Premier Estate Collections: Art & Interiors April 4, 2025
~ PREMIER ESTATE COLLECTIONS ~
Select Property from Estates and Private Collections; Southern Fine Art, Antique Furniture and Decorative Objects, Sculpture, Wine & Spirits, Fine Jewelry and Couture, Fine Silver, Chandeliers and Lighting, Carpets, Porcelain, Mirrors, and more!
EXHIBITION
Monday, March 24 through Thursday April 3, 10 a.m. to 5 p.m.
SATURDAY PREVIEW
Saturday, March 29, 10 a.m. to 3 p.m.
EVENING PREVIEW
Tuesday, April 1, 5-7 p.m.
LIVE & ONLINE AUCTION
April 4, beginning at 11 a.m., lots 1-418
2.
Pair of 18 kt. Yellow Gold and Diamond Stud Earrings, 2 round cut diamonds, total wt. approx. 1.32 cts.; bezels with numerous round diamonds, total wt. approx. 0.36 cts. [$1,500 - 2,500]
4. Two 18 kt. Yellow Gold and Gemstone Bands, marked, size 5.5 [$700 - 900]
6. 14 kt. White Gold and Diamond Solitaire Ring, center prong set princess cut diamond, wt. approx. 0.70 ct., D color, SI2 clarity; size 6; GIA report. [$800 - 1,200]
1. 14 kt. Two Tone Gold, Emerald and Diamond Pendant on Chain, center pear shape emerald, wt. approx. 2.63 cts.; mounted with 1 pear and 1 heart shape diamond, total wt. approx. 0.94 ct.; pendant l. 1 1/8 in.; chain l. 16 in. [$1,200 - 1,800]
3. 14 kt. Yellow Gold and Diamond Tennis Bracelet, mounted with 33 round diamonds, total wt. approx. 11.32 cts.; l. 7 in. [$6,000 - 8,000]
5. Art Deco Style 18 kt. White Gold, Diamond and Sapphire Ring, center bezel set round diamond, wt. approx. 2.33 ct.; accented by numerous invisibly set sapphires and round diamonds; size 7 [$3,000 - 5,000]
7. 14 kt. White Gold and Diamond Line Bracelet, mounted with 58 round diamonds, total wt. approx. 2.86 cts., l. 7 in. [$1,500 - 2,500]
8. 18 kt. White Gold and Diamond Dangle Earrings, mounted with 10 graduated round diamonds, total wt. approx. 4.06 cts.; l. 1 1/4 in. [$2,500 - 3,500]
9. Pair of 14 kt. White Gold and Diamond Stud Earrings, 2 round diamonds, wt. approx. 1.04 cts. and 1.01 cts. [$2,500 - 3,500]
11. 14 kt. White Gold and Diamond Bangle Bracelet, mounted with numerous mixed shape diamonds, total wt. approx. 6.32 cts.; flexible opening; inner circ. approx. 6 1/2 in. [$5,000 - 7,000]
10. 18 kt. White Gold and Diamond Lariat Necklace, mounted with numerous round diamonds, total wt. approx. 4.51 cts.; l. 16 1/2 in.; l. (inc. lariat) 19 1/2 in. [$4,000 - 6,000]
12. 14 kt. White Gold and Graduated Diamond Necklace, center round diamond, wt. approx. 1.00 ct.; mounted with numerous round graduated diamonds, total wt. approx. 14.76 cts.; l. 17 1/2 in. [$10,000 - 12,000]
13. 18 kt. White Gold and Diamond Line Necklace, mounted with numerous round diamonds, total wt. approx. 23.08 cts.; l. 18 in. [$15,000 - 18,000]
14. Pair of 18 kt. White Gold, Diamond and Ruby Earrings, 2 center round diamonds, wt. approx. 1.00 ct. and 1.02 cts.; surrounded by numerous diamonds and rubies; dia. 1/2 in. [$3,000 - 4,000]
15. 18 kt. White Gold, Tourmaline and Diamond Ring, center round tourmaline, wt. approx. 2.02 cts.; bezel and shoulders set with numerous round diamonds, total wt. approx. 0.40 ct.; size 7 [$500 - 700]
16. Hermes “Clipper” Stainless Steel Watch, ref. CL7.710, 38mm., quartz movement, white dial, rotating bezel, date function, sapphire crystal, deployant bracelet, extra links, box and instructions [$400 - 600]
17. Cartier Sterling Silver Tripartite
Dressing Table Mirror, probably early 20th c., marked “Cartier”, “STERLING” and “925-1000”, beveled mirror plates inset in molded surrounds with beaded borders, central arched panel h. 21 in., w.13 in., flanking panels h. 18 3/4 in., w. 10 in.
[$1,000 - 2,000]
18. American Sterling Silver Center Bowl, probably 1st half 20th c., everted reticulated rim with cast shells, scrolls and small bouquets, H. 3 1/2 in., diameter 13 1/2 in., weight 30.30 troy ozs. [$700 - 1,000]
19. Good American Sterling Silver Water Pitcher, Theodore B. Starr, New York, NY, act. 1877-1924, no. 4457, paneled vase form with floral and scroll repousse, C-scroll handle, spreading foot, h. 9 in., weight 30.20 troy ozs. [$700 - 1,000]
20. Gorham Sterling Silver Footed Centerbowl, No. A4162, molded foliate scroll borders on rim and foot rim, h. 4 1/2 in., dia. 12 in., weight 32.95 troy ozs. [$700 - 1,000]
21. American Sterling Silver Coffee and Tea Service, International, pattern C370C, incl. coffee pot (h. 10 1/4 in.), teapot, covered sugar, creamer and waste bowl; TOGETHER WITH Gorham silverplate tea tray no. YC777 (26 1/4 in. x 19 1/8 in.), total weight (weighable) 75.35 troy ozs. [$1,500 - 2,500]
22. Antique American Sterling Silver Bowl, late 19th/early 20th c., wide molded border cast with calla lilies and irises with foliage on stippled ground, h. 1 1/2 in., dia. 7 1/8 in., weight 7.80 troy ozs. [$200 - 300]
23.Vintage Silverplate Trumpet Epergne, serpentine rose leaf and vine base fitted with removable trumpet vases, overall h. 8 3/4 in., l. 25 1/4 in., w. 17 1/4 in. [$400 - 600]
24. Art Nouveau Silvered Brass Figural Plateau, c. 1900, surmounted by figure of Psyche surrounded by irises and foliage, beveled mirror plate, h. 10 1/2 in., w. 22 in., d. 9 in.
[$500 - 700]
25. International “Frontenac” Pattern Sterling Silver Flatware Service, pat. 1903, designer John Clulee, incl. 12 each: forks (l. 7 1/2 in.), knives (hh, l. 9 7/8 in.), knives (hh, l. 9 in.), fruit knives (hh), butter knives (fh), bouillon spoons, ice cream forks, strawberry forks, demitasse spoons, chocolate spoons; 18 cream soup spoons, 11 cocktail forks, 11 salad forks, 11 ice cream spoons, 26 teaspoons, 6 tablespoons, asparagus server, berry spoon (l. 9 in.), 2 cold meat forks (l. 8 3/4 in.), salad serving spoon (l. 8 7/8 in.), jelly server, 2 master butter knives, cheese scoop, sardine fork, horseradish spoon, olive fork, pickle fork, mustard ladle, butter pick and sugar tongs, 219 pcs. total, total weight (weighable) 190.15 troy ozs.
[$3,500 - 5,000]
27. Wallace “Grand Victorian” Sterling Silver Flatware Service, pat. 1973, incl. 12 each: dinner forks (l. 8 1/8 in.), dinner knives (hh, l. 9 3/4 in.), salad forks and teaspoons; 14 dessert spoons, 5 cocktail forks, 2 tablespoons, pierced tablespoons, cold meat fork, sugar shell, master butter knife (hh) and gravy ladle; 74 pcs. total; total weight (weighable) 115.30 troy ozs. [$2,000 - 4,000]
26. Gorham “English Gadroon” Pattern
Sterling Silver Flatware Service, pat. 1939, designed by F. Russell Woodward and Axel H. Staf, incl. 22 forks (l. 7 5/8 in.), 24 knives (hh, l. 9 1/2 in.), 22 steak knives ( hh, l. 8 3/4 in.), 23 salad forks, 13 cream soup spoons, 20 teaspoons, 16 iced tea spoons, 20 cocktail forks, 17 butter knives (fh), 19 demitasse spoons, 7 tablespoons, 1 pierced tablespoon, salad serving spoon, 2 cold meat forks, gravy ladle, 2 cream ladles, large and small tomato servers, jelly server, sugar shell, 3 lemon forks, pickle fork, carving fork (hh) and 2 cake knives, most with Gothic “T” monogram; TOGETHER WITH Gorham “King Edward” tablespoon, Gorham “Strasbourg fork (l. 7 5/8 in.), Gorham “Melrose” fork (l. 7 3/4 in.), Gorham “Classic Bouquet” teaspoon, 11 Reed & Barton “Francis I” demitasse spoons, 3 Gorham “Baronial” demitasse spoons, Wallace “Carnation” olive spoon (l. 8 in.) and Dominick & Haff “Queen Anne” gravy ladle, total weight (weighable) 204 troy ozs.
[$3,500 - 4,500]
28. Tiffany “Richelieu” Pattern
Sterling Silver Flatware Service, pat. 1898, designer Paulding Farnham, incl. 12 forks (l. 7 1/2 in.), 12 knives (hh, stainless blades, l. 9 1/8 in.), 18 forks (l. 6 7/8 in.), 4 tablespoons, 9 teaspoons, 6 bouillon spoons, 1 dessert spoon, master butter knife, 3 butter knives (fh), 14 tea knives with sterling blades (hh, l. 7 5/8 in.), oyster fork, gravy ladle, soup ladle (l. 12 1/2 in.), salad serving fork (gilt wash tines, l. 9 7/8 in.); 74 pcs. total; total weight (weighable) 111.70 troy ozs.
[$2,000 - 3,000]
29. Extensive Gorham “Florentine” Pattern Sterling Silver Flatware Service, pat. 1901, designer William C. Codman, incl. 12 each: forks (l. 7 3/4 in.), forks (l. 7 1/4 in.), knives (hh, silverplate blades, l. 9 5/8 in.), fish knives (fh), fruit knives (hh), butter knives (fh), pie forks, ice cream forks, cocktail forks, dessert spoons, cream soup spoons, bouillon spoons, ice cream spoons, citrus spoons, chocolate spoons and demitasse spoons; 11 knives (hh, silverplate blades, l. 8 1/2 in.), 14 fish forks, 10 salad forks, 11 berry forks, 6 tablespoons, 24 teaspoons, and 6 master salt spoons; 274 pcs. total. Total weight (weighable) 372.35 troy ozs. [$5,000 - 7,000]
30.Good Group of Gorham “Florentine” Pattern Sterling Silver Flatware Serving Pieces, pat. 1901, designer William C. Codman, incl. tomato server (l.7 5/8 in.), 2 berry spoons (gilt wash bowls, l. 9 in. and 7 1/4 in.), salad serving fork and spoon (gilt wash tines and bowl, l. 10 1/2 in.), gravy ladle (gilt wash bowl), cream ladle (gilt wash bowl), mustard ladle, asparagus serving fork (l. 9 1/4 in.), sugar tongs, cheese scoop (l. 8 1/4 in.), master butter knife, sardine fork, vegetable serving fork (l. 8 3/4 in.), pie server (l. 9 1/4 in.), serving spoon (l. 9 in.), fish serving knife (l. 12 1/4 in.), ice cream slice (gilt wash blade, l. 11 1/4 in.), crumber, chipped beef fork (l. 6 7/8 in.) and cold meat fork (l. 8 3/8 in.); total weight 74.55 troy ozs. 21 pcs. [$1,500 - 2,500]
31. Group of Gorham “Florentine” Pattern Sterling Silver Flatware, pat. 1901, designer William C. Codman, incl.12 gamebird forks and knives, hollow handles with carbon steel tines and blades; large carving knife and fork, small carving knife and fork, carving steel, poultry shears and cake knife (hh) with silverplate blade. [$200 - 400]
32. Set of Ten Shreve and Co. Sterling Silver Champagne Coupes, act. San Francisco 1852 to present, probably c. 1960, No. 8944, gilt wash interiors, loaded bases. H. 5 in. [$800 - 1,200]
33. Shreve and Co. Sterling Silver Table Candlesticks, act. 1852 to present, probably mid-20th c., No. 7679, elongated baluster form with engraved scrolls and flowers, removable bobeches, loaded bases. H. 15 1/8 in. [$300 - 500]
35. Reed & Barton Sterling Silver Water Pitcher, No. X766, date code for 1942, H. 8 3/4 in., weight 26.15 troy ozs. [$500 - 700]
36. Reed & Barton “Hepplewhite” Sterling Silver Covered Vegetable Dish, No. 560, cover with removable handle, H. 4 3/4 in., l. 10 7/8 in., weight 34.85 troy ozs. [$600 - 900]
34. Wm. B. Kerr & Co. Sterling Silver Child’s Bowl and Underplate, late 19th/early 20th c., No. 5243, each with acid-etched panels of farm and domestic animals, bowl h. 1 3/4 in., dia. 4 1/4 in., plate dia. 5 5/8 in., weight 6.45 troy ozs. [$250 - 350]
[$2,500
38. George II Sterling Silver Charger, Paul de Lamerie, London, 1746, engraved with royal crest and motto of George II, dia. 13 in., weight 49.40 troy ozs.
- 3,500]
37. Set of Four Old Sheffield Plate Entree Dishes, 19th c., oblong with foliate scroll borders, removable handles, engraved crests on inset silver shields, rolled edges, h. 6 1/4 in., l. 13 in., w. 9 3/4 in. [$400 - 600]
39. George III Mahogany Bachelor’s Chest, 18th c., molded top, dressing slide, two short over four graduated drawers, bracket feet, 33 1/2 x 18 x 31 in. (85.1 x 45.7 x 78.7 cm.) [$700 - 1,000]
40. American Sheraton-Style Carved Mahogany Sofa, Late 19th c., molded arched crest rail, urn form supports, lobed tapered legs, 35 x 23 x 82 1/2 in. (88.9 x 58.4 x 209.6 cm.)
[$1,000 - 1,500]
41. William IV Mahogany Reclining Library Chair, 19th c., possibly Scottish, scrolled rectangular back, padded scrolled arms, turned legs, castors, 40 x 24 1/2 x 27 1/2 in. (101.6 x 62.2 x 69.9 cm.)
[$700 - 1,000]
42. Fine Regency Inlaid Mahogany
Sideboard, 19th c., probably Scottish, paper label in drawer, J.T Needs stamped locks, galleried top with centered shell inlay, three frieze drawers above four shell inlaid doors, tapered legs, 40 x 90 1/2 x 23 1/2 in. (101.6 x 229.9 x 59.7 cm.)
[$2,500 - 3,500]
43. Antique English Brass Mounted Mahogany Folding Library Ladder, 19th c., hanging ring on top, four rungs, 79 1/2 x 6 x 3 in. (201.9 x 15.2 x 7.6 cm.), Frame: 67 x 15 1/2 x 3 in. (170.2 x 39.4 x 7.6 cm.)
[$700 - 1,000]
44. George III-Style Burl Walnut Chest of Drawers, 19th c., molded banded top, banded two short drawers over two long drawers, bracket feet, 28 1/4 x 19 1/2 x 37 1/2 in. (71.8 x 49.5 x 95.3 cm.)
[$1,000 - 1,500]
46. Georgian-Style Burl Walnut Bachelor’s Chest, 20th c., molded top, dressing slide, four graduated drawers, bracket feet, 30 1/2 x 16 1/2 x 30 1/4 in. (77.5 x 41.9 x 76.8 cm.) [$500 - 700]
48. Fine Regency Satinwood Canterbury, 19th c., divided interior with lyre and anthemion petals, single drawer, turned legs, brass cup castors, h. 21 1/2 in., w. 20 1/2 in., d. 14 3/4 in. [$500 - 700]
45. English Baroque-Style Carved Walnut Bench, 19th and later c., scrolled arms, gadrooned molded seat rail, turned and scrolled stretchers, cabriole legs, h. 25 in., w. 52 in., d. 22 in. [$1,000 - 1,500]
47. Regency Carved Mahogany Games Table, 19th c., fold over swivel top, turned standard, reeded sabre legs, brass cup castors, 29 x 21 x 46 in. (73.7 x 53.3 x 116.8 cm.), Frame: 28 1/2 x 42 x 46 in. (72.4 x 106.7 x 116.8 cm.) [$500 - 700]
50. George III Inlaid Walnut Chest of Drawers, early 19th c., molded top, banded drawers, two drawers over three long drawers, bracket feet, 35 1/2 x 37 x 18 in. (90.2 x 94 x 45.7 cm.) [$700 - 1,000]
49. Pair of Georgian-Style Carved Mahogany Bedside Stands, 19th and later c., molded top, two drawers, molded plinth base, 29 x 16 3/4 x 21 in. (73.7 x 42.5 x 53.3 cm.) [$700 - 1,000]
51. Group of Baccarat Crystal “Montaigne” Stemware, marked, incl. 14 wine glasses, h. 7 3/4 in.; 8 cognac glasses, h. 4 5/8 in.; 10 tall water goblets, h. 7 in.; and 4 “Optic” tall water goblets, h. 7 in. (36 pcs.) [$400 - 600]
52. Group of Baccarat “Francois Villon” Crystal Stemware, marked, incl. 10 tall water goblets, h. 6 5/8 in.; 10 wine glasses, h. 6 in.; 8 glasses, h. 5 3/8 in.; and 8 port wine glasses, h. 4 3/4 in. (36 pcs.) [$300 - 500]
53. Twelve Baccarat Crystal “Piccadilly” Double OldFashioned Glasses, marked, h. 4 1/8 in.; TOGETHER WITH 12 Baccarat Crystal tumblers, marked, h. 2 3/4 in. (24 pcs.) [$400 - 600]
54. Group of Baccarat “Perfection” Crystal Barrel-Form Tumblers, marked, incl. (9) 16 oz. tumblers, h. 4 1/4 in.; (8) 8 oz. tumblers; and (4) 10 oz. tumblers, h. 3 5/8 in.; TOGETHER WITH 6 associated shot glasses, h. 3 1/4 in.; and 2 others, h. 2 1/2 in. (29 pcs.) [$400 - 600]
55. Baccarat “Harcourt” Crystal Champagne Cooler or Ice Bucket, marked, silverplate handles, h. 9 1/2 in., dia. 10 1/2 in. [$800 - 1,200]
56. St. Louis Crystal “Tommy” Ice Bucket, marked, h. 6 in., dia. 7 in. [$200 - 300]
57. Waterford Crystal “Lismore” Ice Bucket and Pairs of Stemware, marked, incl. ice bucket. h. 8 in.; pair of “Kylemore” goblets, h. 6 in.; pair of “Artisan” wine glasses, h. 8 1/2 in.; and pair of “Millennium” champagne flutes, h. 9 1/4 in. (8 pcs.) [$300 - 500]
59. Eleven Lalique Crystal “Ange de Reims” Champagne Flutes, marked, h. 8 1/8 in. [$500 - 700]
58. Eleven Sevres Crystal Champagne Flutes, marked “Cristal Sevres France”, h. 8 1/2 in., d. 2 1/2 in. [$300 - 500]
60. Lalique Wild Horses Bowl, signed “Lalique - France”, h. 6 in., dia. 7 3/4 in. [$300 - 500]
61. Lalique Glass “Ganymede” Champagne Bucket or Wine Cooler, signed, designed 1948 by Marc Lalique (1900-1977), model 11951, h. 9 in., dia. 8 1/2 in. [$700 - 900]
62. Lalique Glass “Partridge” Figure, signed, h. 7 in., w. 5 in., d. 4 in. [$100 - 200]
63. Lalique Crystal Louisiane Crane, etched “Lalique France”, h. 13 3/4 in., w. 9 in., d. 3 3/4 in. [$400 - 600]
64. Group of Waterford Crystal “Seahorse” Tableware, marked, incl. center bowl, h. 5 7/8 in., dia. 10 in.; decanter, h. 9 1/2 in.; and six tumblers, h. 3 1/2 in. (8 pcs.) [$400 - 600]
66. Steuben Crystal “Kangaroo”, signed, designed by Tag Lebel Schaefer in 1999, h. 10 1/2 in., w. 7 1/2 in., d. 2 1/2 in. [$400 - 600]
65. Group of Waterford Crystal Desk Accessories, marked, incl. 2 “Great Barr ington” desk organizers, l. 6 1/4 in.; “Lismore” letter holder, h. 3 1/4 in.; “Dorset” Post-It Note holder, l. 5 in.; “Lismore Essence” pen holder, h. 5 in.; “Glenmore” dish, dia. 2 5/8 in.; and “Lismore” tray, l. 11 1/4 in., w. 7 in. (7 pcs.)
