Premier Collections: Art & Interiors Auction- September 7 & 8, 2023

PREMIER COLLECTIONS: ART & INTERIORS

September 7 & 8, 2023

Featuring:

Fine Art and Decorative Objects from the Estate of Nadine Carter Russell, Baton Rouge, LA

Fine and Decorative Arts and Furniture from an El Dorado, AR Collection

Select Property from Historic Poplar Grove, Port Allen, LA

Thursday, September 7, 2023

begins at 1:00 p.m., lots 1-241

Friday, September 8, 2023

begins at 1:00 p.m., lots 242-485

Bidding available on these online auction sites:

nealauction.com

EXHIBITION

Opens Monday, August 28, 10 a.m. to 5 p.m.

Closed Monday, September 4 in observance of Labor Day

September 2, 10 a.m. to 5 p.m.

EVENING

Tuesday, September 5, 5-7 p.m.

FINE ART AND DECORATIVE OBJECTS FROM THE ESTATE OF

NADINE CARTER RUSSELL, (1943-2022) BATON ROUGE, LA

Nadine Carter Russell was a longtime philanthropist and community activist in Baton Rouge. She was raised in New York City and attended Grace Church School, where her mother was the librarian. Nadine earned an art history degree from Louisiana State University in 1967 which led to a lifelong dedication to the arts. She served as the director of the Gallier House in New Orleans, a city she considered her second home, and upon her return to Baton Rouge, she dedicated her talents to many organizations, especially her alma mater. Nadine was an avid supporter of the LSU Museum of Art and College of Art & Design, where a chair was established in her name by her late aunt Paula G. Manship in 1998.

The Manship family is widely known as the “first family of Baton Rouge media,” owning WBRZ and being ardent supporters of the Manship School of Mass Communication at LSU. The Manship family patriarch, Charles Manship Sr., purchased Baton Rouge’s first daily newspaper, the State-Times, in 1909. He launched the Morning Advocate, sister publication to the State-Times, sixteen years later in 1925. Charles Manship Jr. assumed the helm when his father died in 1947. Charles died in 1994 after serving sixty years in the business he loved. Charles Jr., and his wife Paula, never failed to share their wealth, wisdom and energy to help make Baton Rouge a better place for all its citizens. Paula was a major donor to numerous departments and programs at LSU, including the LSU Museum of Art, School of Music, College of Art and Design, College of Arts & Sciences, Rural Life Museum, AgCenter and School of Veterinary Medicine. She established the Atchafalaya Swamp and Otter Pond exhibit at the Baton Rouge Zoo and funded the planting of 300 trees to redevelop green spaces in downtown Baton Rouge through Baton Rouge Green, among many other initiatives. Nadine continued in this familial spirit of philanthropy by supporting numerous community organizations and charities in her lifetime.

Along with Paula, Nadine belonged to the Decorator’s Club and the Modern Reviewers. She was passionate about travel, undertaking many trips abroad and accompanying LSU students to China through the “Summer of China” program. She was the consummate hostess, ensuring each guest feel like the guest of honor whether at a small soiree or gala. By friends she was described as an: “intelligent, warm and generous lady and her irreplaceable presence will be missed…extremely creative, a comfort to have around and always ready to share a fun time.”

POPLAR GROVE

PORT ALLEN, LA

Neal Auction Company is pleased to present a few select pieces from the collection of historic Poplar Grove, Port Allen, LA..

The distinctive structure was originally built as the Bankers’ Pavilion at the World’s Industrial and Cotton Centennial Exposition of 1884. Designed by noted New Orleans architect, Thomas Sully, it features such exotic details as a pagoda-inspired roofline, stained glass window panels, dragon brackets and an abacus frieze on the gallery. After the fair closed the building was moved upriver by barge to Poplar Grove Plantation where it has housed generations of the Wilkinson family.

Notable among the pieces offered is lot 291, a New York rosewood, parcel ebonized, marquetry and bronze-mounted parlor cabinet in the style of Pottier & Stymus.

LIVE AUCTION

Thursday, September 7, 1 p.m.

LOTS 1-241

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA;

(1943-2022),

Provenance: Charles (1908-1994) and Paula (1912-2006)

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Pitcher’, removable silver strainer, hallmarked John Grinsell & Sons, Birmingham, 1940, for retailer Tiffany & Co., h. 7 1/2 in., wt. 2.20 troy ozs. [$200/300]

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (19432022), Baton Rouge, LA. Note: Grinsell & Sons mark reg. 1905.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022),

Provenance: Charles (1908-1994) and Paula (1912-2006)

Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (19432022), Baton Rouge, LA.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Note: Gerardo Lopez was considered a maestro silversmith in Taxco. Billie Hougart. The Little Book of Mexican Silver Trade and

, p. 95.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

15.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

, c. 1978, originally designed c. 1940 by James “Mac” Anderson, brown and green glaze, h. 5 5/8 in., dia. 7 in. [$400/600]

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance: Acquired from the artist; Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Exh.: “Playschool”, Glassell Gallery, Baton Rouge, LA, Apr. 22-27, 2014.

Note: Jimmie Nord is a contemporary sculptor from a small town in Northern California. Though he now works out of his home studio in Bonney Lake, Washington, Nord spent time in Baton Rouge earning his MFA from Louisiana State University in 2014. His sculptures are inspired by the “magic” of hidden infrastructure in construction. His work in the U.S. Forest Service also informs his sculptures. The monumental piece offered here was included in the artist’s thesis exhibition, Playschool, at Glassell Gallery in Baton Rouge. The crossbeams and materials evoke imagery of construction while the arrangement and primary colors add a sense of nostalgia for an elementary school playground.

Provenance: A Night in

Provenance: Estate of

23. Caroline Wogan Durieux (American/ Louisiana, 1896-1989), “Untitled: Two Ladies in Mardi Gras Hats”, 1939, watercolor and mixed media on paper, pencil-signed and dated lower right, sight 15 1/4 in. x 13 in., framed, overall 25 1/4 in. x 22 1/4 in. x 1 in. [$1500/2500]

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Exh.: “Caroline Durieux: A Radioactive Wit”, LSU Museum of Art, Baton Rouge, LA, Aug. 22 - Nov. 7, 2010.

24. Caroline Wogan Durieux (American/ Louisiana, 1896-1989), “Young Sarai”, color lithograph, pencil-signed, titled, numbered “5/20” and inscribed lower margin, 20 3/8 in. x 15 1/2 in., framed, overall 33 in. x 27 1/2 in. x 1 1/2 in. [$300/500]

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

25. Frank Hayden (American/ Louisiana, 1934-1988), “Jacob Wrestling”, carved and stained pinewood on marble base, unsigned, inscribed “God Is” and “Is God” on sides of base, h. 25 in., w. 20 1/2 in., d. 5 in. [$6000/8000]

Provenance: Dr. Gary Noel Ross; Paula Manship (1912-2006), Baton Rouge, LA; by descent to her niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Note: Frank Hayden studied at Xavier University and under the great Croatian artist Ivan Meštrović at the University of Notre Dame. He became one of Louisiana’s preeminent sculptors, perhaps best known for his many public commissions. Hayden’s style combined elements of European modernism and African tribal art, all while staying rooted in the human figure. The artist’s early Catholic education in Memphis had a deep effect on him, and his faith played a key role in his art both in terms of subject and philosophy. Internationally renowned and beloved locally, Hayden served as a professor of art at Southern University in Baton Rouge for twenty-seven years, and he was an integral part of the city’s art community. His work is located on university campuses, in houses of worship and as part of numerous public and private collections. Religious motifs are prominent in Hayden’s work, and he depicted both the individual search for betterment through faith and the societal search for enlightenment and unity. The lot offered here displays the simplistic yet refined forms of the talented artist. The figurative elements are stylized to the point of abstraction, exemplifying the tenets of simplicity of form. The contrasting media of stone and wood echo the tension of the subject even as they are seamlessly melded together. With “Jacob Wrestling,” Hayden illustrates a story in the life of Jacob, detailed in Genesis, where separated from all others and from his own worldly possessions, he grapples throughout the night for what is truly important. Following an exhausting struggle with God that leaves him crippled, Jacob ceases fighting, realizing that he could not proceed without God and ultimately receives his blessing. The story is one of faith, redemption from sin, fulfillment of one’s purpose and sacrifice—universal themes across all religions and time periods.

Ref.: Green, Don M. “The Legend of Frank Hayden.” Views from Southern University. Sept. 9, 2017. www.viewsfromsu. com; “Frank Hayden.” Frank Hayden Foundation. www.frankhaydenfoundation.org. Accessed July 17, 2023.

[$10000/15000]

Provenance: Dr. Gary Noel Ross; Paula Manship (1912-2006), Baton Rouge, LA; by descent to her niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

27. George Frederick Castleden (British/Louisiana, 1861-1945), “Hyacinths”, 1936, oil on canvas, signed and dated lower left, titled en verso, 36 in. x 80 in., framed, overall 45 1/2 in. x 89 1/4 in. x 2 in. [$20000/30000]

Provenance: Taylor Clark Gallery, Baton Rouge, LA; Paula Manship (1912-2006), Baton Rouge, LA; by descent to her niece Nadine Carter Russell (1943-2022), Baton Rouge, LA. Note: Born in Canterbury, England, George Frederick Castleden studied under Thomas Sidney Cooper and at the South Kensington School of Art. The artist’s first travels to Canada in 1888 sparked a love of North America, and around 1903, he left England to become an itinerant landscape painter in the United States and Canada. Castleden first visited New Orleans in 1911, returning between 1917 to 1920 to open a studio at 622 St. Peter Street. He also maintained a daily gallery in the courtyard of the Cabildo during the period that became known as the French Quarter Renaissance. Castleden was an active member of the Arts and Crafts Club and a charter member of the New Orleans Art League founded in 1927.

Between 1934 and 1936, Castleden worked on a commission for Frank Evans, owner of the D.H. Holmes Department Store on Canal Street. He, along with fellow artist Mazie Howell, created a series of murals shaped to fit the transoms and niches of the store’s famous restaurant, largely focused in subject on the plantations, bayous and fishing camps of South Louisiana. Seven of those panels now reside in the collection of the Louisiana State Museum. In “Hyacinths” of 1936 offered here, Castleden depicts an atmospheric landscape in monumental proportion, the largest and most impressive canvas by the artist offered at auction to date. Ref.: Kheel, Claudia. “George Castleden.” 64 Parishes. Aug. 30, 2013. www.64parishes.org. Accessed July 17, 2023.

