Information below is the lot/description information from our Spring Estates Auction, April 16, 17 & 18, 2021. Descriptions listed below are NOT guaranteed accurate. Call 1-800-467-5329 for general information on Neal Auction Company. Follow the catalogue link to order our beautifully illustrated catalogue.

401. Adolph Kronengold (American/New Orleans, 1900‑1986), "House on Burgundy", oil on masonite, signed lower right, titled and inscribed "#66"en verso, "Sandra Zahn Oreck Gallery, New Orleans, LA"labels on reverse of frame, 24 in. x 20 in., framed. [$1500/2500]

402. Adolph Kronengold (American/New Orleans, 1900‑1986), "French Quarter, New Orleans", watercolor on paper, signed lower right, inscribed on backing board, 15 in. x 11 1/8 in., framed. [$400/600]

403. Alice Y. Hirsh (American, 1888‑1935), "Governor Nichols'[sic] Street, New Orleans", 1933, oil on canvas board, faintly signed lower right, titled, dated and inscribed "No.96"and "Nobema Products Corporation, New York, NY"label en verso, 12 in. x 16 in., framed. [$600/800]
Note: Alice Hirsch lived and worked primarily in New York City during the early twentieth century. After graduating from the Art Students League, Hirsch established a studio at 51 West 10th Street in Washington Square. She marketed her works directly from her studio as well as through exhibitions with several artist groups, resulting in much success during her lifetime. Her preferred subject was the city itself, and she captured the energy and atmosphere of its many neighborhoods in her Impressionist style. She also traveled and created views of California, Spain, Normandy and other locales. In the rare street scene of New Orleans offered here, the impasto of Hirsch’s brushwork sharply contrasts with the linearity of the architecture in this charming view of daily life in the French Quarter.
Ref.: "Alice Hirsch (1888-1935)." Hawthorne Fine Art. www.hawthornefineart.com. Accessed Mar. 4, 2021

404. Newcomb College Art Pottery Vase, 1920, with moss‑laden live oak tree design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, Joseph Meyer's potter's mark, and reg. no. KV73, h. 4 in., dia. 3 3/4 in. [$800/1200]

405. Inge Hardison (American, 1904‑2016), "Mary McLeod Bethune (1875‑1955)", 1965, bronzed plaster bust, signed and dated on truncation, h. 7 3/4 in. [$1000/1500]
Provenance: Dorian Bennett, New Orleans; Private Collection.
Note: Inge Hardison (née Ruth Inge) was a multi-talented artist whose self-expression took many forms, including dance, music, photography, poetry and visual arts. The granddaughter of slaves, Hardison was a native of Portsmouth, VA, and in order to escape the segregated south, her parents moved the family to Brooklyn then Plainfield, NJ. She began her career as an actress and singer earning roles on Broadway and often sculpting busts of the other actors. She took creative writing and music classes at Vassar College, studied at the Arts Student League of New York and was a founding member of the Black Academy of Arts and Letters.
In the early 1960s, Hardison undertook a series of busts of prominent African Americans in history, which she titled "Negro Giants in History." This bust of civil rights activist, educator and philanthropist, Mary McLeod Bethune, was part of that series. Hardison’s aim was to make the works accessible to a wide audience as these giants of American history were often forgotten and underrepresented in historical canons. "By memorializing such great, selfless people, I have been able to put within the experience of many schoolchildren, college students and adults those much-needed models of inspiration, and many of those who read the biographies of these sculptured heroes are encouraged to try to make their own lives more meaningful." Ref.: Roberts, Sam. "Inge Hardison, Actress and Sculptor of Heroes, Dies at 102." The New York Times. Apr. 5, 2016. www.nytimes.com. Accessed Mar. 7, 2021; Kahn, Eve M. "A Sculptor of Black Heroes Leaves a Legacy." The New York Times. May 26, 2016. www.nytimes.com. Accessed Mar. 7, 2021

406. Newton Reeve Howard (American/New Orleans, 1912‑1984), "The Pond", 1982, oil on canvas board, signed and dated lower left and en verso, 9 in. x 12 in., framed. [$3000/5000]

407. Newton Reeve Howard (American/New Orleans, 1912‑1984), "The Burn", 1981, oil on panel, signed and dated lower right, 9 in. x 12 in., framed. [$2000/3000]

408. Newton Reeve Howard (American/New Orleans, 1912‑1984), "The Lugger", 1983, oil on canvas, signed and dated lower left, 14 in. x 18 in., framed. [$2000/3000]

409. Newton Reeve Howard (American/New Orleans, 1912‑1984), "Shell Midden", 1980, oil on board, signed and dated lower right, 9 in. x 12 in., framed. [$1000/1500]
Provenance: Collection of Dr. and Mrs. Walter D. Cockerham.