[$400 - 600]
67. A Monumental American Molded Flint Glass Punch Bowl, mid 19th c., scalloped rim bowl with quilted and arched patterns, on a ringed pedestal with drapery motif on edge of base, h. 18 in., dia. 21 1/2 [$800 - 1,200
Provenance: Neal Auction Company, December 1997.
68. Large Set of Edinburgh “Thistle” Cut-Crystal Glassware, incl. cordial decanter, h. 8 in., whiskey water jug, h. 6 1/2 in., spirit decanter, h. 10 1/2 in., water pitcher h. 7 1/4 in., pr. flower vases, h. 9 1/4 in., flower vase, h. 10 in., 2 wine decanters with stoppers, h. 11 1/2 in., footed bowl, h. 4 3/8 in., assorted glasses: 10 whiskey, h. 3 1/4 in.,12 brandy h. 5 1/4 in., 12 tall water goblet, h. 7 1/2 in.,1 sherry, h. 6 1/4 in., 6 shot, h. 2 1/2 in., 18 fluted champagne, h. 6 3/4 in., 11 hock wine, (80 pcs.) [$600 - 800]
69. Rock Crystal Skull, h. 4 1/4 in., w. 4 in., d. 4 3/4 in. [$400 - 600]
70. Stephen (Qued Koi) Mopope, Cáuigú/Oklahoma, 1898-1974, “Mother with Child in Cradleboard”, gouache on paper, signed lower right, unframed. 10 7/8 x 6 7/8 in. (27.6 x 17.5 cm.)
[$700 - 1,000]
71. Gerald Kenneth Geerlings, American, 18971998, “Grand Canal, America”, etching on paper, 1933, pencil-signed lower right margin, inscribed in plate “CHICAGO FAIR 1933” lower right, Chicago Society of Etchers blind stamp lower left, unframed. 12 x 9 in. (30.5 x 22.9 cm.) [$600 - 800]
Ref.: Czestochowski, Joseph S. Gerald K. Geerlings. Cedar Rapids, IA: Cedar Rapids Art Association, 1984, pp. 14, 17, 20, 71; ill.: p. 17, no. 31, p. 58.
72. Charles P. Reiffel, American/California, 1862-1942, “Ebb and Flow”, oil on canvas board, signed lower right, unframed. 18 x 22 in. (45.7 x 55.9 cm.)
[$2,000 - 3,000]
Private Collection; Neal Auction, Feb. 7, 2009, lot 436.
Charles Reiffel was born in 1862 in Indianapolis, Indiana. He began his artistic career as a lithographer and spent several years traveling Europe before eventually returning to the United States. Setting in Buffalo, New York, he developed his painterly style, and he then purchased a home in Silvermine, Connecticut. In Silvermine, he joined a collective of like-minded artists known as “The Knockers,” with whom he exhibited in 1913. He became a full-time painter in 1921 and shortly thereafter moved to the West Coast to San Diego, where he lived permanently until his death in 1942. Reiffel was enchanted with the terrain of the West, and his plein-air style perfectly captures the diverse textures and visual harmony of its glorious landscapes, as is exemplified in the lot offered here. Snowy peaks rise above a muted landscape, and one can almost feel the crisp air and hear the rushing water of the frigid creek.
74. Ellis Wilson, American/New York, 1899-1977, “Portrait of a Woman”, oil on canvas board, signed lower left, framed. 16 x 12 in. (40.6 x 30.5 cm.), Frame: 19 x 15 x
73.Robert L. Benney, Romanian/New York, 1904-2001, “Loading Station, Central Jaronu, Cuba”, oil on canvas, 1953, signed lower left, signed, titled, dated and inscribed en verso, framed. 21 1/4 x 32 in. (54 x 81.3 cm.), Frame: 27 1/4 x 38 1/4 x 2 in.
x 97.2 x 5.1 cm.)
75. Arthur Sarnoff, American/ New York, 1912-2000, “New Addition to the Family”, gouache on Bainbridge board, signed twice lower left (once under mat), framed. 32 1/4 x 27 3/4 in. (81.9 x 70.5 cm.), Frame: 36 x 32 x 1 in. (91.4 x 81.3 x 2.5 cm.)
[$600 - 800]
76. Miguel Covarrubias, Mexican, 1904-1957, “The Lindy Hop”, lithograph, 1936, pencil-signed lower right, framed. Sheet: 17 3/4 x 12 3/4 in. (45.1 x 32.4 cm.), Frame: 23 1/4 x 19 1/8 x 1 in. (59.1 x 48.6 x 2.5 cm.) [$800 - 1,200]
77. Henri Calixte, Haitian, 1933-2010, “Personnages dans un Paysage”, oil on canvas, signed lower left, “Page O’Connor Fine Arts, Miramar Beach, FL”, label and artist information sheet on backing paper, framed. 40 x 30 in. (101.6 x 76.2 cm.), Frame: 45 1/2 x 35 x 1 in. (115.6 x 88.9 x 2.5 cm.)
[$400 - 600]
78. Gesner Armand. Haitian, 1936-2008, “La Voliere”, oil on masonite, signed lower right, framed. 24 x 32 in. (61 x 81.3 cm.), Frame: 24 3/4 x 32 3/4 x 1 3/8 in. (62.9 x 83.2 x 3.5 cm.) [$500 - 700]
Provenance: Collection of Angela Gross, Bernardsville, NJ.
79. Pedro Friedeberg, Mexican, b. 1936, “Miniature Butterfly Chair”, gilt carved wood and mixed media, signed on underside of seat, 6 1/2 x 4 3/8 x 4 1/4 in. (16.5 x 11.1 x 10.8 cm.)
[$600 - 900]
80. Salvador Dali, Spanish, 1904-1989, “Lincoln in Dalivision”, photolithograph in colors with embossing and etched remarque on Arches paper, 1977, pencil-signed and inscribed “H.C.” lower margin, HC edition of 65 (part of a tirage of 1240, variously editioned), inscribed “g18445” en verso, “Arches France” watermark visible, published by Levine & Levine, New York, framed. Sheet: 26 3/4 x 22 in. (67.9 x 55.9 cm.), Frame: 36 x 26 x 1 in. (91.4 x 66 x 2.5 cm.) (2 pcs.)
[$4,000 - 6,000]
Note: Bruce Hochman O.S. has confirmed the authenticity of this work, which is accompanied by his original, embossed letter of authenticity dated Aug. 10, 2023.
81. James Coignard, French, 1925-2008, “Abstract Composition”, embossed carborundum engraving on handmade paper, pencil-signed and numbered “19/25” lower margin, “Nahan Gallery, New Orleans, LA” label on backing board, framed. 39 1/2 x 26 1/4 in. (100.3 x 66.7 cm.), Frame: 52 x 38 1/4 x 1 1/2 in. (132.1 x 97.2 x 3.8 cm.)
[$400 - 600]
82. Quang Ho, Vietnamese/Colorado, b. 1963, “Eucalyptus and Porcelain Doll”, oil on canvas laid on board, 1996, signed upper right, signed, titled and dated en verso, framed. 18 x 14 in. (45.7 x 35.6 cm.), Frame: 24 1/4 x 20 1/4 x 1 1/4 in. (61.6 x 51.4 x 3.2 cm.)
[$600 - 800]
Provenance: Jack Meier Gallery, Houston, TX.
83. Lê Pho, Vietnamese, 1907-2001, “Les Piviones et Le Bleuets”, oil on canvas, signed “Le Pho” and in Chinese lower right, titled and inscribed “84861” and “1784 Findlay Galleries Chicago” on stretcher, framed with artist plaque; together with a copy of the certificate of authenticity from The Findlay Institute. (2 pcs.), 23 3/4 x 28 7/8 in. (60.3 x 73.3 cm.), Frame: 31 1/4 x 36 3/4 x 1 7/8 in. (79.4 x 93.3 x 4.8 cm.)
[$30,000 - 50,000]
84. Kikuo Saito, Japanese/American, 1939-2016, “Gambler’s Egg”, oil on canvas, 1993, signed, titled and dated en verso, “Salander-O’Reilly Galleries, New York, NY” label with artist, title and date on stretcher, framed. 54 x 53 1/2 in. (137.2 x 135.9 cm.), Frame: 57 x 56 x 1 1/2 in. (144.8 x 142.2 x 3.8 cm.) [$10,000 - 15,000]
Interdisciplinary artist Kikuo Saito was active in New York City visual art and experimental theater circles. As a painter, Saito’s strong relationship to the Color Field artists is evidenced in “Gambler’s Egg,” 1993, where he inscribes and incises an inscrutable series of notes and equations over a brushy, turpentine-soaked field of mustard. One can see the full arc of the artist’s arm in propulsive gestures across the canvas. Saito exhibited widely, taught at The Art Students League, and was a studio assistant for Helen Frankenthaler, Kenneth Noland, and Larry Poons. In his performance-related projects, he designed costumes for LaMama Theater, established sui generis theater, and worked with theatrical producers such as Robert Wilson. Saito’s visual work can be found in the permanent collections of the Museum of Modern Art, the Whitney Museum of American Art, and Aldrich Contemporary Museum, among others. His final years were spent establishing the multidisciplinary nonprofit museum and project space KinoSaito in Verplanck, New York.
85. Manuel Neri, American/California,1930-2021, “M. Agosin Series No. 7”, mixed media on paper mounted to board, 1992, signed and dated lower left, label with artist, title and date on backing paper, framed. 41 1/2 x 29 1/2 in. (105.4 x 74.9 cm.), Frame: 54 1/4 x 29 1/2 x 2 in. (137.8 x 74.9 x 5.1 cm.)
[$4,000 - 6,000]
While the human form is one that has been studied and executed by artists since the genesis of Western art, Manuel Neri’s take on the figure is intensely poignant. As Hilton Kramer stated in his 1981 New York Times review of Neri’s solo show at the Cowles Gallery, “[w]hat distinguishes Mr. Neri’s art is the way he has combined the traditional nude figure with the interests of painting. While his conception of the figure tends to be classical, his painterly sensibility is decidedly Expressionist. There is thus an extraordinary tension - or, if you will, a dialectic - built into the very crux of his style. This gives the work a very individual dynamism, even if at times it also leaves us with the impression of something teetering on the brink of dissolution.” In the lot offered here, the sense of impending dissolution is nearly palpable. The fragile humanoid figure appears to be emerging from its surroundings, and Neri highlights the tension between animation and stagnation. Ref.: Kramer, Hilton. “Art: First Solo Show for Manuel Neri.” The New York Times. Feb. 27, 1981. www.nytimes.com.
86. Robert Kinsell, American, 20th c. “Compass”, oil on linen, 1998, signed and dated lower left and en verso, “Galerie Simonne Stern, New Orleans, LA” label with artist, title and date and “McMurtey Gallery, Houston, TX” label with artist, title and date on stretcher, framed. 36 x 36 in. (91.4 x 91.4 cm.), Frame: 41 1/2 x 41 1/2 x 2 in. (105.4 x 105.4 x 5.1 cm.) [$300 - 500]
Galerie Simonne Stern, New Orleans, LA.
87. American School 20th c., “Abstract Composition in Blue”, oil on canvas, unsigned, unframed. 60 1/2 x 72 1/4 in. (153.7 x 183.5 cm.)
[$700 - 1,000]
88. Jim Bird, British, 1937-2010, “Blue”, acrylic on canvas, 1994, signed, titled twice, dated twice and “Galerie Simonne Stern, New Orleans, LA” label with artist, title and date en verso, framed. 32 x 48 in. (81.3 x 121.9 cm.), Frame: 33 1/8 x 49 1/8 x 2 in. (84.1 x 124.8 x 5.1 cm.)
[$400 - 600]
Galerie Simonne Stern, New Orleans, LA.
89. James Hansen, American/Massachusetts, 1951-1997, “Three Small Graces”, oil on linen, 1994, signed, titled, dated and “Galerie Simonne Stern, New Orleans, LA” label en verso, framed. 24 x 20 in. (61 x 50.8 cm.), Frame: 25 1/2 x 21 3/4 x 2 1/4 in. (64.8 x 55.2 x 5.7 cm.)
[$400 - 600]
Galerie Simonne Stern, New Orleans, LA
90. Paola Case Borgatta, American/New York, 20th c., “Dog Theatre” and “Carnival: Printed Leopard”, 2 oil paint, stoneware and mixed medias, 1991 and 1992, each with signature and date inscribed on front of self-base. “Dog Theatre”: 15 1/2 x 12 1/4 x 6 in. (39.4 x 31.1 x 15.2 cm.), “Carnival: Printed Leopard”: 17 x 12 1/2 x 9 3/4 in. (43.2 x 31.8 x 24.8 cm.) (2 pcs.) [$600 - 800]
Galerie Simonne Stern, New Orleans, LA, 1993
91. Jacqueline Humphries, American/New York, b. 1960, “Untitled”, ink and watercolor on handmade paper mounted to board, 1993, unsigned, pencil-inscribed with “JHRT 5-93 A14” en verso, “Galerie Simonne Stern, New Orleans, LA” label with artist on backing paper, framed. 24 x 32 in. (61 x 81.3 cm.), Frame: 33 x 41 x 1 in. (83.8 x 104.1 x 2.5 cm.)
[$2,500 - 3,500]
Simonne Stern, New Orleans, LA.
92. Gloria Vanderbilt, American/New York, 1924-2019, “Girl and Red Balloon”, ink and mixed media on board, signed lower right, titled and inscribed “#1040” en verso, framed. 16 x 12 in. (40.6 x 30.5 cm.), Frame: 22 1/4 x 18 1/4 x 1 3/4 in. (56.5 x 46.4 x 4.4 cm.) [$2,500 - 3,500]
93. Paton Miller, American/New York, b. 1953, “Midget”, oil and mixed media on linen stretched on panel, signed lower right, titled on stretcher, unframed. 37 1/4 x 50 5/8 in. (94.6 x 128.6 cm.) [$700 - 900]
Paton Miller was born in 1953 in Seattle, Washington and achieved his bachelor’s degree from Southampton College in Long Island. He later settled in the area’s East End where he established his studio and continues to work and exhibit locally and internationally with fifteen solo shows and multiple group exhibitions. Paton Miller’s “Midget” (undated) exemplifies the artist’s unique process and subject matter. Painted in oil over mixed media, Miller has sanded some areas of paint to reveal passages of underpainting in slightly contrasting tones, giving the surface a sense of depth and age. Also emblematic of his work is the intentional craquelure (crackling of thin layers) on the painting’s surface. Exploring themes of time, memory, and the human condition, Paton Miller pulls inspiration from the art historical and archetypal, merging these with personal experience to create his uncanny tableaus. This dream-like scene features a lone “piragüero” snow cone vendor’s cart, a musician, and a seated person, in dramatic light and shadow, suggesting a memory of a late afternoon.
Galerie
94. Kyle McDonald, American, 20th c., “Untitled”, oil and encaustic on gallery-wrapped canvas, 1998, oil on canvas, signed twice, dated and inscribed en verso, unframed.30 x 30 in. (76.2 x 76.2 cm.) [$400 - 600]
95. American School 1998, “Dino”, oil on canvas, illegibly signed, titled and dated en verso, unframed. 48 1/4 x 36 1/4 in. (122.6 x 92.1 cm.) [$300 - 500]
97. Alexander Calder, American, 1898-1976, “Animals”, lithograph in colors on Arches paper mounted to board, 1975, pencil-signed lower right, pencilnumbered “115/175” lower left, from Our Unfinished Revolution portfolio, created for the National Civil Liberties Committee on its 25th anniversary, printed by Mourlot, Paris, published by Alba Editions Inc., New York, “Arches” watermark visible, “Fernie’s Art Center, Houston, TX” label on backing board, framed. Sheet: 22 x 29 7/8 in. (55.9 x 75.9 cm.), Frame: 28 1/2 x 36 1/2 x 1 in. (72.4 x 92.7 x 2.5 cm.) [$1,000 - 1,500]
96. Christopher Remelé, American, 20th c., “Abstract Composition in Red”, oil on gallery-wrapped canvas, signed lower right, unframed. 32 x 35 3/4 in. (81.3 x 90.8 cm.) [$300 - 500]
98. Alexander Calder, American, 1898-1976, “Elephants”, lithograph in colors on Arches paper, 1975, pencil-signed lower right, pencil-numbered “154/175” lower left, from Our Unfinished Revolution portfolio, created for the National Civil Liberties Committee on its 25th anniversary, printed by Mourlot, Paris, published by Alba Editions Inc., New York, “Arches” watermark visible, “Casell Gallery, New Orleans, LA” label on backing board, framed. Sheet: 22 x 30 in. (55.9 x 76.2 cm.), Frame: 28 x 36 1/4 x 1 1/2 in. (71.1 x 92.1 x 3.8 cm.) [$1,000 - 1,500]
99. James Rizzi, American/New York, 1950-2011, “Shooting Like a Star”, 3D color lithograph, 1992, signed, titled, dated and numbered “133/350” lower margin, framed. 8 1/2 x 9 in. (21.6 x 22.9 cm.), Frame: 17 1/2 x 18 x 2 in. (44.5 x 45.7 x 5.1 cm.) [ $400 - 600]
100. Fine American Neo-Grec Gilt Incised Mahogany Bedroom Suite, 19th c., New York, possible Alexander Roux, including half tester bed and dresser; molded finialed tester centered by Porcelain portrait plaque, architectonic paneled molded headboard center by porcelain plaque, conforming rails and footboard, dresser with mirrored back with fluted supports, centered porcelain plaque, marble top, three drawers, plinth base, disk feet, Dresser 98 x 52 1/2 x 25 in. (248.9 x 133.4 x 63.5 cm.) [$8,000 - 12,000]
Provenance: Displayed at Auburn, Natchez, MS.
101. American Neo-Grec Gilt Incised Walnut Triple-Door Wardrobe, 19th c., New York, arched molded crest centered porcelain plaque, molded mirrored door, three drawers plinth base [$3,000 - 5,000]
Provenance: Displayed at Auburn, Natchez, MS.
103. Set of Six American Renaissance Inlaid Walnut Dining Chairs, 19th c., probably New York, molded arched crest rail centered by marble medallion, scrolled sides, molded seat rail, fluted tapered legs, castors. 38 1/2 x 19 x 16 1/2 in. (97.8 x 48.3 x 41.9 cm.) [$700 - 1,000]
104. American Renaissance Revival Marquetry, Parcel Gilt and Ebonized Music Cabinet, 19th c., attributed to Kilian Brothers, New York, crest with central plaque, shelf with maiden supports, gilt incising throughout, paneled folio fall front door with center trophy inlay, divided lower case, turned feet, castors, h. 62 in., w. 26 in., d. 14 1/2 in. [$1,200 - 1,800]
102. American Renaissance BronzeMounted, Gilt-Incised and Rosewood Sofa, 19th c., attributed to Pottier and Stymus, New York, shaped back centered by a porcelain plaque, padded arms terminating in gilt metal putti, fluted tapered legs, castors.
[$2,000 - 3,000]
Provenance: Displayed at Auburn, Natchez, MS.
105. American Renaissance Carved Walnut Settee, 19th c., probably retailed by Henry N. Siebrecht, New Orleans, arched crest rail centering medallion, terminating in volutes, padded back, bowfront seat rail, trumpet-form tapering legs. 42 1/2 x 66 x 23 in. (108 x 167.6 x 58.4 cm.) [$2,000 - 3,000]
Note: Reputedly loaned to the White House during the term of Rutherford B. Hayes, 1877-1881.
106. Persian Shiraz Carpet, triple medallion, birds and animal design, 5 ft. x 8 ft. [$900 - 1,200]
108. Oushak Carpet, blue and light brown designs, 9 ft. 12 ft. 3 in. [$3,500 - 4,500]
107. Oushak Carpet, blue and white, 9 ft. 3 in. x 13 ft. 10 in. [$4,000 - 6,000]
109. Persian Hamadan Carpet, 4 ft. 3 in. x 7 ft. [$900 - 1,200]
110. Persian Gabeh Carpet, centered with a lion, 3 ft. 8 in. x 6 ft. 3 in. [$800 - 1,200]
116. Persian-Style Carpet, foliate design, 9 ft. 11 in. x 14 ft. 8 in.
[$600 - 900]
115. Oushak Carpet, gold and cream ground, 8 ft. x 9 ft. 8 in.
[$2,000 - 2,500]
114. Persian Hamadan Carpet, red ground, foliate design, 9 ft. 11 in. x 10 ft. 3 in. [$1,000 - 1,500]
113. Persian Heriz Carpet, reddish pink ground, blue border, 8 ft. 6 in. x 12 ft.
[$3,400 - 3,800]
112. Persian Kurdish Carpet, 3 ft. x 11 ft.
[$1,000 - 1,200]
111. Persian Heriz Carpet, 3 ft. 7 in. x 10 ft. 5 in.
[$1,400 - 1,800]
118. Persian Rug, 3 ft. 2 in. x 5 ft. 8 in.
[$200 - 300]
120. Persian Runner, 3 ft. 6 in. x 6 ft. 4 in.
[$300 - 500]
117. Persian Carpet, 6 ft. 11 in. x 10 ft. [$800 - 1,200]
119. Persian Rug, 3 ft. 6 in. x 6 ft. [ $200 - 300]
122. Persian Rug, red ground, foliate design, 4 ft. 3 in. x 6 ft. 10 in. [$400 - 600]
121. Persian Rug, 3 ft. 10 in. x 6 ft. 7 in. [$200 - 300]
123. Persian Mahal Carpet, red ground, central floral medallion, floral border, 3 ft. 6 in. X 6ft. 6 in.
[$500 - 700]
124. 1974 Guild F-50 BLD Acoustic Guitar, serial # 106592, spruce top, laminated maple sides and back (arched back), cherry neck, ebony fretboard and bridge, mother-of-pearl and abalone fret markers, nut 1 11/16 in., original Grover tuners, later case.