28. Paul Howard Manship (American, 1885-1966), “Centaur” 1919 and “Eros and Psyche”, 1937, 2 bronze plaques, each signed and dated lower center, dia. 5 in. and 5 3/4 in., framed together, overall 11 1/2 in. x 18 1/4 in. x 2 1/4 in. [$1500/2500] Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA. Note: Paul Manship knew he wanted to be an artist at the tender age of fifteen and after discovering he was color blind, abandoned painting for what would be an extremely successful career in sculpting. Manship received a degree from the Art Students League in New York and earned a three-year scholarship to study in Rome. His time in Italy would be key to his artistic formation. His Roman teachers exposed him to the classical arts of ancient Greece and Rome, while the museums of Europe brought the decorative arts of India and Mesopotamia to his attention. Manship took these influences and began to merge them with the modernist ideas of the time, although foregoing full abstraction and some of the more “radical” ideas of artists of the period. The result was a new and fresh art that had firm foundations in classicism and realism but stylized with modern touches and depth of meaning beyond mere representation.

In referring to his art Manship states: “…and although I approve generally of normally correct proportions, what matters is the spirit which the artist puts into his creation—the vitality, the rhythm, the emotional effect.” Critics of Manship’s work of the time occasionally referred to it as more “conservative” as compared to that of his peers, inferring only certain collectors would be interested, but this fear would prove to be unfounded, as he is now cited as one of the precursors to the Art Deco movement, influencing countless artists and illustrators, not the least of which was his assistant Gaston Lachaise. Upon his return from Italy, Manship was an instant success, with numerous landmark commissions around New York City such as: “Prometheus” in Rockefeller Center Plaza, the bronze gates of both the Bronx and Central Park zoos and the centerpiece sculptures of the 1939 New York World’s Fair, “Time and Fates Sundial” and “Moods of Time,” to name just a few.

Likely gifts of the artist to his cousin Charles Manship of Baton Rouge, the small bronze plaques and other items on offer here showcase Manship’s interests in mythology and the challenge of capturing movement in sculpture. These small, delightful works emphasize the care he took in forming a rigid material into a dynamic, rhythmic composition. They provide a window into his approach and intent for larger works: “…[to] express movement in my figures. It’s a fascinating problem which I’m always trying to solve.” His preoccupation with movement also can be seen in the book compiled by Paul Vitry, curator of sculpture for the Louvre at the time, displaying public and private works around Europe, as well as a beautiful photograph taken by New York photographer Ward De Witt of Manship lovingly admiring his sculpture of 1929 which today resides in the Smithsonian American Art Museum - “Portrait of the Artist’s Daughter, Sarah Janet Manship.” The critics of his day have been proven wrong, with Manship’s work not being merely of interest to “conservative” collectors but featuring in most major museums around the world and inspiring countless artists with his effortless ability to blend traditional and modern aesthetics. Ref.: “Paul Manship Biography.” Smithsonian American Art Museum. www.americanart.si.edu. Accessed July 27, 2023.

29. Vitry, Paul, Paul Manship Sculpteur Americain, Paris, Editions de la Gazette des Beaux-Arts, 1927, with 80 plates, signed and personalized by Paul Manship; together with Ward De Witt (American/ New York, d. 1937), “Paul Manship”, c. 1930 negative creation date, 1935 print date, gelatin silver print, “De Witt Ward, New York” artist stamp and stamped print date en verso, signed, dated and personalized by Paul Manship and “Paul Manship” stamp en verso, 9 1/8 in. x 7 in., unframed. [$500/700]

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

30. Paul Howard Manship (American, 1885-1966), “Archangel”, cast bronze, signed on side of wing, h. 2 1/2 in., w. 3 in., d. 1/4 in., mounted on marble plaque, overall h. 3 1/2 in., w. 3 1/2 in., d. 1 in. [$700/1000]

Provenance: Dr. Gary Noel Ross; Paula Manship (1912-2006), Baton Rouge, LA; by descent to her niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance: Charles (1908-1994) and Paula (1912-2006) Manship, Baton Rouge, LA; by descent to their niece Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Note: Armin Scheler was born in 1901 in Germany and attended the State Art School and the State Academy of Fine Arts in Munich, Germany. Following his studies, he moved to the United States where he worked in New York as a designer. He opened his own sculpture studio in 1936 in Rochelle, New York where he did freelance work as a sculptor. Scheler joined the Louisiana State University art faculty in 1942 and taught for nearly three decades. His public work includes architectural friezes for the Government Printing Office in Washington, D.C. and the Federal Building in New Orleans. His work has been exhibited worldwide including the Paris Exposition in 1937 and the Whitney Museum of American Art in 1940 and 1952. Contrary to Scheler’s public works, the lots offered here are abstract, with concrete bases and fluid bronze forms. The bronzes mimic stalagmites reaching skyward, while the negative spaces of the bases allow the works to feel simultaneously substantial and light.

33. Gino Hollander (American, 1924-2015), “Standing Figures” and “Profile Portrait”, 1965, 2 mixed medias on paper, each signed lower left, one dated lower left, one with “Taylor Clark, Baton Rouge” label on backing paper, 5 1/4 in. x 7 1/8 in. and 7 3/4 in. x 4 in., both framed, overall 12 1/2 in. x 13 in. x 1 in. and 14 1/8 in. x 9 7/8 in. x 1 1/4 in. [$200/300]

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

34. Kiyoshi Saito (Japanese, 1907-1997), “Steady Gaze”, 1962, woodcut, signed and stamped lower left, titled, dated and numbered “85/200” lower margin, “Ferdinand Roten Galleries, Baltimore, MD” label on backing, 20 3/4 in. x 15 in., framed; overall 29 in. x 22 1/2 in. x 1 1/2 in.; accompanied by a copy of the original receipt. (2 pcs.) [$600/800]

Provenance: Ferdinand Roten Galleries, Inc., Baltimore, MD, 1967; Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

[$500/700]

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

[$300/500]

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton

LA.

[$500/700]

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

[$400/600]

Provenance: Estate of Nadine Carter Russell (1943-2022), Baton Rouge, LA.

Provenance:

Provenance:

Provenance:

1/2 in., w. 18 1/4 in., d. 8 in. [$100/200]

Provenance:

Provenance:

Provenance:

Provenance:

Provenance: Estate of Nadine

(1943-2022), Baton Rouge, LA.

Provenance:

Provenance:

Provenance: Acquired The Collection of Rufus Napoleon Garrett, El Dorado, AR, Morton’s Auction, July, 1974, lot 213.

63.

71. Meissen Polychrome and Gilt Floral Porcelain Sauce Boat with Undertray, blue crossed swords mark, impressed “33”, two handles, gilt rims, h. 3 3/4 in., w. 10 1/2 in., d. 6 1/2 in. [$300/500]

72. Limoges Porcelain Partial Dinner Service, incl. 10 salad plates (9 in.), 8 bowls, 10 bread plates (7 1/4 in.), 4 graduated platters, sauceboat with underplate, mustard pot, 4 covered dishes, footed bowl, fish server, 12 butter dishes, and a compote, 66 pcs. [$1000/1500]

74. Paris Porcelain Dinner Service, 19th c., blue green rims and gilt accents, incl. 17 plates, dia. 7 1/4 in.; 13 plates, dia. 8 1/8 in.; 12 dishes, dia. 9 3/8 in.; 5 plates, dia. 9 1/4 in.; 2 platters, larger l. 14 1/2 in., w. 10 3/4 in.; pair of oval dishes, l. 11 in.; pair of oval bowls, l. 9 7/8 in.; pair of single handled scallop rim dishes, l. 11 in.; pair of covered tureens, h. 7 in., w. 11 1/2 in.; sauce boat with underplate, h. 5 1/4 in., l. 10 in.; covered butter with insert, h. 4 1/2 in., dia. 6 1/2 in.; 5 cups, h. 3 in. and 6 saucers, dia. 6 1/4 in.; 2 cups, h. 2 5/8 in. and 9 saucers, dia. 5 5/8 in.; 1 cup, h. 2 1/2 in., and 10 saucers, dia. 5 1/8 in.; together with associated Paris porcelain partial dessert service, incl. double handled cake plate, dia. 10 1/2 in.; cover sugar, h. 7 in.; open creamer, h. 5 1/2 in.; and 2 cups, h. 2 1/2 in. (approx. 97 pcs.) [$1000/1500]

Provenance:

Provenance:

112. Continental

19th

of Marguerite”, oil on canvas, unsigned, “M.F. Haas & Son, Brooklyn, NY” framer label on reverse of frame, 34 1/8 in. x 27 1/8 in., framed, overall 41 1/2 in. x 43 1/4 in. x 2 1/8 in. [$1000/1500]

Provenance: Private Collection, Poland.

Provenance:

74.65 troy ozs. [$2000/3000]

144. Good Group of George III Sterling Silver Tablespoons, incl. a pair by Elizabeth Tookey, London, date marks rubbed, bright-cut engraving; one probably William Fearn, London, 1773, monogram and inscription 1776; and one William & Patrick Cunningham, Edinburgh, 1815, with motto and crest “Fortis in Arduis” (Brave in Difficulties); each approx. 8 1/2 in.; total wt. 7.80 troy ozs. [$200/300]

146. Extensive Reed & Barton

“Francis I” Pattern Sterling Silver Flatware Service, pat. 1907, incl. 29 forks (l. 7 1/4 in.), 10 forks (l. 7 3/4 in.), 31 knives (l. 9 1/8 in.), 10 knives (l. 9 5/8 in.), 43 salad forks, 10 gumbo spoons, 6 cream soup spoons, 10 cocktail forks, 44 teaspoons, 8 iced tea spoons and 10 butter knives (fh); total wt. (weighable) 241.50 troy ozs., in fitted wood case. (204 pcs.) [$4000/6000]

145. Dominick & Haff “Mazarin” Pattern Sterling Silver Flatware Service, pat. 1892, incl. 4 dinner forks (l. 7 3/4 in.), 16 luncheon forks (l. 7 in.), 9 dessert forks, 1 strawberry fork, 2 oyster/ cocktail forks, 14 knives (l. 8 1/2 in., hh), 1 butter knife (fh), 20 teaspoons (l. 5 3/4 in.), 8 five o’clock teaspoons (l. 5 3/8 in.), 2 teaspoons (l. 6 in.), 1 dessert spoon, 2 ice cream spoons, 2 salad serving forks and spoons, 4 tablespoons, cold meat fork (l. 8 1/2 in.), almond spoon, berry spoon, jam spoon, jelly knife, gravy ladle, 2 cream ladles (scalloped edge), 2 cream ladles (plain), master butter knife and 2 master salt spoons; total; total wt. (weighable) 104.95 troy ozs. (101 pcs.) [$1500/2500]

147. Gorham “King Edward” Pattern Sterling Silver Flatware Service, pat. 1936, incl. 19 forks (l. 7 1/2 in.), 16 knives (l. 9 1/2 in.), 6 knives (l. 8 7/8 in.), 24 salad forks (l. 6 1/4 in.), 5 salad forks (l. 6 3/4 in), 13 dessert spoons, 30 teaspoons, 7 iced tea spoons, 11 cocktail forks, 11 butter knives (hh), 4 tablespoons, 2 cream ladles, and carving knife and fork; total wt. (weighable) 147.90 troy ozs., in fitted wood case. (150 pcs.) [$2000/3000]

148. Kirk “Repousse” Pattern Sterling Silver Flatware Service, pattern introduced 1828, incl. 14 each: forks (l. 7 1/4 in.), knives (l. 8 7/8 in.), salad forks and butter knives (fh), and 28 teaspoons, 3 tablespoons, pierced tablespoon, carving knife and fork (l. 11 1/8 in and 9 1/2 in.), gravy ladle, sugar shell, jam spoon, pickle fork and small bowl (dia. 5 in.); together with Towle condiment spoon; total wt. (weighable) 97.45 troy ozs. (96 pcs.) [$2000/3000]

Provenance: Acquired The Collection of Rufus Napoleon Garrett, El Dorado, AR, Onsite Auction, July, 1974, lot 463.

