September 12, 2025
~ PREMIER COLLECTIONS ~
September 12, 2025
Collection of Former Governor Murphy J. “Mike” Foster, Jr. (1930-2020) Part I
Select Property from Estates and Private Collections; Southern Fine Art, Antique Furniture and Decorative Objects, Jewelry and Couture, Fine Silver, Chandeliers and Lighting, Sculpture, Carpets, Porcelain, Mirrors, and more!
EXHIBITION
Monday, September 1 through Thursday September 11, 10 a.m. to 5 p.m.
SATURDAY EXHIBITION
Saturday, September 6, 10 a.m. to 3 p.m.
EVENING EXHIBITION
Tuesday, September 9, 5 p.m. to 7 p.m.
LIVE & ONLINE AUCTION
Friday, September 12, beginning at 10 a.m., lots 1-600
COLLECTION OF FORMER GOVERNOR MURPHY J. “MIKE” FOSTER, JR. (1930-2020) PART I
Neal Auction is honored to present select objects from the collection of former Governor Murphy J. “Mike” Foster, Jr. (1930-2020).
Governor Foster was raised on Bayou Teche in St. Mary Parish, LA. He attended Virginia Military Institute for one semester, then transferred to Louisiana State University, where he pursued a chemical engineering degree. Foster then joined his family’s sugar cane farming operation, and soon after formed Bayou Sale Contractors so that his farm employees would have work during the off season.
Foster’s grandfather and namesake, Murphy J. Foster (1849-1921), had served as governor of Louisiana from 1892 to 1900, and later as a United States Senator from 1901 to 1913. Foster followed in his grandfather’s footsteps into politics. After fulfilling two terms in the state senate beginning in 1988, he was elected governor, serving two terms from 1996 to 2004.
An avid outdoorsman and nature enthusiast, Foster was also a motorcyclist, private pilot as well as helicopter pilot, and was known for parking his seaplane on Bayou Teche. He was a certified welder and held a 100-ton boat captain’s license. While in office, he attended Southern University Law School and graduated with a J.D. in 2004.
Among Foster’s political accomplishments, he spearheaded the building of the New Orleans Center for the Creative Arts, created the TOPS scholarship program and passed constitutional amendments dedicated to coastal restoration.
Foster’s enthusiasm for the natural world is evident in his collection which includes some of the rarest natural history books and prints to be published, including a complete large folio set of Audubon’s Quadrupeds, a wonderful set of Gould Hummingbirds, as well as octavo sets of Audubon’s The Birds of America, Quadrupeds, and Jardine’s extensive Naturalist’s Library. The natural history prints were perfectly complemented by Foster’s large collection of woodcarvings of birds, primarily the work of master carver Don Gomez.
Foster’s collection was carefully curated and beautifully displayed at his historic Oaklawn Manor home in Franklin, LA.
AUCTION DAY
Friday, September 12, 10 a.m. LOTS 1-600
1. Persian Carpet, blue ground, foliate design; incl. carpet pad, 11 ft. 11 in. x 15 ft. 1 in. [800 / 1200]
2. Antique Heriz Carpet, 9 ft. 4 in. x 13 ft. 5 in. [1000 / 1500]
3. Antique Persian Bakshaish Carpet, red ground, 14 ft. 1 in. x 17 ft. 10 in. [1000 / 1500]
4. Antique Persian Carpet, red ground, repeating design, approx. 8 x 11. [700 / 1000]
5. Persian Rug, 4 ft. 6 in. x 6 ft. 9 in. [600 / 900]
6. Persian Runner, 3 ft. 5 in. x 16 ft. 2 in. [800 / 1200]
7. Sultanabad Runner, 2 ft. 10 in. x 7 ft. 11 in. [500 / 700]
8. Persian Heriz Runner, repeating medallions, 3 ft. 9 in. x 10 ft. 11 in., [1200 / 1400]
9. Sultanabad Carpet, 7 ft. 10 in. x 10 ft. 5 in. [1800 / 2000]
10. Persian Carpet, 9 ft. 10 in. x 14 ft. 2 in., [2500 / 3500]
11. Persian Heriz Carpet, red ground, central medallion, 9 ft. 11 in. x 13 ft. 2 in. [2500 / 3500]
12. Persian Tabriz Carpet, 9 ft. 9 in. x 13 ft. 2 in. [1800 / 2000]
13. Antique Persian Mahal Carpet, red ground, floral design, 7 ft. 5 in. x 11 ft. 7in. [2000 / 3000]
14. Sultanabad Carpet, floral design, 8 ft. x 9 ft. 7 in. [2500 / 3500]
15. Sultanabad Carpet, 8 ft. 11 in. x 11 ft. 10 in. [3000 / 4000]
16. Persian Kashan Carpet, 12 ft. 8 in. x 16 ft. [4500 / 5500]
17. Persian Carpet, 9 ft. 10 in. x 14 ft. 1 in. [1000 / 1500]
18. Antique Persian Carpet, blue and red ground, floral design, 9 ft. 3 in. x 14 ft. 8 in. [1000 / 1500]
19. Persian Carpet, red ground, allover foliate design, 10 ft. 9 in. x 16 ft. 5 in. [700 / 1000]
20. Turkish Carpet, 5 ft. 6 in. x 10 ft. 3 in. [500 / 700]
21. Kurdish Carpet, red ground, repeating pattern, 11 ft. 9 in. x 17 ft. 4 in. [1500 / 2500]
22. Persian Carpet, 9 ft. 9 in. x 14 ft. 3 in. [700 / 1000]
23. Persian Runner, 2 ft. 10 in. x 10 ft. 2 in. [500 / 700]
24. Persian Carpet, 8 ft. 10 in. x 12 ft. [600 / 900]
28. American Rococo Carved Rosewood Half Tester Bed, 19th c., stamped C.Lee, 2655, arched shaped foliate carved tester with finials, scrolled brackets, foliate scrolled crest, paneled headboard, conforming rails and footboard, 118 x 65 x 67 1/2 in. (299.7 x 165.1 x 171.5 cm.) [3000 / 5000]
25. Antique Persian Carpet, 8 ft. 3 in. x 10 ft. 8 in. [700 / 1000]
26. Persian Carpet, double medallion, 4 ft. x 10 ft. 7 in. [400 / 600]
27. Chinese Peking Rug, 5 ft. x 7 ft. 11 in. [500 / 700]
29. American Rococo Carved Rosewood Serpentine Dresser, 19th c., attr. to retailer Prudent Mallard, New Orleans, closely related to the Lansdowne group , urn and foliate crest, molded mirror, shaped molded marble top, three conforming drawers, molded apron, casters, 31 1/2 x 49 x 25 in. (80 x 124.5 x 63.5 cm.), mirror 59 x 37 x 3 in. (149.9 x 94 x 7.6 cm.)
[800 / 1200]
30. American Classical Carved Figured Mahogany Washstand, 19th c., probably New Orleans, molded marble with backsplash, ripple molded frieze drawer, paneled sides, conforming double ripple molded paneled doors, molded plinth base, disk feet, 42 1/2 x 34 1/2 x 26 in. (108 x 87.6 x 66 cm.)
[700 / 1000]
Provenance: Neal Auction 11/05/1988 Lot # 587
31. American Classical Carved Figured Mahogany Marble top Dresser, 19th c., probably New Orleans, shaped mirror with pineapple crest, scrolled supports, molded marble top, ripple molded frieze drawer, conforming double ripple molded paneled doors, fitted drawer interior, molded plinth base, disk feet, 82 x 51 x 22 in. (208.3 x 129.5 x 55.9 cm.)
[1000 / 1500]
Provenance: Neal Auction 11/05/1988 Lot # 586
33. 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.) [2000 / 3000]
Provenance: Matilda Gray Estate Auction, Morton’s Auction Exchange 3-25-1975
32. American Rococo Carved Rosewood Extension Dining Table, 19th c., Att. to Alexander Roux, New York, carved molded edge, scrolled foliate apron, scrolled foliate legs, 4 leaves. At full extension, the table measures 16 ft. Without the four leaves, the table does not form a perfect circle, its measurements are h. 31 1/2 in., w. 53 in., d. 60 in., h. 31 1/2 in. (80 cm.), d. 60 in. [2500 / 3500]
Provenance: Matilda Gray Estate Auction, Morton’s Auction Exchange 3-25-75 Lot #148
34. American Rococo Carved Rosewood Secretary Bookcase, 19th c., attributed to Alexander or Frederic Roux, possibly retailed by Mallard, New Orleans, scrolled crest, molded glazed doors, two short drawers above escritoire drawer with satinwood fitted interior and tooled leather writing surface, molded paneled doors with center C-scoll and shell carving, plinth base, block feet, 93 x 49 x 22 in. (236.2 x 124.5 x 55.9 cm.) [2000 / 3000]
Provenance: Natchez, Adams County, Mississippi.
35. American Rococo Carved Mahogany Commode, 19th c., Baltimore or New York , original white marble (repaired), one drawer, cupboard door, turned feet, h. 30 in., w. 19 in., 30 x 19 x 19 in. (76.2 x 48.3 x 48.3 cm.) [500 / 700]
36. American Rococo Carved Rosewood Bedstead, 19th c., New York, possibly Alexander Roux, pierced C-scroll and shell carved crest, paneled molded headboard, conforming rails and footboard, 63 x 56 1/2 x 78 1/2 in. (160 x 143.5 x 199.4 cm.) [1500 / 2500]
37. American Rococo Carved Rosewood Armoire,19th c., New York possibly Alexander Roux, arched molded cornice, molded mirror door, frieze drawer, h. 104 in., w. 50 in., d. 25 in., 104 x 50 x 25 in. (264.2 x 127 x 63.5 cm.) [1000 / 1500]
38. American Gothic Revival Carved Rosewood Stand, 19th c., New York, probably J.W. Meeks, molded marble top, pierced carved frieze, C-scroll supports, scrolled toes, 31 x 21 x 21 in. (78.7 x 53.3 x 53.3 cm.)
[800 / 1200]
[700 / 1000]
39. Antique American Cast-Iron “Twig” Bench, 32 x 51 x 21 in. (81.3 x 129.5 x 53.3 cm.)
40. Two Antique Continental Lion Mask Fountain Spouts, 19th c., one bronze, with integral bolt and nut, 8 x 6 1/2 in.; the other cast-iron 7 1/4 x 61/2 in. [400 / 600]
41. Antique French Glazed Olive Jar, 20 x 16 in. (50.8 x 40.6 cm.)
[400 / 600]
42. Large Antique French Glazed Olive Jar, 34 x 24 in. (86.4 x 61 cm.)
[700 / 1000]
43. Large Antique French Glazed Olive Jar, 32 x 23 in. (81.3 x 58.4 cm.) [700 / 1000]
44. Pair of Anduze Glazed Terracotta Garden Urns, stamped to exterior and interior “Fait a Anduze/Le Chene Vert”. green glaze, 23 x 19 1/2 in. (58.4 x 49.5 cm.)
[700 / 1000]
45. Antique French Glazed Olive Jar, 28 x 18 in. (71.1 x 45.7 cm.)
[500 / 700]
48. Large Antique French Glazed “Tian” Mixing Bowl, loop handles, rim spout, four drainage holes, h. 10 in., dia. 21 1/2 in. [300 / 500]
47. Four Antique French Glazed Confit Jars, loop handles, tallest h. 12 1/2 in. [600 / 900]
46. Two Antique French Glazed Confit Jars, loop handles, taller h. 14 in. [300 / 500]
49. Continental Lead “Pan” Garden Fountain, 19th c., low plinth base, h. 32 in., 9 in., d. 11 in.
[500 / 700]
50. American Cast-Iron Hallstand, mid-19th c., the naturalistic form incorporating branches, scrolling vines and flowers, fitted with five cast hooks and looped cane and umbrella support, the foliate base with drip pan, 74 x 44 1/2 x 13 in. (188 x 113 x 33 cm.)
[800 / 1200]
51. Pair of Continental Cast-Iron Garden Urns, scroll handles, 14 x 28 x 18 in. (35.6 x 71.1 x 45.7 cm.) [300 / 500] Ida Manheim Antiques, 409 Royal St., New Orleans.
52. Pair of Monumental Continental Tole and Iron Lanterns, hexagonal form, beveled glass panels, decorated with scrolling leaves, ending in a bud pendant, three-light fixture, 40 x 30 in. (101.6 x 76.2 cm.)
[700 / 1000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
53. American Classical Carved Mahogany Extension Dining Table, 19th and later c., circular top, conforming frieze, center pedestal, plinth base, paw feet, three leaves, h. 29 1/2 in., w. 59 1/4 in., w. fully extended 113 1/4 in., d. 60 in., h. 29 1/2 in., w. 59 1/4 in., w. fully extended 113 1/4 in., d. 60 in.
[1000 / 1500]
54. Set of Six American Victorian Carved Rosewood Dining Chairs, late 19th c., two arms, four sides, carved molded rounded crest rail, pierced carved knot back, shaped seat rail, cabriole legs, casters., arm 39 1/2 x 24 1/2 x 23 in. (100.3 x 62.2 x 58.4 cm.), side 34 1/2 x 19 x 19 in. (87.6 x 48.3 x 48.3 cm.)
[700 / 1000]
55. American Classical Figured Mahogany Secretary Bookcase, mid-19th c., probably Baltimore, the massive frieze with banded and Gothic panels on faceted columns flanking paneled doors; the lower case with escritoire drawer over graduated drawers flanked by colonnettes, paw feet, 99 x 47 1/2 x 24 1/2 in. (251.5 x 120.7 x 62.2 cm.)
[1000 / 1500]
56. 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.)
[800 / 1200]
57. American Classical Carved Mahogany Work Table, early 19th c., New York, drop-leaf top, graduated drawers, baluster standard, foliate legs, hairy paw feet, casters, h. 28 3/4 in., w. (closed) 17 1/2 in., w. (open) 34 1/2 in., d. 22 1/2 in.
[700 / 1000]
58. American Classical Carved Mahogany Pot Commode, 19th c., molded inset marble top, conforming door, molded plinth base, 28 1/2 x 15 1/2 x 15 1/2 in. (72.4 x 39.4 x 39.4 cm.),
[300 / 500]
59. Anglo-Colonial Carved Tropical Hardwood Sofa, early-to-mid 19th c., likely British West Indies, paneled crest rail with floral terminals, heavily scrolled floral arms, blocked seat rail, lobed foliate legs, h. 36 in., w. 84 in., d. 26 in., 36 x 86 x 26 in. (91.4 x 218.4 x 66 cm.)
[1000 / 1500]
60. Anglo-Indian Carved Padouk Console, 19th c., possible Bombay, molded top, acanthus knees, sunburst back panel, reeded cabriole legs, paw feet, 38 1/4 x 45 x 28 in. (97.2 x 114.3 x 71.1 cm.), [2000 / 3000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
61. 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.)
[2500 / 3500]
62. American Late Classical Carved Mahogany Mirror-Back Dressing Chest, 19th c., mirror with shaped crest, on tapered supports and glove drawers, cased long drawers below, flanked by colonettes, scroll feet, 91 x 47 1/2 x 24 in. (231.1 x 120.7 x 61 cm.)
[1000 / 1500]
63. American Rococo Carved Mahogany Salesman Sample Half Tester Bed, in the manner of Prudent Mallard, New Orleans, benchmade by Roy E. Payne (1937-2013), Columbia, TN, signed.
[600 / 900]
65. Lalique Wild Horses Bowl, signed R. “Lalique”, h. 6 1/8 in., dia. 7 3/4 in. [300 / 500]
66. Lalique Frosted Crystal “Marine Life” Vase, signed, “R. Lalique”, h. 10 1/2 in., dia. 7 3/4 in. [500 / 700]
67. Lalique Esna Crystal Vase, partly frosted glass; signed, 8 3/4 in., dia. 9 1/2 in. [300 / 400]
68. Ten William Yeoward Cut-Crystal “Fern” Goblets, etched mark, h. 6 3/8 in., dia. 4 3/8 in., [600 / 900]
69. American Brilliant Cut Glass Bowl, h. 3 1/2 in., dia. 9 in. [150 / 250]
64. Lalique Champs-Elysees Crystal Bowl, h. 7 1/4 in., w. 18 in., d. 10 in. [700 / 800]
70. American Brilliant Cut Glass Punchbowl on Stand (2 pcs.), punchbowl: h. 7, dia. 12 1/2 in.; base: h. 5 in., dia. 8 in.; overall: h. 11 1/4 in. [200 / 400]
71. American Brilliant Cut Glass Vase, h. 13 3/4 in., dia. 6 3/4 in. [100 / 200]
73. Two American Brilliant Cut Glass Bowls, hobstar and cane motifs, taller: h. 3 3/4 in., dia. 11 1/4 in. [150 / 250]
72. Large American Brilliant Cut Glass Dish, hobstar and fan motif, h. 1 1/4 in., dia. 11 3/4 in. [100 / 200]
74. American Brilliant Cut Glass Bowl, cane and strawberry diamond motif, h. 4 1/4 in., dia. 10 5/8 in. [100 / 200]
75. American Brilliant Cut Glass Punchbowl, hobstar, fan and cane motifs, with 9 American Brilliant Cut Glass punch cups, bowl: H 6 5/8 in., dia. 14 5/8 in.; cups: h. 2 1/8 in., w. 4 1/2 in., d. 3 3/8 in. [100 / 200]
76. Two American Brilliant Cut Glass Compotes, h. 9 1/2 in., dia. 8 1/2 in.; h. 10 in., dia. 8 in. [150 / 250]
77. American Brilliant Cut Glass Bowl, hobstar and cane pattern, h. 4 1/8 in., dia. 10 1/8 in. [150 / 250]
78. Hawkes American Brilliant Cut Glass Bowl, 19th c., h. 4 3/8 in., dia. 10 1/4 in. [100 / 200]
79. Group of Three American Brilliant Cut Glass Tall Vases, tallest: H. 13 7/8 in., dia. 7 1/2 in. [500 / 750]
80. American School 19th c., “Whaling”, illegibly initialed lower right, framed., 16 x 26 in. (40.6 x 66 cm.), Frame: 19 1/4 x 29 3/8 x 1 in. (48.9 x 74.6 x 2.5 cm.) [600 / 800]
82. American School 1867, “Hunting Dog”, signed “H. Board” and dated lower left, framed., 29 1/2 x 36 1/4 in. (74.9 x 92.1 cm.), Frame: 40 1/4 x 47 1/4 x 3 1/2 in. (102.2 x 120 x 8.9 cm.) [1000 / 1500]
81. Harrison Bird Brown American/Maine 1831-1915, “Mountain Landscape with Waterfall”, initialed lower right, framed., 16 x 28 in. (40.6 x 71.1 cm.), Frame: 28 x 40 x 3 in. (71.1 x 101.6 x 7.6 cm.) [800 / 1200]
83. American School 19th c.,“Still Life with Pineapples, Bananas and Vase”, 1899, indistinctly signed and dated upper left, framed., 17 x 30 in. (43.2 x 76.2 cm.), Frame: 20 1/2 x 33 1/2 x 1 1/2 in. (52.1 x 85.1 x 3.8 cm.) [400 / 600]
84. Ogden Wood American/New York 1851-1912
“Deux Bonnes Camarades”, signed lower right, framed with artist and title plaque., 34 1/4 x 45 3/4 in. (87 x 116.2 cm.), Frame: 47 3/4 x 59 1/4 x 4 in. (121.3 x 150.5 x 10.2 cm.)
[1200 / 1800]
Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
85. Elisha Kent Kane Wetherill American/Pennsylvania 1874-1929 “Breton Peasant Woman Holding Rooster”, 1905, signed and dated lower left, “Inventory of American Paintings National Museum of American Art, Smithsonian Institution, Washington, D.C.” tag on hanging wire, old “Christie’s FW626.1” label and “Art Shop & Factory, Philadelphia” label on reverse of frame, framed.Ref.: Inventory of American Paintings, National Museum of American Art, Art Inventories Catalog, Smithsonian American Art Museum, Washington, D.C., control number 73260399., 36 3/4 x 29 in. (93.3 x 73.7 cm.), Frame: 43 x 39 5/8 x 7/8 in. (109.2 x 100.6 x 2.2 cm.)
[1000 / 1500]
86. John Joseph Enneking American 1841-1916, “Sheep Grazing”, 1881, signed and dated lower right, “Vixseboxse Art Galleries, Inc., Cleveland Heights, OH” label with artist and title on backing, framed., 7 1/8 x 9 3/8 in. (18.1 x 23.8 cm.), Frame: 11 x 13 x 1 1/2 in. (27.9 x 33 x 3.8 cm.) [700 / 1000]
87. Ignazio Ricca Italian/New York 1860-1937, “Apple Girl”, signed lower right, titled and inscribed “Painted by Prof. I. Ricca” on paper label en verso, framed., 40 x 22 in. (101.6 x 55.9 cm.), Frame: 49 1/2 x 31 1/4 x 2 1/2 in. (125.7 x 79.4 x 6.4 cm.) [300 / 500]
88. Esteban Sebastian Chartrand Cuban/New Jersey 1840-1884 “Paisaje Costero”, 1883, signed and dated lower right, partial label on stretcher, 2 typed labels, one with artist and date, on reverse of frame, framed., 7 x 15 in. (17.8 x 38.1 cm.), Frame: 12 5/8 x 20 5/8 x 1 1/4 in. (32.1 x 52.4 x 3.2 cm.)
[3000 / 5000]
89. Childe Hassam American 1859-1935 “Spring in Charleston, South Carolina”, 1925, pencil-monogrammed and inscribed “proof” lower margin, monogrammed, dated and localized in plate, pencil-inscribed with title and “C179HM” lower margin under mat, framed., Sheet: 10 x 14 1/4 in. (25.4 x 36.2 cm.), Frame: 13 3/4 x 18 1/4 x 1/2 in. (34.9 x 46.4 x 1.3 cm.)
[1000 / 1500]
90. American School 19th c. “Young Girl Reading a Book”, unsigned, framed., 34 1/4 x 28 in. (87 x 71.1 cm.), Frame: 39 1/4 x 33 1/4 x 2 in. (99.7 x 84.5 x 5.1 cm.)
[1000 / 1500]
Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
91. Robert Henri American 1865-1929 “Semi-Nude”, pencil-signed and artist blind stamp lower right, “Estate of Robert Henri - Hirschl & Adler - NYC” stamp en verso, “Doyle, New York”, “Eckert Fine Art” and handwritten artist labels with title on backing paper, framed., Sheet: 10 1/2 x 6 5/8 in. (26.7 x 16.8 cm.), Frame: 17 5/8 x 13 3/4 x 1/2 in. (44.8 x 34.9 x 1.3 cm.)
[400 / 600]
Provenance: Private Collection; Doyle Auctions, New York, NY, “European & American Paintings and Sculpture” Auction, May 22, 2001, lot 80; Estate of the artist, Hirschl & Adler Galleries, New York; Eckert Fine Art Galleries, Indianapolis/Florida.
92. Louis Agassiz Fuertes American/New York 1874-1927, “Tree Trunk with Vine”, 1924, signed and dated lower left, framed., 23 7/8 x 17 7/8 in. (60.6 x 45.4 cm.), Frame: 29 1/4 x 23 1/4 x 1 1/4 in. (74.3 x 59.1 x 3.2 cm.)
[1000 / 1500]
93. Aaron Bohrod American/Wisconsin 1907-1992, “Classic and Romantic Nudes”, signed lower right, artist and title label on reverse of frame, artist label and “Christie’s” labels on backing board, framed with artist plaque., 13 1/4 x 10 1/4 in. (33.7 x 26 cm.), Frame: 23 3/4 x 20 5/8 x 1 3/4 in. (60.3 x 52.4 x 4.4 cm.)
[800 / 1200]
95. Gustav Baumann German/New Mexico 1881-1971, “The Sycamore”, 1918, pencil-signed, titled, dated, numbered “6/100” and artist stamp lower margin, partial “Berg Gladbach” watermark visible, framed., Sheet: 12 5/8 x 11 1/4 in. (32.1 x 28.6 cm.), Frame: 19 7/8 x 18 1/2 x 1 in. (50.5 x 47 x 2.5 cm.)
[4000 / 6000]
94. Norman Perceval Rockwell American 1894-1978, “The Runaway”, pencil-signed and inscribed “a/p” lower margin, framed., 28 x 26 in. (71.1 x 66 cm.), Frame: 38 1/4 x 35 1/2 x 1 1/2 in. (97.2 x 90.2 x 3.8 cm.)
[800 / 1200]
96. Troy Collins American/Montana 20th c., “No Place Like Home”, 2013, signed lower right, signed, titled and dated en verso, artist name inscribed on stretcher, framed., 24 x 29 3/4 in. (61 x 75.6 cm.), Frame: 28 3/8 x 34 x 2 1/2 in. (72.1 x 86.4 x 6.4 cm.)
[1800 / 2500]
97. Fine American Classical Mahogany Highback Armchair, mid 19th c., Philadelphia, tablet crest rail, scrolled arms with concentric bosses, sabre legs, period-appropriate damask upholstery, h. 41 in., 41 x 22 1/2 x 23 in. (104.1 x 57.2 x 58.4 cm.) [1000 / 2000]
98. American Classical Gilt and Parcel Ebonized Mahogany Pier Table, early 19th c., attr. to Anthony G. Quervelle, Philadelphia, marble top, frieze with griffin stenciling, columnar supports with gilt molding, molded mirrored back, incurvate plinth, paw feet. [3000 / 5000]
99. American Classical Carved Mahogany Sofa, early 19th c., Philadelphia, paneled crest rail flanked by dolphins, bolster arms faced with wreaths, paneled seat rail, rosette blocks, ogee feet, conserved and upholstered by Ruppert Kohlmaier, Jr., 37 x 84 x 29 in. (94 x 213.4 x 73.7 cm.) [1200 / 1800]
100. Georgian-Style Carved Mahogany Pedestal Sideboard in the Adam Taste, 20th c., inset marble tops, frieze drawer, each pedestal with small upper drawer, drawer and cabinet, lamb’s tongue surround, urns and swags, plinth base, Label reads “MADE BY HARRY L. MOSES, NEW ORLEANS, LA U.S.A.”, 39 1/2 x 83 x 25 in. (100.3 x 210.8 x 63.5 cm.) [1200 / 1800]
101. American Sheraton Inlaid Maple and Cherry Butler’s Desk, 19th c., Pennsylvania, maple banded top and escritoire drawer with fitted interior, foliate carved panels with punch ground, three graduated drawers, reeded columnar supports, plinth base, reeded tapered feet, 44 1/4 x 48 1/2 x 22 1/4 in. (112.4 x 123.2 x 56.5 cm.)
[1200 / 1800]
102. American Sheraton Inlaid Mahogany Settee, 19th , possibly South Carolina, arched crest rail, conforming arms, square tapered legs with string and graduated spherical inlay, castors, 37 x 73 x 24 1/2 in. (94 x 185.4 x 62.2 cm.)
