carving Competition” first place ribbon with artist, title and date. (2 pcs.), 5 1/2 x 11 1/2 x 4 3/4 in. (14 x 29.2 x 12.1 cm.), [200 / 300]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
172. Robert and Virginia Warfield American/New Hampshire 19101990 and 1919-2004 “Belted Kingfisher”, 1979, signed by both artists, titled, dated and inscribed on underside, 13 1/8 x 7 x 5 in. (33.3 x 17.8 x 12.7 cm.)
[300 / 500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
173. S. Leonard American 20th c. “Seagull”, 1992, signed, dated and inscribed “Hull” on underside, 4 1/2 x 13 x 5 in. (11.4 x 33 x 12.7 cm.), [50 / 100]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
174. Wildlife Garden Decorative Carved Wood and Mixed Media Cardinal on Branch, inscribed “Wildlife Gardens / 1988” on underside., 6 x 10 1/2 x 4 3/4 in. (15.2 x 26.7 x 12.1 cm.), [50 / 100]
Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
177. Jerry Harp American/Louisiana 20th c. “Canvasback Duck”, 1977, signed on leaf on self-base, signed and dated under wing, 10 1/2 x 11 1/4 x 9 in. (26.7 x 28.6 x 22.9 cm.), [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
175. Three Vintage Duck Decoys, one labeled “Herter’s Blue Bill Drake.” (3 pcs.), Smallest: 6 1/2 x 13 1/4 x 4 3/4 in. (16.5 x 33.7 x 12.1 cm.), Largest: 7 x 16 1/2 x 5 3/4 in. (17.8 x 41.9 x 14.6 cm.)
[400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
176. Fred A. Marchman American/ Alabama 20th c. “Redhead”, 1981, signed, titled, dated and inscribed “Mobile / Ala” and “404” on underside, 3 x 7 1/2 x 4 1/8 in. (7.6 x 19.1 x 10.5 cm.), [250 / 350]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
178. Jerry Harp American/Louisiana 20th c. “Woodcock”, 1976, signed and dated on branch, 9 x 13 1/2 x 12 in. (22.9 x 34.3 x 30.5 cm.), [300 / 500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
179. John and Valarie Bundy American/ Indiana 20th c. “Ducks Unlimited Special Edition”, pencil-signed by Valarie Bundy and titled on underside, 4 1/4 x 12 x 4 in. (10.8 x 30.5 x 10.2 cm.), [50 / 100]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
180. Three Vintage Duck Decoys, two painted on carved wood, the goose painted on wood and canvas, largest length 23 1/2 in. [150 / 250]
181. Two Vintage Louisiana Decoys, incl. a Marc Whipple-Style mallard and coot (carved monogram TW). (2 pcs.), Mallard: 6 3/4 x 13
1/2 x 5 in. (17.1 x 34.3 x 12.7 cm.), Coot: 6 x 9
1/2 x 4 1/2 in. (15.2 x 24.1 x 11.4 cm.)
[200 / 400]
182. Two Vintage Marc Whipple-Style Louisiana Decoys, incl. a canvasback and green-winged teal. (2 pcs.), Canvasback: 7 1/2 x 15 x 5 in. (19.1 x 38.1 x 12.7 cm.), Teal: 5 1/2 x 9 3/4 x 4 in. (14 x 24.8 x 10.2 cm.)
[200 / 400]
184. Dudley Delaune (Louisiana/Napoleonville, 1924-2017), Six Carved and Painted Ducks, 1978, incl. green-winged teal, butterball, ruddy teal, mallard drake, each signed and titled on bottom, largest length 9 1/2 in., , [250 / 350]
Provenance: Collection of Emily Cyr Bridges, Albania Plantation, Jeanerette, LA.
Provenance: Collection of Emily Cyr Bridges, Albania Plantation, Jeanerette, LA
183. Clarence Joseph Champagne, Sr. Louisiana/New Iberia 19442025 “Male Weigun (Wigeon)”, 1978, signed, titled and dated on underside of self-base, 4 x 8 x 4 1/4 in. (10.2 x 20.3 x 10.8 cm.), [50 / 100]
185. Dudley Delaune (Louisiana/Napoleonville, 1924-2017), Five Cypress Carved & Mounted Fish, 1976-1979, one painted, each signed, titled, and dated on mounting, verso, largest 8 1/2 x 10 1/2 in. [250 / 350]
Provenance: Collection of Emily Cyr Bridges, Albania Plantation, Jeanerette, LA.
186. Dudley Delaune Louisiana/Napoleonville 1924-2017 “Fish”, 1978, signed and dated on reverse, 6 x 8 1/4 x 1 in. (15.2 x 21 x 2.5 cm.),
[50 / 100]
Provenance: Collection of Emily Cyr Bridges, Albania Plantation, Jeanerette, LA.
187. Dudley Delaune (Louisiana/ Napoleonville, 1924-2017), Four Cypress Carvings of Fish and a Duck, 1976-1978, each signed, dated, and titled on mount, verso, largest 9 1/2 x 7 1/2 in. [250 / 350]
Provenance: Collection of Emily Cyr Bridges, Albania Plantation, Jeanerette, LA
188. Collection of British Enameled Lead Soldiers, incl. Britains #1893, Indian Army Service Corps (6 figures and a mule), Britains #2085, Musical Ride, Life and Royal Horse Guards with Drummer and Trumpeters in State Dress (23 figures); one Tradition soldier in box; and 48 various loose figures (5 mounted), heights from 2 1/2 to 4 in.
[400 / 600]
190. Pair of Antique
or English Glass
Shades, rolled foot rim, 23 3/4 x 8 3/4 in.
(60.3 x 22.2 cm.)
[400 / 600]
189. Large Louisiana Creole Model House, mid20th c., pitched roof with cypress shingles, lift top for access to second floor, interior rooms fitted with walls and window casings, h. 29 in., w. 40 3/4 in., d. 31 1/4 in
[500 / 700]
192. American Ship Diorama, hand-carved frame titled “Kenilworth” and signed “Everett Lee, Jr.” lower center, 23 in. x 36 1/4 x 5 in.
[700 / 1000]
American
Hurricane
191. Two Antique American or English Glass Hurricane Shades, rolled foot rims, 23 x 8 1/2 in. (58.4 x 21.6 cm.)
[400 / 600]
194. Ammonite Fossil, polished, 9 1/2 x 11 1/2 x 5 in. (24.1 x 29.2 x 12.7 cm.)
[200 / 300]
193. Two Ammonite Fossils, polished, larger 9 x 10 in.
[300 / 500]
195. Antique Double Birdcage, model bird with real feathers; both swings move, h. 20 in. (incl. hook), w. 24 3/4 in., d. 12 3/4 in.
[300 / 500]
[300 / 500]
Provenance: Stair Galleries, Hudson, NY, Property from the Estate of Seward Kennedy, 2/25/2017, lot 4
196. Ancient Alabaster Bowl, 4 1/4 x 6 1/4 in. (10.8 x 15.9 cm.)
197. Collection of Canes and Umbrellas with Glazed Ceramic Stand, incl. ten canes of various forms, three umbrellas, and one Japanesque umbrella handle, green glazed stand h. 25 in., dia. 13 in.
[300 / 500]
198. Regency Mother-of-Pearl Inlaid Rosewood Cabinet, 19th c., hinged lid, fitted interior, over three drawers; the middle with secret latch, the lower fitted with lap desk, 13 1/2 x 14 x 11 in. (34.3 x 35.6 x 27.9 cm.)
[500 / 700]
199. Antique English Gilt Metal Swan Centerpiece Base, 1863-1894, mark of Mappin Brothers/222 Regent Street and London Bridge, the swan resting on a mirrored surface, 6 x 11 x 7 in. (15.2 x 27.9 x 17.8 cm.), [300 / 500]
200. Continental Relief-Carved Wood Figural Plaque, , possibly depicting Saint Isidore the Farmer in prayer, h. 34 in. (incl. hanger), w. 23 1/2 in., d. 3 1/4 in.; dimensions variable [300 / 500]
203. Continental Carved Wood and Brass Monkey Card Holder, figure h. 14 in., w. 4 1/2 in., d. 6 1/4 in.; tray h. 1/2 in., w. 8 1/8 in., d. 5 1/8 in. [300 / 500]
201. Antique Continental Three-Panel Screen, c. 1900, with applied screenprints to hinged panels, h. 66 1/4 in., total width 53 in. [600 / 900]
202. Antique Diminutive English Chinoiserie Collectorís Cabinet, interior fitted with drawers, 12 1/2 x 16 1/4 x 8 1/4 in. (31.8 x 41.3 x 21 cm.), [500 / 700]
204. Pair of Continental Carved and Parcel Gilt Figural Brackets, demilune shelf, speadeagle support, top shelf 5 3/4 x 11 1/2 in., 17 x 12 x 6 in. (43.2 x 30.5 x 15.2 cm.), [500 / 700]
205. Georgian Green Tortoiseshell Tea Caddy, cylinder form, interior with lidded compartment, h. 5 in., dia. 4 3/8 in.
[1000 / 1500]
206. Georgian Mother-of-Pearl Inlaid Tortoiseshell Tea Caddy, pagoda-form, interior with two lidded-compartments, on bun feet, 5 1/2 x 8 x 4 1/2 in. (14 x 20.3 x 11.4 cm.), [1000 / 1500]
207. Diminutive Georgian Red Tortoiseshell Tea Caddy, cylinder-form, lidded interior, floral knop, push-button lid, h. 3 1/2 in., dia. 2 3/4 in.
[800 / 1200]
209. Georgian Tortoiseshell Tea Caddy, lozenge-form, lid and foot with silverplate banding, lidded interior compartment, 4 1/2 x 6 x 2 3/4 in. (11.4 x 15.2 x 7 cm.)
[1000 / 1500]
208. Georgian Tortoiseshell Tea Caddy, hexagonal-form, lidded interior, push-button lid, 4 1/2 x 4 x 3 1/2 in. (11.4 x 10.2 x 8.9 cm.), [800 / 1200]
210. William Yeoward “Fern” Pattern Crystal Glassware, 8 white wine (h. 5 5/8 in.), 7 water goblets (h. 6 3/8 in), and 2 small rocks glasses,, , [600 / 900]
Six Baccarat Crystal “Messina” Tumblers, h. 4 1/8 in., dia. 3 1/8 in. [200 / 300]
212. Baccarat “Harcourt” Crystal Glassware, incl. 6 champagne flutes (h. 7 in.), 7 wine (h. 6 1/8 in.), 3 water (h. 6 3/8 in.), 2 rocks, and 2 large rocks glasses. [500 / 700]
211.
213. Six Baccarat Crystal Wine Glasses, h. 8 3/4 in., in original box, [400 / 600]
Baccarat
, etched mark, h. 10 1/2 in., dia. 6 3/4 in. [300 / 500]
, marked, h. 10 in., dia. 6 1/4 in. [300 / 500]
, marked, foliate design, h. 10 5/8 in., dia. 7 3/4 in. [250 / 350]
w. 7 1/2 in., d. 5 3/8 in.; h. 8 in., w. 7 1/4 in., d. 5 1/4 in., punchbowl; top: h. 6 1/2
dia. 12 in, base 4 3/4 x 9 in.; together h. 10 1/8 in. [200 / 400]
216. Baccarat Crystal Bowl, marked, h. 2 7/8 in., dia. 9 3/4 in. [300 / 500]
217. Tiffany and Co. Etched Glass “Biedermeier” Vase
218. Three Hawkes American Brilliant Cut Glass Bowls, intaglio and cane floral decoration, stamped underneath, taller: 3 3/16 in., dia. 8 in. [200 / 400]
219. American Brilliant Cut Glass Punchbowl on Stand & Two American Brilliant Cut Glass Small Pitchers, hobstar and cane motifs, pitchers; taller h. 9 1/2,
x
214.
Crystal Vase
215. Baccarat Crystal Vase
Please note that all sales of spirits and liquor are sold for in-person collection in Louisiana. Neal Auction does NOT have a recommended shipper for spirits and liquor, ONLY wine and champagne. All bidders are strongly advised to investigate the specific requirements in which alcoholic beverages shall be brought into their state and to comply with all regulations.
750ml., in
unopened box, with unbroked wax seal.Unopened boxes have never been opened and will not be opened, contents are sold AS IS.
[300 / 500]
221. Dom Pèrignon Rosè Champagne 1982, 1 bottle,
original
220. Dom Pèrignon Brut Champagne 1990, 2 bottles, 750ml. (2 bottles) [400 / 600]
222. Woodbridge Cellars Shaw Center for the Arts Opening Night Brut N.V., 2 bottles, 750ml.; bottled 2005, to commemorate the Shaw Center for the Arts, Baton Rouge, LA, opening night March 4th, 2005. (2 bottles) [100 / 200]
223 & 224. WITHDRAWN
225. Silver Oak Napa Valley Cabernet Sauvignon Library Selection 2005, 6 bottles, 750ml., in original wood case with original information card. (6 bottles), [300 / 500]
226. Louis XIII de Rèmy-Martin Rare Cask 43.8, 1 bottle, 750ml., bottled 2009, number 441/786, “Rèmy-Martin”, “No. 441/786”, “Baccarat” and Baccarat mark on underside of bottle, “No. 441/786”, “Baccarat” and Baccarat mark on underside of crystal stopper, with original light up coffret, baccarat crystal stopper, presentation box, information cards, booklet, lighting setup, white presentation gloves and original shipping box.
[20000 / 25000]
227. Louis XIII de Rèmy-Martin Black Pearl, 1 bottle, 1.75L, bottled 2008, number 67/358, “Rèmy-Martin”, “067/358”, “C.100-46” and Baccarat mark on underside of bottle, “C.100-46”, “067/358” and Baccarat mark on underside of crystal stopper, “Tierçon C.100-46 Carafe 067/358” plaque inside of coffret, with original presentation coffret, crystal stopper, numbered booklet, polishing cloth, outer box.
[15000 / 20000]
228. Hennessey Ellipse, 1 bottle, 750 ml., number 2507, “Jas Hennessey”, numbered “2507” and “Baccarat France” on underside of bottle, with original presentation coffret, crystal stopper, booklet and outer box.
[4000 / 6000]
229. Hennessy Paradis, 1 bottle, 700ml., bottled c. 1980s, “Comp.No. 7102”, original unopened box sealed with UK duty free seal and plastic sleeve. Unopened boxes have never been opened and will not be opened, contents are sold AS IS. [300 / 500]
230. Hennessy Paradis Rare, 1 bottle, 700ml., bottled c. 1990s, with original coffret and plastic sleeve. [300 / 500]
231. The Last Drop Distillers 1960 Blended Scotch Whisky, 2 bottles, one 750 ml. and one 50 ml., bottled 2008, numbered 324/1347, with original presentation box and cork stopper, certificate of bottling with bottling date and edition number “324/1347” on under side of box lid. (2 bottles) [1200 / 1800]
232. The Last Drop Distillers 1960 Blended Scotch Whisky, 2 bottles, one 750 ml. and one 50 ml., bottled 2008, number 325/1347, with original presentation box and cork stopper, certificate of bottling with bottling date and edition number “325/1347” on under side of box lid. (2 bottles) [1200 / 1800]
233. The Macallan 55 Years Old Highland Single Malt Scotch Whisky in Lalique, 1 bottle, 750ml., bottled 2007, number 279/420, “Lalique” and “279/420” on underside of bottle, in original leather presentation case, with crystal stopper, polishing cloth and booklet, second release from the Six Pillar Series.
[50000 / 70000]
234. The Macallan 57 Years Old Highland Single Malt Scotch Whisky in Lalique, 1 bottle, 750ml., bottled 2009, number 267/400; “Lalique” and “267/400” on underside of bottle, in original case with crystal stopper, booklet and original wood outer case; third release from the Six Pillar Series.
[50000 / 70000]
235. Ardbeg Special Release Double Barrel 1974 Islay Single Malt Scotch Whisky, 2 bottles, 750ml., bottled 2007, “Cask No. 3524” on one wax capsule and “Cask No. 3145” on other, with original Purdy & Sons leather presentation case, dust bag, 8 sterling silver Hamilton & Inches cups, Omas oak and sterling silver pen, 2 handbound leather booklets, leather cleaning kit, silver polishing kit and outer box. (2 bottles)
[14000 / 16000]
236. Johnnie Walker Blue King George V Edition Blended Scotch Whisky, 5 bottles, 750ml., bottled pre-2015, bottle numbers; J01BFQ376JW, J01BFQ500JW, J01BFT430JW, J01BFL133JW and J01BFO760JW, each with presentation box and scroll with handwritten bottle number. (5 bottles)
[1500 / 2500]
237. Johnnie Walker Blue 200th Anniversary Cask Strength Limited Edition Blended Scotch Whisky in Baccarat, 1 bottle, 750ml., bottled 2005, “Baccarat” on side, Baccarat mark on underside of bottle with original presentation case, crystal stopper, booklet and outer box.
[1000 / 1500]
238. Johnnie Walker Blue 200th Anniversary Cask Strength Limited Edition Blended Scotch Whisky in Baccarat, 1 bottle, 750ml., bottled 2005, “Baccarat” on side, Baccarat mark on underside of bottle with original presentation case, crystal stopper, booklet and outer box. [1000 / 1500]
239. Johnnie Walker Blue The John Walker Edition Blended Scotch Whiskey in Baccarat, 1 bottle, 700ml., number 189, “Baccarat” and “Number 189 of Batch 005” on side of bottle, bottle code “L0130DT000 00025409”, in original lacquer presentation case, with crystal stopper and booklet.
[1000 / 1500]
240. Glenmorangie The Quarter Century 25 Years Old Highland Single Malt Scotch Whisky, 1 bottle, 750ml., bottled 2007, code “L7 310 13.06” with original display case, booklet and outer foam box.
[400 / 600]
241. Glenmorangie Elegance 21 Years Old Highland Single Malt Scotch Whisky in Caithness Glass, 1 bottle, 750ml., with original presentation case and glass stopper. [300 / 500]
242. Jack Daniel’s Single Barrel Select Ducks Unlimited Tennessee Whiskey, 2 bottles, 750ml., bottled 2014, one with “Rick R-03, Barrel 14-3006, Bottled 6/19/14” the other with “Rick R-03, Barrel 14-3007, Bottled 6/19/14” on neck label, each in original packaging with duck stopper. (2 bottles) [300 / 400]
243. Crown Royal XR Red Waterloo Edition Extra Rare Canadian Whisky, 2 bottles, 750ml; bottled c. 2006-2011, one with “Bottle No. AD 308 1952”” and the other “Bottle No. AA 308 2486” on neck label, each with presentation box, dust bag and outer sleeve. (2 bottles) [800 / 1200]
244. A. H. Hirsh Finest Reserve 20 Year Straight Bourbon Whiskey, 1 bottle, 750ml., distilled 1974, bottled 1994. [3000 / 4000]
245. Pappy Van Winkle’s Family Reserve 20 Year Straight Kentucky Bourbon, 750ml., bottled 2014, date code “B1415510:04K”, with original red velvet presentation bag. [1200 / 1800]
247. Van Winkle Special Reserve 12 Year Straight Kentucky Bourbon, 750ml., bottled 2018, date code “L181280111:117”. [700 / 1000]
246. Pappy Van Winkle’s Family Reserve 20 Year Straight Kentucky Bourbon, 750ml., bottled 2012, date code “B122...12:37M”, with original red velvet presentation bag. [1200 / 1800]
248. W.L. Weller Mixed Lot, C.Y.P.B., 750ml., bottled 2022, date code “L221360100:23B”:; Full Proof, 750ml., bottled 2022, date code “L221360100:51B”; 12 Year, 750ml., bottled 2017, date code “L1708212:294”; Antique 107, 750ml., bottled 2019, date code “L192760123:37A”; Special Reserve, 750ml., bottled 2023, date code “L23620122:14B”. ( 5 bottles), 5 bottles, [1500 / 2500]
250. Pappy Van Winkle’s Family Reserve 15 Year Straight Kentucky Bourbon, , 750ml., bottled 2014, date code “B1424719:07K”, with original tissue paper. [800 / 1200]
249. W.L. Weller 12 Year Straight Kentucky Bourbon, 3 btls., 750ml.; bottled in 2021, 2022 and 2023, date codes “L211050123:39B”, “L220900102:10B” and “L231730120:09B”. (3 bottles), 3 bottles, [1200 / 1800]
251. Pappy Van Winkle’s Family Reserve 15 Year Straight Kentucky Bourbon, 750ml., bottled 2015, date code “B1516009:40M”. [800 / 1200]
252. Willett Distillery Mixed Lot, Estate Single Barrel 9 Year Kentucky Bourbon , 750ml., bottled 2022, 134 Proof, barrel no. 4294, date code “W22124119C”, “WU 1er Cru” and numbered “34/159” on back, bottled for Martin’s Wine Cellar; Estate Single Barrel 7 Year Rye, 750ml., bottled 2022, 117.6 proof, barrel no. 12107, date code “W221241138C”, “WU 2er Cru” and numbered “138/158” on back, bottled for Martin’s Wine Cellar; Estate Small Batch Rye, 750ml., 115 proof. (3 bottles), 3 bottles, [700 / 1000]
253. Black Maple Hill Premium Small Batch
Straight Kentucky Bourbon, 750ml.
[1000 / 1500]
255. Van Winkle Special Reserve 12 Year Straight Kentucky Bourbon, 750ml., bottled 2021, date code “L212230113:51D”
[700 / 1000]
254. Van Winkle Special Reserve 12 Year Straight Kentucky Bourbon, 750ml., bottled 2019, date code “L192660111:10D”
[700 / 1000]
256. Rock Hills Farm Single Barrel Straight Kentucky Bourbon, 750ml., bottled 2019, date code “L190710119:04K”. [400 / 600]
257. Colonel E.H.Taylor Barrel
Proof Straight Kentucky Bourbon, 2 btls., 750ml., one bottled 2019, 129.3 proof, date code “L191490113:11D”, the other bottled 2021, 130.3 proof, date code “L201280107:46D” each with original canisters. (2 bottles), 2 bottles, [600 / 800]
258. Old Rip Van Winkle 10 Year Straight Kentucky Bourbon, 750ml., bottled 2019, date code “L192690122:27D”.
[500 / 700]
259. Old Rip Van Winkle 10 Year Straight Kentucky Bourbon, 750ml., bottled 2020, date code “L202550116:55D”. [500 / 700]
260. Thomas H. Handy Sazerac Straight Rye Whiskey, 750ml.; bottled 2017, 127.2 proof, bottle code “L172220120:497”. [400 / 600]
261. Blanton’s The Original Single Barrel Straight Kentucky Bourbon, 1 bottle, 750ml., “dumped 12/28/91”, number “215”, with original box and presentation bag. [300 / 500]
262. Dos Lunas Tequila Grand Reserve 10 Year Extra Añejo in Baccarat, 1 bottle, 750ml., bottled 2007, number 156, Baccarat mark and “0156” on underside of bottle, with original presentation box, crystal stopper, polishing cloth, box keys, information card and dust bag. [800 / 1200]
263. Gran Patrón Burdeos, 1 bottle, 750ml., numbered “015627”, code “Lote BX 0071109 A 1000110 09:59”, with original black walnut presentation box, stopper, corkscrew, booklet, and outer box. [150 / 250]
264. American Rococo Carved Rosewood Vitrine, 19th c., New Orleans, molded cornice, molded frieze centered rosette, molded glass door, molded canted sides , frieze drawer, shaped apron, 82 x 42 x 20 in. (208.3 x 106.7 x 50.8 cm.), [800 / 1200]
267. American Rococo Carved Walnut Serpentine Console, 19th c., attributed to Doe Hazelton & Co., Boston , molded conforming marble top, pierced carving foliate and grape frieze, cabriole legs, X-form stretcher centered C-scroll, foliate and grape carving, 35 x 77 1/2 x 22 in. (88.9 x 196.9 x 55.9 cm.), [2000 / 3000]
265. American Rococo Carved and Laminated Rosewood Settee, 19th c., attr. to J. & J.W. Meeks, in the pattern commonly referred to as “Hawkins”, anthemion-carved crests above pierced floral and fruit clusters, padded arms, cabriole legs, casters, 49 x 65 x 25 in. (124.5 x 165.1 x 63.5 cm.), [2000 / 3000]
266. Set of Three American Rococo Laminated and Carved Rosewood Parlor Chairs, mid-19th c., attributed to John Henry Belter, New York, in the pattern known as Rosalie with Grapes, the fruit and floral carved crest continuing to scrolled stiles, padded sheild-form back, serpentine seat, cabriole legs., 36 1/2 x 17 1/2 x 15 1/2 in. (92.7 x 44.5 x 39.4 cm.)
[800 / 1200]
,
Italian, 1522-1592, “Mary and
inscribed en verso, framed in metal filigree with
and velvet case., 6 1/2 x 5 1/4 in. (16.5 x 13.3 cm.), Frame: 13 1/2 x 9 x 1 1/2 in. (34.3 x 22.9 x 3.8 cm.), Case: 16 1/2 x 11 x 2 3/4 in. (41.9 x 27.9 x 7 cm.) [500 / 700]
c. , “The
,
gallery label en verso, framed., 11 x 16 1/4 in. (27.9 x 41.3 cm.),
26 x 25 x 2 in. (66 x 63.5 x 5.1 cm.) [800 / 1200]
x 23 3/4 in. (70.5 x 60.3 cm.), Frame: 38 1/4 x 34 x 2 3/4
/ 8000]
269. Italian School 19th
Betrayal”
unsigned, “Nadic Arts, Bay St. Louis, Mississippi”
Frame:
270. Dutch School. 17th/18th c.,“Portrait of a Noblewoman” and “Portrait of a Nobleman” , unsigned, framed alike. (2 pcs.), Woman: 28 x 23 in. (71.1 x 58.4 cm.), Frame: 39 1/8 x 33 3/4 x 2 1/2 in. (99.4 x 85.7 x 6.4 cm.)Man: 27 3/4
268. Manner of Bernardino Campi,
Baby Jesus”
artist name
leather
271. British School 18th/19th c., “Portrait of Reverend Thomas Walker”, unsigned, label inscribed “The Rev. Thomas Walker Grandfather of Thomas Walker of Killingbeck, Leeds” and “Du Mouchelles” auction label on reverse of frame, framed., 30 x 25 1/4 in. (76.2 x 64.1 cm.), Frame: 41 3/8 x 36 x 5 1/2 in. (105.1 x 91.4 x 14 cm.) [600 / 800]
273. Attributed to Sir Joshua Reynolds, British, 1723-1792, “Landscape”, unsigned, artist label on stretcher, “J.J. Patrickson & Son LTD., Chelsea, London” gallery label on reverse of frame, framed with artist plaque., 30 1/8 x 25 1/8 in. (76.5 x 63.8 cm.), Frame: 36 x 31 x 2 in. (91.4 x 78.7 x 5.1 cm.) [1200 / 1800]
272. Manner of Spanish Colonial School, late 19th/early 20th c., “Portrait of an Officer”, monogrammed upper right, framed., 35 3/4 x 29 1/4 in. (90.8 x 74.3 cm.), Frame: 44 1/2 x 38 x 4 3/4 in. (113 x 96.5 x 12.1 cm.) [1000 / 1500]
,
274. Follower of Albert Meyeringh, Dutch, 1645-1714, “A Wooded River Landscape with Fisherfolk in the Foreground”, unsigned, inscribed “11628 cce” en verso, “Roberts Art Gallery, Toronto” label and “Christie’s” label on reverse of frame, framed.Provenance: Christie’s, South Kensington, Old Master Pictures, July 13, 2001, lot 54., 25 1/8 x 21 in. (63.8 x 53.3 cm.), Frame: 29 1/2 x 25 5/8 x 1 3/4 in. (74.9 x 65.1 x 4.4 cm.) [1000 / 1500]
275. Charles Henri Joseph Leickert, Belgian, 1816-1907, “Ice Sailing”, signed and illegibly dated lower right, partial signature en verso, framed., 5 x 9 1/4 in. (12.7 x 23.5 cm.), Frame: 11 1/8 x 15 1/8 x 1 1/2 in. (28.3 x 38.4 x 3.8 cm.) [1000 / 1500]
276. William Pitman, British, 19th/early 20th c., “Gypsy Campsite”, 1914, signed and dated lower left, “Winsor & Newton, London” stamp en verso, inscribed on stretcher bar, framed., 32 x 48 in. (81.3 x 121.9 cm.), Frame: 40 7/8 x 56 1/2 x 2 1/4 in. (103.8 x 143.5 x 5.7 cm.) [1200 / 1800]
277. Leon Joseph Florentin Bonnat, French, 1833-1922, “Bacchanalian Scene”, signed lower right, framed., 10 3/4 x 14 in. (27.3 x 35.6 cm.), Frame: 15 x 18 1/4 x 1 3/4 in. (38.1 x 46.4 x 4.4 cm.)
[1000 / 1500]
278. Theodor von der Beek, German, 1838-1921, “Girl from the Wipp Valley”, signed lower right, framed with artist plaque., 30 1/2 x 22 1/4 in. (77.5 x 56.5 cm.), Frame: 37 x 28 1/4 x 2 3/4 in. (94 x 71.8 x 7 cm.)
