Browse By Lot Number
New Page 1
Browse By Category

Information below is the lot/description information from our Louisiana Purchase Auction, November 16, 17 & 18, 2018. Descriptions listed below are NOT guaranteed accurate. Call 1-800-467-5329 for general information on Neal Auction Company. Follow the catalogue link to order our beautifully illustrated catalogue.

You are at > Lots 501-600

Place An Absentee/Telephone Bid



501. Hunt Slonem (American/Louisiana, b. 1951), "Anemonies", 2012, oil on canvas, signed, titled, dated and inscribed en verso, 40 in. x 30 in., unframed. $4000/6000

502. Hunt Slonem (American/Louisiana, b. 1951), "Metallic Bunnies", 2016, oil on wood panel, signed and dated en verso, 29 in. x 24 in., framed. $3000/5000

503. Frank Hayden (American/Louisiana, 1934-1988), "Sage", 1989-90, mixed media diptych on plywood, signed and titled on both panels en verso, dated on right panel en verso, overall 71 3/4 in. x 72 in., unframed. (2 pcs.) $5000/8000
Provenance: Arthur Roger Gallery, New Orleans.
Note: Baton Rouge-based artist Frank Hayden learned that finding the emotion in his work was the key to success from his mentor, Ivan Meštrović, the great Croatian sculptor. Hayden combined European Modernism and African Tribal influences, always staying rooted in the human body as his subject. Utilizing many different materials to craft his works (clay, fiberglass, wood, stone, plaster and canvas), he always reflected a deep spiritual and humanist concern. The work offered here, “Sage,” exemplifies this element beautifully, revealing the thoughtful face of a man in deep meditation. The work seems to personify Hayden himself as he commented on his art: "My art does not recognize a hierarchy of ideas and materials. It simply saturates existence into a significant form. That form has been achieved through long and difficult reflection or drawn from the possibilities and concerns of the moment. In either case, the prospect of beauty is constant and is all that is needed to guide my hand and heart."
Ref.: Green, Don M. “The Legend of Frank Hayden.” Views from Southern University. Sept. 9, 2017. www.viewsfromsu.com. Accessed Oct. 16, 2018.

504. George Rodrigue (American/Louisiana, 1944-2013), "Angel on My Shoulder", 1997, acrylic on canvas, signed lower right, titled on label on reverse of frame, 36 in. x 82 in., framed. $80000/120000
Provenance: Rodrigue Studio, Carmel, CA.
Ill.: Rodrigue, George. Blue Dog Speaks. New York: Sterling, 2008, pp. 384-85; Rodrigue, George. Blue Dog Man. New York: Stewart, Tabori & Chang, 1999, pp. 90-91.
"When I first decided to paint Cajun landscapes, I knew that light would play a unique role in my work. In Louisiana, the light is always distant, obscured by a low sky and the moss-draped branches of the oak trees. In my recent paintings, however, I’ve manipulated my old “rules” in order to reflect new moods and new environments. My Louisiana is not dark these days. Indeed, it is full of color and light. In ‘Angel on My Shoulder,’ Blue Dog’s bad counterpart – always in red – sits off to one side; on the other side is the light of artistic freedom, emanating from the very same oak tree that once obscured it.” – George Rodrigue Ref.: Rodrigue, George. Blue Dog Man. New York: Stewart, Tabori & Chang, 1999, p. 90-91.

505. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), "Translumined", 1961, oil on canvas, signed lower right, titled on "Henri Gallery, Alexandria, VA" label en verso, 45 in. x 69 in., framed. $20000/30000
Note: In 1957, Newcomb College professor Pat Trivigno offered Mark Rothko a visiting artist position at the school. Rothko accepted and moved his family into the Metairie home of Ida Kohlmeyer’s late mother. The resulting friendship between Kohlmeyer and Rothko would have a profound influence on the trajectory of her work. The painting offered here, entitled “Translumined,” marks an early transition towards Kohlmeyer’s iconic cluster series and may be regarded as a quintessential milestone in the evolutionary arc of her oeuvre. In the painting, subtle delineations of rich, deep color float within a sea of white and clearly foreshadow her later work. Interestingly, this canvas fits perfectly within the art historical framework of Kasimir Malevich’s earlier composition “White on White” and Rothko’s later creation “Black on Grey," placing Kohlmeyer squarely within the upper echelons of the abstract expressionists.



506. Hunt Slonem (American/Louisiana, b. 1951), "Untitled (Orange Butterflies)", oil on wood, unsigned, 2 "Phillips du Pury & Co." labels with artist and title en verso, 24 in. x 18 in., framed. $4000/6000

507. Hunt Slonem (American/Louisiana, b. 1951), "White Bunny", 2015, oil on wood panel, signed and dated en verso, 20 in. x 14 in., framed. $3000/5000

508. William Dunlap (American/Mississippi, b. 1944), "Spring Storm - Run Off", mixed media on paper, signed lower right, titled lower left, 43 3/4 in. x 39 3/4 in., framed. $2000/3000

509. New Orleans Art Pottery Jardinière, c. 1886-91, potted by George Ohr, glazed by Joseph Meyer, in "Rockingham" glaze, decorated with diagonal bands of phlox flower heads and floral sprigs, signed on the base in sgraffito "The Pottery Club/249 Baronne St./N.O./La.", h. 16 1/2 in., w. 18 in. $20000/30000
Provenance: Jean Bragg Gallery, New Orleans, LA, Jan. 27, 2012, $18,000; Neal Auction Company, Oct. 7, 2000, lot 433.
Ill.: Bragg, Jean and Dr. Susan Saward, The Newcomb Style, New Orleans: Jean Bragg Gallery, 2002, p. 81, no. 101. Bragg, Jean and Dr. Susan Saward, Painting the Town: The Woodward Brothers Come to New Orleans, New Orleans, 2004, p. 76.
Note: The predecessor to Newcomb Pottery, New Orleans Art Pottery was founded in 1886 by Tulane professor and artist William Woodward and his brother artist Ellsworth Woodward, who hired potter Joseph Fortune Meyer initially to build the company’s kiln. Meyer later invited a young eccentric potter by the name of George Ohr from Biloxi, Mississippi to assist with teaching pottery classes held at the company’s studio located at 249 Baronne Street in New Orleans. Meyer would later join the Newcomb Art School pottery department, while Ohr went on to craft the innovative and stylistic pottery he became celebrated for long after his death.
The rare and monumental jardinière in the present lot, featuring a rich tawny glaze, applied beadwork, and robust leaf handles, was molded by George Ohr and glazed by Joseph Meyer. The base of the vessel is marked “The Pottery Club, 249 Baronne St., N.O. La.” in Joseph Meyer’s handwriting.
Ref.: Bragg, Jean Moore and Dr. Susan Saward. The Newcomb Style: Newcomb College Arts & Crafts and Art Pottery. New Orleans: Jean Bragg Gallery, 2002, pp. 76-81.