[$800 - 1,200]
126. 1979 Giannini Acoustic Guitar, model AWKS71-6, serial # 11-1979, spruce top, Brazilian rosewood sides and back, mahogany neck, rosewood fretboard and bridge, brass nut 1 3/4 in., original tuners, carved headstock, original case
[$300 - 500]
**Bidders are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to Brazilian rosewood. Bidders should familiarize themselves with customs regulations prior to bidding if they intend to import this lot into another country. Inability to export or import is not a reason for sale recission or refund. All sales are final.
125. 1987 Guild GF-50-R Acoustic Guitar, serial # GF50003, spruce top, rosewood sides and back, mahogany neck, ebony fretboard and bridge, nut 1 9/16 in., original Grover tuners, original hard-shell case.
[$1,000 - 1,500]
127. Jerry Jones Electric Master Sitar Guitar, red crackle painted body, poplar frame with masonite hardboard top and back, full-scale bolt-on maple neck with medium C shape, Indian rosewood fretboard with dot inlay mother-of-pearl markers, Gotoh tuners, pair of lipstick pickups with independent volume and tone knobs, 13-string “sympathetic strings” electric harp with volume and tone, 1 11/16” nut width, 14.5” fretboard radius, 25” Scale Length, original hard-shell case.
[$300 - 500]
128. Roland GR-505 Synth Guitar, c. 1984, maple neck, rosewood fretboard, mother-of-pearl markers, nut 1 5/8 in., original tuners, original hard-shell case, comes with GR-700 synth pedalboard, serial No. 463113. [$500 - 700]
129. Ibanez Rocket Roll II “Flying V” Electric Guitar, serial # C-820048, painted body, rosewood fretboard, nut 1 11/16 in., original tuners, case. [$300 - 500]
130. Guild Ashbory Electric Bass Guitar, serial # AJ 383, rubber strings, simulates a stand-up bass sound [$150 - 250]
131. Pair of Dynaco Mark VI Monoblock Tube Amplifiers, now nondestructively modified with 6L6 tubes and individual bias control, 9 1/4 x 19 x 12 in. (23.5 x 48.3 x 30.5 cm.) [$600 - 900]
132. American Rococo Carved Mahogany Half-Tester Bed, 19th c., Stamped C. LEE 434, shaped beaded tester, tapered cluster column posts, paneled headboard with cartouche crest, conforming rails, foot posts with urn topped finials, 121 x 65 x 77 1/2 in. (307.3 x 165.1 x 196.9 cm.)
[$5,000 - 7,000]
135. Four American Rococo Carved and Laminated Rosewood Side Chairs, c. 1850-1860, attr. to John Henry Belter, New York, in the pattern commonly referred to as “Tuthill King”, reticulated scrolled grape and vine crest rail surmounted by a floral cluster crest, serpentine seat rail, cabriole legs, casters, h. 38 in., w. 19 in., d. 24 in. (96.5 x 48.3 x 61 cm.)
[$2,500 - 3,500]
Provenance: The Columbia Lady Antiques, Sutter Creek, CA; Collection of Dr. Norbert and Mary Fahey, Sacramento, CA.
133. American Rococo Carved Mahogany Double Door Armoire, mid-19th c., attr. to retailer Prudent Mallard, New Orleans, arched cornice with beading, paneled doors with ripple molding, fitted interior, plinth drawer, disc feet. 103 1/2 x 70 x 25 1/4 in. (262.9 x 177.8 x 64.1 cm.)
[$2,500 - 3,500]
134. 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.)
[$2,000 - 3,000]
136. American Rococo Carved Mahogany Side Table, 19th c., Stamped LEJAMBRE, molded top, scrolled apron, frieze drawer, cabriole legs, X-form stretcher. 28 x 28 1/2 x 24 1/2 in. (71.1 x 72.4 x 62.2 cm.)
[$500 - 700]
137. American Rococo Carved Mahogany Salesman Sample Half Tester Bed, 20th c, in the manner of a P. Mallard, New Orleans bed, 29 x 16 x 20 1/2 in. (73.7 x 40.6 x 52.1 cm.)
[$700 - 1,000]
138. American Rococo Carved Rosewood Armoire, 19th c., New York, molded foliate crest flanked by finials, molded cornice, molded mirrored door above molded drawer, plinth base. 103 x 47 1/2 x 23 in. (261.6 x 120.7 x 58.4 cm.)
[$800 - 1,200]
139. American Gothic Carved Walnut Slipper Chair, 19th c., Philadelphia or Baltimore, the reticulated arched backs with rocaille carving, serpentine seat, carved and scrolled front legs, 36 1/2 x 17 x 15 in.
(92.7 x 43.2 x 38.1 cm.)
[$300 - 500]
140. Regency Carved Mahogany Bench, 19th c. and later, in the manner of Gillows of Lancaster, upholstered seat, molded seat rail, tapered legs, toupie feet18 x 44 x 18 in. (45.7 x 111.8 x 45.7 cm.)
[$700 - 1,000]
141. Jean-Rene Gauguin (Danish, 1881-1961) for Bing & Grondahl Ceramic Figure of a Monkey, signed, and with impressed mark, 8 1/2 x 7 x 5 3/4 in. (21.6 x 17.8 x 14.6 cm.) [$600 - 900]
142. Pair of Large Paris Porcelain Bronze Mounted Urns, signed to underside “6 October ‘76”, pink ground, painted with birds and foliate design, 21 1/2 x 8 1/2 in. (54.6 x 21.6 cm.) [$800 - 1,200]
145. Ten Antique Paris Porcelain Apothecary Jars, various marks, largest (6), h. 10.5 in., med. (2), h. 8 in., small (2), h. 6 3/4 in. [$700 - 1,000]
144. Paris Porcelain Three Piece Garniture, 19th c., associated, reserved with pastoral scenes, vase h. 11 3/8 in.; and a pair of campagna urns, h. 6 1/2 in. [$300 - 500]
143. Paris Porcelain Three Piece Garniture,19th c., associated, cobalt ground, gilt foliate designs, vase h. 10 3/4 in.; and pair of campagna urns, h. 7 1/2 in. [$300 - 500]
146. Assembled Gucci Porcelain Table Service, marked, incl. 2 teacups, h. 2 1/4 in.; 2 saucers, dia. 6 1/4 in.; 8 “Greek Mythology” coffee cups, h. 3 3/4 in.; 3 “Greek Mythology” trinket dishes, l. 7 3/8 in., w. 7 3/8 in.; 8 “Greek Mythology” plates, dia. 8 1/4 in.; and 1 “Greek Mythology” serving plate, dia. 12 1/4 in. (24 pcs.) [$400 - 600]
147. Fine Paris Porcelain Diminutive Cabinet Cup and Saucer, Flamen Fleury a Paris, red stencilled mark for 1814-1831, tulip-form with violet variegated petals on gilt ground, butterfly handle, cup h. 2 1/8 in., saucer diameter 3 7/8 in. [$200 - 400]
149.Jacob Petit Paris Porcelain Figural Encrier, signed in blue “J.P.”, modeled as a spaniel seated on a tasseled cushion, h. 10 1/2 in., w. 11 1/2 in., d. 8 3/4 in. [$500 - 700]
148. Group of Three Parian Ware Classical Figures, incl. “Ganymede with Jupiter’s Eagle” after Bertel Thorvaldsen (Danish, 1770-1884), marked on base, h. 8 1/4 in., w. 11 1/2 in., d. 3 1/2 in.; and a pair of maidens holding water and wheat, h. 13 in. [$400 - 600]
Paris Porcelain Veilleuse and
d. 5 3/4 in. [$300 - 500]
150.
Cabinet Cup and Saucer, both in the Gothic taste, veilleuse h.10 in., d. 4 3/4 in. Cup h. 3 1/4 in., d. 4 in. Saucer h. 1/4 in.,
151. Old Paris Porcelain Dressing Table Set, foliate green and gilt borders, decorated with polychrome flowers and butterflies, incl. covered toothbrush box, h. 3 in., w. 8 1/4 in., d. 3 1/4 in.; and and a pair of potpourri bowls, h. 5 1/2 in., w. 8 3/4 in., d. 8 in. [$300 - 500]
153. Pair of Paris Porcelain Portrait Urns, with bisque figural finials, h 18 1/2 in. x w 9 in. x d 7 1/2 in. [$500 - 700]
152. Pair of Old Paris Porcelain Spill Vases, signed “Casse Maillard, body decorated with scenes depicting a rural dance, h. 8 1/2 in., d. 4 3/4 in. [$400 - 600]
154. Continental Palissy Majolica Charger, early 20th c., centered by a trout, with a salamander, frog, snake, beetle, and moth, fitted with hanging wire [$600 - 900]
155. Pair of Paris Porcelain Urns, 19th c., gilt and polychrome, with Classical figures in Gothic reserves, 13 1/4 x 10 in. (33.7 x 25.4 cm.) [$500 - 700]
158. Pair of Large Sevres-Style Polychrome and Gilt Cachepots, spurious marks, reserved with courting couples, 13 x 16 in. (33 x 40.6 cm.)
[$500 - 700]
157. Empire Gilt Porcelain Encrier, 19th c., shell-form, with ink pot and sander, 4 3/4 x 7 3/4 x 3 in. (12.1 x 19.7 x 7.6 cm.)
[$150 - 250]
159. Pair of Paris Porcelain Bleu, Gilt and Bisque Corbeilles, 19th c., putto standard, paw feet, one as-is, with major losses, 12 x 9 in. (30.5 x 22.9 cm.)
[$600 - 900]
156. Pair of Paris Porcelain Gilt and Cobalt Vases, 19th c., fluted body, plinth base, 13 x 7 x 4 1/2 in. (33 x 17.8 x 11.4 cm.)
[$600 - 900]
160. Mathieu Joseph Charles Hunin, Belgian, 1770-1851, “Papiers Monnoies et autres de la République Française”, hand-colored engraving on paper mounted to board, c. 1795, signed and titled in plate, framed. Sheet: 25 1/4 x 21 5/8 in. (64.1 x 54.9 cm.), Frame: 30 5/8 x 25 1/4 x 1 in. (77.8 x 64.1 x 2.5 cm.)
[$300 - 500]
161. After Cristofano Allori, Italian, 1577-1621, “The Infant Jesus Sleeping on the Cross”, oil on fabric, unsigned, conservation notes on backing board, framed. 13 3/4 x 17 3/8 in. (34.9 x 44.1 cm.), Frame: 16 1/4 x 20 1/4 x 1 1/4 in. (41.3 x 51.4 x 3.2 cm.)
[$700 - 1,000]
162. Continental School late 19th/early 20th c., “Still Lifes with Classical Urns and Parrots”2 oils on leather, each unsigned, framed alike. (2 pcs.) Each: 57 3/4 x 22 3/4 in. (146.7 x 57.8 cm.), Frames: 64 1/4 x 26 x 1 1/4 in. (163.2 x 66 x 3.2 cm.)
[$2,000 - 3,000]
163. Follower of Jan Josephs van Goyen, Dutch, 1596-1656, “Summer’s Day on the River Schie near Overschie”, oil on canvas, unsigned, framed. 14 3/4 x 20 1/2 in. (37.5 x 52.1 cm.), Frame: 20 1/4 x 26 1/4 x 2 in. (51.4 x 66.7 x 5.1 cm.)
[$1,500 - 2,500]
Provenance: Neal Auction, Apr. 5, 2003, lot 48.
164. Continental School 19th c., “Two Women in an Idyllic Landscape”, oil on canvas, indistinctly signed “Thiénon” lower right, framed. 8 1/2 x 6 1/4 in. (21.6 x 15.9 cm.), Frame: 14 x 12 x 2 1/4 in. (35.6 x 30.5 x 5.7 cm.)
[$500 - 700]
Provenance: Neal Auction, May 20, 2006, lot 302.
165. Paul Wilhelm Keller-Reutlingen, German, 1854-1920, “Girl in a Field”, oil on canvas, signed lower right, framed. 12 1/4 x 16 in. (31.1 x 40.6 cm.), Frame: 17 3/4 x 21 1/2 x 1 3/4 in. (45.1 x 54.6 x 4.4 cm.) [$1,000 - 1,500]
166. Charles Edward Perugini, Italian/British, 1839-1918, “Likely Catherine Elizabeth Dickens Perugini (1839-1929) Reading Her Old Letters”. oil on canvas, monogrammed lower left, handwritten label and “Charles Roberson & Co.” label inscribed “Mrs. Perugini / 38a Victoria Rd” on stretcher, framed. 43 x 33 in. (109.2 x 83.8 cm.), Frame: 49 x 39 1/2 x 2 in. (124.5 x 100.3 x 5.1 cm.)
[$25,000 - 35,000]
Provenance: Estate of Laura Jill King Ramey, Tyler, TX.
(continued next page)
Carlo “Charles” Edward Perugini was born in Italy in 1839 but spent his childhood in England. He later returned to Italy to study art under Giuseppe Bonolis and Guiseppe Macinelli, then under Ary Scheffer in Paris. During one of Frederic Leighton’s voyages on the Continent, he met and befriended Charles, subsequently becoming his mentor. Through Leighton’s encouragement, Charles left for England and established his own atelier. He exhibited his first work at the Royal Academy in 1863. While he struggled to sell his early paintings, he soon was able to gain a foothold with the right social connections and the wealthy art patrons of England. In 1874, he married a recently widowed Kate Dickens.
Catherine Elizabeth Macready Dickens was the youngest daughter of famed author Charles Dickens. A strongminded child, she earned the nickname “Lucifer Box” as she was known for her hot temper. Growing up the daughter of one of Britain’s most famous men, Kate had a unique childhood, traveling with her parents abroad, and at one point even performing on a public stage for Queen Victoria. She demonstrated an early talent for drawing and was enrolled at Bedford College to study art. Well-known in cultured circles, Kate was even the model for John Everett Millais’ famous painting “The Black Brunswicker.”
Her temperament raised eyebrows, as a headstrong, unconventional woman was often thought “brash” or “shameless” in the conservative society of nineteenth century England. She married pre-Raphaelite artist, Charles Allston Collins, who passed away in 1873. Soon after, she fell in love with and subsequently married Charles Perugini whom she met at Leighton’s house. Their marriage proved to be remarkably egalitarian for the time period. Kate was a renowned and exhibited portrait painter in her own right, and she was often featured in many of Charles’ paintings and remained his lifelong muse. His depictions of his wife always portray her with a delicate tenderness with his fondness clearly conveyed.
In the impressive, three-quarters size portrait offered here, the sitter, likely Kate, is sumptuously dressed in elegant robes while nestled into silken upholstery and oversized pillows. She is holding a letter plucked from the carefully stacked pile to her left. In her other hand rests the fragile pressed remains of a forget-me-not, the Victorian symbol of remembrance for those who have passed away and a symbol of true love and devotion. While she holds the letter to her face, her eyes appear unfocused and her expression wistful, the look of someone lost in revery. Charles’ masterful skill is evident in the detailed stitches of her luxurious shawl, the texture of the various draped fabrics as well as the poignant expression of the sitter engrossed in her memories. En verso is a “Charles Roberson & Co. Drawing Materials” label inscribed “Mrs. Perugini / 38a Victoria Road” which was the couple’s address in Kensington documented in letters conserved at the Royal Academy as well as J.M Barrie’s archives, amongst others.
Ref.: “Charles Edward Perugini.” Spartacus Educational. www.spartacus-educatin.com. Accessed Oct. 22, 2024; “Charles Edward Perugini.” Rehs Galleries. www.rehs.com. Accessed Oct. 22, 2024; Hawksley, Lucinda. “Dickens’s Artistic Daughter Katey.” Lucinda Hawksley. www.lucindahawksley.com. Accessed Oct. 22, 2024; “Kate Perugini, 38A Victoria Road, Kensington, to [W.T. Whitley].” Royal Academy. www.royalacademy.org. Accessed Oct. 22, 2024, reference code: WTW/28; “Kate Perugini to Sylvia du Maurier – 1982.” JM Barrie. www.jmbarrie.co.uk. Accessed Oct. 22, 2024.
167. Francois Louis Laynaud, French, b. 1804, “Portrait of a Lady”, oil on canvas, 1854, signed and dated mid-right, label hand-inscribed “Mearthe” attached to frame en verso, framed. 32 1/8 x 25 3/4 in. (81.6 x 65.4 cm.), Frame: 37 1/4 x 31 x 2 in. (94.6 x 78.7 x 5.1 cm.) [$2,000 - 3,000]
Provenance: Carols Antiques, Adare, Co. Limerick, Ireland, 1999.
168. Pair of Italian Glazed Terracotta Busts of Diana and Apollo, 20th c., each on pedestal. (4 pcs.) Each: 35 x 26 x 18 in. (88.9 x 66 x 45.7 cm.), Overall Heights: 66 in. (167.6 cm.) [$2,000 - 3,000]
169. Joseph Henderson, British, 1832-1908, “On the Beach”, oil on canvas, signed lower right, titled on stretcher, framed. 18 1/4 x 30 1/4 in. (46.4 x 76.8 cm.), Frame: 22 1/2 x 34 1/2 x 1 1/2 in. (57.2 x 87.6 x 3.8 cm.) [$1,200 - 1,800]
170. Richard Ansdell, British, 1815-1885, “The Pride of the Flock”, oil on canvas. 1873, signed and dated lower right, artist and title plaque on stretcher, “Christie’s NYC” label on stretcher, framed with artist and title plaque. 27 x 66 in. (68.6 x 167.6 cm.), Frame: 33 x 72 x 2 in. (83.8 x 182.9 x 5.1 cm.) [$4,000 - 6,000]
Exh.: Royal Academy, London, 1873.
Born in Liverpool, Richard Ansdell rose to the upper echelon of Victorian sporting artists on the strength of his ability to paint animals. Between 1840 and 1885, Ansdell exhibited paintings annually at the Royal Academy (149 in total), and he also exhibited some thirty canvases at the British Institution. He was elected an Associate of the Royal Academy in 1861 and Royal Academician in 1870. From the earliest days of his career, Ansdell painted Scottish animal subjects, in particular favoring sheep. He increasingly visited the highlands of Scotland on holidays and built a home called Moy Lodge on the banks of Loch Laggan in 1868. This location offered him the opportunity to observe the local shepherds and their flocks along with the breathtaking landscape of the region. In the monumental work offered here, Ansdell demonstrates his remarkable skill at depicting the posture and individual expressions of the sheep. Each animal adds a narrative element and unique quality to the scene, while the artist’s careful brushwork provides an eye-catching contrast between the soft fleeces and harsh terrain. A masterful composition, both intimate and panoramic in nature, “The Pride of the Flock” was exhibited at the Royal Academy in 1873 and is a specular example of an artist at the height of his skill painting his favorite subject.
Ref.: Draper, Amanda. “Richard Ansdell: Painter of Fur, Feathers and Woolliness.” Victory Gallery & Museum. University of Liverpool. vgm.liverpool.ac.uk. Accessed Oct. 18, 2024.
171. Italian Neoclassical Parcel Gilt and Crème Peinte
Scagliola Top Demilune Console, probably 18th c., pierced brass gallery, inset segmented marble top, frieze with gilt swags, fluted tapered legs, Note: later paint and gilt. 35 1/2 x 18 x 38 in. (90.2 x 45.7 x 96.5 cm.) [$2,000 - 3,000]
172. Louis XVI-Style Crème Peinte and Parcel Gilt Settee,19th c., carved molded arched crest rail, padded arms, tapered fluted legs. 39 x 66 1/2 x 19 in. (99.1 x 168.9 x 48.3 cm.) [$800 - 1,200]
173. Regency Brass Mounted Scagliola Rosewood Chiffonier, 19th c., pierced gallery shelf above a mirrored back, tapered columns with brass collars to the front, brass arrow doors, plinth base. 61 x 49 1/2 x 20 in. (154.9 x 125.7 x 50.8 cm.) [$1,000 - 1,500]
174. Fine Set of Four Baltic Neoclassical-Style Parcel Gilt, Painted and Carved Torcheres, early 20th c., circular marble tops, frieze with star decoration, winged putto head capitals, lobed pendant, X form supports, incurvate plinth, ball feet. 43 x 12 in. (109.2 x 30.5 cm.) [$2,000 - 3,000]
175. Italian Rococo Carved Giltwood Console, late 18th / early 19th c., slate top, foliate and scrolled carved frieze centered by a shield, scrolled lobed cabriole legs, h. 34 1/2 in., w. 66 in., d. 24 in. h. 34 1/2 in., w. 66 in., d. 24 in. [$2,500 - 3,500]
176. Fine North Italian Neoclassical Marquetry Commode, late 18th/early 19th c. probably Lombardy, molded inset marble top, sides and drawers with urn inlay, two drawer, tapered legs. 37 x 52 x 26 in. (94 x 132.1 x 66 cm.)