[800 / 1200]
279. Arthur Fitzwilliam Tait, British/New York, 1819-1905 “Young Girl and Her Hound”, 1853, signed and dated lower right, artist biography and “G. Rowney & Co., Artists’ Colourmen, London” label en verso, framed with artist plaque., 14 x 10 in. (35.6 x 25.4 cm.), Frame: 19 5/8 x 16 5/8 x 2 in. (49.8 x 42.2 x 5.1 cm.) [2000 / 3000]
281. Karl Witkowski, Austrian, 1860-1910, “The Little Chick”, 1907, signed and dated lower right, illegibly inscribed on tape on upper stretcher bar, framed., 25 x 30 1/8 in. (63.5 x 76.5 cm.), Frame: 32 x 37 x 3 in. (81.3 x 94 x 7.6 cm.) [2000 / 3000]
280. Jules Scalbert, French, 1851-1928, “The Fishing Party”, signed lower left, partial label and inscriptions on upper and center stretcher bars, framed., 19 3/4 x 24 in. (50.2 x 61 cm.), Frame: 22 3/4 x 26 3/4 x 1 in. (57.8 x 67.9 x 2.5 cm.) [1200 / 1800]
282. Constant Mayer, French, 1829-1911, active New York, 1854-1869 ,“Young Girl Praying”, 1879, signed and dated lower right, conservation note taped en verso, artist information and inscriptions on backing board, framed with artist plaque., 30 x 25 in. (76.2 x 63.5 cm.), Frame: 41 7/8 x 37 x 5 in. (106.4 x 94 x 12.7 cm.) [4000 / 6000]
283. Johannes Adam Simon Oertel, German/American, 1823-1909, “Still Life of a Bouquet of Flowers”, 1873, signed and dated lower right, framed., 14 5/8 x 10 1/2 in. (37.1 x 26.7 cm.), Frame: 18 x 14 x 1 1/2 in. (45.7 x 35.6 x 3.8 cm.) [1000 / 1500]
285. George Armfield, British, 1808-1893, “Terriers Hunting a Hare”, 1857, signed and dated lower left, “Allens’ Depositories, Southampton”, “White & Co. Depositories LTD., London” and partial handwritten label on stretcher, framed., 29 x 37 1/2 in. (73.7 x 95.3 cm.), Frame: 36 x 44 1/2 x 2 in. (91.4 x 113 x 5.1 cm.) [1200 / 1800]
284. Continental School, late 19th c., “The Art Studio”, indistinctly signed lower right, “Camaro, France” framing label on reverse of frame, framed., 20 x 24 1/8 in. (50.8 x 61.3 cm.), Frame: 28 3/4 x 33 1/4 x 2 in. (73 x 84.5 x 5.1 cm.) [1500 / 2500]
286. George Armfield, British, 1808-1893, “Terriers Ratting in a Barn”, “Terriers Startled by a Hedgehog” and “Terriers Startled by a Badger”, c. 1860, 2 signed lower right, one with “The Parker Gallery, London” label on backing paper, framed alike with artist and title plaques. (3 pcs.), 12 x 12 in. (30.5 x 30.5 cm.) to 12 x 16 in. (30.5 x 40.6 cm.), Frames: 15 3/4 x 15 3/4 x 2 in. (40 x 40 x 5.1 cm.) to 15 3/4 x 20 x 2 in. (40 x 50.8 x 5.1 cm.) [800 / 1200]
287. George Armfield, British, 1808-1893, “Terriers Chasing a Mouse”, signed lower right, framed., 10 x 14 in. (25.4 x 35.6 cm.), Frame: 13 1/2 x 17 5/8 x 1 1/4 in. (34.3 x 44.8 x 3.2 cm.) [300 / 500]
289. Edmond Marie Petitjean, French, 1844-1925, “Landscape with Pond and Trees”, signed en verso, illegibly pencil-inscribed in French on stretcher bar, framed., 11 1/2 x 17 1/4 in. (29.2 x 43.8 cm.), Frame: 16 1/2 x 22 x 2 in. (41.9 x 55.9 x 5.1 cm.) [1000 / 1500]
288. Albert De Sonville, Belgian, 19th/20th c., “Brussels Griffon with Pink Bow”, 1922, signed and dated lower right, framed., 19 5/8 x 15 3/4 in. (49.8 x 40 cm.), Frame: 24 1/4 x 20 1/4 x 2 in. (61.6 x 51.4 x 5.1 cm.) [400 / 600]
290. Hippolyte-Camille Delpy, French, 1842-1910, “River Landscape, Sunset”, signed lower right, “American Art Association Anderson Galleries” label with title en verso, artist initials debossed en verso, “Morton’s Auction” label on reverse of frame, framed., 13 x 23 3/4 in. (33 x 60.3 cm.), Frame: 19 3/4 x 29 1/2 x 3 in. (50.2 x 74.9 x 7.6 cm.) [1200 / 1800]
291. Paul Desire Trouillebert, French, 1829-1900, “Barbizon Landscape with Woman in Red”, signed lower right, framed., 6 1/2 x 9 1/2 in. (16.5 x 24.1 cm.), Frame: 9 1/2 x 12 3/4 x 1 1/4 in. (24.1 x 32.4 x 3.2 cm.) [800 / 1200]
292. Henry John Boddington British 1811-1865 “Scene on the Yar (A River Landscape)”, unsigned, typed label with title on stretcher, framed with artist and title plaque, 25 x 30 1/8 in. (63.5 x 76.5 cm.), Frame: 31 x 36 5/8 x 4 3/4 in. (78.7 x 93 x 12.1 cm.) [800 / 1200]
Provenance: Taylor Clark Gallery, Baton Rouge, LA.
293. Georg Anton Rasmussen Norwegian 1842-1914 “Coastal Village in the Fjord”, 1888, signed and dated lower right, framed., 27 x 39 3/8 in. (68.6 x 100 cm.), Frame: 37 x 49 x 2 1/2 in. (94 x 124.5 x 6.4 cm.)
[800 / 1200]
294. Alfred de Breanski, Sr., British, 1852-1928, “Mountainous Landscape with Lake and Cattle”, signed lower left, “Michael Davis, London” label on stretcher, “Henry Stern Antiques, New Orleans” label on reverse of frame, framed., 24 1/4 x 36 1/4 in. (61.6 x 92.1 cm.), Frame: 32 1/2 x 44 1/4 x 2 in. (82.6 x 112.4 x 5.1 cm.)
[2000 / 3000]
295. British School, 19th c., “Mountainous Landscape with Stream”, unsigned, “London” canvas stamp en verso, “Henry Stern Antiques, New Orleans” label on reverse of frame, framed., 20 x 36 in. (50.8 x 91.4 cm.), Frame: 25 x 41 x 1 1/2 in. (63.5 x 104.1 x 3.8 cm.)
[800 / 1200]
296. Continental School, 19th c., “Sprawling Landscape with Abbey in the Distance”, unsigned, framed., 27 1/4 x 37 1/2 in. (69.2 x 95.3 cm.), Frame: 32 5/8 x 43 x 2 in. (82.9 x 109.2 x 5.1 cm.) [800 / 1200]
297. James Herbert Snell British 1861-1935 “Woodland Landscape with Rushing Stream”, signed and illegibly dated lower left, artist name inscribed on stretcher, framed., 47 1/2 x 71 1/2 in. (120.7 x 181.6 cm.), Frame: 52 3/4 x 76 1/4 x 2 1/2 in. (134 x 193.7 x 6.4 cm.) [800 / 1200]
299. Leon Richet French 1847-1907 “Sunlit Pond”, signed lower right, framed., 15 1/4 x 22 1/8 in. (38.7 x 56.2 cm.), Frame: 18 7/8 x 25 7/8 x 1 1/2 in. (47.9 x 65.7 x 3.8 cm.) [800 / 1200]
298. Jean Michel Laurent French/American 1898-1988 “Naval Engagement”, signed lower right, artist stamp and “T/181220/LAURENT” inscribed en verso, framed., 40 x 60 in. (101.6 x 152.4 cm.), Frame: 50 x 70 x 4 1/2 in. (127 x 177.8 x 11.4 cm.) [600 / 800]
300. William Alister MacDonald British 1861-1948 “Tahiti”, each signed and inscribed “Tahiti”, 2 dated 1928, one inscribed “Zane Grey Camp. Vairao. Tahiti. Early morning Light.” and dated en verso, one inscribed “II 3” lower margin, one inscribed “monday” en verso, one framed and one matted. (3 pcs.), 6 x 7 3/8 in. (15.2 x 18.7 cm.), 10 1/2 x 16 in. (26.7 x 40.6 cm.) and 10 1/2 x 17 in. (26.7 x 43.2 cm.), Frame: 15 1/4 x 21 1/8 x 1 in. (38.7 x 53.7 x 2.5 cm.) [1000 / 1500]
SESSION 2
Friday, November 21, 11 a.m.
LOTS 301-812
301. George II Carved Walnut Corner Chair, 18th c., arched crest rail, scroll arms, vasiform splat, square legs, turned stretchers, 30 1/2 x 29 1/2 x 22 1/2 in. (77.5 x 74.9 x 57.2 cm.), [300 / 500]
Provenance: Henry Stern November 1981
302. Georgian-Style Carved Mahogany Partners Desk, late 19th/early 20th c., tooled leather top, center drawer flanked by bank of drawers, paneled sides, square tapered legs, casters, 31 1/4 x 71 1/4 x 47 1/2 in. (79.4 x 181 x 120.7 cm.), [800 / 1200]
Provenance: Henry Stern November 1981
303. George II-Style Brass Mounted, Parcel Gilt Chinoiserie Cabinet-onStand, 18th and later c., two doors, fitted interior, molded stand, scrolled acanthus knees, shell centered frieze, cabriole legs, hairy paw feet, 62 1/2 x 45 x 26 1/2 in. (158.8 x 114.3 x 67.3 cm.), [2000 / 3000]
304. Pair of Georgian Satinwood Inlaid Mahogany Demilune Games Tables, 18th c., Archer, Crowley & Co. Depository, Oxford paper labels, banded foldover tops, conforming frieze, swing back legs, square string inlaid tapered legs, spade foot, 29 x 36 x 17 3/4 in. (73.7 x 91.4 x 45.1 cm.), [1500 / 2500]
Provenance: Ida Manheim Antiques, 4 09 Royal St., New Orleans.
305. Fine Chippendale Carved Mahogany Games Table, 18th c., foldover top, tooled leather surface, accordion action support, shell and acanthus knees, cabriole legs, ball and claw feetProvenance: Henry Stern November 1981, closed: 29 x 36 x 16 3/4 in. (73.7 x 91.4 x 42.5 cm.), open: 29 x 36 x 33 1/2 in. (73.7 x 91.4 x 85.1 cm.) [1200 / 1800]
307. Regency Carved Mahogany Cellarette, 19th c., in the manner of Gillows of Lancaster, sarcophagus form, hinged lid, molded paneled sides, acanthus carved corners, plinth base, casters, 21 x 33 1/2 x 22 in. (53.3 x 85.1 x 55.9 cm.), [700 / 1000]
306. Queen Anne Carved Mahogany Cellarette Demilune Tea Table, Late 18th c., fold over top above hinged top, cabriole legs, pad feet, open 28 x 27 1/2 x 27 1/2 in. (71.1 x 69.9 x 69.9 cm.), closed 28 x 27 1/2 x 13 3/4 in. (71.1 x 69.9 x 34.9 cm.) [800 / 1200]
Provenance: Henry Stern November 1981
308. Regency Carved Mahogany and Caned Library Armchair, 19th c., in the manner of Gillows, caned back and sides, padded arms, turned supports, lobed tapered legs, casters, 44 x 25 x 23 in. (111.8 x 63.5 x 58.4 cm.), [500 / 700]
Provenance: Henry Stern, New Orleans 1981
309. Set of Eight ChippendaleStyle Carved Mahogany Dining
Chairs, late 19th/ early 20th c., scrolled crest rail, pierced carved ribbon splat, molded seat rail, belflower and acanthus carved knees, cabriole leg, ball and claw feet, Side: 41 x 24 x 20 1/2 in. (104.1 x 61 x 52.1 cm.), Armchair: 42 1/2 x 25 x 21 in. (108 x 63.5 x 53.3 cm.) [2500 / 3500]
310. Monumental George III Carved Mahogany Breakfront Sideboard, late 18th/ early 19th c., possibly Gillows of Lancaster, paper labels in drawer and back, molded back splash, gadrooned edge top, center drawer flanked paneled cabinet doors, acanthus carved lobed tapered legs, 49 1/2 x 101 1/2 x 33 in. (125.7 x 257.8 x 83.8 cm.), [3000 / 5000]
Provenance from labels on piece: The 16th Viscount Mountgarrett bought the sideboard at the sale of Duke of Cambridges’ things at Gloucester House placed there by George III for his daughter the Duchess of Gloucseter.
312. Regency
Provenance: Henry Stern November 1981
Ida Manheim Antiques, 409 Royal St., New Orleans.
311. Georgian-Style Burl Walnut Bachelor Chest, late 19th c., molded banded top, four graduated drawers, bracket feet, 32 3/4 x 31 x 16 in. (83.2 x 78.7 x 40.6 cm.), [800 / 1200]
Brass Inlaid Rosewood Library Table, 19th c., in the manner of Thomas Hope, fleur-de-lis brass inlay, shaped apron, incurvate standard, sabre legs, castors, 28 x 55 x 25 1/4 in. (71.1 x 139.7 x 64.1 cm.), [1000 / 1500]
313. Queen Anne Inlaid Burl Walnut Chest on Chest, 18th c. and later, molded cornice, drawers with banded and string inlay, upper case with two short drawers above three long drawer, lower case with two long drawers, bracket feet, 64 x 40 x 20 in. (162.6 x 101.6 x 50.8 cm.), [2000 / 3000]
Provenance: Ida Manheim Antiques, 409 Royal St., New Orleans.
315. Queen Anne-Style Mahogany Drop Leaf Table, 19th c., oval top, swing legs, pad feet, open 28 3/4 x 42 x 47 in. (73 x 106.7 x 119.4 cm.), Closed 28 3/4 x 42 x 12 in. (73 x 106.7 x 30.5 cm.) [500 / 700]
Provenance: Henry Stern November 1981
314. Georgian-Style Inlaid Carved Mahogany Serpentine Chest, 19th c., four banded string inlaid conforming drawers, shaped apron, french flare feet, 34 1/2 x 45 x 22 1/2 in. (87.6 x 114.3 x 57.2 cm.), [1000 / 1500]
Provenance: Ida Manheim Antiques, 409 Royal St., New Orleans.
316. Federal Giltwood Convex Mirror, 19th c., spread wing eagle crest, mirror plate bordered by spherules, h. 36 in., dia. 32 in. [1200 / 1800]
317. Louis Philippe Giltwood Mirror, with incised and bellflower decoration, 47 x 28 in. (119.4 x 71.1 cm.), [500 / 700]
318. Empire Bronze-Mounted Fruitwood Mirror, 19th c., beveled mirror-plate, flanked by ebonized half-columns, 45 1/2 x 29 1/2 x 3 3/4 in. (115.6 x 74.9 x 9.5 cm.), [600 / 900]
319. Antique French Giltwood and Polychrome Trumeau Mirror, with applied Classical relief trophy, 59 x 34 in. (149.9 x 86.4 cm.), [700 / 1000]
320. Antique French Women’s Club of Bay St. Louis Mirror, Gothic-form, hinged mirror plate, the interior with painted text “Association de Dames et Demoiselles de la Baie St. Louis”, over two columns for member’s names titled “Dames” and “Demoiselles”, 36 x 21 x 2 1/2 in. (91.4 x 53.3 x 6.4 cm.), [700 / 1000]
321. Louis XV Giltwood Pier Mirror, 18th c., scroll and foliate surround, 78 x 22 1/2 x 2 1/2 in. (198.1 x 57.2 x 6.4 cm.), [1000 / 1500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
322. Queen Anne Marquetry Cushion Mirror, early 18th c., floral inlay, 39 x 33 1/2 x 4 1/2 in. (99.1 x 85.1 x 11.4 cm.), [800 / 1200]
Ida Manheim Antiques, 409 Royal St., New Orleans.
323. Louis XVI-Style Giltwood Mirror, musical trophy crest, bellflower carved surround, 60 x 27 x 2 1/2 in. (152.4 x 68.6 x 6.4 cm.), [700 / 1000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
324. Georgian Giltwood Mirror, two-part mirror plate, scrolled cartouche crest, issuing Prince of Wales plumes, pierced shell pendant, 81 x 35 x 4 in. (205.7 x 88.9 x 10.2 cm.), [800 / 1200]
Ida Manheim Antiques, 409 Royal St., New Orleans.
325. Antique Louis XV-Style Giltwood Mirror, floral urn crest, scroll and foliate border, 81 x 46 x 3 1/2 in. (205.7 x 116.8 x 8.9 cm.), [700 / 1000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
326. Louis XVI-Style Marquetry and Bronze Mounted Fruitwood Commode, early 19th c., molded Breche dí Alep marble top, three conforming drawers, foliate urn inlay, canted styles, square tapered legs, 34 1/2 x 48 1/2 x 26 1/2 in. (87.6 x 123.2 x 67.3 cm.), [2000 / 3000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
327. Louis XV-Style Bronze Mounted Kingwood Bureau Plat, 19th c., tooled leather top, three frieze drawers, shaped apron, female mounts, cabriole legs, 30 x 83 x 58 in. (76.2 x 210.8 x 147.3 cm.), [2000 / 3000]
Provenance: Ida Manheim Antiques, 409 Royal St., New Orleans.
328. Italian Neoclassical Marquetry and Tulipwood Commode, 19th c., foliate inlaid swags throughout, banded top with triangular inlaid edge, two short drawers above three long drawers, bracket feet, 40 x 48 1/2 x 22 1/2 in. (101.6 x 123.2 x 57.2 cm.), [1500 / 2500]
329. Monumental Louis XV-Style Bronze Mounted Amaranth and Kingwood Breakfront Bibliotheque/ Vitrine, late 19th/ early 20th c., in the manner of Francois Linke, lockplates stamped Hilbrunner Paris, bronze molded conforming top, incurvant frieze, five inlaid bronze mounted doors, incurvant sides, bronze molded plinth base, 48 x 135 x 22 in. (121.9 x 342.9 x 55.9 cm.), [5000 / 7000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
French
and
Ida
330. Pair of Louis XVI-Style Gris Peinte Fauteuils, 18th c., silk stripe upholstery, arched molded crest rail, padded arms, fluted tapered legs Prov. Gerrie Bremmerman Antiques., 39 x 27 x 22 1/2 in. (99.1 x 68.6 x 57.2 cm.), [700 / 1000]
332. Louis XVI-Style Bronze Mounted Brass Inlaid Ebonized Games Table, 19th c., foldover foliate inlaid top, baize playing surface, ringlet mounted frieze, tapered fluted legs, bronze feet, 30 x 36 x 17 1/2 in. (76.2 x 91.4 x 44.5 cm.), open: x 35 in. ( x 88.9 cm.) [800 / 1200]
Provenance: Ida Manheim Antiques, 409 Royal St., New Orleans.
331.
Regence-Style Carved Giltwood Console, 19th c., Rouge marble top, pierced carved foliate
C-scrolled frieze, stretcher with center foliate carving, scrolled feet, 35 1/2 x 55 x 19 1/4 in. (90.2 x 139.7 x 48.9 cm.), [2000 / 3000]
Provenance:
Manheim Antiques, 409 Royal St., New Orleans.
333. French Regence Carved Giltwood Console, 18th c., molded marble top, pierced carved C-scrolled frieze, bust carved corners, cabriole legs, ball and claw feet, 30 1/2 x 33 x 18 1/4 in. (77.5 x 83.8 x 46.4 cm.), [2500 / 3500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
334. Louis XVI-Style Bronze Mounted Inlaid Mahogany Bookcase/Cartonnier, late 19th/ early 20th c., mounts stamped FR, molded arched top with foliate mount, grille-work doors, eight tooled leather drawers, molded base, square tapered legs, 71 1/2 x 29 1/2 x 16 in. (181.6 x 74.9 x 40.6 cm.), [2500 / 3500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
335. Asian Lacquered Eight-Panel Screen, 94 x 144 x 1 in. (238.8 x 365.8 x 2.5 cm.), [600 / 800]
336. Empire Gilt and Patinated Bronze Figural Clock, 19th c., silk-thread, striking bell movement, 15 3/4 x 12 1/2 x 3 1/2 in. (40 x 31.8 x 8.9 cm.), [700 / 1000]
337. Antique French Giltwood Barometer, late 19th c., hexagonal-form, lyre crest incorporating a thermometer, 37 x 20 x 2 in. (94 x 50.8 x 5.1 cm.), [700 / 1000]
339. French Brass Carriage Clock, fitted with alarm, striking on a gong, visible escapement, 5 1/2 x 3 1/2 x 3 1/4 in. (14 x 8.9 x 8.3 cm.), [250 / 350]
338. George III Oak Tall Case Clock, dial marked “Jos. Higginson/London”, brass finials, striking bell movement, 94 x 20 1/2 x 9 1/2 in. (238.8 x 52.1 x 24.1 cm.), [700 / 1000]
Provenance: Henry Stern November 1981
340. William and Mary-Style Inlaid Burl Walnut Linen Press, 18th and later c., molded cornice, oval inlaid doors, molded lower case, two short drawers above three graduate long drawers, turned feet, 72 1/2 x 47 x 20 1/2 in. (184.2 x 119.4 x 52.1 cm.), [2000 / 3000]
341. Antique William and Mary-Style Oyster Veneered Inlaid Walnut Library
Table, 19th c., inlaid oval centered and corners, molded top, plain frieze, barley twist supports, X-form elliptical twist stretcher, turned feet, 29 x 70 1/2 x 26 1/2 in. (73.7 x 179.1 x 67.3 cm.), [2000 / 3000]
Provenance: Henry Stern, New Orleans, 1981
342. Queen Anne-Style Carved Walnut Settee, 19th c., nailhead upholstery, high back, padded arms, cabriole legs,, 39 1/2 x 85 1/2 x 32 in. (100.3 x 217.2 x 81.3 cm.), [1000 / 1500]
Provenance: Henry Stern November 1981
343. Anglo-Colonial Hardwood Octagonal Brass-Bound Cellarette, late 19th c., hinged top, molded plinth base, 21 x 15 x 16 in. (53.3 x 38.1 x 40.6 cm.), [500 / 700]
344. George III Inlaid Carved Mahogany Tambour Sideboard, late 18th c., banded top, incurvate sides, deep drawer, over tambour doors, square tapered legs, spade feet, 35 x 59 x 23 3/4 in. (88.9 x 149.9 x 60.3 cm.), [1500 / 2500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
345. Georgian Carved Oak Chest of Drawers, Late 18th c., molded top, two molded short drawers above three long drawers, molded base, turned feetProvenance: Henry Stern November 1981, 34 1/2 x 34 1/4 x 18 in. (87.6 x 87 x 45.7 cm.), [1000 / 1500]
346. Set of Six Georgian-Style Carved Mixed Woods Armchairs, 19th c., slat back, scrolled arms, Marlborough legs, stretchers, 38 x 22 1/2 x 19 in. (96.5 x 57.2 x 48.3 cm.), [800 / 1200]
Provenance: Henry Stern November 1981
347. English Regency Carved Mahogany Library Table, 19th c., molded banded top, trestle supports, acanthus carving, casters, 29 x 51 1/2 x 26 1/2 in. (73.7 x 130.8 x 67.3 cm.), [1000 / 1500]
348. William IV-Style Carved Mahogany Pedestal Sideboard, Late 19th/early 20th c., broken arch backsplash, frieze drawer flanked by paneled molded cabinet doors, plinth base, 63 x 78 1/2 x 24 in. (160 x 199.4 x 61 cm.), [700 / 1000]
349. Queen Anne Carved Oak Settle, 18th c., molded crest rail, arched paneled back, scroll arms, cabriole legs, pad feet, 41 1/4 x 72 3/4 x 23 1/2 in. (104.8 x 184.8 x 59.7 cm.), [700 / 1000]
350. Dutch-Style Carved Figured Mahogany Bombe Commode, 19th c., later molded marble top, three conforming long drawers above, shaped apron, flared feetProvenance: Henry Stern November 1981, 37 1/2 x 62 1/2 x 22 1/4 in. (95.3 x 158.8 x 56.5 cm.), [1000 / 1500]
351. Georgian-Style Carved Walnut Library Armchair, 19th c., tapestry upholstery, padded arms, C-scrolled knees, cabriole legsProvenance: Henry Stern November 1981, 44 x 31 1/2 x 28 in. (111.8 x 80 x 71.1 cm.),
[800 / 1200]
352. Hermann Ottomar Herzog German/United States 1832-1932 “Crabtree Point, North Haven, Maine”, c. 1920s, signed lower left, “McBride Galleries, New Orleans, LA” tag with artist on hanging wire, artist biography en verso, framed.Note: Neal Auction would like to thank Scott Herzog for his assistance in authenticating and cataloguing this lot., 22 x 30 in. (55.9 x 76.2 cm.),
Frame: 30 1/4 x 38 1/4 x 3 3/4 in. (76.8 x 97.2 x 9.5 cm.)
[5000 / 8000]
353. American School 19th c.
“Harbor with Sailboats and Masted Ships”, unsigned, “Morton’s Auction” tag on reverse of frame, framed., 23 7/8 x 36 in. (60.6 x 91.4 cm.), Frame: 37 3/4 x 50 x 3 in. (95.9 x 127 x 7.6 cm.)
[1200 / 1800]
354. Frank Knox Morton Rehn, American, 1848-1914, “Schooner at Sail on Moonlit Seas”, signed lower left, framed., 16 1/4 x 28 1/4 in. (41.3 x 71.8 cm.), Frame: 19 3/4 x 31 3/4 x 2 1/2 in. (50.2 x 80.6 x 6.4 cm.)
[1000 / 1500]
356. George Frederick Bensell, American, 1837-1879, “Rocky Landscape with Stream”, signed lower right, framed., 10 3/4 x 7 1/2 in. (27.3 x 19.1 cm.), Frame: 14 1/2 x 11 1/4 x 1 1/2 in. (36.8 x 28.6 x 3.8 cm.)
[800 / 1200]
355. George Washington Nicholson, American/New Jersey, 1832-1912, “Preparing for the Storm”, signed lower left, framed., 30 1/4 x 40 1/4 in. (76.8 x 102.2 cm.), Frame: 35 1/8 x 45 1/8 x 2 in. (89.2 x 114.6 x 5.1 cm.)
[600 / 800]
357. John Frederick Kensett, American/ New York 1816-1872 “Tree on a Hillside”, 1868, monogrammed and dated en verso, framed., 11 1/4 x 5 5/8 in. (28.6 x 14.3 cm.), Frame: 12 7/8 x 7 1/2 x 1 in. (32.7 x 19.1 x 2.5 cm.)
[1500 / 2500]
359. Edward Loyal Field, American/New York, 1856-1914, “Summer at Arkville”, signed lower right, titled on partial label, handwritten label transcribing partial label and framing label on stretcher, artist initials stamped en verso, framed with artist plaque., 20 x 30 1/8 in. (50.8 x 76.5 cm.), Frame: 32 1/2 x 42 1/2 x 4 in. (82.6 x 108 x 10.2 cm.) [800 / 1200]
358. George Inness, Jr., French/New York, 1853-1926, “The Deserted House”, signed lower left, titled and inscribed “36”, “#5”, “#356”, “848/F” and “22” on stretcher, “Morton’s Auction Exchange” label on reverse of frame, framed with artist and title plaques.Provenance: Lillian Harney, Trenton, NJ, 1975., 29 1/8 x 36 1/8 in. (74 x 91.8 cm.), Frame: 44 1/2 x 51 3/4 x 3 1/2 in. (113 x 131.4 x 8.9 cm.) [4000 / 6000]
360. Aaron Draper Shattuck, American/New Hampshire, 1832-1928, “Resting under the Trees”, 1898, signed and dated lower left, unframed., 25 x 21 in. (63.5 x 53.3 cm.), [3000 / 5000]
361. Joseph F. Mingle, American/Pennsylvania, 1839-1903, “On the Path to the Village”, 1897, signed and dated lower right, typed artist label and “Henry Stern Antiques, New Orleans” gallery label on stretcher, framed., 20 1/4 x 14 1/8 in. (51.4 x 35.9 cm.), Frame: 25 1/4 x 19 1/8 x 1 1/2 in. (64.1 x 48.6 x 3.8 cm.) [600 / 800]
362. Robert Crannell Minor, Sr., American/New York, 1839-1904, “Landscape at Sunset”, faintly signed lower left, framed with artist plaque., 12 1/8 x 16 1/8 in. (30.8 x 41 cm.), Frame: 16 3/4 x 20 3/4 x 1 3/4 in. ( 42.5 x 52.7 x 4.4 cm.) [600 / 800]
364. John William Casilear, American/New York, 1811-1893, “View of Lake George”, 1878, initialed and dated lower right, framed with artist plaque., 12 x 20 in. (30.5 x 50.8 cm.), Frame: 26 1/4 x 34 1/4 x 3 3/4 in. (66.7 x 87 x 9.5 cm.) [4000 / 6000]
363. American School early 20th c. , “Pastoral Landscape at Sunset”, unsigned, framed., 20 x 30 in. (50.8 x 76.2 cm.), Frame: 34 x 43 3/4 x 4 in. (86.4 x 111.1 x 10.2 cm.) [700 / 1000]
365. Alfred Thompson Bricher, American, 18371908, “Spring Landscape with Fishing Dock”, signed lower right, framed., 20 1/2 x 14 3/4 in. (52.1 x 37.5 cm.), Frame: 29 x 23 x 1 1/2 in. (73.7 x 58.4 x 3.8 cm.) [1000 / 1500]
366. Sydney Mortimer Laurence, American, 1865-1940, “Porthminster”, signed lower right, pencil-signed and titled en verso, framed., 9 x 12 in. (22.9 x 30.5 cm.), Frame: 16 3/4 x 20 1/4 x 1 1/2 in. (42.5 x 51.4 x 3.8 cm.)
[1000 / 1500]
367. Attributed to Eastman Johnson, American, 1824-1906, “Rabbit Repast”, signed lower left, framed., 6 3/8 x 9 1/8 in. (16.2 x 23.2 cm.), Frame: 10 1/4 x 13 x 1 in. (26 x 33 x 2.5 cm.) [1200 / 1800]
368. Attributed to Theresa Ferber Bernstein, American/New York, 1895-2002 “Figures in an Interior”, unsigned, framed with artist plaque., 12 x 10 in. (30.5 x 25.4 cm.), Frame: 19 x 17 1/8 x 2 1/2 in. (48.3 x 43.5 x 6.4 cm.)
[700 / 1000]
369. George Henry Bogert, American, 1864-1944, “Venetian Canal Scene”, signed lower left, “Marshall Field & Company” and “Morton’s Auction” labels on reverse of frame, framed., 28 1/4 x 40 1/2 in. (71.8 x 102.9 cm.), Frame: 37 3/4 x 49 1/2 x 3 1/4 in. (95.9 x 125.7 x 8.3 cm.) [1200 / 1800]
371. Frank Myers Boggs, French/American, 1855-1926, “Le Drageur (Ship)”, signed lower left, “Maxwell Galleries, San Francisco, CA” label with title en verso, framed with artist and title plaque., 15 1/4 x 22 in. (38.7 x 55.9 cm.), Frame: 23 x 29 3/4 x 3 in. (58.4 x 75.6 x 7.6 cm.) [1200 / 1800]
370. John Edward Costigan, American/Rhode, Island 1888-1972, “Autumn Picnic”, signed and inscribed “N.A.” lower left, framed., 24 x 20 in. (61 x 50.8 cm.), Frame: 28 x 24 x 2 in. (71.1 x 61 x 5.1 cm.) [600 / 800]
372. Arrah Lee Gaul, American/Pennsylvania, 1883-1980, “Ruins of William Penn’s Ancestral Home near Macroom, County Cork”, signed lower right, titled en verso and inscribed title on backing paper, framed., 20 x 16 in. (50.8 x 40.6 cm.), Frame: 24 1/4 x 21 1/4 x 1 1/2 in. (61.6 x 53.7 x 3.8 cm.) [700 / 900]
373. Antonio Barone, Italian/United States, 1889-1971, “The Gossips”, signed and illegibly dated lower left, framed., 24 x 30 in. (61 x 76.2 cm.), Frame: 28 1/4 x 34 1/4 x 1 1/4 in. (71.8 x 87 x 3.2 cm.) [800 / 1200]
374. Charles Harold Davis, American/Massachusetts, 1856-1933, “Sunny Fall Landscape with Cabin”, signed lower right, framed., 14 x 20 in. (35.6 x 50.8 cm.), Frame: 21 1/2 x 27 1/2 x 1 in. (54.6 x 69.9 x 2.5 cm.) [600 / 800]
375. Charles Warren Eaton, American, 18571937, “Early Morning”, signed lower right, “Pedersen Gallery, Lambertville, NJ” label with artist and title on backing board, Newcomb -Macklin frame with framing label on reverse., 12 x 9 in. (30.5 x 22.9 cm.), Frame: 17 x 13 3/4 x 1 in. (43.2 x 34.9 x 2.5 cm.) [800 / 1200]
376. Ralph William Holmes, American/ California, 1876-1963, “Atascadero Landscape”, signed lower left, artist label with title en verso, framed with artist and title plaque., 16 x 20 in. (40.6 x 50.8 cm.), Frame: 22 5/8 x 26 5/8 x 2 3/4 in. (57.5 x 67.6 x 7 cm.) [1000 / 1500]
377. Robert Emmett Owen, American/New York, 1878-1957, “Sun
Thru the Trees - Study on the old road from Salem to Goldens Bridge”, c. 1942, signed lower right, handwritten label with title and inscribed “Happy New Year 1942 / To the Family / From Robert & Miriam” en verso, framed., 14 x 18 in. (35.6 x 45.7 cm.), Frame: 19 7/8 x 24 x 1 1/4 in. (50.5 x 61 x 3.2 cm.)
[1200 / 1800]
378. Alfred Jansson, Swedish/Illinois, 1863-1931, “Wooded Landscape”, 1920, signed and dated lower right, “Henry Stern Antiques, New Orleans” and handwritten label with artist and date on reverse of frame, framed., 20 x 24 in. (50.8 x 61 cm.), Frame: 27 1/2 x 31 1/2 x 1 3/4 in. (69.9 x 80 x 4.4 cm.) [800 / 1200]
379. Lillian Mathilde Genth, American/New York, 1876-1953, “Sunlight, The Patio”, signed lower left, “Grand Central Art Galleries, New York, NY” label with title and pencil-inscribed (under label) “nude in patio” on stretcher bar, framed., 18 x 15 in. (45.7 x 38.1 cm.), Frame: 22 1/4 x 19 1/8 x 2 in. (56.5 x 48.6 x 5.1 cm.)