[1000 / 1500]
Provenance: Blackamoor Antiques 2/3/1983
103. American Late Classical Mahogany Pier Table, 19th c., probably New York, molded marble top, ogee frieze, scrolled supports, mirrored back, scrolled feet, 37 1/2 x 40 1/2 x 19 1/2 in. (95.3 x 102.9 x 49.5 cm.)
[1200 / 1800]
104. American Aesthetic Inlaid Mixed Metal and Rosewood Parlor Cabinet, c. 1880s., attributed to Pottier & Stymus, New York, stenciled Oliver Cabinet 68511, molded cornice with inlaid frieze, center section with beveled and engraved mirror plate, flanked by flower and leaf inlaid pierced carved galleried shelves, three frieze drawers with vine and leaf inlay, open shelf with carved turned supports above arched opening flanked by reversed silvered glass doors, turned feet., 81 x 68 1/4 x 18 in. (205.7 x 173.4 x 45.7 cm.) [8000 / 12000]
Note:Charles Oliver Iselin was the son of Wall Street financier and railroad magnate Adrian G Iselin. Charles was a five-time winner of The America’s Cup. Charles had several homes including two designed by Mckim, Mead and White which were All View Mansion, New Rochelle, New York and a home on Hunter’s Island, New York which was demolished in 1882-1883. The interior hall from Hunter’s Island is pictured
in The Opulent Interiors of the Golden Age, pg. 163, image 182. Little is known about the supplier of furnishings to Charles Oliver’s many homes. This exquisitely inlaid parlor cabinet offered here is closely related to some of the finest examples of aesthetic furniture by the New York firm of Pottier & Stymus. Specifically, intricately inlaid mixed metal patterns closely related to furniture from the Mark Hopkins residence in San Francisco. Additionally, Pottier & Stymus used a five-digit numbering system prior to 1888 that was either penciled, impressed, or stenciled in black ink. This parlor cabinet bears a five-digit number in black ink 68511. Kristin Herron documented in her article on the Thomas Edison home at Glenmont that numbers were likely assigned chronologically and furniture dating to the early 1880s, such as this cabinet, were marked with numbers between 50000 and 70000.Reference: Herron, Kristin S., The Modern Gothic Furniture of Pottier and Stymus,”Magazine Antiques. May 1999.
105. Fine Louisiana Inlaid Carved Mahogany Campeche Chair and Ottoman, signed and dated Ruppert Kohlmaier, Sr. and Jr., 1-15-2000, New Orleans, shaped volute crest rail with center shell inlay, shaped stiles, scrolled arms, rounded seat rail, curule legs, conforming ottoman, leather upholstery.
[6000 / 8000]
106. American Rococo Carved Mahogany Half Tester Bed, 19th c., labeled William McCracken, New Orleans, stamped 26, rebuilt arched molded tester, scrolled arms, cluster column postsarched molded paneled headboard, conforming molded rails and footboard, 110 x 62 x 77 1/2 in. (279.4 x 157.5 x 196.9 cm.)
[2500 / 3500]
107. Neoclassical-Style Gilt Bronze and Cut-Crystal NineLight Chandelier, c. 1900, drop-hung corona above a pierceddome top and drop chains supporting a central Vitruvian scroll-cast band, mounted with acanthus-wrapped reeded branches and alternating obelisks and tapering torches with flambeau shades, pinecone pendant, electrifiedProvenance: Christie’s, New York, April 24, 2001, lot 135., 54 x 30 in. (137.2 x 76.2 cm.)
[4000 / 6000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
108. Fine Louis XV-Style Gilt Bronze and CutCrystal Thirty Light Chandelier, c. 1890, vasiform standard, foliate arms, hung with scalloped and spear prisms, rosettes, and chains, ending in a bronze fruit pendant and blown glass sphere, h. 65 in., dia. 35 in.
[4000 / 6000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
109. Henri Luppens Gilt Bronze and Onyx Twelve-Light Chandelier, c. 1880, signed “H. LUPPENS & Cie/ BRUXELLES/ BRONZES D’ART”, foliate arms, footed tripartite and onyx standard with cast drapery, allover mounts of oak leaves and acorns, h. 52 in., dia. 33 in.
[4000 / 6000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
110. Regency-Style Hall Lantern, late 19th c., h. 26 in., dia. 10 in.
[300 / 500]
111. Empire Gilt and Patinated Bronze and Tole Six-Light Chandelier, palmette-mounted corona, the body with flaming urn and Classical frieze, arms with cherub terms holding torches and butterflies, pineapple pendant, drilled for electricity but not wired., 35 x 24 in. (88.9 x 61 cm.) [1800 / 2500]
112. Pair of Antique Empire-Style Gilt Bronze Three-Light Sconces, ribbon and quiver backplate, issuing foliate arms draped with floral garlands, not electrified, 21 x 16 x 11 1/2 in. (53.3 x 40.6 x 29.2 cm.)
[800 / 1200]
Ida Manheim Antiques, 409 Royal St., New Orleans.
113. Pair of Empire-Style Gilt Bronze Three-Light Sconces, flame-form shades, 31 x 18 x 9 in. (78.7 x 45.7 x 22.9 cm.)
[800 / 1200]
Ida Manheim Antiques, 409 Royal St., New Orleans.
114. Pair of Antique French Gilt-Bronze and Cut-Crystal Four-Light Sconces, shield-form backplate, foliate arms, 20 x 15 x 12 in. (50.8 x 38.1 x 30.5 cm.)
[800 / 1200]
Ida Manheim Antiques, 409 Royal St., New Orleans.
115. David Noll American/Louisiana b. 1951 “Broad Winged Hawk”, 1973, signed and dated lower right, framed., 14 1/2 x 11 in. (36.8 x 27.9 cm.), Frame: 19 x 15 1/2 x 1 in. (48.3 x 39.4 x 2.5 cm.)
[800 / 1200]
116. Southern School 19th c. “Nature Morte: Duck”, unsigned, framed., 13
in.
45.7
16 x 21 1/8
2
117. John Patton O’Neill American/Louisiana b. 1942 “Ornithological Studies”, 1972, signed and dated lower right, “Hill Auction Gallery” label with artist on backing paper, framed., 30 x 20 1/8 in. (76.2 x 51.1 cm.), Frame: 42 5/8 x 33 3/4 x 1 3/8 in. (108.3 x 85.7 x 3.5 cm.)
[400 / 600]
x 18
(33 x
cm.), Frame:
x
in. (40.6 x 53.7 x 5.1 cm.) [1000 / 1500]
118. Achille Perelli Italian/ Louisiana 1822-1891 “Nature Morte: Woodcock”, faintly signed and inscribed “N.O.” lower right, framed., 26 x 16 3/4 in. (66 x 42.5 cm.), Frame: 35 1/2 x 23 5/8 x 1 in. (90.2 x 60 x 2.5 cm.)
[2000 / 3000]
119. Achille Perelli Italian/ Louisiana 1822-1891 “Nature Morte: Gallinule”, faintly signed and inscribed “N.O.” lower left, framed., 27 5/8 x 20 1/4 in. (70.2 x 51.4 cm.), Frame: 35 1/2 x 25 3/8 x 1 3/4 in. (90.2 x 64.5 x 4.4 cm.)
[2000 / 3000]
120. George Louis Viavant American/ Louisiana 1872-1925 “Nature Morte: Mallard Duck”, 1922, signed, dated and localized lower left, framed., 30 1/2 x 21 3/4 in. (77.5 x 55.2 cm.), Frame: 39 x 30 x 1 1/4 in. (99.1 x 76.2 x 3.2 cm.)
[15000 / 25000]
121. Audubon, John (1785-1851) and Rev. John Bachman (1790-1874), The Viviparous Quadrupeds of North America, New York: J.J. Audubon (V.G. Audubon), 1845, 1846, 1848. First edition, 3 folio volumes of “elephant” sheets, original 3/4 leather bindings with gilt- lettered title cartouche and spines, all edges gilt, 3 lithographic title-pages and 3 letterpress contents, 150 hand-colored lithographic plates by J. T. Bowen, after John James and John Woodhouse Audubon, with backgrounds after Victor Audubon, sheets 27 3/8 in. X 21 1/2 in., presented in a custom baize-lined Louisiana cypress case. [150000 / 250000]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
First edition of one of the greatest American color plate works. “By 1843 the Audubon family business was a well-oiled machine, involving John James, his two sons, Victor and John Woodhouse, and various in-laws and friends. The octavo Birds was still in production when J.T. Bowen began to produce the plates for the elephant folio edition of the Quadrupeds, the largest successful color plate book project of 19th-century America. It took the family five years to publish 150 plates in thirty parts. The massive project was a commercial success, thanks to the close management of Victor. There were about three hundred subscribers.” (Reese).
122. John James Audubon (American, 1785-1851), The Quadrupeds of North America, by John James Audubon and Rev. John Bachman, published by Victor Gifford Audubon, 1856, New York, third edition, 3 volumes, octavo (plates 10 1/2 x 7 1/8 in.), original publisher’s brown morocco, elaborately blind-stamped lettering and foliate panels within double fillets to sides, spines tooled in blind with raised bands and gilt lettering, all edges gilt, with 155 hand-colored lithographic plates. [3000 / 5000]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
123. John James Audubon (American, 1785-1851), “Raccoon”, handcolored lithograph, Plate 61, from The Viviparous Quadrupeds of North America, 1845-1848, framed. Sheet: 20 1/2 x 27 1/2 in. Frame: 27 1/4 x 34 1/4 x 1 1/2 in. [800 / 1200]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
124. John James Audubon (American, 1785-1851), “Say’s Squirrel”, hand-colored, lithograph, Plate 89, from The Viviparous Quadrupeds of North America, Bowen edition, framed. Sheet: 21 5/8 x 27 1/2 in. Frame: 27 5/8 x 33 5/8 x 1 1/2 in. [400 / 600]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
125. John James Audubon (American, 1785-1851), The Birds of America, From Drawings Made in the United States and Their Territories, by John James Audubon, published by Victor Gifford Audubon, 1856, New York, second edition, 7 volumes, octavo (plates 10 3/4 x 6 3/4 in.), with 500 hand-colored lithograph plates after Audubon, printed and hand-colored by J.T. Bowen, Philadelphia, uniformly bound in full tooled calf leather with gilt lettering, marbled endpapers and edges. [8000 / 12000]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
126. John James Audubon (American, 1785-1851), The Birds of America, New York and Amsterdam: Johnson Reprint Corporation and Theatrum Orbis Terrarum Ltd., 1971-1972, Amsterdam edition, with 435 offset color lithograph plates, bound in four volumes, half calf, with gilt lettering, limited edition, this one #21 of 250, sheets 39 1/2 in. x 26 1/2 in., presented in a custom baize-lined Louisiana cypress case. [12000 / 18000]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
127. John James Audubon (American, 1785-1851), “Brown Pelican”, handcolored aquatint with engraving, Plate 421, from The Birds of America, Havell edition, “J. Whatman 1838” watermark, unframed. Sheet: 25 1/2 x 38 1/4 in. [20000 / 30000]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
128. John James Audubon (American, 1785-1851), “Trumpeter Swan, Young”, hand-colored aquatint with engraving, Plate 376, from The Birds of America, Havell edition, “J.Whatman Turkey Mill 1832” watermark, framed; together with a Certificate of Authenticity from the Griggsville Bird Society, Griggsville, IL. Sheet: 26 x 39 3/8 in. Frame: 44 1/2 x 56 1/4 x 1 in. [8000 / 12000]
129. John James Audubon (American, 1785-1851), “American Bittern”, hand-colored aquatint with engraving, Plate 337, from The Birds of America, Havell edition, “J. Whatman 1836” watermark, unframed. Sheet: 26 x 39 1/4 in. [1000 / 1500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
130. John James Audubon (American, 1785-1851), “Fox-Coloured Sparrow”, aquatint with engraving, Plate 108, from The Birds of America, Havell edition, “J. Whatman Turkey Mill 1835” watermark, framed. Sheet: 26 3/4 x 39 3/4 in. Frame: 45 x 35 1/4 x 1 3/8 in. Note: This plate is uncolored. [1000 / 1500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
131. John James Audubon (American, 1785-1851), “Black & Yellow Warbler”, color lithograph, Plate 50, from The Birds of America, Amsterdam edition, “G. Schut & Zonen ® Audubon” watermark, framed with a John James Audubon autograph note, unsigned, describing a mistake that was made in the engraving of this particular plate. Letter Sheet: 12 3/8 X 10 1/2 in. Print Sheet: 39 3/8 x 26 3/8 in. Frame: 60 3/8 x 37 x 2 in. [1000 / 1500]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr. , Oaklawn Manor, Franklin, LA. The note, in part, reads “This little bird was by mistake engraved, and named after my friend Mr. [William] Swainson during my absence from London, the drawing having been taken for another as well as the name it is the Young of the Black & Yellow Warbler, in fact the figure now before you Kind Reader was intended to form part of the Plate which will represent the male & female adults of the species-My good friend will I know excuse this accidental mistake...”
132. John James Audubon (American, 1785-1851), “Olive-sided Flycatcher”, handcolored aquatint with engraving. Plate 174, from The Birds of America, Havell edition, “J. Whatman 1833” watermark, framed. Sheet: 38 x 25 1/4 in. Frame: 39 1/2 x 27 1/2 x 1 1/2 in.
[1000 / 1500]
133. John James Audubon (American, 1785-1851), “Worm-eating Warbler”, handcolored aquatint with engraving, Plate 34, from The Birds of America, Havell edition, “J. Whatman/Turkey Mill/1827” watermark, framed. Sheet: 39 x 25 1/2 in. Frame: 32 3/8 x 42 3/8 x 2 in. [1000 / 1500]
134. John James Audubon (American, 1785-1851), “Orchard Oriole”. hand-colored aquatint with engraving, Plate 42, from The Birds of America, Havell edition, “J. Whatman 1830” watermark, framed. Sheet: 25 1/2 x 38 1/4 in. Frame: 45 1/2 x 32 7/8 x 1 3/4 in. [1000 / 1500]
Provenance: W. Graham Arader III, King of Prussia, PA.
135. John James Audubon (American, 1785-1851), “Black Tern”, handcolored aquatint with engraving, Plate 280, from The Birds of America, Havell edition, “J. Whatman 1838” watermark, “Sotheby’s 280” tag on sealed sleeve, unframed. Sheet: 36 1/8 x 25 5/8 in. [800 / 1200]
Provenance: Acquired from the artist by the third Earl of Caledon, 1842; “John James Audubon, The Birds of America, The Property of the Caledon Family Settlements (sold by order of the Trustees),” Sotheby’s, New York, Jan. 28 & 29, 1985, lot 280.
This plate was from one of the folio sets personally brought back by Audubon to America, after his final return in September of 1839. The folio was sold in 1842 to the third Earl of Caledon.
136. John James Audubon (American, 1785-1851), “Townsend’s Sandpiper”, hand-colored aquatint with engraving, Plate 428, from The Birds of America, Havell edition, “J. Whatman 1838” watermark, “Sotheby’s 428” tag on sealed sleeve, unframed. Sheet: 28 1/4 x 25 5/8 in. [800 / 1200]
Provenance: Acquired from the artist by the third Earl of Caledon, 1842; “John James Audubon, The Birds of America, The Property of the Caledon Family Settlements (sold by order of the Trustees),” Sotheby’s, New York, Jan. 28 & 29, 1985, lot 428.
This plate was from one of the folio sets personally brought back by Audubon to America, after his final return in September of 1839. The folio was sold in 1842 to the third Earl of Caledon.
137. John James Audubon (American, 1785-1851), “Black Vulture”, hand-colored aquatint with engraving, Plate 106, from The Birds of America, Havell edition, “J. Whatman 1831” watermark, “Sotheby’s 17” tag on sleeve, unframed. Sheet: 24 1/4 x 37 7/8 in. [1000 / 1500]
138. John Gould (1804-1881) and Richard Bowdler Sharp (1847-1909), A Monograph of the Trochilidae, or Family of Humming-Birds. London: Taylor and Francis for the author, [1849]-1861.; with A Monograph... Supplement. Taylor and Francis for Henry Sotheran & Co., [1880]-1887. Together 6 volumes, including Supplement, with Dedication, List of Subscribers, Preface, Introduction, the list of plates in each volume, 418 hand-colored lithographic plates, many highlighted in gold leaf, overpainted with transparent varnish and oil colors, by Gould, Henry Constantine Richter and William Hart. First five volumes in full green leather with elaborate gilt tooling and lettering. The Supplement in 3/4 leather with gilt lettering., sheets 21 5/8 in. x 14 1/2 in., first 5 volumes presented in a custom baize-lined Louisiana cypress case, Supplement uncased. [50000 / 75000]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
139. John Gould, British, 1804-1881, “Thaumastura Cora”, “Bubulcus Russatus” and “Nycticorax Griseus”, 3 hand-colored lithographs, one with gum arabic, one from Family of Hummingbirds, 2 from The Birds of Great Britain, lithographer Henry Constantine Richter (British, 1821-1902), each with certificate of authenticity from the Griggsville Bird Society, Griggsville, IL on backing paper, framed; together with Edward Lear (British, 18121888), hand-colored lithograph, signed in plate, from Birds of Europe, with a certificate of authenticity from the Griggsville Bird Society, Griggsville, IL on backing paper; framed. Sights: 14 x 21 in. to 21 1/4 x 14 in. Frames: 25 1/4 x 30 1/4 x 1 1/2 in. to 33 x 25 5/8 x 1 1/2 in. (8 pcs.) [700 / 1000]
140. John Gould, British, 1804-1881, “Amazilia Beryllina”, hand-colored lithograph with gum arabic. Plate 312, from A Monograph of the Trochilidae or Family of Hummingbirds, lithographer Henry Constantine Richter (British, 1821-1902), framed. Sight: 20 x 13 1/2 in. Frame: 28 1/8 x 21 1/8 x 7/8 in. [400 / 600]
141. Rex Brasher (American, 1869-1960), Birds and Trees of North America, Chickadee Valley near Kent, CT., [the author], 1929-1932, Volume 3 (of 12), oblong folio (12 1/4 in. x 17 1/2 in.), signed by Brasher, number 19 of 100 printed (out of a planned 500), half suede and pictorial boards, with 82 hand-colored photogravures using air brush and pochoir, including ducks, geese, swans, flamingo, spoonbill, ibises, egrets, and herons. [500 / 700]
142. Jardine, Sir William/Editor. The Naturalist’s Library, Edinburgh (Lizars), London & Dublin, 1833-1843, first edition, 40 volumes, 8vo (6 1/4 in. x 4 in.), 3/4 leather over marbled boards. Engraved portrait frontispiece to each volume, engraved additional titles with a vignette (many hand-colored), over 1200 engraved plates. Set includes 13 volumes of Mammalia, 14 volumes of Ornithology, 6 volumes of Ichthyology (fishes), and 7 volumes of Entomology. [3000 / 5000]
Provenance: Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
143. The Works of Charles Dickens, Chapman & Hall, London, 1881, Extra Illustrated Edition de Luxe, Limited to 15 Lettered Copies. This is copy “A”, printed by R. Clay, Sons, and Taylor, London, 60 volumes, octavo (10 1/4 x 7 in.), elaborate gilt-tooled full morocco with inlays, spine with raised bands, full tooled doublures, watered silk free endpapers, all edges gilt, numerous engravings, and with ink drawings and watercolors of characters by “Kyd” (Joseph Clayton Clarke) and H.C. Green, rear of volume 60 includes full chronology of Dicken’s works and his last will and testament. Works incl. Pickwick Papers, David Copperfield, Dombey & Son, Nicholas Nickleby, Bleak House, Martin Chuzzlewit, Little Dorrit, Mutual Friend, Curiosity Shop, Reprinted Pieces, Christmas Stories, Uncommercial Traveller, Barneby Rudge, Child’s History of England, Sketches by Boz, Christmas Books, American Notes, Hard Times, Oliver Twist, Tale of Two Cities, Great Expectations, Pictures from Italy, Master Humphrey’s Clock, and The Mystery of Edwin Drood. [1000 / 1500]
Set
144. Monumental George III Inlaid Mahogany Bowfront Sideboard, 18th c., frieze drawer flanked by drawer over door and deep drawer, fluted tapered legs, block feet, 36 x 108 x 38 1/2 in. (91.4 x 274.3 x 97.8 cm.) [2500 / 3500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
145. Fine Pair of Chinese Chippendale Carved Mahogany Sidechairs, early 19th c., labeled Howard & Sons, London, scalloped molded crest rail, pierced carved splat, foliate carved frame, nailhead upholstery. molded seat rail, blind carved square legs., 37 x 22 1/2 x 19 in. (94 x 57.2 x 48.3 cm.) [1000 / 1500]
147. Antique Chippendale Carved Mahogany Library Chair, 19th c., carved scrolled fluted padded arms,cabriole legs, C-scrolled knees, scrolled toes, 38 1/2 x 27 1/2 x 26 in. (97.8 x 69.9 x 66 cm.), [700 / 1000]
146.
of Three Antique Chippendale Carved Mahogany Sidechairs, 19th c., floral carved crest terminating in scrolled “ears”, swagged pierced splat, wide trapezoidal seat, acanthus carved cabriole legs, ball and claw feet, 40 x 20 x 18 in. (101.6 x 50.8 x 45.7 cm.) [800 / 1200]
148. George III-Style Satinwood and Painted Sideboard, c. 1880, Stamped Gillows & CO 13083, Chubb patent 128 Queen Victoria London Locks, painted foliate and neoclassical decor throughout, pierced carved gallery with finials, turned supports, mirrored back, frieze drawers, open shelves flanked by molded paneled cabinets, square tapered feet., 65 1/2 x 84 x 15 in.
(166.4 x 213.4 x 38.1 cm.)
[1200 / 1800]
149. Fine Neo-Grec Inlaid Amboyna and Parcel Ebonized Davenport Desk, late 19th c., stamped “Gillow”, Chubb patent lock marked “546889”, galleried slant top, inset writing surface, well-fitted interior, fluted and inlaid pilasters, returns inset with shelves, trestle base, bun feet, h. 34 in., w. 26 in., d. 24 in. Note: English firm Gillow & Co, first based in Lancaster, Lancashire, and then in London, was founded by Robert Gillow in 1730. Gillows was owned by the family until 1814 when it was taken over by Redmayne, Whiteside, and Ferguson, who continued to use the Gillow name. Gillows furniture is referred to by Jane Austen, Thackeray and the first Lord Lytton, and a Gilbert and Sullivan comic opera. The use of amboyna veneers as well as the high style Neo Grec design on this desk indicate it was made during the peak quality years in the firm’s production. It relates closely to a Gillow table at the National Trust property, Hanbury Hall, Worcestershire (acc: NT 41450). Reference: http://www.nationaltrustcollections.org.uk/ object/414050, 34 x 27 x 25 in. (86.4 x 68.6 x 63.5 cm.)
[1500 / 2500]
150. Regency Carved Mahogany Collector’s Chest/ Dressing Chest, 19th c., molded top, bank of eight drawers on side, front with eight drawers and eight false drawers, plinth base, 53 x 39 1/2 x 23 in.
(134.6 x 100.3 x 58.4 cm.)
[1000 / 1500]
151. Georgian-Style Leather and Mahogany Expandable Dining Table, 20th/21st c., made by Maitland Smith, tooled sienna leather top, five curved leaves with brass fittings , frieze with pullout supports, turned supports, plinth base, sabre legs, castors, closed 28 1/2 x 64 x 64 in. (72.4 x 162.6 x 162.6 cm.), open 28 1/2 x 87 1/2 x 87 1/2 in. (72.4 x 222.3 x 222.3 cm.)
[2500 / 3500]
83
38 x 19
[1200 / 1800]
152. Georgian Inlaid Satinwood Secretary Bookcase, 19th c., molded cornice, inlaid frieze, glazed doors, fall front escritoire drawer with fitted interior, inlaid paneled doors, molded base, bracket feet,
1/2 x
1/2 in. (212.1 x 96.5 x 49.5 cm.)
153. Georgian-Style Carved Mahogany Library Armchair, 19th c., arch crest, out scrolled arms, nailhead upholstery, cabriole legs, hairy paw feet, [700 / 1000]
155. Pair of Regency Carved Mahogany Secretary Bookcases, early 19th c., molded cornices, arched glazed doors, fall front writing tooled leather surface, fitted interior, three drawers, molded plinth base., 89 x 36 x 18 in. (226.1 x 91.4 x 45.7 cm.), [2500 / 3500] Ida Manheim Antiques, 409 Royal St., New Orleans.
154. Chippendale-Style Carved Mahogany Hanging Shelf, 19th c., pagoda centered crest, pierced carved lattice gallery and sides, four tiers, [1200 / 1800] Ida Manheim Antiques, 409 Royal St., New Orleans.
156. Queen Anne-Style Inlaid Walnut Chest-on-Stand, 19th and later c., crossbanded top with oval panel and chevron stringing, two short drawers, two long drawers, later scalloped stand, cabriole legs, height 45 in., width 41 1/2 in., depth 23 inProvenance: Neal Auction Sep. 13, 2009, Lot # 702, 45 1/2 x 41 x 25 in. (115.6 x 104.1 x 63.5 cm.), [700 / 1000]
157. Pair of Late Georgian Sheffield Plate Wine Coolers, 19th c., hand mark, probably J. Watson & Son/Padley, Parkin & Co., fluted urn-form, egg-and dartrim, robust grape-and-grapeleaf decoration, and foliate scroll feet, engraved crest on inset silver shield, removable liner with fluted collar, retains original tinned surfaces to interior of coolers and backs of liners, H. 7 1/2 in., w. 10 in. [1000 / 2000]
159. Pair of Edwardian Sterling Silver Candlesticks, Elkington & Co. Ltd., Birmingham, 1901, mark reg. 1890, urnform candlecups with removable bobeches, baluster form standard, spreading foot, foliate decoration throughout, weighted bases; H. 12 1/4 in. [600 / 900]
158. George V Sterling Silver Bread Basket, Sheffield, 1926, James Deakin & Sons (John & William F. Deakin), Sheffield, act. 1883-1932, footed navette form, reticulated borders, H. 5 7/8 in., l. 11 7/8 in., d. 7 5/8 in., weight 15.45 troy ozs. [500 / 750]
160. Pair of Antique English Fused Silverplate Wine Coolers, campagna form with vintage motif rim and reeded foliate handles, removable collar and liner, retains inset silver shield and original tinned interior, h. 10 1/2 in., w. 10 in. [400 / 600]
Ida Manheim Antiques, 409 Royal St., New Orleans.