Provenance:

Provenance:

Provenance: Acquired The

Session Two LIVE AUCTION

Friday, September 8, 1 p.m.

lots 242-485

Oak Dining

, late 19th c., incl. 2 Savonarola-style armchairs, curule x-form supports, h. 37 in., w. 23 1/2 in., d. 19 1/8 in.; and 6 side chairs, h. 34 5/8 in., w. 18 in., d. 19 1/4 in. Note: repairs to 1 armchair [$700/1000]

96 1/4 in., w. 44 1/4 in., d. 21 1/4 in. [$800/1200]

Bayou Country)”, oil on canvas board, signed lower left, signed and titled en verso, 16 in. x 20 in., framed, overall 22 1/8 in. x 26 1/8 in. x 1 1/2 in. [$1000/1500]

262.

b. 1941),

Cabin”, 1972, oil on carved wood, incised signature and date lower left, inscribed with artist, title, date and artist biography attached en verso, 7 in. x 9 7/8 in., framed, overall 13 7/8 in. x 16 7/8 in. x 2 1/2 in. [$600/800]

x 7 5/8

overall 15 1/2 in. x 13 in. x 1 1/2 in. [$600/800]

5/8 in. x 2 1/8

1/16 in. and 11 7/8 in. x 15 1/4 in., unframed. (2 pcs.) [$400/600]

39 1/8 in. x 45 1/8 in. x 2 in. [$15000/25000]

Note: Albert Ernest “Beanie” Backus was a painter born in Fort Pierce, Florida in 1906. Though largely self-taught, he took summer classes at the Parsons School of Design in New York City from 1924 to 1925. Before selling his landscapes, he made money through commercial sign painting. His lifelong passions for plants and wildlife allowed him to render Florida seascapes with impeccable detail. Though Backus was not one of the famed

Florida Highwaymen, they were influenced by his work. His skill in depicting the Florida landscape is on display in the lot offered here entitled “Windy Days.” The bend of the tree trunks and fluttering fronds come alive under the Florida sun as the viewer can almost smell the sea air and feel the warm breeze. Ref.: “A. E. Backus.” The Highwaymen. www.floridahighwaymenpaintings.com. Accessed July 26, 2023; “A. E. ‘Bean’ Backus.” Florida Arts & Culture. https://dos.myflorida.com. Accessed July 26, 2023.

Provenance:

[$3000/5000]

Provenance: Neal Auction Company, May 20, 2018, lot 918.

on paper, signed and dated lower right, portion of previous backing inscribed with artist en verso, 22 1/2 in. x 28 1/2 in., framed, overall 25 3/4 in. x 31 3/4 in. x 1 1/8 in.; accompanied by 2 handwritten letters from the artist to friend and artist Ola McNeil Davidson. (3 pcs.) [$3000/5000]

Provenance: Ola McNeil Davidson (1884-1976); Private Collection, TX.

and Purple Plums, The Garden”, c. 1960, mixed media on paper, pencil-signed lower right, titled en verso, “Alan Barnes Fine Paintings, Santa Fe, NM” label en verso, “Dutch Art Gallery” label and label with artist, title, date and artist information on backing paper, 11 in. x 14 5/8 in., framed, overall 19 1/4 in. x 22 in. x 3/4 in. [$500/800]

Exh.: “Felix Kelly: A Romantic Realist”, The R.W. Norton Art Gallery, Shreveport, LA, Apr. 16 - May 14, 1972.

Note: Born in New Zealand in 1914, Felix Runcie Kelly moved to London in 1935 and never returned to the place of his birth. In England, Kelly became a graphic artist at an advertising agency until the outbreak of World War II, when he enlisted in the Royal Air Force. Following the war, his artistic focus shifted to book and magazine illustration and painting. Kelly was heavily influenced by the Surrealists early in his painting career, and this impact can be seen in many of his works of the 1940s. Kelly regularly received commissions to paint portraits of grand houses and estates, and he often included small surrealist aspects to add an otherworldly appearance to the subjects. However, Kelly recognized that his commissions were more popular when depicting a home in a romantic and nostalgic manner rather than a surreal one, and he shifted his painting style to accommodate the preference of his patrons, wealthy homeowners from the United States and Great Britian. An exhibit at The R. W. Norton Art Gallery in Shreveport, Louisiana in 1972 included the considerable canvas offered here and was entitled “Felix Kelly: A Romantic Realist,” further alluding to the romantic yet realistic style for which Kelly became most known. “3604 Spring Hill Avenue” of Mobile, Alabama is a masterwork of the artist’s southern scenes with a classic mossdraped oak, inviting lawn chairs and abundant foliage.

Provenance:

Provenance:

x 31 7/8 in. x 1 3/4 in.

Provenance: Acquired from a New Jersey Estate, 1995.

1 4 1/4 in. x 29 3/8 in. x 1 1/8 in.

Note:

Note: This

has been

by

Note: This lot has been authenticated by renowned

Note:

Note: This lot has been authenticated by renowned

Note:

has

Note: This lot has been authenticated by

Note: This lot has been authenticated by renowned

Provenance:

Provenance:

Provenance:

290.

c., possibly “Stanton Hall

or

Henry Siever,

Texas including two arm and six side chairs, crocketed crest, rope-twist carved stiles, pierced carved legs, armchair h. 60 in., w. 29 1/2 in., d. 21 in., side chair h. 56 in., w. 21 in., d. 18 1/2 in. [$8000/12000]

56 1/2 in., d. 20 in. [$800/1200]

Provenance: Poplar Grove, Port Allen, LA

Signed and with Autograph Note,

Definitive Edition,

68 of 1,024 sets signed “SL Clemens/Mark Twain”, signed by Twain’s biographer and friend Albert Bigelow Paine, also bound with an autograph note to publisher “GW” (Gabriel Wells), dated Aug. 2/98, requesting some envelopes and commenting on some pictures in “the Stevenson Scotch Sunday poem”, signed “Yours Sincerely, SLC”, 34 vols. (of 37), octavo, red half morocco, gilt titles and tooling in

Morning Fishing”, oil on canvas, signed lower right, 12 1/4 in. x 20 1/2 in., framed with artist plaque, overall 19 3/4 in. x 27 7/8 in. x 2

Note: Charles Giroux’s compositional style and color palette are considered unique among his contemporaries in Louisiana landscape painting. His works are distinguished by their romantic hues, smooth brushwork, luminous skies and powerful recession of composition. The special qualities of his canvases were recognized in an October 23, 1885 Daily Picayune article: “The work is remarkably well finished. The same careful study and painstaking care that characterizes all Mr. Giroux’s works is apparent in every line and shadow.” The same article noted the artist’s fascination with creating landscapes with an extensive use of vanishing perspective. In the lot offered here, the contrasting areas of light and dark present a transcendental calm and serenity that bespeaks the genteel Southern life of the inhabitants of Giroux’s paintings. Recent conservation of the tranquil scene led to the exciting discovery of a previously overpainted figure fishing along the shoreline near the shade of the oak trees, adding further narrative to this charming panorama.

Note: Active in the 1870s and 1880s, Harold Rudolph was praised for his landscapes and portraits by New Orleans newspapers shortly after his arrival in 1873. Following the death of his brother-in-law and partner in portrait painting in 1877, Rudolph focused primarily on scenes of the Louisiana countryside, although relatively few of his landscapes exist today. The work offered here is a particularly rare scene from Rudolph depicting a working farmyard under the shadow of a classic moss-draped oak. As the workers take a brief respite, the implements of daily farm life surround them in carefully composed detail. The pastoral beauty of Louisiana’s landscape is relegated to the background, while the genre scene is moved to the foreground.

[$2000/3000]

Provenance: Descended in the family of the artist.

Provenance:

Provenance:

355. Bob Ross (American/Florida, 1942-1995), “The Northern Lights”, c. 1970, mixed media on velvet laid on mining pan, signed lower right, gold seal from Bob Ross Inc. on reverse, dia. 10 1/4 in., overall dia. 16 3/4 in., d. 2 3/4 in; accompanied by a copy of a certificate of authenticity from Bob Ross Incorporated. (2 pcs.)

[$6000/8000]

Note: “We don’t make mistakes, we just have happy accidents.” – Bob Ross Beloved television host, Robert “Bob” Norman Ross was born in Daytona, Florida in 1942. He joined the Air Force in 1960 and was first stationed in Florida before being transferred to an airbase in Alaska. In Anchorage, Ross took his first painting class, and he supplemented his income by bartending as well as selling his paintings done on gold prospecting pans, such as the work offered here.

Ross’ foray into the arts developed into a lifelong passion which led to the celebrated cult favorite program, “The Joy of Painting.” With the nurturing guidance of its softspoken, iconic host, countless fans of the show felt inspired to pick up a paintbrush for the first time to try their hand at Ross’ wet-on-wet technique, dubbed “alla prima.” Ross’ encouraging and calm air proved addictive, and the show continues to be beloved years after his passing in 1995.

Note: Neal Auction would like to thank Annette Kowalski, Founder, Bob Ross Incorporated for her invaluable assistance in the cataloguing of this lot.