[1000 / 1500]
380. Ralph Brownell McGrew, American, 1916-1994, “Eve of Berrie’s Adulthood”, c. 1974, signed lower left, ‘Gerald P. Peters Fine American Paintings, Santa Fe, NM” label with artist and title and “The Farkas Corporation AAA Distributors, Beverly Hills, CA” label with artist, title and inscription “Preliminary Painting for 30 x 40 / Illustrated in Reference Book” en verso, framed, 18 x 24 in. (45.7 x 61 cm.), Frame: 29 5/8 x 35 5/8 x 2 1/4 in. (75.2 x 90.5 x 5.7 cm.) [12000 / 18000]
Note: Known for his highly realistic portraits and genre scenes depicting the Dinè (Navajo) and Hopi people of Arizona and New Mexico as well as Southwest and California desert landscapes, R. Brownell McGrew showed early artistic talent in his hometown of Columbus, Ohio. McGrew moved to California with his family when he was a child and enrolled at the Otis Art Institute, studying with Ralph Holmes. Although he preferred portrait painting, he won recognition for landscapes and was so proficient technically that he spent his last year at Otis teaching. McGrew later worked as a commercial artist for M.G.M. and Columbia movie studios and then discovered a love for desert painting. McGrew wanted his paintings to look saturated or wet even after they dried, so he devised a recipe of oil paint, linseed oil and turpentine to achieve the effect without the use of varnish or glazes. This technique, combined with carefully blended colors and brushstrokes and a very flat paint surface, afforded McGrew’s paintings an almost photographic and luminous quality. He is widely considered to be one of the best Western portraitists of the twentieth century.
381. American School, late 19th/early 20th c., “Study of an Athlete”, unsigned, “Hudson & Salah Studios” conservation label on stretcher, framed., 30 x 20 in. (76.2 x 50.8 cm.), Frame: 38 1/4 x 28 1/4 x 2 in. (97.2 x 71.8 x 5.1 cm.) [800 / 1200]
382. Rockwell Kent, American/New York, 1882-1971, “Heroic Figure”, 1935, estate stamp lower right, titled and dated on backing paper, framed., 12 x 10 1/2 in. (30.5 x 26.7 cm.), Frame: 20 1/4 x 18 3/8 x 1 in. (51.4 x 46.7 x 2.5 cm.) [1500 / 2500]
383. Eanger Irving Couse American 1866-1936 “Seated Male Nude”, signed lower right, 2 watermarks “ED&C” and “PL BAS” near upper and lower center edges, framed., Sheet: 22 1/4 x 18 5/8 in. (56.5 x 47.3 cm.), Frame: 27 3/4 x 22 5/8 x 1 in. (70.5 x 57.5 x 2.5 cm.) [1000 / 1500]
384. Dale William Nichols American/Nebraska 1904-1995 “Day’s End”, unsigned, inscribed with provenance in margin, “Nadic Arts, Bay St. Louis, Mississippi” gallery label, artist biography and handwritten note with provenance and original artist and title sticker on preserved prior backing paper on current backing paper, framed, 7 7/8 x 9 7/8 in. (20 x 25.1 cm.), Frame: 14 1/2 x 16 1/2 x 1 1/2 in. (36.8 x 41.9 x 3.8 cm.) [1500 / 2500]
Provenance: Gifted by the artist to James Berry; Mrs. Eddie Oliver, 1962; Private Collection, New Orleans, LA, 1970.
385. American Victorian Carved Rosewood Center Table, 19th c., attributed Thomas Brooks, New York, inset molded marble top, molded and carved frieze, columnar standard, scroll brackets, triangular plinth, scrolled feet., 30 x 36 in. (76.2 x 91.4 cm.), [1000 / 1500]
386. American Aesthetic Carved and Burled Walnut Hall Stand, 19th c., Philadelphia, marble stenciled Dougherty & Co Marble Works, Philad’a, paper label “ Sample of Marble from Dougherty Marble Quarry Doughertyville, Hawkins co. Tennessee1432 N’th 20th Street, Philadelphia”, arched molded finial cornice with foliate carved frieze, beveled mirror flanked by pierced carved herons, foliate urns, marble top, two molded drawers, plinth base, 106 1/2 x 58 x 18 in. (270.5 x 147.3 x 45.7 cm.),
[2000 / 3000]
Note: Dougherty/Hawkins County Marble Quarry produced marble for one half of the ornamental work in the Capitol at Washington. The balustrades and columns of the stairs leading up to the House and Senate galleries, the walls of the marble room, and other parts of the building are made from it. It has since been used in the United States Treasury building, the State house at Columbia, SC, and many of the finest buildings in New York, Philadelphia, Chicago, and Cincinnati. This award wining marble was used by the top furniture makers of Philadelphia . It appears on attributed Daniel Pabst bedroom suites and one of the largest commissions for A. Lejambre was the Dougherty house 2212 Green Street, Philadelphia.Reference: Antiques Magazine March 1978
387. American Aesthetic Carved and Burl Walnut Library Cabinet/ Sideboard, late 19th c., possibly Allen & Bro., Philadelphia, elaborate carved crest with center beaver flanked by finials with foliate swags, upper superstructure with centered beveled mirror, twist carved support, turned ball galleries, foliate carved back panels, display stairs on left side, vitrine on the right, lower case with molded top, three frieze drawers above center deep drawer, flanking molded paneled doors, molded plinth base. , 91 x 28 1/2 x 73 in. (231.1 x 72.4 x 185.4 cm.), [10000 / 15000]
Note: The Allen and Brother firm was founded in 1835 in Philadelphia and later rose to acclaim in 1876 when they exhibited and won prizes at the 1876 Centennial Exposition. As typical with the Philadelphia furniture trade, this sideboard is constructed primarily of walnut. Construction of this cabinet/sideboard closely relates to the labeled Philadelphia hallstand, offered in this auction as lot 386, in solid carved panels and mirror backboard construction. The orientation of the Beaver crest symbolizing the Astor family crest closely relates to the Allen & Bro. bedroom sets located at the Denver Museum of Fine Art as well as in various private collections. The Astor family made their original fortune in the fur trade and by seller’s repute, this cabinet came from the John Jacob Astor IV Collection.
388. Pair of Arts and Craft/ Aesthetic Inlaid Rosewood Slipper Chairs, 19th/early 20th c., after E.W. Godwin design, attributed to Collinson & Lock, London, stamped Cope casters, curved padded crest rail, radial inlaid curved back, inlaid seat rail, square tapered front legs, casters, octagonal back legs, 29 x 20 x 24 in. (73.7 x 50.8 x 61 cm.),
[3000 / 5000]
389. American Neo-Grec Bronze Mounted Inlaid, Gilt and Ebonized Games Table,, 19th c., New York, mounts stamped P.E.G for P.E. Guerin, New York, marked India Rubber Comb casters, banded foldover top with tooled cloth playing surface, accordion action back legs, center frieze drawer with fitted card holders, scrolled trumpet form leg with bronze rosettes, casters, Closed: 30 x 38 x 19 in. (76.2 x 96.5 x 48.3 cm.), Open: 30 x 38 x 38 in. (76.2 x 96.5 x 96.5 cm.)
[1200 / 1800]
390. American Renaissance Revival Burl and Carved Walnut Sidelock Chest, 19th c.,, attributed to George J. Henkels, Philadelphia, molded marble top, six molded drawers with mask pulls, molded plinth base, 53 x 38 1/2 x 23 in. (134.6 x 97.8 x 58.4 cm.),
[800 / 1200]
Provenance: Estate of William Jay Atzenhoffer, Victoria,Tx
391. Pair of American Renaissance Revival Burl and Carved Walnut Dressers, ,19th c., attributed to George J. Henkels, Philadelphia, arched molded crest, molded marble top, two molded drawers, plinth base, 91 x 50 x 22 1/2 in. (231.1 x 127 x 57.2 cm.), [1200 / 1800]
Provenance: Estate of William Jay Atzenhoffer, Victoria,Tx
392. American Renaissance Revival Burl and Carved Walnut Bedstead, 19th c., probably Philadelphia, arched molded crest flanked by foliate scrolls, molded paneled headboard, conforming rails, foliate molded carved paneled footboard, 95 1/2 x 66 x 80 in. (242.6 x 167.6 x 203.2 cm.), [2000 / 3000]
Provenance: Estate of William Jay Atzenhoffer, Victoria,Tx
393. American Renaissance Carved Walnut Center Table, 19th c., probably Philadelphia, inset marble top, molded edge, scrolled side supports, H-form stretcher, castors, 30 1/2 x 42 x 25 1/2 in. (77.5 x 106.7 x 64.8 cm.), [700 / 1000]
Provenance: Estate of William Jay Atzenhoffer, Victoria,Tx
395. Guy Buffet French 19432023 “Poule au Pot”, 2008, signed lower right, signed, titled and dated en verso, “John Moran Auctioneers” label on stretcher and tag on hanging wire, unframed, 14 x 11 in. (35.6 x 27.9 cm.), [600 / 800]
Provenance: John Moran Auctioneers, Monrovia, CA, Jan. 23, 2024, lot 1198; Private Collection, New Orleans, LA.
396. Vintage Belgian Advertising Poster, c. 1930s, “Kleederen voor Mannen en Kinderen”, Antwerp, stone lithograph, framed., Sight: 48 x 33 1/4 in. (121.9 x 84.5 cm.), Frame: 52 x 37 x 1 1/2 in. (132.1 x 94 x 3.8 cm.)
[300 / 500]
397. Antique French Crème Soleil Advertising Poster, c. 1925, stone lithograph, by Charles Martin, framed., Sight: 47 x 31 1/2 in. (119.4 x 80 cm.), Frame: 51 x 35 x 1 1/2 in. (129.5 x 88.9 x 3.8 cm.)
[300 / 500]
394. Pair of American Carved Mahogany Pedestals, c. 1900, tapered and lobed standard, h. 36 in., top 11 1/2 in. x 11 1/2 in.[500 / 700]
51
398. Vintage French “Vetements Le Pelican” Advertising Poster, c. 1935, stone lithograph, published by R.L Dupuy, framed., Sight: 62 x 46 1/4 in. (157.5 x 117.5 cm.), Frame: 67 1/4 x
1/2 x 1 1/2 in. (170.8 x 130.8 x 3.8 cm.) [300 / 500]
399. Vintage French Advertising Poster, c. 1945, “Bayard Fraisse Vetements”, lithograph, printed by Giraud et Rivoire, framed., Sight: 65 3/4 x 48 1/2 in. (167 x 123.2 cm.), Frame: 72 x 54 1/2 x 1 1/2 in. (182.9 x 138.4 x 3.8 cm.) [300 / 500]
400. Vintage French Railway Poster, 1930s, “Le Palais de Fontainebleau”, lithograph, by Julien Lacaze (1886-1971), printed by Cornille & Serre, framed., Sight: 39 3/4 x 28 in. (101 x 71.1 cm.), Frame: 45 3/4 x 33 3/4 x 1 1/2 in. (116.2 x 85.7 x 3.8 cm.) [600 / 800]
401. Leonetto Capiello (French, 1875-1942) , “Mossant”, 1938, stone lithograph, printed by Edimo, Paris, framed., Sight: 62 1/2 x 28 in. (158.8 x 71.1 cm.), Frame: 66 x 49 1/2 x 1 1/2 in. (167.6 x 125.7 x 3.8 cm.) [1000 / 1500]
402. Pablo Picasso, Spanish, 1881-1973, “Buste d’Homme (Bloch 4)”, plate created 1905, later print date 1913, unsigned, signed and dated in plate, from “La Suite des Saltimbanques”, from the edition of 250, printed by Louis Fort, Paris, published by Ambroise Vollard, Paris, partial “Van Gelder Zonen” watermark, framed., Plate: 4 3/4 x 3 1/2 in. (12.1 x 8.9 cm.), Sheet: 20 x 13 in. (50.8 x 33 cm.), Frame: 23 x 18 5/8 x 1 in. (58.4 x 47.3 x 2.5 cm.)
[1000 / 1500]
403. Georges Recipon, French, 18601920, “Le Porte Bonheur (The Lucky Charm)”, signed “Recipon” and with foundry stamp “COPYRIGHT BY SUSSE Fres/1896”., 5 1/2 x 8 x 6 1/2 in. (14 x 20.3 x 16.5 cm.), [400 / 600]
404. Raymond “Ray” Parker, American/New York, 1922-1990, “Untitled”, 1964, signed lower center, signed, titled, dated and inscribed “For Cora” en verso, handwritten label with artist, title and date on hanging wire, framed., 16 3/4 x 21 1/8 in. (42.5 x 53.7 cm.), Frame: 19 x 23 1/2 x 2 1/4 in. (48.3 x 59.7 x 5.7 cm.)
[8000 / 12000]
Provenance: Gift of the artist; Cora Kelley Ward (1920-1989); by descent in the family; Private Collection, LA.
Note: Originally from South Dakota, Ray Parker moved to New York City in 1951 after receiving an MFA at the University of Iowa. In New York, he became a professor of art at Hunter College where he would remain until his passing in 1990. An essential participant of the bustling art scene of the city, he was included in numerable group exhibitions at museums such as the Whitney Museum of American Art, Museum of Modern Art and Metropolitan Museum of Art. He was represented by the premier Kootz Gallery. Parker was inspired by the works of Henri Matisse and an integral member of the “Post Painterly Abstraction” movement, as coined by his friend and formidable art critic Clement Greenberg.The painting offered here by Parker boasts the dedication “For Cora” en verso. This piece was a gift from the artist to fellow abstract expressionist, Cora Kelley Ward, who moved to New York in 1955. Ward had no trouble finding a place for herself in the buzzing metropolis, inevitably making friends with the city’s greats such Helen Frankenthaler, Robert Frost and the aforementioned Clement Greenberg, although she often remained behind the scenes and behind the camera at gallery openings, documenting her influential friends through her photography. Ward and Parker ran in the same circles and were part of the same integral period in art history that would define American Art for the latter half of the twentieth century.
Ref.: Bradley, John Ed. “Unearthing the Art of Cora Kelley Ward.” Garden and Gun. Feb./Mar., 2021. www.gardenandgun.com. Accessed Nov. 3, 2025; “Ray Parker.” Vallarino Fine Art. www. vallarinofineart.com. Accessed Nov. 3, 2025; “Ray Parker.” Lincoln Glenn. www.lincolnglenn.com. Accessed Nov. 3, 2025.
405. Anne-Sophie Øgaard, Norwegian/Denmark, b. 1971, “Conjunction 0517”, 2021, signed twice, titled and dated en verso, framed., 58 1/2 x 47 1/8 in. (148.6 x 119.7 cm.), Frame: 59 1/4 x 48 x 1 1/2 in. (150.5 x 121.9 x 3.8 cm.)
[3000 / 5000]
Note: Anne-Sophie Øgaard, who specifically identifies as a painter, notes the significance of perspective in viewing her work as it formally exists between painting and sculpture conventions. Øgaards paintings are both additive and subtractive, note the build-up of surface and arcing grooves over the squares and rectangles. Intentionally monochromatic to focus on how light affects the dimensional quality of the surface, Øgaards work also asks where the viewer can take this lesson of perspective, as in how one can view things and ideas from another point of view. Can the map-like grid of “Conjunction 0517” inspire one to contemplate where they exist in relation to others, in a philosophical sense? Øgaard holds an MFA in Visual Communication from Escola Superior de Disseny Paris and is currently based in Copenhagen. She continues to exhibit internationally and participate in various art fairs including VOLTA Basel, Art Basel Miami, and SCOPE Miami. She is represented in the United States by the Madison Gallery in Solana Beach, California.
406. Muriel Brunner Castanis American 1926-2006 “Untitled: Robed Figure”, 1983, signed, dated and numbered “XI” on self-base., 72 x 42 x 20 in. (182.9 x 106.7 x 50.8 cm.), [600 / 800]
407. Alia Ali, Yemini-Bosnian/American, b. 1985, “Chromatic Crests”, 2021, signed and dated on reverse, edition 1/5 plus 2 artist proofs, from the “Flow” series, Overall: 55 x 27 x 3 in. (139.7 x 68.6 x 7.6 cm.), [3000 / 5000]
Note: Alia Ali is a Yemeni-Bosnian-United States multimedia artist who investigates personal and political histories of diaspora, colonialism, and Yemeni Futurism. Informed by her transnational upbringing, she reclaims and reimagines cultural identity in photography and textile-based works. Ali employs ikat textiles in her series “Flow”, recalling the storyline of its origins across Indonesia, India, and Central/South America and its Anglo appropriation. “Chromatic Crests” features a photograph of a sitter completely enveloped in an ikat textile that is mounted on aluminum and then centered within a shadowbox - also wrapped in ikat - like a diminutive theater. The etymology of ikat itself, Indonesian for “bind”, implies the histories that language carries which is amplified as the fabric’s associations consume (or conversely protect) its wearer. Current gallery representation for the artist includes Octavia Art Gallery (New Orleans, LA), Benrubi Gallery (New York, NY), Loft Gallery (Casablanca, Marrakech, MAR), and Galerie Peter Sillem (Frankfurt, DE). Ali’s work is found in the permanent collections of the British Museum, New Orleans Museum of Art (where her 2020 exhibition Alia Ali: FLUX was on view), Museum of Contemporary Photography (Chicago), Benton Museum of Art at Pomona College, Princeton University, Tucson Museum of Art, Arab American Museum of Art, and Louisiana State University. Alia Ali is a graduate of Wellesley College and California Institute of the Arts (CALARTS).
408. Donna Southard, American/Florida, b. 1949, “Abstract Composition in Blue, Yellow and Red”, 2012, signed and dated lower right, unframed., 48 x 48 in. (121.9 x 121.9 cm.), [500 / 700]
409. Kevin Sinnott Welsh, b. 1947, “Beebop”, initialed lower right, inscribed “040984” en verso, framed. 72 x 56 in. (182.9 x 142.2 cm.), Frame: 79 x 63 1/2 x 3 1/2 in. (200.7 x 161.3 x 8.9 cm.) [5000 / 7000]
410. Kevin Sinnott Welsh, b. 1947, “New Morning”, initialed lower right, inscribed “020589” en verso, framed, 69 x 86 1/4 in. (175.3 x 219.1 cm.), Frame: 70 1/2 x 87 3/4 x 2 in. (179.1 x 222.9 x 5.1 cm.)
[6000 / 8000]
Note: Kevin Sinnott’s dynamic slice-of-life paintings conjure elements of Cubism and Abstract Expressionism with his fast, abbreviated gestures that reflect the speed of contemporary life and recall the directness of plein air painting. Colors are heightened; his subjectsí flesh takes on a hothouse blush from the most minute interactions to monumental crowd scenes. Sinnott’s light recalls the stark to misty coastal atmosphere of his homeland Wales, where the moisture in the air can be palpable. The two monumental oil on canvas paintings offered in this auction, “New Morning” and “Beebop” depict gatherings at different times of day and night. “New Morning” finds its revelers still going strong as the filmy morning emerges; someone has lost bits of clothing, and the romance endures. Sinnott’s oblique strokes signal an urgency with equal parts exhaustion and adrenaline to such an extent as to suggest scenes like the historic photographs of Armistice Day. “Beebop”’s lovers groove and grind into the night in chiseled brushwork, where only the immediacy of the moment matters. The angularity of brushstrokes and the slanting couple in the background suggest the asymmetrical phrasing of Bebop tempos. Kevin Sinnot’s work can be found in the collections of the Metropolitan Museum of Art, the London and British Museums, the Arts Council of Great Britain, as well as private and corporate collections internationally.
412. Conrad Buff, Swiss/United States, 1886-1975, “View from a Cave”, signed lower right, estate stamp with signature of Mary Elizabeth Buff and inscribed “GSFA / CB872” en verso, framed., 6 x 9 in. (15.2 x 22.9 cm.), Frame: 12 1/4 x 15 x 1 1/2 in. (31.1 x 38.1 x 3.8 cm.)
[500 / 700]
413. English Victorian Cast Iron Garden Bench, late 19th c., attributed to Carron Foundry, Falkirk pattern No.3, slat back and seat, entwined serpent on branch supports, 31 x 73 x 18 in. (78.7 x 185.4 x 45.7 cm.), [1000 / 1500]
411. Camille Hilaire, German/French, 1916-2004, “Orchestra”, signed lower right, inscribed with artist and “Galerie Berri Lardy” address en verso, “Freeman’s Auctioneer” label, typed label with artist and “Berri-Lardy” stamp on stretcher, framed, 18 x 10 5/8 in. (45.7 x 27 cm.), Frame: 21 1/2 x 13 7/8 x 1 3/4 in. (54.6 x 35.2 x 4.4 cm.)
[1000 / 1500]
Provenance: Berri-Lardy, Paris; Estate of Carol Gerstley, PA; Freeman’s, May 12, 2012, lot 44.
414. Pair of American Cast-Iron Garden Urns, attributed to Fiske, base: h. 9 1/2 in., dia. 15 1/2 in.; urns: h. 25 3/4 in., w. 37 3/4 in., d. 28 1/4 in.
[3000 / 5000]
415. Pair of Diminutive Antique French Cast-Iron Urns, 19th c., lobed body, scroll handles, with drainage hole, 12 x 17 x 12 1/2 in. (30.5 x 43.2 x 31.8 cm.),
417. Pair of Antique American Cast-Iron Urns, fluted and gadrooned design, h. 30 in., dia. 24 in., [700 / 1000]
416. Pair of Continental Neoclassical-Style Terracotta Urns, h. 20 1/4 in., dia. 14 1/2 in. [500 / 700]
418. Pair of Neoclassical-Style Terracotta Garden Urns, two-handled, gadrooned and foliate design, h. 29 1/2 in., dia. 23 in., [1000 / 1500]
419. Neoclassical-Style Cast-Stone Garden Urn on Pedestal, stamped THOMASON CUDWORTH, two-part urn with fruit and foliate design, on tall pedestal, h. 60 in., w. 16 in., d. 16 in., [500 / 700]
420. Cast-Stone Garden Figure on Pedestal, plinth: h. 27 1/4 in., dia. 14 in.; figure: h. 24 1/2 in., w. 9 1/2 in., d. 8 1/2 in. [700 / 1000]
[400 / 600]
421. Bronze Figural Garden Fountain, winged cherub holding a carp, on a rocaille base, plumbed to spout from carp’s mouth, 29 1/2 x 21 x 19 in. (74.9 x 53.3 x 48.3 cm.), [700 / 1000]
422. Cast-Stone Garden Figure on Pedestal, h. 58 3/4 in., w. 16 1/4 in., d. 17 1/2 in. [400 / 600]
423. Pair of American Cast-Iron Urns, h. 17 in., dia. 18 1/2 in., [400 / 600]
425. Pair of American Cast-Iron Urns, ruffled rim, gadrooned and fluted design, h. 12 in., dia. 18 1/2 in., [400 / 600]
424. Bronze Garden Figure of a Goose, 24 x 23 x 10 in. (61 x 58.4 x 25.4 cm.), [500 / 700]
427. Jeff Cross Harmony Hollow Bronze Wind Chime, marked JEFF CROSS ME 97, h. 35 in., w. 12 in., d. 5 1/2 in., dimensions variable [200 / 300]
429. Antique English Cast-Iron Hall Stand, 19th c., attributed to Coalbrookdale, branch-form, with hooks and umbrella stand, 79 1/2 x 29 3/4 x 14 in. (201.9 x 75.6 x 35.6 cm.), [700 / 1000]
426. American Cast-Iron Garden Suite, grapevine pattern, incl. two settees (h. 29 in., w. 37 in., d. 18 in.), one side and one arm (h. 26 in.), and one table (h. 16 in., dia. 21 in.), [700 / 1000]
428. Pair of American Cast-Iron Armchairs, marked “Jacobs Mfg. Co., Bridgeport, ALA. Early Victorian”, after a design by Peter Timmes & Sons, h. 36 in., w. 18 1/2 in., d. 10 1/2 in. [500 / 700]
430. Pair of Large Bronze Garden Figures of Cranes, tallest h. 72 in., [600 / 800]
431. Louis XV-Style Carved Marble Mantel, carved shell and scrolls, h. 46 1/2 in., w. 63 in., d. 14 in., opening 39 in. x 51 in., [1000 / 1500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
433. American Federal Inlaid Mahogany Butler’s Desk, 19th c., probably New York, fall-front escritoire drawer with centered moth inlay, fitted interior, above three graduated drawers, bracket French feet,, 41 x 46 1/2 x 21 in. (104.1 x 118.1 x 53.3 cm.), [1000 / 1500]
432. Louis XVI-Style Bronze Mounted Marble Mantel, scrolled supports, mounted with wreaths and beading, h. 43 in., w. 52 3/4 in., d. 15 in., opening 33 1/2 x 36 1/2 in., [1000 / 1500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
434. Pair of American Late Classical-Style Carved Mahogany Pot Commodes, 20th c., molded inset marble tops, fluted case with cabinet door, octagonal plinth base, 28 1/2 x 15 in. (72.4 x 38.1 cm.), [500 / 700]
435. Contemporary Gilt Metal and Glass Coffee Table, “antique” surface”, canted corners, with conforming thick glass top, 18 3/4 x 48 x 30 in. (47.6 x 121.9 x 76.2 cm.), [700 / 1000]
436. Fine Set of Six Antique Chippendale-Style Carved Mahogany Dining Chairs, 18th c., stamped “IW”, retain old Sotheby’s tags, carved molded crest rail, pierced carved splat, serpentine seat rail, foliate brackets, stretchers,, h. 37 1/2 in., w. 22 in., d. 17 in.
[1000 / 1500]
437. Modern Contemporary Inlaid Burlwood Mahogany Oval Dining Table, stamped 3436 P.&. Crovj, banded top, square molded tapered standards, incurvant plinth base, flared legs, 30 x 102 1/2 x 51 in. (76.2 x 260.4 x 129.5 cm.), [1200 / 1800]
438. American Classical Carved Mahogany Sideboard, late 19th c., New York, in the manner of Charles Lannuier, blocked backsplash above three beveled drawers, four paneled cupboard doors, acanthus carved columns, blocked plinth carved legs, brass paw feet, h. 52 in., w. 71 in., d. 23 in., h. 52 in., w. 71 in., d. 23 in.
[1000 / 2000]
439. Two Steuben Glass Perfume Bottles, each signed, incl. model #7838, designed 1939 by George Thompson, numbered “5” on body and stopper, h. 7 in.; and model #8117, designed 1956 by Lloyd Atkins, numbered “2” on body and stopper, h. 6 3/4 in. [300 / 500]
440. Two Steuben Glass Perfume Bottles, each signed, incl. model #7999, designed 1948 by John Dreves, numbered “19” on body and stopper, h. 6 1/4 in.; and model #8117, designed 1956 by Lloyd Atkins, numbered “9” on body and stopper, h. 6 3/4 in. [300 / 500]
441. Pair of Steuben Glass Snail-Scroll “Olive” Dishes, each signed, model #7857, designed 1939 by John Dreves, h. 3 in., w. 5 3/4 in., d. 5 in. and 5 1/8 in. [300 / 500]
442. Steuben Glass Snail-Scroll Sugar Bowl and Cream Pitcher, each signed, models #7941 and #7942, designed 1947 by Irene Benton,, h. 3 1/4 in., w. 5 3/8 in. and h. 3 1/4 in., w. 5 in. (2 pcs.) [150 / 250]
443. Pair of Steuben Glass “Sheared Rim” Vases, each signed, model #8083, designed 1957 by George Thompson, h. 10 1/2 in. and 9 3/4 in. [150 / 250]
444. Three Steuben Glass “Twist Bud” Bud Vases, each signed, model #8499, designed 1985 by David Dowler; accompanied by Steuben leaflet., h. 7 7/8 in. to 8 1/8 in [300 / 500]
445. Pair of Steuben Glass
“Cylindrical” Bud Vases, each signed, model #8319, designed 1975 by George Thompson, h. 9 1/8 in. and 9 1/4 in. [300 / 500]
449. Steuben Glass
“Iris” Bowl, signed, model #8247, designed 1970 by Katherine De Sousa; Steuben dust bag and box, h. 5 in., w. 9 5/8 in., d. 9 in [300 / 500]
1958
4 1/2 in., w. 9 3/4 in., d. 9 3/4 in.; h. 5 in., w. 10 in., d. 9 7/8 in.; and h. 4 5/8 in., w. 9 7/8 in., d. 9 3/4 in. [200 / 300]
446. Pair of Steuben Glass “Flower” Vases, each signed, model #7913, designed 1942 by George Thompson, h. 8 3/4 in. and 8 1/2 in. [200 / 300]
447. Three Steuben Glass “Spiral” Vases, each signed, model #8058, designed 1955 by Donald Pollard,, h. 6 3/8 in. [200 / 300]
448. Steuben Glass “Equinox” Bowl, signed, model #8517, designed 1985 by Neil Cohen,, h. 4 5/8 in., w. 10 in., d. 3 7/8 in. [300 / 500]
450. Three Steuben Glass “Trillium” Bowls, each signed, model #8089, designed
by Donald Pollard, h.
451. Four Steuben Glass “Spiral” Bowls, each signed, model #8060, designed 1954 by Donald Pollard, h. 3 3/4 in., dia. 6 7/8 in. to 7 1/8 in. [250 / 350]
452. Allison Stewart, American/Louisiana, b. 1941, “2 From the Edge #2 (R)”, signed lower right, signed and titled en verso, unframed., 36 x 36 in. (91.4 x 91.4 cm.), [1800 / 2500]
Note: Allison Stewart holds a BS in Biology (Spring Hill College) and an MFA (University of New Orleans), and currently lives between New Orleans and Snowmass, Colorado. Stewart’s background in science is echoed in her paintings, prints, and mixed media works through graceful pivots between descriptions of nature and inspired abstractions in her signature layered, gestural, brushstrokes. Biology takes on a spiritual bent as Stewart characterizes the existential crisis of climate change through sublime colorsaturated passages of landscape and organic matter references. Stewart has exhibited extensively, and her work is found in collections worldwide ñ highlights include the New Orleans Museum of Art, Ogden Museum of Southern Art, Historic New Orleans Collection, and the US Department of State Art in Embassies. She is represented in New Orleans by the esteemed Arthur Roger Gallery.
453. Allison Stewart, American/Louisiana, b. 1941, “Overview”, 2011, signed lower right, signed and titled en verso, “Arthur Roger Gallery, New Orleans, LA” label with artist, title and date and inscribed “ARG ï 14304” on stretcher, unframed., 48 x 68 in. (121.9 x 172.7 cm.), [3000 / 5000]
Provenance: Arthur Roger Gallery, New Orleans, LA.