161. Edward VII Sterling Silver Coffee and Tea Service, Johnson, Walker & Tolhurst, London, 1907-1908, incl. coffee pot, teapot, hot water pot, open sugar and creamer; associated tea tray of the same design, Holland, Aldwinckle & Slater, London, 1902, engraved with motto “Sub Deo Vincimus” (Under God We Conquer), total weight 207.25 troy ozs. [6000 / 9000]
162. George III Sterling Silver Dish Cross with Burner, London, 1776, probably Richard Morrison, burner with engraved swan crest and drapery swags, adjustable arms, beaded detail throughout, H. 4 in., w. 10 1/2 in., weight 21.25 troy ozs.
[500 / 700]
163. A Good Group of Antique and Vintage Silver and Silverplate Tableware, incl. an Edwardian ivorine and silverplate fish service with 12 ea. fish forks and fish knives with silverplate tines and blades, sterling ferrules hallmarked John Sanderson, Sheffield, 1907, silverplate tines and blades, fitted mahogany case with inset brass shield; Watson “Mount Vernon” sterling ice tongs (l. 6 3/4 in.), Webster sterling sugar tongs (l. l. 3 1/8 in.), antique English sugar tongs, maker W.C (l. 5 3/8 in.), French silverplate manche a gigot, Societe Francaise d’Alliance de Metaux, early 20th c. (l. 8 1/2 in.), vintage motif grape shears (l. 6 3/4 in.), and 2 silverplate fish knives and matching seafood forks, Martin, Hall & Co., Sheffield, late 19th c., Fork l. 7 1/8 in., knife l. 7 7/8 in., case h. 2 1/4 in., w. 14 in., d. 10 in. [400 / 600]
164. Scottish George III Sterling Silver Flatware Service, Edinburgh, 1807, most James McKay; incl. 12 forks (l. 8 1/8 in.), 6 forks (l. 7 in.), 8 spoons (l. 8 7/8 in.), 7 spoons (l. 7 1/4 in.), 9 spoons (l. 5 3/8 in.), 1 egg spoon, sugar sifter ladle, cream ladle and master salt spoon; “Old English” pattern, monogramed en suite with script “M”; 46 pcs. total., total weight 68.50 troy ozs. [1500 / 2500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
165. Pair of Georgian Amber Glass Muffineers and a Pair of Salt Cellars, tallest: h. 8 1/2 in., w. 3 3/8 in., d. 3 1/8 in. [500 / 700]
166. Antique Gorham Sterling Silver Water Pitcher, No. A4138, date mark for 1907, pyriform with C-scroll handle, floral and scroll chasing, cast scroll rims, reserves with Gothic “D” monogram, H. 13 1/2 in., weight 54.75 troy ozs.
[2000 / 4000]
167. Antique Gorham Sterling Silver Sauceboat and Underplate, Nos. A3669 and A3667, date mark for 1907, cast floral scroll borders, Gothic “D” monogram, Overall h. 4 3/4 in., l. 9 3/8 in., weight 22.15 troy ozs.
[800 / 1200]
168. American Victorian Sterling Silver Coffee and Tea Service, Unger Brothers, Newark, NJ, act. 1872-1914, incl. coffee pot, teapot, covered sugar, creamer, waste bowl and covered chocolate sauce pot and underplate; all with cast Cherokee roses and Gothic “D” monogram;, Coffee pot h. 7 3/4 in., total weight 60.45 troy ozs.
[2000 / 3000]
169. American Classical Coin Silver Cream Pitcher and Waste Bowl, Garrett Eoff (1779-1845), act. 1801-1845, New York, NY, marked “G.EOFF” in rectangle, footed baluster forms with die-rolled flower and vine bands, creamer h. 7 5/8 in., bowl h. 5 1/2 in., dia. 7 in., total weight 23.05 troy ozs.
[400 / 600]
Ida Manheim Antiques, 409 Royal St., New Orleans.
170. French First Standard Silver Pitcher with Washington Guards (New Orleans) Presentation Inscription, Paris, marks for 1819-1838, maker’s mark rubbed; in the Restauration taste, presentation inscription: “Awarded/to the/Washington Guards./at a second trial of skill/in Target Practice/with the/Harrison Guards/March 26th, 1843./New Orleans./Distance 60 yards./30 men each. 90 shots./W.G. 65 in 90./H.G. 62 in 90.”, H. 13 in., weight 29.05 troy ozs. [10000 / 15000]
171. New Orleans Coin and Sterling Silver “Fiddle Thread” Flatware Set, associated, including New Orleans retailers Hyde & Goodrich, A.M. Hill, H.P. Buckley and A.B. Griswold; various makers; incl. 7 table forks (l. 8 1/8 in.), 5 tablespoons (l. 8 5/8 in.), 3 tablespoons (l. 8 1/8 in.), 6 dessert spoons (l. 6 5/8 in.) and 8 luncheon forks (l. 6 7/8 in.); 29 pcs. total., Total weight 54.55 troy ozs., [1400 / 1800]
172. Frank Smith “Fiddle Thread” Sterling Silver Flatware Service, pat. 1902, incl. 12 forks (l. 7 1/2 in.), 11 knives (l. 9 1/4 in.), 1 fork (l. 6 7/8 in.), 11 salad forks, 12 cream soup spoons, 19 teaspoons, 7 iced tea spoons, 18 demitasse spoons, 12 cocktail forks, 12 butter knives (fh), 2 cold meat forks (l. 7 1/2 in.), 2 tablespoons, 2 salad serving spoons (l. 8 1/2 in.), gravy ladle, cream ladle “as-is”), master butter knife, 2 tine lemon fork, pickle fork, sugar tongs, carving knife and fork (hh, l.10 1/2 in.), cake knife (hh, l. 10 in.) and salad serving fork (hh, wood tines, l. 10 1/2 in.); together with 6 Gorham “Old French” cocktail forks and 2 demitasse spoons; 133 pcs. total; with vintage wood storage case., total weight (weighable) 138.50 troy ozs, [3500 / 4500]
173. Tiffany “Shell and Thread” Pattern Sterling Silver Flatware Service, pat. 1905, incl. 6 forks (l. 7 1/2 in.), 16 forks (l. 6 7/8 in.), 6 knives (l. 10 1/8 in.), 16 knives (hh, l. 9 1/8 in.), 9 salad forks, 14 dessert spoons, 6 cream soup spoons, 7 bouillon spoons, 5 iced tea spoons, 8 cocktail forks, 12 butter knives (fh) 6 tablespoons, 1 berry spoon, 1 gravy ladle, and 1 olive fork; 114 pcs. total;, total weight (weighable) 161.65 troy ozs.
[3000 / 5000]
175. Tiffany “Florentine” Pattern Sterling Silver Flatware, pat. 1900, designer Paulding Farnham, incl. 11 forks (l. 7 1/2 in.), 1 fork (l. 6 7/8 in.), tomato server (l. 9 1/8 in.), ice cream server (l. 11 1/4 in.), 2 fish knives (different styles, hh, sterling blades), 5 knives (hh, silverplate blades with some rust spots, l. 9 1/4 in.), 21 pcs. total;, total weight (weighable) 40.10 troy ozs., [1000 / 1500]
174. Tiffany “English King” Sterling Silver Flatware Service, pat. 1885, designer Charles Grosjean, incl. 5 forks (l. 7 5/8 in.), 22 forks (l. 7 1/2 in.), 9 forks (l. 6 7/8 in.), 3 pastry forks (l. 6 in.), 11 variant pastry forks (l. 6 in.), 11 cocktail forks, 12 knives (l. 10 1/2 in.), 12 dessert/tea knives (hh, sterling blades, l. 7 1/2 in.), 12 fish knives (hh, l. 7 1/2 in.), 3 fish knives (l. 7 1/8 in.), 2 gamebird knives (hh, l. 7 1/2 in.), 12 butter knives (fh), 12 cream soup spoons, 7 dessert spoons, 42 teaspoons, (l. 7 5/8 in.???), 12 sorbet spoon, 12 grapefruit spoons, 5 tablespoons, 2 large ladles (l. 11 1/8 in. and 12 3/8 in.), berry spoon (l. 7 5/8 in.), sugar spoon, sugar shell, cream ladle, ice cream server (l. 9 1/8 in.), 2 serving spoons (l. 9 in.), dressing spoon (l. 10 7/8 in.), vegetable serving spoon (l. 9 5/8 in.), berry spoon (chased gilt bowl, l. 8 1/2 in.), serving spoon (scalloped bowl, l. 8 5/8 in.), cake knife (hh) and pie knife (hh), 238 pcs. toal., total weight (weighable) 343.15 troy ozs. [8000 / 12000]
176. Group of Tiffany “Castilian” and “Flemish” Patterns Sterling Silver Flatware, pat. 1929, designer Arthur LeRoy Barney, and pat. 1911, designer Alber A. Southwick, respectively; incl. Castilian: 6 forks (l. 7 5/8 in.), 4 forks (l. 7 in.), 6 dessert spoons, 3 cream soup spoons, 5 teaspoons, carving knife (hh, l. 14 1/2 in.) and 6 knives (hh, l. 10 in.); Flemish: 3 forks (l. 7 3/4 in.), 1 knife (hh, l. 10 1/8 in.), 6 teaspoons, 2 fruit forks, 12 butter knives (fh), salad serving spoon with gilt wash bowl (l. 10 in.), asparagus tongs and poultry shears (hh, silverplate blades, 11 in.); 58 pcs, total;, total weight (weighable) 87.45 troy ozs., [2000 / 3000]
177. Extensive Tiffany “San Lorenzo” Pattern Sterling Silver Flatware Service, pat. 1916, incl. 34 forks (l. 7 5/8 in.), 29 knives (l. 10 1/4 in.), 12 3-tine salad forks (old style), 6 salad forks, 18 cocktail forks, 8 ice cream forks, 1 strawberry fork, 22 teaspoons, 6 cream soup spoons, 12 bouillon spoons, 6 grapefruit spoons, 12 iced tea spoons,13 demitasse spoons, 9 butter knives (fh), 12 individual asparagus tongs, 3 tablespoons, berry spoon, crumber, tomato server, cream ladle, olive spoon, sugar shell and sugar tongs, 210 pcs. total., total weight (weighable) 253 troy ozs., [6000 / 9000]
178. Gorham “Chantilly” Pattern Sterling Silver Flatware Service for Twelve, pat. 1895, designer William C. Codman, incl. 12 each: dinner forks (l. 7 1/2 in.), dinner knives (l. 9 1/2 in.), salad forks and cream soup spoons, 24 teaspoons, 11 butter knives (fh), youth fork and knife (hh), sugar shell, jelly server, 2 lemon forks and pastry server (hh, l. 9 7/8 in.), in vintage fitted case; together with associated carving knife and fork (hh), pie server (hh), 2 cake knives (hh) and grape shears (hh), bouillon spoon and child’s spoon; 10 pcs. total., total weight (weighable) 94.20 troy ozs., [1500 / 2500]
179. S. Kirk & Son “Repousse” Pattern Sterling Silver Flatware Service, incl. 12 forks (l. 7 7/8 in.), 12 knives (l. 9 3/4 in.), 12 steak knives (hh, l. 8 7/8 in.), 13 salad forks, 14 teaspoons, 4 demitasse spoons, 3 baby forks, 3 baby spoons, oval soup spoon (l. 63/8 in.), salt spoon, sugar shell, master butter knife (fh), lemon fork, gravy ladle, serving spoon (l. 8 3/8 in.), pierced tablespoon, carving knife and fork (hh, l. 13 1/4 in. and 11 in.), cold meat fork (hh, l. 8 3/4 in.) and cake/pie knife (hh, l. 10 3/8 in.); together with a group of associated sterling flatware, incl. Gorham “Chantilly” cold meat fork, Towle “Queen Elizabeth I” pierced tablespoon, Continental .800 silver tablespoon, Reed & Barton “Francis I” carving knife (hh, l. 11 3/8 in.), hh cheese knife, and 11 miscellaneous small pieces; 97 pcs, total;, total weight (weighable) 82.60 troy ozs., [1500 / 2500]
180. Miscellaneous Group of Antique and Vintage Silver Flatware, including George III sterling dressing spoon, 1809, London, marks rubbed, probably Peter and William Bateman, down-turned tip, l. 12 in.; 2 American coin silver mustard spoons, Joseph Clark (1787-1821), act. Danbury, CT 17871791, Newburgh, NY 1811-1818, l. 4 5/8 in.; David Carlson (1891-1931) Arts & Crafts sterling pitcher spoon (l. 12 1/2 in.) and butter pick (l. 6 1/4 in.); Towle “Old English” sterling salad serving fork and spoon (l. 9 1/2 in.), Gorham “Versailles” sterling gravy ladle (l. 6 7/8 in.), 5 miscellaneous demitasse spoons, child’s spoon, 2 cream ladles and a sugar tongs; 17 pcs.;, total weight 19.20 troy ozs., [500 / 700]
181. American Sterling Silver Footed Center Bowl in the Neoclassical Taste, Towle, no. 52038, pat. 1921, h. 3 1/4 in., dia. 11 in.; together with Woodside sterling center bowl, no. 1685, with cast rose border, h. 3 1/2 in., dia. 10 3/4 in.; and Alvin sterling circular bowl, no. A111, h. 2 1/4 in., dia. 9 1/2 in., 41.25 troy ozs., [1000 / 1500]
182. Six Mark J. Scearce “Presidential” Sterling Silver Julep Cups, Mark J. Scearce, Shelbyville, KY, act. 1947 to present, each marked “MARK J. SCEARCE/SHELBYVILLE/KENTUCKY/STERLING” and with eagle cartouche and date mark for the Gerald Ford Presidency (1974-1977); molded rims with beading; retain 6 Wakefield Scearce dust bags and 4 Wakefield Scearce cards. Note: The Mark J. Scearce “Presidential” julep cups are based on a 19th century example by a Shelbyville, Kentucky silversmith. The first of the Scearce julep cups was made during the Franklin Delano Roosevelt presidency. The first produced for retail was made during the Harry Truman administration. To this day, each julep is marked with the initials of the U.S. President in office at the time., H. 3 3/4 in., total weight 29.65 troy ozs. [2500 / 3500]
183. Four Associated Sterling Silver Julep Cups, [500 / 700]
184. Seven American Sterling Silver Water Goblets, Wallace, no. 16, mid-20th c. H. 6 3/4 in., total weight 33.20 troy ozs. [600 / 800]
185. American Colonial Revival Sterling Silver Tea and Coffee Service, early 20th c., Whiting, nos. 7761-7765, date mark for 19151916, including coffee pot (h. 7 in.), teapot, sugar, creamer and waste bowl; the associated International Silver Co. sterling kettle-on-stand with burner (h. to top of handle, 10 in.);, total weight 94.45 troy ozs. [2000 / 3000]
186. American Sterling Silver Tea Tray, Watson Company, North Attleboro, MA, no. K220, 1st half 20th c., oval, with cut-out handles, cast and chased floral borders., 24 1/2 in. x 17 1/4 in., weight 91.25 troy ozs. [2000 / 3000]
187. Antique American Silverplate Vintage Motif Tea Tray, early 20th c. 32 in. x 20 1/4 in. [300 / 500]
188. Pair of American Sterling Silver ThreeLight Candelabra in the Georgian Taste, Fisher, “Victoria” pattern, removeable candlearms, weighted bases, H. 16 3/4 in. [500 / 700]
189. Antique Regency-Style Silverplate and Crystal Figural Epergne with Three Graces, 20th c., unmarked, cut crystal bowls, h. 22 1/2 in., dia. 17 in. [1500 / 2500] Ida Manheim Antiques, 409 Royal St., New Orleans.
190. Monumental Silverplate and Crystal Figural Centerpiece, branchwork support, base with cabochon shields and beading, h. 24 in., d. 21 in.
[800 / 1200]
191. Mexican Sterling Silver Punch Set in the Spanish Colonial Taste, Juventino Lopez Reyes, mid-20th c., incl. footed punch bowl (h. 8 in., dia. 14 1/2 in.), circular tray (dia. 22 1/2 in.) and 12 footed cups, unmarked ladle (l. 12 3/4 in.) and associated ashtray (w. 6 in.), marked “GSB” in shield, maker untraced;, total weight 258.90 troy ozs. [5000 / 7000]
192. Pair of Mexican Sterling Silver Three-Light Candelabra in the Spanish Colonial Taste, Juventino Lopes Reyes, mid-20th c., urn-form candle cups with drip pans, stepped molded standard and foot, h. 11 1/2 in.;, total weight 85.15 troy ozs.
[1500 / 2500]
193. Mexican Sterling Silver Tea and Coffee Service in the Spanish Colonial Taste, mid-20th c., incl. kettle-onstand with burner (h. 16 in. to top of handle), coffee pot (h. 10 1/2 in.), teapot, covered sugar, creamer, waste bowl and oval footed tray with loop handles (31 1/4 in. x 19 1/2 in.); urn-form molded bodies with molded scroll rims, marked “0.925” and “STERLING” with shield-form trademark “HECHO EN/MEXICO D.F./GSB”, maker untraced., total weight 338 85 troy ozs. [6000 / 8000]
194. Antique Georgian-Style Mahogany Pedestal Dining Table, 19th c., Pitt & Scott LTD London label, White & Co. Furniture Depositories London label, Cope & Collinson hardware, molded frieze, turned standard, sabre legs, castors, opens to accept two leaves; together with custom furniture pads. [800 / 1200]
195. Set of Eight Edwardian Carved Mahogany
Dining Chairs in the Queen Anne Taste, early 20th c., woven needlepoint upholstery with nailhead trim, arched back, shell carved knees, cabriole legs, pad feet.
[1200 / 1800]
196. Jacobean Carved Oak Welsh Dresser with Clock, 18th c.,. clock marked Rich Houton Oversly Green, rack with molded cornice, scalloped apron, centered clock face,molded door flanked by four shelves, plank top, three molded frieze drawers, barley twist legs, 79 x 66 1/2 x 19 1/2 in. (200.7 x 168.9 x 49.5 cm.)
[1200 / 1800]
197. George III-Style Carved Mahogany Bookcase, late 18th/ early 19th c., dentil molded broken crest, blind fret frieze, glazed doors, lower case with molded top, blind carved fretwork, two short drawers, two long drawers, molded base, bracket feetProvenance: Blackamoor Antiques 2/3/1983, 93 1/2 x 43 1/2 x 22 in. (237.5 x 110.5 x 55.9 cm.) [2000 / 3000]
198. English Cockfighting or Reading Chair, 19th c., adjustable book rest, nailhead leather upholstery, Queen Anne legs, blocked turned stretchers, pad feet, casters. [1200 / 1800]\
Provenance: Keil’s Antiques, New Orleans
above three long drawers, bracket feet,
(101.6 x 116.8 x 58.4 cm.) [500 / 700] Ida Manheim Antiques, 409 Royal St., New Orleans.
199. English Victorian Burlwood and Mahogany Loo Table, 19th c., molded serpentine top, vasiform standard with carved lobes, scrolled legs, castors, 29 x 53 1/2 x 39 1/2 in. (73.7 x 135.9 x 100.3 cm.) [500 / 700]
200. Georgian-Style String Inlaid Mahogany Bowfront Chest, 19th c., three short drawers
40 x 46 x 23 in.
George III Carved Mahogany Corner Chair, 18th c., shaped crest rail, scroll arms, vasiform splats, drop in seat, scalloped apron, carved knee, cabriole legs, pad feet, 32 x 30 1/2 x 24 1/2 in. (81.3 x 77.5 x 62.2 cm.), [700 / 1000] Ida Manheim Antiques, 409 Royal St., New Orleans.
,
c.,
top. molded drawers, two short drawers above two long drawers, bracket feet, 31 x 39 1/4 x 21 3/4 in. (78.7 x 99.7 x 55.2 cm.),
201.
202. Georgian-Style Carved Mahogany Bowfront Chest of Drawers
19th
reeded
[1000 / 1500]
203. Regency Carved Mahogany Etagere/What Not Shelf, 19th c., galleried top, three shelves, turned supports and legs, castors. [1000 / 1500]
204. Edwardian Carved Walnut Wingback Settee, late 19th/ early 20th c., arched back, padded wings, scrolled arms, molded seat rail acanthus carved knees, cabriole legs, [700 / 1000]
205. Pair of Edwardian Carved Walnut Wing Chairs, late 19th /early 20th c., arched back, padded wings, scrolled arms, acanthus carved knees, molded seat rail, cabriole legs, 45 x 30 x 33 in. (114.3 x 76.2 x 83.8 cm.)
[700 / 1000]
206. George III Inlaid Carved Mahogany Tambour Sideboard, late 18th c., banded top, incurvate sides, deep drawer, over tambour doors, square tapered legs, spade feet, 35 x 59 x 23 3/4 in. (88.9 x 149.9 x 60.3 cm.)
[2500 / 3500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
Large
16-Air
Fils, Switzerland, marquetry-inlaid case, lever wind, 6 multicolor bells, bee hammers and bird finials, drum, and castanet, 4-part comb, 17 1/4 in. cylinder, 12 1/2 x 32 1/2 x 17 in. (31.8 x 82.6 x 43.2 cm.) [3000 / 5000]
207. William IV Carved Mahogany Cellarette on Stand, 19th c., molded top, fluted chamfered corners, brass spout, lead-lined interior, stand with stop-fluted frieze, chamfered legs and brackets, 27 x 18 x 14 in. (68.6 x 45.7 x 35.6 cm.), [500 / 700]
208.
Paillard Orchestral
Cylinder Music Box, c. 1880, Paillard Vaucher
209. Mermod Freres Interchangeable Cylinder Music Box with Extra Cylinder, c. 1890, Switzerland, “Sublime Harmonie MandolineZither”, marquetry-inlaid case, with decorative bail handles, crank wind, 11 1/4 in. cylinder, included is another cylinder housed in a hand-made box., 8 1/4 x 28 3/4 x 11 1/4 in. (21 x 73 x 28.6 cm.)
[1000 / 1500]
Stella Disc Music Box, c. 1900, Swiss, marquetry-inlaid walnut case, movement plays 17-inch discs, lower drawer holds 19 discs, 12 1/4 x 28 3/4 x 21 1/2 in. (31.1 x 73 x 54.6 cm.)
[700 / 1000]
210.
211. Swiss Six-Air Cylinder Music Box, c. 1885, Weill & Harburg, Switzerland, marquetry-inlaid case, lever wind, with six bells, bee hammers, and a drum, 11 in. cylinder, 9 x 19 3/4 x 11 in. (22.9 x 50.2 x 27.9 cm.)
[1000 / 1500]
212. Swiss Six-Air Cylinder Music Box, c. 1900, faux-grain case mounted with a chromolithograph of a dancing couple, lever wind, 8 in. cylinder
[500 / 700]
214. Swiss Eight-Air Cylinder Music Box, c. 1890, marquetry-inlaid case, decorative bail handles, lever wind, with 3 bells, bird hammers, and a drum, 3-part comb, 8 1/2 in. cylinder, 8 1/4 x 18 3/4 x 12 in. (21 x 47.6 x 30.5 cm.) [700 / 1000]
213. Swiss Six-Air Cylinder Music Box, c. 1900, lever wind, with 3 bells, 3 1/2 in. cylinder, movement frozen, 7 3/4 x 16 1/4 x 9 in. (19.7 x 41.3 x 22.9 cm.)
[400 / 600]
215. Swiss Twelve-Air Cylinder Music Box, c. 1890, Samuel Troll Fils, Geneva, marquetry-inlaid case, lever wind, with 9 bells, 16 1/4 in. cylinder. [1200 / 1800]
216. Mermod Freres Twelve-Air
Cylinder Music Box, c. 1895, Switzerland, marquetry-inlaid case, decorative bail handles, crank wind, 13 1/2 in. cylinder, 8 x 28 3/4 x 11 3/4 in. (20.3 x 73 x 29.8 cm.)
[800 / 1200]
217. Swiss Ten-Air Cylinder Music Box, c. 1890, marquetryinlaid multi-wood case, lever wind, with 3 bells, bee hammers, 6 in. cylinder, 8 3/4 x 16 x 10 1/4 in. (22.2 x 40.6 x 26 cm.)
[700 / 1000]
218. Polyphon Disc Music Box, c. 1900, Germany, marquetry-inlaid walnut case, plays 11-inch discs, comes with 23 discs, 8 1/4 x 16 x 14 1/4 in. (21 x 40.6 x 36.2 cm.)
[600 / 900]
219. Swiss Twelve-Air Cylinder Music Box, c. 1890, painted case, 2-part comb, 16 in. cylinder, lever wind, 7 1/4 x 26 3/4 x 10 in. (18.4 x 67.9 x 25.4 cm.) [700 / 1000]
220. Swiss Cylinder Music Box, c. 1900, marquetry-inlaid case, lever wind, with bell, 8 1/4 in. cylinder, 9 1/4 x 18 1/4 x 9 in. (23.5 x 46.4 x 22.9 cm.) [600 / 900]
221. French Lyonnaise Carved Walnut Commode, 18th & later c., molded top, foliate molded three drawers, paneled sides , shaped apron, short cabriole legsProvenance: Adler’s , New Orleans, Adler registry no. 074131, 39 x 52 x 28 in. (99.1 x 132.1 x 71.1 cm.)
[2500 / 3500]
222. French Provincial-Style Carved Walnut Petite Commode, 19th c., galleried top, dressing slide out, open shelf, cabinet doors, cabriole legs, 35 x 17 3/4 x 11 3/4 in. (88.9 x 45.1 x 29.8 cm.)
[700 / 900]
223. French Provincial Carved Walnut Petite Commode, 20th c., molded top, two drawer, shaped apron, cabriole legs, 33 x 43 1/2 x 19 in. (83.8 x 110.5 x 48.3 cm.)
[500 / 700]
224. French Provincial Carved Oak Bookcase, 18th c., molded cornice, foliate frieze, arched molded grille-work doors, fiche hinges, shaped apron, cabriole legs, scrolled toes.Provenance: Henry Stern, 92 x 60 1/2 x 23 1/2 in. (233.7 x 153.7 x 59.7 cm.)
[1000 / 1500]
Dutch Bronze Mounted Mahogany Bombe Cylinder Desk, 19th c., roll top with slide out writing surface, fitted interior, three molded conforming drawers, shaped apron, splayed feet, 44 1/4 x 50 x 23 in. (112.4 x 127 x 58.4 cm.) [1000 / 1500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
Italian Rococo-Style Carved Walnut
rail centered with shell carving, padded scrolled arms, shaped seat rail,
legs, 45 x 62 x 23 in. (114.3 x 157.5 x 58.4 cm.) [700 / 1000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
225.
226.