410. Alexander John Drysdale (American/New Orleans, 1870‑1934), "Bayou Scene with Oak Tree and Pirogue", 1931, oil wash on board laid on board, signed and dated lower left, "Gilley's Gallery, Baton Rouge"label on backing paper, 8 in. x 13 in., framed. [$1000/1500]

411. Alexander John Drysdale (American/New Orleans, 1870‑1934), "Bayou Scene with Live Oak and Cypress Trees", oil wash on board, signed lower right, 20 3/8 in. x 30 1/2 in., framed. [$2000/3000]

412. Don Wright (American/Louisiana, 1938-2007), "Hushed", 1999/2002, oil on canvas, signed and dated "99" lower left, signed, titled and dated "02" on stretcher, 24 in. x 30 in., framed. [$2000/3000]

413. John Reed Campbell (American/Louisiana, 1925‑1997), "Louisiana Landscape with Boaters and Dock", 1948, oil on canvas, signed and dated lower left, 20 in. x 30 in., framed. [$600/800]
Note: John Reed Campbell was formally trained in drawing and painting from an early age and studied at Delgado Community College in New Orleans, the Académie Julian in Paris and Louisiana State University in Baton Rouge. In 1954, he opened the John Campbell Art School and became the founder of the Art Students League of New Orleans. Campbell was active in the New Orleans art community, where he found favor for his portraits and particularly, his landscapes. His works often featured a Louisiana live oak dripping with moss alongside a bayou or cabin, and many times his verdant compositions include figures either working outside or simply enjoying nature, as in the canvas offered here. Campbell once said: "Nature’s array of colors, with style and design, with many wonderful things, contributes to the art element. The emotional life of art is insoluble; it can no more be explained than the life of a tree, a child, or any organic thing. I always attempt to paint life as I see it enveloped in an atmosphere of light and color….often bringing back old and pleasant memories that stay with us forever."

414. Pair of Antique Burlwood and Carved Giltwood Console Tables, demilune glazed tops with inset panels of papier peinte, spreadwing eagle monopod, burl pilasters and base, h. 34 1/2 in., w. 41 1/2 in., d. 22 in. [$1200/1800]

415. Antique American Horn Armchair, late 19th c., back and legs of steer horns, upholstered seat, h. 29 1/2 in., w. 33 in., d. 25 in. [$300/500]

416. Italian Carved Walnut Fantasy Rocking Chair, mid‑19th c., crest with shell cartouche flanked by griffins, lion finials, dolphin arms, sea creature base, rockers with lion terminals, h. 57 in., w. 27 in., d. 50 in. [$3000/5000]
Provenance: Whisnant Galleries Collection, New Orleans, LA.

417. Biedermeier Inlaid Mahogany Urn‑Form Commode, c. 1830, segmented top centered with floral inlay, frieze drawer over small door, h. 37 in., dia. 16 1/4 in. [$1200/1800]

418. American Renaissance Carved Mahogany "Throne"Chair, mid‑19th c., foliate scrolled cabochon crest, padded arms, cabochon knees, finialed stretcher, scrolled feet on lobed discs, h. 53 in., w. 29 1/4 in., d. 28 in. [$1000/1500]

419. American Renaissance Carved Rosewood Parlor Group, associated, Alexander Roux, New York, incl. settee, armchair and side chair, various floral crests, spiral ribbon back and seat rail surround, ring‑turned feet, casters, settee h. 46 1/2 in., w. 72 in., d. 32 in., armchair h. 46 1/2 in., w. 27 1/2 in., d. 23 1/2 in., side chair h. 42 in., w. 19 1/2 in., w. 18 in. [$1500/2500]

420. American Rococo Carved Rosewood Etagere Cabinet, mid‑to‑late 19th c., New York, broken pedimented crest, pierced fret surround, columnar supports, white marble top, frieze drawer over single oval mirrored door, open side shelves, shaped base, toupie feet, h. 82 in., w. 47 1/2 in., d. 18 in. [$2500/3500]

421. Pair of Neo‑Grec Carved Rosewood Parlor Chairs, mid‑19th c., possibly Herter, New York, shaped crest, urn finials, reticulated splat, round seat with yellow damask upholstery, tapered legs, toupie feet, h. 35 1/2 in., w. 19 in., d. 18 in. [$800/1200]

422. American Modern Gothic Marquetry and Burled Walnut Bedstead, possibly Herter Brothers, New York, pyramid finialed reeded posts banded with sunflower metal strapwork, h. 59 1/4 in. [$2000/3000]
Provenance: Margot Johnson, New York.