454. Cora Kelley Ward, American/Louisiana, 19201989, “Jessica’s Ring”, 1975, signed, titled and dated en verso, handwritten label with artist, title and date on hanging wire, framed., 72 x 36 in. (182.9 x 91.4 cm.), Frame: 73 x 37 x 2 in. (185.4 x 94 x 5.1 cm.) [4000 / 6000]
455. Cora Kelley Ward, American/Louisiana, 1920-1989, “Signal”, 1975, signed, titled and dated en verso, framed., 22 x 20 in. (55.9 x 50.8 cm.), Frame: 23 1/4 x 21 1/8 x 2 in. (59.1 x 53.7 x 5.1 cm.) [2000 / 3000]
456. Natalie, Gaidry, American/Louisiana, b. 1961, “Crab Traps in Des Allemandes”, 2005, signed lower right, titled on left tacking edge, titled, dated twice and inscribed on stretcher, unframed, 48 1/8 x 84 in. (122.2 x 213.4 cm.), [2500 / 3500]
Note: Everything in Natalie Gaidry’s paintings has a life force, be it wrinkled laundry, crab trap netting, or clumps of grass. The effect is egalitarian, reminding the viewer of the sacred in the everyday. Gaidry’s intuitive and studied eye nods toward Southern visionary artists like Forrest Bess, albeit hers is more baroque. In “Drying the Laundry on Monday,” towels, shirts, and cloths vie for attention on a folding drying rack that just might collapse from its burden. The painting’s fleshy palette amplifies its corporeality. Riffing on the grids of the traps and patterns of grass in “Crab Traps in Des Allemandes,” Gaidry’s goopy modernist gestures invoke the thick stickiness of piped icing. Behind/
above the traps, gestural clover flowers invoke the ways that Sister Gertude Morgan reduced landscape and architecture to patterns that pulsate. Gaidry’s art education has been both self-driven and academic, including coursework in architecture at University of Oregon and studies in Italy. Her work can be found in the permanent collection of the New Orleans Museum of Art and various private collections and is featured in the documentary “Surrealism by Karl Krogstad.” She was represented by beloved and nowdefunct Barnett Fine Art in New Orleans.
Note: Everything in Natalie Gaidry’s paintings has a life force, be it wrinkled laundry, crab trap netting, or clumps of grass. The effect is egalitarian, reminding the viewer of the sacred in the everyday. Gaidry’s intuitive and studied eye nods toward Southern visionary artists like Forrest Bess, albeit hers is more baroque. In “Drying the Laundry on Monday,” towels, shirts, and cloths vie for attention on a folding drying rack that just might collapse from its burden. The painting’s fleshy palette amplifies its corporeality. Riffing on the grids of the traps and patterns of grass in “Crab Traps in Des Allemandes,” Gaidry’s goopy modernist gestures
458. Ruth Gonz·lez-Mullen, Cuban/Louisiana, 1939-2009, “Abstract Composition”, signed lower right, signed, inscribed and partial label en verso, handwritten tag with artist on hanging wire, framed., 26 x 32 in. (66 x 81.3 cm.), Frame: 27 x 33 x 1 3/8 in. (68.6 x 83.8 x 3.5 cm.) [800 / 1200]
457. Natalie Gaidry, American/ Louisiana, b. 1961, “Drying the Laundry on Monday”, 2002, signed lower right, titled on upper tacking edge, titled and dated on stretcher, unframed, 48 x 72 in. (121.9 x 182.9 cm.), [2500 / 3500]
invoke the thick stickiness of piped icing. Behind/above the traps, gestural clover flowers invoke the ways that Sister Gertude Morgan reduced landscape and architecture to patterns that pulsate. Gaidry’s art education has been both selfdriven and academic, including coursework in architecture at University of Oregon and studies in Italy. Her work can be found in the permanent collection of the New Orleans Museum of Art and various private collections and is featured in the documentary “Surrealism by Karl Krogstad.” She was represented by beloved and now-defunct Barnett Fine Art in New Orleans.
459. Ida Rittenberg Kohlmeyer, American/Louisiana, 1912-1997, “Untitled”, signed lower right, framed, 28 x 24 in. (71.1 x 61 cm.), Frame: 29 x 24 x 2 in. (73.7 x 61 x 5.1 cm.) [5000 / 8000]
Provenance: Collection of Mr. and Mrs. Alexander K. McLanahan; Simpson Galleries, Houston, TX, Feb. 8, 2025, lot 312; Private Collection, New Orleans, LA.
Note: A native of New Orleans, Ida Kohlmeyer achieved international acclaim as an artist and developed her own unique perspective on abstract art. She is widely considered one of the most influential artists from Louisiana and the South, although her art career did not begin until later in life. Following graduation from Sophie Newcomb Memorial College at Tulane University in 1933, Kohlmeyer married and raised a family. Dissatisfied with what she called a “vapid, dilettante life,” she first joined the John McCrady Art School in 1947, and then began classes at Newcomb College under the tutelage of Pat Trivigno in 1950. She eventually pursued a master’s degree in fine arts, producing primarily figurative studies and representational work for her thesis. Following the completion of her degree in 1956, Kohlmeyer spent a formative summer at the art colony in Provincetown, Massachusetts studying under Hans Hofmann. Abstraction appealed to the Kohlmeyer, and she likened her sudden shift from representation to being freed from prison. The following year, Mark Rothko came to New Orleans in a visiting artist position at Tulane and moved his family into the Metairie home of Ida Kohlmeyer’s late mother. The resulting friendship between Kohlmeyer and Rothko would have a profound influence on the trajectory of her work. By the 1970s, Kohlmeyer had transcended the influences of Hofmann and Rothko and moved entirely to non-objective subject matter. She developed her own code of schematic symbols, which she often arranged in a grid pattern on her canvases or rearranged into sculptural totems. These works are abstract, yet linguistic, and hint
460. Ida Rittenberg Kohlmeyer, American/Louisiana, 1912-1997, “Kakatoe”, 1992, unsigned, 91 x 62 x 23 in. (231.1 x 157.5 x 58.4 cm.), [20000 / 30000]
at the deep personal emotion behind them. While the symbols present a pictographic code, their meaning remains elusive. Beginning in the late 1960s, Kohlmeyer explored the extension of her pictorial compositions into three dimensions. Taking several approaches in both small and large scale, the initial sculptures played with form and texture, almost always reflecting her contemporaneous paintings. By the mid-1980s, Kohlmeyer was extracting shapes from her grid paintings and reassembling them into totemic forms that served as anthropomorphic representations within her complex visual language. As the sculptures developed, the scale increased and the works, created in fabricated steel or aluminum and then painted, became more elaborately volumetric, as seen in the monumental “Kakatoe” of 1992 offered here.
Throughout her active career, Kohlmeyer successfully exhibited her work in prestigious galleries and museums nationwide, with over one hundred solo exhibitions. She received the National Women’s Caucus for Art’s outstanding achievement award in 1980 and was the subject of her first major retrospective exhibition at the Mint Museum in Charlotte, North Carolina in 1983. Kohlmeyer can be considered a matriarch among American artists, as she broke the mold for southern artists and women artists alike during her lifetime. Her legacy is one of joyful, colorful artworks and a generation of female creators who follow in her footsteps.
1 1/4 in. (44.5 x 38.7 x 3.2 cm.) [400 / 600]
461. Ida Rittenberg Kohlmeyer, American/Louisiana, 1912-1997, “For the Grecian Gala”, 1980/1981, signed and dated in plate lower right, pencilsigned, titled, dated, numbered “98/350” and inscribed lower margin, framed., 15
3/4 x 15 3/4 in. (40 x 40 cm.), Frame: 22
3/4 x 22 1/4 x 1 in. (57.8 x 56.5 x 2.5 cm.) [800 / 1200]
1/2
(45.7 x 39.4 x 1.3 cm.) [800 / 1200]
462. Caroline Wogan Durieux, American/Louisiana, 1896-1989, “Angel”, 1953, pencil-signed, titled and numbered “3/10” lower margin, dated lower margin under mat, “Taylor Clark, Baton Rouge, LA” label on backing paper, framed., Sheet: 10 x 8 7/8 in. (25.4 x 22.5 cm.), Frame: 17 1/2 x 15 1/4 x
463. Caroline Wogan Durieux, American/Louisiana, 1896-1989, “Bayou Cemetery”, 1953, signed, titled, dated and numbered “5/5” lower margin, “Taylor Clark, Baton Rouge, LA” label on backing paper, framed., Sheet: 12 1/4 x 10 3/8 in. (31.1 x 26.4 cm.), Frame: 18 x 15
x 1/2 in.
464. Annie Richardson, American/Louisiana, 1956-2023, “Untitled: Abstract Composition”, unsigned, inscribed “1” en verso and lower left edge, unframed. 65 x 48 in. (165.1 x 121.9 cm.), [1200 / 1800]
465. Annie Richardson, American/Louisiana, 1956-2023, “Untitled: Abstract Composition”, unsigned, inscribed “2” en verso and lower left edge, unframed, 65 x 48 in. (165.1 x 121.9 cm.), [1200 / 1800]
466. Annie Richardson, American/Louisiana, 1956-2023, “Untitled: Abstract Composition”, unsigned, inscribed “3” en verso and lower left edge, unframed, 65 x 48 in. (165.1 x 121.9 cm.), [1200 / 1800]
Note: One of a series of five paintings by the late Louisiana artist Annie Richardson, these paintings were formerly installed at a New Orleans restaurant and represent the artist’s early work. Richardson was born in Opelousas, LA and would achieve her bachelor’s degree in fine arts at the University of Colorado in Boulder after studying at esteemed institutions such as Newcomb College in New Orleans and the Sarah Lawrence College of Art in Lacoste, France. Richardson’s creative practice also included printmaking, and she freelanced as a film producer for television commercials, movies, and music videos in New Orleans during the 1980s. These paintings might be considered in the context of another of Richardson’s colorful life experiences - pursuing her private pilot’s license. Large swaths of color with dynamic brushwork appear as tectonic plates across the canvas with an implied horizon line at the tops of the picture planes. Fields of dynamic and scribbly brushwork are partitioned by shadowy and dotted line work. Conjuring land and skyscapes in a sequence seen through windowpanes, Richardson navigates the viewer through a cerebral landscape over a silvery body of water. Richardson was active in local and regional exhibitions across the state and beyond. Gallery representation included Rohm Gallery in New Orleans, Taylor Clark Gallery in Baton Rouge, Iris & Co. in Birmingham, Alabama, and by agent Deborah Smallpage Mooney. She was featured in The Scout Guide-New Orleans and was a member of Fringe: An Art Experience artist collective in Ruston, LA.
467. Annie Richardson, American/Louisiana, 1956-2023, “Untitled: Abstract Composition”, unsigned, inscribed “4” en verso and lower left edge, unframed, 65 x 48 in. (165.1 x 121.9 cm.), [1200 / 1800]
468. Annie Richardson, American/Louisiana, 1956-2023, “Untitled: Abstract Composition”, unsigned, inscribed “5” en verso and lower left edge, unframed, 65 x 48 in. (165.1 x 121.9 cm.), [1200 / 1800]
469. Melissa Bonin, American/Louisiana, b. 1960, “L’allèe des Chenes”, 2009, signed lower right, signed, titled, dated and inscribed en verso, unframed, 24 x 24 in. (61 x 61 cm.), [5000 / 8000]
Note: Throughout Melissa Bonin’s celebrated career, she has and continues to experiment with a multitude of media, recently publishing a book featuring her works alongside her poetry in both English and French entitled When Bayous Speak, Lorsque les bayous parlent. Her paintings have evolved from her earlier abstract canvases featuring an experimental grid-like layout of colorful pastel squares to her more recent moody bayou landscapes which are as lyrical as her pen.
A New Iberia native, Bonin started painting at the University of Louisiana in Lafayette at the age of fifteen at the insistence of local artist Elemore Morgan, Jr. who became her mentor and whose expressive landscapes inspired her subject matter and approach. At ULL, she also had the opportunity to study under Tom Secrest, Herman Mhire and William Moreland, all of whom she lists as influences. After earning her Bachelor of Fine Arts in 1981, she traveled abroad to study art and French in Paris, Angers and the south of France. She furthered her studies upon her return to the United States at Bennington College and the Massachusetts School of Fine Art in Boston.
Bonin has achieved much recognition and many accolades for her work, receiving important commissions, such as a forty-eight-foot mural for the city of New Iberia, the Bunk Johnson award for Visual Arts, and an Atchafalaya Basin Foundation Grant. Her works are in many important private and public collections and have graced the walls of institutions such as the Ogden Museum of Southern Art, Knoxville Museum of Art, and the Bayou Teche Museum, among others.
A constant innovator who draws upon her Cajun heritage as inspiration, Bonin has become an ambassador for Cajun culture and the state of Louisiana. With her adept brushstrokes, she captures the timeless, luminous spirit of the bayou and its enduring beauty - symbolic of the resilience of the once violently displaced Cajun people. Her approach to creation is meditative, working in solitary silence and applying color to canvas instinctually and subconsciously. “Landscapes permit me to sit on the edge of abstraction and reality. You can manipulate colors in a way that produces a feeling of the landscape without copying everything realistically.”
Ref.: Kemp, John R. Expressions of Place: The Contemporary Louisiana Landscape. Jackson: University Press of Mississippi, 2016; Kemp, John R. “Melissa Bonin.” 64 Parishes. Sep. 12, 2012. www.64parishes.org. Accessed Aug.19, 2025.
470. Melissa Bonin, American/ Louisiana, b. 1960, “Le Marais / Wetlands”, 2010, signed lower right, signed, titled, dated and inscribed in French en verso, unframed, 12 x 36 in. (30.5 x 91.4 cm.), [3000 / 5000]
471. Melissa Bonin, American/ Louisiana, b. 1960, “Snapped Cypress and High Waters”, 2006, signed lower right, signed and dated on edge, signed, titled, dated and inscribed en verso, unframed, 12 x 24 in. (30.5 x 61 cm.), [4000 / 6000]
472. Nancy Harris, American/Louisiana, b. 1951 “Abstract in Red and Green”, 1988, signed and dated lower right, framed., 15 1/4 x 18 3/8 in. (38.7 x 46.7 cm.), Frame: 19 1/4 x 21 1/4 x 1 in. (48.9 x 54 x 2.5 cm.)
[600 / 800]
473. Nancy Harris, American/ Louisiana, b. 1951, “Abstract in Blues”, 1988, signed and dated lower left, framed., 23 3/8 x 28 1/4 in. (59.4 x 71.8 cm.), Frame: 30 x 34 1/2 x 2 in. (76.2 x 87.6 x 5.1 cm.)
[800 / 1200]
474. Holly Sarrè, American/Louisiana, 20th c., “Da Kingfish”, 2013, signed and dated lower left, signed, titled, dated and personalized en verso, unframed., 20 x 16 in. (50.8 x 40.6 cm.) [oval], [600 / 800]
475. Theora Hamblett, American/Mississippi, 1895-1977, “Sardis Lake”, 1965, signed and dated lower right, “A.W.C. Inc., Brooklyn, New York” framer’s label on reverse of frame, framed, 24 x 36 in. (61 x 91.4 cm.), Frame: 33 x 45 x 1 3/4 in. (83.8 x 114.3 x 4.4 cm.) [30000 / 50000]
Note: Renowned for her self-taught painting style, Theora Hamblett became one of Mississippi’s most celebrated and distinguished artists. Hamblett began her professional career later in life at the age of fifty-five, eschewing the abstract style popular at the time in favor of subjects more personal. Over the ensuing twentytwo years, she developed an extraordinary oeuvre that is as unique as it is powerful. Many of Hamblett’s paintings concentrated on her childhood memories, especially of the chicken farm in Paris, Mississippi where she spent her childhood. In nearly all her landscape paintings, she included animals or people, with the belief that those additions gave life to the scenes. After an accident which broke her hip and required surgery in 1954, Hamblett began to paint her dreams and visions, many with religious themes and elements. 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. Hamblett’s paintings have two main hallmarks that set them apart - pattern and color. Almost obsessively flat areas of color offset by the equally flat subjects are in dramatic contrast to her distinctive and highly patterned trees. The effect of the foliage evokes movement, as each leaf is individually painted resulting in layers
of color. Hamblett was a lifelong resident of Lafayette County in Mississippi, and upon her death in 1977, she willed most of her collection of paintings to the University of Mississippi, making them rare to the market today.
The noteworthy painting offered here entitled “Sardis Lake” from 1965 is a masterful example of Hamblett’s characteristic brushwork and deft utilization of color. Sardis Lake is a reservoir on the Tallahatchie River in Mississippi created by Sardis Dam which was constructed between 1938 and 1942. The lake is popular with anglers and known for its groves of bald cypress trees. The landscape around the lake was a source of inspiration for Hamblett as she captured the scene at least twice, in this large work from 1965 and a smaller one with the same distinctive cypress trees dated 1966, which was recently donated to the University of Mississippi Foundation. The sharply, curved shoreline, tilted towering trees, and off-kilter boat add to the dynamism of the composition and frame the small fisherwoman dressed in blue within the scene. With her innovative use of scale, perspective and color choice, Hamblett perfectly captures both the quiet, tranquil feeling of a day fishing alone on the lake and the vibrancy and energy of nature. She transforms a classic Mississippi landscape with her modern, fresh approach in a way that feels at once both personal and universal.
476. Clementine Hunter, American/Louisiana, 1886-1988, “Going Outside to Set and Talk”, c. 1940s, signed “Clemence” and monogrammed lower right, 2 handwritten labels one with artist and circa date, the other with title, on backing paper, framed.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., 12 x 15 in. (30.5 x 38.1 cm.), Frame: 18 1/2 x 21 1/2 x 1 3/4 in. (47 x 54.6 x 4.4 cm.)
[3000 / 5000]
477. Clementine Hunter, American/Louisiana, 1886-1988, “Sunday is a Fine Day for Strolling”, c. 1940s, signed “Clemence” lower right and monogrammed upper right, 3 handwritten labels one with artist and circa date, one with title, and one inscribed on backing board, framed.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., 12 x 15 in. (30.5 x 38.1 cm.), Frame: 18 1/2 x 21 1/2 x 1 3/4 in. (47 x 54.6 x 4.4 cm.)
[3000 / 5000]
478. Clementine Hunter, American/Louisiana, 1886-1988, “Cane River Harvesting”, monogrammed lower right, handwritten label with title and “Dixie Art Supplies, New Orleans, LA” label on backing board, framed.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., 16 x 20 in. (40.6 x 50.8 cm.), Frame: 26 x 30 x 2 3/4 in. (66 x 76.2 x 7 cm.) [3000 / 5000]
479. Clementine Hunter, American/Louisiana, 1886-1988, “Picking Cotton”, monogrammed lower right, partial sketch and inscribed en verso, framed.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., 16 x 20 in. (40.6 x 50.8 cm.), Frame: 21 1/4 x 25 1/2 x 1 1/2 in. (54 x 64.8 x 3.8 cm.) [4000 / 6000]
Clementine Hunter, American/Louisiana, 1886-1988, “Cotton Wagon”, monogrammed lower right, framed.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., 14 x 18 in. (35.6 x 45.7 cm.), Frame: 17 5/8 x 21 1/2 x 1 3/8 in. (44.8 x 54.6 x 3.5 cm.) [3000 / 5000]
Clementine Hunter, American/Louisiana, 1886-1988, “Picking Flowers”, monogrammed mid-right, partial sketch and inscribed with title en verso, framed.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., 18 x 24 in. (45.7 x 61 cm.), Frame: 21 1/2 x 27 1/2 x 1 in. (54.6 x 69.9 x 2.5 cm.) [4000 / 6000]
482. Clementine Hunter, American/Louisiana, 1886-1988, “Wash Day”, monogrammed lower right and en verso, framed.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., 16 x 20 in. (40.6 x 50.8 cm.), Frame: 17 x 21 1/4 x 2 in. (43.2 x 54 x 5.1 cm.) [4000 / 6000]
483. Clementine Hunter, American/Louisiana, 1886-1988, “Birthday Party”, monogrammed lower right, framed.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead. Provenance: Neal Auction, Oct. 4, 2003, lot 600., 16 x 20 in. (40.6 x 50.8 cm.), Frame: 19 x 23 x 1 in. (48.3 x 58.4 x 2.5 cm.) [4000 / 6000]
481.
480.
484. Clementine Hunter, American/Louisiana, 1886-1988, “Courtroom”, monogrammed lower right, inscribed en verso, framed.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., 18 x 24 in. (45.7 x 61 cm.), Frame: 23 1/2 x 29 1/2 x 1 3/4 in. (59.7 x 74.9 x 4.4 cm.) [4000 / 6000]
485. Clementine Hunter, American/Louisiana, 1886-1988, “Three Painted Jars”, each monogrammed.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., 3 3/4 x 3 x 2 in. (9.5 x 7.6 x 5.1 cm.) to 4 1/2 x 2 1/2 x 2 1/2 in. (11.4 x 6.4 x 6.4 cm.), [1000 / 1500]
486. Clementine Hunter, American/Louisiana, 1886-1988, “Two Painted Bottles”, each monogrammed twice.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., h. 8 1/4 x dia. 3 3/8 in. (21 x 8.6 cm.) and h. 9 1/2 x dia. 4 in. (24.1 x 10.2 cm.), [1000 / 1500]
487. Sophie Coors, American/Tennessee, 1934-2003, “Baptism in the Delta”, 1995, signed and dated lower right, signed twice, once faintly, and titled en verso, framed., 24 1/8 x 30 in. (61.3 x 76.2 cm.), Frame: 31 1/4 x 37 1/4 x 2 in. (79.4 x 94.6 x 5.1 cm.)
[1000 / 1500]
488. American Classical Carved Mahogany Sofa, 19th c., New York, tubular crest rail with acanthus and rosette terminals, acanthus carved scrolled arms, paw feet, scrolled back legs, 33 x 89 x 23 in. (83.8 x 226.1 x 58.4 cm.), [700 / 1000]
489. American Late Classical Mahogany Games Table, 19th c., Philadelphia, fold-over swivel top, acanthus carved standard, paw feet., Closed 30 1/2 x 36 x 18 in. (77.5 x 91.4 x 45.7 cm.), Open x 36 x 36 in. ( x 91.4 x 91.4 cm.) [ 500 / 700]
490. Historic Taylor Family American Rococo Faux Grained and Carved Rosewood Three Quarter Tester Bed, mid-19th c., attributed to retailer Prudent Mallard, New Orleans, related to the bed at Lansdowne in Natchez, MS, having a serpentine tester with beaded molding and finials, tapered cluster column posts, foliate-carved scalloped paneled headboard with ripple molding; pierced carved foliate molded rails, arched footboard with rounded ribbon-carved corners, carved and fluted low finialed postsNote: Through family lore this bed was traded to the Taylor family from Hermitage and the Jackson Family for legal services rendered in the 1890s. Two major events between the families happen in the 1890s. First Governor Robert Love Taylor signs off on the first Board of Trustees the governing body of Ladiesí Hermitage Association, who acquired The Hermitage in 1889. Second event comes a few years later when then Senator Robert Love Taylor works with Amy and Andrew Jackson III on getting the Andrew Jackson Papers Collection into the Library of Congress. “Senator Taylor of Tennessee submitted a resolution to the effect that the Committee on the Library be instructed to inquire into the feasibility of buying the Jackson Papers for the same purposes indicated in the earlier Senate resolution of 1884.” From Library of Congress Jackson Papers section 153. The bed could have been payment for help with one or both of these events. outside h. 131 in., w. 78 in., l. 95 in. Inside w. 72 in., l. 86 in., [15000 / 25000] Robert Love Taylor (July 31, 1850 - March 31, 1912) House of Representatives 1879-1881, (24th and 26th) Governor of TN, Senator, Matthew Hillsman Taylor (August 4, 1884 - November 1, 1965) Speaker of the House in Tennessee, Mettie Taylor Dobson(1912-2000) sister of Matthew Hillsman Taylor Jr. (January 8, 1917 - November 2, 1994) known as Peter Taylor the Pulitzer and Faulkner Award winning Novelist, current family descendant
491. American Late Classical Carved Mahogany Mirror-Back Dressing Chest, 19th c., mirror with shaped crest, on tapered supports and glove drawers, cased long drawers below, flanked by colonettes, scroll feet,, 91 x 47 1/2 x 24 in. (231.1 x 120.7 x 61 cm.), [500 / 700]
492. American Southern Classical Mahogany Full Tester Bed, 19th c., attributed C. Lee, stepped flared tester, octagonal molded posts, scrolled paneled headboard, conforming rails,, 113 1/2 x 58 1/2 x 76 1/2 in. (288.3 x 148.6 x 194.3 cm.), [3000 / 5000]
493. American Rococo/Victorian Carved Walnut Folio/Book Stand, 19th c., canted top with book rest, foliate carved frieze, turned supports, two molded book shelves, turned feet, 34 x 38 1/2 x 30 in. (86.4 x 97.8 x 76.2 cm.), [700 / 1000]
495. Southern Carved Ash Slat-back Child’s Chair, 19th c., probably Louisiana, later basket weave-style seat signed and dated Emery Hebert Jr., September 28, 2007, turned supports, turned stretchered legs, 37 x 18 x 16 in. (94 x 45.7 x 40.6 cm.), [500 / 700]
494. Louisiana Bench Made Mahogany Campeche Chair, signed and dated, Greg Arceneax, Covington, La, 3/5/12, arched crest rail, nailhead leather upholstery, scrolled arms, curule base, turned stretchers, 40 x 28 x 34 in. (101.6 x 71.1 x 86.4 cm.),
[800 / 1200]
496. Southeastern Pennsylvania Sheraton Black Cherry Farm Table, . Late 18th c., found in Lancaster PA, pegged on removable two board top, three frieze drawers, turned legs, 29 x 59 x 34 1/4 in. (73.7 x 149.9 x 87 cm.),
[1200 / 1800]
497. Alexander John Drysdale, American/Louisiana, 1870-1934, “Louisiana Bayou”, 1915, signed and dated lower left, “Taylor Clark’s Framing, Baton Rouge” label on backing paper, framed., 15 1/4 x 19 3/8 in. (38.7 x 49.2 cm.), Frame: 26 x 29 1/2 x 1 in. (66 x 74.9 x 2.5 cm.)
[1500 / 2500]
499. Alexander John Drysdale, American/Louisiana, 1870-1934, “Misty Morning in City Park”, signed lower left, framed., 19 3/4 x 30 1/4 in. (50.2 x 76.8 cm.), Frame: 25 x 35 1/2 x 2 in. (63.5 x 90.2 x 5.1 cm.)
[2000 / 3000]
498. Alexander John Drysdale, American/Louisiana, 1870-1934, “Louisiana Bayou with Waterlilies”, signed lower left, framed., 20 x 29 7/8 in. (50.8 x 75.9 cm.), Frame: 23 1/4 x 33 1/2 x 1 in. (59.1 x 85.1 x 2.5 cm.)
[2000 / 3000]
500. Alexander John Drysdale, American/Louisiana, 1870-1934
“Louisiana Bayou”, signed lower right, framed., 10 x 30 in. (25.4 x 76.2 cm.), Frame: 12 1/2 x 32 3/4 x 1 in. (31.8 x 83.2 x 2.5 cm.)
[1200 / 1800]
501. Alexander John Drysdale, American/ Louisiana, 1870-1934, “Louisiana Bayou”, pencil-signed lower center, framed., 6 x 20 in. (15.2 x 50.8 cm.), Frame: 7 5/8 x 21 1/2 x 3/4 in. (19.4 x 54.6 x 1.9 cm.)
[1200 / 1800]
502. Colette Pope Heldner, American/Louisiana, 1902-1990, “Patio, Old Brulatour Mansion, Royal St., French Quarter, ‘Old New Orleans’, (Paris of America)”, signed lower left, signed and titled en verso, conservation label on stretcher, unframed., 24 in. x 30 in, [800 / 1200]
503. Colette Pope Heldner, American/ Louisiana, 1902-1990, “Swamp Idyl, Louisiana Bayou Country”, signed lower left, signed and titled en verso, framed., 20 x 24 in. (50.8 x 61 cm.), Frame: 22 5/8 x 26 1/2 x 1 1/2 in. (57.5 x 67.3 x 3.8 cm.)
[600 / 800]
Provenance: Neal Auction, Sept. 30, 2006, lot 516.
504. Arrah Lee Gaul, American/Pennsylvania, 1883-1980, “St. Augustine, Florida”, signed lower right, titled on stretcher, framed., 16 1/8 x 20 1/4 in.
(41 x 51.4 cm.), Frame: 21 1/4 x 25 1/4 x 3/4 in.
(54 x 64.1 x 1.9 cm.)
[1000 / 1500]
505. Walter Inglis Anderson, American/Mississippi, 1903-1965, “Fall Woods”, unsigned, framed., 14 x 9 7/8 in. (35.6 x 25.1 cm.), Frame: 20 1/2 x 16 1/2 x 1 1/2 in.
(52.1 x 41.9 x 3.8 cm.)
[12000 / 18000]
506. Walter Inglis Anderson, American/ Mississippi, 1903-1965, “Ducks at Rest and Feeding”, unsigned, estate stamp lower right, inscribed “725 B” and titled en verso, “Brown’s, Jackson, MS” label with artist and title on backing board, framed., 8 3/4 x 11 in. (22.2 x 27.9 cm.), Frame: 16 1/2 x 19 x 1 in. (41.9 x 48.3 x 2.5 cm.) [10000 / 15000]
507. Walter Inglis Anderson, American/ Mississippi, 1903-1965, “Catfish”, unsigned, estate stamp lower right, partial sketch, inscribed with title and “764 M” en verso, framed., 8 1/2 x 11 in. (21.6 x 27.9 cm.), Frame: 14 1/2 x 16 1/2 x 1 1/2 in. (36.8 x 41.9 x 3.8 cm.) [8000 / 12000]
Provenance: Neal Auction, July 14, 2018, lot
508. Walter Inglis Anderson, American/Mississippi, 1903-1965, “Giraffes”, unsigned, “Taylor Clark, Baton Rouge, LA” label on backing paper, framed.Provenance: Neal Auction, May 3, 2008, lot 331., 11 x 8 1/2 in. (27.9 x 21.6 cm.), Frame: 24 x 21 1/4 x 1 1/4 in. (61 x 54 x 3.2 cm.) [7000 / 10000]
509. James McConnell “Mac” Anderson, American/ Mississippi, 1907-1998, “Cat Tails”, 1983, signed and dated lower right, framed, 24 x 16 in. (61 x 40.6 cm.), Frame: 26 x 18 x 1/2 in. (66 x 45.7 x 1.3 cm.) [3000 / 5000]
236.
511. Knute Heldner, Swedish/Louisiana, 1877-1952, “Louisiana Marsh Scene”, signed lower right, framed, 30 1/4 x 36 in. (76.8 x 91.4 cm.), Frame: 35 3/4 x 41 1/2 x 1 1/8 in. (90.8 x 105.4 x 2.9 cm.) [5000 / 7000]
Provenance: Harmanson’s Art & Book Store, New Orleans, LA.
510. Knute Heldner, Swedish/Louisiana, 1877-1952, “Cabins”, 1943, signed, titled, dated and inscribed en verso, framed, 3 5/8 x 5 5/8 in. (9.2 x 14.3 cm.), Frame: 6 x 8 x 1 in. (15.2 x 20.3 x 2.5 cm.)
[500 / 700]
Provenance: Harmanson’s Art & Book Store, New Orleans, LA.
512. Knute Heldner, Swedish/Louisiana, 1877-1952, “Moss Gatherers”, signed lower left, “Taylor Clark’s Fine Framing” label on reverse of frame, framed., 16 x 20 in. (40.6 x 50.8 cm.), Frame: 20 3/4 x 24 3/4 x 1 1/2 in. (52.7 x 62.9 x 3.8 cm.) [4000 / 6000]
Provenance: Harmanson’s Art & Book Store, New Orleans, LA.
513. Knute Heldner, Swedish/Louisiana, 1877-1952, “Seascape with Seagulls”, signed lower left, “Taylor Clark, Baton Rouge, LA” label on backing paper, framed., 22 x 26 in. (55.9 x 66 cm.), Frame: 26 3/8 x 29 3/8 x 1 3/4 in. (67 x 74.6 x 4.4 cm.)
[2500 / 3500]
515. Knute Heldner, Swedish/ Louisiana, 1875-1952, “Spring in Djurgârden, Stockholm, Sweden (Spring #3)”, signed lower right, titled and inscribed en verso, framed., 18 x 16
1/2 in. (45.7 x 41.9 cm.), Frame: 25 x 23 3/4 x 1 in. (63.5 x 60.3 x 2.5 cm.)