Settee, 19th c., scrolled crest
cabriole
227. French Provincial Carved Oak Armoire, 18th c., molded cornice, paneled sideds, molded paneled doors, scalloped apron, shorten cabriole legs, 76 x 53 x 22 in. (193 x 134.6 x 55.9 cm.) [700 / 1000]
228. French Provincial Walnut and Burlwood Side Cabinet, 18th c., molded top, carved scrolled molded drawer, molded paneled door, plinth base, small bracket feet, 43 1/2 x 28 x 11 1/2 in. (110.5 x 71.1 x 29.2 cm.) [700 / 1000]
229. French Provincial Carved Walnut Demilune Table, 19th and later c., reeded foldover top, conforming frieze, square tapered legs, closed 30 x 44 x 22 in. (76.2 x 111.8 x 55.9 cm.), open 30 x 44 x 43 in. (76.2 x 111.8 x 109.2 cm.) [500 / 700]
Louis XV-Style Inlaid Tulipwood & Kingwood Serpentine Commode, 19th and later c., molded marble top, four conforming drawers, inlaid conforming sides, sabot mounted styles, tall out swept legs, 37 1/2 x 52 x 20 in. (95.3 x 132.1 x 50.8 cm.) [800 / 1200]
Louis XV-Style Carved Walnut Fauteuil, 18th c., carved molded crest, padded back and arms, molded seat rail, cabriole legs, 37 x 24 1/2 x 30 in. (94 x 62.2 x 76.2 cm.)
[700 / 1000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
230.
231.
232. French Provincial-Style Carved Walnut Cabriole Leg Worktable, 19th c., molded top, frieze drawer, scalloped apron, molded cabriole legs, 28 x 33 x 23 1/2 in. (71.1 x 83.8 x 59.7 cm.), [500 / 700]
233. Pair of Louis XV-Style Carved Walnut Bergeres a Oreilles, late 19th/early 20th c., molded arched crest and stiles, padded arms, serpentine seat rail, cabriole legs,1/31/1983, 44 1/2 x 28 1/2 x 22 in. (113 x 72.4 x 55.9 cm.)
[700 / 1000]
Provenance: French Antique Shop, New Orleans
234. Pair of Regence Carved Walnut Fauteuils a la Reine, 19th c., arch crest rail centered shell carving, padded back and arms, carved seat rail, cabriole legs, scrolled toesProvenance: Neal Auction, 10/16/1992 Lot# 1045, 51 1/2 x 29 x 24 in. (130.8 x 73.7 x 61 cm.)
[1200 / 1800]
235. French Provincial Wine Tasting Table, 18th c., circular tilt-top, gated support, trestle feet, approximately 27.5 in. high, 46 in. diameter, 27 x 45 1/2 in. (68.6 x 115.6 cm.) [500 / 700]
236. Chinese Red Lacquer Altar Table, three drawers, carved foliate decor, paneled sides, square legs, 35 x 53 x 21 1/2 in. (88.9 x 134.6 x 54.6 cm.)
[500 / 700]
241. George III Red
, oval form, lid and foot with beaded and gadrooned silverplate trim, 4 1/4 x 4 3/4 x 2 3/4 in. (10.8 x 12.1 x 7 cm.) [1000 / 1500]
237. Two Antique American or English Glass Hurricane Shades, rolled foot rims, taller 24 in. [400 / 600]
238. Three Antique American or English Glass Hurricane Shades, all with rolled foot rims, tallest one (23 in.) with etched foliate design. [600 / 900]
239. Georgian Tea Caddy, pyramidal lid, harlequin pattern, interior with single lidded compartment, 5 x 4 x 2 3/4 in. (12.7 x 10.2 x 7 cm.) [800 / 1200]
240. Georgian Tortoiseshell Tea Caddy, oval form, push-button lid, lidded single compartment, 4 1/4 x 4 1/4 x 2 3/8 in. (10.8 x 10.8 x 6 cm.) [800 / 1200]
Tortoiseshell Tea Caddy
, hexagonal form, interior with single covered compartment, 4 3/8 x 4 1/2 x 4 in. (11.1 x 11.4 x 10.2 cm.) [800 / 1200]
George III
, hexagonal form, push-button lid, single lidded compartment, 3 1/2 x 3 x 3 in. (8.9 x 7.6 x 7.6 cm.) [1000 / 1500]
242. Georgian Tortoiseshell Tea Caddy
243. Diminutive
Green Tortoiseshell Tea Caddy
244. Pair of Antique French Wallpaper Panels, early 19th c., horns of plenty and floral garlands, centered by a female mask, sight 45 in. x 18.5 in., framed 49 in. x 21 1/2 in. [500 / 700]
245. Antique Continental Carved Walnut Table Cabinet, early 19th c., hinged top, shallow void compartment, over door and five drawers, rosette and figural decoration, 16 x 16 x 14 in. (40.6 x 40.6 x 35.6 cm.) [500 / 700]
246. Large Pair of Italian Parcel Gilt and Painted Prickets, foliate carving, tripartite base on paw feet, 39 x 13 x 13 in. (99.1 x 33 x 33 cm.) [400 / 600]
247. Continental Carved and Polychrome Figure of a Bishop, 18th c., Bohemia, 16 x 11 x 5 1/2 in. (40.6 x 27.9 x 14 cm.) [500 / 700]
248. Pair of Antique French Giltwood Monstrances/Reliquaries, 19th c., carved with cattails and oak branches, 38 x 12 x 7 in. (96.5 x 30.5 x 17.8 cm.) [400 / 600]
250. Antique English Mahogany Dressing Mirror, fluted columns, beveled mirror plates, 25 x 27 x 6 1/2 in. (63.5 x 68.6 x 16.5 cm. [600 / 900]
Provenance: Estate of A.G Manheim; Ida Manheim Antiques, 409 Royal St., New Orleans.
249. Antique English Burlwood and Marquetry-Inlaid Stationery Box, with lift top enclosing fitted tray, fold-out stationery compartment, impressed registry marks, 11 x 13 x 7 3/4 in. (27.9 x 33 x 19.7 cm.)
[300 / 500]
251. Pair of Regency Rosewood and Brass Fire Screens, 19th c., glazed needlepoint screen on an adjustable standard, scroll feet, 54 x 18 x 16 in. (137.2 x 45.7 x 40.6 cm.) [700 / 1000] Ida Manheim Antiques, 409 Royal St., New Orleans.
252. Pair of Regence-Style Tole Peinte Chestnut Urns, 20th c., marked “Made in France”, lion mask handles, 11 1/2 x 7 x 4 1/2 in. (29.2 x 17.8 x 11.4 cm.) [500 / 700]
253. Sixteen Royal Copenhagen “Flora Danica” Porcelain Luncheon Plates, 1969-1974, each with dentil border and central botanical painting, marked with green Royal Copenhagen logo, pattern no. 20, shape no. 3550, underglaze blue waves and initials, dia. 8 3/4 in. [3000 / 5000]
254. Nine Royal Copenhagen “Flora Danica” Porcelain Dinner Plates, various dates, each with dentil border and central botanical painting, marked with green Royal Copenhagen logo, pattern no. 20, shape no. 3549, underglaze blue wave mark and initials, dia. 10 in. [2000 / 3000]
255. Royal Copenhagen “Flora Danica” Porcelain Soup Plate, 1956, dentil border, central botanical painting, marked with green Royal Copenhagen logo, pattern no. 20, shape no. 3545, underglaze blue waves mark and initials, dia. 9 5/8 in. [300 / 500]
256. Antique Italian Majolica Platter, 1920s, Doccia, marked “Ginori, 121-720”, dia. 16 1/4 in. [400 / 600]
257. Davenport Ironstone “Imari” Tureen and Underplate, 19th c., both marked, tureen with octagonal form, lion mask handles, h. 9 x 13 x 9 in., platter 16 x 13 in.
[500 / 700]
Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
258. Ten Copper Pots, tin lined, tallest: h. 4 1/2 in., w. 18 7/8 in., d. 9 3/4 in. [500 / 700]
259. Mario Villa, Nicaraguan/Louisiana, 1953-2021 “Figural Lamp”, signed on bust, verso, 28 x 20 in. (71.1 x 50.8 cm.), [1000 / 1500]
260. Antique Rocking Horse, probably English, glider movement. glass eyes, 55 x 22 x 63 in. (139.7 x 55.9 x 160 cm.) [500 / 700] Ida Manheim Antiques, 409 Royal St., New Orleans.
261. English Regency Inlaid Mahogany Two Pedestal Dining Table, 19th c., satinwood banded top, turned standard with lobed molding, incurvate base, Sabre legs, castors, two leaves, 29 1/2 x 58 x 77 in. (74.9 x 147.3 x 195.6 cm.), Frame: x 132 in. ( x 335.3 cm.) [1200 / 1800]
262. Set of Eight Yorkshire Spindle-back Rush Dining Chairs, 20th c., turned legs and stretchers supporting rush seats. Two arm chairs and six side chairs., arm 42 1/2 x 22 3/4 x 21 in. (108 x 57.8 x 53.3 cm.), side 36 1/2 x 22 x 21 in. (92.7 x 55.9 x 53.3 cm.) [1000 / 1500]
263. George III-Style Mahogany Wake Table, late 18th c., probably Irish, drop leaves, swing center legs, [1000 / 1500]
264. English Regency Carved Mahogany Rent Table, 19th c., reeded edge, frieze drawers, turned standard, reeded sabre legs, castors, 30 x 46 3/4 in. (76.2 x 118.7 cm.), [1000 / 1500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
265. William IV Carved Mahogany Roundabout library Chair, 19th c., nailhead leather upholstery, conforming padded crest rail, scrolled back, molded seat rail, turned legs, castors, 29 1/2 x 29 x 22 in. (74.9 x 73.7 x 55.9 cm.) [500 / 700]
266. Georgian Mahogany Partner’s Desk, 19th c., molded tooled leather top, banks of drawers, paneled cabinet doors on other side, plinth base, 30 x 66 x 47 1/2 in. (76.2 x 167.6 x 120.7 cm.), [1200 / 1800]
Manheim Antiques, 409 Royal
New Orleans.
Ida
St.,
267. English Regency Carved Rosewood Chiffonier, 19th c., scrolled crest, frieze drawer, arched mirrored doors, molded plinth base, 57 x 42 1/2 x 15 in. (144.8 x 108 x 38.1 cm.), [600 / 900]
268. English Queen Anne-style Carved Walnut Bench, 19th c., cabriole legs, ball and claw feet. [700 / 1000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
269. George III Carved Mahogany Console Table, late 18th/ early 19th c., later top, possibly Irish, floral and scrolled carved frieze and supports, square legs with stretcher shelf,Provenance: Bon Panache Antiques, Meridian,MS 4/16/1983, 35 1/2 x 46 1/2 x 24 in. (90.2 x 118.1 x 61 cm.), [2500 / 3500]
270. Georgian Carved Mahogany Serpentine Chest of Drawers, late 18th/ early 19th c., molded top, four conforming molded drawers, bracket feet, 36 1/2 x 43 x 24 in. (92.7 x 109.2 x 61 cm.), [1200 / 1800]
Ida Manheim Antiques, 409 Royal St., New Orleans.
271. Pair of Regency-Style Carved Mahogany Benches, 19th c. and later, in the manner of Gillows of Lancaster, upholstered seat, molded seat rail, tapered reeded legs, toupie feet, 18 1/2 x 44 1/2 x 18 1/2 in. (47 x 113 x 47 cm.), [1200 / 1800]
272. Jacobean-Style Carved Oak Chest of Drawers, late 18th c., molded top, molded paneled sides, double paneled molded drawers, turned feet, 45 1/2 x 42 x 38 in. (115.6 x 106.7 x 96.5 cm.) [1200 / 1800]
273. Fine English Regency Carved Mahogany Easy Chair, 19th c., after a Thomas King design, padded back and seat, arms with serpent carvings, scrolled supports, slide out padded leg rest, 36 x 25 x 36 in. (91.4 x 63.5 x 91.4 cm.), [1000 / 1500]
274. Georgian Inlaid Satinwood and Burlwood Bowfront Games Table, 19th c., oval inlaid fold-over top, conforming frieze, square tapered legs, spade feet, 26 x 30 x 17 in. (66 x 76.2 x 43.2 cm.), open: 26 x 30 x 34 in. (66 x 76.2 x 86.4 cm.) [500 / 700]
275. Spanish Colonial School 18th c.,“Nativity”, unsigned, framed., 51 1/8 x 39 in. (129.9 x 99.1 cm.), Frame: 52 1/4 x 40 1/8 x 1 3/4 in. (132.7 x 101.9 x 4.4 cm.) [600 / 800]
276. Federigo Pedulli Italian b. 1860, “Il Coro di Santa Maria Novella, Florence”, 1887, signed and dated lower right, handwritten label with artist and location details en verso, framed., 25 1/2 x 29 3/4 in. (64.8 x 75.6 cm.), Frame: 34 x 38 1/4 x
277. Continental School 19th c., “Venus and Cupid”, unsigned, framed., 65 1/8 x 45 7/8 in. (165.4 x 116.5 cm.), Frame: 73 3/4 x 54 1/4 x 1 3/4 in. (187.3 x 137.8 x 4.4 cm.) [600 / 800]
278. Émile Lévy French 1826-1890, “Venus and Cupid”, signed lower left, partial “Hazeltine Galleries, Philadelphia” label en verso, framed with artist plaque., 8 x 5 1/4 in. (20.3 x 13.3 cm.), Frame: 16 1/2 x 13 1/2 x 2 1/2 in. (41.9 x 34.3 x 6.4 cm.) [1000 / 1500]
Hazeltine Gallery, Chestnut St., Philadelphia, PA; Private Collection, Fairfield, CT.; Trinity International Auctions, Avon, CT, Feb. 2, 2013, lot 31.
279. Continental School 19th c.
“Venus and Cupid”, unsigned, framed., 5 1/4 x 7 in. (13.3 x 17.8 cm.), Frame: 9 1/8 x 10 3/4 x 1 1/2 in. (23.2 x 27.3 x 3.8 cm.) [300 / 500]
280. Continental School 18th/19th c.,“The Lady and Her Maid”, unsigned, framed., 23 x 29 in. (58.4 x 73.7 cm.), Frame: 29 7/8 x 35 3/4 x 2 1/4 in. (75.9 x 90.8 x 5.7 cm.) [800 / 1200]
Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
281. Louis Théodore Dubé, Canadian/French, 1861-1943
“Madame Le Brun avec sa Fille, Julie”, 1925, signed and inscribed “d’aprés Mme. Le Brun Paris” and dated lower right, after the original by Élisabeth Vigée Le Brun (French, 1755-1842) in the Louvre, framed with title plaque, 39 1/2 x 32 in. (100.3 x 81.3 cm.), Frame: 45 3/4 x 38 1/4 x 2 1/2 in. (116.2 x 97.2 x 6.4 cm.)
[700 / 1000]
Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
282. Eduard Hildebrandt, German, 1818-1868, “Morning along the River”, 18?2, signed lower right, inscribed “2041 O.P.” en verso, handwritten label with artist and partial date on stretcher, framed., 32 3/4 x 45 3/4 in. (83.2 x 116.2 cm.), Frame: 47 3/4 x 60 1/4 x 5 3/8 in. (121.3 x 153 x 13.7 cm.) [1000 / 1500] Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor,
283. Continental School 19th c.,“Battle of Navarino”, 1827, unsigned, illegibly inscribed and handwritten label with date and title on stretcher, framed., 33 1/4 x 40 1/2 in. (84.5 x 102.9 cm.), Frame: 40 x 47 1/2 x 1 1/2 in. (101.6 x 120.7 x 3.8 cm.) [800 / 1200]
285. Continental School 19th c.
“Young Teaching the Old”, unsigned, framed., 30 x 40 in. (76.2 x 101.6 cm.), Frame: 36 1/2 x 47 x 1 1/4 in. (92.7 x 119.4 x 3.2 cm.)
[1200 / 1800]
284. Attributed to Étienne Jeaurat, French, 1699-1789, sanguine and white chalk on paper laid on heavy paper, inscribed signature lower right, inscribed signature and "47" lower right on mount, twice inscribed with artist and birth/death dates and locations on reverse of mount, "Joanna Booth Antiques" and "The Bonfoey Company, Cleveland, OH" labels on backing paper, framed. 10 7/8 x 7 in. (27.6 x 17.8 cm.), Frame: 19 1/4 x 15 x 7/8 in. (48.9 x 38.1 x 2.2 cm.)
[400 / 600]
286. Dutch School 19th c.
“The Last Goodbye”, unsigned, framed., 19 3/8 x 24 1/2 in. (49.2 x 62.2 cm.), Frame: 25 1/2 x 30 5/8 x 2 in. (64.8 x 77.8 x 5.1 cm.)
[700 / 1000]
Andre Marchand French 1877-1951 “GYP.”, 1892, signed, dated and inscribed “· mon ami Georges.” lower left, faint signature and date partially behind frame lower right, titled in red upper right, framed., 12 7/8 x 16 1/4 in. (32.7 x 41.3 cm.), Frame: 17 3/8 x 20 3/4 x 1 3/4 in. (44.1 x 52.7 x 4.4 cm.) [600 / 800]
287.
288. Continental School 19th c. “Young Girl with Pink Roses”, unsigned, framed., 29 x 25 in. (73.7 x 63.5 cm.), Frame: 32 x 28 1/4 x 2 in. (81.3 x 71.8 x 5.1 cm.) [1000 / 1500]
289. Continental School 19th c., “Landscape with Three Figures Fishing”, unsigned, inscribed on upper stretcher bar, framed., 25 1/4 x 32 in. (64.1 x 81.3 cm.), Frame: 29 x 35 1/2 x 2 in. (73.7 x 90.2 x 5.1 cm.) [1000 / 1500]
290. Continental School 19th c., “Stealing Fish for Supper”, indistinctly signed lower left, framed., 29 x 34 in. (73.7 x 86.4 cm.), Frame: 34 3/4 x 40 x 2 in. (88.3 x 101.6 x 5.1 cm.)
[1000 / 1500]
291. Herbert Gurschner Austrian 1901-1975, “Auf der Treppe” and “Sommertag”, former with artist label and title on backing paper, each pencil-signed lower right margin, each with “Wohlgemuth & Lissner Berlin” blind stamps lower left margin, both framed. (2 pcs.), 6 5/8 x 4 5/8 in. (16.8 x 11.7 cm.) & 9 1/2 x 7 1/4 in. (24.1 x 18.4 cm.); Frames: 13 5/8 x 10 5/8 x 1/2 in. (34.6 x 27 x 1.3 cm.) & 16 3/8 x 13 1/8 x 1/2 in. (41.6 x 33.3 x 1.3 cm.), [800 / 1200]
292. Lucien-Victor Delpy, French, 1898-1967, “Marins-Paysans de la mer ñ Concarneau”, c. 1941, signed lower left, framed.Note: This painting is No. 1803 in the forthcoming catalogue raisonne on the artist being compiled by Marine Delpy., 19 1/4 x 25 1/2 in. (48.9 x 64.8 cm.), Frame: 23 x 29 1/2 x 1 1/2 in. (58.4 x 74.9 x 3.8 cm.) [1000 / 1500]
293. Adolphe Weisz, Hungarian/France, 1838-1900, “Portrait of a Beautiful Lady”, signed lower left, inscribed en verso of frame, framed with artist plaque., 57 1/2 x 38 1/4 in. (146.1 x 97.2 cm.), Frame: 73 5/8 x 54 x 6 in. (187 x 137.2 x 15.2 cm.)
[2000 / 3000]
Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
294. Angelo Asti, Italian/French, 1847-1903, “Reclining Nude”, signed lower right, partial artist label on reverse of frame, framed., 29 x 23 1/2 in. (73.7 x 59.7 cm.), Frame: 42 x 37 x 3 1/2 in. (106.7 x 94 x 8.9 cm.)
[1500 / 2500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
295. Bronze Bust of Tsar Mikhail Fyodorovich, 1867, dated, “F. Chopin, St. Petersburg” foundry mark and “47” stamp on reverse, Cyrillic title plaque., h. 11 1/2 in., w. 6 1/2 in., d. 4 1/2 in
[500 / 700]
297. Léo Gausson, French, 1860-1944 “Un Village”, 1894, signed lower right, monogrammed, dated and “Atelier Leo Gausson” stamp en verso, framed., 10 1/2 x 13 1/4 in. (26.7 x 33.7 cm.), Frame: 14 3/8 x 17 7/8 x 1 in. (36.4 x 45.4 x 2.5 cm.) [2000 / 3000]
296. Abraham Adolphe Milich, Polish/French, 1884-1964, “La Ciotat”, 1927, handwritten label with title and date en verso, “Hill Auction Gallery” label on reverse of frame, framed.Provenance: Hill Auction Gallery, Sunshine, FL, Aug. 31, 2022, lot 43., 19 1/4 x 24 1/8 in. (48.9 x 61.3 cm.), Frame: 25 x 30 x 1 5/8 in. (63.5 x 76.2 x 4.1 cm.) [600 / 800]
298. Léo Gausson, French, 1860-1944 “Un Petit Village”, signed lower left, “Atelier Leo Gausson” stamp en verso, framed., 12 3/4 x 9 1/2 in. (32.4 x 24.1 cm.), Frame: 16 1/4 x 12 3/4 x 1 in. (41.3 x 32.4 x 2.5 cm.) [1500 / 2500]
299. Léo Gausson, French, 1860-1944, “Rue du Village”, signed lower left, framed., 10 1/2 x 13 3/4 in. (26.7 x 34.9 cm.), Frame: 14 5/8 x 17 7/8 x 1 in. (37.1 x 45.4 x 2.5 cm.) [1500 / 2500]
300. Armand Guillaumin II, French, 1891-1955, “Ronen’s Grocery Store”, signed and inscribed “fils” lower left, titled and artist label en verso, framed. Provenance: Neal Auction, Apr. 17, 2005, lot 1024., 8 x 10 in. (20.3 x 25.4 cm.), Frame: 14 x 16 x 1 3/4 in. (35.6 x 40.6 x 4.4 cm.) [800 / 1200]
301. British School 19th c., “Study of Fish”, signed “G. Enlim” lower right, artist biography with title in stretchers bars en verso, framed., 24 1/8 x 13 in. (61.3 x 33 cm.), Frame: 30 1/2 x 19 1/2 x 2 1/2 in. (77.5 x 49.5 x 6.4 cm.) [600 / 800]
302. Attributed to Thomas Hudson, British, 1701-1779 “Portrait of Edward Henri Sartorius”, unsigned, label with sitter information on stretcher, framed.Provenance: Haynes Fine Art of Broadway, Worcestershire, England, Aug. 16, 1988., 36 x 28 in. (91.4 x 71.1 cm.), Frame: 45 x 37 x 3 in. (114.3 x 94 x 7.6 cm.) [1000 / 2000]
303. Attributed to John Raphael Smith, British, 1752-1812 “Portrait of a Gentleman”, unsigned, inscribed en verso with artist name and title, “Miss Drummond’s Terms” label on backing paper, framed., 27 x 22 in. (68.6 x 55.9 cm.), Frame: 32 x 27 x 3 in. (81.3 x 68.6 x 7.6 cm.) [700 / 1000]
304. Edmund John Niemann, British, 1813-1876, “Ludlow Castle in Shropshire”, 1857, signed and dated lower left, 2 “Kurt E. Schon, Ltd.” labels on stretcher, one with artist and title, framed with artist plaque; together with “Kurt E. Schon, Ltd.” exhibition history and extra artist plaque. (2 pcs.)Provenance: Kurt E. Schon, Ltd., New Orleans, Sep. 15, 1987. Exh.: Royal Academy, London, 1857, no. 1058., 28 x 36 1/4 in. (71.1 x 92.1 cm.), Frame: 33 x 41 3/8 x 2 in. (83.8 x 105.1 x 5.1 cm.)
[800 / 1200]
305. Adam Barland, British, 19th c. “A Yorkshire Stream”, 18?9, partial signature and date lower right, restoration receipt attached to backing paper, framed with stenciled artist and title., 23 7/8 x 35 5/8 in. (60.6 x 90.5 cm.), Frame: 31 x 43 3/8 x 1 3/4 in. (78.7 x 110.2 x 4.4 cm.) [400 / 600]
306. Ralph Hedley, British, 1848-1913 “Richard III”, 1907, signed and dated lower right, 3 handwritten labels, one with artist and title, on stretcher, framed., 53 1/2 x 41 1/2 in. (135.9 x 105.4 cm.), Frame: 59 3/4 x 47 3/4 x 3 in. (151.8 x 121.3 x 7.6 cm.) [1500 / 2500]
307. Henry George Montagu MacLean Barstow, British, c. 18631942/1943, “King and Queen of the Fairies Meeting the Woodland Gnomes”, 1893, signed and dated lower left, handwritten label with artist on backing board, framed.Provenance: Heritage Auctions, Dallas, TX, Dec. 8, 2017, lot 61278., 13 x 10 1/4 in. (33 x 26 cm.), Frame: 16 x 11 3/4 x 1/2 in. (40.6 x 29.8 x 1.3 cm.) [1000 / 1500]
308. Albert Henry Collings, British, 1869-1947, “Portrait of a Lady”, 1910, signed, dated and inscribed lower left, “W.E. Seebold” label on backing board, framed. [500 / 700]
309. Joan Beltran Bofill, Spanish, 1934-2009, “Frente al Mar”, signed lower left, signed, titled and artist stamp en verso, inscribed “NP”, “W.F. 547” and “117437” on stretcher bars, inscribed with artist, title and “#117437 - o/c - 25F” with “Wally Findlay Galleries” label on backing board, framed.Provenance: Wally Findlay Galleries, FL, 2005.32 x 25 3/4 in. (81.3 x 65.4 cm.), Frame: 39 1/2 x 33 1/4 x 2 1/2 in. (100.3 x 84.5 x 6.4 cm.) [2000 / 3000]
Note: An important Spanish Impressionist and post-war Luminist, Joan Beltran Bofill studied at the Escuela Superior de Artes de San Jordi and the Escuela de Artes y Oficio Casa Lonja. He served in the military in Majorca and was captivated by the Mediterranean Sea with its surrounding warm, vibrant landscape. Bofill lived in the province of Catalonia throughout his life and devoted himself to the study of filtered light and shadow within his beautiful figurative works. He was inspired by the great Spanish masters as well as travels throughout the Mediterranean and Paris. Bofill was represented exclusively by Wally Findlay Galleries in the United States from 1978. His work is best described as ethereal, feminine and effervescent which is exemplified in this painting “Frente al Mar.” In it, Bofillís characteristic soft color palette envelopes his figures, much like the flowing gauzy fabrics, ribbons and water within the scene.