359. Phil Sandusky (American/ Louisiana, b. 1957), “House at Robert and Perrier”, 2011, oil on canvas, signed and dated lower left, “Cole Pratt Gallery, New Orleans” label with artist, title and inventory number on stretcher, 15 in. x 30 in., framed, overall 16 3/4 in. x 31 3/4 in. x 1 7/8 in. [$700/1000]

Note: Phil Sandusky is a plein air artist who has lived and worked in New Orleans since 1984. Sandusky was born in Lakeland, Florida and attended Jacksonville University to study physics. His post-grad work as an engineer brought him to the Gulf of Mexico, where he worked as an engineer and artist until 1992 when he made the choice to commit to artmaking full time. The city inspired him: “I fell in love with its eclectic old architecture in all stages of repair, its lush tropical foliage, its dense atmosphere, and not least of all its

rich culture.” Sandusky’s background in science greatly informs his artistic practice. He studies visual processes that contribute to his impressionistic style saying: “It’s the pinnacle of the art form that best reconciles how we see with art. It’s the ultimate of human visual perception…I like to seize that moment in my mind and paint it.” His goal in painting is not to perfectly render scenes to mimic a photograph. Instead, he aims to synthesize how our human lived experiences affect how we view the world. This technique is beautifully displayed in the canvas offered here.

The tranquil uptown street corner features a pink Victorian style house with dark green shutters. Cars line the streets on either side, framing the view to the home. In the center is the composition’s only figure, a person stopped while walking a dog. The rich pink of the house cuts into the deep blue sky, feathered with trees and telephone poles, adding a familiar homeyness to the work.

Ref.: “About the Artist.” Phil Sandusky. www.philsandusky.com. Accessed July 24, 2023.

Note: Dr. Bob is a beloved self-taught folk artist in New Orleans. Originally from Kansas, Dr. Bob has spent most of his life in Louisiana, where his family moved in the mid-1960s for his father’s job at the Michoud NASA Assembly Facility. Always interested in the arts, Dr. Bob got his start in building picture frames and eventually set up his own studio in the Bywater neighborhood in 1990 where he is still located today. First, he carved sculptures out of wood, but then, he says, “I ran out of wood, so I just started messing around with paint.” His environmental and cultural surroundings greatly informed the direction of his work, with alligators being a prominent motif. His emblematic catchphrase “Be Nice or Leave” is a recurring theme and the message permeates his oeuvre, full of whimsy and a bright child-like joy. The significant work offered here exemplifies this whimsicality with its smattering of polka dots and grinning gator. The gargantuan mixed media panel perfectly illustrates Dr. Bob’s unique artistic voice from the iconic subject matter to the artist’s enhanced frame studded in old Barq’s bottlecaps, another signature of the artist.

Ref.: “About Bob.” Dr. Bob Art. drbobart.net. Accessed July 24, 2023.

Provenance: Acquired from the artist; Roland Begneaud Family Collection, Lafayette, LA.

Note: In 2001, George Rodrigue painted intensely following the completion of his important collaborations with Xerox, Neiman Marcus, Absolut and New Orleans Jazz Fest. Creating only for himself, Rodrigue embraced abstraction with hard edges, patterns, flat planes of color and shapes. He approached each new canvas as a puzzle to solve, with every element of the composition serving as a different piece to fit together around the most important shape of all—the one of his own invention— the Blue Dog. With this series of paintings, Rodrigue made abundantly clear what he had always known—that he was “an abstract artist, that is, who happens to paint something we recognize.”

In “Big Stop Sign” from 2002 offered here, Rodrigue stops the viewer in their tracks with saturated, primary colors, and shapes defined by those colors, that highlight the Blue Dog and connect it to the canvas. The static image is enlivened by the highly contrasting hues, vibrating with energy and further solidifying the Blue Dog as a graphic icon as equally familiar as the ubiquitous stop sign.

Ref.:

Note: One of George Rodrigue’s most captivating and memorable early works, “Doc Moses, Cajun Traiteur,” depicts a unique and fascinating element of Cajun life. A traiteur is a traditional Cajun faith healer with an inherited gift for healing, and traiteur is the Cajun French word for “treater.” Some traiteurs treat any ailment, while others specialize. In Louisiana, Cajuns, Creoles and Native Americans all participate in some form of traditional healing. The Cajun traiteurs date back 250 years when the rich cultures of the people inhabiting South Louisiana – the early French Roman Catholic settlers, the Acadian refugees from Canada and the Native Americans – mingled together. Eventually, some of the healing traditions of the French-speaking African American community were incorporated as well. Most traiteurs consider their healing abilities a gift from God, and their practice often combines Catholic prayer with ritual or medicinal remedies.

In Rodrigue’s canvas, Doc Moses heals an earache by touching his patient’s ears and making a circle around them to ward off evil spirits. Like most of his early paintings, the subject was inspired by Rodrigue’s upbringing in Acadiana. He witnessed many healings by his aunt, Tant Git, who would lick her thumb, trace three small crosses with it on the injury and whisper secret words from her prayer book. According to Wendy Rodrigue:

“George also knew of a woman in New Iberia famous for treating warts. She concentrated on one wart a day and could even work over the telephone if you described to her the exact location of the growth. However, the power did not work across water, and so if you lived on the other side of the Bayou Teche, you had to cross the bridge (or take a pirogue) to the opposite bank to make your call.”

364. George Rodrigue (American/ Louisiana, 1944-2013), “Doc Moses, Cajun Traiteur”, 1974, oil on canvas, signed lower left, signed, titled, inscribed and artist stamps on stretcher, label with title and date on reverse of frame, 48 in. x 35 3/4 in., framed with artist plaque, overall 55 5/8 in. x 43 3/4 in. x 2 in. [$30000/50000]

Provenance: Acquired from the artist; Roland Begneaud Family Collection, Lafayette, LA. Ill.: Rodrigue, George. The Cajuns of George Rodrigue. Birmingham: Oxmoor House Inc., 1976, p. 38; Freundlich, Lawrence S. George Rodrigue: A Cajun Artist. New York: Penguin Studio, 1996, title page and p. 92; Perrin, Mary B., and Beverly C. Fuselier. Healing Traditions of South Louisiana: Prayers, Plants, and Poultices. Opelousas: Andrepont, 2022, cover.

Exh.: “Blue Dog: The Art of George Rodrigue”, Dixon Gallery and Gardens Museum, Memphis, TN, July 29 – Oct. 14, 2007; “Rodrigue’s Louisiana: Forty Years of Cajuns, Blue Dogs, and Beyond Katrina”, New Orleans Museum of Art, New Orleans, LA, Mar. 1 – June 8, 2008; “George Rodrigue: Cajuns and Blue Dogs / Paintings from Louisiana Family Collections 1971-2008”, Louisiana State Museum Wedell Williams Aviation and Cypress Sawmill Museum, Patterson, LA, July 17 – Nov. 29, 2008; “Blue Dogs and Cajuns on the River”, Louisiana State University Museum of Art, Baton Rouge, LA, July 23 – Sept. 18, 2011; “Blue Dogs in Texas”, Amarillo Museum of Art, Amarillo, TX, Aug. 10 - Oct. 14, 2012.

By the mid-1970s, Rodrigue had built a solid reputation for his scenes of Cajun folklife, resulting in an expanded clientele and book opportunity with Oxmoor House, publisher of Southern Living Magazine in 1976. The large format book, The Cajuns of George Rodrigue, featured images of his best paintings of the time, including this one, with Rodrigue’s detailed descriptions in both English and French. These paintings follow in the footsteps of his first figurative painting, “Aioli Dinner” of 1971, now on view at the Ogden Museum of Southern Art. Each scene includes the artist’s distinctive oaks alongside figures and narrative elements. In “Doc Moses, Cajun Traiteur,” Rodrigue’s figures inhabit his shadowy landscape and glow within the tilted white circle that both draws in and repels the viewer. While many of his Cajun series paintings have a haunting quality, none are quite as mysterious and riveting as this one.

Rodrigue captured the folklore and culture of the Cajuns at a time when it was slipping away and evolving into something new. So often, the beautiful and unique aspects of a society are lost to time through this process. Rodrigue found a way through his distinctive graphic language to preserve and protect these stories. His early canvases, such as this one, are simultaneously personal, historical and modern.

Ref.: Perrin, Mary Broussard and Beverly Constantine Fuselier. Healing Traditions of South Louisiana: Prayers, Plants, and Poultices. Opelousas, LA: Andrepont Publishing, LLC, 2022; Rodrigue, George. The Cajuns of George Rodrigue. Birmingham, AL: Oxmoor House, Inc., 1976; Rodrigue, Wendy. “The Traiteur.” Musings of an Artist’s Wife. Life & Legacy Foundation & Art Tour. www.legacyarttour.org. Accessed July 24, 2023.

Ill.:

367. Andrew LaMar Hopkins (American/Louisiana, b. 1977), “Back from the French Market”, 2015, acrylic on canvas board, signed and dated lower right, signed, titled, dated and artist card en verso, 16 in. x 20 in., framed, overall 17 1/8 in. x 21 1/8 in. x 1 5/8 in. [$12000/18000]

Note: Andrew LaMar Hopkins’ engaging portrayals of daily life in 19th century Creole New Orleans have stunned and captivated the art world. His colorful canvases are resplendent with fine-tuned details of the wares, objects, furniture and fine art included in his lush interiors. Hopkins’ wealth of knowledge of this fascinating era translates to faithful depictions of his subjects and their surroundings, and the resulting works serve as vibrant celebrations of New Orleans history and culture. In the work on offer here, “the painting centers around two kitchen servants arriving back from the French Market. During the 19th century before refrigeration, Creoles bought fresh food daily. That food was prepared and consumed the same day. For over 200 years, the historic French Market has been an enduring symbol of pride and progress for the people of New Orleans. While the Market has existed on the same site since 1791.”

Ref.: Hopkins, Andrew LaMar. “Back from the French Market.” Andrew Hopkins Art. May 8, 2016. www.andrewhopkinsart.blogspot.com. Accessed July 19, 2023.

Provenance:

369. Henri Hecht Maik (French, 1922-1993), “Dans les Nuages”, 1974, oil on canvas, signed and dated lower right, signed, titled and inscribed “1702” en verso, inscribed “WF B.H. exh. 55809” on stretcher, “Wally Findlay Galleries, Palm Beach, Chicago” label and numbered “55809” on backing board, 36 1/4 in. x 28 5/8 in., framed with artist plaque, overall 44 1/8 in. x 36 3/4 in. x 2 1/4 in. [$6000/8000] +

Note: Born in Paris in 1922, Henri Hecht Maik was the son of an illustrator and engraver. In 1940, Maik enlisted in the French Navy as a medical corpsman. He was eventually captured and imprisoned in the Maritime Hospital in Brest until his release in 1942. Awaiting the liberation of France in 1944, Maik worked as a lumberman in Normandy. Following the war, he returned to Paris where he became an actor in film and theater. While he began painting in only 1956, Maik soon became a successful artist, and by 1960, he was featured in his first one-man show in Paris. Maik’s work caught the eye of gallery owner Wally Findlay who introduced the artist to American audiences in 1964 with an exhibition at the Wally Findlay Galleries in Palm Beach, Florida. Several successful exhibitions followed at Wally Findlay Galleries in New York, Chicago, Palm Beach, Beverly Hills and Paris. According to inscribed notes on the stretcher of the work offered here, it was displayed in the Wally Findlay Galleries of Beverly Hills.