[1000 / 1500]
514. Knute Heldner, Swedish/Louisiana, 1875-1952, “Pirate’s Alley, Old New Orleans”, signed lower right, inscribed “Martha” and “The Parish Art Store, New Orleans, LA” label en verso, framed., 20 x 15
7/8 in. (50.8 x 40.3 cm.), Frame: 26 1/8 x 21
7/8 x 2 in. (66.4 x 55.6 x 5.1 cm.)
[4000 / 6000]
Provenance: Neal Auction, May 4, 2013, lot 946.
516. Louis Oscar Griffith, American/Indiana, 1875-1956, active New Orleans,1916-1917
“Old Basin Canal, New Orleans”, signed lower left, framed., 10 x 14 in. (25.4 x 35.6 cm.), Frame: 14 1/2 x 18
3/4 x 2 1/4 in. (36.8 x 47.6 x 5.5 cm.)
[4000 / 6000]
517. William Woodward, American/Louisiana, 1859-1939, “Autumn Riverside Biloxi Tchoutacabouffa River”, 1930, initialed and dated lower left, signed, titled, dated, exhibition label and partial sketch en verso, framed., 10 x 13 3/4 in. (25.4 x 34.9 cm.), Frame: 15 1/4 x 19 x 3 1/2 in. (38.7 x 48.3 x 8.9 cm.) [3000 / 5000]
https://www.nealauction.com/auction-lot/ william-woodward-americanlouisiana-1859-1939-517_c30845e25d
518. Tom Cavanaugh, American/Louisiana, 1923-2019, “River City”, unsigned, framed.Provenance: Acquired from the artist., 18 x 28 in. (45.7 x 71.1 cm.), Frame: 22 1/2 x 32 1/2 x 1 in. (57.2 x 82.6 x 2.5 cm.) [1500 / 2500]
https://www.nealauction.com/auction-lot/ tom-cavanaugh-americanlouisiana-1923-2019-“r-518_4fc396a477
519. Clarence Millet, American/Louisiana, 1897-1959, “Oak Alley Plantation, St. James Parish”, signed lower left, framed.Provenance: Neal Auction, Sept. 15, 2018, lot 199., 16 x 20 in. (40.6 x 50.8 cm.), Frame: 22 3/4 x 26 3/4 x 2 1/4 in. (57.8 x 67.9 x 5.7 cm.) [6000 / 8000]
https://www.nealauction.com/auction-lot/ clarence-millet-americanlouisiana-1897-1959--519_9937ccdda3
520. Clarence Millet, American/Louisiana, 1897-1959, “The Rain Cloud (Bridge on Bayou LaFourche)”, signed lower right, titled en verso, framed., 12 1/2 x 14 3/4 in. (31.8 x 37.7 cm.), Frame: 16 x 18 1/2 x 1 1/4 in. (40.6 x 47 x 3.2 cm.) [6000 / 8000]
https://www.nealauction.com/auction-lot/ clarence-millet-americanlouisiana-1897-1959--520_0cf484958c
521. Alvyk Boyd Cruise, American/Louisiana, 19091988, “Camellias”, signed lower right, framed. Provenance: Taylor Clark Gallery, Baton Rouge, LA., 13 5/8 x 15 5/8 in. (34.6 x 39.7 cm.), F rame: 24 1/4 x 31 x 1 in. (61.6 x 78.7 x 2.5 cm.)
[5000 / 8000]
522. Carrie Maxine Holtry Daniels, American/New Orleans, 1920-2018, “Head of a Negro Girl”, 1939-1940, unsigned.
16 1/2 x 10 x 13 in. (41.9 x 25.4 x 33 cm.), [10000 / 15000]
Provenance: Gift of the artist to Dr. Margaret Davis Bowen, 1958; thence by descent.
Exh.: Atlanta University Seventeenth Annual Exhibition of Paintings, Sculptures, and Prints by Negro Artists, Mar. 30 - Apr. 27, 1958, awarded Honorable Mention.
Note: The bust of a girl offered here is exceptional on many levels. The woman who created it was a remarkable sculptor, teacher, civil rights activist and quintessential New Orleanian. The woman who nurtured the artist and to whom the bust was gifted was equally extraordinary. Both women are remembered for their intellect, fortitude and trailblazing in the face of many challenges. A moving and skilled work of art, this bust resides at the intersection of two powerhouses - artist Carrie Maxine Holtry Daniels and educator Dr. Margaret Davis Bowen - and was created during a crucial time in American history.
Carrie Maxine Holtry Daniels was the only child of James Addison (1885-1958) and Ellen Whit[t]ington (1893-) Holtry of New Orleans. The couple married on July 9, 1919, and the family lived at 3327 Baronne Street. James overcame humble beginnings to become a prominent insurance executive, and he founded the Good Citizens Life Insurance Company and associated Good Citizens Funeral Homes. James was known for supporting social and political causes and assisting many families in need. Holtry Daniels attended Virginia Barnes Thompson’s Private School, Macarty Public School and Gilbert Academy, a premier preparatory school for African American high school students located at 5318 St. Charles Avenue. She graduated from the school in June of 1937 and later attended the Art Academy of Cincinnati as the private college’s first African American full-time student and graduate.
Holtry Daniels graduated with honors from the Art Academy of Cincinnati in 1944 and returned to New Orleans to serve as an art instructor at her alma mater, Gilbert Academy, until its closing in 1949. She continued to teach in New Orleans public schools for the rest of her career, inspiring countless aspiring artists including a young Willie Birch. In 1954, Holtry married Dr. Lawler P. Daniels, a Baptist pastor and businessman. The couple were active within the Southern Christian Leadership
Conference, founded by Dr. Martin Luther King, Jr. in 1957, and they were close friends with Dr. and Mrs. King throughout their lives. Holtry Daniels was also a member of the Young Women’s Christian Association, Peoples’ Defense League and a board member and vice president of her father’s Good Citizens Insurance Company. The couple served as King and Queen Zulu in 1976. In 1995, she was one of five women celebrated and inducted into Louisiana’s Women and Government Hall of Fame and also awarded the 1st Annual Mayor’s Medal of Honor Award on May 21, 1995. In 1996, she received the Louis A. Martinet Legal Society Earl A. Amedee Human Rights Award.
In addition to the honors she earned for her activism, Holtry Daniels was recognized for her artistic achievements in the 1940s with the Louis Rebisso Scholarship, Crafters Scholarship (entitling the recipient to full sculpture tuition), Mollie Lena Prize and the President and Trustees of the Cincinnati Art Museum Association Certificate of Merit for Outstanding Work in Sculpture (first occasion of the award). Throughout her life, Holtry Daniels undertook additional study at the University of Cincinnati, Xavier University and Dillard University, where an exhibition of her work took place in association with Alpha Kappa Alpha, of which she was a member, on April 1, 1945. A brochure associated with the exhibition describes her thusly: “…as an artist she has made an enviable record as a student of sculpture. Her innate talent and keen intellect have enabled her to analyze her subjects, and to express in form, real emotion and character.” - continues next page
Despite her well-documented accolades, surviving works by Holtry Daniels remain exceedingly rare and never before offered at auction. This bust was a gift from Holtry Daniels to Dr. Margaret Davis Bowen, a woman she called in a letter dated March 7, 1958, a “…true friend. I always say there is no one like you. You are the most wonderful friend a person could have.” Bowen was born in 1894 in Columbus,
Georgia. She was the first African American to attend the National German-American Teachers’ Seminary at the University of Wisconsin, where she studied German and was one of its first two African American graduates. She later earned a master’s in education degree in 1935 from the University of Cincinnati and completed her doctorate in education in 1950 from the University of Cincinnati’s Teachers College. She taught for the Cincinnati public schools for eighteen years before moving to New Orleans and accepting the position as the first president and principal of Gilbert Academy in 1940. She would stay in New Orleans until 1948, when she moved to Atlanta and taught for the public school system there. In 1950, Bowen received an honorary doctor of law degree from Bethune-Cookman College. She was married to John W.E. Bowen, Jr., the editor of the Christian Advocate and later a bishop in the Methodist Episcopal Church. From 1936 to 1939, she served as the president of Alpha Kappa Alpha, and she continued to be active in her community until her death in 1976.
Holtry Daniels and Bowen first crossed paths at Gilbert Academy, and Bowen must have recognized the talent and potential in her student – forging a lifelong mentorship and friendship with many intertwining threads. Holtry Daniels credited Bowen’s efforts on her behalf for her admission as the first African American
full-time student at the Art Academy of Cincinnati and continued to visit her throughout the 1950s in Atlanta. Due to Bowen’s initiative, this bust was entered in the Atlanta University Seventeenth Annual Exhibition of Paintings, Sculpture and Prints by Negro Artists in 1958, where Holtry Daniels was awarded a rare Honorable Mention. It was described at the time as “sensitive, strong and somewhat imaginative.” The bust has all those traits and signifies so much more. It serves as a remembrance of two generations of women whose strong-willed determination forged a path for many young girls to follow. The young woman depicted appears serious and resolute, her likeness an emblem of strength in the face of adversity, her youth a symbol for a new generation of powerful women and the paths they themselves will pioneer.
Ref.: “Obituary for Carrie Maxine Holtry Daniels.” Apr. 15, 2018. www.legacy.com. Accessed Oct. 28, 2025; “Willie Birch: Paintings from 1998-2019 / In Conversation with Leslie King Hammond.” May 24 – Sept. 4, 2021. Fort Gansevoort. www.forgansevoort.com. Accessed Oct. 28, 2025; Honora, Jari C. “Faces from the Album: Teresa Charles Wiltz; Estella Mae Charles; Maxine Holtry Daniels.” CreoleGen. July 23, 2019. www.creolegen.org. Accessed Oct. 28, 2025; Atlanta Daily World. Aug. 13, 1952, p. 3; The Savannah Tribune. Sept. 9, 1943, volume LXI, number 48, p. 1; The Dallas Express. Mar. 18, 1944, p. 15.
523. Conrad Albrizio, American/ Louisiana, 1894-1973, “Devil and Angel with a Rabbit and Snake”, signed lower right, “Gilley’s Gallery, Baton Rouge, LA” label on stretcher, framed., 30 x 26 1/2 in. (76.2 x 67.3 cm.), Frame: 33 x 29 x 1 3/4 in. (83.8 x 73.7 x 4.4 cm.)
[700 / 1000]
Note: William Weeks Hall was a prominent artist, art critic, photographer, gardener and lecturer, and he was the last private owner of Shadows-on-the-Teche, his family home located on Bayou Teche in New Iberia, Louisiana. Hall won a scholarship in 1913 to the Pennsylvania Academy of Fine Art, where he was a student until 1918. He also studied abroad in London and Paris from 1920 to 1922, following his service in World War I. Hall became the sole owner of the Shadows at the age of twenty-five, and the remainder of his life, with only brief interruption, was spent restoring and preserving the property. Shadows-on-the-Teche was built by Hall’s great-grandfather, David Weeks, in the 1830s, and Hall used family papers and a complete set of construction records to restore the home to its original appearance, including an extensive period garden. He often invited famous writers, artists and filmmakers for weekend visits to the Shadows, and several movies were filmed on site. When Hall died in 1958, he bequeathed the home to the National Trust for Historic Preservation. Hall’s coveted paintings are rarely offered at auction, and this work entitled “Night Float” illustrates a nocturne glimpse into Mardi Gras festivities with two riders waving from the platform of a rolling float. Hall depicts the scene with his trademark bold brushstrokes and contrasting colors, filling the canvas with the frenetic energy, chaos and movement of a Mardi Gras parade.
Nov 4th to Dec 4th”
2 label remnants on reverse of frame,
524. William Weeks Hall, American/Louisiana, 1895-1958, “Night Float”, signed, titled and partial typed label reading “To Arts and Crafts Club,....12 Royal Street, New Orleans...r...les-Gallery Show...from
on stretcher,
framed. 36 x 30 in. (91.4 x 76.2 cm.), Frame:
525. Attributed to Carel Lodewijk Dake II, Dutch, 1886-1946, “French Market, New Orleans”, signed lower left, framed.Provenance: Martha Ann and Ray Samuel Collection., 16 5/8 x 21 in. (42.2 x 53.3 cm.), Frame: 23 x 27 1/4 x 2 in. (58.4 x 69.2 x 5.5 cm.) [2500 / 3500]
527. Louisiana School, early 20th c., “Old U.S. Mint”, signed “Damian de Costa” lower left, framed., 36 x 42 1/2 in. (91.4 x 108 cm.), Frame: 41 1/4 x 47 1/2 x 1 in. (104.8 x 120.7 x 2.5 cm.)
[800 / 1200]
526. Louisiana School, 20th c., “A Night in the French Quarter”, unsigned, framed., 28 x 35 7/8 in. (71.1 x 91.1 cm.), Frame: 29 1/4 x 37 3/8 x 2 in. (74.3 x 94.9 x 5.1 cm.)
[500 / 700]
528. Irma Sompayrac Willard, American/Louisiana, 18971991, active Newcomb College, 1916-1920 “Water Oaks with Cabin”, 1925, signed and dated lower right, framed., 16 5/8 x 12 in. (42.2 x 30.5 cm.), Frame: 20 x 16 x 1 in. (50.8 x 40.6 x 2.5 cm.) [4000 / 6000]
530. C. Bennette Moore, American/Louisiana, 1879-1939, “Old Brulatour Courtyard”, signed lower right, “C. Bennette Moore Photographers” gallery label en verso, partial label with title on reverse of frame, framed., 20 x 16 in. (50.8 x 40.6 cm.), Frame: 24 3/4 x 20 3/4 x 2 1/2 in. (62.9 x 52.7 x 6.4 cm.) [500 / 700]
529. Larry Harris, American/Louisiana, 20th c., “Antebellum French Quarter Street Scene”, signed lower right, framed., 24 x 48 in. (61 x 121.9 cm.), Frame: 31 x 55 x 1 3/4 in. (78.7 x 139.7 x 4.4 cm.) [400 / 600]
531. Morris Henry Hobbs, American/ Louisiana, 1892-1967, “A Royal St. Patio, New Orleans”, “Old Fan Window”, “Old Houses along the River Quimper”, “The Atchafalaya” and “The Village Depot”, each pencil-signed and titled, 3 numbered and 2 dated lower margin, 4 with “Permo Products Corp., Chicago, IL” labels with artist, title and print information on backing paper, framed alike. (5 pcs.), Images: 8 x 5 7/8 in. (20.3 x 14.9 cm.) to 13 x 9 in. (33 x 22.9 cm.), Frames: 21 1/8 x 16 7/8 x 1 in. (53.7 x 42.9 x 2.5 cm.) [1000 / 1500]
532. Margaret Elsie Stones, Australian, 1920-2018, “Flora of Louisiana”, 1981, each pencil-signed and numbered “50/500” lower margin, titled in plate, 5 with plant and artist information sheet, with original brown paper folios, in original shipping box from LSU Press with edition number inscribed on mailing label and box, commissioned, printed and published by Louisiana State University Press, Baton Rouge, LA, unframed; together with “Margaret Stones Flora of Louisiana, LSU, 1992” exhibition poster. (25 pcs.), Sheets: 22 x 15 in. (55.9 x 38.1 cm.), [1200 / 1800]
533. Margaret Elsie Stones, Australian, 1920-2018, “Flora of Louisiana”, 1981, each pencil-signed and numbered “111/500” lower margin, titled in plate, each with plant and artist information sheet, with original brown paper folios, in original shipping box from LSU Press with edition number inscribed on box, commissioned, printed and published by Louisiana State University Press, Baton Rouge, LA, unframed; together with “Margaret Stones Flora of Louisiana, LSU, 1992” exhibition poster. (26 pcs.), Sheets: 22 x 15 in. (55.9 x 38.1 cm.), [1200 / 1800]
534. Newcomb College Art Pottery Vase, 1927, decorated by Anna Frances Simpson, in a Moon and Moss design, with Newcomb cypher, decorator’s mark, Joseph Meyer’s potter’s mark, and reg. number QG 6, h. 8 in., dia. 6 3/4 in., [2500 / 3500]
535. Newcomb College Art Pottery Vase, 1918, decorated by Sadie Irvine, in a Moon and Moss design, with Newcomb cypher, decorator’s mark, Joseph Meyer’s potter’s mark, and reg. number JO 30, h. 4 1/4 in., dia. 3 3/4 in., [1000 / 1500]
536. Newcomb College Art Pottery Mug, 1902, decorated by Marie De Hoa LeBlanc, with Newcomb cypher, decorator’s mark, Joseph Meyer’s potter’s mark, “Q” for buff clay body, and reg. number U63, h.5 1/2 in., dia. at base 4 1/2 in., [1200 / 1800]
537. Newcomb College Art Pottery Candlestick, 1915, decorated by Sadie Irvine, floral design, with Newcomb cypher, decorator’s mark, Joeph Meyer’s potter’s mark, and reg. number HO-39, h. 7 1/2 in., dia. 4 1/4 in., [700 / 1000]
538. Newcomb College Art Pottery Bowl, 1913, decorated by Alma Florence Mason, floral design, with Newcomb cypher, decorator’s mark, “B” for buff clay body, and reg. number FX 37, h. 2 in., dia. 5 1/8 in., [500 / 700]
539. Newcomb College Art Pottery Bowl, 1913, decorated by Sadie Irvine, floral design, with Newcomb cypher, decorator’s mark, Joseph Meyer’s potter’s mark, “B” for buff clay body, and reg. number GE 42, h. 4 1/4 in., dia. 7 1/2 in., Note: condition, [300 / 500]
540. Newcomb College Art Pottery Vases, 1895-1907, experimental blue-green glaze, with Newcomb cypher, Joseph Meyer’s potter’s mark, and “FR” for dark red clay body, h. 8 1/2 in., dia. 5 3/4 in., [700 / 1000]
541. Mottahedeh “Newcomb College” Vase, 1993, glazed ceramic, “Adapted from a Vase Circa 1909-1910”, limited edition #12 of 1,000, h. 5 3/4 in., dia. 5 1/4 in., [200 / 300]
542. Shearwater Art Pottery Pitcher, c. 1950s, impressed mark, decorated by Walter Anderson with two cats, among stylized background, h. 7 in., dia. 5 3/4 in., [1800 / 2500]
543. Shearwater Art Pottery “Sea, Earth, and Sky” Vase, 1930-1940s, marked, designed by Walter Anderson, in an “Antique Green” glaze, h. 5 1/8 in., dia. 6 1/4 in., [1500 / 2500]
544. hearwater Art Pottery Wine Bottle, 1930-1940s, marked, designed by Walter Anderson, thrown by Peter Anderson, in an “Antique Green” glaze, h. 10 5/8 in., [1200 / 1800]
545. Shearwater Art Pottery “Flying Horse”, 1980s, marked, designed by Walter Anderson, double green and brown glaze, 9 x 11 x 3 1/2 in. (22.9 x 27.9 x 8.9 cm.), [700 / 1000]
546. Shearwater Art Pottery Plate, 1990, original bird design by Walter Anderson, painted by Betty Magee, dia. 9 1/4 in., [600 / 900]
547. Shearwater Art Pottery Bowl, 1995, original bird design by Walter Anderson, painted by Betty Magee, dia. 8 1/4 in., [600 / 900]
548. Shearwater Art Pottery Bowl, 1995, original rooster design by Walter Anderson, painted by Betty Magee, dia. 9 1/4 in., [600 / 900]
549. Shearwater Art Pottery “Chesty” Horse, 1990, marked, original design by Walter Anderson, painted by Betty Magee, h., 11 3/4 x 12 x 3 1/2 in. (29.8 x 30.5 x 8.9 cm.), [1000 / 1500]
550. Shearwater Art Pottery Bowl, c. 1955, impressed mark, straight sided bowl, thrown by Peter Anderson, decorated by Walter Inglis Anderson with a wave design in underglaze black, cobalt, white, and brown, h. 1 7/8 in., dia. 6 in., [1000 / 1500]
551. Two Shearwater Art Pottery “Shaken” Ashtrays or Dishes, c. 1955, impressed marks, both thrown and shaken by Peter Anderson, one decorated by Walter Anderson in a bird design, the other in an “Antique Green” glaze, dia. 5 1/2 in., [600 / 900]
552. Shearwater Art Pottery Goblet, c. 1950, impressed mark, thrown by Peter Anderson, decorated by Walter Inglis Anderson in a duck motif in underglaze blue, black, white, yellow, and brown, h. 4 1/2 in., dia. 4 in.,
[800 / 1200]
553. Shearwater Art Pottery Pitcher, c. 1955, impressed mark, thrown by Peter Anderson, decorated by Walter Inglis Anderson in a stylized dog design in underglaze blue/black, brown, and white, h. 5 1/4 in., w. 6 1/2 in., d. 5 1/2 in., [1000 / 1500]
554. Shearwater Art Pottery Figure of a Seagull, 1990, impressed mark, decorated by Patricia Anderson Findeisen in underglaze blue, purple, and white, original design by Walter Inglis Anderson, h. 5 in. w. 9 1/4 in., d. 3 3/4 in., [400 / 600]
555. Four Shearwater Art Pottery Figures, 1990s, incl. three figures from the Pirates series, and a hunter dressed in camouflage, largest h. 7 in., w. 9 1/2 in., d. 2 3/4, [300 / 500]
556. Shearwater Art Pottery Tea Set, 1960s, impressed marks, thrown by James “Jim” Anderson, incl. a teapot, creamer, sugar, six cups and saucers, in “Antique Green” glaze; together with four cups of a different model, and two other cups, teapot h. 6 1/2 in., (21 pcs.), [800 / 1200]
557. Three Shearwater Art Pottery Candlesticks, 1978, impressed marks, thrown by James “Jim” Anderson, incl. two candlesticks, and one chamberstick, in “Antique Green” glaze, tallest h. 8 1/2 in., [400 / 600]
558. Mary Kirk Kelly (Alabama, 1918-2013), three ceramic vegetables, all signed, incl. an acorn squash with lid, an eggplant, and a watermelon, largest h. 6 3/4 x 8 3/4 x 7 in., [400 / 600]
559. Toshiko Takaezu (American/Japanese, 1922-2011), two glazed ceramic bowls, signed “TT”, taller h. 3 in., dia. 5 1/2 in., [500 / 700]
560. McCartys Pottery Peabody Duck, signed, variegated glaze, 6 1/4 x 12 1/2 x 5 1/2 in. (15.9 x 31.8 x 14 cm.), [300 / 500]
561. McCartys Pottery Pralines and Cream Plate and a Bean Pot, each signed, plate dia. 11 3/4 in., bean pot h. 7 in., dia. 11 in, [600 / 900]
562. Louis XV-Style Bronze Mounted Inlaid Ebony and Burlwood Ladies’ Bureau Plat, early 20th c., bronze mounted top, scroll foliate inlay throughout, frieze drawer, cabriole legs, 30 x 42 1/2 x 24 1/2 in. (76.2 x 108 x 62.2 cm.),
[1000 / 1500]
563. French Wrought Iron Bakers Table, 19th c., later glass top, scrolled base, casters, 34 x 70 x 31 in. (86.4 x 177.8 x 78.7 cm.),
[1000 / 1500]
564. Pair of Louis XV-Style Carved Oak Fauteuils, late 19th c., of generous proportions, upholstered in needlepoint tapestry, molded frame, padded arms, cabriole legsProv. Kevin Stone Antiques, New Orleans., 35 1/2 x 24 x 19 in. (90.2 x 61 x 48.3 cm.),
[1000 / 1500]
565. Louis XVI-Style Gris Peinte Bouillotte Table, 20th c., inset marble top, brass gallery, frieze drawer, fluted tapered legs, brass caps, 27 1/2 x 24 in. (69.9 x 61 cm.), [800 / 1200]
566. Louis XVI-Style Carved Walnut Settee, 19th c., molded beaded frame, floral carved crest, padded acanthus carved arms, fluted tapered legs, 42 x 52 x 25 in. (106.7 x 132.1 x 63.5 cm.), [300 / 500]
567. Antique Louis XV-Style Carved and Gilded Window Bench, 19th c., found with old Aubusson upholstery in as is condition, foliate and scrolled carved frame, cabriole legs, scrolled toes, 34 1/2 x 46 x 22 1/2 in. (87.6 x 116.8 x 57.2 cm.), [800 / 1200]
568. French Provincial Carved Oak Marriage Armoire, 18th c., probably Normandy, molded cornice, foliate and floral carved frieze with centered love birds, arched molded paneled doors, scalloped apron, cabriole legs, 95 x 68 x 25 1/2 in. (241.3 x 172.7 x 64.8 cm.), [1200 / 1800]
Ida Manheim Antiques, 409 Royal St., New Orleans.
569. Louis XV-Style Carved Giltwood Bergere, late 19th/ early 20th c., foliate centered crest , molded frame, padded arms, fluted tapered legs, 44 x 27 x 26 in. (111.8 x 68.6 x 66 cm.), [300 / 500]
570. French or Italian Carved Giltwood Console, 18th c., molded marble top, foliate and grape frieze, vine and branch supports, 33 x 30 x 17 in. (83.8 x 76.2 x 43.2 cm.),
[700 / 1000]
571. Louis XV-Style Bronze Mounted Inlaid Mahogany Dining Table, 20th c., banded bronze molded segmented top, mounted ringlet frieze, cabriole legs, three leaves, 31 x 48 1/4 x 48 1/4 in. (78.7 x 122.6 x 122.6 cm.), open x 114 in. ( x 289.6 cm.)
[1500 / 2500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
572. Directoire Brass Inlaid Mahogany Commode, early 19th c., marble top, three short over two long molded drawers, flanked by fluted stiles, tapered legs, brass cup feet,, 36 x 50 3/4 x 23 1/4 in. (91.4 x 128.9 x 59.1 cm.), [2000 / 3000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
573. Louis XV-Style Carved Walnut Duchesse, 19th c., carved crest, padded wings, conforming padded arms, serpentine seat rail, cabriole legs, 40 x 80 x 28 in. (101.6 x 203.2 x 71.1 cm.), [1500 / 2500]
Provenance: Ida Manheim Antiques, 409 Royal St., New Orleans.
574. Dutch Inlaid Walnut Kettlebase Commode, 18th c., shaped banded molded top, four conforming drawers, canted corners, craved hairy paw foot, 32 3/4 x 36 3/4 x 20 in. (83.2 x 93.3 x 50.8 cm.), [1000 / 1500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
575. French Provincial Carved Fruitwood Cabriole Work Table, 19th c., frieze drawer, scalloped apron, cabriole legs, 27 3/4 x 35 x 25 1/2 in. (70.5 x 88.9 x 64.8 cm.), [700 / 900]
576. Louis XV-Style Carved Walnut Daybed, late 19th/early 20th c., carved finials, molded padded sides and back, fluted columnar supports, fluted tapered legs, 38 3/4 x 68 x 30 1/4 in. (98.4 x 172.7 x 76.8 cm.), [500 / 700]
577. Fine Antique Dutch Gilt Bronze and Cut-Crystal Thirty-Light Chandelier, late 19th c., elaborate foliate design, candle arms not electrified, with six interior light sockets that were added later, 54 x 44 in. (137.2 x 111.8 cm.)
[2000 / 3000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
578. Louis XVI-Style Gilt Bronze and Crystal Chandelier, vasiform standard, hung with finials and pendants, ending in a solid cut-crystal sphere, 51 x 33 in. (129.5 x 83.8 cm.), [1200 / 1800]
Ida Manheim Antiques, 409 Royal St., New Orleans.
579. Louis XV-Style Gilt Metal and Cut-Crystal Twenty-One Light Chandelier, hung with cutcrystal pendants, 48 x 24 in. (121.9 x 61 cm.), [800 / 1200]
Ida Manheim Antiques, 409 Royal St., New Orleans.
580. Louis XVI-Style Twenty-Five Light Crystal Chandelier, scroll arms, h. 43 in., dia. 26 in., [700 / 1000]
581. French Patinated Metal and Tole Eighteen-Light Chandelier, scroll and foliate design, h. 46 in., dia. 28 in. [800 / 1200]
582. Tiffany Studios Lamp Base and Associated Shade, base signed with monogram “TCDCO/TIFFANY STUDIOS/NEW YORK”, with leaded glass shade, h. 28 1/2 in., dia. 20 3/4 in., [1000 / 1500]
583. Mario Villa, Nicaraguan/ Louisiana, 1953-2021, patinated metal and brass table lamp, with perforated copper shade, h. 35 in., dia. 16 1/2 in., [300 / 500]
584. Mario Villa Nicaraguan/Louisiana 1953-2021 , patinated metal and brass table lamp, articulated stand, faintly signed to base, tallest h. 50 in., [500 / 800]
587. Pair of Continental Giltwood Two-Light Sconces, foliate design, 44 x 12 x 7 1/2 in. (111.8 x 30.5 x 19.1 cm.),
[400 / 600]
585. Pair of Regency Gilt and Patinated Bronze Figural ThreeLight Sconces, lion backplate, holding a coiled snake, not electrified, 5 1/2 x 9 1/4 x 5 3/4 in. (14 x 23.5 x 14.6 cm.),
[800 / 1200]
586. Pair of Louis XV-Style Gilt Bronze Two-Light Sconces, swag backplate, leaf and berry design, 18 x 9 x 5 in. (45.7 x 22.9 x 12.7 cm.),
[600 / 900]
588. Louis XVI-Style Brass Mounted Mahogany Server, 19th c., pierced brass gallery, inset marble, brass molded frieze drawer; fluted supports, shelf, toupe feet, 33 1/2 x 44 1/2 x 15 1/2 in. (85.1 x 113 x 39.4 cm.), [800 / 1200]
Provenance: Ida Manheim Antiques, 409 Royal St., New Orleans.
589. Dutch Bronze Mounted Mahogany Bombe Cylinder Desk,19th c., roll top with slide out writing surface, fitted interior, three molded conforming drawers, shaped apron, splayed feet, 44 1/4 x 50 x 23 in. (112.4 x 127 x 58.4 cm.), [1000 / 2000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
590. Rococo-Style Carved Walnut Settee, late 18th/ early 19th c., possible Dutch, serpentine crest rail, padded conforming arms, shaped apron, cabriole legs, scrolled toes, 40 x 69 x 29 in. (101.6 x 175.3 x 73.7 cm.), [1200 / 1800]
Ida Manheim Antiques, 409 Royal St., New Orleans.
591. Louis XV-Style Bronze Mounted Marquetry Inlaid Kingwood Side Table, 19th c., galleried oval top with center floral inlay, frieze drawer, shaped apron, cabriole legs, floral inlaid shelf, 28 1/2 x 30 1/2 x 21 1/2 in. (72.4 x 77.5 x 54.6 cm.), [700 / 1000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
592. French Empire-Style Bronze Mounted Mahogany Breakfront Bibliotheque, late 19th c., molded cornice, paneled frieze, three molded beveled glass doors, mounted stiles, molded plinth base, 86 1/4 x 81 x 22 1/2 in. (219.1 x 205.7 x 57.2 cm.), [800 / 1200]
593. French Provincial Carved Walnut Work Table, 19th c., molded top, frieze drawer, scalloped apron, cabriole legs, 28 1/2 x 39 x 25 1/4 in. (72.4 x 99.1 x 64.1 cm.), [700 / 1000]
594. Continental Carved Oak Slab Top Harvest Table, 19th and later c., single board top, trestle base, 30 x 98 1/2 x 33 in. (76.2 x 250.2 x 83.8 cm.), [1200 / 1800]
Provenance: Henry Stern, New Orleans 1981
595. Monumental Southern Pine Harvest Table, 19th c., three frieze drawers, turned legs, 32 x 116 3/4 x 36 1/2 in. (81.3 x 296.5 x 92.7 cm.), [1000 / 1500]
596. Pair of Antique Continental Carved Pine Plank Benches, 19th c., trestle base, 17 1/2 x 118 x 8 in. (44.5 x 299.7 x 20.3 cm.), [700 / 1000]
597. Italian-Style Parcel Gilt Demilune Bench, 20th c., conforming seat rail, scrolled legs , molded stretcher, 22 x 50 1/2 x 16 1/2 in. (55.9 x 128.3 x 41.9 cm.),
[500 / 700]
598. Dutch Marquetry Inlaid Mahogany Plant Stand, late 19th/ early 20th c., foliate inlaid top, string inlaid fluted standard, tripod base, 29 x 21 in. (73.7 x 53.3 cm.),
[500 / 700]
599. Pair of Continental Parquetry
Carved Oak Throne Chairs, late 19th, crest rail with centered carved mask, foliate splat with parquetry panel, winged carved eagle arms, fluted legs, paw feet, 48 x 24 1/2 x 20 1/2 in. (121.9 x 62.2 x 52.1 cm.), [1000 / 1500]
600. Jean Seidenberg, American/Louisiana, 1930-2022, “Self-Portrait”, 1999, signed, titled, dated and inscribed en verso, unframed, 12 x 10 in. (30.5 x 25.4 cm.), [500 / 700] Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg.Ill.: Seidenberg, Jean. Jean Seidenberg: Paintings, Drawings, Sculpture. New Orleans: Louisiana Endowment for the Humanities, 2009, p. 83.