510. Justin Forbes (American/New Orleans, 1967-2017), "The Three Ambers", 1992, oil on canvas, signed and dated lower right, titled en verso, 56 1/2 in. x 66 in., framed. $4000/6000
Provenance: Acquired from the artist.
Note: Viewing a Justin Forbes painting is not dissimilar to looking at a clip from a vaguely autobiographical film. The viewer is invited to sit and watch the show, with characters that seem strangely familiar and backgrounds that appear like stage settings. The artist's careful use of color and shadow are seen through an exaggerated perspective which appears to engulf the viewer in the visual narrative.
Ref.: “Justin Forbes Bio Page.” SAATCHI ART. www.saatchiart.com. Accessed Oct. 18, 2018.

511. Frederick Prescott (American/New Mexico, b. 1949), "Wall Street Boogie", 1988, acrylic on steel kinetic sculpture, signature and date welded on self-base, h. 65 in. $1500/2500

512. Alberta Kinsey (American/New Orleans, 1875-1952), "Blue Door, French Quarter", oil on canvas laid on board, signed lower right, "Farish Art Store" label en verso, 12 1/2 in. x 9 1/4 in., framed. $800/1200

513. Louis George Bouché (American, 1896-1969), "Spanish Moss", oil on canvas, signed lower left, "Kraushaar Galleries, New York" label with artist and title on stretcher, 26 in. x 20 in., framed. $1200/1800



514. George Rodrigue (American/Louisiana, 1944-2013), "Sunshine Dog", 2009, acrylic on canvas, signed lower right, signed, titled and dated en verso, 48 in. x 36 in., framed. $40000/60000
Note: George Rodrigue’s paintings are undeniably rooted in the Louisiana landscape, yet his frequent travels often inspired him as well. New Mexico, particularly Santa Fe, merited annual visits by the artist beginning in the 1980s, many times as a stop on his long drives to California. Much like with his oak trees and bayous, the geography of the American West became stylized on Rodrigue’s canvases, such as “Sunshine Dog” offered here. The graphic shapes and elements may have little connection to the real world, nevertheless Rodrigue successfully captures the feeling of wide open space, vibrant mountains and an enchanting sunset. Many of the distinctive Rodrigue compositional traits remain to make this late work an instant classic – the iconic shape of the Blue Dog with his feet melding into the landscape, the high horizon line and bright colors.



515. George Rodrigue (American/Louisiana, 1944-2013), "Hells Kitchen", 2011, acrylic on canvas, signed lower right, signed, titled and dated en verso, 40 in. x 30 in., framed. $40000/60000
Note: As George Rodrigue’s Blue Dog series progressed, the elements in the paintings often related less to his Cajun heritage and more to the people and objects that filled the artist’s day to day life. Rodrigue was friends with many chefs throughout his life – admiring whose who achieved a mastery of craft and unique style no matter the art form. Rodrigue’s original paintings, inspired by friends like Paul Prudhomme, located the chefs within the Acadiana landscape. Later, his Blue Dogs became the chefs with the addition of white coats, hats and aprons – gazing out from tables or as in the aptly-titled work offered here, “Hell’s Kitchen.”



516. Clementine Hunter (American/Louisiana, 1886-1988), "Watermelon Picnic", oil on board, monogrammed mid-right, inscribed en verso, 12 1/4 in. x 14 in., unframed. $4000/6000



517. William Hemmerling (American/Louisiana, 1943-2009), "Untitled (Procession)", house paint and wood varnish on found oil on canvas, signed lower right, inscribed en verso, 24 in. x 30 in., framed. $3000/5000
Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.
Note: In the work offered here, Louisiana artist Bill Hemmerling wrote on the reverse: "This is an old painting someone gave me and I always paint over them leaving small bits of the original as background. It's called a piggy back." In the usage of the found canvas, Hemmerling retained a detail of a window and small bare tree in the upper center of the painting, and he then utilized paint, varnish and wood stains to achieve a stark contrast between his characteristic figures and the background. The haunting procession moves through the landscape with umbrellas held aloft, dissecting the composition and creating a moving representation of the American South.
Ref.: Dobie, Ann. "John Genin." Encyclopedia of Louisiana. Louisiana Endowment for the Humanities. Sept. 12, 2012. https://64parishes.org. Accessed Oct. 17, 2018.

518. Rolland Harve Golden (American/New Orleans, b. 1931), "Bourbon Street, New Orleans", 1963, watercolor on paper, signed and dated lower right, 22 in. x 29 3/4 in., framed. $1000/1500

519. Jack Jordan (American/Louisiana, 1925-1999), "Women in Robes", 1985, oil on board, signed and dated lower right, 22 in. x 16 in., framed. $1200/1800



520. Jim Blanchard (American/Louisiana, b. 1955), "Louisiana Statehouse", watercolor on paper, signed lower right, 24 1/4 in. x 40 1/2 in., framed. $5000/8000 Note: Jim Blanchard has been referred to as an “Architectural Archive Artist” who uses “…the mathematic exactness of the architect’s rendering and the visual elegance of an artist’s brush” to create his works. Blanchard uses very detailed pen and ink drawings often taken from old records, prints, plans and photographs to recreate a “visual architectural memory” of buildings that no longer exist in Louisiana yet hold architectural importance. Adding layer upon layer of watercolor and gouache, Blanchard produces a striking recreation of the buildings. A beautiful example offered here is “Louisiana Statehouse,” a building designed by Henry S. Latrobe in 1815 for Charity Hospital and used as the Statehouse from 1835-1849 until demolished in 1859.
Ref.: Blanchard, Jim. Magnificent Obsession. China: PRC Book Printing, 2017.