Maik had a unique and simplistic style that utilized bright colors and childlike figures of animals and people to create worlds with unity among all species. Although his work is reminiscent of naïve art, Maik instead preferred to designate himself as a primitive painter. In this painting, four tigers frolic within a lush, flowering landscape with multicolor trees framing two of the tigers, paw to paw, with one lifted among the clouds. All four tigers stare at the viewer as if questioning the additional presence within their saturated and fanciful landscape.

Ref.: “Henry Maik.” Findlay Galleries. www.findlaygalleries.com. Accessed July 25, 2023.

x 21 in., framed, overall 24 7/8 in. x 22 in. x 1 3/4 in. [$15000/25000]

Provenance:

Provenance:

Provenance:

Note: In 1956, Ida Kohlmeyer traveled to Provincetown, Massachusetts to complete a three-month workshop with famed Abstract Expressionist, Hans Hofmann. This period ignited a major turning point in her approach to painting. Inspired by Hofmann’s advice that painting should be an “invention and not an imitation,” she began to approach her work in a more impulsive and physical way. Her new methodology shifted her focus to the process, rather than the outcome, of making art, and thus 1956 marked the beginning of her evolution from figurative painting to Abstract Expressionism.

The painting offered here entitled “Ships at Sea” was painted the same year she studied under Hofmann, and his influence is evident in the dense clusters of thick, colorful brushstrokes that anchor the composition. The title indicates a recognizable subject, while the execution remains purely abstracted with glimpses of possible masts punctuating the larger planes of color.

382. Lin Emery (American/Louisiana, 1926-2021), “St. Gertrude”, painted plaster, unsigned, h. 21 in., w. 5 in., d. 3 in., mounted on wood board, overall h. 30 1/2 in., w. 13 in., d. 3 3/4 in. [$2000/3000]

Note: “I have a very deep belief not in any practiced religion but in the search for unity and spiritual understanding.” – Lin Emery

In 1951, Lin Emery returned to New Orleans, where she had briefly lived in 1945, and worked as a studio assistant with Enrique Alferez. She undertook numerous commissions in plaster, clay and bronze of life-size religious figures for churches in the city and throughout the region. One such example of St. Gertrude the Great in Des Allemands, Louisiana from 1956 measures twelve feet by eight feet. The figures are classical in inspiration with modern lines and a fluidity of form that would come to define the artist. The study offered here of St. Gertrude is for an installation at St. James Major Church on Gentilly Boulevard in New Orleans. Emery completed six sculpted figures of saints mounted above the altar in the sanctuary that are still in place today.

In the evolving art world of the 1950s, Emery’s interests turned away from her figurative and religious work as she moved into abstraction and favored metal as a medium. She remained active in New Orleans the rest of her life and was an engaged member of the city’s contemporary art scene, serving as one of the founders of the Orleans Gallery in 1956 and as a co-founder of the Contemporary Arts Center of New Orleans. This rare early study is an exciting window into development of the renowned sculptor and as she herself said of her earlier sculptures: “I was looking for an essence, an interior and searching for understanding.”

Ref.:

Provenance:

422. Sterling Silver Compact marked “39 MI”, “925” and “Cartier”, cabochon sapphire clasp, l. 3 in., w. 2 1/2 in., 5.10 troy oz.; together with silver compact, monogram “E”, dia. 2 1/2 in., 34.89 dwts. Note: unmarked, metal not tested. (2 pcs.) [$300/500]

423. Art Deco 14 kt. Yellow Gold, Diamond and Ruby Compact, marked “14K”, “CP?” and “7640”, lid set with 4 round diamonds and 5 rubies, h. 5/8 in., w. 3 1/2 in., d. 3 in.; 90.00 dwts.; with Coleman Adler fitted velvet case,. [$4000/6000]

424. 14 kt. White Gold and Tahitian Pearl Necklace, 35 graduated cultured pearls, 11.18-14.43 x 14.32 mm; plunger style bead clasp; l. 18 1/4 in.; GIA and AIGL reports. [$800/1200]

425. 14 kt. Yellow Gold and South Sea Pearl Necklace, 33 off round cultured pearls, 10-13 mm, l. 17 1/2 in.; AIGL report. [$1200/1600]

427. Platinum, Sapphire and Diamond Ring, center cushion mixed cut blue sapphire, wt. approx. 1.31 cts.; set with 48 baguette and round diamonds, total wt. approx. 0.20 ct., H-I color, VS2-SI1 clarity; size 7; AIGL report. [$1000/1500]

429. 14 kt. White Gold, Sapphire and Diamond Bracelet, set with 22 oval brilliant faceted cut blue sapphires, total wt. approx. 9.63 cts.; bezels set with 264 round brilliant cut diamonds, total wt. approx. 3.66 cts., G-H color, SI1-SI2 clarity; l. 6 3/4 in.; GGA report. [$3000/5000]

428. Platinum, Sapphire and Diamond Ring, center oval brilliant faceted cut blue sapphire, wt. approx. 2.38 ct.; bezel set with 54 round brilliant and baguette cut diamonds, total wt. approx. 1.30 cts., F-G color, VS1-VS2 clarity; size 6.5; GGA and GIA reports [$2000/3000]

430. 14 kt. White Gold, Sapphire and Diamond Necklace, set with 54 oval brilliant faceted cut blue sapphires, total wt. approx. 24.33 cts.; bezels set with 756 round brilliant cut diamonds, total wt. approx. 7.28 cts., G-H color, SI1-SI2 clarity; l. 17 in.; GGA report. [$5000/7000]

mine cut diamond, wt. approx. 1.92 cts., H color, SI1 clarity; band set with 48 round brilliant and baguette cut diamonds, total wt. approx. 1.03 cts., G-H color, VS1-SI1 clarity, size 7;

H-I, clarity VS2-SI1, ring size 3.75, overall wt. 1.63 dwts. [$4000/6000]

447. 18 kt. Yellow Gold, Emerald and Diamond Ring, center octagonal mixed cut emerald, wt. approx. 0.70 ct.; accented by 4 round brilliant cut diamonds, total wt. approx. 0.07 ct.; size 6.75; GGA report. [$1200/1800]

448. 18 kt. Yellow Gold, White Gold, Emerald and Diamond Ring, center octagonal step and faceted cut emerald, wt. approx. 1.55 cts.; bezel set with 22 round brilliant cut diamonds, total wt. approx. 0.25 ct.; size 6.75; GGA report. [$1500/2500]

450. 18

449. 14 kt. Yellow Gold, Emerald and Diamond

set with 26 oval brilliant faceted cut emeralds, total wt. approx. 8.50 cts.; linked by 26 round brilliant cut diamonds, total wt. approx. 0.24 ct., G-H color, SI1-SI2 clarity; l. 7 in.; GGA report. [$1500/2500]

Emerald and Diamond Earrings, 2 rectangular mixed cut emeralds, total wt. approx. 3.16 cts.; bezels set with 36 round brilliant cut diamonds, total wt. approx. 0.66 ct.; AIGL report. [$2000/3000]

451. Rare 18 kt. Yellow Gold, White Gold, Emerald and Diamond Ring, center octagonal step cut Russian emerald, wt. approx. 7.08 cts., 13.60 x 11.09 x 6.32 mm; flanked by 2 trapezoid cut diamonds, total wt. approx. 0.80 ct., F-G color, VVS2-VS1 clarity; size 6.75; GGA and GIA reports. [$7000/9000]

452. 18 kt. Yellow Gold, White Gold, Emerald and Diamond “Toi et Moi” Ring, set with octagonal mixed cut emerald, wt. approx. 4.39 cts., 12.16 x 8.54 x 5.52 mm; and pear brilliant cut diamond, wt. approx. 0.70 ct., G color, I1 clarity; size 7; GGA and GIA reports. [$3500/4500]

453. Vintage Platinum, Emerald and Diamond Ring, center emerald cut emerald, wt. approx. 0.80 ct.; flanked by 2 baguette cut diamonds, total wt. approx. 0.36 ct., G-H color, VS clarity; size 3; IAS report. [$1200/1800]

454. Antique Art Deco Platinum, Emerald and Diamond Clip/Pendant, mounted with 4 bezel set emeralds, incl. 1 emerald-cut emerald, wt. approx. 6.25 cts.; 1 pear shaped emerald, wt. approx. 2.00 cts.; and 2 pear shaped emeralds, total wt. approx. 1.50 cts.; central emerald cut diamond, wt. approx. 1.20 cts.; 1 trapezoidal diamond, wt. approx. 0.15 ct.; 10 channel set graduated tapered baguette cut diamonds, total wt. approx. 1.00 ct.; 3 bezel set graduated baguette cut diamonds, total wt. approx. 0.18 ct.; 42 single cut and full cuts diamonds, total wt. approx. 2.00 cts.; clip has safety chain and pin; approx. 13.99 dwts.; Note: lacking one diamond. [$10000/15000]

Provenance: Neal Auction Company, September 12, 2015, lot 407.

wt. approx. 1.12 cts., F-G color, VS1-SI1 clarity; finished with 52 round modified brilliant cut rubies, total wt. approx. 1.07 cts.; size 7; GIA and AIGL reports. [$5000/7000]

456. Platinum, Emerald and Diamond Ring, center prong set rectangular step cut emerald, wt. approx. 2.44 cts.; bezel and shoulders set with 30 round brilliant cut diamonds, total wt. approx. 0.65 ct., F-H color, VS2-SI2 clarity; size 6.75; AIG report [$2500/3500]

29.37 cts.; l. 17 in.; GGA report. [$5000/7000]

5.06 cts., 11.59 x 9.72 x 4.80 mm;

and shoulders set with 40 baguette

round brilliant cut diamonds, total wt. approx. 0.47 ct., G-H color, VS1-SI1 clarity; size 7.5; AIGL and GIA reports. [$2500/3500]

0.36 ct.;

38

8.66

4.77

461. 18 kt. White Gold, Ruby and Diamond Ring, center prong set oval mixed cut ruby, wt. approx. 0.90 ct.; shoulders set with 46 round brilliant cut diamonds, total wt. approx. 0.35 ct., G-H color, SI2-I2 clarity; size 6.25; AIGL report. [$1000/1500]

462. 18 kt. White Gold, Diamond and Ruby Ring, center prong set round brilliant cut diamond, wt. exact 0.93 ct., F color, SI2 clarity; stylized feather setting mounted with 46 bead set round brilliant cut diamonds, total wt. approx. 1.02 cts., F-G color, VS2-SI2 clarity; finished with 8 channel set trapezoid step cut rubies, total wt. approx. 0.26 ct.; size 7; AIG and IGL reports. [$2500/3500]

total wt. approx.

ct., F-G color, VS1-VS2 clarity; size 6.75; GGA and GIA report s.