602. Jean Seidenberg, American/Louisiana, 1930-2022, “Courbet”, 2004, unsigned, unframed, 30 1/8 x 44 3/4 in. (76.5 x 113.6 cm.), [1500 / 2500]
Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg. Ill.: Seidenberg, Jean. Jean Seidenberg: Paintings, Drawings, Sculpture. New Orleans: Louisiana Endowment for the Humanities, 2009, pp. 98-99.
601. Jean Seidenberg, American/Louisiana, 1930-2022, “Palma on the Chesterfield”, 2002, signed, titled, dated and localized en verso, framed., 42 x 37 in. (106.7 x 94 cm.), Frame: 42 3/4 x 38 x 1 1/2 in. (108.6 x 96.5 x 3.8 cm.)
[1800 / 2500]
Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg.Ill.: Seidenberg, Jean. Jean Seidenberg: Paintings, Drawings, Sculpture. New Orleans: Louisiana Endowment for the Humanities, 2009, p. 93.
Note: Celebrated for his impressive artistic career which spanned many decades and different media, Jean Seidenberg was born in New York and spent his childhood visiting the city’s best museums and galleries. After graduating from Erasmus Hall High School in 1947, he immersed himself in art school and was the beneficiary of scholarships to the Brooklyn Museum School and Syracuse University School of Fine Art. He also attended night classes at Cooper Union.
In the 1950s, Seidenberg moved to New Orleans where he continued his art career and became an integral part of the local art scene. He was a founding member of the revered artist-run Orleans Gallery which featured artwork by his contemporaries Ida Kohlmeyer, Robert Helmer, Lin Emery, and George Dunbar, among others. While he was a multi-faceted artist who was a master of a variety of media—oil, graphite, egg tempera, wood and even founding the first independent foundry for lost wax casting in the South – Seidenberg’s figural paintings were particularly celebrated. In 1962, the Museum of Modern Art selected his portrait of his daughter Eugenie to be featured as one of seventy-four works showcased in their “Recent Painting USA - The Figure” traveling exhibition.
Seidenberg shifted careers in the 1970s, opting to work as a full-time real estate developer, but soon he returned to painting upon meeting his future wife, Charlotte. In 1981, Jean married Charlotte, a garden expert, author and naturalist. Subsequently, he maintained his art studio, working on commissioned drawings and paintings while also developing his personal artistic practice. His lifetime of impressive works garnered him a retrospective at the Ogden Museum of Southern Art in 2008. He passed away on November 6, 2022 with Charlotte by his side.
Together Charlotte and Jean built a collection as varied and inspired as Jean’s own oeuvre. Neal Auction is honored to present works from the Collection of Charlotte and the late Jean (1930-2022) Seidenberg.
603. Jean Seidenberg, American/Louisiana, 1930-2022, “Ellen”, 2007, unsigned, framed, 11 x 11 in. (27.9 x 27.9 cm.), Frame: 11 7/8 x 11 7/8 x 1 3/8 in. (30.2 x 30.2 x 3.5 cm.) [500 / 700]
Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg. Ill.: Seidenberg, Jean. Jean Seidenberg: Paintings, Drawings, Sculpture. New Orleans: Louisiana Endowment for the Humanities, 2009, p. 82.
605. Jean Seidenberg, American/Louisiana, 19302022, “Woman with Long Hair”, 1964, signed, dated and incribed “B 3/6” upper right. 7 x 5 1/4 in. (17.8 x 13.3 cm.), [400 / 600]
Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg.
Provenance: Collection of Charlotte and the late Jean
604. Jean Seidenberg, American/Louisiana, 1930-2022, “Woman with Flowing Hair”, 1964, signed, dated and numbered “2/8” upper right, 14 1/2 x 10 x 1 in. (36.8 x 25.4 x 2.5 cm.), [500 / 700]
Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg.
607. Jean Seidenberg, American/Louisiana, 19302022, “Self in White Overalls”, 2003, signed and dated lower right, artist label with title and date on backing paper, framed, 29 x 23 in. (73.7 x 58.4 cm.), Frame: 32 x 26 x 1 1/2 in. (81.3 x 66 x 3.8 cm.) [1200 / 1800]
Provenance: Collection of Charlotte and the late Jean (19302022) Seidenberg.
606. Jean Seidenberg, American/Louisiana, 1930-2022, “Untitled: Woman at Table”, 1962, signed and dated mid-left, unframed, 38 x 39 3/4 in. (96.5 x 101 cm.), [1800 / 2500]
(1930-2022) Seidenberg.
610. Hal Carney American/ Louisiana 20th c. “Surrealist
Assemblage”, unsigned, 25 1/2 x 11 1/2 x 10 1/2 in. (64.8 x 29.2 x 26.7 cm.), [300 / 500]
Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg.
608. Jean Seidenberg American/ Louisiana 1930-2022 “Arthur Roger (Study for Larger Portraits)”, 1994-97, unsigned, unframed, 16 x 12 in. (40.6 x 30.5 cm.), [1000 / 1500]
Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg.
609. Jean Seidenberg American/Louisiana 1930-2022
“Simon Gunning (Study)”, 1999, unsigned, unframed. 17 x 14 in. (43.2 x 35.6 cm.), [800 / 1200]
611. David Bumbeck, American/Massachusetts, b. 1940 “Homage”, 1990, “Rhapsody”, 1994, “Reflection”, 1988 and “Two Women”, each pencil-signed, titled and numbered “26/80”, 12/80”, “12/80” or “30/35”, 3 inscribed “for Jean” and dated twice, “Homage” with artist blind stamp lower margin, framed. (4 pcs.), 2 7/8 x 4 in. (7.3 x 10.2 cm.) to 13 3/4 x 20 in. (34.9 x 50.8 cm.), Frames: 9 3/4 x 9 3/4 x 3/4 in. (24.8 x 24.8 x 1.9 cm.) to 20 x 25 1/2 x 1 1/4 in. (50.8 x 64.8 x 3.2 cm.) [250 / 350]
Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg.
612. Jean Seidenberg, American/Louisiana, 1930-2022, “Palma”, 2000, signed, titled, dated and localized en verso, framed. 22 x 20 in. (55.9 x 50.8 cm.), Frame: 27 3/8 x 25 1/2 x 1 in. (69.5 x 64.8 x 2.5 cm.) [800 / 1200]
Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg.
613. Jean Seidenberg, American/Louisiana, 1930-2022, “Erin at Work I”, 2000, signed and dated lower left, framed, 30 1/2 x 44 5/8 in. (77.5 x 113.3 cm.), Frame: 32 7/8 x 48 1/4 x 1 1/2 in. (83.5 x 122.6 x 3.8 cm.) [1500 / 2500]
Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg. Ill.: Seidenberg, Jean. Jean Seidenberg: Paintings, Drawings, Sculpture. New Orleans: Louisiana Endowment for the Humanities, 2009, end papers. (1930-2022) Seidenberg.
615. Jean Seidenberg American/ Louisiana 1930-2022 “Milk Bottle”, unsigned. 9 1/2 x 3 1/2 x 3 1/2 in. (24.1 x 8.9 x 8.9 cm.), [400 / 600]
Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg.
616. Robert Gordy, American/Louisiana, 1933-1986, “Female Head”, 1984, pencilsigned, inscribed “A.P.” and 2 blind stamps lower margin, printed by Graphicstudio, Tampa, FL, framed, Sheet: 37 1/8 x 28 3/4 in. (94.3 x 73 cm.), Frame: 42 x 34 x 1 in. (106.7 x 86.4 x 2.5 cm.)
[400 / 600]
Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg.
614. Jean Seidenberg, American/Louisiana, 1930-2022, “Mary Carol I”, “Jennifer Seated” and “Punjabi Girl”, 1995-97, 2 signed and dated lower right, one lower left, each with “S + P” label with artist, title and date upper right of mat, each with artist label on reverse of mat, matted in sealed plastic. (3 pcs.) Sights: 25 1/4 x 19 1/2 in. (64.1 x 49.5 cm.), Matting: 31 1/4 x 25 1/4 in. (79.4 x 64.1 cm.)
[600 / 800]
Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg.
618. WITHDRAWN
617. William Aubrey Walmsley, American/Alabama, 1923-2003, “Ding Dong Daddy - Dog Biscuits” and “Help . . . Ding Dong Daddy Crap Course . . .”, each pencil-signed, titled and numbered “4/14” or “1/14” lower margin, framed. (2 pcs.)
Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg., Sights: 18 x 23 1/2 in. (45.7 x 59.7 cm.) and 24 x 18 1/2 in. (61 x 47 cm.), Frames: 22 3/4 x 28 x 3/4 in. (57.8 x 71.1 x 1.9 cm.) and 28 x 22 x 7/8 in. (71.1 x 55.9 x 2.2 cm.)
[250 / 350]
619. Jean Seidenberg, American/Louisiana, 1930-2022, “Two Figures”, 1961, signed, dated and indistinctly numbered “?/8” on self-base, later wood base., 13 1/4 x 8 3/4 x 4 in. (33.7 x 22.2 x 10.2 cm.), Overall Height: 15 1/2 in. (39.4 cm.) [500 / 700]
Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg.
Note: Celebrated for his impressive artistic career which spanned many decades and different media, Jean Seidenberg was born in New York and spent his childhood visiting the city’s best museums and galleries. After graduating from Erasmus Hall High School in 1947, he immersed himself in art school and was the beneficiary of scholarships to the Brooklyn Museum School and Syracuse University School of Fine Art. He also attended night classes at Cooper Union.In the 1950s, Seidenberg moved to New Orleans where he continued his art career and became an integral part of the local art scene. He was a founding member of the revered artist-run Orleans Gallery which featured artwork by his contemporaries Ida Kohlmeyer, Robert Helmer, Lin Emery, and George Dunbar, among others. While he was a multi-faceted artist who was a master of a variety of mediaóoil, graphite, egg tempera, wood and even founding the first independent foundry for lost wax casting in the South - Seidenberg’s figural paintings were particularly celebrated. In 1962, the Museum of Modern Art selected his portrait of his daughter Eugenie to be featured as one of seventy-four works showcased in their “Recent Painting USA - The Figure” traveling exhibition.Seidenberg shifted careers in the 1970s, opting to work as a full-time real estate developer, but soon he returned to painting upon meeting his future wife, Charlotte. In 1981, Jean married Charlotte, a garden expert, author and naturalist. Subsequently, he maintained his art studio, working on commissioned drawings and paintings while also developing his personal artistic practice. His lifetime of impressive works garnered him a retrospective at the Ogden Museum of Southern Art in 2008. He passed away on November 6, 2022 with Charlotte by his side. Together Charlotte and Jean built a collection as varied and inspired as Jean’s own oeuvre.
620. Jean Seidenberg American/Louisiana 1930-2022 “Celebration”, 1967, signed, dated and numbered “5/6” on female figure, overall l. 33 in. (2 pcs.) [1200 / 1800]
Provenance: Collection of Charlotte and the late Jean (1930-2022) Seidenberg.Ill.: Seidenberg, Jean. Jean Seidenberg: Paintings, Drawings, Sculpture. New Orleans: Louisiana Endowment for the Humanities, 2009, pp. 38-39.
621. Peter Dean, German/American, 1934-1993, “Birth”, signed lower left, framed.Provenance: Bienville Gallery, New Orleans, LA; Collection of Charlotte and the late Jean (1930-2022) Seidenberg.
Exh.: Bienville Gallery, New Orleans, LA, Oct. 25 - Nov. 13, 1970., 16 x 11 1/2 in. (40.6 x 29.2 cm.), Frame: 19 5/8 x 12 x 1 1/8 in. (49.8 x 30.5 x 2.9 cm.) [400 / 600]
622. Peter Dean, German/American, 19341993, “Summer Studio Portrait #1”, 1972, signed, titled, dated, localized and handwritten label with title en verso, unframed, 16 x 10 in. (40.6 x 25.4 cm.), [500 / 700]
Provenance: Bienville Gallery, New Orleans, LA; Collection of Charlotte and the late Jean (1930-2022) Seidenberg.
Exh.: Bienville Gallery, New Orleans, LA, Oct. 25 - Nov. 13, 1970.
623. Richard Estes, American, b. 1932, “Arch, St. Louis”, 1972, pencilsigned and numbered “5/75” lower margin, from Urban Landscapes Portfolio, published by Parasol Press, Ltd., New York, blind stamp “Printed by Domberger Stuttgart” lower left, framed.Provenance: Brooke Alexander Gallery, NY; Michael M. Thomas, NY; Jamison/Thomas Gallery, NY, Nov. 1, 1988; Collection of Charlotte and the late Jean (1930-2022) Seidenberg.Exh.: Jamison/Thomas Gallery, NY, 1987., 14 3/4 x 24 in. (37.5 x 61 cm.), Frame: 21 1/4 x 30 1/4 x 1 1/4 in. (54 x 76.8 x 3.2 cm.) [800 / 1200]
624. Edward Lear, British, 1812-1888, “Rome from the Convent of S.S. Giovanni e Paulo”, lithograph, 1841, artist and title inscribed in plate, from Views in Rome and Its Environs; Drawn from Nature and on Stone, published by Thomas McLean, London, England, typed artist label with provenance on backing, framed. 9 5/8 x 16 1/8 in. (24.4 x 41 cm.), Frame: 17 7/8 x 23 7/8 x 1 1/8 in. (45.4 x 60.6 x 2.9 cm.) [400 / 600]
Provenance: Collection of Alfred Moir; Collection of Charlotte and the late Jean (1930-2022) Seidenberg.
626. Georgian Carved Mahogany Triple-Flap Tea and Games Table, 18th c., double foldover top, hidden drawer, cabriole legs, pad feet, castors, 30 x 34 x 16 in.
(76.2 x 86.4 x 40.6 cm.), Open: 30 x 34 x 32 in.
(76.2 x 86.4 x 81.3 cm.)
[800 / 1200]
Ida Manheim Antiques, 409 Royal St., New Orleans.
627. Georgian III-Style Carved Mahogany Gainsborough Armchair, 19th c., leather upholstery, nailhead trim, padded scrolled arms, Marlborough legs, H-form stretcher, 37 1/2 x 25 1/2 x 21 1/2 in.
625. Fine Pair of Georgian-Style Carved Mahogany Settees, 19th c., floral upholstery with nailhead trim, high back, scrolled arms, stretchered Marlborough legs, casters, 38 x 91 x 26 1/2 in.
(96.5 x 231.1 x 67.3 cm.), [2500 / 3500]
Provenance: Henry Stern, November 1981
(95.3 x 64.8 x 54.6 cm.), [700 / 1000
Provenance: Henry Stern, November 1981]
628. Set of Four George II-Style Carved Walnut Sidechairs, 18th and later c., curved back, vasiform splat, turned stretchers, cabriole legs, pad feet, 40 x 19 1/2 x 15 in. (101.6 x 49.5 x 38.1 cm.),
[700 / 1000]
Provenance: Henry Stern November 1981
630. George II-Style Carved Mahogany Partners Desk, 20th c., tooled leather top, blind fretwork frieze, three drawers, columnar supports, molded doors drawer interior, molded plinth base, 31 1/2 x 71 x 41 in. (80 x 180.3 x 104.1 cm.), [2000 / 3000]
629. George II Carved Mahogany Harlequin Tea and Card Table, 18th/early 19th, after a design by Thomas Potter, lockplate stamped Strutts Patent, C & H Windle, fold over tops with tooled leather writing surface, swing leg, pop up desk, with fitted interior, cabriole legs, pad feet, closed 31 x 31 3/4 x 15 1/4 in. (78.7 x 80.6 x 38.7 cm.), open 31 x 31 3/4 x 30 3/4 in. (78.7 x 80.6 x 78.1 cm.)
[1200 / 1800]
Provenance: Henry Stern November 1981
631. Chippendale-Style Carved Mahogany Linen Press, late 19th /early 20th c., blind fretwork cornice, molded paneled doors, canted corners with foliate carving, three graduated drawers, molded base, bracket feet, 78 x 46 1/2 x 22 1/2 in. (198.1 x 118.1 x 57.2 cm.),
[1000 / 1500]
632. Georgian Inlaid Satinwood Mahogany Sideboard, Late 18th/ early 19th c., banded top, short drawers with over deep fitted bottle drawer flanking two center drawers, right side short drawer over deep drawer, square tapered legs, 37 1/2 x 96 x 27 1/2 in. (95.3 x 243.8 x 69.9 cm.), [1500 / 2500]
Provenance: Ida Manheim Antiques, 409 Royal St., New Orleans.
633. Georgian-Style Burl and Carved Walnut Double Dome Secretary Bookcase, 19th and later c., molded cornice, arched mirrored doors, slant front, fitted interior, three long conforming drawers, molded base, ball and claw feet, 85 x 46 x 22 in. (215.9 x 116.8 x 55.9 cm.), [1200 / 1800]
Provenance: Ida Manheim Antiques, 409 Royal St., New Orleans.
634. Georgian-Style Mahogany
Rent/Drum table, 19th c., stamped Burrey & White, tooled green leather, frieze drawers, turuned standard, Sabre legs, brass paw foot castors, 28 x 42 in. (71.1 x 106.7 cm.),
[2000 / 3000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
635. Set of Fourteen Regency-Style Carved Mahogany Dining Chairs, late 19th/ early 20th c., after Thomas King design, tablet crest rail, reeded swag backs, turned reeded tapered legs,, 34 1/2 x 22 x 17 in. (87.6 x 55.9 x 43.2 cm.), side 33 x 18 x 16 in. (83.8 x 45.7 x 40.6 cm.)
[1200 / 1800]
Provenance: Ida Manheim Antiques, 409 Royal St., New Orleans.
636. Pair of Georgian-Style Carved Mahogany Demilune Console Tables, 19th c., conforming top, plain frieze, square tapered legs, 28 1/2 x 42 x 20 3/4 in. (72.4 x 106.7 x 52.7 cm.),
[1000 / 1500]
637. Achille Peretti, Italian/American, 1853-1923, “Study of Two Cows”, signed upper left, framed., 9 x 13 in. (22.9 x 33 cm.), Frame: 11 3/4 x 15 7/8 x 1 1/4 in. (29.8 x 40.3 x 3.2 cm.) [1500 / 2500]
638. Louisiana School, early 20th c., “Bayou Scene with Egret”, unsigned, framed., 12 x 9 in. (30.5 x 22.9 cm.), Frame: 14 x 11 x 1 in. (35.6 x 27.9 x 2.5 cm.) [400 / 600]
639. Betty Kate Haley Kyle, American/Louisiana, 1925-2012
“City Park”, 1980, signed and dated lower right, framed., 24 1/4 x 36 in. (61.6 x 91.4 cm.), Frame: 26 1/2 x 38 1/2 x 1 in. (67.3 x 97.8 x 2.5 cm.)
[700 / 1000]
640. Louisiana School, early 20th c., “Swamp Scene with Hunters”, unsigned, framed., 9 1/4 x 12 1/4 in. (23.5 x 31.1 cm.), Frame: 12 1/4 x 15 1/4 x 1 in. (31.1 x 38.7 x 2.5 cm.)
[400 / 600]
641. Charles Bullet, II, American/Florida, 1860-1927, “Swamp Scene”, signed lower right, illegibly inscribed en verso, framed., 9 x 14 in. (22.9 x 35.6 cm.), Frame: 12 1/2 x 17 1/2 x 1 1/2 in. (31.8 x 44.5 x 3.8 cm.) [700 / 1000]
642. Joseph Rusling Meeker, American/Missouri, 1827-1887, “Lake Maurepas, Louisiana”, signed lower left, inscribed with artist and title on stretcher, “Korzendorfer-Bick Picture Frame Co., St. Louis, MO” label on reverse of frame, framed.Provenance: Neal Auction, Apr. 8, 2000, lot 388., 18 1/4 x 30 1/4 in. (46.4 x 76.8 cm.), Frame: 29 1/2 x 41 1/4 x 3 1/4 in. (74.9 x 104.8 x 8.3 cm.) [10000 / 15000]
643. William Henry Buck, Norwegian/Louisiana, 1840-1888, “Estate on the Mississippi Gulf Coast with Two Setters and Figure Walking Along Scenic Drive”, 1880, signed and dated “Wm. H. Buck 80” lower right, period giltwood and gesso frame., 24 x 36 in. (61 x 91.4 cm.), Frame: 34 x 46 x 4 in. (86.4 x 116.8 x 10.2 cm.) [150000 / 250000]
Note: Of William Henry Buck’s body of works, this scene is among the most distinctive and unique both in subject matter and in style. Despite opening a studio in New Orleans by 1880, he also painted rare, documented views of the Mississippi Gulf Coast the same year. “Beauvoir” is in the collection of Confederate Memorial Hall in New Orleans; “View of Fort Massachusetts at Biloxi” is conserved by the New Orleans Museum of Art; and the Ogden Museum of Southern Art owns “On the Gulf, Near Bay St. Louis.” The famed Louisiana architect A. Hays Town owned a view of Bay St. Louis that was sold at auction in May of 2005 from his estate collection. While Buck is most known for his depictions of moss-laden live oak trees, the property depicted in this painting faces the Gulf of Mexico with trees that are almost constantly besieged by onshore winds, thus their limbs do not support the growth of Spanish moss like trees along Louisiana bayous or further inland in Mississippi. The canvas is a carefully crafted composition with an intricately rendered pink main house and several complementary small structures on the fenced property. In the foreground, a boy carries a basket while two setters frame the sun-dappled roadway, an uncommon but endearing feature in this Buck painting.
Particularly notable for its architectural detail, this canvas is reminiscent of the work of Buck’s predecessor to Louisiana, French artist Marie Adrien Persac. In crafting his famous vignettes of plantations along the Mississippi River during the 1850s and
1860s, Persac often relegated his principal buildings to the middle ground, allowing space in the foreground for figures and objects to charm and attract the eye of the viewer. He utilized parallel lines and diagonals to align the perspective and frame focal points within the composition. Whether Buck later saw Persac’s work and consciously chose to employ the same visual language in this masterful work is unclear, although the effect remains the same. While Persac worked in watercolor and occasionally collage, Buck completed this stunning scene in oil with all the same attention to detail that Persac famously employed – a feat that must have been greatly admired by the proud owner of this picturesque home. Most interestingly, Neal Alford Company sold another view of this same property on May 13, 1989 (lot 291) which depicts the main house and outbuildings from an angled perspective and includes a view down the road with the bank sloping towards the water and piers visible in the background. A man (likely said owner) sits in a horse drawn carriage in that portrayal of this historic Gulf Coast property, completed the same year of 1880.
This exceptional work by William Henry Buck represents a rare opportunity to acquire the best of his oeuvre in both scale and composition. His unprecedented rendering of fine details, usage of crisp and clear light, and the added motifs of the figure and dogs (perhaps a visual homage to the pasted cutouts in Persac’s compositions) breathe life and sparkle into the peaceful Southern scene. This striking painting showcases Buck’s versatility and talent in capturing the charismatic essence of the ever-changing Gulf Coast.
Ref.: Black, Patti Carr. Art in Mississippi 1720-1980. Jackson: University Press of Mississippi, 1998; Wierich, Jochen. Picturing Mississippi, 1817-2017: Land of Plenty, Pain and Promise. Jackson: Mississippi Museum of Art, 2017.
644. William Henry Buck, Norwegian/Louisiana, 1840-1888, “Mississippi Sound”, signed lower right, handwritten label inscribed “Davis Point, MS” on backing paper, framed., 8 x 12 in. (20.3 x 30.5 cm.), Frame: 14 x 18 x 2 1/2 in. (35.6 x 45.7 x 6.4 cm.) [20000 / 30000]
Provenance: Succession of Malcolm W. Monroe; Neal Auction, Apr. 4, 1998, lot 284.
Note: William Henry Buck emigrated from Norway to the United States around 1865. He arrived in New Orleans about 1870 where he worked as a clerk for a cotton factory. During the late 1870s and early 1880s, Buck studied with Richard Clague and was one of his closest followers. By 1880, Buck had opened his own studio at 26 Carondelet Street in New Orleans, where he was instrumental in defining the easel-sized painting market. Buck created the most expansive known body of work in the nineteenth century portraying the rivers, lakes, bayous and environs of Louisiana and neighboring Mississippi. His passion for capturing the landscape is evident in the exquisite and subtle luminosity and carefully composed compositions of his works.
The painting offered here relates closely to a large canvas by Buck dated 1883 sold at Neal Auction on November 18, 2017 (lot 343) from the collection of Mary McNeil and Aristide Hopkins of New Orleans and Biloxi and is perhaps an earlier plein air study. Buck’s arrangement of the landscape on the edge of a shoreline with a
curving wood bridge is a rare example of an asymmetrical configuration by the artist and beautifully guides the viewer’s eye around the painting. The reflective surface of the water with its misty fog adds an element of lightness to the scene and highlights the natural bends in the geography. Likely depicting the Mississippi Sound along the Davis Bayou near Ocean Springs, this piece displays Buck’s skillful ability to capture a natural setting and fleeting light with a keen eye. The painting has hints of the Barbizon tradition in the luminous sky and the loose, expressive brushstrokes that form the reeds and foliage in the foreground. A classic jewel of a painting from Buck’s Mississippi forays, this work serves as an intimate glimpse into the artistic process of one of Louisiana’s most adept landscapists.
Ref.: Lewis, Richard Anthony. “William Henry Buck.” 64 Parishes. www.64parishes.org. Accessed Nov. 4, 2025; Wiesendanger, Martin and Margaret. 19th Century Louisiana Paintings from the Collection of W.E. Groves. Gretna, LA: Pelican Publishing Company, 1971.
645. William Henry Baker, American/New York, 1825-1875, active New Orleans 1848-1865, “Portrait of Oliver Miller White (1853-1922) and Hannah White (1855-1870) with Dog”, unsigned, ornate period frame. , 48 x 33 in. (121.9 x 83.8 cm.), Frame: 57 x 44 1/2 x 8 in. (144.8 x 113 x 20.3 cm.)
[3000 / 5000]
Provenance: Collection of W. E. Groves, New Orleans, LA.
Note: William Henry Baker was an itinerant portrait painter who lived in Nashville, Tennessee in the mid-1840s and came to New Orleans in 1848 to initially pursue a career as a merchant. After a stint at a local art studio, he decided to instead become a portrait painter and worked primarily in the area from 1848 to 1865 with some travels in the summers. He had little formal art training although reputedly studied informally under Enoch Wood Perry, Jr. in the early 1860s in Europe. By 1865, Baker settled permanently in New York City, where he exhibited portrait and genre paintings at the National Academy of Design and the Brooklyn Art Association. Baker worked in a fashionable and complex style known as “Grand Manner,” in which visual cues signified the wealth of the sitters. Portraits in this style were frequently life-sized in proportion and included metaphorical references or animals, two traits which can be seen in the rare work offered here.
The style was appealing to the upper class in New Orleans, such as Oliver Miller White and Elizabeth Mary neé Garvey White (c. 1833-1900). The couple moved to New Orleans from Kennebunk, Maine around 1848. White was a successful commission merchant and part owner of the steamboat J. Morrissett. Baker painted at least three known portraits of the White children, each including animals, lush textures and dramatic lighting, as well as works depicting Oliver Miller White and his friend, ship builder Jehangir Nowrojee (dated September 1857), and a portrait of famous Louisiana actress and poet Adah Isaacs Menken.
A painting in the collection of Roger H. Ogden shows four of the five children born to the family, including two who had previously died. Orlando (first born), and his sister Mary Julliet (second born), were painted posthumously likely from miniatures or photographs. In the portrait presented here, Oliver Miller White (Jr.) is depicted with his sister, Hannah White, the two surviving children at the time. Oliver was born on February 16, 1853 and baptized April 6, 1862 at Lafayette Presbyterian Church in New Orleans. He later married Theodora Waller on July 28, 1888 in New Orleans and had five children. He died in New Orleans in 1922. Hannah White was born on October 17, 1855 and died at the age of just fifteen in 1870. A third work by Baker, once again depicting four White children, is now conserved at the Louisiana State Museum. The fifth child of the couple, Adele Casey, is not included in the paintings, having been born on December 5, 1857.
Ref.: “The Children of Elizabeth Mary (neè Garvey) and Oliver Miller White.” 64 Parishes. www.64parishes.org. Accessed Oct. 30, 2025; Lewis, Richard Anthony. “William Henry Baker.” 64 Parishes. www.64parishes.org. Access Oct. 30, 2025. “Ship-builder Jehangir Nowrojee (1821-1866) and Steamboat Agent Oliver Miller White.” The Indian Portrait. www.theindianportrait.com. Accessed Oct. 30, 2025.
646. Ferdinand Richardt, Danish/ American, 1819-1895, “River Baptism”, 1868, signed and dated lower center, framed., 21 x 30 1/4 in. (53.3 x 76.8 cm.), Frame: 29 1/2 x 38 1/2 x 3 1/4 in. (74.9 x 97.8 x 8.3 cm.) [6000 / 8000]
647. French Art Deco Terracotta Sculpture of a Reclining Nude Maiden and Putto, signed illegibly on self-base, inscribed ‘France/ G.A.M/Privat’ on underside., 13 1/2 x 25 1/2 x 6 1/2 in. (34.3 x 64.8 x 16.5 cm.), [400 / 600]
648. Bronze Figural Group of “The Wrestlers”, after the antique currently conserved at the Uffizi Gallery, Florence, “Reduction Mechanique A(chi)lle Collas” foundry stamp on self-base., 16 x 18 x 11 in. (40.6 x 45.7 x 27.9 cm.), [700 / 1000]
649. Governor Murphy J. Foster Coin Silver Presentation Tea Service,, Wood and Hughes, New York, NY, act. 1845-1899, marked “W3H” and “900/1000”, mark used prior to 1871; incl. coffee pot (h. 13 in.), teapot, covered sugar, covered creamer and waste bowl; in the Neo-Grec taste, footed vase forms with palmette and mask handles and spots, each with cartouche chased with Louisiana state seal of 1879-1890; opposing cartouche on coffee pot with presentation “TO/MURPHY J. FOSTER/Governor of Louisiana/from his/General and Personal/Staff/Jany. 1/93”; opposing cartouche on other pieces engraved with intwined script monogram “MJF”. English silverplate tray by James Dixon & Sons, Sheffield, act. 1835-1920, late 19th c., oval with egg-anddart border, loop handles with beading, well centered with Louisiana state seal and presentation: “TO/M.J. ‘Mike’ Foster JR./Governor of Louisiana/With appreciation, affection and steadfast devotion/Your Staff/January 2004”, surrounded by flat-chased anthemion petals, 33 1/2 in. x 21 1/2 in., Total weight (weighable) 110.45 troy ozs., [3000 / 5000]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
650. New Orleans Coin Silver Repousse Water Pitcher, Adolphe Himmel (1825/6-1877), act. New Orleans 1852-1877, for Hyde & Goodrich, act. 1828-1861; marks: “HYDE & GOODRICH” incised in arc, above “H” incised, above “NEW ORLEANS” incised in complementary arc; bulbous pear-shaped body with repousse and chased grapevines, leaves and grape clusters on conforming domed foot, rim and handle with cast grapevines and leaves, foot rim with cast grapevine, reserve with engraved cypher. H. 12 1/2 in., weight 38.65 troy ozs.