521. Don Reggio (American/Louisiana, b. 1950), "Sugar Barrels on the Levee", 2004, oil on canvas, signed and dated lower right, 18 in. x 24 in., framed. $1500/2500



522. Signed Imperial Cabinet Card of Mark Twain and George Washington Cable, c. 1884, albumen photograph by Napoleon Sarony, on black mount, with Sarony's New York imprint in gilt, signed by both sitters, image 11 3/4 in. x 7 1/8 in., card 13 in. x 7 1/2 in., framed. $1500/2500
Provenance: Collection of Ray Samuel, New Orleans.
Note: Napoleon Sarony (1821-1896), born in Canada, arrived in New York in the 1930s. Working as a lithographer, he was a partner in Sarony, Major & Knapp, one of the most successful companies in the field, which later became the American Lithographic Company. A visit to his photographer brother in Europe inspired Sarony to start a studio in New York. He was one of the first to implement the practice of paying well-known individuals to pose for him and then retaining the rights to sell celebrity photos for a profit.
Sarony was the plaintiff in one of the most famous copyright cases in history; involving the unauthorized reprinting of Sarony's photograph of Oscar Wilde. As a result the Supreme Court upheld a photographer's right to claim copyright protection on his own photographs as an original work of art.
One of the lessons Twain learned at the start of his career was that a lecture tour was a good way to advertise and promote a new book. Although he hadn't toured since the early 1870s, by the summer of 1884 he had hired Major J.B. Pond as the agent, and contracted with George Washington Cable, author ofThe Grandissimesand other fiction about New Orleans, to accompany him as a performer. Together Twain and Cable were billed as "The Twins of Genius," and took the stage for over 103 performances in about 80 cities between 5 November 1884 and 28 February 1885. The photo in this lot was taken in the fall of 1884, and was used in the promotion of the tour.
Ref.: http://twain.lib.virginia.edu/huckfinn/hftourhp.html. Accessed Oct. 3, 2018.; http://www.twainquotes.com/sarony/sarony.html. Accessed Oct. 3, 2018.

523. Clarence John Laughlin (American/Louisiana, 1905-1985), "The Florid Dress (Black and White No. 3): 1941", silver gelatin print mounted on illustration board, signed and titled lower margin, artist stamp, titled and inscribed "Print made by C.J.L. 1/12/79" en verso 13 3/8 in. x 10 7/8 in., framed. $800/1200



524. Juanita Louise Gonzales (American/New Orleans, 1903-1935), "Rare Arts Decoratifs Ceramic Fireplace Mantel", grey, blue and pink glaze, later wood base, h. 64 in., w. 38 1/2 in., d. 6 in.; together with 2 photographic reproductions, one of original watercolor study and one of mantel in situ, 11 in. x 8 1/2 in. and 9 1/2 in. x 7 3/4 in., framed alike. (3 pcs.) $8000/12000
Ill.: Cox, Paul Ernest. "Potteries of the Gulf Coast". Ceramic Age June 1935: 196-197. Note: Born in New Orleans to Juan Gonzales, who was Spanish-born but raised in Cuba, and Louise Schwenck of Louisiana, Juanita Gonzales attended Newcomb College, graduating with a Bachelor of Design in 1925. Gonzales then moved to New York to study with the Russian avant-garde artist Alexander Archipenko and worked there until 1931. Returning to New Orleans, Gonzales joined the faculty at Newcomb College, as well as teaching courses at the Arts and Crafts Club and retaining a studio on Governor Nicholls Street, where she created works in a variety of media.
Gonzales was best known for her talent in ceramics and sculpture and was well noted for “her research work in the development of glazes and enamels.” Examples of her work, such as the vase with seahorse handles now conserved in the Louisiana State Museum, are scarce due to her untimely death in 1935 after a long illness, but her reputation as a master ceramicist remains. The fireplace surround offered here is a rare and stunning piece from her oeuvre and clearly demonstrates her skill as a designer and her talent at ceramics. The multi-piece fluted mantle and surround is glazed in blue-gray and pink, and incorporates stylized Art Deco designs so reminiscent of the time.
Ref.: Cox, Paul E. “Potteries of the Gulf Coast.” Ceramic Age. June 1935: 196-197.



525. Newcomb College Art Pottery High Glaze Chocolate Pot, 1907, decorated by Marie Levering Benson with incised pine tree motif and lines, blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. BQ96 and "Q" for buff clay body, h. 10 in., dia. 5 1/2 in. $5000/7000



526. Newcomb College Art Pottery Vase, 1910, decorated by Anna Frances Simpson with relief-carved white prickly poppy motif, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. DY99 and "K" for white clay body, h. 6 1/8 in., dia. 3 in. Note: The letter "K" can also indicate use of a slightly different or experimental body or glaze. $3000/5000

527. Newcomb College Art Pottery High Glaze Wall Pocket, 1901, decorated by Katherine Wood with lotus blossoms motif, blue, green and yellow underglaze, interior marked with Newcomb cipher, decorator's mark, reg. no. C70, and early Newcomb triangular date mark, h. 11 3/4 in., dia. 4 in. $10000/15000
Ill.: Bragg, Jean and Dr. Susan Saward, The Newcomb Style, New Orleans: Jean Bragg Gallery, 2002, p. 86, no. 112.



528. Newcomb College Art Pottery Vase, 1916, decorated by Anna Frances Simpson with low relief-carved landscape in the pine trees design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's mark, and reg. no. HU27, h. 6 1/2 in. $4000/6000

529. Newcomb College Art Pottery High Glaze Plate, 1907, decorated by Maria de Hoa LeBlanc with incised band of roosters and grapevines on rim, blue, green and mustard yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. RX89, and "Q" for buff clay body, dia. 8 7/8 in. $5000/7000



530. Newcomb College Art Pottery Vase, 1912, decorated by Sadie Irvine with relief-carved jonquils motif, semi-matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. FJ50, and "B" for buff clay body, h. 8 in. $5000/7000



531. Newcomb College Art Pottery Vase, 1931, decorated by Sadie Irvine with relief-carved landscape in the "Moon and Tall Pines" design, semi-matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Jonathan Hunt's decorator's mark, reg. no. SX44, and shape no. 330, h. 9 1/8 in. $8000/12000



532. Newcomb College Art Pottery Vase, 1917, decorated by Henrietta Bailey with relief-carved arrowhead plants, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. JD65 and shape no. 232, h. 13 3/8 in. $15000/25000
Ill.: Bragg, Jean and Dr. Susan Saward, The Newcomb Style, New Orleans: Jean Bragg Gallery, 2002, p. 108, no.165.



533. Newcomb College Art Pottery Vase, 1919, decorated by Sadie Irvine with relief-carved landscape in the Moon and Washingtonia Palm tree design, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, reg. no. KJ70 and shape no. 268, h. 10 1/2 in. $12000/18000
Ill.: Bragg, Jean and Dr. Susan Saward, The Newcomb Style, New Orleans: Jean Bragg Gallery, 2002, p. 104, no. 155.