0.82 ct.,

0.72 ct., F-G color, VS2-SI1 clarity; size 6.75; AIGL and GIA reports. [$2500/3500]

467. 18 kt. White Gold, Pink Sapphire and Diamond Ring, center oval mixed cut purple pink sapphire, wt. approx. 2.63 cts.; bezel and openwork shoulders set with 124 round brilliant cut diamonds, total wt. approx. 0.59 ct., G-H color, VS1-SI1 clarity; size 6.5; AIGL and GIA reports. [$2000/3000]

469. 14 kt. Yellow Gold, Multicolor Sapphire and Diamond Necklace, mounted with 57 oval brilliant faceted cut multicolor sapphires, total wt. approx. 45.80 cts.; accented with 16 round brilliant cut diamonds, total wt. approx. 2.00 cts., G-H color, VS2-SI1 clarity; l. 17 1/2 in.; GGA report. [$6000/8000]

468. 14 kt. Rose Gold, Ruby and Diamond “Snake” Ring, center bezel set marquise cut ruby, wt. approx. 0.59 ct.; 2 round brilliant cut diamonds, total wt. approx. 0.06 ct.; size 6.5; IAS report. [$600/800]

470. 14 kt. Yellow Gold, Aquamarine and Diamond Dangle Earrings, set with numerous emerald cut aquamarines, total wt. approx. 7.66 cts.; and numerous round brilliant cut diamonds, total wt. approx. 0.91 ct.; l. 2

3.54 cts.; bezel set with 30 round brilliant cut diamonds, total wt. approx. 0.18 ct.; size 7; GGA

cts.; bezel and shoulders set with 30 round brilliant cut diamonds, total wt. approx. 0.41 ct., G-H color, SI1-SI2 clarity; size 7; AIGL

0.85 cts., G-H color, VS2-SI1 clarity; size 6.5; AIGL report. [$2000/3000]

wt. approx. 0.93 cts., G-H color, VS2-SI1 clarity; pendant l. 1 1/4 in.; chain l. 18 in.; AIGL and GIA

1.58 cts.; ornate openwork bezel set with approx. 166 round brilliant cut diamonds, total wt. approx. 1.19 cts., F-H color, VS1-SI1 clarity; size 6.75; AIG report. [$3000/5000]

79 3/4 in. x 39 1/2 in., framed, overall 81 1/2 in. x 41 in. Provenance: Manheim

New Orleans, c. 1959. [$4000/6000]

Provenance: Manheim Galleries, New Orleans, Lousiana, c. 1959.

AUCTION SCHEDULE

OCT 19 - UNRESERVED @ Neal - Online Auction

NOV 9 - Estate of Angela Gross Folk Collection of Fine Silver

NOV 16 & 17 - Louisiana Purchase Auction™

DEC 7 - Mid-Century, Modern, Contemporary Art & Design Auction

JAN 25 & 26 - Premier Collections Live Auction

of Antiques & Fine Art 4038 Magazine Street, New Orleans, LA 70115

504.899.5329

FIRST NAME:

ADDRESS:

MC

23-04M #

I understand that Neal Auction Company undertakes the execution of absentee bids as a convenience for clients failure to execute bids, or for any error in the execution of bids. I have read and agree to the “Conditions of Sale” as stated in the catalogue. I understand that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchase made by cash, check or wire transfer within 15 days of the auction, the buyer’s premium shall be discounted 3% of this 25%. No exceptions.

PLEASE REVIEW THE GUIDELINES FOR BIDDING:

1. All absentee bids must be in our gallery by 5 P.M. CST the day prior to the auction.

2. In the event identical bids are submitted, the earliest bid received will take precedence.

3. A deposit must accompany all bids, A credit card number is required for securing bids.

FOR INTERNAL USE ONLY:

4. All property is sold “AS IS”. No statement regarding condition of any item, whether it is made orally at the auction or any other time, or in writing in the catalogue or elsewhere, shall be deemed to be a warranty, representation or assumption of liability.

CONDITIONS OF SALE; WAIVERS OF WARRANTY; LIMITATIONS OF LIABILITY

Registering for and/or placing a bid at auction constitutes the acceptance of and agreement to these Conditions of Sale; WAIVERS OF WARRANTY; and LIMITATIONS OF LIABILITY (collectively, the “Conditions of Sale”). These Conditions of Sale are binding and enforceable on all bidders and buyers.

1. WARRANTY WAIVERS; LIABILITY LIMITATIONS. All lots are sold “AS IS, WHERE IS” – WITH ALL FAULTS and WITH NO EXPRESS OR IMPLIED WARRANTIES. No statement or description regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, value, size, or quality of a lot, whether made orally at the auction or at any other time, in electronic messages, online, in writing, or in a catalogue, website, correspondence, advertising, literature, or elsewhere, is or shall be construed to be a guarantee, an express or implied warranty, or assumption of liability, obligation, or responsibility. The bidder or buyer WAIVES any such warranty, WAIVES any warranty of fitness for ordinary use or for any intended use, and further WAIVES any warranty against redhibitory vices and defects, whether latent, hidden, or apparent, and whether imposed by the Louisiana Civil Code or any other applicable statute, law, jurisprudence, or legal authority. The buyer further WAIVES any rights or remedies in redhibition to a return or reduction of the purchase price for any lot, including for any lot with any defect rendering the lot useless, inconvenient, or of diminished usefulness. All sales are final, without exception.

Each bidder and buyer agrees and acknowledges that: (a) the bidder or buyer is not relying on Neal Auction Company’s actual, perceived, or expressed skill, expertise, experience, knowledge, or judgment in deciding to purchase any lot; (b) no oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere regarding attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value is the cause of or reason behind the buyer’s purchase of any lot; (c) the buyer would have purchased any lot regardless of any oral, written, or electronic statement or description about attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value, made in a catalogue, website, correspondence, advertising, literature, or elsewhere; (d) Neal Auction Company did not know, nor should it have known that attribution, authenticity, authorship, character, condition, kind, period, provenance, size, quality, or expressed value is the cause or reason why the buyer decides to purchase any lot; (e) the buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; (f) Neal Auction Company did not know, nor should it have known, that any oral, written, or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere would cause a pecuniary or nonpecuniary loss to any bidder or buyer; (g) the bidder or buyer has had the opportunity prior to bidding to make independent inspections of, and conduct due diligence on, all lots being offered; (h) there is no inspection or examination period after the auction bidding; (i) the bidder’s or buyer’s failure to be fully informed as to the attribution, authenticity, authorship, character, condition, kind, period, provenance, quality, size, or value of a lot will not be grounds for any reduction of the purchase price or rescission of the sale; (j) Neal Auction Company shall not be liable, obligated, or responsible for the presence of lead-based paint or any other environmental or other hazard of any lot; (k) Neal Auction Company shall not be liable, obligated, or responsible to the buyer as to third parties who may claims rights to or interests in any lot; (l) the buyer is buying at the buyer’s sole risk and peril; (m) Neal Auction Company shall not be liable, obligated, or responsible for any errors or omissions in any oral, written or electronic statement or description in a catalogue, website, correspondence, advertising, literature, or elsewhere. Each bidder and buyer WAIVES and RELEASES any and all claims arising out of the matters expressed above. All such waivers, releases, and limitations of liability shall apply to Neal Auction Company and its owners, officers, directors, representatives, insurers, agents, and employees.

2. Fine Art. Subject to the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, with respect to authorship of works of fine art, the following phrases have the following meanings: ARTIST - In our qualified opinion, we believe the work is by the artist named. Attributed to ARTIST - In our qualified opinion, we believe the work may be ascribed to the artist named on the basis of style and period, but our opinion is less certain than in the previous category.

Signed “ARTIST” - In our qualified opinion, the signature, monogram, or other indication of authorship is a signature of the artist.

School of ARTIST - In our qualified opinion, the work is of the period of the artist named, by a student or a follower of the artist, but not by the artist.

Manner of ARTIST - In our qualified opinion, although the work is in the style of the artist named, it is actually of a later period.

After ARTIST - In our qualified opinion, the work is a copy of a known work of the artist named. Bears signature “ARTIST” - In our qualified opinion, although the work bears the signature or monogram of the artist, the work most likely is not that of the artist.

3. Discretionary Rescission. Notwithstanding the foregoing Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale of a work of fine art on the basis of authenticity of authorship only under the following terms, conditions, and LIMITATIONS OF LIABILITY, all of which apply, and the buyer WAIVES and RELEASES any other rights, relief or remedies:

Neal Auction Company shall not grant rescission of any lot identified by the terms “attributed to,” “signed,” “school of,” “manner of,” “after,” or “bears signature.”

Neal Auction Company shall not grant rescission of any lot unless the buyer notifies Neal Auction Company in writing within 25 calendar days from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale.

Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written document signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery.

Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the original buyer, and any rights or interests of the original buyer are not transferrable, inheritable, or assignable.

Neal Auction Company shall not grant rescission when: (a) there is a conflict of expert opinion as to the authorship; (b) expert opinion supported authorship at the time of auction, although expert opinion may have changed afterward; and (c) scientific or other tests, examinations, investigations, research, or processes that were unavailable, expensive, or impractical at the time of the auction have revealed since that time that the author, character, condition, kind, provenance, period, quality, or value Neal Auction Company believed to be accurate at the time of sale was inaccurate.

In any dispute between Neal Auction Company and the bidder or buyer regarding authorship of a work of fine art, rescission of the sale and refund of the purchase price paid shall be the buyer’s sole recourse or remedy, if any is available. Neal Auction Company (and its owners, officers, directors, representatives, agents, insurers, and employees) shall not be liable, obligated, or responsible for any damages (including compensatory, general, incidental, consequential, exemplary, or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorneys’ fees, or any other monetary, declaratory, equitable, or injunctive relief or remedy. The buyer WAIVES and RELEASES any and all such damages, relief, and remedies.

AUCTION BIDDING AND SALE

1. The auctioneer shall have absolute discretion in determining the highest and best bid on each lot. The auctioneer may decide that any original bid is not commensurate with the value of the lot offered, or that any advance thereafter is not of sufficient amount, and the auctioneer may reject or refuse to recognize that bid or advance.

2. At the fall of the auctioneer’s hammer, the bidder acknowledged by the auctioneer, whether in person or absentee, thereupon assumes the obligation to pay for the offered lot, and shall pay the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs.