310. Joan Miró, Spanish 1893-1983, “Les Esséncies de la Terra”, 1968/1969, pencil-monogrammed lower right, numbered “96/140” lower left, printed and published by Ediciones Poligrafa, Barcelona, Spain as an exhibition lithograph and poster design, “Sala Gaspar” watermark visible, framed., Sheet: 29 3/4 x 22 1/4 in. (75.6 x 56.5 cm.), Frame: 42 x 34 1/4 x 1 in. (106.7 x 87 x 2.5 cm.) [1000 / 1500]
311. Joan Miró, Spanish 1893-1983, “Les Esséncies de la Terra”, 1968, pencil-signed on colophon page, number 594, 14 lithographs in black & white and color (including paper wraps and title pages) 6 are double page and Catalan text, each page with “GVA RRO” watermark, published by Ediciones Poligrafa, Barcelona, Spain, in original hard folio linen cover and hard outer folio linen clamshell box., Single Sheets: 19 1/4 x 14 3/4 in. (48.9 x 37.5 cm.), Double Sheets: 19 1/4 x 29 1/2 in. (48.9 x 74.9 cm.) and Overall Clamshell Folio: 21 x 16 1/8 x 1 1/2 in. (53.3 x 41 x 3.8 cm.) [700 / 1000]
312. Pablo Picasso, (Spanish, 1881-1973), “Young Wood-Owl” (Ramie 135), 1952, white earthenware clay, decoration in oxides, knife engraved on white enamel, stamped “Edition Picasso” and Madoura Plein Feu”, h. 10 in. (25.5 cm.)Ref.: Ramie, Alain. Picasso Catalogue of the Edited Ceramic Works 1947-1971. Madoura, #135Provenance: Kenmore Galleries, Philadelphia, PA, ca. 1973., [2000 / 3000]
313. Louis XV-Style Bronze Mounted Mahogany Bureau Plat, 19th c., molded tooled leather top, molded three frieze drawers, cabriole legs, sabots, 29 1/2 x 51 1/2 x 26 in. (74.9 x 130.8 x 66 cm.) [1000 / 1500] Ida Manheim Antiques, 409 Royal St., New Orleans.
315. Regence Bronze Mounted Palisander Commode en Tombeau, mid 18th c., attributed to Etienne Doirat, molded rouge marble top, two short over two long drawers, fine mask and foliate bronze mounts, 33 x 54 x 26 in. (83.8 x 137.2 x 66 cm.) [8000 / 12000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
314. Fine Pair of French Regence-Style Carved Giltwood Consoles, Late 18th/ early 19th c., molded marble tops, foliate and scrolled base, frieze centered by musical instrument, molded plinth base, 31 1/2 x 33 x 17 in. (80 x 83.8 x 43.2 cm.)
[3000 / 5000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
316. Set of Four Louis XV-Style Parcel Gilt & Creme Peinte Chaises, 19th c., later surface, foliate molded crest rail. nailhead upholstery, conforming seat rail, cabriole legs, 37 x 22 1/2 x 18 in. (94 x 57.2 x 45.7 cm.)
[1000 / 1500]
317. Louis XV-Style Bronze Mounted Rosewood Commode en Tombeau, 19th c., stamped “M M”, rouge molded marble top, three short drawers above two long drawers, 35 1/2 x 53 x 27 in. (90.2 x 134.6 x 68.6 cm.), [2500 / 3500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
318. Pair of Regence-Style Carved Giltwood Fauteuils a la Reine, 19th c., arched back, scrolled carved arms, shaped carved seat rail, cabriole legs, 43 x 25 x 22 1/2 in. (109.2 x 63.5 x 57.2 cm.), [1000 / 1500]
319. Fine Louis XVI Bronze Mounted Mahogany Desserte, 18th c., stamped G. Beneman, attr. Guillaume Benneman, Paris, molded marble top, three frieze drawers, center molded door flanking open shelves, fluted styles, molded base,square molded tapered legsProvenance: Koller Auctions, Zurich, Switzerland, Dec 1, 2006 lot # 1191, 42 1/4 x 84 x 27 1/4 in. (107.3 x 213.4 x 69.2 cm.)
[10000 / 15000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
320. Louis XVI Porcelain Mounted Carved Giltwood Console, Late 18th c., Breche d’Alep marble top, foliate frieze centered by portrait plaque, stop fluted tapered legs, X-form stretcher surmounted by urn, 36 x 72 x 24 1/2 in. (91.4 x 182.9 x 62.2 cm.)
[5000 / 7000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
321. Napoleon III Bronze Mounted Kingwood Parquetry and Rosewood Marquetry Side Cabinet, 19th c., inlay in the manner of Joseph Cremer, rouge marble top, brass inlaid frieze, bronze molded foliate urn inlay, molded plinth base, bracket feet, 46 1/2 x 27 x 18 1/2 in. (118.1 x 68.6 x 47 cm.) [2500 / 3500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
322. Napoleon III-Style Bronze Mounted Marquetry Parlor Cabinet, late 19th/ early 20th c., breakfront form, marble top, gadrooned edge, molded frieze, paneled door with urn and floral inlay, molded plinth base, toupie feet, 46 x 53 x 17 1/2 in. (116.8 x 134.6 x 44.5 cm.) [700 / 1000]
323. Louis XVI-Style Carved Giltwood Settee, 19th c., molded crest rail center ribbon crest, flanking finials, padded arms, beaded molded seat rail. fluted tapered legs, 43 1/2 x 65 x 27 in. (110.5 x 165.1 x 68.6 cm.)
[1200 / 1800]
Ida Manheim Antiques, 409 Royal St., New Orleans.
324. 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.
[2000 / 3000]
325. Austrian or German Mother of Pearl Inlaid Rosewood Work Table, 19th c., molded lift top, fitted interior with mirror, reeded standard, octagonal stepped molded plinth base, turned feet, 33 1/2 x 21 x 17 1/4 in. (85.1 x 53.3 x 43.8 cm.) [600 / 900]
Ida Manheim Antiques, 409 Royal St., New Orleans.
Pair of Antique Continental Giltwood and Polychromed Statuary Pedestals, 18th c. and later, probably Italian, molded square tops, sides adorned by winged putto heads and swags, plinth bases, h. 38 in., w. 19 in., d. 19 in., h. 38 in., w. 19 in., d. 19 in. [2500 /
326. Pair of Monumental Empire-Style Giltwood Jardinieres, gadrooned bowl, over tripartite stand, with carved satyr bust and rams’ heads, on paw feet, 72 x 27 in. (182.9 x 68.6 cm.) [1500 / 2500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
327.
3500]
328. Pair of Antique Continental Parcel Gilt and Marble Pedestals, carved wood, rouge marble tops, 45 x 12 in. (114.3 x 30.5 cm.), [700 / 1000]
329. Continental Carved Marble Urn on Pedestal, late 19th c., marble two-part lobed urn, on a faux-painted “marble” pedestal (probably plaster or cast-stone”.,
58 x 15 x 15 in. (147.3 x 38.1 x 38.1 cm.)
[700 / 1000]
330. Pair of Continental Marble Square Pedestals, on stepped base, top shelf 10 1/8 in. x 10 1/8 in., 48 1/2 x 13 x 13 in. (123.2 x 33 x 33 cm.),
[700 / 1000]
331. Napoleon III Gilt Bronze Mounted Red Griotte Marble
Pedestal, late 19th c., square swivel top (12 1/2 in. x 12 1/2 in.), h. 44 1/2 in.,
[700 / 1200]
Ida Manheim Antiques, 409 Royal St., New Orleans.
332. Continental Carved Marble Pedestal, rotating top, fluted shaft, 38 x 22 1/4 x 23 1/2 in. (96.5 x 56.5 x 59.7 cm.)
[800 / 1200]
333. Louis XVI-Style Marble Mantel, white and rouge, rectangular top, sides with rosette and fluted designProvenance: Ida Manheim Antiques, 409 Royal St., New Orleans., 43 x 48 3/4 x 14 in. (109.2 x 123.8 x 35.6 cm.); fireplace opening: h. (at lowest point) 32 1/2 in., w. 37 in. [2000 / 3000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
335. Fine Antique French Violet Brocatelle Marble Mantel, rectangular top, over blocked frieze, with applied rosettes, opening flanked by full marble columns, h. 42 in., w. 61 1/2 in., d. 15 in., opening 32 x 42 in. [2500 / 3500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
334. Antique French Rouge Marble Mantel, serpentine top, scrolled opening, flanked by fluted pilasters, h. 44 in., w. 73 in., d. 14 1/2 in., opening 35 in. x 57 in.Provenance: Ida Manheim Antiques, 409 Royal St., New Orleans., [2000 / 3000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
American Federal-Style Brass Fireplace Garniture, pair of beehive andirons and a fire fender, h. 28 1/2 in., w. 52 in., d. 28, dimensions variable [500 / 700]
336.
337. American Neoclassical Brass Figural Doorstop, h. 17 1/2 in., w. 5 3/8 in., d. 2 1/2 in. [300 / 500]
338. Continental Parcel Gilt and CrÉme Peinte Klismos Form Low Table, 19th c., inset marble top, foliate carved frame,Provenance: Estate of Janice Lane Young, Richmond, VA, 15 3/4 x 29 x 19 in. (40 x 73.7 x 48.3 cm.), [500 / 700]
339. Louis XVI-Style Bronze Mounted Kingwood and Parquetry
Bonheur du Jour, late 19th/ early 20th c., superstructure pierced brass gallery, open center flanked by banks of two drawers, worn tooled leather writing surface, frieze drawer, cabriole legs, together with associated French chair, desk 39 x 44 x 23 in. (99.1 x 111.8 x 58.4 cm.), [700 / 1000]
340. Louis XVI-Style Carved Walnut Settee, 19th c., molded beaded frame, floral carved crest, padded acanthus carved arms, fluted tapered legs, 42 x 52 x 25 in. (106.7 x 132.1 x 63.5 cm.), [700 / 1000]
341. French Provincial Rosewood Marquetry and Parquetry Bureau de Dame, 19th c., banded hinged slope centered by foliate inlay, fitted interior, conforming drawers, shaped apron, cabriole legs, 39 x 37 x 18 1/2 in. (99.1 x 94 x 47 cm.), [1000 / 1500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
343. Louis XVI-Style Bronze Mounted Rosewood Parquetry Dessert, late 19th/early 20th c., paper label on underside “Paris”, in the manner of Francois Linke, galleried removable glass tray, figural bronze supports, shaped handled apron, cabriole legs, sabots, 40 x 30 x 20 in. (101.6 x 76.2 x 50.8 cm.), [800 / 1200]
Ida Manheim Antiques, 409 Royal St., New Orleans.
342. Louis XVI-Style Bronze Mounted Inlaid Mahogany
Bookcase/Cartonnier, late 19th/ early 20th c., molded arched top with foliate mount, grille-work doors, eight tooled leather drawers, molded base, square tapered legs, 71 1/2 x 29 1/2 x 16 in. (181.6 x 74.9 x 40.6 cm.) [2500 / 3500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
344. Pair of Louis XVI-Style Bronze Mounted Inlaid Tulipwood Demilune Pedestal Cabinets, late 19th c., bronze molded inset Breche dí Alep marble tops, frieze drawer, conforming cabinet door, shelf interior, plinth base, 45 x 21 x 14 in. (114.3 x 53.3 x 35.6 cm.), [2000 / 3000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
345. French Provincial Carved Walnut Commode, 18th c., molded top, three drawers, paneled sides, shaped apron, short cabriole legs, 40 3/4 x 48 x 25 in. (103.5 x 121.9 x 63.5 cm.), [1000 / 1500]
347. Louis XVI-Style Kingwood and Mahogany Bronze Mounted Vitrine, late 19th c., marble top, foliate mounts, molded glazed door, mirrored back, glass shelves, cabriole legs, 65 x 29 x 16 in. (165.1 x 73.7 x 40.6 cm.) [1200 / 1800]
Ida Manheim Antiques, 409 Royal St., New Orleans.
346. Italian Neoclassical-Style Carved Giltwood Bench, 20th c., shell carved curule supports, fish scale legs, paw feet, 18 1/2 x 30 1/2 x 21 in. (47 x 77.5 x 53.3 cm.), [700 / 1000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
348. Pair of Louis XVI-Style Gris Peinte Bergéres, 19th c., bead molded frame, nailhead upholstery, fluted padded arms, molded seat rail, stop fluted tapered legs, toupie feet, 35 x 25 x 27 in. (88.9 x 63.5 x 68.6 cm.) [800 / 1200]
349. Empire-Style Carved Figured Mahogany Bibliothéque, 19th c., molded cornice, glazed doors above paneled sections, shelf interior, molded base, 71 1/2 x 43 1/2 x 15 in. (181.6 x 110.5 x 38.1 cm.)
[800 / 1200]
350. Louis XVI-Style Mahogany Semainier, late 19th c., grey variegated marble top, seven paneled drawers, fitted with gilt bronze bale handles, square tapered legs, height 65 in., width 32 in., depth 16 in, 65 x 32 x 16 in. (165.1 x 81.3 x 40.6 cm.)
[800 / 1200]
c.,
351. Charles X-Style Carved Mahogany Center Table, 19th
reeded edge dished marble top, tapered standard, molded collar, triangular plinth base, 29 x 32 x 32 in. (73.7 x 81.3 x 81.3 cm.) [800 / 1200]
352. French Rococo-Style Parcel Gilt and Gris Peinte Console, faux marbre top, pierced scrolled and foliate apron, cabriole legs, 35 1/2 x 67 1/2 x 28 in. (90.2 x 171.5 x 71.1 cm.), [2000 / 3000] Ida Manheim Antiques, 409 Royal St., New Orleans.
353. Monumental Antique English Porcelain Mounted Giltwood Overmantel Mirror, 19th c., floral garland crest centered with Latin ribbon motto “Major Virtus Quam Splendor (Virtue is Greater than Splendor”, urn-topped side panels with portrait plaques, beveled mirror plates, 67 x 86 x 5 in. (170.2 x 218.4 x 12.7 cm.), [4000 / 6000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
354. Antique Chinese Chippendale-Style
Giltwood Mirror, c. 1900, surmounted by a ho-ho bird, three divided mirror plates within a cartouche-form frame, centered by a sitting figure, 74 x 32 x 3 in. (188 x 81.3 x 7.6 cm.), [700 / 1000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
355. Italian Neoclassical
Giltwood Mirror, c. 1800, urn and shell crest, floral garland surround, 72 x 44 x 3 in. (182.9 x 111.8 x 7.6 cm.), [1000 / 1500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
356. Louis XVI Giltwood Mirror, late 18th c., elaborate eagle and foliate crest, the surround with palmette and rope design, 91 x 31 1/2 x 7 in. (231.1 x 80 x 17.8 cm.)
[1200 / 1800]
Ida Manheim Antiques, 409 Royal St., New Orleans.
357. Napoleon III Giltwood Mirror, late 19th c., rope and tassel motif in the manner of Fournier, 98 x 47 x 9 in. (248.9 x 119.4 x 22.9 cm.), [1000 / 1500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
358. Empire Bronze Mounted Mahogany Cheval Mirror, 19th c., triangular pediment with foliate mounts and portrait busts, trestle base, on paw feet, 77 1/4 x 38 1/4 x 21 in. (196.2 x 97.2 x 53.3 cm.) [1200 / 1800]
Ida Manheim Antiques, 409 Royal St., New Orleans.
359. Italian Rococo Parcel Gilt and Verte Peinte Trumeau Mirror, 18th c., scroll and foliate frame, cartouche-form oil on canvas depicting cherubs, 101 x 53 x 4 in. (256.5 x 134.6 x 10.2 cm.) [1200 / 1800]
Ida Manheim Antiques, 409 Royal St., New Orleans.
360. Italian Rococo Giltwood Mirror, rocaille scroll design, 55 x 36 x 3 in. (139.7 x 91.4 x 7.6 cm.) [800 / 1200]
Ida Manheim Antiques, 409 Royal St., New Orleans.
361.
and
, broken scroll pediment crest centered by a phoenix, 65 x 30 3/4 x 3 in. (165.1 x 78.1 x 7.6 cm.), [1000 / 1500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
Ida
Pair of George III-Style Mahogany
Giltwood Mirrors
362. Louis XVI Giltwood Mirror, late 18th c., chapeau and oak leaf crest, skirt with a carved musical trophy, 71 x 32 x 2 in. (180.3 x 81.3 x 5.1 cm.), [1200 / 1800]
Manheim Antiques, 409 Royal St., New Orleans.
363. Pair of Antique English Rococo-Style Giltwood Mirrors, each with foliate scroll decor with branch of oak leaves and bracket shelves, 44 x 22 x 3 1/2 in. (111.8 x 55.9 x 8.9 cm.), [800 / 1200]
Ida Manheim Antiques, 409 Royal St., New Orleans.
364. Pair of Neoclassical-Style Giltwood Mirrors, each crest with vase flanked by griffins, 73 x 28 1/2 x 4 1/2 in. (185.4 x 72.4 x 11.4 cm.) [1200 / 1800]
Ida Manheim Antiques, 409 Royal St., New Orleans.
365. Louis XVI-Style Carved Giltwood Cheval Mirror, 19th c., mirror plate with guilloche surround, foliate and stop-fluted supports, 66 1/4 x 35 x 20 in. (168.3 x 88.9 x 50.8 cm.) [1200 / 1800] Ida Manheim Antiques, 409 Royal St., New Orleans.
American
by
and
366.
Classical Giltwood Overmantel Mirror, 19th c., mirror plated flanked
scrolls
fluted pilasters, 24 1/4 x 44 x 5 in. (61.6 x 111.8 x 12.7 cm.), [700 / 1000]
367. Neoclassical-Style Giltwood Mirror, wreath crest, flanked by floral garlands, beaded borders., 39 x 32 in. (99.1 x 81.3 cm.) [600 / 900]
368. Louis XVI-Style Bronze Mirror, urn crest, beveled mirror plate within a pierced and diapered frame., 48 x 27 1/2 in. (121.9 x 69.9 cm.), [800 / 1200]
369. Italian Neoclassical Walnut and Marquetry Cylinder Desk, 18th c., galleried top, three drawers, retracting cylinder lid, slide-out writing surface, fitted desk interior, base drawer, square tapered legs, 51 x 34 x 22 in. (129.5 x 86.4 x 55.9 cm.), [2500 / 3500]
Provenance: Ida Manheim Antiques, 409 Royal St., New Orleans.
370. Italian Renaissance-Style Carved Walnut Armchair, 18th c., arched back, padded scrolled arms, turned supports, X-form stretcher, turned feet, 43 x 27 x 24 in. (109.2 x 68.6 x 61 cm.), [400 / 600]
371. Continental Dutch-Style Marquetry and Rosewood Firescreen, 19th c., scrolled floral inlaid crest, turned supports, inset needlepoint, out swept legs, [500 / 700]
Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
English
372.
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., [1000 / 1500]
373. Italian Rococo-Style Carved Walnut Settee, 19th c., foliate carved crest, conforming arms, foliate carved seat rail, cabriole legs with floral knees, 39 x 71 x 36 in. (99.1 x 180.3 x 91.4 cm.) [1000 / 1500] Ida Manheim Antiques, 409 Royal St., New Orleans.
French Empire Bronze Mounted Mahogany and Parcel Ebonized Demilune Console, 19th c., marble top, columnar supports, Greek mythology painted back, plinth base with incurvate sides, block feet, 34 x 24 1/2 x 15 1/2 in. (86.4 x 62.2 x 39.4 cm.) [1000 / 1500]
Ida Manheim Antiques, 4 09 Royal St., New Orleans.
stop
42
41
14
374.
375. Spanish Renaissance-Style Carved Walnut and Oak Refectory Table, 19th and later c., plank top, scalloped trestle base, wrought iron supports, 30 x 69 1/2 x 30 in. (76.2 x 176.5 x 76.2 cm.), [1000 / 1500]
376. Italian Renaissance-Style Carved Walnut Cabinet on Stand, Late 18th / early 19th c., molded plank top, acanthus supports, two frieze drawers, two molded paneled doors, flanking
fluted columns, molded plinth base on trestle stand,
1/2 x
1/2 x
1/2 in. (108 x 105.4 x 36.8 cm.), [1000 / 1500]
378. Pair of Louis
Peinte
, 19th c., later painted surface, molded oval back, padded scrolled arms, blocked seat rail, stop-fluted tapered legs., 36 x 24 x 19 1/2 in. (91.4 x 61 x 49.5 cm.) [500 / 700]
377. Louis XV Provincial Carved and Inlaid Walnut Commode, 18th c., molded top, three drawers, paneled sides, molded shaped apron, cabriole legs, 35 1/2 x 51 x 27 in. (90.2 x 129.5 x 68.6 cm.), [2000 / 3000]
XVI-Style Creme
Fauteuils
379. Biedermeier-Style Walnut Commode, 19th c., reeded edge top, four drawers, plinth base, turned feet, 39 x 45 x 23 1/2 in. (99.1 x 114.3 x 59.7 cm.) [800 / 1200]
380. French Provincial Carved Walnut Cabriole Leg Work Table, 19th c., molded top, frieze drawer, shaped apron, cabriole legs, 33 3/4 x 35 x 22 1/2 in. (85.7 x 88.9 x 57.2 cm.), [500 / 700]
381. Antique French Bronze and Marble Mantel Clock, c. 1880, movement stamped “J.B.D” (Jean-Baptiste Delettrez), dial and movement signed by retailer “Martin & Co./Paris & Cheltenham”, beaded case, over scroll base with porcelain insert, h. 11 in., w. 9 1/2 in., d. 4 1/2 in., presented on giltwood base, total h. 14 in., w. 14 1/4 in., d. 8 in., [700 / 1000]
382. Monumental Napoleon III Gilt and Patinated Bronze and Rouge Griotte Marble Three-Piece Clock Garniture, 19th c., striking bell movement stamped Raingo Freres, pendulum starter stamped “E. Lourdelet”, the bronze figural group of Bacchantes after Claude Michel Clodion, h. 40 in., w. 24 in., 13 in., with a pair of conforming eleven-light candelabra, h. 37 1/2 in., dia. 16 in., [5000 / 7000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
383. Fine Napoleon III Gilt Bronze and Marble Figural Three-Piece Clock Garniture, 19th c., dial signed “E. Bellenot, Paris”, the striking bell movement stamped “LAGARDE/PARIS” and “S. Marti et Cie”, the surmounting cherubs engaged in scientific pursuits, h. 22 in., w. 21 1/2 in., d. 7 1/4 in., the four-light conforming candelabra with a snake entwined around the central stem, h. 30 3/4 in., dia. 12 in., [2500 / 3500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
384. Napoleon III Gilt Bronze Figural Mantel Clock, 19th c., dial marked “MARTIN/PARIS”, striking bell movement stamped “E. LEGRAND/PARIS” and “S. Marti a Cie”, floral vase, flanked by cherubs holding floral garlands, 27 x 22 1/2 x 10 1/2 in. (68.6 x 57.2 x 26.7 cm.), [1200 / 1800]
Ida Manheim Antiques, 409 Royal St., New Orleans.
385. Antique French Painted Morbier Tall Case Clock, dial signed Braillard a Toulouse, brass repousse surround with peacocks and swans, lyreform pendulum, the bob with a relief of nesting birds, 92 x 19 1/2 x 10 1/2 in. (233.7 x 49.5 x 26.7 cm.), [1000 / 1500]
386. Antique Scottish Mahogany Tall Case Clock, late 18th c., dial signed “Hugh Gordon/ Aberdeen”, flanked by fluted columns, 89 1/4 x 21 1/2 x 10 in. (226.7 x 54.6 x 25.4 cm.), [800 / 1200]
387. Empire Giltwood Barometer, c. 1800, Chevallier, Paris, crest carved with eagle, Napoleon banner, and oak leaves, the painted dial centered by a wind-head device, 38 x 23 x 6 in. (96.5 x 58.4 x 15.2 cm.), [1000 / 1500]
388. Antique French Gilt and Painted Barometer, c. 1900, marked “Charles Besacon”, 41 x 12 x 2 in. (104.1 x 30.5 x 5.1 cm.), [800 / 1200]
389. Nicola Marschall Prussian/Alabama 1829-1917, “Lida Read Voigt (1857-1887)”, 1887, signed and dated lower right, framed; together with carte de visite of Lida by J. Henry Doerr (American/Kentucky, 1847-1906) of Louisville, KY with handwritten genealogy information on backing. (2 pcs.), 30 x 25 in. (76.2 x 63.5 cm.), Frame: 35 5/8 x 33 5/8 x 3 in. (90.5 x 85.4 x 7.6 cm.) [800 / 1200]
390. William Henry Buck, American/Louisiana, 1840-1888, “Live Oak Tree”, signed lower right, artist biography taped to stretcher bar, framed., 11 x 9 1/8 in. (27.9 x 23.2 cm.), Frame: 15 3/4 x 13 5/8 x 1 1/4 in. (40 x 34.6 x 3.2 cm.) [6000 / 8000]
391. Achille Peretti, Italian/American 1857-1923, “Esplanade Ave.”, signed lower right, pencil-titled and “Dr. & Mrs. James W. Nelson” collection stamps on stretcher, inscribed “Dr. James Nelson” on reverse of frame, framed., 9 x 12 in. (22.9 x 30.5 cm.), F rame: 12 3/4 x 15 3/4 x 1 1/2 in. (32.4 x 40 x 3.8 cm.) [1500 / 2500]
Dr. and Mrs. James W. Nelson, Gonzales, LA; Private Collection; Neal Auction, Oct. 7, 2000, lot 330.
392. Louis Oscar Griffith, American/Indiana 1875-1956, active New Orleans, 1916-1917, “Horse Drawn Milk Vendor”, unsigned, “Neal Auction” labels on backing paper, framed. 10 x 14 in. (25.4 x 35.6 cm.), Frame: 18 3/4 x 22 1/2 x 1 in. (47.6 x 57.2 x 2.5 cm.) [800 / 1200]
Provenance: Neal Auction, Feb. 23, 2008, lot 500.,
393. Louis Oscar Griffith, American/Indiana 1875-1956, active New Orleans, 1916-1917, “Horse Drawn Milk Vendor”, pencil-signed and numbered “67/100” lower margin, inscribed with artist information on backing paper, “Neal Auction” labels on backing paper and hanging wire, framed.Provenance: Neal Auction, Dec. 6, 2008, lot 373., 12 x 10 in. (30.5 x 25.4 cm.), Frame: 22 1/2 x 19 1/2 x 1 in. (57.2 x 49.5 x 2.5 cm.)
[400 / 600]
394. Alexander John Drysdale, American/Louisiana, 1870-1934 “Bayou Landscape with Live Oaks”, signed lower left, framed., 6 x 20 in. (15.2 x 51 cm.), Frame: 11 1/4 x 24 3/4 x 3/4 in. (28.6 x 62.9 x 1.9 cm.)
[1200 / 1800]
395. Alexander John Drysdale, American/Louisiana, 1870-1934, “Oaks along the Bayou”, signed lower right, framed., 15 x 19 1/2 in. (38.1 x 49.5 cm.), Frame: 23 3/4 x 27 1/4 x 1 in. (60.3 x 69.2 x 2.5 cm.)