534. Newcomb College Art Pottery High Glaze Lidded Creamer, 1903, decorated by Ada Wilt Lonnegan with incised irises motif, blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. DD73, and "W" for white clay body, h. 3 3/4 in., w. 4 1/4 in. $3000/5000



535. Newcomb College Art Pottery Vase, 1932, decorated by Sadie Irvine with relief-carved "Moon and Moss" design, matte glaze with blue and green underglaze, base marked the Newcomb cipher, decorator's mark, Kenneth Smith's potter's mark, and reg. no. UA44, h. 4 1/4 in. $4000/6000

536. Newcomb College Pierced Brass Letter Holder, c. 1930, by Rosalie Roos Weiner (1899-1982), cut with a moss-laden live oak, h. 4 1/4 in., w. 3 3/4 in., d. 1 3/4 in. $1500/2500
Provenance: Jean Bragg Gallery, New Orleans, LA, May 16, 2013; Weiner Estate Auction, Hampshire House, Kenner, LA, June 2001.
Ill.: Bragg, Jean and Dr. Susan Saward, The Newcomb Style, New Orleans: Jean Bragg Gallery, 2002, p. 149, no. 218.

537. Newcomb College Copper Mailbox, c. 1920-45, by Juanita Mauras (1880-1952), scalloped top, tapered sides, front cut with a moss-laden live oak framed by tendrils, h. 11 1/2. in., w. 9 in., d. 2 in. $1500/2500
Provenance: Jean Bragg Gallery, New Orleans, LA, Sept. 15, 2012.
Ill.: Bragg, Jean and Dr. Susan Saward, The Newcomb Style, New Orleans: Jean Bragg Gallery, 2002, p. 149, no. 220.

538. Newcomb College Hand-Wrought Sterling Silver Matchbox Holder, c. 1920-30, artist unknown, rectangular with a molded border and decorated with a cypress tree, h. 2 1/2 in., w. 1 3/4 in., d. 1/2 in. $1000/1500
Provenance: Jean Bragg Gallery, New Orleans, LA, Jan. 2012; Collection of Walter Bob.
Ill.: Bragg, Jean and Dr. Susan Saward, The Newcomb Style, New Orleans: Jean Bragg Gallery, 2002, p. 163, no. 247; Conradsen, David, et. al., The Arts & Crafts of Newcomb Pottery, New York: Skira Rizzoli Publications, Inc., 2013, p. 252, p. 252, pl. 173; Poesch, Jessie and Sally Main Newcomb Pottery: An Educational Enterprise for Women 1895-1940, Atglen, PA: Schiffer Pub. Ltd., 2003, p. 233, fig. 5-88.
Exh.: "Women, Art and Social Change: The Newcomb Pottery Enterprise " Newcomb Art Gallery and Smithsonian Institution Traveling Exhibition Services, 2013-2016.

539. Newcomb College Pierced Brass Doorbell, c. 1920-45, by Juanita Mauras (1880-1952), interlocking arches and circles centering a moss-laden like oak tree, h. 3 1/2 in., w. 2 in. $500/750
Provenance: Jean Bragg Gallery, New Orleans, LA, Sept. 15, 2012.
Ill.: Bragg, Jean and Dr. Susan Saward, The Newcomb Style, New Orleans: Jean Bragg Gallery, 2002, p. 149, no. 221.



540. Newcomb College Art Pottery Lidded Jar, 1919, decorated by Anna Frances Simpson with relief-carved Cherokee roses motif, matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, and shape no. 100, both lid and base marked with reg. no. KL73, h. 6 7/8 in. $10000/15000



541. Newcomb College Art Pottery High Glaze Tankard, 1907, decorated by May Louise Dunn with high relief-carved pansies motif, dark blue, green and mustard yellow underglaze, base marked with an effaced Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. BT31, and "Q" for buff clay body, h. 5 3/8 in. $3000/5000



542. Newcomb College Art Pottery Candlestick, 1919, decorated by Henrietta Bailey with relief-carved maple wing motif, semi-matte glaze with blue, green, and pink underglaze, base marked with Newcomb cipher, decorator's mark, reg. no. KP7 and shape no. 232, retains original paper label, h. 7 in., dia. 4 1/4 in. $1500/2500



543. Newcomb College Art Pottery Pitcher, 1927, decorated by Anna Frances Simpson with relief-carved band of Cherokee roses on shoulder, matte glaze with blue, green, white and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. QF50 and shape no. 230, h. 7 3/4 in., dia. 5 1/4 in. $2500/3500
Provenance: Neal Auction Company, New Orleans, LA, Feb. 3, 2007, lot 306; Collection of Charles and Susan Murphy, New Orleans, LA.



544. Newcomb College Art Pottery Vase, 1922, decorated by Sadie Irvine with low relief-carved Cherokee roses motif, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. MW64 and shape no. 182, h. 5 3/4 in. $2500/3500

545. Newcomb College Art Pottery Vase, 1919, decorator unknown, trumpet form modeled with relief-carved narcissus motif, matte glaze with blue, green, white and yellow underglaze, base marked with Newcomb cipher, Joseph Meyer's potter's mark, reg. no. KP69 and shape no. 170, h. 7 5/8 in., dia. 3 3/8 in. $2000/3000
Provenance: Craftsman Auction, Lambertville, NJ, Mar. 11, 2006, lot 534.



546. Newcomb College Art Pottery Teapot, 1928, decorated by Sadie Irvine with relief-carved "Moon and Moss" at twilight design, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator's mark, Jonathan Hunt's potter's mark, reg. no. RA and shape no. 191, h. 5 in., w. 8 1/8 in., d. 4 7/8 in. $1000/1500
Provenance: Descended in the family of Judge Albert Gallatin Brice and Mary Bella Prague Sherman Brice, New Orleans.