[$7,000 - 10,000]
177. Venetian Carved, Painted and Parcel Gilt Armchair, 18th c., molded crest rail, slated back, conforming arms, molded tapered legs. 35 1/2 x 19 1/2 x 22 1/2 in. (90.2 x 49.5 x 57.2 cm.) [$500 - 700]
178. Pair of Italian Neoclassical Parcel Gilt and Creme Peinte Console Tables, probably 18th c., marble tops, molded frieze with rosette corners, stop fluted tapered legs [$7,000 - 10,000]
179. Edwardian Painted Satinwood Carlton House Desk, late 19th c., fitted superstructure, decorated with portrait medallions and floral swags, pull-out leather writing surface, two frieze drawers, tapered legs. 38 1/2 x 50 x 24 in. (97.8 x 127 x 61 cm.)
[$2,000 - 3,000]
181. Antique Italian Pietra Dura Plaque of Chickens Feeding, in a giltwood frame, plaque 5 x 7 1/2 in., frame 12 x 14 1/2 in. [$500 - 700]
183. Indo-Portuguese Motherof-Pearl Powder Horn, 17th/18th c., Gujurat, India, with silver plug. 5 x 5 3/4 x 3 1/4 in. (12.7 x 14.6 x 8.3 cm.) [$1,000 - 1,500]
180. Biedermeier-Style Carved Fruitwood Settee, 20th c., molded crest rail, scrolled arms, square fluted tapered legs. 32 x 108 x 25 1/2 in. (81.3 x 274.3 x 64.8 cm.) [$1,500 - 2,500]
182. Pair of Charles X Bronze Four-Light Candelabra, 19th c., foliate arms, fluted shaft, converts to candlestick. 19 1/2 x 9 in. (49.5 x 22.9 cm.) [$800 - 1,200]
184. Antique French Gilt Bronze Figural Encrier, 19th c., depicting a cherub playing drums, the drums with hinged lids, 5 3/4 x 7 3/4 x 3 3/4 in. (14.6 x 19.7 x 9.5 cm.) [$400 - 600]
185. Antique French Gilt and Patinated Bronze Figural Candlestick, depicting a monkey working a bellows, heating a large pot, the lid opening to access the candle nozzle. 4 x 5 1/2 x 3 1/2 in. (10.2 x 14 x 8.9 cm.)
[$400 - 600]
189. Antique
reticulated “ceiling”, with bird finial, the lower portion with woven surface, fitted with pressedglass windows and door h. 18 in., dia. 9 in.
188. French Empire Gilt Bronze Two-Light Candle Holder. 19th c., with thumb holder, ribbed edges, on scroll feet. 5 1/2 x 8 x 3 3/4 in. (14 x 20.3 x 9.5 cm.) [$400 - 600]
186. Continental Gilt and Patinated Bronze “Warwick” Vase, reticulated lid, portrait mask frieze, on marble base. 7 3/4 x 7 x 4 3/4 in. (19.7 x 17.8 x 12.1 cm.) [$200 - 300]
187. Pair of Empire Gilt and Patinated Four-Light Figural Candelabra, on tall pedestal bases. 28 x 9 in. (71.1 x 22.9 cm.) [$1,200 - 1,800]
French Tole Peinte Lantern,
[$400 - 600]
190. Four Empire Bronze Relief Furniture Mounts of the Four Continents, early 19th c., now mounted and framed [$800 - 1,200]
191. Pair of Napoleon III Gilt and Patinated Bronze Two-Light Candelabra, 19th c., cherub on stepped marble base. 13 1/4 x 6 1/4 x 6 in. (33.7 x 15.9 x 15.2 cm.) [$600 - 900]
192. Pair of Antique Continental Patinated Bronze Compotes, 19th c., navette-form, lion and ring handles [$300 - 500]
194. French Gilt-Bronze Hand Mirror, ribbon crest, beveled mirror-plate, handle with mask. 10 3/4 x 5 1/4 in. (27.3 x 13.3 cm.)
[$250 - 350]
195. Antique Continental FourPanel Painted Screen, the reserves painted with floral sprays, hinged panels, h. 78 in., total w. 84 in. (4 x 21 in.)
[$600 - 900]
196. Antique American Bronze Plantation Bell, late 19th c., bronze bell h. 10 in., dia. 12 in., with castiron yoke and scrolled stand, total h. 26 in., w. 35 in. [$1,000 - 1,500]
193. Pair of Continental or Asian Bronze Candlesticks, h. 18 in., dia. 6 in. [$300 - 500]
197. Pair of Antique Sailors’ Valentines, elaborate floral vases fashioned from different shell varieties, in shadow-box frames. 30 x 18 1/2 x 3 1/2 in. (76.2 x 47 x 8.9 cm.)
[$700 - 1,000]
200. Chitimacha Single Weave Bowl-Shaped Basket, red, black and natural cane, “Turtle Necklace” pattern, h. 3 1/2 in., dia. 1/2 in.
[$400 - 600]
Decorative Leather Figure of a Rhinoceros, stitched
14 x 31 x 9 in. (35.6 x 78.7 x 22.9 cm.) [$300 - 500]
202. American Late Classical Carved Mahogany and Marble Top Mixing Cabinet, mid 19th c., probably Philadelphia , original black. gold and grey marble, mirrored door enclosing fitted shelves, plinth base, scrolled front feet, h. 40 in., w. 26 1/2 in., d. 23 in. (101.6 x 66.7 x 58.4 cm.)
[$1,500 - 2,500]
203. Pair of American Classical Carved Mahogany Side Chairs, early 19th c., probably New York, acanthus and reeded carved chair frame, drop in seats upholstered in haircloth damask, sabre legs [$400 - 600]
204.American Classical Carved Mahogany and Marble Top Side Cabinet, early 19th c., Boston, original black, gold and grey marble top, pair of fitted drawers above a pair of cupboard doors enclosing medial shelf, flanked by round columns and straight pilasters in back, lotus carved paw feet, old pencil inscription on top board, h. 35 ½ in., w. 42 in., d. 20 in.
[$1,500 - 2,500]
198. Pair of Louisiana Carved Mallard Duck Decoys, c. 1965, b y Sidney Torres, Raceland, LA, length 14 1/2 in. [$300 - 500]
199. Pair of Louisiana Carved Mallard Duck Decoys, c. 1960, by Leo Blanc, LaCombe, LA, length 13 1/2 in. [$500 - 800]
201.
leather.
207. Rare American Classical Carved Mahogany Foot Stool, mid-19th c., probably Boston, period-appropriate silk upholstery, pierced carved anthemion, scrolled legs,14 1/2 x 21 x 14 1/2 in.
(36.8 x 53.3 x 36.8 cm.)
[$1,000 - 1,500]
206. Fine Classical Mahogany Highback Armchair, mid 19th c., Philadelphia, curved inlaid tablet crest rail, scrolled arms with concentric bosses, sabre legs, period-appropriate damask upholstery, h. 41 x 22 1/2 x 23 in. (104.1 x 57.2 x 58.4 cm.)
[$2,000 - 3,000]
205. Very Rare Pair of Classical Mahogany Armchairs, c. 1830, attributed to Duncan Phyfe, brass casters stamped “Crown above A Thorpe”, for Andrew Thorpe, New York, shaped crest rail, tall scrolled padded back, padded arms, sabre legs, cup casters, periodappropriate damask upholstery, h. 40 in.
[$10,000 - 15,000]
Provenance: Bellingrath Gardens, Theodore, Alabama
208. Rare American Classical Flame Mahogany Cellarette, mid 19th c., attributed to Duncan Phyfe & Son, New York, banded lift top, fitted bottle interior, sarcophagus-form case, scrolled front supports, plinth base, castors, 19 x 28 x 19 in. (48.3 x 71.1 x 48.3 cm.)
[$5,000 - 7,000]
Note: closely related cellarette of the type commonly referred to as the “ Grecian Plain Style” is pictured in Duncan Phyfe Master Cabinet Maker in New York by Peter Kenny on page 258-259, plate 60
209.American Classical Carved Mahogany, Bronze-Mounted and White Marble Dressing Bureau, early 19th c., New York, mirror between columnar supports, top drawer divided and fitted, three graduated drawers, urn and lobed feet ending in brass balls. 71 x 39 1/2 x 23 in. (180.3 x 100.3 x 58.4 cm.)
[$2,500 - 3,500]
210. American Classical Carved Mahogany Extension Dining Table, c. 1840, labeled “Briggs Extension Dining Table/ C.C. & J. Briggs, 507 Washington Street/ Boston”, shaped top, accordion crank extension mechanism, four lappet carved cornucopia supports, central baluster turned leg , casters, 30 1/4 x 44 3/4 x 92 1/4 in. (76.8 x 113.7 x 234.3 cm.)
[$2,500 - 3,500]
Cornelius Briggs was the proprietor of the largest furniture shop in Boston during the first half of the 19th century but is most well-known for his revolutionary extension dining table patent of 1843. Featuring a hand-crank accordion extension mechanism, the Briggs dining table could be swiftly closed or extended to suit the needs of the entertaining space with ease. The cleverly designed table in the present lot is of a versatile size and can be used for multiple guests fully extended or as a small breakfast table when closed. A related table is held in the collection of the Museum of Fine Arts, Boston.Ref.: Bray, Derin and Dennis Carr. “The Ingenious Patent Extension Tables of Cornelius Briggs.” Antiques and Fine Arts Magazine. 10th Anniversary Edition, 2010, pp. 122-125.
211. Fine Set of Ten American Classical Carved Mahogany Side Chairs, early 19th c., Philadelphia, probably Anthony Quervelle, curved string inlaid tablet crest, gadrooned molded seat rail, drop in seats, bosses, saber legs, [$3,000 - 5,000]
213. George Washington Sully, American/Louisiana, 1816-1890, “Fantastic Creatures”, 48 watercolor, pencil and inks on paper, 3 laid on board, unsigned, 19 titled, 13 with partial sketches en verso, 3 inscribed in verso, unframed. 1 1/4 x 1 1/2 in. (3.2 x 3.8 cm.) to 10 1/2 x 8 1/2 in. (26.7 x 21.6 cm.)
[$700 - 1,000]
“Summer Estates Auction “, Neal Auction Company, New Orleans, LA, Jun. 3, 2000, lot 229.
212. Fine West Indies Mahogany Linen Press, 19th c., molded cornice, molded paneled doors,interior linen shelves, flanking barley twist columns, two inset drawers, lower case with long drawer above three drawers flanked twist columns, plinth base turned bun feet. 80 1/2 x 51 x 23 in. (204.5 x 129.5 x 58.4 cm.)
[$3,000 - 5,000]
Provenance: Lord Snowden, Oliver Messel, Maddox House, St James, Barbados
214. George Washington Sully, American/Louisiana, 1816-1890, “Portraits, Caricatures and Funny Scenes”, 30 watercolor, ink and graphites on paper, one mounted to board, unsigned, 18 titled, 3 with partial sketches en verso, one inscribed en verso, unframed. 2 1/2 x 1 3/8 in. (6.4 x 3.5 cm.) to 7 3/4 x 6 1/2 in. (19.7 x 16.5 cm.) [$700 - 1,000]
“Summer Estates Auction”, Neal Auction Company, New Orleans, LA, Jun. 3, 2000, lot 241 and lot 229 ; “Late Summer Estates Auction”, Neal Auction Company, New Orleans, LA, Jul. 29, 2000, lot 391.
215. J.S. Marsh, American/Louisiana, active 1870s, “Bayou Teche, Sugar House, La”, watercolor on paper laid on board, 1871, signed, titled and dated on mount, “Farrington’s, Key West, FL” label on backing paper, framed. 5 x 8 1/4 in. (12.7 x 21 cm.), Frame: 10 3/4 x 12 3/4 x 1 in. (27.3 x 32.4 x 2.5 cm.)
[$700 - 1,000]
216. John Genin. French/Louisiana, 1830-1895, “Pierre Francois Du Bourg (1767-1830) and Elisabeth Etiennette Charest de Lauzon Du Bourg (1782-1811)”, oil on canvas, each signed lower right, framed alike. (2 pcs.) Each: 30 x 25 in. (76.2 x 63.5 cm.), Frame: 43 x 36 x 1 3/4 in. (109.2 x 91.4 x 4.4 cm.) [$3,000 - 5,000]
According to the Louisiana Portraits book published in 1975 by the National Society of the Colonial Dames of America in the State of Louisiana, this pair of portraits painted by John Genin are later copies of early nineteenth century portraits which have since been lost. Pierre Francois Du Bourg (1767-1830) was the owner of the “Rochemont” estate in Saint-Domingue (modern-day Haiti). He married Elisabeth Etiennette Charest de Lauzon Du Bourg (1782-1811) in Jamaica in 1797 after escaping the Haitian slave revolt. They came to New Orleans that same year, and he eventually served as a major in the Battle of New Orleans in 1815. He also became the Collector of the Port and Consul of the Kingdom of Sardinia and from 1812-1814 served as the Grand Master of the Masonic Order in Louisiana. Elizabth Etiennette was the daughter of Francois Charest de Lauzon, the son of the last Seigneur de Lauzon of Quebec, who owned “Lauzon” in Saint-Domingue and Perrine de Gournay of the Baronial House of de Gournay in Normandie.
Ref.: Bruns, Mrs. Thomas Nelson Carter, ed. Louisiana Portraits. New Orleans: The National Society of the Colonial Dames of America in the State of Louisiana, 1975, p. 86. Ill.: Bruns, Mrs. Thomas Nelson Carter, ed. Louisiana Portraits. New Orleans: The National Society of the Colonial Dames of America in the State of Louisiana, 1975, p. 86.
217. George Louis Viavant, American/Louisiana, 1872-1925, “Nature Morte: Mallard Duck”, watercolor on paper laid on board, 1916, signed, dated and localized midleft, framed. Sheet: 29 1/4 x 19 3/4 in. (74.3 x 50.2 cm.), Frame: 36 x 24 x 1 in. (91.4 x 61 x 2.5 cm.)
[$12,000 - 18,000]
A lifelong New Orleanian, Viavant’s paintings of fresh game from his hunts along the swamps and bayous surrounding the city were his particular forte. Only two artists in Louisiana, Viavant and Achille Perelli, worked predominantly in the nature morte genre, an historic and nationally popular subject matter which seemed a perfect fit given Louisiana’s reputation as a hunter’s paradise with a wide variety of wildlife species. During his career, Viavant successfully invented a tool for modifying a camel-hair brush that allowed him to scrumble the gouache and watercolor until he achieved the exact hues and texture needed in the brief time allowed by the medium. He often spent three to four days on one painting, and his attention to detail accomplished a completely accurate image in line, texture, and color of the fowl and fish he hunted and depicted throughout his lifetime. The mallard duck offered here is a particularly fine example of one of the artist’s most sought-after subjects.
218. George Louis Viavant, American/Louisiana, 1872-1925, “Nature Morte: Quail”, watercolor on paper, 1916, signed, dated and localized mid-left, framed. Sheet: 21 7/8 x 11 3/4 in. (55.6 x 29.8 cm.), Frame: 23 3/4 x 13.1 x 1 in. (60.3 x 33.4 x 2.5 cm.)
[$4,000 - 6,000]
219. Joseph Rusling Meeker, American/Louisiana, 1827-1887, “Cuba”, oil on canvas, 1872, signed and dated lower left, titled and dated en verso, 3 “Sotheby’s” labels with artist, title and date, one on stretcher, one on reverse of frame and one on backing board, framed. 21 1/2 x 36 in. (54.6 x 91.4 cm.), Frame: 29 x 43 1/2 x 2 in. (73.7 x 110.5 x 5.1 cm.)
[$10,000 - 15,000]
Many of the greatest nineteenth century American landscape painters traveled to the West Indies to capture the beautiful mountains, valleys, and tropical vistas. The Caribbean provided the warm climate and exotic panoramas often sought out by artists who desired a change in scenery from American topography. Often called the northernmost city in the Caribbean, New Orleans was the perfect departure point for these artists, many of whom left from that port to Cuba, the Bahamas, or other tropical destinations. Joseph Rusling Meeker, who studied under Hudson River School painter Asher B. Durand, was well versed in American landscape painting. Born in Newark, New Jersey, Meeker studied and worked in New York City and Louisville, Kentucky, before settling in St. Louis, Missouri in 1859. During the Civil War, Meeker traveled the Mississippi River with the Union Navy; his time near the mouth of the Mississippi exposed him to a new type of landscape, and he learned to love the humid atmosphere, which dispersed the light in a beautiful, hazy manner. After the war, Meeker continued to make summer trips to the New Orleans area to sketch the nearby lakes, bayous, and swamps; his sketches and notes provided the material needed to complete his canvases later in St. Louis. During Meeker’s many trips near the Gulf of Mexico, his extant canvases indicate that he extended his travels to the West Indies. This work bears striking resemblance to a much larger work by Meeker from the same year depicting Cuba near the Yumuri Valley (sold at Neal Auction on September 9, 2017), with the luminous atmospheric effects, mountains, palm trees, and body of water handled with Meeker’s characteristic style and skill.
220. Attributed to C.R. Parker, American/Louisiana, 1799-1849, “Portrait of Frederick”, oil on canvas, c. 1840, unsigned, framed. 30 x 25 in. Frame: 37 1/2 x 32 1/2 x 2 1/2 in. [$300,000 - 500,000]
Provenance: Haller (1816-1864) and Julia Nutt (1822-1897); thence by descent in the Nutt family; Mr. and Mrs. Kelly McAdams, Austin, TX, August, 1968; McAdams Foundation, Austin, TX, December, 1968; Pilgrimage Garden Club of Natchez, MS, 1970.
Neal Auction has sold notable American portraits for over forty years. Works by José Francisco Xavier de Salazar y Mendoza, Charles Willson Peale, Jacques Amans, and Jules Lion, to name a select few, have briefly graced our walls and subsequently joined important public and private collections. The “Portrait of Frederick” is one of only a handful of known portraits of individual enslaved sitters created prior to the Civil War in the South and represents perhaps the most significant work of American art that we have had the honor to offer to date. The painting represents the complex intersection of African American portraiture, American history, art history, race theory and personhood.
Displayed at Longwood, the famed historic, antebellum mansion, in Natchez, Mississippi since the 1860s, the “Portrait of Frederick” is an image that has been well-known to visitors and scholars for many decades yet simultaneously remains clouded in mystery and family lore. Nineteenth century portraiture was almost without fail relegated to those with means in the American South – particularly the wealthy planter class – and almost entirely reserved for white sitters, or in rare instances, free people of color. So how does this pre-Emancipation portrait of an enslaved man exist and why?
We felt that it was our duty to the consignor, the future buyer, and most especially to Frederick, that we do everything in our limited time with the portrait to uncover the truth. The first phone call was an obvious one. Katy Morlas Shannon, a Louisiana-based historian and author who has made it her life’s work to uncover the lost genealogies and stories of enslaved people, recently collaborated with art collector Jeremy K. Simien to uncover the identity of Bélizaire in the now famous “Bélizaire and the Frey Children” group portrait painting that was acquired by The Metropolitan Museum of Art in 2023. From my first communication with Morlas Shannon, I knew we had found someone who was as passionate about the project as we were – someone who joined us in our immediate obsession with Frederick’s story. Importantly, she also had in-depth knowledge of where to begin the research, and the skill set and relentless determination to wade through miles of archives, hundreds of practically illegible handwritten historic documents, and many emotionally wrenching histories.