[1000 / 1500]
396. Alexander John Drysdale, American/Louisiana, 1870-1934, “Bayou Scene with Two Live Oaks”, signed lower left, framed., 4 3/4 x 21 in. (12.1 x 53.3 cm.), Frame: 7 1/2 x 23 1/2 x 3/4 in. (19.1 x 59.7 x 1.9 cm.) [1200 / 1800]
397. Alexander John Drysdale, American/Louisiana, 1870-1934 “Bayou Landscape with Cabin”, 1915, signed and dated lower left, pencil-inscribed “Leads” en verso, inscribed on backing paper, framed., 15 x 20 in. (38.1 x 50.8 cm.), Frame: 17 3/4 x 22 3/4 x 1 1/4 in. (45.1 x 57.8 x 3.2 cm.)
[3000 / 5000]
398. Alexander John Drysdale, American/ Louisiana, 1870-1934, “Bayou Scene”, 1915, signed and dated lower right, framed., 15 1/2 x 19 1/2 in. (39.4 x 49.5 cm.), Frame: 19 1/4 x 23 1/4 x 2 1/2 in. (48.9 x 59.1 x 6.4 cm.)
[2000 / 3000]
399. Morris Henry Hobbs, American/Louisiana, 1892-1967, “Studio in MacDowell Colony, New Hampshire”, 1945, signed and dated lower right, artist label with title, partial “Salamagundi Club” exhibition label with artist and title and “L. Ruth Gallery of Louisiana Art, Baton Rouge, LA” label on backing board, framed., 9 x 12 in. (22.9 x 30.5 cm.), Frame: 12 3/4 x 15 3/4 x 1 3/8 in. (32.4 x 40 x 3.5 cm.)
[1000 / 1500]
Provenance: Dr.
400. William Woodward, American/Louisiana,1859-1939, “Mission of Capistrano, California”, 1926, signed and dated lower left, partially inscribed title, typed exhibition label with artist, title, date and provenance and “Yarberry’s, Baton Rouge, LA” label on reverse of mount, framed., 14 x 20 in. (35.6 x 50.8 cm.), Frame: 18 1/2 x 24 1/2 x 1 1/4 in. (47 x 62.2 x 3.2 cm.) [4000 / 6000]
James Nelson Collection, Gonzales, LA; George Jordan, Westville Antique Galleries, New Haven, CT, Mar. 12, 1988
401. Ellsworth Woodward, American/Louisiana, 1861-1939, “Toledo, Spain (Gate)”, 1905, signed, titled and dated lower right, inscribed with artist, title, date and provenance information on backing paper, framed.Provenance: The artist’s son, Carl Ellsworth Woodward; Dr. James Nelson Collection, Gonzales, LA; George Jordan, Westville Antique Galleries, New Haven, CT, Mar. 12, 1988., 14 3/4 x 10 1/2 in. (37.5 x 26.7 cm.), Frame: 20 x 15 1/4 x 1 1/2 in. (50.8 x 38.7 x 3.8 cm.)
[2000 / 3000]
402. Ellsworth Woodward, American/Louisiana, 1861-1939, “Toledo”, 1905, faintly signed, titled and dated lower right, inscribed with artist, title, date and provenance information on backing paper, framed.Provenance: The artist’s son, Carl Ellsworth Woodward; Dr. James Nelson Collection, Gonzales, LA; Dr. George Jordan, Westville Antique Galleries, New Haven, CT, Mar. 12, 1988., 13 1/8 x 9 1/4 in. (33.3 x 23.5 cm.), Frame: 18 1/4 x 14 x 1 1/2 in. (46.4 x 35.6 x 3.8 cm.)
[2000 / 3000]
403. William Woodward, American/Louisiana, 1859-1939, “Man with an Umbrella (Spain)”, unsigned, inscribed with artist and localized en verso, inscribed with artist, localized and “Art Supply Headquarters, Jackson, MS” label on backing paper, framed., 14 1/2 x 11 in. (36.8 x 27.9 cm.), Frame: 22 x 18 x 1 in. (55.9 x 45.7 x 2.5 cm.) [1200 / 1800]
Collection of Gretchen and Alonzo Lansford, New Orleans, LA; “Antiques & Collectibles”, Neal Auction Company, New Orleans, LA, Feb. 19, 2005, lot 831.
404. Julia Michel Black, American/New Orleans d. 1968, active Newcomb College, 1903-1907 & 1913-1916 “Bayou Scene with Spanish Moss”, signed lower right, framed., 24 x 18 in. (61 x 45.7 cm.), Frame: 26 1/2 x 20 1/2 x 3/4 in. (67.3 x 52.1 x 1.9 cm.) [400 / 600]
405. Attributed to Mary Helen Washburn American/New Orleans 18621934 “Old Garden Court - Garden Street - New Orleans”, 1892, signed and dated lower right, titled on stretcher bar, framed., 14 x 11 in. (35.6 x 27.9 cm.), Frame: 17 3/4 x 14 3/4 x 1 in. (45.1 x 37.5 x 2.5 cm.) [300 / 500]
406. Clarence Millet, American/ Louisiana, 1897-1959, “St. Peter Courtyard”, signed lower right, inscribed with artist and title on backing paper, framed., 15 1/2 x 14 in. (39.4 x 35.6 cm.), Frame: 19 1/4 x 18 x 1 in. (48.9 x 45.7 x 2.5 cm.) [2000 / 3000]
407. Southern School early 20th c., “At Lang Syne Plantation - Fort Motte”, unsigned, pencil-titled and inscribed “104” and “Mr. H. H. Bellaman - 1822 Blanding St. (“Professional”) - Columbia, S.C.” en verso, framed., 12 x 14 in. (30.5 x 35.6 cm.), Frame: 18 1/4 x 20 1/4 x 1 1/2 in. (46.4 x 51.4 x 3.8 cm.)
[700 / 1000]
Provenance: Estate of Henry Bellaman.
408. Alberta Kinsey, American/ Louisiana, 1875-1952, “Still Life with Vase and Roses”, signed lower right, framed., 12 1/2 x 26 in. (31.8 x 66 cm.), Frame: 16 x 29 3/4 x 1 in. (40.6 x 75.6 x 2.5 cm.)
[800 / 1200]
409. Gideon Townsend Stanton, American/Louisiana, 1885-1964, “Bay St. Louis Bridge”, signed lower right, pencilsigned, titled, inscribed “601 Hibernia Bldg” and handwritten label en verso, framed., 14 x 17 in. (35.6 x 43.2 cm.), Frame: 20 1/2 x 24 1/4 x 2 1/4 in. (52.1 x 61.6 x 5.7 cm.)
[600 / 800]
410. Attributed to Gideon Townsend Stanton, American/Louisiana 1885-1964, “Washwoman”, unsigned, framed., 20 x 15 7/8 in. (50.8 x 40.3 cm.), Frame: 29 3/4 x 25 3/4 x 1 1/2 in. (75.6 x 65.4 x 3.8 cm.) [800 / 1200]
411. Enrique Alférez, Mexican/Louisiana 1901-1999, "Reclining Nude", carved wood, unsigned, wood base, 5 x 16 1/8 x 7 in. (12.7 x 41 x 17.8 cm.), Overall with Base: 7 x 17 1/4 x 7 1/4 in. (17.8 x 43.8 x 18.4 cm.) [5000 / 8000]
412. Colette Pope Heldner, American/Louisiana, 1902-1990, “Patio of the Little Theatre - Rue St. Peter”, 1940, signed and dated lower left, signed, titled and dated en verso, framed., 16 x 12 in. (40.6 x 30.5 cm.), Frame: 19 1/2 x 15 1/2 x 1 in. (49.5 x 39.4 x 2.5 cm.) [800 / 1200]
413. Colette Pope Heldner American/Louisiana, 1902-1990, “Swamp Idyll (Louisiana Bayou Country)”, signed lower left, signed and titled en verso, framed., 36 x 30 in. (91.4 x 76.2 cm.), Frame: 39 1/4 x 33 1/4 x 1 1/4 in. (99.7 x 84.5 x 3.2 cm.) [1000 / 1500]
414. Colette Pope Heldner, American/Louisiana, 1902-1990, “French Quarter Courtyard”, signed lower right, artist business card en verso, framed., 31 x 25 in. (78.7 x 63.5 cm.), Frame: 35 1/2 x 29 1/2 x 2 1/4 in. (90.2 x 74.9 x 5.7 cm.)
[700 / 1000]
415. Charles Whitfield Richards, American/Louisiana, 1906-1992 “French Quarter at Night”, signed lower right, framed., 20 x 24 in. (50.8 x 61 cm.), Frame: 22 3/4 x 26 1/2 x 3/4 in. (57.8 x 67.3 x 1.9 cm.) [1500 / 2500]
416. Robert Ryland Kearfott, American/Virginia, 1890-1969, “New Orleans Mardi Gras Scene”, signed en verso, framed. 30 x 25 in. (76.2 x 63.5 cm.), Frame: 34 1/2 x 29 1/4 x 1 1/4 in. (87.6 x 74.3 x 3.2 cm.) [1500 / 2500]
Note: Robert Ryland Kearfott was born in Martinsville, Virginia and attended the University of Virginia and the Art Students League of New York, where he studied with George Bridgman. He became an accomplished illustrator, sculptor and painter. While living in Europe, Kearfott began his portrait study under Castelucho, the Spanish portrait painter, and later with Richard Miller in Paris. Kearfott was a member of the Salmagundi Club and associated with Portraits, Inc. He served on the art staff of the New York Evening Journal from 1912-1914 and worked as a freelance advertising artist from 1914-1916. He was a member of the art staff of H.K. McCann Advertising Co. in San Francisco from 1916-1922, where he produced illustrations and covers for national magazines. Kearfott studied in Paris from 1922-1925 before returning to the United States for the remainder of his successful career. The work offered here presents a colorful collage of the city of New Orleans - one that captures the life, spirit and uniqueness of the community while also perhaps serving as a reminder of a memorable Mardi Gras visit by the artist.
417. John Korver, American/Louisiana, 1910-1988, “Swamp Scene with Turtle”, signed lower right, “Taylor Clark Gallery, Baton Rouge, LA” label on reverse of frame, framed., 29 3/4 x 40 in. (75.6 x 101.6 cm.), Frame: 36 x 46 x 2 in. (91.4 x 116.8 x 5.1 cm.) [800 / 1200]
418. John Geiser,
“Forested Landscape with Partridge and Deer”, signed and localized “N.O.” lower
24 x 77 3/4
(61 x 197.5 cm.),
35 1/2 x 79 x 2 1/4 in. (90.2 x 200.7 x 5.7 cm.)
[1500 / 2500]
Note: Born in Lagenthal, Switzerland, John Geiserís wanderlust and creativity would lead him to South America, Havana, and eventually New Orleans, where he established a studio in 1894 and participated in the cityís civic causes. Geiser embraced the cityís diverse aesthetic complexities, designing Mardi Gras floats, painting theater scenery and later restoring the interior decorations and paintings of St. Louis Cathedral along with his colleague, Achille Peretti. He exhibited at the Arts and Crafts Club in 1932, and his son and grandson later joined him in his decorative arts business, John Geiser, Incorporated, Fresco Artists and Interior Decorators, which continued until 1983. “Forested Landscape with Partridge and Deer” is the first work by this important New Orleans artist to be offered at auction. The large-scale canvas with its approaching storm hints at the artistís background in theater, while the details of the flora and fauna provide a meditative view of a Louisiana vista. A smaller landscape entitled “Irish Bayou” by Geiser is held in the permanent collection of The Historic New Orleans Collection.
en
[1000 / 1500]
419. Robert Malcolm Rucker, American/Louisiana, 1932-2001, “Steamboat at Dock”, signed lower right, inscribed “CE 88914”
verso, framed., 24 x 30 in. (61 x 76.2 cm.), Frame: 27 1/2 x 33 1/2 x 1 in. (69.9 x 85.1 x 2.5 cm.) [800 / 1200]
420. Robert Malcolm Rucker, American/Louisiana, 1932-2001, “Foo Dog”, 1995, signed lower right, dated lower left, framed. Provenance: Acquired from the artist; Neal Auction, Nov. 19, 2022, lot 623.Exh.: Hilderbrand Gallery, New Orleans, LA, 1995., 30 x 36 in. (76.2 x 91.4 cm.), Frame: 41 x 45 3/4 x
Swiss/Louisiana, 1869-1943,
left, framed.
in.
Frame:
Robert Malcolm Rucker, American/Louisiana, 1932-2001, “Afton Villa”, signed lower right, titled en verso, framed.Provenance: Neal Auction, Nov. 19, 2022, lot 624., 14 x 17 7/8 in. (35.6 x 45.4 cm.), Frame: 18 x 21 7/8 x 7/8 in. (45.7 x 55.6 x 2.2 cm.) [300 / 500]
25 3/4 x 1 1/2 in. (80.6 x 65.4 x 3.8 cm.) [600 / 800]
18 3/4 x 22 3/4 in. (47.6
26 5/8 x 30 3/4 x 3 in. (67.6 x 78.1 x 7.6 cm.) [500 / 700]
421.
422. Don Wright, American/Louisiana, 1938-2007, “Pothos Ivy”, 1976, signed and dated lower right, titled on stretcher, framed., 24 x 18 in. (61 x 45.7 cm.), Frame: 31 3/4 x
423. Don Wright, American/Louisiana, 1938-2007, “Still Life of Vase of Flowers”, 1975, signed and dated lower left, framed., 25 x 19 in. (63.5 x 48.3 cm.), Frame: 32 1/4 x 26 x 1 1/2 in. (81.9 x 66 x 3.8 cm.) [500 / 700]
424. Beau Redmond, American/Florida, b. 1933, “Caffery-Baker House, Race St., Coliseum Park, New Orleans”, 1968, initialed lower left, dated lower right, signed, titled, dated and inscribed en verso, framed.,
x 57.8 cm.), Frame:
, c. 1950, thrown by Peter Anderson, decorated by Walter Anderson in a “Wave and Bird” design, h. 11 7/8 in., dia. 4 7/8 in. [2000 / 3000]
, c. 1977, marked, signed and dated, thrown by James Anderson, reticulated wave design by James McConnell (Mac) Anderson, Antique Green glaze, h. 3 1/2 in., dia. 6 3/4 in. [700 / 1000]
425. Shearwater Art Pottery Vase
426. Shearwater Art Pottery Bowl
427. Shearwater Art Pottery Bowl, c. 1940, stamped, Peter Anderson, in an Antique Green glaze, h. 3 in., dia. 8 1/2 in. [300 / 500]
428. Shearwater Art Pottery Plate, 1990, by Betty Magee, designed by Walter Inglis Anderson, dia. 9 1/4 in. [700 / 1000]
429. Shearwater Art Pottery Plate, 1993, by Betty Magee, designed by Walter Inglis Anderson, dia. 9 1/8 in. [700 / 1000]
430. Shearwater Art Pottery Plate, 1993, by Betty Magee, designed by Walter Inglis Anderson, dia. 9 1/8 in. [700 / 1000]
431. Shearwater Art Pottery “Blue Jay” Pitcher, stamped “Shearwater”, h. 8 3/4 in., w. 7 1/2 in., d. 14 1/2 in. [700 / 1000]
432. Shearwater Art Pottery Pitcher, 1990, inscribed “Shearwater” on underside, h. 14 1/2 in., w. 8 3/4 in., d. 5 in. [700 / 1000]
433. Newcomb College Art Pottery Vase, 1919, decorated by Sadie Irvine in a rare scene of moss laden oak trees, with the moon over sailboats on Lake Pontchartrain, with Newcomb cypher, decorator’s mark, Joeph Meyer’s potter’s mark, and reg. number KJ-47, h. 8 7/8 in., dia. 6 1/2 in. [3000 / 5000]
434. Newcomb College Art Pottery Bowl, 1914, decorated by Anna Frances Simpson, floral border design, with Newcomb cypher, decorator’s mark, Joeph Meyer’s potter’s mark, “C” in circle for buff clay body, and reg. number GY-77, h. 3 7/8 in., dia. 6 1/4 in.
[1000 / 1500]
435. Newcomb College Art Pottery Candlestick, 1915, decorated by Sadie Irvine, floral design, with Newcomb cypher, decorator’s mark, Joeph Meyer’s potter’s mark, and reg. number HO-39, h. 7 1/2 in., dia. 4 1/4 in., [700 / 1000]
436. Newcomb College Art Pottery Candlestick, 1917, decorated by Sadie Irvine, mahonia sprig design, matte glaze with blue, green, and pink underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, and registration IP-80, h. 7 1/4 in., dia. 4 1/4 in.
[700 / 1000]
437. Newcomb College Art Pottery Vase, 1927, decorated by Anna Frances Simpson, in the “Moon and Moss” design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, and registration QK-70, h. 8 1/2 in., dia. 5 in. [2500 / 3500]
Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
438. Newcomb College Art Pottery Vase, 1924, decorated by Sadie Irvine, in the “Moon and Moss” design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, and registration # OA-45, h. 5 3/8 in., dia. 2 7/8 in. [1200 / 1800]
Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
439. Newcomb College Art Pottery Bowl, 1917, decorated by Henrietta Davidson Bailey, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, and registration # IT-72, [800 / 1200]
Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
440. Two Small Newcomb College Art Pottery Vases, one with Confederate jasmine design, original retail label with possible date code for 1923 and retail price of $4.00, h. 2 1/4 in., the other unmarked, h. 3 1/2 in., [600 / 900]
Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
441. Emmitt Thames, American/Mississippi, b. 1933, “A Modern Ruin”, 1975, signed and dated lower left, titled, dated and artist stamp en verso, framed., 18 x 26 in. (45.7 x 66 cm.), Frame: 27 5/8 x 36 x 1 1/4 in. (70.2 x 91.4 x 3.2 cm.) [800 / 1200]
442. Emmitt Thames, American/Mississippi, b. 1933, “Approaching a Farm”, 1975, signed and dated lower right, signed, titled, dated and artist stamp en verso, framed., 16 x 20 in. (40.6 x 50.8 cm.), Frame: 29 1/2 x 33 1/2 x 1 1/2 in. (74.9 x 85.1 x 3.8 cm.) [700 / 1000]
443. Eudora Welty American/Mississippi 1909-2001 “Twenty Photographs”, negative creation dates 1930s - early 1940s, print date 1980, unsigned, pencilnumbered “70/75” on each mount, published by Palaemon Press Edition, Winston-Salem, NC, with the Mississippi Department of Archives and History, printed by Gib and Gil Ford, with original signed and numbered pamphlet, errata slip, publisher’s prospectus and tissue guards, signed on page three of insert; in original clamshell cloth covered box. Images: 10 x 14 in. (25.4 x 35.6 cm.) to 14 x 11 in. (35.6 x 27.9 cm.), Overall Sheets: 20 x 16 in. (50.8 x 40.6 cm.), Clamshell Box: 21 x 16 3/4 x 2 1/8 in. (53.3 x 42.5 x 5.4 cm.) [18000 / 25000]
Note: Throughout the 1930s and early 1940s, Eudora Welty created a body of work remarkable for her choice of subjects and ability to put them at ease. The images depict the everyday lives of Mississippians at the height of the Depression. In early 1936, Welty was featured in a one-woman show of forty-five photographs at Lugene Opticians in New York. That same summer, Welty published her first short story, “Death of a Traveling Salesman,” and became a publicity agent, junior grade, for the WPA in Mississippi. Welty traveled throughout the stateís backroads, small towns and rural areas to write articles about WPA projects for community weeklies, snapping pictures along the way. Although taking pictures was not part of her official WPA tasks, the experience helped chart Weltyís literary life. She is quoted in 1989: “In snapping these pictures I was acting completely on my own, though Iím afraid it was on their time; they have nothing to do with the WPA. But the WPA gave me the chance to travel, to see widely and at close hand and really for the first time the nature of the place Iíd been born into. And it gave me the blessing of showing me the real State of Mississippi, not the abstract state of the Depression.”This portfolio contains the following gelatin silver prints: 1. A Woman of the ‘Thirties; 2. Old Midwife (Ida M’Toy); 3. Mother and Child; 4. Delegate; 5. Child on the Porch; 6. Preacher and Leaders of the Holiness Church; 7. Chopping in the Fields; 8. Tomato Packers’ Recess; 9. Saturday Trip to Town; 10. Courthouse Town; 11. Saturday Strollers; 12. Store Front; 13. Side Show, State Fair; 14. Houseboat Family, Pearl River; 15. A House with Bottle Trees; 16. Ruins of Windsor; 17. Ghost River-Town; 18. Abandoned éLunatic Asylum;í 19. Carrying Home the Ice; 20. Home by Dark.Ref.: Frail, T.A. “Eudora Welty as Photographer.” Smithsonian Magazine. Apr. 2009. www. smithsonianmag.com. Accessed Aug. 19, 2025; Scanlan, Laura Wolff. “Southern Exposure.” Humanities. Jan./Feb. 2011. www.neh.gov. Accessed Aug. 19, 2025.
444. Merle Berry Tennyson Montjoy, American/Mississippi, 1920-2008, “Untitled: Birds on Rocks”, signed lower right, signed and inscribed “Latex” en verso, framed. 24 x 60 in. (61 x 152.4 cm.), Frame: 26 3/4 x 62 1/2 x 1 1/2 in. (67.9 x 158.8 x 3.8 cm.)
[600 / 800]
Note: Merle Berry Tennyson Montjoy was born in 1920 to a prominent Mississippi family. She earned her Bachelor of Science degree from Mississippi State College for Women and Master of Arts degree in art education from the University of Mississippi. She studied at the William Fisher Gallery in New York, the summer art colonies in Kennebunkport, Maine and the Penland School in North Carolina, as well as at various workshops sponsored by the Mississippi Art Colony. Montjoyís mentors included Ida Kohlmeyer, Alvin Sella, Andrew Bucci, Bill Rowell, Malcolm Norwood and particularly Marie Hull. Together, she and Hull were instrumental in recognizing the work of Walter Anderson through significant acquisitions by the Mississippi Art Association. In 1975, Montjoy was one of nine organizers of the Friends of Walter Anderson, a group dedicated to assuring the preservation and recognition of Anderson’s work. This organization played an important role in establishing the Walter Anderson Museum of Art in Ocean Springs, Mississippi.Montjoy’s own artwork was noted for its innovation and exploration in different media. She frequently exhibited in competitive shows in the South and won a large number of awards. Her many one-person shows included the Mississippi Art Association’s presentation in 1971 of “Recent Paintings by Merle Tennyson,” which produced considerable interest as it featured her series of “Fan” paintings, as well as five acclaimed stylized portraits. In speaking of the “Fan” series in 1974, Charles M. Grass of the Art Department of the University of Mississippi stated: “They are the best series of paintings that I have seen done by a Mississippian.”
445. William Dunlap, American/Mississippi, b. 1944, “Storm Front - Valley Watch”, 1989, signed and titled lower left, unframed; accompanied by brass artist and title plaque with date. 72 x 119 5/8 in. (182.9 x 303.8 cm.) [12000 / 18000]
Provenance: Collection of Square D. Company (now Schneider Electric), 1989, Knightdale, NC; Private Collection.
“Listen, our job as artists is to have more fun than anyone else.” ~ William Dunlap
William Dunlap is one of the most renowned artists creating in the South today, and his works explore the culture, literature, people, animals and landscape of the region. His sprawling canvases capture the essence of southern Americana in a style he has coined hypothetical realism. “These places I paint are not necessarily real, but they could be. Itís kind of like language in that everything stands in for something else- the places are generic but they’re specific.” The monumental work offered here is a thoughtfully composed panoramic vista displaying the artistís keen eye for detail, color and storytelling. The threatening clouds, rolling hills and hints of a human presence within the vast landscape combine into a compelling and engaging narrative.
Ref.: Reed, Julia. “The Art Ambassador.” Garden & Gun. April/May 2010. www.gardenandgun.com. Accessed Aug. 19, 2025; “William Dunlap.” Greg Thompson Fine Art. www.gregthompsonfineart.com. Accessed Aug. 19, 2025.,
446. Rise Delmar-Ochsner, American/Louisiana, 1944-2025, “Polo”, 1999, signed and dated lower right, unframed., 59 1/2 x 71 1/2 in. (151.1 x 181.6 cm.) [1000 / 1500]
447. Rise Delmar-Ochsner, American/Louisiana, 1944-2025, “White Trees”, signed lower right, typed label with title en verso, framed., 40 x 40 in. (101.6 x 101.6 cm.), Frame: 40 3/8 x 40 3/8 x 1 3/8 in. (102.6 x 102.6 x 3.5 cm.) [600 / 800]
448. Rise Delmar-Ochsner, American/Louisiana 1944-2025 “Field of Blue and White Flowers”, faint partial signature lower right, signed and inscribed “Woman on Pink Sofa” en verso, framed., 44 x 44 in. (111.8 x 111.8 cm.), Frame: 44 1/2 x 44 1/2 x 1 3/8 in. (113 x 113 x 3.5 cm.) [700 / 1000]
449. Rise Delmar-Ochsner, American/Louisiana, 1944-2025, “Portrait of a Man and Woman at a Table”, signed lower right, framed., 40 x 40 in. (101.6 x 101.6 cm.), Frame: 43 x 43 x 1 in. (109.2 x 109.2 x 2.5 cm.) [1000 / 1500]
450. José Maria Cundin, Spanish/Louisiana, b. 1938, “Untitled: Male Figure”, 1967, signed and dated lower right, framed., 12 7/8 x 9 1/2 in. (32.7 x 24.1 cm.), Frame: 13 3/4 x 10 3/8 x 1 1/4 in. (34.9 x 26.4 x 3.2 cm.) [1500 / 2500]
451. Ida Rittenberg Kohlmeyer, American/Louisiana, 1912-1997, “Quartered”, 1981, pencil-signed, titled, dated and numbered “94/135” lower margin, blind stamp lower margin under mat, framed., Sheet: 35 x 38 in. (88.9 x 96.5 cm.), Frame: 40 1/2 x 42 3/8 x 2 in. (102.9 x 107.6 x 5.1 cm.) [1500 / 2500]
452. John T. Scott, American/Louisiana ,1940-2007, “The Park”, 1960, signed lower right, signed, titled and dated en verso, “Issac Delgado Museum of Art” exhibition label with artist and title on stretcher, framed.47 3/4 x 22 1/4 in. (121.3 x 56.5 cm.), Frame: 48 1/2 x 23 x 1 1/4 in. (123.2 x 58.4 x 3.2 cm.) [4000 / 6000]
Provenance: Acquired from the artist, c. 1962.Exh.: “Artists’ Annual Exhibition,” Issac Delgado Museum of Art, New Orleans, LA, May 14 - June 11, 1961. Note: Though primarily known for his later dynamic kinetic sculptures, John T. Scottís body of work spans many media. This important early painting was acquired while the artist was a student at Xavier University in New Orleans and was exhibited at the Isaac Delgado Museum of Art, now the New Orleans Museum of Art, in 1961.Scott was one of New Orleans’ greatest contemporary artists and an important figure in the arts community. Raised in the Lower Ninth Ward, Scott continued his studies at Michigan State University, completing his graduate degree there. Scott returned to New Orleans to join the faculty at Xavier University in 1965, where he taught for forty years and influenced countless students. As Richard Powell states: “New Orleans embodies an influx, an improvisatory entity ñ not only people and portraits, but streets, structures, and urban planning that defy social regimentation or aesthetic comportment. As it turns out, the art of Scott is similarly errant.”Ref.: Powell, Richard J. Circle Dance: The Art of John T. Scott. New Orleans: New Orleans Museum of Art, 2005; “John T. Scott: His Legacy.” Arthur Roger Gallery. Aug. 8, 2017. www.arthurrogergallery. com. Accessed Aug. 29, 2025.