547. Newcomb College Art Pottery Vase, 1931, decorated by Sadie Irvine with relief-carved band of Japanese loquat plum motif, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator's mark, Jonathan Hunt's potter's mark, and reg. no. SZ57, h. 6 1/2 in., dia. 4 in. $1000/1500



548. Newcomb College Art Pottery Low Bowl, 1921, decorated by Anna Frances Simpson with relief-carved band of gardenias, matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, and reg. no. MC31, h. 2 3/8 in., dia. 7 in. $1000/1500



549. Newcomb College Art Pottery Vase, 1928, decorated by Anna Frances Simpson with high relief-carved moss and cypress tree landscape design at twilight, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator's mark, faint Joseph Meyer's potter's mark, reg. no. QZ69 and partially illegible shape no. (possible 33), h. 6 1/8 in., dia. 3 1/4 in. $3000/5000



550. Newcomb College Art Pottery Vase, 1915, decorated by Ethel Canney Crumb with relief-carved white narcissus motif, matte glaze with blue and green underglaze, base marked with partial Newcomb cipher, faint decorator's mark, Joseph Meyer's potter' mark, reg. no. HJ31, h. 8 1/4 in., dia. 3 1/8 in. $2500/3500



551. Newcomb College Art Pottery Vase, 1926, decorated by Anna Frances Simpson in the "Moon and Moss" landscape design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. PX75 and shape no. 77, h. 6 7/8 in., dia. 3 6/8 in. $2500/3500



552. Newcomb College Art Pottery Bottle Vase, 1923, decorated by Sadie Irvine with relief-carved irises motif with moderately scalloped rim, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. NP56 and shape no. 96, h. 7 1/8 in., dia. 4 1/2 in. $2500/3500



553. Newcomb College Art Pottery Creamer with Lid, 1912, decorated by Sadie Irvine with relief-carved chinaberry motif with lines, semi-matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. FA3 and circled "B" for buff clay body with semi-matte glaze, h. 4 7/8 in., w. (incl. handle and spout) 4 3/8 in. Note: Possible Alma Florence Mason decorator's mark in sgraffito on base of lid. $1200/1800



554. Newcomb College Art Pottery Two-Handled Vase, 1917, decorated by Sadie Irvine with relief-carved flowering dogwood motif and lines, matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. JE18 and shape no. 254, h. 4 1/4 in., w. (incl. both handles) 4 1/2 in. $1500/2500

555. Henri Augustin Gambard (French, 1819-1882), "Portrait of a Lady in Black, possibly a member of the Gaudet family of St. James Parish", 1856, oil on canvas, signed and dated mid-left, 39 1/2 in. x 32 in., framed. $2000/3000
Provenance: By repute, plantation in St. James Parish; Neal Auction Company, Dec. 9, 2000, lot 589; Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.
Note: French artist Henri Gambard was commissioned by the Gaudet family of St. James Parish to paint a series of portraits. Gambord captured likenesses of John Valery Gaudet (1799-1856), as well as his son and daughter-in-law, Amédée Michel Gaudet (1827-1867) and Louise Mary Ilsley Gaudet (1829-1869).

556. Alexander John Drysdale (American/New Orleans, 1870-1934), "Louisiana Bayou in Moonlight", oil wash on board, signed lower left, inscribed en verso, 20 in. x 29 3/4 in., framed. $2500/3500

557. Knute Heldner (Swedish/New Orleans, 1877-1952), "Marsh Landscape", 1950, oil on canvas, signed lower right, pencil-inscribed and dated on stretcher, 14 in. x 16 in., framed. $1000/1500

558. Clementine Hunter (American/Louisiana, 1886-1988), "Courtroom Scene", oil on canvas board, monogrammed lower right, partial sketch and inscribed en verso, 22 in. x 30 in., framed. $4000/6000
Provenance: Acquired from the family of Cammie Henry, c. 1980.

559. Clementine Hunter (American/Louisiana, 1886-1988), "Baptism", oil on canvas board, monogrammed lower right, 14 in. x 18 in., framed. $3000/5000



560. Clementine Hunter (American/Louisiana, 1886-1988), "Zinnias", oil on board, monogrammed lower right, 24 in. x 15 3/4 in., framed. $3000/5000

561. Clementine Hunter (American/Louisiana, 1886-1988), "Gift of the Magi", oil on board, monogrammed mid-right, 16 in. x 24 in., framed. $3000/5000
Provenance: Acquired from the artist.

562. Laura Woodward (American/Florida, 1834-1926), "Dandelions", 1885, watercolor on paper, signed lower right and dated on ribbon, 9 5/8 in. x 6 in., framed. $600/800

563. Anna Elizabeth Allen (American/Florida, 1881-1959), "Summer Day", oil on board, signed lower right, 12 in. x 16 in., framed. $800/1200

564. Orlando Schubert (American/Florida, 1844-1928), "Coastal Landscape", watercolor on paper, signed and inscribed "Tampa" lower right, 8 1/2 in. x 11 3/8 in., matted. $500/1000



565. Robert "Bruce" Crane (American, 1857-1937), "Twilight in the Country", oil on canvas laid on board, signed lower right, 9 7/8 in. x 13 1/4 in., framed. $2000/3000

566. William Aiken Walker (American/South Carolina, 1838-1921), "Cotton Pickers", oil on panel, signed lower left, inscribed en verso, 9 in. x 12 in., framed. $7000/10000
Note: To be included in John Fowler's forthcoming catalogue raisonné on William Aiken Walker.

567. William Aiken Walker (American/South Carolina, 1838-1921), "Scene near Arden, North Carolina", 1908, oil on canvas laid on board, signed and dated lower left, titled and inscribed en verso, 7 1/4 in. x 14 1/2 in., framed. $10000/15000
Ill.: Trovaioli, August P. and Roulhac B. Toledano. William Aiken Walker: Southern Genre Painter. Gretna: Pelican Publishing Company, 2008, p. 126.
Note: To be included in John Fowler's forthcoming catalogue raisonné on William Aiken Walker.
Note: In the latter part of William Aiken Walker’s life, he spent most of his time in North Carolina. The artist was drawn to a series of resort areas near Asheville because of the temperate summers and bucolic scenery. There he executed landscapes of the surrounding area as well as idyllic pastoral scenes of the cabins and small farmhouses tucked away in the mountains. The painting offered here is an exceptional example of Walker’s later work. To the right, a wooden cabin is ensconced in verdant grass and trees while a path cuts through the arrangement giving the composition a sense of depth that is not often evident in his earlier plantation scenes. The palette is rich and the brushstrokes more visible and expressionist than usual for the artist, making this painting an impressive milestone in his long career.
Ref.: Travaioli, August P. and Roulhac B. Toledano. William Aiken Walker: Southern Genre Painter. Gretna: Pelican Publishing Company, 2008.



568. William Aiken Walker (American/South Carolina, 1838-1921), "Cotton Pickers", oil on academy board, signed lower right, pencil-inscribed "Field" in artist's hand en verso, 9 1/4 in. x 12 1/8 in., framed. $10000/15000
Note: To be included in John Fowler's forthcoming catalogue raisonné on William Aiken Walker.