3. Title to the offered lot shall pass to the bidder acknowledged by the auctioneer upon payment of the full purchase price for the lot, which shall include the hammer price, plus the buyer’s premium, and all applicable taxes, charges, and costs. The buyer thereupon assumes full risk, obligation, and responsibility for the lot.

4. At any time before the sale of a lot, Neal Auction Company reserves the right to withdraw the lot or any part of the lot, to combine lots, or to separate items within a lot.

5. No lots will be released before the end of the auction.

6. If the buyer fails to comply with any of these Conditions of Sale, Neal Auction Company reserves the right to (a) hold such defaulting buyer liable, obligated, and responsible for the total amount due and to commence legal proceedings to recover the entire amount along with interest, reasonable attorneys’ fees, expenses, and costs; (b) charge outstanding amounts to the buyer’s credit card; (c) apply any payments to outstanding amounts chosen by Neal Auction Company notwithstanding the instructions of the buyer; (d) cancel the sale, retaining as liquidated damages any payment made by the buyer; (e) resell the lot without reserve at public auction, online-only auction, or privately on seven calendar days’ notice to the buyer; (f) enforce specific performance of the sale; (g) require a deposit in future auctions; (h) exclude the buyer from future auctions or bidding on particular lots; (i) exercise the rights and remedies of a person holding security and/or privilege over property in Neal Auction Company’s possession, whether by pledge, security interest or any other mechanism, to the full extent allowed under Louisiana law, and Neal Auction Company may hold the property of the buyer as collateral security for the buyer’s obligations; (j) and/or take such other actions allowed by law in Neal Auction Company’s sole discretion. If Neal Auction Company resells the lot, the defaulting buyer shall be liable, obligated, and responsible for the payment of any deficiency in the purchase price and any damages, including but not limited to all costs and expenses of both sales, such as, by way of example only, storage, handling, insurance, repairs, illustrations, consultations, examinations, moving, shipping, promotions, advertising, reasonable attorneys’ fees, commissions, and incidental damages.

7. Virtually all lots offered have been subject to use over a considerable period of time. No mention of cracks, scratches, chips, tears, breaks, weaknesses, or any damages or wear will be included in oral, written, or electronic statements or descriptions in the catalogue, website, correspondence, advertising, or literature. Condition reports may be provided upon request, but condition reports may not mention all cracks, scratches, chips, defects, hazards, tears, breaks, weaknesses, or other damages or wear. Neal Auction Company makes no representations or warranties as to the accuracy or completeness of any information or description in a condition report or elsewhere, whether oral, written, electronic, or online. Neal Auction Company reserves the right to decline to provide a condition report for any specific lot, at its sole discretion.

8. Neither high nor low estimates in a catalogue, website, advertising, correspondence, literature, or elsewhere should be relied on as a representation, prediction, appraisal, guarantee, or warranty that a particular lot will sell for a particular price or that a particular lot has a particular value.

9. Neal Auction Company has absolute discretion to admit a bidder to the auction premises, to expel a bidder from the auction premises, or to refuse a bidder from participating in the auction.

10. Neal Auction Company and its auctioneers shall not be liable, obligated, or responsible for failure to recognize or execute any bids for any reason whatsoever, or for no reason. Bidders and buyers WAIVE and RELEASE any rights to damages, and equitable, declaratory, and injunctive relief arising out of the failure or rejection of any bid, or any errors or omissions relating to the bidding process.

11. Interfering with the auction in any way is prohibited.

12. Bid rigging is strictly prohibited. Any agreement, understanding, or arrangement not to bid against another or otherwise to dampen the bidding is unlawful. The auctioneer reserves the right to bid on behalf of the consignor for the protection of the consignor if this illegal activity by two or more bidders is detected, disclosed, alleged, or suspected.

13. Canvassing or solicitating on the auction premises is prohibited.

14. The auctioneer has the sole discretion as to the increments of bidding, the recognition of any bid, the acceptance of the final bid, and resolving any disputes among bidders.

15. Neal Auction Company represents the consignors only and is not acting as agent or representative of bidders or buyers. The payment of the buyer’s premium by the buyer does not indicate a dual agency relationship. Neal Auction Company is to be paid a fee or commission by the consignor pursuant to a separate written agreement between the consignor and Neal Auction Company. The consignor is the seller of the lot sold. Neal Auction Company is the consignment agent or representative, not the seller.

16. The successful bidder is obligated to pay the purchase price in full unless Neal Auction Company has consented in writing at the time of the bidder’s registration that the bidder is acting as an agent on behalf of an identified person and that said principal is obligated to pay the purchase price in full. Neal Auction Company reserves the right to require an advance deposit for such bids.

17. Prior to placing any bid, all bidders must complete a standard Neal Auction Company Registration Form in use at the time of the auction.

18. Dealers must provide Neal Auction Company with proper documentation prior to bidding.

19. First time bidders are required to produce a valid state-issued identification card or passport.

20. Bids are required to be made in U.S. dollars.

21. Neal Auction Company may require a bidder or buyer at any time to produce financial, banking, or trade references and information.

22. All bidders are required to provide credit card information (such as but not limited to the type of card, card number, name as it appears on the card, billing zip code, expiration date, and security code).

23. All bidders are required to select, and notify Neal Auction Company of, a method of payment (cash, check, wire, or credit card) in writing at the time of registration.

24. Neal Auction Company reserves the right to describe or to make photographic, video, or audio recordings of the auction, or any part thereof, and to publish such descriptions, photographs and/or recordings.

25. Lots may be offered subject to a reserve, which is the confidential minimum hammer price below which the lot will not be sold, for the protection of the consignor. Such reserve will not exceed the low estimate for the lot. The auctioneer may open the bidding on any lot by placing a bid on behalf of the consignor, auctioneer, or an absentee bidder that is below the reserve. The auctioneer may continue to bid on behalf of the consignor, auctioneer, or absentee bidder up to the amount of the reserve, by placing consecutive bids or by bidding in response to other bidders. Neal Auction Company may sell a lot at a hammer price below the reserve at its discretion, subject to its agreement with the consignor.

ABSENTEE/TELEPHONE/ONLINE BIDS

1. All absentee bids and/or telephone bids must be received by Neal Auction Company by 5 p.m. Central Time the Thursday prior to the auction.

2. All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at the discretion of Neal Auction Company. Each lot must have a minimum low estimate of $500 for telephone bidding. Absentee bids are accepted for any lots regardless of estimate, at the discretion of Neal Auction Company.

3. Neal Auction Company intends to endeavor to protect the confidentiality of absentee/telephone bids. In the event that the identity of absentee/telephone bidders or buyers or of the amounts of absentee/ telephone bids is disclosed, Neal Auction Company shall not be liable, obligated, or responsible for such disclosure, and each bidder and buyer WAIVES and RELEASES Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any claims arising out of such disclosure.

4. Neal Auction Company reserves the right, in its sole discretion, to require that any advance bids be accompanied by a security deposit.

5. Neal Auction Company shall not be liable, obligated, or responsible for any failure, design flaw, error, act, omission, or negligence of third party sites or their agents. Bidders WAIVE and RELEASE any rights to damages and equitable, declaratory, and injunctive relief and remedies arising therefrom.

6. Prior to placing any absentee, telephone, or online bid, all bidders are required to complete the applicable Registration Form prior to such bidding.

7. In the event of ambiguity, uncertainty, or discrepancy, the lot number and not the lot description on any bid will be deemed to be the lot on which the bid is made.

8. If more than one absentee bid on a particular lot is received with the same maximum bid amount, and that bid amount is the highest and best bid for the lot, the lot will be sold to the bidder whose absentee bid was accepted first by Neal Auction Company after receiving it. If a bid placed on a lot by a bidder who is physically present at the auction is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is physically present at the auction. If a bid placed on a lot by a bidder who is present at the auction (in person or by telephone) is identical to an absentee bid for the lot and is the highest and best bid for the lot, the lot will be sold to the person who is present at the auction (in person or by telephone).

9. Neal Auction Company reserves the right to record any telephone bidding or conversation relating to said bidding, or any part thereof, and to publish said recordings. By participating in telephone bidding, the bidder consents to such recording and publication, notwithstanding the laws or regulations of the state or jurisdiction of the bidder.

PAYMENT

1. The successful bidder (except a successful online bidder) shall pay a buyer’s premium in the amount of 25% of the hammer price on each lot up to and including $200,000, plus 15% of the hammer price greater than $200,000. For payments made by cash, check, or wire transfer (except by online bidders) within 15 calendar days of the auction, the buyer’s premium will be discounted to 22%.

2. The successful online bidder shall pay a buyer’s premium in the amount of 28% of the hammer price on each lot. A discount for payments made by cash, check, or wire transfer is not available for purchases made by online bidders.

3. In the event of any dispute, the Neal Auction Company sale record is conclusive.

4. Unless exempt by law, the buyer will be required to pay Louisiana and local taxes, and, if applicable, any federal luxury or other tax, on the total purchase price.

5. Documentation of tax exemption must be provided upon registration. Billing name and address of a bidder must agree with that on the sales tax exemption certificate.

6. Payment in full of the purchase price must be made by the successful bidder in U.S. Dollars within 15 calendar days of the auction. Interest charges of one and one-half percent per month shall apply to invoices paid after this period expires. Neal Auction Company reserves the right to require payment in full of the purchase price immediately following declaration of the successful bidder.

7. Payment for all jewelry purchases must be made by cash, check or wire transfer.

8. VISA, MasterCard, Discover, and American Express are accepted for payment of invoices (except jewelry) up to $25,000 per buyer.

9. Checks must be drawn on a U.S. bank. All lots shall be held by Neal Auction Company until the check clears.

10. The buyer’s signature on a registration form (or other writing with the buyer’s credit card number) gives Neal Auction Company permission to charge the buyer’s credit card the full amount of the buyer’s invoice if full payment is not received within 15 calendar days of the auction or, in Neal Auction Company’s discretion, to charge the buyer’s credit card later, with interest at the rate of one and one-half percent per month.

PACKING, MOVING, SHIPPING, AND DELIVERY

Neal Auction Company may furnish information on packers, movers, or shippers for bidders or buyers making packing, moving, shipping, and delivery arrangements, but Neal Auction Company shall not be liable, obligated, or responsible therefore, and buyers retain packers, movers, and shippers at their own risk and peril. Shipping, moving, packing, and delivery arrangements and agreements are strictly between the buyer and the shipper, mover, or packer. Neal Auction Company shall not be liable, obligated, or responsible for any damage to property, including vehicles, or for any personal injuries of buyer or any third parties involved in packing, moving, shipping, or delivery. Buyers WAIVE and RELEASE Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) from any and all claims relating to packing, moving, shipping, and delivery of purchased lots, and any damage or injuries to persons or property arising therefrom.