Morlas Shannon’s research undertaken on behalf of Neal Auction is remarkable for the breadth and depth of information she has uncovered regarding Frederick’s life. Her discoveries shed new light on his role as an enslaved individual for the Nutt family, the type of work in which he was engaged and his family life both prior to and following the Civil War. This research allows for interpretative analysis, critical discussion and historical context in ways that have not been previously possible for this portrait and for the extraordinarily rare category of portraits of enslaved individuals. The “Portrait of Frederick” is concurrently a classic three-quarter portrait of a man and a compelling demonstration of the power of portraits to shape our perception of history. The considerations of context, individuality, and societal status are more critical than ever when faced with a portrait of an individual who was denied personhood. As Dr. Jennifer Van Horn, author of Portraits of Resistance: Activating Art During Slavery (Yale University Press, 2022) states regarding the two known Mississippi portraits of enslaved people: “One could even imagine that Frederick and Delia were themselves the patrons as well as the subjects of these works. That is fiction…The portraits present a false agency, using the sitters’ seeming autonomy to bestow a freedom to refuse that they did not in reality possess.” Fredericks’ countenance is an enigmatic one, and one cannot help but try to imagine how this man might have felt when faced with the highly unusual task of sitting for a portrait. C.R. Parker presents him as composed, unsmiling and with his eyes directed to the side. He wears formal clothing that seems at odds with the job we now know he did for his enslavers, and while the process of having one’s portrait painted is, in its very nature, an objectifying one, nonetheless Frederick’s presence is commanding. His gaze is powerful though mysterious. What does the world look like from his eyes? What does it feel like? These are the questions that arise when one’s likeness, one’s humanity, is documented.
Over time and throughout generations, much like in a game of telephone, details were lost and his identity became blurry, until nothing but his name, Frederick, truly remained, along with the only narrative that could reconcile the history of the South as we are taught and the radical existence of this very artifact. While we may never know the reason why Haller Nutt commissioned this nuanced and sensitive portrait of Frederick, we have now at the very least revealed more of the truth of his story thanks to Morlas Shannon’s tireless work. There are likely answers that will never be found, but in the not knowing, and through its very existence, the legacy of the “Portrait of Frederick” will continue to challenge audiences and help us better understand and grapple with our unique and complicated history.
Neal Auction is honored to have played a small role in the long history of this portrait and wishes to thank the Pilgrimage Garden Club of Natchez for entrusting it to us. The “Portrait of Frederick” survives due to their stewardship, and we all hope it will continue to inform, inspire and be conserved for generations to come.
For a more in-depth look, Read “Portrait of Frederick” by Katy Morlas Shannon
221. Richard Clague, French/Louisiana, 1821-1873, “Diana and her Nymphs at the Bath”, oil on canvas, signed lower right, framed. 35 1/4 x 47 1/4 in. (89.5 x 120 cm.), Frame: 40 3/4 x 52 1/2 x 1 3/4 in. (103.5 x 133.4 x 4.4 cm.) [$4,000 - 6,000]
Richard Clague is considered the father of the nineteenth-century Louisiana landscape painters, or Bayou School, as they are often described. Born in Paris on May 11, 1821 to a French Creole mother from New Orleans and an English father from the Isle of Man, the Clague family was prosperous and divided their time between Paris and New Orleans. Though half-English, Clague was Creole in all aspects due to his mother and lineage. French was his native tongue, and he was educated in the fine arts in France and French Switzerland from the age of fifteen. Clague studied with François-Edouard Picot (1786-1868) and at the ateliers of Horace Vernet and Ernest Herbert. In 1849, when he was twenty-eight years old, he was registered at the Ecole des Beaux-Arts in Paris; his registration was signed “J. Ingres,” then Vice-President of the Ecole. His sponsor was Picot. Clague’s Paris years coincided with the first widespread acceptance of the landscape in France and are certainly indebted to Theodore Rousseau and the Barbizon and Fontainebleau groups with whom he painted naturalistic landscapes in the plein air style. Clague lived in Paris and exhibited at the Paris Salon in 1848, 1849 and 1853. He joined an expedition to Egypt in 1856-57 and upon his return with a large portfolio of drawings, he sailed for New Orleans where he lived the rest of his life except for a stint in the Confederate army.
Painted during his Salon period in Paris likely around 1850, Clague presents the classical scene of “Diana and her Nymphs” using the traditions and discoveries of the French Barbizon artists. The water in the foreground where the ethereal nymphs bathe wedges towards a rocky cliff and horizontal screen of trees, a precept of Clague in his landscapes. A bare-breasted Diana stands in the left corner, her quiver and arrows on the grassy lawn among some urns and bathing blankets. The luminous sky and detailed trees presage Clague’s bayou landscapes and the accomplished body of work that he will create upon his return to New Orleans. Accomplished European works by Clague by rare and are important to understanding his oeuvre and provide meaningful context to his Louisiana compositions.
222. Matthew Harris Jouett, American/ Kentucky, 1788-1827, “Sarah Finley Scott Humphreys (1806-1883)”, oil on canvas, c. 1822, unsigned, framed; together with Matthew Harris Jouett (1788-1827) His Life & Work monograph and Catalogue of Paintings by Matthew Harris Jouett exhibition catalogue. 30 x 25 in. (76.2 x 63.5 cm.), Frame: 34 x 29 x 1 1/2 in. (86.4 x 73.7 x 3.8 cm.) [$12,000 - 18,000]
Provenance: The sitter, Sarah Finley Scott Humphreys; her son, Joseph Alexander Humphreys; his wife, Sara Thompson Gibson Humphreys; her daughter, Sarah Gibson Humphreys Chenault; her daughter, Sarah Chenault Buckner; her son, Garrett Davis Buckner; his daughter, Alice Buckner Kennedy; Private Collection.
Ref.: Martin, Mrs. William H. Catalogue of Paintings by Matthew Harris Jouett. Louisville: The J. B. Speed Museum, 1939, p. 27; Pennington, Estill Curtis. Matthew Harris Jouett (1788-1827) His Life & Work. Paris, KY, 2020, p. 153; Price, Samuel Woodson. “Richard Jouett Menefee: Catalog of Jouett Pictures and Their Owners.” The Old Masters of Bluegrass, Filson Club Publications, 1902, p. 66.
Neal Auction would like to thank Mr. Estill Curtis Pennington for his expert assistance with this lot. The following catalogue note is an excerpt from his extensive research regarding the portrait and sitter and his monograph on the artist, Matthew Harris Jouett (1788-1827): His Life and Work, published in 2020.
Sarah Finley Scott Humphreys (1806-1883) was born in Chillicothe, Ohio to Dr. Joseph Scott (1781-1843) and his wife Martha Finley (1783-1814). The Scott family had long been a presence in the Chillicothe community. Chillicothe was a prosperous market town with strong ties to Maysville, Kentucky. She married David Carlisle Humphreys (1796-1864) in October, 1825. Though a native of Staunton, Virginia, Humphreys had migrated to Woodford County, Kentucky c.1802, following the death of his father, Dr. Alexander Humphreys…His mother, Mary Brown Humphreys (1763-1836) was the sister of Senator John Brown, of Frankfort, where she soon became a notable presence, it being reported that she led the Assembly Ball in Frankfort, 1816 at the age of 73. Her daughter Betsy Humphreys Todd (1800-1874) was the stepmother of Mary Todd Lincoln. Both the Scott and Humphreys families felt the draw of their Kentucky connections. In the same year of his marriage D.C. Humphreys purchased “Sumner’s Forest” from his uncle Dr. Preston Brown of Frankfort [Kentucky], and it was there that his son Joseph Alexander Humphreys was born in 1826...
David Humphreys became a very successful farmer and stock breeder who purchased an additional farm, near Midway and there built a home, Waverly. Here he and Sarah were to have six children, four of who survived to adulthood: Joseph Alexander (1826-1863), Samuel (1828-1857), Mary Brown (1830-1885) and Lucy (1833-1858)… In a will dated May 7, 1863, D. C. Humphreys “gave his wife Sarah 460 acres of land, all household and kitchen furniture, the silver ware, books carriage, carriage horses, the crop growing on the land and ten slaves.” The U.S. census for 1870 lists her as living with her daughter, Mary Dey at the home place, while the 1880 census lists her as living alone. She is buried in the Frankfort cemetery.
During his period of study with Gilbert Stuart in Boston, 1816, [Matthew Jouett] observed and later deployed many of the older artist’s compositional techniques to enhance depth and perspective. Many of these deploy a curled fringe hairdo over the forehead, and a paisley shawl loosely draped over the shoulder or about the midriff, as to be seen in various portraits, ranging from his painting of Dolley Madison in Neo-Grec attire to the distinctly costumed image of Elizabeth Pickering Dorsey, which Jouette noted admiring. Upon his return to Kentucky Jouett painted several women in this style, the portrait of Sarah Humphreys being a fine example.
223. Alexander John Drysdale, American/Louisiana, 1870-1934, “Louisiana Bayou”, oil on canvas, signed lower left, “Eli Wilner & Company, New York, NY” label on reverse of frame, framed. 20 1/4 x 30 1/4 in. (51.4 x 76.8 cm.), Frame: 27 3/4 x 37 1/2 x 3 in. (70.5 x 95.3 x 7.6 cm.)
[$5,000 - 7,000]
224. Alexander John Drysdale, American/Louisiana, 1870-1934, “Bayou Scene with Live Oak and Cypress Trees” and “Bayou Scene with Two Live Oaks”, oil washes on board, 2 oil washes on board, signed lower right and left respectively, framed alike. (2 pcs.) Each: 6 x 20 in. (15.2 x 50.8 cm.), Frames: 8 1/4 x 22 1/4 x 1/4 in. (21 x 56.5 x 0.6 cm.) [$2,000 - 4,000]
225. American Rococo Faux Grained and Rosewood Half-Tester Bed,19th c., attributed to Mitchell and Rammelsberg, Cincinnati, Ohio, stamped 7P on parts, foliate crest, associated serpentine beaded tester, molded square posts, arched paneled headboard, shaped side rails, conforming foot board, foliate mounted corners 124 x 59 x 80 in. (315 x 149.9 x 203.2 cm.)
[$4,000 - 6,000]
226. American Rococo Carved Rosewood Armoire, 19th c., attributed to the New Orleans warerooms of Prudent Mallard, pierced carved foliate crest, molded arched mirrored door, molded two drawer plinth base, bracket feet.
101 x 50 x 24 in. (256.5 x 127 x 61 cm.)
[$1,000 - 1,500]
227. Federal-Style Mahogany Chest of Drawers, 20th c., molded top, four graduated drawers, bracket feet. 38 1/2 x 42 1/2 x 23 in. (97.8 x 108 x 58.4 cm.)
[$700 - 1,000]
228. Near Pair of Masonic Mahogany Child’s Chairs, 19th c., the backrest designed with two triangles, turned supports, padded seat, turned legs. 30 x 13 1/2 x 12 1/2 in. (76.2 x 34.3 x 31.8 cm.)
[$300 - 500]
229. American Classical Carved Mahogany Tilting Tea Table, mid-19th , Philadelphia, figured top, columnar standard, incurvate plinth base, scroll carved feet, casters
30 x 34 in. (76.2 x 86.4 cm.)
[$800 - 1,200]
230. American Federal Carved Mahogany Diminutive Chest, 19th c., four molded graduate drawers, ring turned tapered feet.
29 x 28 1/2 x 17 1/2 in. (73.7 x 72.4 x 44.5 cm.)
[$700 - 1,000]
231. American Rococo Carved Mahogany Bookcase, 19th c., New York, arched molded cornice flanked by finials, glazed doors, carved lions and foliate stiles, frieze drawer, molded paneled doors, plinth base. 103 x 58 x 25 in. (261.6 x 147.3 x 63.5 cm.)
[$3,000 - 5,000]
232. American Renaissance Carved Walnut Half Tester Bed, 19th c., attributed to Mitchell and Rammelsburg, Cincinnati, hardware stamped M & R, molded shaped tester with pierced carved crest, scrolling brackets, arched molded paneled headboard with crest, conforming rails, molded footboard. 121 x 58 x 77 in. (307.3 x 147.3 x 195.6 cm.)
[$2,500 - 3,500]
233. America Renaissance Revival Carved Walnut and Mahogany Armoire, 19th c., probably Mitchell and Rammelsburg, Cincinnati, pierced carved crest with flanking finials, arched molded cornice, paneled doors, two drawers, scalloped base, 117 1/2 x 65 1/2 x 22 in. (298.5 x 166.4 x 55.9 cm.)
[$1,200 - 1,800]
234. American Carved Oak Campeche Chair, 19th c., probably Louisiana, raked back, conforming arms, curule supports. 35 x 24 1/2 x 25 in. (88.9 x 62.2 x 63.5 cm.)
[$700 - 1,000]
Provenance: Ouida Plantation
235. Pair of Continental Bronze Eight-Light Gasoliers, foliate designs, fluted glass shades, electrified. 43 x 26 in. (109.2 x 66 cm.) [$1,200 - 1,800]
236. Pair of Empire-Style Lamps, 20th c., faux marble, goat head handles, h. to socket 27 in. [$400 - 600]
237. Pair of French BronzeMounted Porcelain Carcel Lamps, painted foliate design, h. to socket 33 in. [$300 - 500]
238. Pair of Antique French Carcel Lamps, bronzed metal, embossed with Bacchic cherubs and foliate design, h. to socket 24 in. [$500 - 700]
239.American Brass and Marble Solar Lamp, 19th c., shade with foliate wheel-cut design, electrified. 32 x 13 1/2 in. (81.3 x 34.3 cm.) [$300 - 500]
240. American Bronze and Marble Solar Lamp, 19th c., shade with wheel-cut foliate design, electrified. 25 x 9 1/2 in. (63.5 x 24.1 cm.)
[$400 - 600]
242. Pair of Antique English Brass Argand Lamps, 19th c., marked “Messinger & Son, Birmingham”, foliate shades, electrified. 13 1/4 x 9 1/2 x 5 in. (33.7 x 24.1 x 12.7 cm.) [$600 - 900]
241. American Bronze and Brass Solar Lamp, 19th c., tapered and fluted standard, foliate designs, wheel-cut shade, not electrified. 29 x 9 1/2 in. (73.7 x 24.1 cm.)
[$500 - 700]
243. Pair of Baccarat-Style Cut-Crystal Two-Light Candelabra, enameled foliate decoration, Note: one spire shorter. 21 x 16 x 5 1/2 in. (53.3 x 40.6 x 14 cm.)
[$400 - 600]
244. American Late Classical Carved Mahogany Library Chair, 19th c., possibly Boston, scrolled padded back, padded arms, turned legs, casters [$700 - 1,000]
246. American Classical Figured Mahogany Chest of Drawers, 19th c., attr. to Anthony Quervelle, Philadelphia, shaped top, two short drawers over three graduated drawers, columnar stiles, acanthine paw feet. 46 x 46 x 25 1/4 in. (116.8 x 116.8 x 64.1 cm.)
[$2,000 - 3,000]
248. American Late Classical Mahogany Tea Table, 19th c., circular “plum pudding” tilt top, tapering standard with collar, incurvate triangular plinth, scroll feet, brass casters.
28 3/4 x 31 in. (73 x 78.7 cm.)
[$800 - 1,200]
249. Fine Set of Four Late Classical Rosewood Side Chairs, c. 1825, attributed to Joseph Barry, Philadelphia, pyramidal finials on drop carved incurvate stiles, bowed backs with fan brackets, trapezoidal seats, turned and faceted front legs, tapering feet.
33 x 18 x 16 1/2 in. (83.8 x 45.7 x 41.9 cm.)
[$3,000 - 5,000]
245. American Classical Carved Mahogany Meridienne, 19th c., i n the manner of Anthony Quervelle, Philadelphia, scrolled crest rail, scrolled arm and rounded arm, carved molded seat rail, foliate bracketed paw feet. 39 x 25 1/2 x 71 in. (99.1 x 64.8 x 180.3 cm.)
[$800 - 1,200]
247. American Classical Carved Mahogany Chest of Drawers, 19th c., school of Anthony Quervelle, Philadelphia, four drawers, flanked by twisted columns, plinth base, turned feet. 44 1/2 x 44 x 23 1/2 in. (113 x 111.8 x 59.7 cm.)
[$1,500 - 2,500]
250. Rare American Late Federal Carved Mahogany Bowfront Chest, early 19th c., attributed to Haines and Connelly, Philadelphia, reeded molded top, period brasses, four graduated conforming drawers, reeded styles, reeded tapered legs. 40 3/4 x 40 1/4 x 23 1/2 in. (103.5 x 102.2 x 59.7 cm.)
[$2,500 - 3,500]
251. American Carved Mahogany Pembroke Table, early 19th c., probably Philadelphia, drop leaves with elliptical cut corners, frieze drawer, scrolled supports joined by turned stretchers, reeded saber legs ending in brass paw feet, casters, 28 3/4 x 41 1/4 x 22 1/2 in. (73 x 104.8 x 57.2 cm.), Frame: 28 3/4 x 41 1/4 x 53 in. (73 x 104.8 x 134.6 cm.) [$800 - 1,200]
252. American Classical Rosewood Secretaire a’Abattant, mid 19th c., New York or Philadelphia, later white marble top, ripple molded top, frieze drawer flanked by rosettes, fall front with gothicized maple interior, cabinet doors, molded styles, 59 1/2 x 41 3/4 x 38 in. (151.1 x 106 x 96.5 cm.)
[$2,500 - 3,500]
[$800 - 1,200]
253. American Classical Mahogany Sarcophagus Form Window Bench, c. 1830, probably New York/Boston, volute articulated frieze, on scrolled bracket feet, h. 18 in., w. 42 in., d. 20 in. (45.7 x 106.7 x 50.8 cm.) [$1,500 - 2,500]
254. French Restauration String Inlaid Rosewood Cabinet, 19th c., later marble top, divided frieze drawer over two doors, satinwood linen drawer interior, plinth base, bracket feet. 42 x 56 1/2 x 23 in. (106.7 x 143.5 x 58.4 cm.)
255. Antique English Oak Tallcase Clock, dial marked “Thomas Brown, Birmingham”, bearing a silver presentation plaque for “Major Kayler” from his company and men, 1944”, h. 87 in., w. 19 1/5 in., d. 11 in. h. 87 in., w. 19 1/5 in., d. 11 in.
[$500 - 700]
257. Napoleon III Patinated Bronze Figural Mantel Clock, 19th c., movement signed “Leroy Fils No. 7708”, striking on a steel bell, the figures after a model by Albert Carrier-Belleuse (French, 1824-1887), 25 x 23 x 8 1/2 in. (63.5 x 58.4 x 21.6 cm.)
[$1,200 - 1,800]
256. Ansonia Excelsior Crystal Regulator, Ansonia, NY, gilt metal, striking on gong, beveled glass, on paw feet. 20 x 10 1/2 x 9 in. (50.8 x 26.7 x 22.9 cm.)
[$700 - 1,000]
259. Louis Philippe Bronze Figural Mantel Clock, 19th c., dial marked “Hunziker, Rue de Bussy, No. 22”, silkthread striking bell movement, figure of Apollo holding a torch and wreath, 16 1/2 x 13 x 5 1/2 in. (41.9 x 33 x 14 cm.)
[$800 - 1,200]
258. Antique French Giltwood Barometer, 19th c., ribbon crest, foliate carvings, the thermometer indicating various warm and cold temperature records for Paris in the 18th c., 41 x 18 in. (104.1 x 45.7 cm.)
[$800 - 1,200]
260. Empire Gilt Bronze Mantel Clock, 19th c., vase-form, flanked by cherubs, silkthread movement striking on bell. 14 x 6 x 4 3/4 in. (35.6 x 15.2 x 12.1 cm.)
[$800 - 1,200]
261. Antique French Patinated Bronze Figural Swinging Clock, the figure of Tellus Bavarica or Bavarian Diana, after Hubert Gerhard, on marble base.
32 x 11 x 13 in. (81.3 x 27.9 x 33 cm.)
[$600 - 900]
262. American Rococo Carved Rosewood Etagere Server, 19th c., New York, possibly J.W. Meeks, pierced carved gallery, scrolled shelf supports, molded marble top, frieze drawer, glazed door, scrolled stiles, shaped apron, scrolled feet, castors. 72 x 32 x 21 in. (182.9 x 81.3 x 53.3 cm.)
[$1,000 - 1,500]
263. American Rococo Carved Rosewood and Mahogany Server, 19th c., marble top, attributed to the New Orleans warerooms of Prudent Mallard, molded marble top, two frieze drawers, two molded paneled doors, foliate molded apron. 39 x 60 1/2 x 22 in. (99.1 x 153.7 x 55.9 cm.)
[$700 - 1,000]
264. American Rococo Carved Rosewood Extension Dining Table, 19th c., Att. to Alexander Roux, New York, carved molded edge, scrolled foliate apron, scrolled foliate legs, 3 leaves. 31 1/2 in. (80 cm.)
[$3,000 - 5,000]
265. Fine Set of Eight American Rococo Carved Rosewood Dining Chairs, 19th c., attributed to Alexander Roux, New York, foliate carved crest rail, padded back and seat , conforming seat rail, beaded tapered legs, castors. 41 x 20 x 18 1/4 in. (104.1 x 50.8 x 46.4 cm.) [$2,500 - 3,500]
267. Rare American Classical Carved Mahogany Library Armchair, 19th c., Boston, green leather nailhead upholstery, arched crest rail, lappet and foliate carved padded arms, tapered faceted legs, castors , h. 43 ½ in., w. 26 ½ in., (110.5 x 67.3 x 81.3 cm.)