569. Frederick Tanqueray Anderson (American/Arkansas, 1846-1926), "Steamboating on the Arkansas River, bound for New Orleans", 1918, watercolor and pencil on board, signed and dated lower left, inscribed en verso, sight 6 1/2 in. x 15 1/2 in., period frame. $2500/3500
Note: Frederick Anderson became enamored with the Mississippi and Arkansas Rivers from an early age, having traveled with his grandfather to New Orleans many times as a child from his home in Arkansas. After studying art in Europe, Anderson settled in Memphis. Often depicting riverboats, Anderson was “an ardent admirer of the grand floating palaces that plied the western rivers moving cotton, sugar, and passengers.” Two such paintings are offered here, portraying the Pelican steamboat on the Arkansas river, and the Robert E. Lee and the Grand Republic steamboats on the Mississippi River, all headed to New Orleans. All three vessels had been built in the 19th century, and the most famous of the three boats, the Robert E. Lee, is the record holder for the fastest time to sail from St. Louis to New Orleans at just over 3 days, 18 hours. The delicate brushwork that Anderson employs in the two works and the attention to the minute details on the steamboat demonstrate the artist’s commitment to depicting an accurate representation. The tiny features of each steamboat’s decks, stacks, and side paddle wheel are meticulously portrayed with the utmost accuracy and skill.
Ref.: Stern, Ellen. Frederick Tanqueray Anderson, 1846-1926. Pine Bluff, Arkansas: Southeast Arkansas Arts and Science Center, 1983.



570. Frederick Tanqueray Anderson (American/Arkansas, 1846-1926), "Old Steamboat Days, The Robert E. Lee and The Grand Republic", 1918, watercolor and pencil on board, signed and dated lower left, extensively inscribed en verso, sight 6 1/2 in. x 17 1/2 in., period frame. $2500/3500



571. Adolph Rinck (French/New Orleans, 1810-1871), "Madame Charles Auguste Barriere, née Elodie Antoinette Rigau (d. 1865)", 1841, oil on canvas, signed and dated upper right, 43 1/2 in. x 33 in., framed. $4000/6000 Note: Elodie Antoinette Rigau was born in France around 1820 and immigrated to America shortly after. Married to Charles Auguste Barriere in the early 1840s, the couple had four children, Julia, Charles, Eugene, and Georgine. Elodie’s father, General Antoine Rigau, had fought in the Napoleonic Wars; he was a Cavalry General under Napoleon both before the Bourbon Restoration of 1814 and during the 100 days when Bonaparte returned to power in 1815. Rigau’s name is inscribed on the Arc de Triomphe in Paris on the north pillar. Seeking asylum from the throne for his Bonapartist politics, Rigau moved first to the Champ d’Asile, a settlement in Texas for those who had supported Napoleon, and then subsequently to New Orleans.
Rinck’s delightful portrait of Elodie Rigau includes a beautiful landscape background seen through a window with a climbing vine of morning glories. Her tasteful and fashionable white dress and ringlets with a wedding ring prominently displayed on her left hand suggest that this could perhaps be a wedding portrait.
Ref.: Jensen, Nathan D. “General Antoine Rigau.” Napoleonic Biographies. https://www.frenchempire.net/biographies/rigau. Accessed Oct. 12, 2018.

572. Michel Jacobs (American, 1877-1958), "Trompe l'Oeil of Five Dollar Silver Certificate featuring Ulysses S. Grant", 1897, oil on canvas, signed and dated lower right, initialed and canvas stamp en verso, 8 in. x 10 in., framed. $1000/1500

573. John Senex, "A Map of Louisiana and of the River Mississipi", London, 1721, famously plagiarized from Delisle's original 1718 map, mounted on board, framed, 19 in. x 23 in. $700/1000

574. [New Orleans Map], "Map of the City of New Orleans, and the Adjacent Towns", 1861, hand-colored lithograph map, from Charles Gardner's New Orleans Directory, lithographed by A. Hoen & Co., Baltimore, framed. $600/900

574A. [Antique Map of Louisiana], "Map of Louisiana, from D'Anville's Atlas", London, John Harrison, 1788, English edition of d'Anville's map, 11 3/4 in. x 19 1/4 in., matted and framed. $500/700



575. Fine New Orleans Silver-Hilted Sword by James Nevins Hyde, c. 1816-1828, silver stirrup hilt with engraved borders, guard with vase and ring turnings, tapered green-hued horn grip; single fuller blade, with gilt-decorated Lady Liberty, a banner with "E PLURIBUS UNUM" above spread wing eagle and shield, and trophée; black leather scabbard adorned with pressed flowers, the thick silver mounts and drag with engraved borders, blade length 32 in. $6000/9000 Ill.: Hartzler, Daniel D. American Silver-Hilted, Revolutionary and Early Federal Swords, Xlibris, 2015, pg. 640, fig. 578. An identical sword, hallmarked "HYDE", is shown on pg. 639. The book will accompany the lot.
Note: James Nevins Hyde (1788-1838) of Norwich, CT., and his cousin Rufus Lewis Nevins were silversmiths working in New York City prior to relocating to New Orleans. Later, Hyde formed a partnership in New Orleans with his brother-in-law Charles Whiting Goodrich.



575A. Cased Tranters Double Action Revolver for Hyde & Goodrich New Orleans and a Dirk, serial no. 112323, 36 cal., 3 3/4 in. octagonal barrel marked "W. TRANTERS PATENT, MADE FOR HYDE & GOODRICH, NEW ORLEANS', scroll engraving to barrel, lever, frame, guard, backstrap, and butt cap; mahogany case, the unmarked dirk with sheath and ivory grip, powder flask, bullet mold marked "TRANTERS PATD", Eley cap tin, and nipple wrench, case h. 2 1/2 in., w. 14 in., d. 7 1/4 in. $3000/5000



575B. Fine New Orleans Percussion Sharpshooter Rifle, c. 1860, heavy octagonal barrel marked "L. GERTEIS NEW ORLEANS", lock plate marked "L.GERTEIS N. ORLEANS", double set triggers, elaborate scrolled guard, walnut stock with checkered grip and cheek rest, Swiss style butt plate, folding rear sight with sliding disk, globe front sight, barrel with false muzzle, barrel length 31 in. $6000/9000
Note: German born gunmaker Louis Gerteis (b. 1831) was listed in city directories as early as 1855 at 75 Magazine Street. His son Louis was born in Louisiana in 1859, also became a gunsmith, as noted in the 1880 census.