HANDLING AND STORAGE

Unless other arrangements are made and confirmed in writing by Neal Auction Company, all lots must be removed within 15 calendar days of the auction. On the first business day following that time period, any lots remaining in the Neal Auction Company gallery may be turned over to a storage facility, at Neal Auction Company’s discretion. The buyer will be responsible for all handling and storage charges. Handling charges shall be a minimum of $50 per lot. Storage costs shall be a minimum charge of $50 per month per lot. Storage charges accrue monthly and must be paid in full before any lots purchased by the buyer are released. At its discretion, Neal Auction Company may charge the full amount of any storage and handling charges, on a periodic basis, on the buyer’s credit card, including interest at the rate of one and one-half percent per month. All purchased lots will be handled and stored at the buyer’s sole risk and peril. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for handling or storage, or for any damage to or loss of, any lot after the sale. The buyer WAIVES and RELEASES all such claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees).

INTELLECTUAL PROPERTY RIGHTS

Neal Auction Company retains the copyright and other intellectual property rights to all photographs, video, illustrations, text, and other works in its catalogue, website, advertising, correspondence, literature, and elsewhere. Such photographs, video, illustrations, text, and other works may not be used, copied, published, exhibited, revised, or displayed without the prior written permission of Neal Auction Company.

Neal Auction Company and the consignor make no representation or warranty that the buyer of a lot will acquire any copyright or other intellectual property right or interest in the lot.

IMPORT/EXPORT

Lots made of or incorporating endangered or protected wildlife materials, irrespective of age or amount of material, may require a license or certificate authorizing export from the United States as well as relevant authorizations from the country of import. It is the responsibility of the bidder or buyer to determine and be satisfied that the requirements of any applicable laws and regulations applying to the transportation, whether international or interstate, can be met before bidding. The inability of a buyer to transport lots containing endangered or protected wildlife material is not a basis for cancellation or rescission of the sale or discount of the purchase price. Although licenses may be obtainable to export certain types of endangered species, some types may not be exported at all, and other types may not be resold in certain states in the United States. Neal Auction Company cannot assist the bidder or buyer in attempting to obtain the appropriate licenses and/or certificates, and bidders and buyers can be given no assurance that an export license or certificate can be obtained. Each bidder should verify with an attorney or qualified shipping company if uncertain as to whether a lot is subject to export/ import license and certificate requirements and any other restrictions or prohibitions on the interstate transportation or exportation from the United States. Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated, or responsible for any oral, written, or electronic advice given or representations made by it or by any shipping company, legal counsel, or other person. Buyers WAIVE and RELEASE any and all claims against Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) relating to such advice and representations.

MANDATORY AND EXCLUSIVE FORUM SELECTION; CHOICE OF LAW

Any action of any nature brought by a bidder or buyer against Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot in any court, whether federal or state, shall be brought exclusively in Orleans Parish, Louisiana. Every bidder and buyer agrees to submit to jurisdiction and venue in federal or state court in Orleans Parish, Louisiana, waives all objections or challenges to such jurisdiction or venue, and waives any rights to jurisdiction or venue in any other forum. Any dispute between the bidder or buyer and Neal Auction Company (and/or its owners, directors, officers, representatives, insurers, and/or employees) and/or the consignor of any lot shall be governed by the law of the State of Louisiana, notwithstanding any conflicts of laws principles.

MISCELLANEOUS LEGAL PROVISIONS

If any part of these Conditions of Sale is held to be invalid, null, or unenforceable, that part shall be reformed so as to implement the intent of the parties as expressed herein, and any such holding shall not affect the remaining provisions of these Conditions of Sale, which shall remain in full force and effect, subject to reformation to implement the intent of the parties as expressed herein.

The paragraph headings contained herein are for convenience of reference only and shall not affect the meaning or interpretation of these Conditions of Sale.

All prior and contemporaneous representations, communications, and agreements, if any, between the bidder or buyer and Neal Auction Company (and any of its owners, officers, directors, representatives, insurers, agents, and employees) relating to any of the lots offered for sale or to the auction or sale are hereby superseded and merged into these Conditions of Sale, which are the entire and only contract between the bidder or buyer and Neal Auction Company relating to the subject matter herein.

Any modifications, amendments, or waivers of these Conditions of Sale must be made in a writing signed by both Neal Auction Company and the bidder or buyer.

In the event of any disputes arising out of the auction or sale of lots or these Conditions of Sale, Neal Auction Company (and its owners, officers, directors, representatives, insurers, agents, and employees) shall not be liable, obligated or responsible for any general, special, exemplary, incidental, or consequential damages (including but not limited to lost profits and attorneys’ fees). Every bidder and buyer WAIVES and RELEASES any rights to such damages. This LIMITATION OF LIABILITY does not, and is not intended to, enlarge or expand any rights or interests of a bidder or buyer that are restricted or limited elsewhere in these Conditions of Sale (including but not limited to the WARRANTY WAIVERS and LIABILITY LIMITATIONS set forth herein).

These Conditions of Sale constitute a binding legal contract between Neal Auction Company and each bidder or buyer. Each bidder and buyer acknowledges having read and understood these Conditions of Sale, WAIVERS OF WARRANTY, and LIMITATIONS OF LIABILITY. All bidders and buyers further acknowledge that they enter into these Conditions of Sale of their own free will, with full authority, and under no duress or coercion.

American School, 248

James McConnell “Mac” Anderson, 268, 269

Walter Inglis Anderson, 390, 391

Yolande Ardissone, 122

Amos Lee Armstrong, 255

John James Audubon, 311, 312

B

Albert Ernest “Beanie” Backus, 267

Eliza Barchus, 91

Laura Bodebender, 256

Melissa Bonin, 371, 372

British School, 100

Johann Georg Busyaeger, 104

C

William Frank Calderon, 103

George Frederick Castleden, 27

Jules Cheret, 107-110

John Clemmer, 383

Continental School, 111-113, 117, 118, 120

Colin Campbell Cooper, 97

D

Claude-Louis Desrais, 114

George W. Drew, 98

Alexander John Drysdale, 323-331

Craig Durand, 19

Caroline Wogan Durieux, 23, 24

E

Edward Gustav Eisenlohr, 250

Lin Emery, 382

F

Ulrich W. Fisher, 251

French School, 105

G

Charles Giroux, 321

Jacques-Enguerrand Gourgue, 275

Robert Wadsworth Grafton, 318

Shearly Grode, 379-381

William Carl Groh, III, 260

Maurice Grosser, 249

H

John Nichols Haapahen, 94

Weeks Hall, 343

George Henry Harlow, 99

Chestee Harrington, 262-265

Harvey Sherman Harris, 257-259

Forrest Harrisberger, 384

Edward Parker Hayden, 95

Frank Hayden, 25, 26

Colette Pope Heldner, 261

Knute Heldner, 266

Morris Henry Hobbs, 341

Julius Hoening, 317

Gino Hollander, 33

Kay Holloway, 392

Andrew Lamar Hopkins, 367, 368

Walter Horton, 314

Emily Hamilton Huger, 332

Marie Atkinson Hull, 333-338

Clementine Hunter, 22, 279-286

J

Japanese School, 485

Richard Johnson, 356

Louis Edward Jones, 346, 347

K

Karl Kaufmann, 115

William Keith, 93

Felix Runcie Kelly, 272

Ida Rittenberg Kohlmeyer, 375-378

L

Robin Laws, 313

Edward Lloyd of Ellesmere, 102

M

Henri Hecht Maik, 369

Paul Howard Manship, 28, 30

Nicola Marschall, 320

Jacques Martin-Ferrieres, 123

Hazel Guggenheim McKinley, 271

Sanders McNeal, 387

Charles Alfred Meurer, 89

Clarence Millet, 344, 345

Marie Madeleine Seebold Molinary, 319

Sean Moore, 20, 21

Elemore Morgan, Jr., 370

N Jimmie Nord, 18

P

Pablo Picasso, 77

Helen Pickle, 277

R

Linda Rankin, 316

Marie Christine Westfeldt Reid, 339

Noel Rockmore, 273, 274

George Rodrigue, 363-366

Bob Ross, 355

William Rowland, 101

Robert Malcolm Rucker, 253, 254

Harold Rudolph, 322

S

Kiyoshi Saito, 34

Phil Sandusky, 359

Armin Alfred Scheler, 31, 32

Robert “Dr. Bob” Shaffer, 361, 362

Sigurd Skou, 92

Hunt Slonem, 373, 374

Christopher Inglis Stelby, 388, 389

William Henry Stevens, 270

Ernesto Strigelly, 116

Jimmy Lee Sudduth, 278

T

Dox Thrash, 90

Titian (aft), 121

Bill Toma, 406

W

John Augustus Walker, 348

Cora Kelley Ward, 357, 358

Gustave Adolph Wiegand, 96

Joseph Wilhelm, 386

Irma Sompayrac Willard, 252

Bill Wiman, 385

Theodore “Fonville” Winans, 393-396

Mildred Nungester Wolfe, 340

Ellsworth Woodward, 342

Joe Wrenn, 276

Y Peterson Moon “Peter” Yokum, 360

John R. Neal (1940-2018), Founder

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

Database Management / Internet Auction Administrator

Lisa Weisdorffer

Bookkeeper

Katie Lasher

Marketing & Social Media

Cameron McHarg

General Manager

Jason Leckert

Administrative Assistant

Claire Whitmore

GRAPHICS

Graphics Director / Catalogue Design

David Roberts

Photography

Gerard Lewis

Jason Leckert

OPERATIONS

Operations Staff

Charlie Clay

Scott Gann

Graphics Staff

Stephanie Do Ouro

Melissa Guion

Amanda Torres

CONSIGNMENTS

Marc Fagan

Vice President Consignments

Paintings, Prints & Photography

Marney Robinson; Sophie Hirabayashi; Beth Sherwood; Casey Foote; Renee Longon

Books, Maps & Natural History Prints

Marc Fagan

Furniture & Decorative Arts

Jason Leckert

Silver & Decorative Arts

Katherine Hovas

General Consignments, Jewelry & Couture

Cameron McHarg

Consignments Administrator

Heather Munch

Fine Art Inventory Manager

Casey Foote

AUCTION SERVICES

Trust & Estates Advisor

Henry G. McCall

Appraisals

Marc Fagan, Cameron McHarg

CATALOGUE CONSULTANTS

Asian Arts & Special Projects

Bettine Field Carroll

Jerry Major

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 #A-193

JEWELRY

Silver

Carey Mackie

Decorative Arts & Victoriana

Ann M. Masson

GIA Graduate Gemologists

Stephen A. Moses