[$1,500 - 2,500]
Note: this chair relates to one belonging to Daniel Webster
266. American Rococo Inlaid Carved Rosewood Credenza, 19th c., New York, possibly Alexander Roux, molded conforming marble,all doors with foliate and butterfly inlay, cabinet door flanked by incurvate molded doors, large C-scroll and foliate supports. 38 x 23 1/4 x 74 in.
(96.5 x 59.1 x 188 cm.)
[$1,000 - 1,500]
268. American Classical Carved Mahogany Mechanical Library Chair, 19th c., probably Boston, tuffed leather upholstery, reclining back, scrolled padded arms, turned legs. 42 1/2 x 26 x 25 in. (108 x 66 x 63.5 cm.)
[$1,500 - 2,500]
269. American Classical Mahogany Bowfront Chest, 19th c., Philadelphia, in the school of Joseph Barry, two drawers over three, columned front, retains finely cut glass pulls, h. 48 in., w. 50 ½ in., d. 25 in., 47 1/2 x 48 3/4 x 25 in. (120.7 x 123.8 x 63.5 cm.)
[$1,500 - 2,500]
270. American Federal Mahogany Wingchair, early 19th c., probably New York, leather nailhead upholstery, commode seat under leather, reeded legs, castors, 45 x 33 x 23 1/2 in. (114.3 x 83.8 x 59.7 cm.)
[$1,000 - 1,500]
271. American Rococo Carved Rosewood Armoire, 19th c., New Orleans, probably retailed by the McCracken, pierced carved crest, finials, molded mirrored doors, maple interior, two drawers, molded plinth base, disk feet [$2,000 - 3,000]
272. Antique French Plaster and Giltwood Trumeau Mirror, depicting Classical figures. 67 x 40 in. (170.2 x 101.6 cm.) [$1,000 - 1,500]
273. Pair of RestaurationStyle Giltwood Mirrors, with Greek-key and rosette design, beveled mirror plates. 64 x 32 in.
(162.6 x 81.3 cm.)
[$1,200 - 1,800]
274.Antique French Giltwood and Polychrome Mirror, vase and floral reliefs, beaded borders. 60 1/2 x 33 in.
(153.7 x 83.8 cm.)
[$800 - 1,200]
275. Antique Italian Giltwood and Polychrome Mirror, 19th c., shaped crest with relief of floral urn, h. 50 in., w. 26 in [$800 - 1,200]
276.George II-Style Giltwood and Chinoiserie Mirror, with figural and foliate design, h. 63 in., w. 33 1/2 in.
[$700 - 1,000]
277. John James Audubon, American, 1785-1851, “Summer or Wood Duck”, handcolored aquatint with engraving, Plate 206 from The Birds of America, Havell edition, “J.Whatman Turkey Mill 1834” watermark, “Taylor Clark’s Fine Framing” label on backing paper, framed. Sheet 38 1/2 x 25 1/4 in. (97.8 x 64.1 cm.), Frame: 38 1/2 x 36 x 1 in. (97.8 x 91.4 x 2.5 cm.)
[$20,000 - 30,000]
278. John James Audubon, American, 1785-1851, “Yellow-Crowned Heron”. hand-colored aquatint with engraving, Plate 336 from The Birds of America, Havell edition, “J.Whatman 1836” watermark, “Taylor Clark’s Fine Framing” label on backing paper, framed. Sheet 38 1/2 x 25 3/8 in. (97.8 x 64.5 cm.), Frame: 49 x 36 x 1 in. (124.5 x 91.4 x 2.5 cm.) [$7,000 - 10,000]
279. John James Audubon, American, 1785-1851, “Red-Shouldered Hawk”, hand-colored aquatint with engraving, Plate 56 from The Birds of America, Havell edition, “J.Whatman Turkey Mill” watermark, “Taylor Clark, Baton Rouge, LA” label on backing paper, framed. Sheet: 38 1/2 x 25 5/8 in. (97.8 x 65.1 cm.), Frame: 51 3/8 x 38 1/2 x 1 3/8 in. (130.5 x 97.8 x 3.5 cm.) [$2,000 - 3,000]
280. John James Audubon, American, 1785-1851, “Rough-Legged Falcon”, hand-colored aquatint with engraving, Plate 422 from The Birds of America, Havell edition, “J.Whatman 1838” watermark, “Taylor Clark, Baton Rouge, LA” label on backing paper, framed. Sheet: 38 x 25 3/8 in. (96.5 x 64.5 cm.), Frame: 51 1/2 x 38 3/8 x 1 3/8 in. (130.8 x 97.5 x 3.5 cm.) [$800 - 1,200]
281. John James Audubon, American, 1785-1851, “Band-Tailed Pigeon”, hand-colored aquatint with engraving. Plate 367, from The Birds of America, Havell edition, “J.Whatman 1837” watermark, “Taylor Clark, Baton Rouge, LA” label on backing paper, framed. Sheet: 38 1/2 x 25 1/2 in. (97.8 x 64.8 cm.), Frame: 42 x 33 1/2 x 1 1/4 in. (106.7 x 85.1 x 3.2 cm.) [$1,000 - 1,500]
282. John James Audubon, American, 1785-1851, “American Pied-Bill Dobchick”, hand-colored aquatint with engraving. Plate 248 from The Birds of America, Havell edition, “J.Whatman Turkey Mill 1832” watermark, “Taylor Clark, Baton Rouge, LA” label on backing paper, framed. Sheet: 39 1/2 x 25 3/8 in. (100.3 x 64.5 cm.), Frame: 42 1/2 x 32 5/8 x 1 1/4 in. (108 x 82.9 x 3.2 cm.) [$800 - 1,200]
284. John James Audubon, American, 1785-1851, “Marsh Wren”, handcolored aquatint with engraving. Plate 100 from The Birds of America, Havell edition, “J.Whatman 1838” watermark, “Taylor Clark, Baton Rouge, LA” label on backing paper, framed. Sheet: 38 x 25 1/4 in. (96.5 x 64.1 cm.), Frame: 42 1/2 x 32 1/2 x 1 in. (108 x 82.6 x 2.5 cm.) [$800 - 1,200]
283. John James Audubon, American, 1785-1851, “Sharp -Tailed Finch”, hand-colored aquatint with engraving. Plate 149 from The Birds of America, Havell edition, “J.Whatman Turkey Mill 1832” watermark, “Taylor Clark, Baton Rouge, LA” label on backing paper, framed.Sheet: 39 1/2 x 25 3/8 in. (100.3 x 64.5 cm.), Frame: 42 1/2 x 32 5/8 x 1 1/4 in. (108 x 82.9 x 3.2 cm.)
[$800 - 1,200]
285. John James Audubon, American, 1785-1851, “Yellow Throat Warbler”, hand-colored aquatint with engraving. Plate 85 from The Birds of America, Havell edition, “J.Whatman 1830” watermark, “Taylor Clark, Baton Rouge, LA” label on backing paper, framed. Sheet: 38 1/2 x 25 5/8 in. (97.8 x 65.1 cm.), Frame: 41 3/4 x 38 1/2 x 1 in. (106 x 97.8 x 2.5 cm.) [$800 - 1,200]
286. Antique French Walnut Armoire, flared cornice, stiles with half-round ornaments, two doors, shelf interior, blocked apron, compressed flat round feet, h. 102 1/2 in., w. 67 1/2 in., d. 27 1/2 in. [$600/900]
287. John James Audubon, American, 1785-1851, “Children’s Warbler”, hand-colored aquatint with engraving. Plate 35 from The Birds of America, Havell edition, “J.Whatman 1838” watermark, “Taylor Clark’s Fine Framing” label on backing paper, framed with mat on outside of glass. Sheet: 38 x 25 1/4 in. (96.5 x 64.1 cm.), Frame: 40 x 27 1/4 x 1 in. (101.6 x 69.2 x 2.5 cm.)
[$800 - 1,200]
288. John James Audubon, American, 1785-1851, “Republican Cliff Swallow”. hand-colored aquatint with engraving. Plate 68 from The Birds of America, Havell edition, “J.Whatman Turkey Mill” watermark, framed. Sheet: 36 1/2 x 25 1/4 in. (92.7 x 64.1 cm.), Frame: 43 x 31 x 1 1/4 in. (109.2 x 78.7 x 3.2 cm.)
[$800 - 1,200]
290. John James Audubon, American, 1785-1851, “Pileated Woodpecker”, chromolithograph. Plate 111 from The Birds of America, Bien edition, “Taylor Clark, Baton Rouge, LA” label on backing paper, framed. Sheet: 38 3/8 x 26 3/8 in. (97.5 x 67 cm.), Frame: 48 x 38 x 1 in. (121.9 x 96.5 x 2.5 cm.) [$800 - 1,200]
289. Original Title Page and Boards from John James Audubon’s The Birds of America Double-Elephant Folio 1827-1830, Vol. I, tooled leather, marbled endpapers, by Sangorski & Sutcliffe, London, England, 39 x 26 1/2 in.
[$500 - 700]
291. John James Audubon, American, 1785-1851, “Baltimore Oriole”, chromolithograph, Plate 217 from The Birds of America, Bien edition, “Taylor Clark’s Fine Framing” label on backing paper, framed. Sheet: 39 1/2 x 26 5/8 in. (100.3 x 67.6 cm.), Frame: 42 1/4 x 29 1/2 x 1 1/4 in. (107.3 x 74.9 x 3.2 cm.) [$800 - 1,200]
292. John James Audubon, American, 1785-1851, “Pinnated Grous”, chromolithograph, Plate 296 from The Birds of America, Bien edition, “Taylor Clark’s Fine Framing” label on backing paper, framed. Sheet 26 5/8 x 39 3/8 in. (67.6 x 100 cm.), Frame: 38 5/8 x 50 3/4 x 1 1/2 in. (98.1 x 128.9 x 3.8 cm.) [$800 - 1,200]
293. John James Audubon, American, 1785-1851, “Reddish Egret”, chromolithograph on paper mounted to board, Plate 371 from The Birds of America, Bien edition, “Taylor Clark, Baton Rouge, LA” label on backing paper, framed. Sheet: 26 3/8 x 39 1/2 in. (67 x 100.3 cm.), Frame: 38 1/2 x 49 3/4 x 1 3/8 in. (97.8 x 126.4 x 3.5 cm.)
[$800 - 1,200]
294. John James Audubon, American, 1785-1851, “Little Chief Hare”, “Hudson’s Bay Lemming” and “Tawny Lemming & Back’s Lemming”, 3 hand-colored lithographs, plates 83, 119 & 120 from The Viviparous Quadrupeds of North America, Bowen edition, unframed. (3 pcs.) Sheets 21 x 27 3/8 in. (53.3 x 69.5 cm.), To 21 1/2 x 27 3/8 in. (54.6 x 69.5 cm.) [$400 - 600]
295. Gould, John (British, 1804-1881), Monograph of the Pittidae [Tropical Birds], London, Published by the Author, 1880-1881, Part I with 10 hand-colored lithographs and text; Part II with text only (as issued), bound together by Henry Sotheran in 3/4 leather, gilt lettering, folio (21 3/4 in. x 15 in.), marbled endpapers. [$2,000 - 3,000]
296. John Gould, British, 1804-1881, “Harpactes Hodgsoni” and “Harpactes Diardi”, 2 hand-colored lithographs, Plates 64 & 70 from “Birds of Asia”, each with associated text on backing paper, framed alike. Sights: 21 x 14.6 in. (53.3 x 37.2 cm.), Frame: 32 1/2 x 25 1/2 x 1 1/4 in. (82.6 x 64.8 x 3.2 cm.)
[$500 - 700]
297. Roger Tory Peterson, American/New York, 1908-1996, “Great Horned Owl”, “Barn Owls”, “Bald Eagle”, Bobwhite Quails”, “Bobolinks”, “Barn Swallows”, “Jays Color Plate #30” and “Cardinals”, 8 lithographs, each pencil-signed and numbered, 7 signed and dated in plate, one with information label with artist, title, print date and printer information on backing paper, printed by Mill Pond Press, Venice, FL for the artist, sights 15 1/4 in. x 9 1/2 in. to 33 1/2 in. x 23 in., framed, overall 25 3/4 in. x 19 5/8 in. x 1 in. to 43 5/8 in. x 32 3/4 in. x 1 5/8 in. (8 pcs.) [$800 - 1,200]
298. After François-Nicolas Martinet, French 1725-1804, “Le Jocko & Le Gibbon”, “Le Macaque & Le Douc”, and “Le Coaïte & Le Sajou” 3 hand-colored engravings. Plates 19, 21 & 22 from Histoire Naturelle section of Encyclopédie edited by Denis Diderot, engraved by Robert Bénard (French, 1734-1794), published by Briasson, Durand, Le Breton & Durand, Paris; TOGETHER WITH After Guillaume de Favanne (French 1716-1770), “Singe Voltigeur & Singe Fiffleur”, hand-colored engraving, from Les Dons Merveilleux et Diversement Coloriés de la Nature, engraved by Jacques Mesnil (French active 1770s), published by Pierre Joseph Bucholz, Paris, framed alike. (4 pcs.) Sights: 14 1/4 x 9 3/4 in. (36.2 x 24.8 cm.), Frame: 23.2 x 18 x 1 in. (59 x 45.7 x 2.5 cm.) [$600 - 900]
299. Antique Map of the Gulf Coast and New Orleans, “Luigiana Inglese, colla Parte Occidentale della Florida, della Giorgia, e Carolina Meridonale”, by Antonio Zatta, Venice, 1778, Plate 10, hand-colored engraved map, from Zatta’s version of Mitchell’s landmark map of the British Colonies, sight 13 1/2 in. x 17 1/2 in., matted and framed [$400 - 600]
301. Jules Chéret, French, 1836-1932, “Jardin de Paris, Spectacle Varié”, lithograph poster, 1899, signed and dated “1890” in plate, printed by Imprimerie Chaix, Atelier Chéret, rue Bergère, 20, Paris, framed. Sheet: 51 x 36 3/4 in. (129.5 x 93.3 cm.), Frame: 59 1/2 x 43 1/2 x 1 1/2 in. (151.1 x 110.5 x 3.8 cm.)
[$500 - 700]
300. Western Pacific Railroad California Zephyr Advertisements, c. 1950s, “The Vista-Dome California Zephyr San Francisco-Oakland to Chicago” and “The California Zephyr in Feather River Canyon”, 2 advertising posters, unsigned, unframed. Sheets: 21 3/8 x 17 3/4 in. (54.3 x 45.1 cm.), to 38 x 23 in. (96.5 x 58.4 cm.)
[$700 - 1,000]
302. [State of Louisiana Ordinance], c. 1900, “The State of Louisiana. An Ordinance to Dissolve the Union between the State of Louisiana and other States united with her, under the compact entitled The Constitution of the United States of America...”, lithographed broadside, text in parallel English and French, with facsimile signatures, “INDENTURE BOND” watermark indicates a brand of American Writing Paper Co., Holyoke, Mass., incorporated in 1899, framed. 25 1/2 x 22 1/2 in. (64.8 x 57.2 cm.)
[$500 - 700]
303. Two Sets of English Bronze Nesting Balance Scale Weights, both with incised designs, the larger also with a band of figures hunting, hinged lids opening to 5 or 6 weights. Larger h. 5 in.
[$150 - 250]
309. Georgian Tortoiseshell Tea Caddy, navette form, interior with single lidded compartment, 4 3/4 x 7 x 3 in. (12.1 x 17.8 x 7.6 cm.)
[$800 - 1,200]
308. Georgian Tea Caddy, domed lid, harlequin pattern, interior with single lidded compartment,4 1/2 x 3 1/2 x 2 1/2 in. (11.4 x 8.9 x 6.4 cm.) [$800 - 1,200]
307. George III Tortoiseshell Tea Caddy, rounded edges, interior with two lidded compartments, 4 3/4 x 6 1/2 x 4 in. (12.1 x 16.5 x 10.2 cm.) [$800 - 1,200]
306. Georgian Tortoiseshell Tea Caddy, 19th c., bombe front, chamfered corners, interior with two lidded compartments. 5 3/4 x 6 1/2 x 4 1/4 in. (14.6 x 16.5 x 10.8 cm.) [$800 - 1,200]
305. Georgian Mother-of-Pearl Inlaid Tortoiseshell Tea Caddy, serpentine front, interior with two lidded compartments. 5 1/4 x 8 x 5 in. (13.3 x 20.3 x 12.7 cm.) [$800 - 1,200]
304. Antique English Boullework Stationery Box, c. 1845, leather underside marked “Halstaff & Hannaford”, underside of lid lined with velvet and gilt-embossed leather5 3/4 x 8 1/2 x 4 1/2 in. (14.6 x 21.6 x 11.4 cm.) [$700 - 1,000]
310. Georgian Tortoiseshell Tea Caddy, hexagonal form, pushbutton lid, interior with single covered compartment, 4 1/4 x 4 x 3 1/2 in. (10.8 x 10.2 x 8.9 cm.)
[$800 - 1,200]
Georgian Inlaid
Urn, 19th c., lift-up lid, molded base, bracket feet, h. 27.5 in., dia. 11 3/4 in [$400 - 600]
312. Antique English Lead Garden Figure of a Shepherdess, after the original by John Cheere (English, 1709-1787), h. 50 in., w. 17 in., d. 13 in., TOGETHER WITH the as-is companion Shepherd in poor condition, with losses, restorations, and bent base, h. 50 in., w. 21 in., d. 12 in.
[$800 - 1,200]
314. Antique English Brass Inlaid Rosewood Lap desk, 19th c., stamped by retailer “S. Hart & Son, Philadelphia”, h. 7 1/2 in., w. 20 in., d. 10 1/2 in., on a later stand, total h. 29 in.
[$400 - 600]
313. Nine English Porcelain Stirrup Cups, Largest piece
[$700 - 1,800]
311.
Mahogany Knife
315. Clementine Hunter, American/Louisiana, 1886-1988, “Saturday Night at the Juke Joint”, oil on canvas board, monogrammed mid-right, partial sketch and inscribed en verso, framed. 18 x 24 in. (45.7 x 61 cm.), Frame: 24 x 29 1/2 x 1 1/4 in. (61 x 74.9 x 3.2 cm.) [$4,000 - 6,000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
316. Clementine Hunter, American/Louisiana, 1886-1988, “Melrose Plantation Auction”, oil on canvas board, monogrammed lower right, partial sketch en verso, framed. 12 x 16 in. (30.5 x 40.6 cm.), Frame: 18 x 21 1/2 x 1 in. (45.7 x 54.6 x 2.5 cm.) [$3,000 - 5,000]
317. Clementine Hunter, American/Louisiana, 1886-1988, “Fishing”, oil on board, monogrammed mid-right, photo of the artist with the work attached to backing board, framed. 18 x 24 in. (45.7 x 61 cm.), Frame: 20 3/4 x 26 3/4 x 1 in. (52.7 x 67.9 x 2.5 cm.) [$5,000 - 7,000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
318. Clementine Hunter, American/Louisiana, 1886-1988, “Snow Scene”. oil on board, monogrammed lower right, photo of the artist with the work attached to backing paper, framed. 18 x 24 in. (45.7 x 61 cm.), Frame: 23 x 29 x 1 in. (58.4 x 73.7 x 2.5 cm.) [$5,000 - 7,000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
319. Clementine Hunter, American/Louisiana, 1886-1988, “African Head Dress”, oil on board, monogrammed lower right, framed. 20 x 16 in. (50.8 x 40.6 cm.), Frame: 21 1/2 x 17 1/2 x 1 1/2 in. (54.6 x 44.5 x 3.8 cm.)
[$3,000 - 5,000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
320. Clementine Hunter, American/ Louisiana, 1886-1988, “Black Jesus”, oil on canvas board, monogrammed lower right, inscribed en verso, framed.16 x 12 in. (40.6 x 30.5 cm.), Frame: 17 x 13 x 1 in. (43.2 x 33 x 2.5 cm.)