[2000 / 4000]
Ref. Crescent City Silver.
651. Delarue New Orleans “Couvert” of “Uniplat” Coin Silver,, Jean-Noel Delarue (b. Bacalans, Bordeaux 1776, d. New Orleans 1842, act. New Orleans 1802-1842), incl. 5 table forks and 5 table spoons; forks (l. 7 3/4 in. to 7 7/8 in.), marked with flowers in octagonal cartouches flanking “De/Larue” in elongated oval, mono. “.B.C.”; 2 spoons (l. 8 1/8 in.) marked with flowers in octagonal cartouches flanking “De/Larue” in elongated oval, script monogram; 1 spoon (l. 8 1/4 in.) marked with flowers in octagonal cartouches flanking “Delarue” in elongated oval, monogram “.A.V.”; and 2 spoons (l. 8 1/4 in.) marked with butterflies in octagonal cartouches flanking “Delarue” in elongated oval; 10 pcs. total;, total weight 21.90 troy ozs., [5000 / 8000]
652. Charleston Coin Silver Repousse Goblet, Gregg & Hayden, act. 1843-1845, baluster form with floral and scroll repousse, C-scroll vacant cartouche, beaded borders., H. 5 3/8 ib., weight 4.70 troy ozs. [150 / 250]
653. Missouri Coin Silver Presentation Pitcher, C.D. Sullivan & Co., St. Louis, MO, act. 1845-1862, marked “C.D. SULLIVAN & CO.” in rectangle; with presentation inscription” TO/Bernhardt Goldschmidt/from/the Members/ Meridian Lodge No. 2 A.F. & A.M./as a token of friendship & esteem/ST. JOHNS DAY 27 DEC. 1862;” lobed pear form with ovolo borders and C-scroll and acanthus handle.Note: Cornelius D. Sullivan was born in Cork, Ireland in 1818 and had immigrated to St. Louis by 1841 when he worked for Louis Jaccard. He was active from 1842, and from 1845 to 1862 operated as C.D. Sullivan & Co. Ref. Mack, Norman. Missouri’s Silver Age: Silversmiths of the 1800s, pp.139-141., H. 11 1/4 in.; weight 25.75 troy ozs., [800 / 1200] 654. American Classical Coin Silver Teapot,, marked “G & C” and with pseudo marks, lobed dome cover with morning glory finial, lobed body with scroll handle ad spout,, H. 10 1/2 in., weight 30.70 troy ozs. [700 / 1000]
655. Fine Samuel Kirk (1793-1872) Coin Silver Repousse Pitcher, c . 1830-1846, marked “S KIRK” in rectangle, “S.K” in rectangle and 11 over 12 in rectangle; landscape repousse with cabin and canoe on stippled ground, vacant cartouche, C-scroll handle surmounted by recumbent dog, pedestal support faced with leaves,, H. 13 in., weight 42.10 troy ozs. [2500 / 3500]
657. Antique American Sterling Silver Repousse Milk Pitcher,, probably late 19th c., marked “STERLING” and “732”; floral repousse on stippled ground, palmette, stiff leaf and lotus borders; presentation inscription on underside; H. 5 1/2 in.; weight 9.65 troy ozs., [400 / 600}
656. S. Kirk & Son Co. Sterling Silver Landscape Repousse Cake Plate,, 1896-1924, stiff leaf rim, landscape border with houses and a figure, well with presentation inscription, “1869-JANUARY-18-1919”, molded footrim; H. 1 1/8 in., dia. 11 n., weight 17.65 troy ozs. [500 / 750]
658. S. Kirk & Son Sterling Silver Repousse Low Bowl,, 1868-1890, scroll border, floral and foliate repousse on stippled ground,, H. 3 in., dia. 9 1/4 in., weight 14.20 troy ozs. [500 / 700]
659. Good Baltimore Sterling Silver Repousse Bread Dish,, A.G. Schultz & Co., act. 1899-1950, floral repousse on stippled ground, diapered well with wreathed monogram “C”; together with Stieff repousse covered sugar bowl, missing finial;, dish l. 14 1/4 in.; sugar h. 5 in., w. 7 1/2 in.; combined weight 29.30 troy ozs. [800 / 1200]
660. J.E. Caldwell & Co., Philadelphia, Sterling Silver Repousse After-Dinner Coffee Service,, incl. coffee pot, open sugar and creamer, nos. 204, and circular tray, no. 32, floral repousse on stippled ground, script monograms;, coffee pot h. 8 1/4 in., tray dia. 11 in.; total weight 48 troy ozs. [1500 / 2500]
662. French Neoclassical Double Plate Tureen,, Paris, Nicholas Bertholon, mark no. 02705-NB, 30 rue Michel-le-Comte, 1820-1840, tureen and liner marked underneath; oval tureen on conforming pedestal base, fitted with liner and domed cover, palmette, ball and string applied borders on cover, tureen rim and pedestal collar; gadroon border on foot; cover with cast artichoke finial above an oval plaque with classical decoration.Ref. Dictionnaire des poincons de fabricants d’ouverages d’or et d’argent Paris, 1798-1838, 1991, p.272, H. 11 3/4 in., w. 15 1/2 in., d. 8 1/4 in. [700 / 1000]
661. American Sterling Silver Biscuit Box with Yachting Trophy Presentation,, c. 1900, Whiting Mfg. Co., act. 1866-1926, engraved “15th Annual Regatta/Class B/ Cruising Trim/1st Prize/Won By/Sachem”, H. 6 3/4 in., weight 25 troy ozs. [700 / 1000]
663. French 1st Standard Silver Chocolate Pot in the Louis XVI Taste, late 19th c., hinged dome cover with acanthus thumbpiece, muddler cover with pod finial, husk swag and bowknot decoration, reeded lower body, molded foot, turned wood side handle, period monogram;, H. 8 1/8 in., weight 20.05 troy ozs. [800 / 1200]
664. Continental Sterling Silver Tea and Coffee Service, probably Germany, marked WHH in circle/ STERLING/925/HANDARBEIT, incl. kettleon-stand, coffee pot, teapot, covered sugar and creamer, each chased with flowers, foliage and scrolls, scroll handles and feet;, kettle h. 16 1/2 in. (to top of handle); total weight 127.15 troy ozs., [3000 / 5000]
665. Pair of Italian .800 Silver Pitchers, late 20th/21st c., Milan 572 (De Giovanni Argenteria), each footed baluster form with satyr mask spout, floral and scroll chasing, vacant scroll cartouche and acanthus scroll handle, retain gilt wash interiors, h. 5 7/8 in., total weight 31.25 troy ozs. [800 / 1200]
666. Tiffany “Broomcorn” Pattern Sterling Silver Flatware Service, pat. 1890, designer John T. Curran, incl. 1 fork (l. 7 5/8 in.), 10 forks (l. 6 7/8 in.), 12 fish knives (hh, l. 7 3/4 in.), 6 ice cream forks, 8 teaspoons (l. 6 in.), 4 coffee spoons (l. 4 5/8 in.), 6 demitasse spoons,punch ladle (l. 13 in.), dressing spoon (l. 11 in.), ice cream server (l. 11 1/4 in.), gravy ladle, sugar sifter spoon (l. 7 in)., sugar shell, cold meat fork (l. 7 1/2 in.), preserves spoon, pickle fork and 2 master salt spoons,58 pcs., total weight (weighable) 73 troy ozs., [1500 / 2500]
667. Tiffany “Provence” Pattern Sterling Silver Flatware Service, pat. 1960, incl. 8 each: forks (l. 7 1/4 in.), knives (hh, l. 9 7/8 in.), salad forks, cream soup spoons, dessert spoons, teaspoons and butter knives (fh), vegetable serving spoon (l. 9 1/8 in.), and 2 tomato servers, 59 pcs. total,, total weight (weighable) 104.55 troy ozs., [2000 / 3000]
669. Tiffany “Winthrop” Pattern Sterling Silver Flatware Service, pat. 1909, designer Albert A. Sourhwick, incl. 12 forks (l. 7 1/2 in.), 8 knives (hh, l.10 1/4 in.), 1 knife (hh, l. 9 1/8 in.), 12 fruit knives (hh, l. 7 1/2 in.), 4 salad forks, 1 bouillon spoon, 12 teaspoons and 1 cake/pie server, 56 pcs. total;, total weight 56 troy ozs., [1200 / 1800]
668. Tiffany “Bamboo” Pattern Sterling Silver Flatware Service, pat. 1961, incl. 2 forks (l.7 3/8 in.), 4 knives (hh, l. 9 1/4 in.), 10 knives (hh, l. 8 1/4 in.), 10 salad forks,2 dessert spoons, 3 teaspoons and 2 butter knives (fh); 33 pcs. total;, total weight (weighable) 38.35 troy ozs., [1500 / 2500]
670. Group of Tiffany Sterling Silver Flatware, various patterns, incl. “Colonial”, pat. 1895, designer Paulding Farnham, 11 old-style fish forks (l. 6 5/8 in.), 1 individual caviar fork (l. 5 3/4 in.), 8 teaspoons, 2 butter knives (fh), master butter knife (fh), 4 knives (hh, l. 10 1/8 in., carbon steel blades marked “TIFFANY & Co/NEW YORK/ENGLAND) and pastry server (l. 10 3/4 in.); “Tomato/ Exposition” pattern pastry server (l. 12 1/8 in.); “St. James” pattern, pat. 1895, designer Paulding Farnham, berry spoon with gilt-washed kidney-shaped bowl (l. 9 1/4 in.) and 6 butter knives (fh); 10 demitasse spoons, pattern unknown; and 4 Aesthetic Movement hammered leaf-shaped individual salts with spoons; 54 pcs. total., total weight (weighable) 56.15 troy ozs., [1500 / 2500]
671. Miscellaneous Group of Sterling Silver Flatware, incl. Gorham “Chantilly”: 5 tablespoons, dinner fork, soup spoon, 2 demitasse spoons, and variant sardine fork; Towle “Old Colonial” chocolate muddler and 3 chocolate spoons; 7 Watson sipper/stirrers; SSMC sardine fork, French soup spoon, English Apostle spoon, Proteus sugar tongs and 4 miscellaneous pcs.; 29 pcs. total., total weight 26.70 troy ozs., [700 / 1000]
672. Miscellaneous Group of Sterling Silver Hollow Ware, incl. 2 Gorham/Whiting finger bowls (h. 2 in., dia. 4 3/8 in.), 3 A.G. Schultz ret. Hausmann’s bread plates (dia. 6 5/8 in.), R. Blackinton & Co. cigarette case (l. 5 3/8 in.), 5 Gorham butter pats, 3 Towle butter pats, 2 Webster butter pats, 2 Towle master salts, 4 Lunt Christmas ornaments, 1 Towle Christmas ornament, The Thomae Co. “do it to-day” clip (l. 3 1/4 in.), and S. Kirk & Son letter opener (l. 5 7/8 in.);, Total weight (weighable) 35.35 troy ozs., [800 / 1200]
673. Gorham “Chantilly” Pattern Sterling Silver Flatware Service, pat. 1895, designer William C. Codman, incl. 12 forks (l. 7 1/2 in.), 15 knives (hh, l. 9 1/2 in.), 5 forks (l. 7 in.), 6 knives (hh, l. 8 3/8 in.), 8 salad forks, 8 dessert spoons, 10 iced tea spoons, 12 teaspoons (l 5 7/8 in.), 1 teaspoon (l. 5 3/8 in.), 4 cream soup spoons (l. 6 5/8 in.), 5 cream soup spoons (l. 6 3/8 in.), 5 demitasse spoons, 5 ice cream forks, 5 cocktail forks, 4 butter knives (fh), 1 butter knife (hh), 9 tablespoons, salad serving fork (l. 8 7/8 in.), vegetable serving spoon (l.9 in.), tomato server, cold meat fork (l. 7 1/8 in.), 2 master butter knives, jelly server, 2 sugar shells, 3 gravy ladles, 1 cream ladle, 2 bonbon spoons, pickle/olive fork, lemon fork, olive fork, 2 small carving sets (hh, 4 pcs., l. 10 in.), master butter knife (hh), 2 cheese knives (hh), flat server (hh) and cake/pie knife (hh); 145 pcs. total., total weight (weighable) 143.25 troy ozs., [3500 / 4500]
674. Extensive Reed & Barton “Francis I” Sterling Silver Flatware Service for 24 Persons, pat. 1907, designer Ernest Meyers, incl. 24 each: dinner forks, salad forks, dinner knives (hh), teaspoons and demitasse spoons; 25 steak knives (hh), 15 master butter knives (hh), 27 oval soup spoons, 23 iced tea spoons, 2 cold meat forks (l. 8 in.), 3 tablespoons, 2 pierced tablespoons, berry spoon (l. 8 5/8 in.), gravy ladle and 2 sugar shells; 221 pcs. total., Total weight (weighable) 233.30 troy ozs., [7000 / 10000]
675. Reed & Barton “Francis I” Sterling Silver Flatware Service for 12 Persons,, pat. 1907, designer Ernest Meyers; incl. 12 each: dinner forks, salad forks, fish forks, dinner knives, fish knives, dessert spoons, cream soup spoons and teaspoons, 10 butter knives (hh), fish serving knife, cold meat fork (l. 8 in.), 2 tablespoons, 1 pierced tablespoon, gravy ladle, sugar shell, master butter knife (fh), and jelly server; 115 pcs. total;, total weight (weighable) 171.05 troy ozs., [5000 / 7000]
676. Reed & Barton “Francis I” Sterling Silver Serving Pieces, pat. 1907, designer Ernest Meyers, incl. dressing spoon (l. 13 3/4 in.), punch ladle (l. 12 in.), cake server, tomato server, cucumber server, tablespoon, cold meat fork (l. 9 in.), gravy ladle, 3 sugar shells, tea strainer, cream ladle, condiment spoon, 2 strawberry forks, 3 miscellaneous pickle/olive forks, 3 master salt spoons and 2 individual salt spoons, together with a “Burgundy” pattern baked potato fork; 25 pcs. total;, Total weight 47.35 troy ozs., [1500 / 2500]
677. Group of Reed & Barton “Francis I” Sterling Silver Serving Dishes,, incl. oval footed vegetable dish, no. X566F (l. 12 7/8 in.), bonbon no. X569 and footed bonbon no. X569F, (both dia. 8 in.); 3 pcs., Total weight 41.85 troy ozs., [1500 / 2500]
678. Reed & Barton “Francis I” Sterling Silver, incl. circular vegetable bowl, X569 (dia. 11 1/2 in.), sandwich tray X569 (dia. 11 1/2 in.) and bread tray X568 (l. 11 3/4 in.); 3 pcs., Total weight 52.90 troy ozs., [1500 / 2500]
679. Pair of Reed & Barton “Francis I” Sterling Silver Compotes,, no. X568 (h. 4 3/4 in., dia. 8 in.); and salt and pepper casters, no. X571 (h. 4 5/8 in.); 4 pcs., total weight 34.25 troy ozs., [1000 / 1500]
https://www.nealauction.com/auction-lot/ pair-of-reed-&-barton-francis-i-sterling-sil-679_c326138a98
680. Group of Reed & Barton “Francis I” Sterling Silver Tableware,, incl. 3 bread plates (dia. 7 3/8 in.), crystal and sterling lemon dish (dia. 7 in.), small urns (h. 2 1/4 in.), and 23 individual nut dishes (dia. 3 3/8 in.); 27 pcs., Total weight (weighable) 70.50 troy ozs., [1500 / 2500]
https://www.nealauction.com/auction-lot/ group-of-reed-&-barton-francis-i-sterling-si-680_2c232c4177
681. Set of Six S. Kirk & Son
Sterling Silver Water Goblets,, No. 72, flat-chased and engraved decoration, monogram “H”,, H. 6 3/4 in., total weight 28.45 troy ozs. [800 / 1200]
682. George III Sterling Silver Hot Water Jug, Richard Morson & Benjamin Stephenson, London, 1773, act. 1772-1774, hinged domed cover with flame finial, footed vase form with husk swags and stop-fluting, raffia clad handle, stepped plinth base on ball feet,, H. 12 3/8 in., weight 33.75 troy ozs. [1000 / 1500]
683. George V Sterling Silver Solitaire Cafe au Lait Set,, John Henry Rawlings, London, 1911, mark reg. 1887, incl. side-handled coffee pot and hot milk pot, each pear-form with spiral reeding, hinged domed covers with flower and pod finials, cabriole legs and pad feet, turned wood handles;, H. 6 in., combined weight 16.60 troy ozs. [500 / 700]
684. Edward VI Sterling Silver Salver,, George Nathan & Ridley Hayes, Chester, 1902, mark reg. 1897, molded shell and scroll piecrust border,, Dia. 10 1/4 in., weight 11.95 troy ozs. [350 / 450]
685. Fine Late Victorian Sterling Silver Punchbowl,, Mappin & Webb (John Newton Mappin), London, 1890, mark reg. 1883, footed form with acanthus, oakleaf, Vitruvian scroll and cabochon decoration, acanthus and reeded handles,, H. 9 7/8 in., w. 18 1/4 in., weight 110.05 troy ozs. [3000 / 5000]
686. Pair of Monumental Antique English Silverplate Five-Light Candelabra,, associated, the late Georgian Sheffield bases marked for Roberts, Smith & Co., c. 1840; associated candlearms of flower and scroll design, removeable finial., H. 24 1/2 in., [800 / 1200]
Ida Manheim Antiques, 409 Royal St., New Orleans.
687. Good Pair of Antique Sheffield Plate Wine Coolers,, 19th c., campagna form, figural frieze of bacchic putti, robust acanthus decoration, each with removable bottle liner and collar, retains original tin lined interiors, engraved crests,, H. 11 in., [700 / 1000]
688. Late Georgian Sheffield Plate Hot Water Urn, early 19th c., with presentation inscription “PRESENTED/To The Rev John Wood MA/MINISTER OF RIPLEY by the Members of His/CONGREGATION/1816”, urn form with floral scroll handles and base, flat-chased decoration, retains heating element,, H. 19 1/2 in., [500 / 700]
689. Two Victorian Sterling Silver Goblets,, incl. George John Richards, London, 1851, mark reg. 1844; and Thomas Smily, London, 1864, mark reg. 1858; each baluster form on spreading foot, chased and cabochon decoration, vacant scroll cartouches;, h. 7 1/2 in. and 7 1/4 in. respectively, combined weight 19.85 troy ozs. [700 / 900]
690. George II Sterling Silver Mug, James Manners, London, 1734, mark reg. 1734, baluster form with acanthus and scroll handle, floral and scroll chasing, vacant cartouche., H. 4 in., weight 8.35 troy ozs. [250 / 350]
691. Regency Carved Mahogany Mule Chest, 19th c., molded hinged top, interior candle box, three short drawers above two long drawers, bracket feetProvenance: Henry Stern November 1981, 42 1/4 x 68 1/2 x 21 3/4 in. (107.3 x 174 x 55.2 cm.), [1200 / 1800]
692. Hayley Lever, Australian/New York, 1876-1958, “Drawbridge, Mt. Vernon, NY”, signed lower right, inscribed twice with artist and title, handwritten label with artist and title and typed label with artist en verso, original artist painted frame, 9 1/4 x 11 1/2 in. (23.5 x 29.2 cm.), Frame: 9 1/4 x 11 1/2 x 1 in. (23.5 x 29.2 x 2.5 cm.) [700 / 1000]
Provenance: South Bay Auction, Oct. 1, 2016, lot 292
693. English Regency Carved Mahogany Dining Table, 19th c., attributed Gillows of Lancaster, design closely relates to the Imperial dining table c.1825, molded top, molded frieze, turned tapered legs, brass cup casters, three leaves., H. 28 in., D. 53 in., full length 125.5 in. Closed 51 in. [2000 / 3000]
Provenance: Ida Manheim Antiques, 409 Royal St., New Orleans.
694. Monumental Georgian Mahogany Breakfront Bookcase, Late 18th c., dent let molded cornice, glazed doors, paneled molded doors, center with fitted drawer interior, molded plinth base, 99 x 145 x 23 in. (251.5 x 368.3 x 58.4 cm.), [5000 / 7000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
695. William and Mary-Style Inlaid Oyster Veneered Chest of Drawers, 19th c., molded top with circular inlay, two short drawers over three graduated drawers, molded base, later bun feet, 35 x 37 x 22 in. (88.9 x 94 x 55.9 cm.), [2000 / 3000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
696. Fine Set of Eight William IV Caved Mahogany Dining Chairs, 19th c., after Thomas King design, possibly Gillows of Lancaster, curved tablet crest with gadrooning, reeded frame, shell centered splat, beaded and lotus carved tapered legs, two arms, six sides, Side: 35 x 19 x 17 in. (88.9 x 48.3 x 43.2 cm.), Armchair: 37 x 22 x 20 in. (94 x 55.9 x 50.8 cm.) [1000 / 1500]
697. Fine Chippendale/ Early George III Carved Mahogany Bureau Bookcase, 18th c., dentil molded broken pediment, pierced foliate crest, blind fretwork frieze, molded paneled doors with blind fretwork corners, map mounted to inside of door, fitted interior, slant front, tooled leather writing surface, fitted interior, two short drawers above three long graduated drawers, molded base, flared bracket feet, 90 x 44 x 22 in. (228.6 x 111.8 x 55.9 cm.), [3000 / 5000]
Provenance: Arthur Vernay, Inc. New York, Morton’s Auction Exchange New Orleans, 1973
698. Pair of William IV Carved Mahogany Armchairs, 19th c., in the manner of Gillows, incurvate back rails, scrolled arms, reeded seat rail. turned reeded tapered legs, 32 x 22 x 23 in. (81.3 x 55.9 x 58.4 cm.), [700 / 1000]
Provenance: Ida Manheim Antiques, 409 Royal St., New Orleans.
699. Georgian Inlaid Burl & Carved Walnut Secretary Desk, late 18th/ early 19th c., molded cornice, paneled arched molded doors, slant front, fitted desk interior, bracket feetProvenance: Henry Stern, New Orleans 1981, 88 x 39 x 19 3/4 in. (223.5 x 99.1 x 50.2 cm.), [2500 / 3500]
700. Georgian Carved Mahogany Secretaire Bookcase, late 18th/ early 19th c., broken arch pediment with fretwork, glazed doors, fall-front escritoire drawer, fitted interior, three long drawers, bracket feet, 93 x 44 1/2 x 22 1/2 in. (236.2 x 113 x 57.2 cm.), [2000 / 3000]
701. Chippendale-Style Carved Mahogany Silver Table, 19th c., molded top, open fretwork frieze, square tapered pierced carved legs, 27 1/2 x 40 x 20 1/2 in. (69.9 x 101.6 x 52.1 cm.), [700 / 1000]
Provenance: Ida Manheim Antiques, 409 Royal St., New Orleans.
702. Georgian-Style Mahogany and Tooled Leather Backgammon Table, early 20th c., removable tooled leather checkers gameboard, interior with backgammon gaming surface, square tapered legs, castors together with associated gaming pieces, 29 1/2 x 38 x 20 in. (74.9 x 96.5 x 50.8 cm.), [300 / 500]
703. Pair of Sevres-Style Bronze-Mounted Polychrome and Gilt Porcelain Lidded Urns, 20th c., winged term handles, the reserves painted with courting couples and landscapes, 28 1/2 x 13 x 9 in. (72.4 x 33 x 22.9 cm.), [1200 / 1800]
705. Royal Crown Derby “Old Imari” Porcelain Dinner Service, pattern #1128, incl. 2 candlesticks, 1 salt shaker, 1 peper shaker, 2 mustard pots, 18 small plates, 4 miniature vases, 18 demitasse cups, 18 footed cups, 18 footed cream soup bowls and 18 associated saucers, 2 vegetable bowls, 18 bread and butter plates, 18 Sheffield desert plates, 18 6 inch saucers, 1 gravy or sauce boat, 2 cream jugs, 1 sugar bowl with lid, 1 teapot with lid, 1 small milk pitcher, 1 sugar bowl with lid (variation), 1 crescent salad plate, 1 coffee pot, 18 dinner plates, 1 large serving platter, 1 octagonal luncheon plate, 2 covered vegetable dishes, 1 oval large serving platter, and 1 medium serving platter; 185 pieces, tallest: h. 10 1/2 in., [800 / 1200]
707. Herend Chinese Bouquet Porcelain Plates, marked, incl. 7 salad (dia. 8 1/4 in.), and 8 dinner (dia. 10 1/4 in.), [400 / 600]
704. Pair of Continental Majolica Brackets, shaped shelf, 13 1/2 x 11 x 8 1/2 in. (34.3 x 27.9 x 21.6 cm.), [800 / 1200]
706. Three Herend Porcelain Tablewares,, incl. a Rothschild Bird pattern cake plate and nut dish, and a Blue Garland pattern sugar with rose finial, largest 9 3/4 in. x 10 1/2 in., [400 / 600]
708. Fèlix Henri Bracquemond for Rousseau and Leveille Japonisme Soup Plate, late 19th c., tin glazed earthenware, “Chick, Fly and Flower” design from the Rousseau Service, “E.Leveille/74 BD Haussmann Paris/Rousseau” mark on underside, dia. 9.6 in. (24.5 cm.), [400 / 600]
709. Hunt Slonem, American/Louisiana, b. 1951, “2 Red Tulips”, 2023, signed, titled, dated and inscribed “JEMO434” en verso, framed., 10 x 8 in. (25.4 x 20.3 cm.), Frame: 16 x 14 x 1 1/4 in. (40.6 x 35.6 x 3.2 cm.) [2000 / 3000]
710. Hunt Slonem, American/Louisiana, b. 1951, “Sevre Blue 2”, 1998, signed, titled and dated en verso, inscribed “FA420” and handwritten label inscribed “Albania” on stretcher, framed., 60 x 72 in. (152.4 x 182.9 cm.), Frame: 64 3/4 x 76 1/2 x 1 3/4 in. (164.5 x 194.3 x 4.4 cm.) [15000 / 25000]
Exh.: “Antebellum POP!”, LSU Museum of Art, Baton Rouge, LA, Apr. 22 - Aug. 5, 2016.
Provenance: Acquired from the artist; Private Collection, New Orleans, LA.
711. William Tolliver, American/Louisiana, 19512000, “Untitled: Abstract Nude”, signed lower right, unframed., Overall: 91 1/4 x 82 3/4 in. (231.8 x 210.2 cm.), [4000 / 6000]
712. William Tolliver, American/Louisiana, 19512000, “Sheba”, signed lower left, inscribed “P/P” midright, unframed., Sheet: 30 x 22 1/4 in. (76.2 x 56.5 cm.), [1000 / 1500]
713. James Michalopoulos, American/Louisiana, b. 1951, “Magazonia”, 1994, signed, titled and dated en verso, framed., 40 x 30 in. (101.6 x 76.2 cm.), Frame: 41 x 31 x 3/4 in. (104.1 x 78.7 x 1.9 cm.)
[6000 / 8000]
714. James Michalopoulos, American/ Louisiana, b. 1951, “Two for the Road”, 2020, signed lower left, signed, titled, dated and inscribed “Sketch 2/2” en verso, inscribed “C506B” on stretcher, framed., 18 x 24 in. (45.7 x 61 cm.), Frame: 19 1/2 x 15 1/4 x 1 1/2 in. (49.5 x 38.7 x 3.8 cm.) [2500 / 3500]
715. James Michalopoulos, American/Louisiana, b. 1951, “Burk’s Respite”, 1995, signed lower left, signed and dated en verso, titled and inscribed “2986” on stretcher, framed., 30 x 24 in. (76.2 x 61 cm.), Frame: 31 x 24 3/4 x 3/4 in. (78.7 x 62.9 x 1.9 cm.) [4000 / 6000]
716. James Michalopoulos, American/ Louisiana, b. 1951, “Deliberating Distance”, pencil-signed and numbered “PP 2/26” lower margin, “BFK Rives” watermark, unframed., Sheet: 31 1/2 x 40 in. (80 x 101.6 cm.),
[400 / 600]
717. Frank Relle, American/Louisiana, b. 1976, “Solomon”, “Lesseps”, “Mirabeau” and “Coolidge”, negative creation dates 2007 or 2009, print dates 2017 or 2018, each pencil-signed, titled and dated lower margin, each with artist label with title, negative and print dates and edition numbers “5/14”, “2/16”, “7/14” and “2/10” respectively on backing paper, from the “Nightscapes” series, framed alike. (4 pcs.), Images: 16 x 24 in. (40.6 x 61 cm.), Frames: 29 1/4 x 35 1/4 x 1 in. (74.3 x 89.5 x 2.5 cm.)
[1500 / 2000]
718. Robert Gordy, American/Louisiana, 1933-1986, “Women with Fruit,” “Green Nile,” “Women Climbing Stairs” and “Folly”, each pencil-signed lower right and numbered “87/100” lower left, unframed; together with a hard folio. (5 pcs.), Sheets: 25 x 33 in. (63.5 x 83.8 cm.) to 33 x 25 in. (83.8 x 63.5 cm.),
[1200 / 1800]
Provenance: Neal Auction, July 12, 2008, lot 340.
719. George Rodrigue, American/Louisiana, 1944-2013, “Cajun Fisherman (Tee Coon)”, signed and numbered “6/10” on base of tree, wood base. 11 x 11 1/2 x 10 in. (27.9 x 29.2 x 25.4 cm.), Overall Height: 12 in. (30.5 cm.)
[6000 / 8000]
Provenance: Acquired from artist Philip Sage.Note: George Rodrigue’s first experience with sculpture came as a young child bedridden with polio when his mother brought him paint-by-number sets and modeling clay. He continued to explore threedimensional designs throughout his life. In the 1970s, he created clay sculptures inspired by his own Cajun culture, echoing the themes of his paintings with figures melded into the Louisiana oak tree. He first modeled the soft clay with his fingers and then chiseled the hardened material with metal tools to achieve his desired surfaces. Once complete, he worked with a foundry to transform the clay models using a classical lost wax process into finished bronze sculptures. By the 1980s, he primarily utilized the Shidoni Foundry in Tesuque, New Mexico, although he also spent extensive time in the mid-1980s at a foundry in Pietrasanta, Italy ñ a town famous for its foundries and marble since the Italian Renaissance. In the bronze offered here, the oak tree and fisherman with his pirogue appear to have leapt from one of Rodrigue’s canvases into three dimensions with the dark, rich patina of the bronze evoking the atmosphere of the bayou. The fisherman is modeled after Tee Coon, the janitor at Catholic High in New Iberia, Louisiana and a good friend of the artist, whose likeness was immortalized dozens of times over the years in Rodrigue’s paintings and this rare sculpture.
720. George Rodrigue, American/Louisiana, 1944-2013, “Bears a Resemblance: Black”, 1995, signed and numbered “14/50” lower left, artist stamp en verso, framed., 22 x 21 3/8 in.
(55.9 x 54.3 cm.), Frame: 25 1/4 x 24 3/4 x 1 in.
(64.1 x 62.9 x 2.5 cm.)
[2000 / 3000]
Ill.: Rodrigue, George and Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonnè 1970-2007. New York: Abrams, 2008, p. 106.