575C. Cased Presentation Colt Model 1849 Pocket Revolver of Confederate Captain Ricard Agar of the Louisiana First Heavy Artillery, 31 cal., six-shot cylinder with stamped stagecoach holdup scene, 5-inch barrel marked "ADDRESS COL.SAML.COLT NEW-YORK U.S. AMERICA", frame marked "COLTS/PATENT", serial number 208423, mahogany case with silver cartouche, engraved "P.N.L to CAPT AGAR 1864", interior with bullet mold, eagle and shield powder flask, Eley cap tin, and nipple wrench, case h. 2 in., w. 10 in., d. 5 6/8 in. $5000/7000
Note: Richard Agar, a native of Ireland, joined the 1st Louisiana Heavy Artillery as a lieutenant. He was at Fort Jackson during the attack by the Federal fleet, and was the bearer of the flag of truce from Gen. J.K. Duncan to Admiral Porter. Agar was commissioned Captain on November 7, 1864, and it is believed this is when he received this revolver. During the siege of Vicksburg Capt. Agar took a prominent role, commanding the Confederate guns, including "Whistling Dick" and a Blakely gun called "Graveyard Battery."
Ref.: findagrave.com/memorial/70465913/richard-agar. Accessed Oct. 2, 2018.

576. [New Orleans and Louisiana Maps], "Charts and Plans Illustrating the Topography and Settlements of Louisiana, and the Progressive Development of New Orleans Collected & Classified from Original Works by Joseph Jones, M.D., New Orleans, January 1882", New Orleans Lithograph Co., showing ten maps from 1718-1875, 24 1/2 in. x 18 in., framed. $500/700

576A. Large Collection of Antique New Orleans/Louisiana Postcards, over 400 cards, the majority early 20th c., some cards from other Gulf regions included. $600/900
Provenance: Collection of Ray Samuel, New Orleans.

577. Autograph Grouping Relating to the "Scopes Monkey Trial", incl.: autograph of Clarence Darrow, autograph letter signed by William Jennings Bryan, a signed check by John Scopes, together with photographs and a description of the trial, frame 34 in. x 36 1/2 in. $500/700
Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.
Note: In 1925, young science teacher John Thomas Scopes, was accused of the misdemeanor of teaching evolution, in violation of Tennessee law. Two of the most famous lawyers at the time, William Jennings Bryan, a Christian fundamentalist and agnostic Clarence Darrow, joined the trial. Although Scopes was found guilty and forced to pay a $100 fine, Darrow succeeded in ridiculing Bryan in front of hoards of people, and brought Darwin's theory to the masses.

578. [Early Map of North America], Matthias Seutter, "Recens Edita Totius novi Belgii in America Septentrionali...", Augsburg, 1740, hand-colored engraved map, showing the region from Maine to Virginia, with settlements, forts, Native American tribal lands, and having a decorative cartouche containing a view of Manhattan "Neu Jorck sive Neu Amsterdam", above is a long procession of natives carrying American goods to the English monarch, presumably George II, who is being attended by Hermes, Athena, and Hera, 19 1/2 in. x 22 1/8 in. $1000/1500



579. William Aiken Walker (American/South Carolina, 1838-1921), "Nature Morte: Red Snapper, Salmon and Mackerel", oil on wood panel, signed en verso, 24 in. x 16 in. $8000/12000
Note: To be included in John Fowler's forthcoming catalogue raisonné.



579A. William Aiken Walker (American/South Carolina, 1838-1921), "Nature Morte: Mallard, Merganser and Snipe", oil on wood panel, signed en verso, 24 in. x 16 in. $8000/12000
Note: To be included in John Fowler's forthcoming catalogue raisonné.

580. Don Wright (American/Louisiana, 1938‑2007), "Didn't Catch Nothing", 1985, oil on canvas, signed and dated lower left, "Gilley's Gallery" label with artist and title en verso, 24 in. x 36 in., framed. $1000/1500
Provenance: Gilley's Gallery.



581. Louisiana School, 19th c., "Settlement along a Bayou", oil on canvas, unsigned, "From Alex Drysdale / successor to / R & J Smith, Carvers, Gilders and Picture‑Frame Makers / North at Andrew Street / Edinburgh" label on reverse of frame, 18 in. x 30 1/4 in., framed. $5000/8000

582. Gean Smith (American/Texas, 1851‑1928), "The Cavalry", 1891, oil on canvas, signed and dated lower right, 30 1/4 in. x 60 1/4 in., framed. $3000/5000 Note: Gean Smith was a self-taught artist known primarily for his depictions of horses. He painted famous races, race winners and historical scenes in which the horses were characterized with distinctive personalities. In 1891, Smith also worked as the illustrator for a collection of writings on horses and races titled Tales of the Turf and 'Rank Outsiders'by Richard Cary. The large-scale painting offered here of most likely a Civil War scene highlights the artist's distinctive skill, as the cavalry horses are shown in exquisite detail.



583. Louise Guidry (American/Louisiana, b. 1930), "Homage to Klimt", acrylic on masonite, signed lower right, label with title en verso, 14 in. x 14 in., unframed. $500/700

584. Southern School, 19th c., "Civil War Scene with Louisiana Confederate Soldiers", oil on canvas, unsigned, 30 in. x 25 in., framed. $2500/3500
Note: This detailed and rare portrayal of the Confederate soldiers known as the Louisiana Tigers (later inspiring the Louisiana State University mascot) depicts a scene on the bayou during the Civil War. The group of soldiers, consisting of the gray-uniformed Confederate soldiers alongside the red-shirted Tigers, makes camp while two other men tend to the boats banked nearby. The Louisiana Tigers, also called Wheat’s Tigers or the Tiger Zouaves, were originally a volunteer company under General Roberdeau Wheat. Their distinctive uniforms with bright red shirts and straw hats or red fezzes were uniquely styled after French Zouave infantrymen uniforms. The group participated in many major battles from 1861-62 and eventually was absorbed into the Louisiana 2nd Brigade.

585. Nicola Marschall (American/Alabama, 1829‑1917), "Dr. Francis Asbury Bates (1819‑1889)", 1866, and "Julia Rachel Jones Bates (1831‑1887)", 1860, 2 oils on canvas, each signed and dated lower left, labels identifying artist and sitters on reverse of frames, each 24 in. x 20 in., framed alike. (2 pcs.) $2500/3500
Note: Born in Prussia, Nicola Marschall immigrated to America in 1849, entering in New Orleans and settled in Marion, Alabama. There, he taught art at the Marion Female Seminary, as well as offering classes in German and French. He also supported himself by painting portraits from his studio, eventually becoming known as Alabama’s premier portrait artist of the nineteenth century. Many prosperous families traveled from other parts of Alabama to have him capture their likenesses. The couple depicted here, Francis and Julia Bates, were married in Marion in 1850, although Dr. Bates was originally from Massachusetts.