[$2,000 - 3,000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
321. Clementine Hunter, American/Louisiana, 1886-1988, “Going to Church”, oil on board, monogrammed lower right, inscribed en verso, “Casell Gallery, New Orleans, LA” label on backing board, framed. 18 1/8 x 24 in. (46 x 61 cm.), Frame: 20 x 26 x 1 in. (50.8 x 66 x 2.5 cm.) [$4,000 - 6,000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
323. Clementine Hunter, American/Louisiana, 1886-1988,, “Hauling Cotton”, oil on canvas board, monogrammed lower right, framed. 12 x 16 in. (30.5 x 40.6 cm.), Frame: 18 x 21 1/2 x 1 1/4 in. (45.7 x 54.6 x 3.2 cm.) [$3,000 - 5,000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
322. Clementine Hunter, American/Louisiana, 1886-1988, “Picking Cotton”, oil on canvas board, c. 1950, initialed lower right, framed. 16 x 20 in. (40.6 x 50.8 cm.), Frame: 18 1/4 x 22 x 1 1/2 in. (46.4 x 55.9 x 3.8 cm.) [$7,000 - 10,000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
324. Clementine Hunter, American/Louisiana, 1886-1988,, “Pecan Picking”, oil on canvas board, monogrammed upper right, framed. 18 x 24 in. (45.7 x 61 cm.), Frame: 21 1/2 x 25 1/2 x 1 1/4 in. (54.6 x 64.8 x 3.2 cm.) [$5,000 - 7,000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
325. Clementine Hunter, American/Louisiana, 1886-1988,, “Mary and Baby Jesus”, oil on canvas board, monogrammed mid-right, framed. 16 x 20 in. (40.6 x 50.8 cm.), Frame: 18 x 22 x 1 in. (45.7 x 55.9 x 2.5 cm.) [$4,000 - 6,000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
326. Clementine Hunter, American/Louisiana, 18861988,, “Black Jesus”, oil on canvas board, monogrammed mid-right, inscribed en verso, framed. 16 x 12 in. (40.6 x 30.5 cm.), Frame: 17 1/8 x 13 1/8 x 1 in. (43.5 x 33.3 x 2.5 cm.)
[$2,500 - 3,500]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
327. Clementine Hunter, American/Louisiana, 1886-1988, “Wedding”, oil on board, monogrammed lower right, “Casell Gallery, New Orleans, LA” label on backing paper, framed. 18 x 23 3/4 in. (45.7 x 60.3 cm.), Frame: 23 x 28 7/8 x 1 3/8 in. (58.4 x 73.3 x 3.5 cm.)
[$4,000 - 6,000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
328. Clementine Hunter, American/Louisiana, 1886-1988,, “Picking Cotton”, oil on canvas board, monogrammed lower right, framed. 18 x 24 in. (45.7 x 61 cm.), Frame: 23 1/2 x 28 1/2 x 1 in. (59.7 x 72.4 x 2.5 cm.) [$5,000 - 7,000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
329. Clementine Hunter, American/ Louisiana, 1886-1988,, “Pecan Picking”, oil on canvas board, monogrammed lower right, framed. 15 x 30 in. (38.1 x 76.2 cm.), Frame: 16 1/4 x 31 1/4 x 2 in. (41.3 x 79.4 x 5.1 cm.)
[$5,000 - 7,000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
330. Louis Philippe Rosewood and Mahogany Bookcase, 19th c., molded top, three molded glazed doors, molded glazed sides, shaped apron, conforming feet.
74 x 78 x 17 in. (188 x 198.1 x 43.2 cm.)
[$2,000 - 3,000]
331. Set of Ten Art-Nouveau Carved Oak Dining Chairs, 20th c., in the manner of Eugene Gaillard, two arms, eight sides, arched crest rail, scrolled shell carved splat, curved carved molded chair frame. 35 1/2 x 18 x 17 in. (90.2 x 45.7 x 43.2 cm.), Arm Chair 35 1/2 x 20 x 19 in. (90.2 x 50.8 x 48.3 cm.)
[$2,000 - 3,000]
332. Louis XV/XVI Transitional-Style Bronze Mounted Inlaid Marquetry Mahogany Dining Table, 19th/early 20th c., molded top, foliate inlaid apron, square tapered legs, X-form stretcher, bronze cup feet, one leaf [$2,000 - 3,000]
333. Louis XVI-Style Bronze-Mounted Mahogany Demilune Console Desserte, 19th c., pierced brass gallery, inset marble top, three bronze molded frieze drawers, fluted tapered supports, lower galleried shelf, 36 1/2 x 48 x 18 in. (92.7 x 121.9 x 45.7 cm.)
[$1,200 - 1,800]
335. Louis XVI-Style Crème Peinte Settee, 19th c., carved molded crest rail, padded arms, conforming seat rail, fluted tapered legs. 35 x 26 x 36 1/2 in. (88.9 x 66 x 92.7 cm.) [$500 - 700]
334. French Provincial-Style Mahogany Bombe Commode, 18th c., shaped molded top, two short drawers over two long drawers, shaped apron, cabriole feet, scroll toes, 33 1/2 x 23 1/2 x 49 in. (85.1 x 59.7 x 124.5 cm.)
[$2,000 - 3,000]
337. Biedermeier-Style Inlaid
Exotic Woods, Mahogany and Ebonized Gueridon, brass molded pinwheel inlaid top, lyre support, incurvate plinth, block feet, 29 x 23 x 23 in. (73.7 x 58.4 x 58.4 cm.) [$500 - 700]
336. Set of Four Charles X-Style Rosewood String Inlaid Side Chairs, early 19th c., pierced carved lotus carved splat, reeded front legs [$1,000 - 1,500]
338. Elizabeth O’Neill Verner, American/South Carolina, 1883-1979, “On the Road to Folly”, etching, pencil-signed, titled and numbered “10/80” lower margin, “Elizabeth O’Neill Verner Studio, Charleston, SC” and “Schindler’s Antique Shop, Charleston, SC” labels on backing paper, framed. Sheet: 11 1/4 x 13 1/4 in. (28.6 x 33.7 cm.), Frame: 15 3/4 x 16 3/4 x 7/8 in. (40 x 42.5 x 2.2 cm.)
[$1,000 - 1,500]
339. Louise Lyons Heustis, American/Alabama, 1865-1951, “Girl with Flowers”, oil on canvas, signed lower right, framed. 14 x 10 in. (35.6 x 25.4 cm.), Frame: 19 1/4 x 15 1/4 x 2 in. (48.9 x 38.7 x 5.1 cm.) [$800 - 1,200]
Louise Lyons Heustis was born in 1865 in Mobile, Alabama. She was drawn to art from a young age and attended a girl’s boarding school in Pass Christian, Mississippi for her secondary education. At the age of fifteen, she lived with her grandparents in Philadelphia, taking a life class for two sessions at the Philadelphia Art Academy. In 1887, Heustis visited Europe for three years, traveling with friends, studying the masters, sketching and attending classes in Paris at the Academie Julian. Her teachers included Robert Fleury, Jules Bastien-Lepage, Charles Lassar and William Adolfe Bouguereau. Heustis then spent two years in Switzerland and Italy and would later study in Paris with Frederick MacMonnies at the Academie Julian.
Returning to the United States upon the illness and death of her father, Heustis enrolled at the Art Students League in New York City. She studied with well-known artists Kenyon Cox and J. Alden Weir, including four years with William Merritt Chase at both the Art Students League and several summers at his Shinnecock, Long Island Art School. Her illustrations were included in magazines such as Scribner’s, Century, Ladies Home Journal and Harper’s, as well as novels and books. Heustis became a successful and well-recognized painter of portraits, receiving many commissions to paint prominent individuals, families, and their children in New York, Norfolk, New Orleans, Cleveland, Philadelphia, Mobile and other cities. Her works were widely exhibited and awarded. Though she died in New York in 1951, Heustis’ maintained strong emotional ties to Mobile and the South. The Mobile Art Association honored Heustis with an exhibition in 1965, and the Mobile Museum of Art commemorated the 130th anniversary of her birth with an exhibition in 1995.
340. Emma Lampert Cooper, American/ New York, 1855-1920, “Courtyard, Beaufort S.C.”, oil on canvas laid on board, signed lower right, titled, artist stamp and “Association of Women Painters and Sculptors, November 21st - December 26th 1915, New York” exhibition label with artist en verso, framed. 10 1/2 x 8 1/2 in. (26.7 x 21.6 cm.), Frame: 17 x 15 x 1 1/2 in. (43.2 x 38.1 x 3.8 cm.)
[$700 - 1,000]
341. Colette Pope Heldner, American/ Louisiana, 1902-1990, “View from My Balcony (The Green Shutters Book Shop) French Quarter, New Orleans”, oil on board, 1932, signed, dated and localized lower left, signed, titled, dated and localized en verso, framed. 15 x 11 in. (38.1 x 27.9 cm.), Frame: 18 x 14 x 1 1/4 in. (45.7 x 35.6 x 3.2 cm.)
[$1,200 - 1,800]
“Louisiana Purchase Auction™”, Neal Auction Company, New Orleans, LA, Nov. 24, 2019, lot 943.
342. Marie Atkinson Hull, American/Mississippi, 1890-1980, “Still Life of Flowers”. oil on canvas, signed lower left, inscribed on stretcher bars, artist biography on backing paper, framed. 28 x 24 in. (71.1 x 61 cm.), Frame: 34 1/4 x 30 1/4 x 2 1/2 in. (87 x 76.8 x 6.4 cm.)
[$3,000 - 5,000]
343. Marie Atkinson Hull, American/ Mississippi, 1890-1980, “Night Sailing”, oil on canvas, 1963, signed lower right, artist handwritten label with signature, title and date on stretcher, inscribed, Polaroid photograph of the painting, “Mississippi Masters: Marie Hull” advertisement and “Ford Picture Frame, Jackson MS” label on backing board, framed. 25 x 30 in. (63.5 x 76.2 cm.),
Frame: 26 1/2 x 31 1/2 x 1 1/2 in. (67.3 x 80 x 3.8 cm.)
[$6,000 - 8,000]
344. Marie Atkinson Hull, American/Mississippi, 1890-1980, “California Mountains”, oil on board, signed lower left, signed, titled, illegibly dated and inscribed en verso, artist biography attached to backing paper, framed. 12 x 13 3/4 in. (30.5 x 34.9 cm.), Frame: 17 1/4 x 19 1/4 x 1 1/2 in. (43.8 x 48.9 x 3.8 cm.)
[$1,200 - 1,800]
345. Mary Katharine Loyacano McCravey, American/Mississippi, 19102009, “Afternoon Trail Ride”, oil on canvas, signed lower right, “Nunnery’s Gallery, Jackson, MS” label on backing paper, framed. 16 x 20 in. (40.6 x 50.8 cm.), Frame: 26 1/2 x 30 1/2 x 2 1/2 in. (67.3 x 77.5 x 6.4 cm.)
[$3,000 - 5,000]
346. Bernice Sims, American/Alabama, 1926-2014, “Baptism, Baptising”, oil on canvas, signed lower right, titled on stretcher, framed. 20 x 16 in. (50.8 x 40.6 cm.), Frame: 21 1/8 x 17 1/8 x 1 1/2 in. (53.7 x 43.5 x 3.8 cm.)
[$300 - 500]
348. Virginia Barnes, American/Alabama, 1895-1984, “Neon Lights”, watercolor and graphite on paper, 1978, pencil-signed and dated lower left, blind stamp upper right corner, unframed. 22 x 30 in. (55.9 x 76.2 cm.) [$400 - 600]
Virginia Barnes was born in Livingston, Alabama and spent most of her life in the state. She earned an undergraduate degree from Alabama College in 1939 and additionally attended Agnes Scott College, the School of the Art Institute of Chicago and Columbia University. In 1939, Barnes began her teaching career at Montevallo High School. Barnes returned to Alabama College (later renamed the University of Montevallo in 1969), to teach in the art department from 1942 to 1965. During her years of teaching, Barnes continued to further her own studies, including at the famed Provincetown school of artist Hans Hofmann. Hofmann’s abstract style and expressionistic use of color influenced hundreds of art students over the years, including Barnes, who spent the summers of 1950 and 1951 at his school.
While Barnes’ training connected her to the New York art world, she was also deeply engaged with state and regional arts groups. Barnes was an active member of the Alabama Art League, an organization of artists from around the state who worked to establish the Montgomery Museum of Fine Arts in 1930. Barnes exhibited in the first show that the League hosted, and she continued to participate in it for the duration of her career. During her lifetime and posthumously her works were exhibited and collected by museums around the nation and abroad. Early in her career, Barnes was known as a portraitist, but she is most celebrated today for her work with screen printing, woodcut and watercolor.
347. Alison Jean “Tippy” Reimers Lyell, American/ Mississippi, 1940-2024, active Newcomb College, 1962, “Cubist Figure in an Interior”, oil on canvas, unsigned, “Roanoke Fine Arts Center Eighth Annual Exhibition, 1960” label with artist en verso, framed. 35 x 17 in. (88.9 x 43.2 cm.), Frame: 37 x 19 x 1 3/4 in. (94 x 48.3 x 4.4 cm.)
[$300 - 500]
349. Virginia Barnes, American/Alabama, 1895-1984, “Forever Changing”, woodblock aquagraph, 1974, signed, titled, dated and inscribed lower margin, unframed. 21 x 27 in. (53.3 x 68.6 cm.) [$300 - 500]
350. Cora Kelley Ward, American/ Louisiana, 1920-1989, “Fog Light”, aquatec acrylic on canvas, 1982, signed, titled, dated and inscribed en verso, framed. 50 x 20 in. (127 x 50.8 cm.), Frame: 51 3/8 x 21 1/2 x 1 5/8 in.
(130.5 x 54.6 x 4.1 cm.)
[$3,000 - 5,000]
351. Cora Kelley Ward, American/Louisiana, 1920-1989, “Untitled”, acrylic on canvas, 1985, signed and dated en verso, “A & W Stretcher Co. LTD., New York, NY” label on stretcher, unframed. 54 x 86 in. (137.2 x 218.4 cm.) [$4,000 - 6,000]
352. Cora Kelley Ward, American/Louisiana, 1920-1989, “Abstract Compositions”, 2 watercolor and inks on paper, 1962, each signed and dated lower right, framed. (2 pcs.), Each: 14 1/4 x 11 1/4 in. (36.2 x 28.6 cm.), Frames: 20 3/8 x 23 3/8 x 1 1/4 in. (51.8 x 59.4 x 3.2 cm.) [$1,500 - 2,500]
353. Margaret Wirstrom Evangeline, American/Louisiana, b. 1943, “Sea Water Journal #15”, oil and encaustic on gallery-wrapped canvas, 1994, signed on stretcher, “Galerie Simonne Stern, New Orleans, LA” label with artist information en verso, unframed. 40 x 30 in. (101.6 x 76.2 cm.) [$2,500 - 3,500]
Margaret Evangeline is a self-described post-minimalist painter and video, performance, and installation artist. Maintaining a rigorous studio practice, Evangeline’s extensive exhibition record (both solo and group), ubiquitous art fair placement, generous press coverage and bibliography, and inclusion in public and private collections is both dizzying and impressive. In “Sea Water Journal #15”, an oil and encaustic on canvas, the surface of the painting reveals the artist’s process in tones of primary colors. Evangeline’s goopy brushstrokes play a game of tic-tactoe over planes of smooth wax to bide the time like a boater drifting on the water, replete with shifting planes of marine light and nautical abstractions. Margaret Evangeline is represented at Ferrara Showman Gallery in New Orleans.
Galerie Simonne Stern, New Orleans, LA.
354. Ann “Frantic” Roberts Morley, American/Florida, 19362009, “Two Island Women”, oil on panel, signed lower left, label with artist and title en verso, framed. 48 x 36 in. (121.9 x 91.4 cm.), Frame: 53 1/2 x 42 x 1 in. (135.9 x 106.7 x 2.5 cm.) [$600 - 800]
355. Ann “Frantic” Roberts Morley, American/Florida, 1936-2009, “Fish”, oil on panel mounted to panel, signed lower right, artist label en verso, framed. 11 3/4 x 24 in. (29.8 x 61 cm.), Frame: 20 3/4 x 33 x 3/4 in. (52.7 x 83.8 x 1.9 cm.)
[$300 - 500]
356. Ann “Frantic” Roberts Morley, American/ Florida, 1936-2009, “From Land and Sea”, 5 glazed ceramics, 2 signed on reverse. 1 3/4 x 3 3/4 x 3/4 in. (4.4 x 9.5 x 1.9 cm.) to 3 1/2 x 10 x 3 in. (8.9 x 25.4 x 7.6 cm.)
[$400 - 600]
357. Nicole Charbonnet, American/Louisiana, b. 1966, “Gravity”, mixed media on gallery-wrapped canvas, signed, titled and “Galerie Simonne Stern, New Orleans, LA” label en verso, unframed. 36 x 30 in. (91.4 x 76.2 cm.)
[$1,800 - 2,500]
Galerie Simonne Stern, New Orleans, LA
Nicole Charbonnet uses both materials and imagery to narrative effect in her paintings, creating palimpsests of layered meanings. Inspired by the Pattern and Decoration movement, she abstracts patterns inspired by vintage and industrial design, occasionally adding appropriated imagery of humans, animals, and vegetation, often repeating the images. Charbonnet’s process is both additive and reductive, meaning that the surfaces of her paintings may be densely layered with materials, and then sanded or washed down to reveal underlying imagery. Like memory, imagery is lost and retrieved. In “Gravity,” Charbonnet’s penchant for pattern is seen on the stratified surface of the painting itself, in a dense build-up of materials that is chipped away and implies narratives of time. The color scheme could be earthy or industrial, simultaneously evoking a perfect plot of cracked farmland, or a wall in the midst of a building renovation. Nicole Charbonnet has exhibited extensively throughout the United States and is represented in New Orleans by the Arthur Roger Gallery.
358. Clyde Connell, American/ Louisiana, 1901-1998, “Red Clay Series”, mixed media on wood, 1989, signed, initialed, dated and “Arthur Roger Gallery, New Orleans, LA” label with artwork information on reverse.
72 x 3 1/2 x 2 in. (182.9 x 8.9 x 5.1 cm.)
[$1,500 - 2,500]
359. Allison Stewart, American/Louisiana, b. 1941, “Fire Legend”, oil on gallerywrapped canvas, 1994, signed, titled and dated en verso, unframed. 48 x 60 in. (121.9 x 152.4 cm.) [$1,200 - 1,800]
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 color-saturated passages of landscape and organic matter references. The tableau of “Alexandria Quarter IV” shapeshifts from past to future, with Stewart’s bold linework reinscribing time, conducted by a gilt triangle whose three sides signal associations with past, present, and future. The radiant “Fire Legend” hints at layered histories, with ancient codex and corporeal fields of color. Stewart has exhibited extensively, and her work is found in collections worldwide – 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.
360. Allison Stewart, American/ Louisiana, b. 1941, “Alexandria Quartet IV”, mixed media on paper, 1990, signed lower right, “Arthur Roger Gallery, New Orleans, LA” label with artist and title on backing paper, framed. 15 x 15 in. (38.1 x 38.1 cm.), Frame: 25 3/4 x 25 1/4 x 1 1/4 in. (65.4 x 64.1 x 3.2 cm.)
[$300 - 500]
361. Hasmig Vartanian, American/Louisiana, b. 1946, “Square Two”, paint and mixed media on wood, 1992-93, initialed lower right, signed, titled, dated and “Galerie Simonne Stern, New Orleans, LA” label en verso, unframed. 41 1/2 x 41 1/2 in. (105.4 x 105.4 cm.) [$1,500 - 2,500]
Hasmig Vartanian’s work combines techniques of fiber art with traditional painting. She describes her paintings as objects themselves, rather than paintings of things. Using materials such as cloth, paper and wood, the artist constructs, deconstructs and then reconstructs the individual elements to mimic the organic processes of life. In the work offered here, the artist’s interests in architecture and nature provide a context for texture, proportion, negative space and the illusion of a long passage of time. Vartanian began exhibiting her work in New Orleans at Galerie Simonne Stern in 1985 and has since been featured in numerous solo and group exhibitions both regionally and nationally.
Galerie Simonne Stern, New Orleans, LA, 1993
363. Melissa Bonin, American/Louisiana, b. 1960, “Bleu Silencieux”, oil on gallery-wrapped canvas, 2023, signed lower right, signed, titled, dated and inscribed en verso, unframed. 48 x 24 in. (121.9 x 61 cm.) [$7,000 - 10,000]
362. Rise Delmar-Ochsner, American/Louisiana, 1944-2025, “Polo”, acrylic on gallery-wrapped canvas, 1999, signed and dated lower right, unframed. 60 x 72 in. (152.4 x 177.8 cm.) [$1,000 - 1,500]
364. Jo Ann Greenberg, American/Louisiana, 1928-2013, “Figural Vase”, glazed ceramic, signed on lip and underside. h. 11 1/4 x dia. 6 3/8 in. (28.6 x 16.2 cm.)
[$500 - 700]
365. Jo Ann Greenberg, American/Louisiana, 1928-2013, “Three Figures”, glazed ceramic wall plaque, signed en verso. 9 1/2 x 21 1/2 x 3 in. (24.1 x 54.6 x 7.6 cm.) [$400 - 600]
366. Jo Ann Greenberg, American/Louisiana, 1928-2013, “Dancers in a Forest Vase”, glazed ceramic, signed on largest tree and underside. h. 11 1/4 x dia. 6.7 in. (28.6 x 17.1 cm.) [$400 - 600]
367. Jo Ann Greenberg, American/Louisiana, 1928-2013, “Figure with Still Life”, glazed ceramic tile, signed lower center and on reverse. 5 3/8 x 4 3/8 x .5 in. (13.7 x 11.1 x 1.3 cm.) [$200 - 300]
368. Jo Ann Greenberg. American/ Louisiana, 1928-2013, “The Dancer”, glazed ceramic wall plaque, signed lower center and en verso. 15 3/8 x 7 1/2 x 5/8 in. (39.1 x 19.1 x 1.6 cm.) [$400 - 600]
369. Louis XVI-Style Carved Giltwood Demilune Console, 19th c., onyx molded top. foliate frieze with centered rosette, acanthus carved leg [$500 - 700]
371. Directoire-Style Brass Mounted Mahogany Bureau Plat, Late 19th /20th c., bass molded top, leather writing surface, frieze drawers, tapered fluted legs, 30 x 39 1/2 x 23 1/2 in. (76.2 x 100.3 x 59.7 cm.)