453. John T. Scott, American/Louisiana ,1940-2007, “Blues Bars for Lady Day”, 2001, unsigned, from the “Circle Dance” series.Provenance: Arthur Roger Gallery, New Orleans, 2007.Note: Neal Auction would like to thank Ayo Scott for his assistance in cataloguing this lot., 18 3/8 x 15 1/4 x 26 in. (46.7 x 38.7 x 66 cm.), [1800 / 2500]
454. David Harouni, Iranian/Louisiana, b. 1962, “Untitled: Face”, signed lower left, unframed., 48 x 48 in. (121.9 x 121.9 cm.)
[4000 / 6000]
Note: Throughout Melissa Bonin's celebrated career, she has and continues to experiment with a multitude of media, recently publishing a book featuring her works alongside her poetry in both English and French entitled When Bayous Speak, Lorsque les bayous parlent. Her paintings have evolved from her earlier abstract canvases featuring an experimental grid-like layout of colorful pastel squares to her more recent moody bayou landscapes which are as lyrical as her pen.A New Iberia native, Bonin started painting at the University of Louisiana in Lafayette at the age of fifteen at the insistence of local artist Elemore Morgan, Jr. who became her mentor and whose expressive landscapes inspired her subject matter and approach. At ULL, she also had the opportunity to study under Tom Secrest, Herman Mhire and William Moreland, all of whom she lists as influences. After earning her Bachelor of Fine Arts in 1981, she traveled abroad to study art and French in Paris, Angers and the south of France. She furthered her studies upon her return to the United States at Bennington College and the Massachusetts School of Fine Art in Boston.Bonin has achieved much recognition and many accolades for her work, receiving important commissions, such as a forty-eight-foot mural for the city of New Iberia,
the Bunk Johnson award for Visual Arts, and an Atchafalaya Basin Foundation Grant. Her works are in many important private and public collections and have graced the walls of institutions such as the Ogden Museum of Southern Art, Knoxville Museum of Art, and the Bayou Teche Museum, among others.A constant innovator who draws upon her Cajun heritage as inspiration, Bonin has become an ambassador for Cajun culture and the state of Louisiana. With her adept brushstrokes, she captures the timeless, luminous spirit of the bayou and its enduring beauty - symbolic of the resilience of the once violently displaced Cajun people. Her approach to creation is meditative, working in solitary silence and applying color to canvas instinctually and subconsciously. “Landscapes permit me to sit on the edge of abstraction and reality. You can manipulate colors in a way that produces a feeling of the landscape without copying everything realistically.”
Ref.: Kemp, John R. Expressions of Place: The Contemporary Louisiana Landscape. Jackson: University Press of Mississippi, 2016; Kemp, John R. “Melissa Bonin.” 64 Parishes. Sep. 12, 2012. www.64parishes.org. Accessed Aug.19, 2025.
455. Melissa Bonin, American/Louisiana, b. 1960, “L’Echo”, 2015, signed, titled and dated en verso, unframed. 36 x 72 x 1 1/2 in. (91.4 x 182.9 x 3.8 cm.) [8000 / 12000]
456. Melissa Bonin, American/Louisiana, b. 1960, “Bayou at Sunset”, 2002, signed lower right, signed, dated and inscribed en verso, unframed., 35 3/4 x 35 3/4 in. (90.8 x 90.8 cm.)
[4000 / 6000]
457. Melissa Bonin, American/Louisiana, b. 1960, “Let Go & Let Green II”, 2006, signed lower right, signed along right edge, signed, titled and dated en verso, unframed., 12 x 12 in. (30.5 x 30.5 cm.),
[2000 / 3000]
458. Hunt Slonem, American/Louisiana, b. 1951, “Bayou Teche, Jeanerette”, 2017, signed, titled, dated and inscribed “CERÿÿ48ÿ” en verso, framed., 20 x 29 in. (50.8 x 73.7 cm.), Frame: 24 1/2 x 33
459. Hunt Slonem, American/Louisiana, b. 1951, “Pink Lady”, 2022, signed, titled, dated and inscribed “SHO249” en verso, framed., 10 x 8 in. (25.4 x 20.3 cm.), Frame: 14 1/4 x 12 x 3 in. (36.2 x 30.5 x 7.6 cm.) [4000 / 6000]
460. Hunt Slonem, American/Louisiana, b. 1951, “Martin”, 2021, signed, titled, dated and inscribed “CX0157” en verso, framed., 10 x 8 in. (25.4 x 20.3 cm.), Frame: 16 1/2 x 14 1/2 x 1 in. (41.9 x 36.8 x 2.5 cm.) [4000 / 6000]
461. George Rodrigue, American/Louisiana, 1944-2013, “Bayou Cabins with Oak Tree”, 1995, signed lower left, “© 1995 George Rodrigue” stamp on reverse of mount, framed., 9 1/2 x 10 3/4 in. (24.1 x 27.3 cm.), Frame: 22 3/4 x 26 5/8 x 3 1/2 in. (57.8 x 67.6 x 8.9 cm.) [2000 / 3000]
462. George Rodrigue, American/Louisiana, 1944-2013,“Only the Lonely”, oil on linen, 1989, signed lower left, signed and dated en verso, signed and titled on stretcher, “Cyprian Gallery, Lafayette, LA” stamp on reverse of frame, 24 1/2 in. x 38 1/2 in., framed, 33 1/2 in. x 47 1/2 in. x 2 in. [30000 / 50000]
Note: With a background in formal art training from The Art Center College of Design in Pasadena which he attended from 1962 to 1967, George Rodrigue painted nudes occasionally throughout the 1970s and 1980s as part of his Cajun series, inspired by Roman sculpture and the drawings of the Old Masters. These works were generally not well-received by his conservative collectors; however, he continued to include figure studies and nudes in his paintings even as he developed the Blue Dog series in the early 1990s. His Blue Dog canvases that recreated famous classical nudes by artists such as Ingres and Manet from 1991 are ironically now among the most popular of his creations. Rodrigue abandoned the nude figure almost entirely for a decade once he was forced due to health concerns to transition from oil to fast-drying acrylic paints in the early
1990s, as he was not able to capture the female form as he liked with the new medium. “Only the Lonely” offered here and dated 1989 therefore represents a rare, early example of Rodrigue’s Blue Dog series just as it was emerging from the loup-garou legend, combining the rich Acadiana landscape of his Cajun series with his love for the classical figure and the soon to be iconic image of the Blue Dog. Given the more developed nature of the Blue Dog, one suspects that the artist may have in fact added it to the scene later, in late 1991 or early 1992, making her “lonely” no more. The blonde figure is artfully draped in white and highlighted against the dark oak tree and foliage in timeless Rodrigue fashion and gazes down at the Blue Dog, whose enigmatic expression is asking the viewer: “Why am I here?” and “Where did I come from?” – questions that likely resonated creatively with the artist as he explored this new direction in his work. Ref.: Rodrigue, Wendy. “The Nude Figure.” Musings of an Artist’s Wife. Life & Legacy Foundation & Art Tour. www.legacyarttour.org. Accessed Oct. 12, 2024; Rodrigue, Wendy. “Blue Dog: In the Beginning, 1984-1989.” Musings of an Artist’s Wife. Life & Legacy Foundation & Art Tour. www.legacyarttour.org. Accessed Oct. 12, 2024.
463. George Rodrigue, American/Louisiana, 1944-2013, “Purple Moon”, 1991, signed and numbered “25/90” lower left, framed, 27 3/4 x 22 1/4 in. (70.5 x 56.5 cm.), Frame: 34 1/2 x 28 1/2 x 1 in. (87.6 x 72.4 x 2.5 cm.) [1000 / 1500]
Ill.: Rodrigue, George and Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 42.
465. George Rodrigue, American/Louisiana, 1944-2013, “Space Chair: Split-font Blue and Pink”, 1992, signed and numbered “26/90” lower right, framed, 34 x 23 3/4 in. (86.4 x 60.3 cm.), Frame: 42 3/4 x 32 1/4 x 1 in. (108.6 x 81.9 x 2.5 cm.) [2000 / 3000]
Ill.: Rodrigue, George and Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 60.
464. George Rodrigue, American/Louisiana, 1944-2013, “Red Moon”, 1991, signed and numbered “ 25/90” lower left, framed, 27 3/4 x 22 3/8 in. (70.5 x 56.8 cm.), Frame: 34 1/2 x 28 1/2 x 1 in. (87.6 x 72.4 x 2.5 cm.) [1000 / 1500]
Ill.: Rodrigue, George and Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 44.
466. George Rodrigue, American/Louisiana, 1944-2013, “Throw Me Something F.E.M.A.”, 2006, pencil-signed lower margin, edition of 500, framed.23 x 16 3/8 in. (58.4 x 41.6 cm.), Frame: 30 1/4 x 22 1/4 x 1 1/4 in. (76.8 x 56.5 x 3.2 cm.) [600 / 800]
Provenance: Neal Auction, Sep. 13, 2020, lot 817.
Ill.: Rodrigue, George and Wendy Wolfe Rodrigue. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 234.,
in. (101 x 139.7 cm.), Frame: 41 3/4 x 56 3/4 x 1 3/4 in. (106 x 144.1 x 4.4 cm.) [3000 / 5000]
467. Russell Young, British, b. 1960 “Elvis TCB Gun”, pencil-signed and numbered “3/3” lower margin, framed.Provenance: Stephan Keszler, Keszler Gallery, New York, NY; Private Collection., 39 3/4 x 55
468. LeRoy Neimann, American, 1921-2012, “P.J. Clarkeís Bar”, 1978, pencil-signed, numbered “74/300” and “Styria Studio” blind stamp lower margin, “LeRoy Neimann” watermark visible, printed by Styria Studio, New York, NY, framed., Sheet: 32 1/4 x 45 1/4 in. (81.9 x 114.9 cm.), Frame: 37 5/8 x 50 1/8 x 1 1/2 in. (95.6 x 127.3 x 3.8 cm.) [2500 / 3500]
469. Nivia Gonzales, American/Texas, 1947-2017, “Tres Hermanas”, signed lower right, framed., 30 x 40 in. (76.2 x 101.6 cm.), Frame: 34 5/8 x 44 5/8 x 1 3/4 in. (87.9 x 113.3 x 4.4 cm.) [700 / 1000]
470. William Tolliver, American/Louisiana, 1951-2000, “Golden Diva”, signed lower right, unframed., 36 x 48 in. (91.4 x 121.9 cm.), [3000 / 5000]
471. William Tolliver, American/Louisiana, 1951-2000, “Going to Church”, signed lower left, unframed., 28 3/4 x 36 5/8 in. (73 x 93 cm.), [4000 / 6000]
472. William Tolliver, American/Louisiana, 1951-2000, “Untitled: Lady”, signed lower left, unframed., 42 1/4 x 31 1/4 in. (107.3 x 79.4 cm.), [3000 / 5000]
473. James Michalopoulos, American/Louisiana, b. 1951 “Tumbolous”, 2023, signed lower left, signed, titled, dated, inscribed “D395” and artist card with title en verso, framed., 20 x 16 in. (50.8 x 40.6 cm.), Frame: 21 1/4 x 17 1/4 x 1 3/4 in. (54 x 43.8 x 4.4 cm.) [3000 / 5000]
474. James Michalopoulos, American/Louisiana, b. 1951, “Untitled: French Quarter Balcony”, c. 1990, signed “Mitchell” lower right, artist-enhanced frame., 24 x 30 in. (61 x 76.2 cm.), Frame: 25 x 31 x 3/4 in. (63.5 x 78.7 x 1.9 cm.)
[3000 / 5000]
475. James Michalopoulos, American/Louisiana, b. 1951, “Torch Lit”, 2008, signed lower left, titled and inscribed “7791” on stretcher, framed; together with a copy of a certificate of authenticity from the artist. (2 pcs.), 30 x 23 in. (76.2 x 58.4 cm.), Frame: 34 3/4 x 27 3/4 x 1 1/2 in. (88.3 x 70.5 x 3.8 cm.)
[5000 / 7000]
476. James Michalopoulos, American/Louisiana, b. 1951, “Ghost House”, 2020, initialed lower left, signed and dated en verso, framed., 14 x 11 in. (35.6 x 27.9 cm.), Frame: 20 1/4 x 17 x 1 in. (51.4 x 43.2 x 2.5 cm.)
[1500 / 2500]
477. James Michalopoulos, American/Louisiana, b. 1951, “Standout”, 1991, signed “Mitchell” lower left, signed “Mitchell”, dated and artist card with title en verso, framed., 30 x 15 in. (76.2 x 38.1 cm.), Frame: 31 1/4 x 16 1/4 x 1 1/2 in. (79.4 x 41.3 x 3.8 cm.)
[2500 / 3500]
478. James Michalopoulos, American/Louisiana, b. 1951, “Vrai Choice”, 2003, signed lower left, titled and inscribed “6215” on stretcher, artist label en verso, framed; together with a copy of a certificate of authenticity from the artist. (2 pcs.), 25 x 29 in. (63.5 x 73.7 cm.), Frame: 29 3/4 x 33 3/4 x 1 1/2 in. (75.6 x 85.7 x 3.8 cm.) [3000 / 5000]
479. Woodie Long, American/Alabama, 1942-2009, “Crowded Street”, 1992, signed and dated lower right, “1951 Chev Pickup” label en verso, unframed., 51 x 35 1/2 in. (129.5 x 90.2 cm.), Overall: 58 1/2 x 35 1/2 x 6 3/4 in. (148.6 x 90.2 x 17.1 cm.) [700 / 1000]
480. Woodie Long, American/Alabama, 1942-2009, “Tricyclist on Yellow”, 1992, signed and dated lower left, inscribed “#3385 - Made from scrap - Used deck - Woodie’s New Feb ‘92 - Under water - H. Katrina - 9-05[illegible]” en verso, framed., 26 1/2 x 25 3/4 in. (67.3 x 65.4 cm.), Frame: 26 3/4 x 26 x 1 1/4 in. (67.9 x 66 x 3.2 cm.) [500 / 700]
481. Woodie Long, American/Alabama, 1942-2009, “Dancing Women”, 1992, signed and dated lower left, inscribed “#3066” en verso, framed., 18 x 24 in. (45.7 x 61 cm.), Frame: 18 1/4 x 24 1/4 x 1 1/4 in. (46.4 x 61.6 x 3.2 cm.) [500 / 700]
482. Woodie Long, American/Alabama, 1942-2009, “The Red Truck”, 1990, signed and dated lower left, inscribed “#4121” en verso, unframed., 18 3/4 x 28 in. (47.6 x 71.1 cm.), [500 / 700]
483. Clementine Hunter, American/Louisiana, 1886-1988, “Baptism”, monogrammed mid-right, framed.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., 16 x 24 in. (40.6 x 61 cm.), Frame: 16 3/4 x 24 3/4 x 3/4 in. (42.5 x 62.9 x 1.9 cm.) [4000 / 6000]
484. Clementine Hunter, American/Louisiana, 1886-1988, “Saturday Night at the Juke Joint”, monogrammed lower right, framed.Provenance: “Self-Taught, Outsider & Folk Art,” Slotin Folk Art, Gainesville, GA, Apr. 29, 2017, lot 171.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., 19 x 23 3/4 in. (48.3 x 60.3 cm.), Frame: 24 5/8 x 29 x 1 in. (62.5 x 73.7 x 2.5 cm.) [4000 / 6000]
485. Clementine Hunter, American/Louisiana, 1886-1988, “Haulin’ Cotton”, monogrammed mid-right, framed.Provenance: Neal Auction, Nov. 22, 2015, lot 1014.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., 18 x 24 in. (45.7 x 61 cm.), Frame: 23 x 28 3/4 x 1 5/8 in. (58.4 x 73 x 4.1 cm.) [4000 / 6000]
486. Clementine Hunter, American/Louisiana, 1886-1988, “Baptism”, monogrammed lower right, “Elizabethan Gallery, Baton Rouge” label and newspaper clippings about artist on backing paper, framed.Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead., 11 3/4 x 17 1/2 in. (29.8 x 44.5 cm.), Frame: 16 1/2 x 22 7/8 x 1 1/4 in. (41.9 x 58.1 x 3.2 cm.) [4000 / 6000]
487. Seymour Etienne Bottex, Haitian, 1922-2016, “Femme et Chat”, signed and localized lower right, framed., 19 7/8 x 15 7/8 in. (50.5 x 40.3 cm.), Frame: 20 3/4 x 16 3/4 x 1 1/4 in. (52.7 x 42.5 x 3.2 cm.) [700 / 1000]
488. Michel M. Obin, Haitian, b. 1949, “Casernes”, signed and localized lower right, framed., 20 x 24 in. (50.8 x 61 cm.), Frame: 20 3/4 x 24 3/4 x 1 1/2 in. (52.7 x 62.9 x 3.8 cm.) [400 / 600]
489. Hector Hyppolite, Haitian, 1894-1948, “Hogoun Chango”, c. 1946/47, signed lower right, titled lower left, inscribed and “Haitian Center of New York at Carlebach, New York, NY” exhibition label with artist and title en verso, “John Tucker Fine Arts, Savannah, GA” and “The House of Heydenryk, New York, NY” labels on backing paper, framed. 24 x 23 1/2 in. (61 x 59.7 cm.), Frame: 31 5/8 x 31 1/4 x 1 1/2 in. (80.3 x 79.4 x 3.8 cm.) [30000 / 50000]
Provenance: Estate of Charles Adams Baker; “Latin American Paintings, Drawings & Sculptures,” Christie’s, New York, NY, Nov. 19-20, 1991, lot 225; John Tucker Fine Arts, Savannah, GA; Private Collection, LA.
Note: Hector Hyppolite, one of the most famous Haitian painters and considered the “Grand Maître of Haitian Art,” produced a body of impressive works detailing the cultural practices and beliefs of his native country. He was rumored to be a third generation Vodou priest, though it is possible this persona was created to boost his art sales. His popularity reached a wider audience in the 1940s after surrealist Andre Breton purchased one of his paintings and dubbed him “the guardian of a secret,” spearheading the occidental appreciation for “Haitian naive” painting. At the time, Hyppoliteís works were being exhibited alongside his contemporaries such as Philome Obin, Catera Bazile and Rigaud Benoit at the Centre dí'rt in Port-au-Prince.Hyppolite is known for his dense compositions which are rich in Haitian Vodou symbolism and iconography. In this painting “Hogoun Chango” or “Ogou Chango,” the spirit associated with lightening, thunder, wind and fire is depicted mounted on a horse as he commands flames from the ground. The artistís depiction of flames and smoke hovers on abstraction and winds throughout the complex scene in swaths of rich color, adding yet another layer of ambiguity to the melding of secular and religious elements. The work displays the hallmarkís of Hyppolite's best period, the years shortly before his tragic early demise.
Ref.: Dash, J. Michael. “Hector Hyppolite.” Museum of Modern Art. www.moma.org. Accessed Aug. 21, 2025; Calcano, Dr. Tamara Diaz. “Hector Hyppolite, Ogou Feray also known as Ogoun Ferraile.” Smarthistory. www.smarthistory.org. Accessed Aug. 21, 2025.
490. Victor Manuel, Cuban, 1897-1969, “Retrato de Mujer”, signed lower right, framed., 26 1/4 x 22 5/8 in. (66.6 x 57.5 cm.), Frame: 30 x 26 1/2 x 1 1/4 in. (76.2 x 67.3 x 3.2 cm.)
[2000 / 3000]
491. Pair of Antique French Wrought-Iron SevenLight Torcheres, 19th c., foliate designs, arms ending in lion terms, 73 1/2 x 28 x 21 in. (186.7 x 71.1 x 53.3 cm.), [800 / 1200]
492. Pair of Antique French Gilt Bronze Three-Light Candelabra, foliate arms, the base cast with a mask and seashells, 14 1/2 x 15 x 6 1/2 in. (36.8 x 38.1 x 16.5 cm.), [700 / 1000]
493. Pair of Empire Gilt and Patinated Bronze Figural Four-Light Candelabra, early 19th c., candle nozzles over cherub busts, tall pedestal bases with winged-lion feet, 33 1/4 x 9 in. (84.5 x 22.9 cm.), [1500 / 2500]
494. Pair of Gilt and Patinated Bronze Five Light Candelabra, base with applied busts of Grecian warriors, h. 21 3/4 in., w. 11 in., d. 11 in. [700 / 900]
495. Antique French Malachite Mounted Burl Circassian Games Box
Retailed by Tiffany, interior tag marked “TIFFANY AND Co/UNION SQUARE”, one piece marked Bezique, lacking various pieces, 3 1/2 x 7 1/2 x 7 1/2 in. (8.9 x 19.1 x 19.1 cm.), [600 / 900]
496. Continental Cranberry Glass, Bronze and Marble Rhyton Vase, 19th c., eagle base, 21 1/2 x 14 x 11 in. (54.6 x 35.6 x 27.9 cm.), [400 / 600]
Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
497. Pair of Antique French Gilt Bronze Mounted Diamond-Point Crystal Covered Urns, covers with eagle finials, swan handles, raised on sphinx legs, 16 x 8 1/4 x 5 3/4 in. (40.6 x 21 x 14.6 cm.), [700 / 1000]
498. Gilt Bronze Mounted Brilliant Cut Crystal Centerpiece Bowl with Birds, with associated pair of cut crystal candlesticks, candlestick: h. 11 7/8 in., dia. 4 5/8 in. ; bowl: h. 9 5/8 in., w. 13 1/4 in., d. 11 1/4 in.
[300 / 500]
499. Pair of Napoleon III Gilt Bronze-Mounted Marble Cassolettes, late 19th c., scroll handles, floral garlands, 22 x 11 x 9 1/2 in. (55.9 x 27.9 x 24.1 cm.),
[1000 / 1500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
500. Pair of French Wrought-Iron and Crystal Five-Light Sconces, branch-form, 38 x 27 x 16 in. (96.5 x 68.6 x 40.6 cm.), [700 / 1000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
501. Pair of Louis XVI-Style Gilt Metal and Crystal Seven-Light Girandoles, beaded surmount with fleur-di-lis finial, hung with crystal spheres, not electrified, h. 39 in., w. 19 1/2 in., d. 11 1/2 in., [1000 / 1500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
502. Antique Continental Verdure Tapestry, depicting a verdant landscape, a crane in the foreground, foliate border with masks and animals, 8 ft. x 5 ft. 7 in., stretched on a wooden frame and linen-backed. [1500 / 2500]
Provenance: Collection of Former Governor Murphy J.
“Mike” Foster Jr., Oaklawn Manor, Franklin, LA.,
503. Antique Continental Verdure Tapestry, 19th c., or earlier, depicting a verdant park, with fountain and birds, floral and bird border, 9 ft. 3 in. x 8 ft., stretched on a wooden frame and linen-backed, [2000 / 3000]
Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
504. Antique Flemish Verdure Tapestry, 18th c., depicting a verdant landscape, lush floral border, with masks and vignettes, linen-backed, 11 ft. 2 in. x 11 ft. 9 in., [4000 / 6000] Ida Manheim Antiques, 409 Royal St., New Orleans.
505. Set of Four Chinese Famille Rose Porcelain Inset ‘Eight Immortals’ Wall Panels, each central panel painted with a pair of Daoist immortals mounted between flanking calligraphy panels, each overall 43 3/4 in. x 11 3/4 in. [3000 / 5000]
Provenance: Accompanied by a copy of an appraisal letter from Manheim Galleries, New Orleans, dated November 22, 1977.
506. Georgian Carved Mahogany Chest of Drawers, 19th c., molded top, four graduate drawers, bracket feet, 32 1/2 x 36 x 18 in. (82.6 x 91.4 x 45.7 cm.), [1000 / 1500]
507. Georgian Mahogany and Marquetry Sideboard, late 18th\ early 19th c., case inlaid with foliate swags, bellflowers and cornucopiae, fitted bottle drawer, square tapered legs, spade feetProvenance: Keilís Antiques 10/12/1982, 36 x 71 x 27 1/4 in. (91.4 x 180.3 x 69.2 cm.), [2000 / 3000]
508. Regency Mahogany Sarcophagus Form Cellarette, 19th c., hinged lift top, bale handles, lined interior, turned legs, castors, 19 x 20 1/2 x 16 in. (48.3 x 52.1 x 40.6 cm.), [500 / 700]
Collection of Former Governor Murphy J. “Mike” Foster Jr., Oaklawn Manor, Franklin, LA.
509. Queen Anne-Style Carved Mahogany Two Pedestal Dining Table, Late 19th/ early 20th c., two D-ends, turned standard, cabriole legs, pad foot, casters, two leaves, 29 1/2 x 41 x 69 in. (74.9 x 104.1 x 175.3 cm.), w leaves 29 1/2 x 41 x 110 in. (74.9 x 104.1 x 279.4 cm.)
[1000 / 1500]
510. Set of Eight Sheraton-Style Carved Mahogany Dining Chairs, 19th c., carved molded arched crest rail, pierced carved splat with bell-flower carving , H-form stretcher, square legs, arm 38 x 23 x 19 1/2 in. (96.5 x 58.4 x 49.5 cm.), side 38 x 20 1/2 x 17 in. (96.5 x 52.1 x 43.2 cm.) [1000 / 1500]
511. Queen Anne-Style Carved Mahogany Wake Table, late 19th/ early 20th c., oval top with drop leaves, cabriole legs, pad foot, 30 x 18 1/2 x 96 in. (76.2 x 47 x 243.8 cm.), open 30 x 61 x 96 in. (76.2 x 154.9 x 243.8 cm.) [1200 / 1800]
512. Pair of Georgian-Style Inlaid Figured Mahogany Demilune Cabinets, early 20th c., benchmade by Waldhorns, fitted string inlaid drawer, conforming door, square tapered legs, 35 1/2 x 36 x 18 1/2 in. (90.2 x 91.4 x 47 cm.), [800 / 1200]
513. Regency Carved Mahogany Chiffonier, 19th c., serpentine top, conforming frieze drawers above doors, molded base, turned feet. [700 / 1000]
514. Georgian Inlaid Walnut Chest on Chest, 18th c., molded cornice, upper case with three banded short drawers over three long drawers, lower case with three drawers, bracket feet, [2500 / 3500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
515. Georgian Inlaid Marquetry and Mahogany Corner Cabinet, 19th c., banded top with urn inlay, frieze drawer, columnar supports with patinated bronze mounts, bowknot and urn inlaid doors, block feet, 36 x 44 x 32 in. (91.4 x 111.8 x 81.3 cm.) [1000 / 1500]
Ida Manheim Antiques, 409 Royal St., New Orleans.