721. Andrew Bucci, American/Mississippi, 1922-2014, “Daphne Variation”, “Untitled”, “Untitled: Abstract”, “Bird”, “Study” and “Figure”, each pencilsigned lower right, 2 titled lower left, one titled lower center, “Daphne” numbered “10/10” and dated 1954, “Bird” numbered “2/8”, “Study” numbered “8/10”, unframed. (6 pcs.), Sheets: 13 x 10 1/4 in. (33 x 26 cm.) to 20 x 13 in. (50.8 x 33 cm.), [700 / 1000]
723. Andrew Bucci, American/Mississippi, 1922-2014, “Yellow Abstract”, “Yellow Abstract #2” and “Yellow Abstract #3”, 2 signed lower left, one signed lower right, unframed. (3 pcs.), Sheets: 12 x 19 1/8 in. (30.5 x 48.6 cm.), [600 / 800]
722. Andrew Bucci, American/Mississippi, 1922-2014, “Figure”, “Untitled: Figure”, “Figures” and “Face”, each pencil-signed lower right, one titled, “Figure” numbered “6/7”, “Face” numbered “1/14”, unframed. (4 pcs.), Sheets: 13 x 9 7/8 in. (33 x 25.1 cm.) to 19 7/8 x 13 1/4 in. (50.5 x 33.7 cm.), [600 / 800]
724. Andrew Bucci, American/Mississippi, 1922-2014, “Candy Box” and “Abstract Composition”, each pencil-signed lower right, one titled lower left, unframed. (2 pcs.), Sheets: 19 x 12 in. (48.3 x 30.5 cm.), [400 / 600]
725. William Dunlap, American/Mississippi, b. 1944, “Oxford the Wonder Dog”, 2011, signed lower right, signed, titled, dated and inscribed en verso, framed., 24 x 36 in. (61 x 91.4 cm.), Frame: 25 1/4 x 37 1/4 x 1 3/4 in. (64.1 x 94.6 x 4.4 cm.) [5000 / 8000]
727. Emmitt Thames, American/Mississippi, b. 1933, “Side Porch”, 1969, signed and dated lower right, framed., 27 x 22 5/8 in. (68.6 x 57.5 cm.), Frame: 38 1/8 x 32 x 1 1/2 in. (96.8 x 81.3 x 3.8 cm.) [800 / 1200]
726. William Dunlap, American/Mississippi, b. 1944, “White on Gray”, 2018, signed lower right, titled lower left, signed, titled, dated and inscribed en verso, framed., 18 3/4 x 24 3/4 in. (47.6 x 62.9 cm.), Frame: 24 3/4 x 30 3/4 x 1 in. (62.9 x 78.1 x 2.5 cm.) [1000 / 1500]
728. Emmitt Thames, American/Mississippi, b. 1933, “Open Barn”, 1971, signed and dated lower right, framed., 22 1/4 x 30 1/4 in. (56.5 x 76.8 cm.), Frame: 32 x 40 x 2 in. (81.3 x 101.6 x 5.1 cm.) [800 / 1200]
729. Emmitt Thames, American/ Mississippi, b. 1933, “The Quiet of Winter”, 1972, signed and dated lower left, “Gallery D’arts” label on backing paper, framed., 22 1/4 x 30 in. (56.5 x 76.2 cm.), Frame: 30 1/2 x 38 1/4 x 2 1/4 in. (77.5 x 97.2 x 5.7 cm.) [800 / 1200]
730. Robert Malcolm Rucker, American/Louisiana, 1932-2001, “Louisiana Barn”, signed lower right, framed., 11 x 15 1/4 in. (27.9 x 38.7 cm.), Frame: 19 1/4 x 22 3/4 x 1 in. (48.9 x 57.8 x 2.5 cm.) [600 / 800]
732. Robert Malcolm Rucker, American/Louisiana, 1932-2001, “Lacework Balcony in New Orleans”, signed lower center, “Harmanson’s Art & Book Store, Royal Street” stamp en verso, framed. Provenance: Harmanson’s Art & Book Store, New Orleans, LA., 14 5/8 x 5 1/4 in. (37.1 x 13.4 cm.), Frame: 20 x 11 1/4 x 1/2 in. (50.8 x 28.6 x 1.3 cm.)
[300 / 500]
731. Robert Malcolm Rucker, American/Louisiana, 1932-2001, “Sugar Kettle”, signed lower right, framed., 11 x 15 1/4 in. (27.9 x 38.7 cm.),
19 1/4 x 22 3/4 x 1 in. (48.9 x 57.8 x 2.5 cm.) [600 / 800]
733. Robert Malcolm Rucker, American/Louisiana, 1932-2001, “New Orleans Street Lamp”, signed lower left, “Harmanson’s Art & Book Store, Royal Street” stamp en verso, framed.Provenance: Harmanson’s Art & Book Store, New Orleans, LA., 14 5/8 x 5 3/8 in. (37.1 x 13.7 cm.), Frame: 20 x 11 1/4 x 1/2 in. (50.8 x 28.6 x 1.3 cm.)
[300 / 500]
Frame:
735. Robert Malcolm Rucker, American/Louisiana, 1932-2001, “Steamboat America”, signed lower right, framed.Provenance: Harmanson’s Art & Book Store, New Orleans, LA., 8 x 10 in. (20.3 x 25.4 cm.), Frame: 11 1/2 x 13 1/2 x 1 1/2 in. (29.2 x 34.3 x 3.8 cm.) [700 / 1000]
734. Robert Malcolm Rucker, American/Louisiana, 1932-2001, “Misty Morning Crabbing”, signed lower left, framed., 16 x 20 in. (40.6 x 50.8 cm.), Frame: 20 1/4 x 24 3/8 x 1 1/2 in. (51.4 x 61.9 x 3.8 cm.) [2000 / 3000]
736. Robert Malcolm Rucker, American/Louisiana, 1932-2001, “Steamboat J.M. White”, signed lower left, framed.Provenance: Harmanson’s Art & Book Store, New Orleans, LA., 8 x 10 in. (20.3 x 25.4 cm.), Frame: 11 1/2 x 13 1/2 x 1 1/2 in. (29.2 x 34.3 x 3.8 cm.) [700 / 1000]
737. R.C. Davis American/Louisiana b. 1950 “Bayou Landscape”, 1981, signed and dated lower right, “Collier’s Gallery” label on backing paper, framed., 24 x 48 in. (61 x 121.9 cm.), Frame: 29 x 53 x 2 in. (73.7 x 134.6 x 5.1 cm.) [600 / 800]
738. Don Wright, American/Louisiana, 1938-2007, “Lake Pontchartrain Landscape”, 1976, signed and dated lower right, framed., 23 1/4 x 35 7/8 in. (59.1 x 91.1 cm.), Frame: 24 1/4 x 36 1/8 x 3/4 in. (61.6 x 91.8 x 1.9 cm.) [1800 / 2500]
739. Don Wright, American/ Louisiana, 1938-2007, “Louisiana Landscape in the Moonlight”, 1975, signed and dated lower left, framed., 30 x 24 in. (76.2 x 61 cm.), Frame: 30 7/8 x 25 x 2 1/4 in. (78.4 x 63.5 x 5.7 cm.)
[1800 / 2500]
740. Charles Henry Reinike, American/Louisiana, 1906-1983, “Fisherman in Pirogue”, signed lower right, framed., 32 x 9 in. (81.3 x 22.9 cm.), Frame: 38 1/2 x 15 1/2 x 1 in. (97.8 x 39.4 x 2.5 cm.)
[700 / 1000]
741. Charles Henry Reinike, American/Louisiana, 1906-1983, “Shrimp Boat”, signed lower left, framed., 32 x 9 in. (81.3 x 22.9 cm.), Frame: 38 1/2 x 15 1/2 x 1 in. (97.8 x 39.4 x 2.5 cm.)
[700 / 1000]
743. Noel Rockmore, American/Louisiana, 1928-1995, “Percy Humphrey, Trumpet Player (1905-1995)”, 1966, signed and dated upper left, titled and “Artist Showroom, 612 Dumaine, New Orleans, LA” label on reverse of frame, framed., 12 1/8 x 16 in. (30.8 x 40.6 cm.), Frame: 13 1/2 x 17 1/2 x 3/4 in. (34.3 x 44.5 x 1.9 cm.) [800 / 1200]
742. Noel Rockmore, American/Louisiana, 1928-1995, “From Life: Old Man and Girl, New Orleans”, 1970-71, signed, dated, inscribed “N.O.” and titled lower left, signed, titled, dated and inscribed en verso, unframed, 30 x 40 in. (76.2 x 101.6 cm.), [2000 / 3000]
Provenance: Neal Auction, Apr. 16, 2011, lot 728.
744. Noel Rockmore, American/Louisiana, 1928-1995, “Blue Busboy”, 1984, signed, dated and inscribed “June - N.O.” lower right, framed., 24 x 19 3/4 in. (61 x 50.2 cm.), Frame: 31 3/4 x 25 1/4 x 1 in. (80.6 x 64.1 x 2.5 cm.) [500 / 700]
745. Michael J. Deas American/Louisiana b. 1956 “Tennessee Williams”, 1995, signed and dated on mat, handwritten artist label and “Heritage Auctions” label on backing paper, study for the US Postage stamp of Tennessee Williams, 14th stamp in the Commemorative Literary Arts series and first of 25 stamps designed by Deas, framed.Note: Neal Auction would like to thank Michael J. Deas for his assistance in cataloguing this lot., 7 1/2 x 9 3/4 in. (19.1 x 24.8 cm.), Frame: 11 1/2 x 13 5/8 x 2 in. (29.2 x 34.6 x 5.1 cm.) [500 / 700]
Provenance: “Rare Books Signature Auction,” Heritage Auctions, New York, NY, Oct. 17, 2013, lot 36217; Private Collection, New Orleans, LA.
746. Terrance Osborne, American/Louisiana, b. 1976, “Untitled: New Orleans”, 2001, signed and dated lower right, framed., 20 x 24 in. (50.8 x 61 cm.), Frame: 30 x 34 x 1 1/4 in. (76.2 x 86.4 x 3.2 cm.) [2000 / 3000]
747. Earl Hèbert, American/Louisiana, 1942-2006, “Reflections on the Bayou”, 1994, signed and dated lower right, framed., 48 x 72 in. (121.9 x 182.9 cm.), Frame: 53 x 77 x 1 in. (134.6 x 195.6 x 2.5 cm.) [6000 / 8000]
Note: Before he was an artist, Earl Hèbert was a successful restaurateur and owner of Lafayette’s The Beef & Ale Steakhouse and (the now legendary) Judge Roy Beans Saloon. His artistic endeavors began in the 1970s as he taught himself to paint as a hobby. In the 1980s, an event changed his outlook on art entirely. Hèbert took a trip to France and encountered the works of Monet, Gaugin and Matisse. He was so inspired that he vowed to paint fifty works a year for the rest of his life, most of them inspired by Cajun folklore and daily life. By 1989, Hèbert was exhibiting his art in Jackson Square and working as a full-time artist. He was quickly recognized and acknowledged as an important chronicler of Louisiana culture. Hèbert took cues from the French masters he so admired, employing strong light and bright primary colors to create rambunctious and timeless compositions bursting with creativity and often humor.
748. Earl Hèbert, American/Louisiana, 1942-2006, “Mother and Children”, signed lower right, framed. 48 x 36 in. (121.9 x 91.4 cm.), Frame: 50 1/2 x 38 5/8 x 1 1/2 in. (128.3 x 98.1 x 3.8 cm.) [3000 / 5000]
751. Steele Burden, American/Louisiana, 1900-1995, “Approaching Storm ñ Blue Dress” and “Approaching Storm ñ Red Dress”, each signed lower right, framed alike. (2 pcs.), 8 x 10 in. (20.3 x 25.4 cm.) and 12 x 18 in. (30.5 x 45.7 cm.), Frames: 8 3/8 x 10 3/8 x 3/4 in. (21.3 x 26.4 x 1.9 cm.) and 12 1/2 x 18 5/8 x 1 in. (31.8 x 47.3 x 2.5 cm.) [1200 / 1800]
749. Earl Hèbert, American/ Louisiana, 1942-2006, “Salt Water Cajun 4th of July Fais Do-Do Dance”, 1996, signed and dated lower right, signed on reverse of frame, original artist frame. 24 x 60 in. (61 x 152.4 cm.), Frame: 30 3/8 x 66 1/4 x 3/4 in. (77.2 x 168.3 x 1.9 cm.) [5000 / 7000]
750. Steele Burden, American/Louisiana, 1900-1995, “Watermelon Gatherers” and “Men Working”, each initialed on self-base. (2 pcs.), 2 3/4 x 6 1/8 x 2 7/8 in. (7 x 15.6 x 7.3 cm.) and 5 x 5 1/2 x 5 1/2 in. (12.7 x 14 x 14 cm.), [400 / 600]
752. Steele Burden, American/Louisiana, 1900-1995, “Bonfires on the Levee”, signed lower right, framed., 8 x 9 3/4 in. (20.3 x 24.8 cm.), Frame: 8 1/4 x 10 1/4 x 3/4 in. (21 x 26 x 1.9 cm.) [700 / 1000]
lower left,
16
20
753. Steele Burden, American/Louisiana, 1900-1995, “Feeding Chickens”, signed lower right, framed., 10 x 8 in. (25.4 x 20.3 cm.), Frame: 11 x 9 1/4 x 1 5/8 in. (27.9 x 23.5 x 4.1 cm.) [700 / 1000]
754. Steele Burden, American/Louisiana, 1900-1995, “Louisiana Swamp with Purple Hyacinths”, faintly signed lower right, later added signature
framed.,
x
in. (40.6 x 50.8 cm.), Frame: 20 x 24 x 1 in. (50.8 x 61 x 2.5 cm.) [1500 / 2500]
755. Steele Burden, American/Louisiana, 1900-1995, “Moss Gatherers”, signed lower right, framed., 8 x 10 in. (20.3 x 25.4 cm.), Frame: 8 3/8 x 10 1/4 x 3/4 in. (21.3 x 26 x 1.9 cm.) [1000 / 1500]
756. Steele Burden, American/Louisiana, 1900-1995, “Row Houses and Figures”, signed lower left, framed., 10 x 8 in. (25.4 x 20.3 cm.), Frame: 11 1/4 x 9 3/8 x 1 1/2 in. (28.6 x 23.8 x 3.8 cm.) [700 / 1000]
757. William Howard Reinhardt, Sr., American/Louisiana, 1921-2006, “Saint Elizabeth’s”, watermelon and heart monogram lower right, artist label and biography on backing paper, “WLAE-TV Channel 32 Auction” tag with artist on hanging wire, framed with title plaque., 11 x 14 in. (27.9 x 35.6 cm.), Frame: 16 3/4 x 19 3/4 x 1 1/2 in. (42.5 x 50.2 x 3.8 cm.) [500 / 700]
759. Bruce “Dapper Bruce Lafitte” Davenport, Jr., American/Louisiana, b. 1972, “T.D.B.C. Presents: RIP Pack A Jugs”, 2014, signed, dated and inscribed lower right, signed lower left, titled lower center, signed and inscribed en verso, unframed., 18 1/4 x 24 1/4 in. (46.4 x 61.6 cm.), [300 / 500]
758. Bruce “Dapper Bruce Lafitte” Davenport, Jr., American/ Louisiana, b. 1972, “All White Black Man”, “Blackass Negroe [sic]”, “Blue Negroe [sic]”, “40 Shades of Gray”, “Yellow” and “I Cove Art”, 2018, each signed, dated and inscribed lower right, each signed and initialed lower left, each titled lower center, each signed and inscribed en verso, unframed. (6 pcs.), Each: 12 x 9 in. (30.5 x 22.9 cm.), [300 / 500]
760. Bruce “Dapper Bruce Lafitte” Davenport, Jr., American/ Louisiana, b. 1972, “Untitled: Cemetery” and “T.D.B.C. Presents: RIP Mr. Hampton”, 2018 and 2019, each signed, dated and inscribed lower right, each signed and initialed lower left, each signed and inscribed en verso, one titled lower center, unframed. (2 pcs.), 8 1/4 x 5 3/4 in. (21 x 14.6 cm.) and 12 x 9 in. (30.5 x 22.9 cm.), [400 / 600]
761. Woodie Long, American/Alabama, 1942-2009, “I Think It’s A Fight Series”, signed lower right, titled and inscribed “#1619” en verso, unframed., 18 7/8 x 28 in. (47.9 x 71.1 cm.), [600 / 800]
762. Woodie Long, American/Alabama, 1942-2009, “Four Figures with Watermelons”, 1992, signed and dated lower right, pencil-inscribed “#3245” en verso, framed., 9 1/4 x 12 in. (23.5 x 30.5 cm.), Frame: 13 x 16 x 1 in. (33 x 40.6 x 2.5 cm.) [250 / 350]
763. Woodie Long, American/Alabama, 1942-2009, “Fishing”, 1992, signed and dated lower left, inscribed “#3618” en verso, unframed., 12 1/2 x 20 5/8 in. (31.8 x 52.4 cm.), [300 / 500]
764. Woodie Long, American/Alabama, 1942-2009, “Women with Watermelons”, each signed lower right, both unframed. (2 pcs.), Each: 5 1/4 x 11 3/4 in. (13.3 x 29.8 cm.), [250 / 350]
765. Fine English Regency Carved Rosewood Library Table, 19th c., in the manner of Thomas Hope, scrolled brackets, two molded frieze drawers, trestle base, scrolled supports, acanthus carvings, turned feet, castors, 29 1/2 x 63 1/2 x 31 1/2 in. (74.9 x 161.3 x 80 cm.), [2000 / 3000]
Provenance: Ida Manheim Antiques, 409 Royal St., New Orleans.
767. Georgian Inlaid Mahogany
Secretary Bookcase, late 18th c., probably Scottish, inlaid molded cornice, glazed gothic doors, with fitted interior, fall front slide out writing surface with fitted interior, two short drawers above two long, molded base, bracket feet, 105 x 50 x 23 1/2 in. (266.7 x 127 x 59.7 cm.), [2000 / 3000]
768. William IV Carved Mahogany Three Tier Trolley, 19th c., galleried tiers, finialed top, turned supports, casters, 43 1/2 x 47 x 18 in. (110.5 x 119.4 x 45.7 cm.), [800 / 1200]
Provenance: Henry Stern, New Orleans, 1981
766. Georgian-Style Carved Mahogany Serpentine Chest, Late 19th century., molded top, dressing slide, four graduating drawers, bracket feet,, 33 x 38 x 21 in. (83.8 x 96.5 x 53.3 cm.), [1000 / 1500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
769. Georgian-Style Mahogany Camel
Back Settee, late 19th c., conforming padded arms, square tapered legs, brass caps, casters, 41 1/2 x 67 x 24 in. (105.4 x 170.2 x 61 cm.), [1200 / 1800]
Provenance: Henry Stern November 1981
770. Georgian Burl Walnut Chest of Drawers, 18th and later c., banded molded top, reeded case, two short drawers above three long drawers molded base, bracket feet, 33 1/2 x 37 1/4 x 18 1/4 in. (85.1 x 94.6 x 46.4 cm.), [1000 / 1500]
Provenance: Henry Stern November 1981
771. William IV Carved Mahogany Waterfall Bookcase, 19th c., triangular pediment, four graduate shelves, two frieze drawers, turned legs, casters, 65 x 43 1/2 x 19 in. (165.1 x 110.5 x 48.3 cm.), [1200 / 1800]
772. Monumental Georgian-Style Inlaid Satinwood Mahogany Dining Table, 20th c., Benchmade by Manheim Antiques Gallery, New Orleans, LA, banded top, reeded edge, turned supports, plinth base, sabre legs, brass paw casters, 29 1/2 x 84 in. (74.9 x 213.4 cm.), [4000 / 6000] Ida Manheim Antiques, 409 Royal St., New Orleans.
1/2 x 23 x 19 1/2 in. (97.8 x 58.4 x 49.5 cm.) [2500 / 3500]
773. Set of Twelve Chippendale-Style Carved Mahogany Dining Chairs, 20th c., molded crest rail, pierced carved splat, drop in seats, molded seat rail, marlborough legs, two arms, ten sides, Arm 39 1/2 x 24 x 20 in. (100.3 x 61 x 50.8 cm.), Side 38
775. Georgian Carved Mahogany Chest on Chest, late 18th c., dental molded cornice, upper case with two short drawers above three long drawers, lower case with three long drawers, molded base bracket feet, 69 x 49 x 22 in. (175.3 x 124.5 x 55.9 cm.), [1000 / 1500]
774. Queen Anne-Style Inlaid Fruitwood Welsh Dresser, 20th c., molded banded top, four molded banded drawers, shaped apron, belflower knees, cabriole legsProvenance: Holland and Company, INC., 33 1/2 x 84 x 18 1/2 in. (85.1 x 213.4 x 47 cm.), [2000 / 3000]
777. English Barque-Style Carved Walnut Armchair, 19th c., arched back, conforming arms, turned supports and stretchers, 43 1/2 x 25 1/4 x 22 in. (110.5 x 64.1 x 55.9 cm.), [400 / 600]
Provenance: Henry Stern November 1981
776. English Barque-Style Carved Walnut Armchair, 19th c., Aubusson upholstery, high back, scrolled arms, acanthus knees, scrolled seat rail, turned supports, cabriole legs, 53 x 26 1/2 x 25 in. (134.6 x 67.3 x 63.5 cm.), [500 / 700]
Provenance: Henry Stern November 1981
778. English Regency Carved Rosewood Tilt-Top Center Table, 19th c., plain frieze, triangular standard, incurvant plinth base, ringed lobed feet, casters, 28 x 47 x 48 in. (71.1 x 119.4 x 121.9 cm.), [1000 / 1500]
779.
780.
1/2 in.; AIGL and GIA reports.[1500 / 2500]
14 kt. Yellow Gold and Tahitian Pearl Necklace, strand of 35 near round /button tahitian pearls, 11.03-13.96 mm; 18 in.; AIGL and GIA reports. [1200 / 1800]
14 kt. Yellow Gold and Golden South Sea Pearl Necklace, 37 round/near round cultured pearls, 10.00-14.00 mm; scalloped bead plunger style tension clasp; l. 17
781. Pair of 18 kt. White Gold, Golden South Sea Pearl and Diamond Dangle Earrings, 2 center near round cultured pearls, 12.80-13.20 mm; mounted with 152 round brilliant cut diamonds, total wt. approx. 3.70 cts.; l. 1 3/4 in.; GGA report. [4000 / 6000]
782. 18 kt. White Gold and Diamond Ring, center round brilliant cut diamond, wt. approx. 0.74 ct., H color, SI2 clarity; mounted with 0.49 ct. of round brilliant cut diamonds; size 6.5; GGA report.
[1800 / 2500]
783. 18 kt. White Gold and Diamond Ring, center round brilliant cut diamond, wt. approx. 1.00 ct., I color, SI3 clarity; shoulders with 12 rectangular step cut diamonds, total wt. approx. 1.00 ct., E-F color, VS1-SI1 clarity; size 6.5; AIGL report.
[2000 / 3000]
784. 14 kt. White Gold and Diamond Ring, center round brilliant cut diamond, wt. approx. 2.01 cts., H color, I1 clarity; mounted with 16 baguette and 12 round brilliant cut diamonds, G-H color, VS1-SI1 clarity; size 6.5; GGA report.
[6000 / 8000]
785. Pair of 14 kt. White Gold and Diamond Stud Earrings, 2 round brilliant cut diamonds, total wt. approx. 1.09 cts., G color, I1 clarity; AIGL report., [800 / 1200]
786. Pair of 14 kt. White Gold and Diamond Stud Earrings, 2 round brilliant cut diamonds, total wt. approx. 4.10 cts., H color, SI3 clarity; AIGL report., [12000 / 18000]
787. Pair of Three-Tone Gold and Multicolored Diamond Dangle Earrings, mounted with 6 cushion and oval fancy brownish yellow diamonds, total wt. approx. 1.93 cts.; 58 yellow round brilliant cut diamonds, total wt. approdx. 0.38 ct.; 80 pink round brilliant cut diamonds, total wt. approx. 0.68 ct.; and 164 round brilliant cut diamonds, total wt. approx. 0.90 ct.; l. 2 in.; AIGL report., [4000 / 6000]
788. 18 kt. Two Tone Gold, Yellow Diamond and Diamond Ring, center cushion modified brilliant cut fancy light yellow diamond, wt. approx. 4.02 cts.; bezel and shoulders with 62 round brilliant cut diamonds, total wt. approx. 0.48 ct., F-G color, VS2-SI1 clarity; size 6.5; AIGL and GIA reports., [25000 / 35000]
789. 14 kt. White Gold and Graduated Diamond Tennis Bracelet, 34 graduated round brilliant cut diamonds, total wt. approx. 18.17 cts., H-I color, SI2-I1 clarity; l. 7 1/4 in.; AIGL report., [12000 / 18000]
790. Platinum, Yellow Gold, Ruby and Diamond Ring, center oval mixed cut ruby, wt. approx. 1.76 cts.; mounted with 0.84 ct. of round brilliant cut diamonds; size 6.5; GGA and GIA reports., [1500 / 2500]
791. 14 kt. White Gold, Ruby and Diamond Ring, center octagonal step cut unheated ruby, wt. approx. 4.09 cts.; mounted with 166 round brilliant cut diamonds, total wt. approx. 1.57 cts.; size 7.25; AIGL report., [2500 / 3500]
792. Platinum, Ruby and Diamond Ring, center oval brilliant faceted cut ruby, wt. approx. 9.13 cts.; mounted with 2.47 cts. of round brilliant and baguette cut diamonds; size 6.75; GGA report., [4000 / 6000]
793. Pair of Platinum, Ruby and Diamond Earrings, 2 center bezel set tound brilliant cut diamonds, total wt. approx. 1.93 cts., G color, I-1 to I-2 clarity; inner bezel with 42 channel set trapezoidal mixed cut rubies, total wt. approx. 1.85 cts.; and 64 prong set round brilliant cut diamonds, total wt. approx. 0.78 ct., E-G color, SI-2 to I1 clarity; l. 1 1/4 in.; AIGL report., [4000 / 6000]
794. Platinum, Burmese Ruby and Diamond Bracelet, mounted with 39 pear and 4 oval mixed cut rubies, total wt. approx. 22.66 cts.; and 223 round brilliant cut diamonds, total wt. approx. 2.63 cts.; l. 7 in.; GGA and GIA reports., [4000 / 6000]
795. Platinum, Burmese Ruby and Diamond Dangle Earrings, mounted with 36 marquise mixed cut rubies, total wt. approx. 13.38 cts.; and 72 round brilliant cut diamonds, total wt. approx. 2.34 cts., G-I color, SI1-I1 clarity; l. 3 in.; AIGL and GIA reports., [6000 / 8000]
796. 18 kt. Two Tone Gold, Kashmir Sapphire and Diamond Ring, center round mixed cut purplish pink kashmir sapphire, wt. approx. 1.69 cts.; bezel and openwork shoulders sent with 36 round brilliant cut diamonds, total wt. approx. 0.25 cts.; AIGL and GIA reports., [2000 / 3000]
797. Platinum, Kashmir Sapphire and Diamond Bracelet, mounted with 25 purple-pink round, oval, and cushion mixed cut unheated Kashmir sapphires, total wt. approx. 16.01 cts.; and 72 round brilliant cut diamonds, total wt. approx. 0.99 ct., F-G color, VS1-VS2 clarity; l. 7 in.; AIGL and GIA reports., [6000 / 8000]
798. 18 kt. White Gold , Pink Sapphire and Diamond Necklace, mounted with 11 oval brilliant facetd cut pink sapphires, total wt. approx. 9.40 cts.; and 325 round brilliant cut diamonds, total wt. approx. 9.60 cts.; l. 16 1/4 in.; GGA report., [10000 / 15000]
799. 18 kt. Two Tone Gold, Paraiba Tourmaline and Diamond Ring, center cushion modified brilliant faceted cut paraiba tourmaline, wt. approx. 5.39 cts.; double bezel and openwork shoulders mounted with 70 round brilliant cut diamonds, total wt. approx. 0.77 ct.; and 28 fancy light pink round brilliant cut diamonds, total wt. approx. 0.32 ct.; size 6.5; GGA and GIA reports., [7000 / 9000]
800. Platinum, Aquamarine and Diamond Necklace, mounted with 30 cushion, pear, oval, round and rectangular aquamarines, total wt. approx. 52.65 cts.; linked by 178 round diamonds, total wt. approx. 3.39 cts., G-I color, VS2-SI2 clarity; l. 18 1/4 in; AIGL report, [10000 / 15000]
801. 14 kt. White Gold, Blue Sapphire and Diamond Ring, center bezel set oval mixed cut sapphire, wt. approx. 6.98 cts.; bezel and shoulders with 40 round brilliant cut diamonds, total wt. approx. 0.62 cts.; size 6.25; GGA report. [1500 / 2500]
802. Platinum, Sapphire and Diamond Ring, center GIA certified no heat oval mixed cut blue sapphire, wt. approx. 5.75 cts.; elaborate bezel mounted with 126 round brilliant cut diamonds, total wt. approx. 2.27 cts., F-G color, VS2-SI2 clarity; size 6.75; AIGL and GIA reports., [8000 / 12000]
803. Platinum, Tanzanite and Diamond Ring, center cushion brilliant faceted cut tanzanite, total wt. approx. 8.18 cts.; bezel and shoulders set with 14 baguette cut diamonds and 30 round brilliant cut diamonds, total wt. approx. 2.77 cts.; size 6.5; GGA and GIA reports. [6000 / 8000]
804. Platinum, Tanzanite and Diamond Bracelet, mounted with 14 cushion modified brilliant cut tanzanite, total wt. approx. 46.14 cts.; linked by 52 round brilliant cut diamonds, total wt. approx. 1.33 cts.; l. 7 1/4 in.; AIGL report.[10000 / 15000]
805. Platinum, Colombian Emerald and Diamond Ring, center octagonal mixed cut emerald, wt. approx. 0.85 ct.; ballerina bezel with 24 baguette cut diamonds, total wt. approx. 0.95 ct.; size 4.25; GGA and GIA reports.[2500 / 3500]
806. Platinum, Emerald and Diamond Ring, center octagonal step cut emerald, wt. approx. 2.66 cts.; double bezel and shoulders with 50 round brilliant cut diamonds, total wt. approx. 0.99 ct.; size 7; AIGL and GIA reports., [2500 / 3500]
807. Platinum, Columbian Emerald and Diamond Ring, center prong set oval mixed cut emerald, wt. approx. 3.12 cts.; openwork bezel mounted with 56 round brilliant cut diamonds, total wt. approx. 1.44 cts.; size 6.75; AIGL and GIA reports. [4000 / 6000]
808. 14 kt. Yellow Gold, Emerald and Diamond Bracelet, mounted with 19 oval mixed cut emeralds, total wt. approx. 9.12 cts.; and 228 round brilliant cut diamonds, total wt. approx. 3.74 cts.; l. 7 in.; AIGL report. [4000 / 6000]
809. Platinum, Emerald and Diamond Three Stone Ring, mounted with 3 octagonal step cut emeralds, total wt. approx. 4.32 cts.; bezels with 34 round brilliant cut diamonds, total wt. approx. 1.28 cts; size 7; AIGL report. [4000 / 6000]
810. Art Deco Style Platinum, Emerald and Diamond Ring, center octagonal mixed cut emerald, wt. approx. 4.01 cts.; mounted with 42 round brilliant cut diamonds, total wt. approx. 0.74 ct.; size 6.75; GGA report.
[2000 / 3000]
811. 14 kt. White Gold, Multicolored Sapphire and Diamond Ring, mounted with 8 pear and marquise mixed cut multicolored sapphires, total wt. approx. 5.86 cts.; and 33 round brilliant cut diamonds, total wt. approx. 1.08 cts.; size 7.75; AIGL report. [3000 / 5000]
812. Platinum, Spinel and Diamond Necklace, mounted with 53 oval, cushion, round brilliant and octagonal step cut multicolor spinel, total wt. approx. 59.16 cts.; and 1.62 cts. of round brilliant cut diamonds; l. 17 3/4 in.; GGA report. [7000 / 9000]
AUCTION SCHEDULE
December 4 - The Luxury Edit: Jewelry & Fashion Auction
January 23, 2026 - Premier Collections Auction
* dates may be subject to change
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