[$600 - 900]
370. Louis XVI-Style Painted Settee, 20th c., in the manner of Jansen Furniture, molded crest rail, padded back, arms and seat, serpentine seat rail, fluted tapered legs. 35 x 20 x 44 in. (88.9 x 50.8 x 111.8 cm.) [$300 - 500]
372. Set of Seven Louis XV-Style Carved Walnut Dining Chairs, 19th c., one armchair, six side chairs, foliate carved crest rail, conforming seat rail, cabriole legs, armchair: h. 36 1/2 in., w. 23 in., d. 20 in., side chair: h. 36 in., w. 19 1/2 in., d. 17 1/2 in. [$500 - 700]
374. English Aesthetic-Style Carved Mahogany Sideboard, late 19th/ early 20th c., attr. to Maple and Co., broken arch crest, superstructure with molded shelves, turned support, mirrored back, lower case molded top, two bow front drawers flanked drawers over cabinets, incised foliate carving, h. 100 in., w. 72 in., d. 28 in.h. 100 in., w. 72 in., d. 28 in. [$700 - 900]
373. Georgian-Style Mahogany Breakfront Secretary Bookcase, 20th c., molded cornice, glazed doors, center section with fall-front escritoire drawer fitted, flanking drawers with cupboards below, plinth base. 80 x 56 x 16 1/2 in. (203.2 x 142.2 x 41.9 cm.) [$1,000 - 1,500]
376. Two English Barque-style Carved Walnut Armchairs, 19th c., needlework upholstery, padded backs, 48 1/2 x 27 x 27 in. (123.2 x 68.6 x 68.6 cm.), Chair 2 48 x 27 1/2 x 27 in. (121.9 x 69.9 x 68.6 cm.) [$500 - 700]
375. Queen Anne-Style Carved Oak Welsh Dresser, 19th c., molded top, three drawers, paneled sides, scalloped apron, cabriole legs. 34 3/4 x 19 3/4 x 74 in. (88.3 x 50.2 x 188 cm.) [$700 - 1,000]
377. Walter Inglis Anderson, American/Mississippi, 1903-1965, “Tiger Lily”, watercolor and pencil on paper, unsigned, estate stamp lower right, titled and inscribed “c. ‘60” en verso, matted. 8 3/8 x 11 in. (21.3 x 27.9 cm.), Matting: 15 x 16 7/8 in. (38.1 x 42.9 cm.) [$5,000 - 7,000]
Provenance: Ex-collection, Natchez Art Association, Natchez, MS.
379. Newton Reeve Howard, American/Louisiana, 1912-1984, “The Cow Pasture”, oil on canvas board, 1981, signed and dated lower left, framed. 12 x 24 in. (30.5 x 61 cm.), Frame: 20 x 32 x 1 1/2 in. (50.8 x 81.3 x 3.8 cm.) [$5,000 - 8,000]
378. Knute Heldner, Swedish/Louisiana, 1877-1952, “Madonna of Israel”, oil on board, signed lower right, signed, titled and inscribed en verso, framed. 36 x 30 in. (91.4 x 76.2 cm.), Frame: 40 3/4 x 34 3/4 x 1 in. (103.5 x 88.3 x 2.5 cm.)
[$4,000 - 6,000]
380. Enrique Alférez, Mexican/Louisiana, 1901-1999, “The Source”, cast stone with applied patina, c. 1930, unsigned, study for The Shriever Fountain in the Botanical Garden, City Park, New Orleans. 59 1/2 x 15 1/2 x 16 in. (151.1 x 39.4 x 40.6 cm.)
[$12,000 - 18,000]
The talented and beloved Mexican-born Enrique Alferez had a colorful and varied career before settling in New Orleans in 1929. Alferez worked in Texas before making his way to Chicago to study art under the revered sculptor and educator Lorado Taft (1860-1936) at the prestigious Art Institute of Chicago. Taft had personally invited the young Alferez to Chicago after seeing his work during a lecture tour of the South. Admired for his elegant, stylized figural sculptures, Alferez’s work is found throughout his adoptive New Orleans, most especially in the Botanical Garden of City Park. Alferez, then involved with the Works Progress Administration as its New Orleans director along with the architect Richard Koch and the landscape artist William Wierdorn, was instrumental in the designing, planning and eventual construction of City Park, which soon became one of the artistic highlights of the city. The work offered here is an early model for one of the first sculptures commissioned for the Garden - the female figure at the center of the Shriever Fountain dating to 1932. An ode to the human figure, Alferez’s sculptures simultaneously convey a sense of dignity while suggesting an undercurrent of intense emotion. There is a vitality and urgency to his work that reflects the soul of New Orleans.
381. Will Henry Stevens, American/Louisiana, 1881-1949, “Forest”, pastel on paper, signed lower left, framed. 16 x 20 in. (40.6 x 50.8 cm.), Frame: 24 x 28 1/4 x 1 1/4 in. (61 x 71.8 x 3.2 cm.) [$3,000 - 5,000]
382. Will Henry Stevens, American/Louisiana, 1881-1949, “Composition No. 5”, pastel on paper, 1938, signed lower right, “Judy Farnsworth Lund –Theodore Milton Wassmer” label with artist, title, date and provenance on backing paper, framed. 15 1/2 x 20 in. (39.4 x 50.8 cm.), Frame: 23 1/4 x 17 1/2 x 1 1/2 in. (59.1 x 44.5 x 3.8 cm.) [$3,000 - 5,000]
Lund-Wassmer Collection, Springville Museum of Art, Springville, UT; Private Collection of Theodore Milton Wassmer and Julia Farnsworth Lund Wassmer, Salt Lake City, Ut and Bearsville, NY.
383. Will Henry Stevens, American/Louisiana, 1881-1949, “Configuration No. 1”, oil crayon and ink on paper, 1938, signed and dated lower right, signed, titled and inscribed “Newcomb School of Art, New Orleans, La” en verso, “Judy Farnsworth Lund – Theodore Milton Wassmer” label with artist and artist information on backing paper, framed. 11 x 10 in. (27.9 x 25.4 cm.), Frame: 21 1/2 x 19 x 1 in. (54.6 x 48.3 x 2.5 cm.)
[$2,500 - 3,500]
384. Robert Gordy, American/Louisiana, 1933-1986, “By the Sea”, serigraph, pencil-signed and numbered “28/75” lower margin, pencil-inscribed “RG.81.3” and “Arches 88” en verso, framed. Sheet: 32 1/4 x 59 7/8 in. (81.9 x 152.1 cm.), Frame: 35 1/8 x 61 1/4 x 1 in. (89.2 x 155.6 x 2.5 cm.) [$200 - 300]
385. Robert Gordy, American/Louisiana, 1933-1986, “Face”, monotype, 1984, pencil-signed and dated lower margin, framed. Sheet: 29 x 22 in. (73.7 x 55.9 cm.), Frame: 32 7/8 x 24 7/8 x 1 in. (83.5 x 63.2 x 2.5 cm.) [$1,000 - 2,000]
386. Paul Lancaster, American/Tennessee, 1930-2019, “Women with a Leopard”, collage and gouache on paper laid on board laid on foamcore, signed lower right, framed. 24 x 29 7/8 in. (61 x 75.9 cm.), Frame: 34 1/2 x 40 1/2 x 2 1/4 in. (87.6 x 102.9 x 5.7 cm.) [$600 - 800]
387. Albino R. Hinojosa, American/Louisiana, b. 1943, “Victorian Farmhouse”, oil on masonite, signed lower right, artist biography attached to backing paper, framed. 16 x 27 in. (40.6 x 68.6 cm.), Frame: 17 3/4 x 29 x 1 1/4 in. (45.1 x 73.7 x 3.2 cm.)
[$700 - 1,000]
388. Simon Gunning, American/Louisiana, b. 1956, “Nude Reading (Carol)”, sanguine on paper, 1994, signed lower right, “Galerie Simonne Stern, New Orleans, LA” label with artwork information on backing paper, framed. 29 1/2 x 21 1/2 in. (74.9 x 54.6 cm.), Frame: 37 3/4 x 29 3/4 x 1 in. (95.9 x 75.6 x 2.5 cm.) [$1,800 - 2,500]
Galerie Simonne Stern, New Orleans, LA.
389. George Bauer Dunbar, American/ Louisiana, 1927-2024, “Coin du Lestin XXX”, gold leaf on red clay, c. 1990s, signed lower right, “Galerie Simonne Stern, New Orleans, LA” label with artist, title and date “199...” en verso, framed. 56 x 48 in. (142.2 x 121.9 cm.), Frame: 57 1/4 x 49 3/8 x 2 1/8 in. (145.4 x 125.4 x 5.4 cm.)
[$18,000 - 25,000]
Simonne Stern, New Orleans, LA.
390. Jeffery Cook, American/ Louisiana, 1961-2009, “Untitled: Wrapped Figure”, mixed media, 1996, monogrammed and dated on underside of self-base. 13 x 4 5/8 x 3 1/8 in. (33 x 11.7 x 7.9 cm.)
[$200 - 300]
391. John T. Scott, American/Louisiana, 1940-2007, “Inez”, gouache on paper, 1992, signed and dated lower right, inscribed en verso, “FCF Feb 06 1993” stamp inscribed with artist on backing board, “Galerie Simonne Stern, New Orleans, LA” label with artist, title and date on backing paper, framed. 11 3/8 x 7 3/8 in. (28.9 x 18.7 cm.), Frame: 20 x 16 1/2 x 1 1/2 in. (50.8 x 41.9 x 3.8 cm.)
[$600 - 800]
Simonne Stern, New Orleans, LA, 1993
Galerie
Galerie
392. Randy Asprodites, American/Louisiana, 20th c., “Stop-Go”, oil on canvas, 1993, unsigned, “Galerie Simonne Stern, New Orleans, LA” label with artist, title and date en verso, framed. 48 x 36 in. (121.9 x 91.4 cm.), Frame: 49 1/2 x 37 1/2 x 1 1/2 in. (125.7 x 95.3 x 3.8 cm.)
[$400 - 600]
Galerie Simonne Stern, New Orleans, LA, 1995.
393. David Rex Joyner, American/ Louisiana, 20th. c, “life, boat”, mixed media on panel, 1997, signed, titled and dated en verso, framed. 48 x 72 in. (121.9 x 182.9 cm.), Frame: 49 3/8 x 73 3/8 x 2 3/8 in. (125.4 x 186.4 x 6 cm.)
[$600 - 800]
394. Tom Ladousa, American/Louisiana, b. 1974, “6 Steel Boiled Egg #1”, ceramic, glaze and steel, unsigned. Egg: 17 1/2 x 12 in. (44.5 x 30.5 cm.), Overall: 76 x 14 1/2 x 14 1/2 in. (193 x 36.8 x 36.8 cm.)
[$800 - 1,200]
Provenance: Sylvia Schmidt Gallery, New Orleans, LA
395. Hunt Slonem, American/Louisiana, b. 1951, “Finch Cage III”, oil on canvas, 1987, signed, titled and dated en verso, “Jason McCoy Inc., New York” gallery label with artist and title on backing board, framed. 20 x 16 in. (50.8 x 40.6 cm.), Frame: 24 x 20 x 2 1/2 in. (61 x 50.8 x 6.4 cm.)
[$3,000 - 5,000]
396. Hunt Slonem, American/Louisiana, b. 1951, “Javas”, oil on canvas, 1995, signed, titled, dated and “Still-Zinsel, New Orleans, LA” gallery label en verso, framed. 20 x 16 in. (50.8 x 40.6 cm.), Frame: 21 x 17 x 1 1/2 in. (53.3 x 43.2 x 3.8 cm.) [$4,000 - 6,000]
397. Hunt Slonem, American/Louisiana, b. 1951, “Untitled: Two Gold Bunnies”, oil on panel, 2015, signed, dated and inscribed “CRK01920” en verso, framed; accompanied by a copy of a certificate of authenticity from Hunt Slonem Studio. (2 pcs.) 15 3/4 x 12 in. (40 x 30.5 cm.), Frame: 19 x 15 x 1 in. (48.3 x 38.1 x 2.5 cm.)
[$5,000 - 7,000]
398. Hunt Slonem, American/Louisiana, b. 1951, “Winnie”, oil on panel, 2015, signed, titled, dated and inscribed “CRKQ1195” en verso, framed; accompanied by a copy of a certificate of authenticity from Hunt Slonem Studio. (2 pcs.) 20 x 16 in. (50.8 x 40.6 cm.), Frame: 24 x 20 1/4 x 1 1/2 in. (61 x 51.4 x 3.8 cm.)
[$6,000 - 8,000]
399. Hunt Slonem, American/Louisiana, b. 1951, “Untitled: Three Gold Bunnies”, oil on panel, 2015, signed, dated and inscribed “CRK00583” en verso, framed; accompanied by a copy of a certificate of authenticity from Hunt Slonem Studio. (2 pcs.), 33 3/4 x 27 1/2 in. (85.7 x 69.9 cm.), Frame: 39 1/2 x 33 x 2 in. (100.3 x 83.8 x 5.1 cm.) [$8,000 - 12,000]
400. Hunt Slonem, American/Louisiana, b. 1951, “Untitled: Parrots”, oil on gallery-wrapped canvas, 2016, signed, dated and inscribed “EL00631” en verso, unframed. 47 1/4 x 23 1/2 in. (120 x 59.7 cm.)
[$6,000 - 8,000]
401. William Tolliver, American/Louisiana, 1951-2000, “Cotton Choppers”, pastel and mixed media on paper, signed lower left, inscribed “86294” lower right edge and en verso, framed. 24 5/8 x 38 5/8 in. (62.5 x 98.1 cm.), Frame: 32 x 46 x 1 1/2 in. (81.3 x 116.8 x 3.8 cm.)
[$2,500 - 3,500]
Provenance: “Important WInter Estates”, Neal Auction Auction Company, New Orleans, LA, Jan. 31, 2015, lot 332.
402. James Michalopoulos, American/ Louisiana, b. 1951, “Laboria Majoria”, oil on canvas, signed “Mitchell” lower left, signed and personalized en verso, titled, inscribed “1602” and artist card with title on stretcher, framed. 48 x 24 in. (121.9 x 61 cm.), Frame: 49 x 25 x 1 in. (124.5 x 63.5 x 2.5 cm.)
[$5,000 - 7,000]
403. James Michalopoulos, American/Louisiana, b. 1951, “Segment by Celia’s”, oil on canvas, 1994, signed lower left, signed “Mitchell”, “Michalopoulos” and dated en verso, titled, inscribed “2253” and artist card with title on stretcher, framed. 30 x 24 in. (76.2 x 61 cm.), Frame: 31 1/2 x 25 1/2 x 1 3/4 in. (80 x 64.8 x 4.4 cm.)
[$5,000 - 7,000]
406. Tony Mose, American/Louisiana, b. 1968, “Untitled”, acrylic wash and mixed media on paper, signed “Esom” lower left, framed. Sight: 26 1/2 x 20 in. (67.3 x 50.8 cm.), Frame: 33 1/4 x 26 3/4 x 1 1/2 in. (84.5 x 67.9 x 3.8 cm.) [$700 - 1,000]
404. Andrew LaMar Hopkins, American/Louisiana, b. 1977, “Paris Holding the Golden Apple”, acrylic on canvas board, signed and dated lower right, signed, titled, dated and artist card en verso, framed. 11 x 14 in. (27.9 x 35.6 cm.), Frame: 16 1/4 x 19 1/2 x 1 1/2 in. (41.3 x 49.5 x 3.8 cm.)
[$4,000 - 6,000]
405. After George Rodrigue, American/Louisiana, 1944-2013, “Paradise Island”, silkscreen, 2016, pencil-inscribed “Printer’s Proof”, stamped signature and artist estate stamp lower margin, unframed. Sheet: 23 x 40 in. (58.4 x 101.6 cm.) [$500 - 700]
407. Connor McManus, American/Louisiana, b. 1992, “Rustling Wood”, acrylic enhanced giclée laid on birch panel, signed lower right, framed. 40 x 60 in. (101.6 x 152.4 cm.), Frame: 41 3/4 x 61 1/2 x 2 1/4 in. (106 x 156.2 x 5.7 cm.) [$1,000 - 1,500]
408. Regency Inlaid Mahogany Game’s Table, 19th c., after a design by Thomas Hope, fold over top, scrolled tablet frieze, reeded standard, incurvate plinth, out swept legs, brass feet, castors, 29 1/2 x 35 x 17 1/2 in. (74.9 x 88.9 x 44.5 cm.), Open 29 1/2 x 35 x 35 in. (74.9 x 88.9 x 88.9 cm.) [$700 - 1,000]
409. Georgian-Style Circassian Walnut Bachelor’s Chest, 19th c., banded top with reeded edge, dressing slide, three graduated drawers, bracket feet, 34 x 42 x 21 in.
(86.4 x 106.7 x 53.3 cm.)
[$1,200 - 1,800]
410. George III Carved Mahogany Cumberland-Action Dining Table, 19th c.,
D-end drop leaves, reed edge top, turned supports, sabre legs, brass cap castors, h. 28 in., w. 60 in., d. 50 in.
[$700 - 1,000]
411. English Baroque-Style Carved Oak Barley Twist Bench, 19th c. and later, upholstered seat, turned twist carved supports and legs, 18 x 55 1/2 x 17 in. (45.7 x 141 x 43.2 cm.)
[$800 - 1,200]
413. Georgian-Style Mahogany Library Table, 19th c., molded top with tooled leather writing surface, four frieze drawers, turned legs, casters, 31 x 53 1/2 x 53 1/2 in.
x 135.9 x
[$1,200 - 1,800]
412. Fine Georgian Mahogany Breakfront Bookcase and Collector’s Cabinet, c. 1790s., molded cornice, glazed doors, glass shelves, base with fitted collector drawers behind paneled doors, molded plinth base, 95 x 98 x 24 in. (241.3 x 248.9 x 61 cm.) [$5,000 - 7,000]
(78.7
135.9 cm.)
414. Georgian-Style Carved Mahogany Bookcase, late-19th c., molded broken arched pediment, glazed and molded panel doors, bracket feet, 93 x 22 x 48 in. (236.2 x 55.9 x 121.9 cm.) [$800 - 1,200]
415. Georgian Mahogany Two-Pedestal Extension Dining Table, 19th c., molded top, turned standard, reeded out-swept legs, brass feet, casters, two leaves, 28 x 52 1/2 x 61 1/4 in. (71.1 x 133.4 x 155.6 cm.), extension 28 x 52 1/2 x 109 1/2 in. (71.1 x 133.4 x 278.1 cm.) [$1,200 - 1,800]
416. Set of Six Sheraton-Style Carved Mahogany Dining Chairs, 19th c., molded shield backs, cabriole legs, ball and claw feet, 38 x 18 x 21 in. (96.5 x 45.7 x 53.3 cm.), Frame: 39 x 22 x 21 in. (99.1 x 55.9 x 53.3 cm.) [$700 - 1,000]
417. Pair of Regency-Style Carved Mahogany Pedestals, 19th c., molded lift tops, canted corners, curved doors, paw feet, 43 1/2 x 19 x 28 in. (110.5 x 48.3 x 71.1 cm.) [$1,000 - 1,500]
Georgian String
, 19th c., possibly Scottish, three short drawers above three long
shaped apron, bracket feet, 43 x 20 x 47 in. (109.2 x
[$1,000 - 1,500]
418.
Inlaid Mahogany Chest
drawers,
50.8 x 119.4 cm.)
EVENING LECTURE:
Thursday, April 3, 2025 ~ 6:00 p.m.
Portrait of Frederick
Please join us for a special lecture presented by historian Katy Morlas Shannon on her ground-breaking research into the “Portrait of Frederick.”
This event is free and open to the public. Seating is limited. The lecture also will be livestreamed on the Neal Auction Instagram and Facebook pages.
AUCTION SCHEDULE
June 6 - Premier Estates Collections Auction
July 3 - Mid-Century, Modern & Contemporary Art and Design Auction
September 12 - Premier Estates Collections Auction
October 23 - Mid-Century, Modern & Contemporary Art and Design Auction
November 21 - Louisiana Purchase AuctionTM
December 4 - Fine Jewelry & Couture Auction
* dates may be subject to change
Michelle LeBlanc Leckert, CAI President
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AUCTIONEERS
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CONSIGNMENTS
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