586. Fine French Aubusson Tapestry from the Series Jeux d'Enfants, likely after Michel Corneille (c. 1601‑1664), 18th c., depicting children frolicking in a Neoclassical garden, scrolling foliate, 9 ft. x 13 ft. 10 in. $20000/30000
Provenance: Lucullus Antiques, New Orleans; Williamson‑LeBlanc Collection, Cornstalk Fence House, New Orleans.



587. Good Antique French Bronze and Sienna Marble Three‑Piece Desk Set, 19th c., all pieces signed "A.Marionette", encrier and letter holder stamped "A. MARIONETTE/ BRONZES/ PARIS", encrier h. 11 in., w. 17 in., d. 9 in. $1000/1500



588. American Renaissance Carved Mahogany and Mosaic Table, c. 1880, possibly George A. Schastey, New York, elaborately tiled top with brass molded edge, frieze drawer with copper‑lined interior, lion‑carved supports with paw feet, incurvate pierced base, ball feet, h. 31 1/2 in., w. 33 1/2 in., d. 33 1/2 in. $5000/7000
Note: While figural carvings were a popular design element used by many Gilded Age cabinetmakers such as Herter Brothers and Pottier & Stymus, perhaps the most robustly carved and animated figural carvings from this period are found on pieces by the German-born New York cabinetmaker George A. Schastey. The lively lion faces surmounting the supports of the table offered here are closely related to similar figures on a massive sideboard designed by Schastey for the James C. Flood mansion in Menlo Park, California in 1878. A chimney breast from the entrance of the Worsham-Rockefeller House in New York City, where Schastey was commissioned to refurbish the entire interior in 1881, also features distinctive lion faces related to this table.
Ref.: Frelinghuysen, Alice Cooney and Nicholas C. Vincent. Artistic Furniture of the Gilded Age. New York: The Metropolitan Museum of Art, 2016, pp. 19, 32-33.

589. Elizabeth II Sterling Silver After‑Dinner Coffee Service in the Colonial Taste, hallmarked James Robinson Inc., London, 1965 and 1967, also marked for New York retailer James Robinson Inc., incl. coffee pot (h. 9 7/8 in.), open sugar and creamer, all with reeded borders, total wt. 42.45 troy ozs. $700/1000



590. Louisiana Carved Cherrywood and Inlaid Mahogany Armoire, early 19th c., stepped cavetto cornice with later elements, inlaid frieze, paneled doors with inlaid shell cartouche, interior with medial belt of drawers, later undulating apron, flared feet, h. 91 in., w. 64 in., d. 24 in. $10000/15000
Provenance: Ursuline Convent; NAC; Estate of Germaine Wells; Williamson‑LeBlanc Collection, Cornstalk Fence House, New Orleans.



591. Rare Herter Brothers Carved Walnut Tall Case Regulator Clock, c. 1874, stamped "HERTER BROS", silvered dial, mercury pendulum, case with aesthetic motifs and lion mask handles, paw feet, h. 85 1/2 in., w. 28 1/2 in., d. 14 1/2 in. $5000/7000
Exh.: "Herter Brothers: Furniture and Interiors for a Gilded Age and illustrated in exhibition catalogue, p. 165.

592. Pair of Black, Starr & Frost Sterling Silver‑Mounted Cut Glass Sugar Casters, New York, act. 1874 to present, foliate decoration, h. 8 1/4. $600/800

593. Albert Worcester (American, 1878‑1935, act. New Orleans, 1918‑1920), "Interior Genre Scene", oil on canvas, inscribed "Painted by Albert Worcester" on stretcher, 24 in. x 20 in., framed. $400/600

594. American Federal Figured Mahogany Dining Table, early 19th c., in the Sheraton taste, probably mid‑Atlantic, demilune drop‑leaf top, banded frieze, turned tapered reeded legs, button feet, h. 29 in., l. 80 in., w. 46 in., length 101 ½ in. extended. $1200/1800

595. Japanese .950 Sterling Silver Coffee and Tea Service, Miyata, mid‑20th c., incl. coffee pot, teapot, sugar and creamer, with matching nickel silver tray, floral scroll decoration throughout, coffee pot h. 10 1/8 in., tray 27 1/2 in. x 17 1/4 in., total wt. (weighable) 70.30 troy ozs. $1200/1800

596. Pair of American Aesthetic Carved Mahogany Side Chairs, c. 1880, attr. to Herter Brothers, New York, scrolled crest rail surmounted by foliate dolphins, pierced splat, trapezoidal seat, foliate blocked seat rail, turned and tapered legs, h. 38 1/2 in., w. 16 3/4 in., d. 17 in. $800/1200

597. American Aesthetic Cherrywood and Satinwood Table, c. 1890, hexagonal top inset with 6 Tiffany glass tiles, baluster turned beaded standard, arched acanthus carved scrolled legs; together with five Tiffany glass tiles, h. 29 in., w. 30 in., d. 30 in. $1500/2500



598. American Aesthetic Carved Mahogany Desk, late 19th c., labeled "Herter Bro's", New York, upper cabinet with beveled glass panels, paneled fall‑front door opens to fitted interior with tooled leather writing surface, flanked by fluted Ionic columns, two lower side compartments, lower plinth, turned feet, h. 80 1/2 in., w. 47 1/2 in., d. 18 1/2 in. $1000/2000

599. American Aesthetic Carved Mahogany Side Table, late 19th c., square top, barley‑twist supports, galleried stretcher shelf with brass mounts, brass hoof feet, h. 28 1/2 in., w. 26 in., d. 26 in. $500/750
Provenance: Estate of Gordon and Vera Noakes, Detroit, MI.

600. American Aesthetic Carved, Ebonized and Gilt‑Incised Slipper Chair, c. 1865, attr. Herter Brothers, New York, scrolled finials, spindled back, Japanese brocade upholstered seat, incised stretcher, turned and tapered legs, h. 30 in., w. 22 in., d. 18 in. $800/1200


Please review our Privacy Policy.
Copyright © 2018 Neal Auction Company,
All Rights Reserved Worldwide.

4038 Magazine Street * New Orleans, Louisiana 70115 * 504-899-5329 * 800-467-5329