516. Georgian-Style Inlaid Mahogany Bowfront Sideboard, 19th c., banded top, frieze drawer flanked by two deep drawers, square tapered legs, spade feet, 35 1/2 x 94 x 28 in. (90.2 x 238.8 x 71.1 cm.)
[1200 / 1800]
Ida Manheim Antiques, 409 Royal St., New Orleans.
517. Set of Four Regency Brass Inlaid Rosewood Side Chairs, 19th c., tablet crest with scroll inlay and gadrooned crest, sabre legs, 32 x 15 x 21 in. (81.3 x 38.1 x 53.3 cm.), [700 / 1000]
Ida Manheim Antiques, 409 Royal St., New Orleans.
Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer
519. Baume and Mercier 18k Gold
“Classic” Ladies Watch, ref. 36663, 21mm, manual wind, 17 jewels, serial # 961659, 18k gold case, strap, and clasp, onyx dial, movement “BM 775” [1000 / 1500]
518. Art Deco 9 kt. Yellow Gold and Diamond Engine-Turned Powder Compact, Deakin & Francis, Birmingham, c. 1936, with 8 single-cut diamonds set in white gold, gold weight 36.5 dwt. [1500 / 2500]
520. 14 kt. White Gold and Tahitian Pearl Necklace, strand of 35 round cultured pearls, 11.10-14.60 mm; scalloped bead clasp; l. 18 in.; AIGL report. [1200 / 1800]
521. 14 kt. Yellow Gold and Golden South Sea Pearl Necklace, hand knotted strand of 39 near round, oval and drop pearls, 9.00-12.00 mm; scalloped bead clasp; l. 18 in.; AIGL report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [800 / 1200]
523. Platinum and Diamond “Flower” Ring, center round diamond, wt. approx. 1.00 ct.; halo and shoulders with numerous round diamonds, total wt. approx. 0.43 ct.; size 6.75.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [1500 / 2500]
for all
and all
items MUST be made by cash, check or wire transfer., [1000 / 2000]
522. Art Deco Style 14 kt. White Gold and Diamond Band Ring, marked, size 7.[800 / 1200]
524. Pair of 14 kt. White Gold and Diamond Knot Earrings, l. 1 in.; 4.22 dwts.Please Note: Payment
jewelry
couture
525. Pair of 14 kt. White Gold and Diamond Stud Earrings, 2 round brilliant cut diamonds, total wt. approx. 1.42 cts., G color, SI1-SI2 clarity; AIGL report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [1200 / 1800]
526. Pair of 14 kt. White Gold and Diamond Stud Earrings, 2 round brilliant cut diamonds, total wt. approx. 1.59 cts., G color, I1 clarity; fricting posts and backings; AIGL report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [1500 / 2500]
527. Pair of 18 kt. White Gold and Diamond Martini Stud Earrings, 2 round diamonds, total wt. approx. 2.04 cts.; 0.79 dwts.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [3000 / 5000]
528. Platinum and Diamond Ring, center round cut diamond, wt. approx. 0.97 ct., J-K color, I1 clarity; ornate openwork mounting with numerous round diamonds, total wt. approx. 0.62 ct.; size 8; American Appraisal Report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [1800 / 2500]
529. Pair of 18 kt. White Gold and Diamond Crescent Hoop Earrings, mounted with numerous round diamonds, total wt. approx. 6.19 cts.; dia. 1 in.; 6.63 dwts.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [4000 / 6000]
530. Platinum and Diamond Eternity Band Ring, mounted with 12 round diamonds, total wt. approx. 6.18 cts.; size 7.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [4000 / 6000]
531. 14 kt. White Gold and Diamond Station Necklace, mounted with numerous round, marquise and princess cut diamonds, total wt. approx. 9.32 cts.; l. 30 in.; 8.56 dwts.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [4000 / 6000]
Please
Payment for all
all
by
for all
and all
by
532. 18 kt. White Gold and Diamond Stud Earrings, 2 center round diamonds, wt. approx. 1.57 cts. and 1.87 cts.; with diamond halos; 2.06 dwts.
Note:
jewelry and
couture items MUST be made
cash, check or wire transfer., [5000 / 7000]
533. Pair of 14 kt. White Gold and Diamond Stud Earrings, 2 round brilliant cut diamonds, total wt. approx. 3.04 cts., G-H color, SI2-I1 clarity; GGA report.Please Note: Payment
jewelry
couture items MUST be made
cash, check or wire transfer., [5000 / 7000]
534. Pair of 14 kt. White Gold and Diamond Hoop Earrings, mounted with numerous round diamonds, total wt. approx. 10.84 cts.;dia. 1 1/2 in.; 10.14 dwts.;Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [6000 / 8000]
535. 18 kt. White Gold and Diamond Necklace, mounted with 7 round diamonds, total wt. approx. 7.30 cts.; convertible chain l. 19 in. and 16 in.; 5.48 dwts.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [7000 / 9000]
536. Platinum and Diamond Ring, center round brilliant cut diamond, wt. approx. 2.02 cts., F color, SI3 clarity; halo and spray with 10 round, 9 marquise and 42 baguette cut diamonds, total wt. approx 1.94 cts.; size 6.25; GGA and IGL reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [7000 / 9000]
537. 14 kt. White Gold and Diamond Tennis Bracelet, mounted with 48 round brilliant cut diamonds, total wt. approx. 9.05 cts., G-H color, SI1-I1 clarity; l. 7 in.; GGA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [6000 / 8000]
538. Platinum and Diamond Tennis Bracelet, mounted 34 round diamonds, total wt. approx. 15.81 cts.; l. 7 1/4 in.; 21.50 dwts.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [15000 / 25000]
539. 14 kt. White Gold and Diamond Tennis Necklace, mounted with 94 round brilliant cut diamonds, total wt. approx. 30.66 cts., G-I color, SI2-I2 clarity; l. 18 in.; AIGL report.P [20000 / 30000]
540. 14 kt. Yellow Gold and Diamond Station Necklace, mounted with 10 round brilliant cut diamonds, total wt. approx. 1.88 cts., G-H color, SI1-SI2 clarity; l. 17 1/2 in.; GGA report. [2000 / 3000]
541. 14 kt. Yellow Gold and Diamond Cluster Ring, center round brilliant cut diamond, wt. approx. 0.40 ct.; surrounded by 18 round brilliant cut diamonds, total wt. approx. 2.37 cts.; size 6; AIGL report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [2000 / 3000]
542. 14 kt. Yellow Gold and Diamond Ring, center round brilliant cut diamond, wt. 5.03 cts., 10.88-10.78 x 6.87 mm, G color, SI3 clarity; mounted with 12 baguette and 20 round diamonds, total wt. approx. 2.40 cts., F-G color, VS1-SI1 clarity; size 7.75; AIGL and EGL USA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [40000 / 60000]
543. Pair of 18 kt. Two Tone Gold, Yellow Diamond and Diamond Earrings, 2 cushion modified brilliant cut Fancy Light Yellow diamonds, wt. 4.04 cts. and 4.02 cts., SI1 clarity; inner bezels with 56 round brilliant cut Fancy Yellow diamonds, total wt. approx. 0.32 ct.; and 120 round, 6 marquise and 2 pear diamonds, total wt. approx. 1.22 cts., F-H color, VS2-SI1 clarity; l. 1 1/4 in.; AIGL and 2 GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [50000 / 60000]
544. 18 kt. Two Tone Gold, Yellow Diamond and Diamond Ring, center cushion modified brilliant cut Fancy Light Yellow diamond, wt. approx. 5.03 cts., SI2 clarity; openwork floral bezel with 104 colorless and 38 Fancy Yellow round brilliant and bear diamonds, total wt. approx. 1.84 cts.; size 6.5; GGA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [40000 / 60000]
545. 14 kt. Two Tone Gold, Multicolor Sapphire and Diamond Bracelet, mounted with 72 oval mixed cut multicolored sapphires, total wt. approx. 21.50 cts.; accented by 252 round brilliant cut diamonds, total wt. approx. 1.86 cts.; l. 7 in.; GGA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer.,
546. 18 kt. Yellow Gold, Baroque Pearl, Ruby and Diamond Ring, center cultured South Sea pearl, 17.00 x 11.00; foliage motif bezel set with 4 heart and marquise rubies, wt. approx. 0.89 cts.; and 31 round brilliant cut diamonds, total wt. approx. 0.38 cts.; size 7.75; AIGL report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [1200 / 1800]
547. 18 kt. Yellow Gold, Burmese Sapphire and Diamond Ring, center cushion mixed cut Burmese sapphire, wt. approx. 2.83 cts.; openwork foliate mount with 192 round brilliant cut diamonds, total wt. approx. 2.17 cts.; size 6; AIGL and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [4000 / 6000]
548. 18 kt. White Gold, Diamond and Blue Sapphire Ring, 2 center round diamonds, wt. approx. 0.91 ct. and 0.78 ct.; flanked by invisibly set sapphires; size 7; 2.24 dwts.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [1500 / 2500]
549. 14 kt. White Gold, Blue Sapphire and Diamond Line Bracelet, mounted with 21 round brilliant faceted cut blue sapphires, total wt. approx. 5.68 cts.; and 22 round brilliant cut diamonds, total wt. approx. 5.16 cts., G-H color, SI1-SI2 clarity; l. 7 1/8 in.; GGA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [ 5000 / 7000]
550. 18 kt. White Gold, Columbian Emerald and Diamond Ring, center GIA certified octagonal step cut Colombian emerald, wt. approx. 1.30 cts.; mounted with 62 round brilliant cut diamonds, total wt. approx. 0.78 ct.; size 6.75; AIGL and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [1200 / 1800]
551. Platinum, Emerald and Diamond “Toi et Moi” Ring, center octagonal step cut emerald, wt. approx. 2.25 cts.; mounted with 65 princess, baguette and round brilliant diamonds, total wt. approx. 0.32 cts.; size 6.75; AIGL report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [2000 / 3000]
552. Platinum, Emerald and Diamond Ring, center bezel set octagonal mixed cut emerald, wt. approx. 5.98 cts.; flanked by 4 baguette cut diamonds, total wt. approx. 0.55 ct.; size 6.75; GGA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [3000 / 5000]
553. Platinum, Emerald and Diamond Ring, center octagonal mixed cut emerald, wt. approx. 5.28 cts.; bezel and shoulders with 44 round brilliant cut diamonds, total wt. approx. 0.50 ct.; size 7; GGA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [2800 / 3500]
554. Art Deco Style Platinum, Emerald and Diamond Ring, center octagonal step cut emerald, wt. approx. 3.19 cts.; mounted with 102 round brilliant cut diamonds, total wt. approx. 0.80 ct.; size 6.75; GGA report.Please
Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [4000 / 6000]
555. Pair of Platinum, 18 kt. Yellow Gold, Emerald and Diamond Stud Earrings, 2 octagonal mixed cut emeralds, total wt. approx. 5.13 cts.; double bezels with 0.78 cts. of round brilliant cut diamonds; GGA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [2500 / 3500]
556. Platinum, Columbian Emerald and Diamond Ring, center oval modified brilliant faceted cut emerald, wt. approx. 1.42 cts.; halo and shoulds with 0.84 ct. of round brilliant cut diamonds; size 7; GGA and GIA reports.Please
Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [2000 / 3000]
557. 14 kt. White Gold, Emerald and Diamond Line Bracelet, mounted with 11 oval mixed cut emeralds, total wt. approx. 5.14 cts.; halos and links with 3.52 cts. of round brilliant cut diamonds; l. 7 in.; GGA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [4000 / 6000]
558. Platinum, Emerald and Diamond Ring, center oval brilliant step cut emerald, wt. approx. 4.81 cts.; bezel and shoulders with round and pear diamonds, total wt. approx. 2.20 cts.; size 7; GIA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [4000 / 6000
559. Pair of 18 kt. White Gold, Emerald and Diamond Earrings, mounted with 4 pear shape emeralds and 2 oval shape emeralds, total wt. approx. 10.80 cts.; bezels with round diamonds, total wt. approx. 0.79 ct.; l. 3/4 in.; GIA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [4000 / 6000]
560. 18 kt. White Gold, Emerald and Diamond Earrings, 2 center emerald cut emeralds, total wt. approx. 8.80 cts.; openwork floral bezels with numerous round diamonds, total wt. approx. 2.85 cts.; l. 1 in.; 8.11 dwts.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [5000 / 7000]
561. Platinum, Columbian Emerald and Diamond Ring, center oval modified mixed cut emerald, wt. approx. 3.18 cts.; halo and shoulders with 1.29 cts. of round brilliant cut diamonds; size 7; GGA and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [4000 / 6000]
563. Platinum, Emerald and Diamond Ring, center octagonal step cut emerald, wt. approx. 6.58 cts.; mounted with 82 round brilliant cut diamonds, total wt. approx. 1.34 cts.; size 6.75; AIGL and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [4000 / 6000]
562. Platinum, Emerald and Diamond Stud Earrings, 2 octagonal mixed cut emeralds, total wt. approx. 4.15 cts.; mounted with 0.82 ct. of round brilliant cut diamonds; GGA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [2000 / 3000]
564. Platinum, Heart Shape Emerald and Diamond Ring, center heart shape mixed cut emerald, wt. approx. 2.43 cts.; bezel and shoulders with 64 round brilliant cut diamonds; size 6.25; GGA and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [3500 / 4500]
565. Platinum, Emerald and Diamond Pendant on Chain, pear shape modified brilliant cut emerald, wt. approx. 4.69 cts.; openwork bezel and link with 93 round brilliant cut diamonds, total wt. approx. 1.08 cts.; l. 1 1/2 in.; AIGL and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [3500 / 4500]
566. Platinum, Emerald and Diamond Ring, center octagonal step faceted cut emerald, wt. approx. 7.74 cts.; double bezel and shoulders with 116 round brilliant cut diamonds, total wt. approx. 2.36 cts., F-G color, VS1-VS2 clarity; size 7; GGA and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [8000 / 12000]
567. Platinum, Emerald and Diamond Dangle Earrings, 2 octagonal step cut emeralds, total wt. approx. 10.09 cts.; mounted with 336 round brilliant cut diamonds, total wt. approx. 3.27 cts., G-H color, VS1-SI1 clarity; l. 1 7/8 in.; AIGL report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [10000 / 15000]
568. 18 kt. White Gold, Brazilian Emerald and Diamond Ring, oval modified brilliant cut emerald, wt. approx. 9.01 cts.; bezel with 59 round brilliant cut diamonds, total wt. approx. 1.00 ct.; size 7; AIGL and GIA reports. Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [6000 / 8000]
569. 14 kt. White Gold, Emerald and Diamond Ring, center octagonal step cut no oil GIA certified emerald, wt. approx. 4.91 cts.; mounted with 24 rectangular and marquise diamonds, total wt. approx. 5.00 cts.; size 6.75; AIGL and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [10000 / 15000]
570. 14 kt. Yellow Gold, Emerald and Diamond Necklace, mounted with 46 oval mixed cut emeralds, total wt. approx. 19.47 cts.; bezels with 598 round brilliant cut diamonds, total wt. approx. 7.06 cts.; l. 17 in.; AIGL report. Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [5000 / 7000]
571. Pair of 14 kt. Yellow Gold, Emerald and Diamond Earrings, mounted with 2 oval cabochon emeralds, total wt. approx. 7.05 cts.; ballerina style bezels with numerous baguette cut diamonds; l. 1 in.; post backs; 10.04 dwts.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [3000 / 5000]
572. Pair of 18 kt. White Gold, Emerald, Sapphire, Ruby and Diamond Earrings, mounted with 2 oval cabochon emeralds, total wt. approx. 3.60 cts.; 2 oval cabochon sapphires, total wt. approx. 7.15 cts.; and 2 oval cabochon rubies, total wt. approx. 5.36 cts.; bezels with diamonds, total wt. approx. 0.74 ct.; l. 1 in.; 6.40 dwts.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [2500 / 3500]
573. 18 kt. Yellow Gold, Ruby and Diamond Ring, center bezel set oval ruby; flanked by 2 round diamonds; mounted with numerous round diamonds; size 7.25; 7.18 dwts.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [5000 / 7000]
574. 18 kt. Two Tone Gold, Burmese Ruby and Diamond Ring, oval mixed cut Burmese ruby, wt. approx. 1.37 cts.; bezel and openwork shoulders with 0.31 ct. of round brilliant cut diamonds; size 6.25; GGA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [1200 / 1800]
575. 14 kt. Two Tone Gold, Ruby, and Diamond Ring, center oval mixed cut unheated ruby, wt. approx. 5.54 cts.; mounted with 0.96 ct. of round brilliant cut diamonds; size 7; GGA and GIA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [1500 / 2500]
576. 14 kt. White Gold, Diamond and Ruby Ring, center round diamond, wt. approx. 0.58 cts.; bezel with numeround oval rubies; size 6.25; 3.95 dwts.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [800 / 1200]
577. Platinum, Burmese Ruby and Diamond Ring, center cushion mixed cut Burmese ruby, wt. approx. 4.50 cts.; halo and shoulders with 24 round brilliant cut diamonds, total wt. approx. 1.22 cts.; size 6.75; AIGL and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [3000 / 5000]
578. Platinum, Burmese Ruby and Diamond Ring, GIA certified cushion mixed cut Burmese ruby, wt. approx. 2.41 cts.; double bezel and shoulders with 68 diamonds, total wt. approx. 1.22 cts.; size 6.75; AIGL and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [2500 / 3500]
579. Platinum, Burmese Ruby and Diamond Bracelet, mounted with 32 marquise mixed cut Burmese rubies, total wt. approx. 12.27 cts.; linked with 40 round briliant cut diamonds, total wt. approx. 2.18 cts.; l. 7 in.; AIGL and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [6000 / 8000]
580. Platinum, Ruby and Diamond Dangle Earrings, 2 center pear mixed cut rubies, total wt. approx. 4.82 cts.; mounted with 1.66 cts. of round brilliant cut diamonds; l. 1 1/4 in.; GGA and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [1800 / 2500]
581. Platinum, Ruby and Diamond Necklace, mounted with 51 graduated oval brilliant faceted cut Mozambique rubies, total wt. approx. 55.39 cts.; bezels with 1032 round brilliant cut diamonds, total wt. approx. 4.32 cts.; l. 17 1/2 in.; GGA and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [10000 / 15000]
582. Platinum, Blue Sapphire and Diamond Ring, center oval mixed cut sapphire, wt. approx. 2.60 cts.; bezel and sprays with 2.43 cts. of round diamonds; size 6; GGA and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [3000 / 5000]
583. Platinum, Sri Lankan Sapphire and Diamond Ring, center oval brilliant faceted cut Sri Lanka sapphire, wt. approx. 9.31 cts.; shoulders with 22 baguette and 20 round brilliant cut diamonds, total wt. approx. 2.26 cts., F-G color, VS1-VS2 clarity; size 6; GGA and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [8000 / 12000]
584. Platinum, Sri Lankan Sapphire and Diamond Necklace, mounted with 171 oval brilliant faceted cut Sri Lanka sapphires, total wt. approx. 93.25 cts.; accented by 4.01 cts. of round brilliant cut diamonds; l. 17 1/2 in.; GGA reportPlease Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [15000 / 25000]
585. Platinum, Kashmir Sapphire and Diamond Ring, cushion mixed cut pink sapphire, wt. approx. 2.60 cts.; mounted with 0.95 ct. of round brilliant cut diamonds; size 6.5; AIGL and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [2500 / 3500]
586. Platinum, Kashmir Sapphire and Diamond Ring, center oval mixed cut pink sapphire, wt. approx. 2.26 cts.; mounted with 36 round brilliant cut diamonds, total wt. approx. 0.91 ct.; size 6.5; AIGL and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [2000 / 3000]
587. Platinum, Kashmir Sapphire and Diamond Ring, center triangular mixed cut pink sapphire, wt. approx. 1.02 cts.; mounted with 0.65 ct. of round brilliant cut diamonds; size 7; AIGL and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [1500 / 2500]
588. Platinum, Kashmir Sapphire and Diamond Bracelet, mounted with 65 mixed shape and cut purplish pink sapphires, total wt. approx. 49.39 cts.; accented by 59 round brilliant cut diamonds, total wt. approx. 1.29 cts.; l. 7 1/4 in.; GGA and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [8000 / 12000]
589. Platinum and Multicolor Sapphire Line Bracelet, mounted with 30 octagonal step faceted cut multicolor sapphires, total wt. approx. 18.08 cts.; l. 7 in.; GGA and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [4000 / 6000]
590. Platinum and Multicolor Sapphire Line Necklace, mounted with 82 octagonal step faceted cut multicolor sapphires, total wt. approx. 48.00 cts.; l. 17 1/4 in.; GGA and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [10000 / 15000]
591. Art Deco Style Platinum, Tanzanite and Diamond Ring, center octagonal step cut tanzanite, wt. approx. 6.28 cts.; mounted with 68 round brilliant cut diamonds, Mined in the “D” Block Section, total wt. approx. 0.77 ct.; size 6.5; AIGL and GIA reports.[4000 / 6000]
592. Pair of Art Deco Style Platinum, Tanzanite and Diamond Dangle Earrings, mounted wit 4 rectangular cushion brilliant cut tanzanite, total wt. approx. 14.60 cts.; drops with 64 round brilliant cut diamonds, total wt. approx. 0.95 ct., F-G color, VS1-VS2 clarity; l. 1 1/2 in.; GGA report. [5000 / 7000]
593. Pair of Platinum, Tanzanite and Diamond Dangle Earrings, mounted wit 4 triangular brilliant faceted cut tanzanite, total wt. approx. 9.00 cts.; bezels and links with 108 round brilliant cut diamonds, total wt. approx. 1.35 cts., F-G color, VS1-VS2 clarity; l. 2 in.; GGA report. [3000 / 5000]
595. Platinum, Aquamarine and Diamond Pendant on Chain, mounted with 50.80 carat octagonal step faceted cut aquamarine, wt. exact 50.80 cts., 24.87 x 20.39 x 12.84 mm; double bezel and link with 121 round brilliant cut diamonds, total wt. approx. 4.83 cts.; pendant l. (incl. bail) 2 1/4 in.; chain l. 18 in.; GGA and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer.[15000 / 25000]
594. Platinum, Tanzanite and Diamond Necklace, asymmetrically mounted with 44 rectangular cushion mixed cut graduated tanzanite, total wt. approx. 116.05 cts.; some with bezels mounted with 364 round brilliant cut diamonds, total wt. approx. 3.25 cts.; l. 17 1/2 in.; GGA report. [25000 / 35000]
596. Platinum, Multicolor Spinel and Diamond Bracelet, mounted with 22 multi shape brilliant faceted cut spinel, total wt. approx. 22.81 cts.; accented with 82 round brilliant cut diamonds, total wt. approx. 1.59 cts.; l. 7 in.; GGA report. [3500 / 4500]
597. Platinum, Tourmaline and Diamond Pendant on Chain, center pear shape mixed cut blue green tourmaline, wt. approx. 2.64 cts.; bezel and bail with 0.27 ct. of round brilliant cut diamonds; pendant l. 1 in.; chain l. 18 in.; GGA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [800 / 1200]
599. Platinum, “Watermelon” Tourmaline and Diamond Dangle
Earrings, 2 octagonal step faceted cut bi-colored tourmalines, total wt. approx. 20.19 cts.; mounted with 174 round brilliant cut diamonds, total wt. approx. 1.51 cts.; l. 2 in.; GGA report.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer.[3000 / 5000]
598. Pair of 14 kt. White Gold, Turquoise and Kunzite Dangle
Earrings, mounted with 2 oval cabochon turquoise, total wt. approx. 15.29 cts.; drops with 2 octagonal step cup purplish pink kunzite, total wt. approx. 25.94 cts.; linked by 2 round brilliant cut diamonds, total wt. approx. 0.82 ct.; l. 1 3/8 in.; AIGL report. [2000 / 3000]
600. Platinum, Paraiba Tourmaline and Diamond Ring, center oval modified brilliant cut paraiba tourmaline, wt. exact 2.45 cts.; double bezel with 40 round brilliant cut diamonds, total wt. approx. 0.85 cts.; size 6.75; AIGL and GIA reports.Please Note: Payment for all jewelry and all couture items MUST be made by cash, check or wire transfer., [2500 / 3500]
AUCTION SCHEDULE
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
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Michelle LeBlanc Leckert, CAI President
Katherine Hovas
Senior Vice President
ADMINISTRATION
Director of Administration & Finance
Michelle LeBlanc Leckert, CAI
Client Services / Accounts Receivables
Rebekah Abernathy
Marketing & Social Media
Cameron McHarg
General Manager
Jason Leckert
Administrative Assistant
Claire Whitmore
GRAPHICS
Graphics Director / Catalogue Design
David Roberts
Photography
Gerard Lewis
Jorge Diaz
OPERATIONS
Operations Staff
Charlie Clay
Jerry Major
Graphics Staff
Stephanie Do Ouro
Amanda Torres
Richard McClain
Adam Trepagnier
Decorative Arts Inventory Management
Charlie Clay
AUCTIONEERS
Michelle LeBlanc Leckert #1514
Bettine Field Carroll #1874
Marc Fagan #1935
Marney Robinson #2155
Cameron McHarg #2184
Marc Fagan Vice President Consignments
CONSIGNMENTS
Paintings, Prints & Photography, Sculpture
Marney Robinson; Sophie Hirabayashi; Casey Foote; Heather Munch
Books, Maps & Natural History Prints, Modern Furniture
Marc Fagan
Antique Furniture & Decorative Arts
Jason Leckert
Silver & Decorative Arts; Material Culture
Katherine Hovas
Jewelry & Couture
Cameron McHarg
Fine Art Inventory Manager, Wine & Spirits
Casey Foote
Consignments
Administrator
Veronica Cross
AUCTION SERVICES
Trust & Estates Advisor
Henry G. McCall
Appraisals
Marc Fagan, Cameron McHarg
CATALOGUE CONSULTANTS
Asian Arts & Special Projects
Bettine Field Carroll
Decorative Arts & Victoriana
Ann M. Masson
Jewelry/GIA Graduate Gemologist
Stephen A. Moses
John R. Neal (1940-2018), Founder