423. Pair of American Aesthetic Movement Marquetry and Mahogany Side Chairs, pistol grip stiles, marquetry splat and seat rail, silk damask upholstery, ruched gusset, fluted tapered legs, h. 34 1/2 in., w. 16 in., d. 18 in. [$600/900]

424. American Aesthetic Movement Carved and Ebonized Hardwood Pedestal, late 19th c., stepped molded top with canted corners, winged griffin monopod legs, two shelves, h. 41 in., w. 21 in., d. 21 in. [$1200/1800]

425. American Aesthetic Movement Cherrywood Parlor Cabinet, mid‑to‑late 19th c., manner of Herter Brothers, New York, architectonic superstructure with mirror back, base with central inset cabinet, two beveled glazed doors, open lower shelf, incised columnar stiles, two tall side cabinets with beveled glazed doors, metal spandrel decoration, paw feet, h. 78 1/2 in., w. 60 in. [$1500/2500]

426. Pair of American Aesthetic Movement Slipper Chairs, late 19th c., manner of Herter Brothers, New York, reticulated base with sunflower finials, central crane cartouche, ruched seat, scrolled tapered legs, paw feet, h. 32 1/2 in., w. 21 in., d. 22 in. [$700/1000]

427. American Renaissance Rosewood Escritoire, mid‑19th c., attrib. Alexander Roux, New York, superstructure with pierced foliate gallery and central demilune bracket, two shelves, mirror back, over mirrored doors, slant front enclosing satinwood fitted interior, two drawers, pierced fret spandrels, tapered legs, casters, h. 77 in., w. 43 in., d. 19 1/2 in. [$3000/5000]
Provenance: Joan Bogart.
Note: A labeled Roux escritoire with related superstructure sold in this rooms Oct. 6, 2007

428. William Henry Buck (Norwegian/New Orleans, 1840‑1888), "Cows Resting under a Louisiana Live Oak", oil on academy board, signed lower right, 9 in. x 12 in., period frame. [$15000/25000]

429. Nicola Marschall (Prussian/Alabama, 1829‑1917), "General John Breckinridge Castleman (1841‑1918)", 1894, oil on canvas, signed and dated lower left, 30 in. x 25 in., framed. [$4000/6000]
Note: John Breckinridge Castleman was born in 1841 in Lexington, Kentucky. At the age of nineteen, he joined the Confederate Army, eventually achieving the rank of major. During the war, he led a group of insurgents in the attempted burning of Union supply boats in St. Louis, Missouri. Castleman was arrested, convicted of spying and sentenced to death in 1864. President Abraham Lincoln ordered a stay of execution and exile from the United States. Castleman then traveled to France, however he was allowed to return to the United States in 1866 when he was pardoned by President Andrew Johnson. Castleman continued his education at the University of Louisville, graduating from the School of Law in 1868. The same year he married Alice Barbee and opened an insurance company with his father-in-law. In 1878, Castleman revived the Louisville Legion of the Kentucky Militia and was later appointed the adjutant general of Kentucky in 1883 following the assassination of Kentucky Governor William Goebel and a near state civil war. Castleman also served in the Spanish-American War and invasion of Puerto Rico. He was made brigadier general and served as the military governor of Puerto Rico.
Castleman became known as the father of Louisville’s Park System due to his service as the commissioner of the Board of Parks in Louisville for over twenty-five years. In this role, he established multiple parks designed by Frederick Law Olmsted beginning in 1891 and contributed to the park system that exists to this day. According to the Olmsted Parks Conservancy, Louisville’s park system is Olmsted’s most fully realized concept of his park designs. In 1893, Nicola Marschall was commissioned to paint Castleman in the portrait offered here. Marschall immigrated from Germany to the United States in 1849, arriving first in New Orleans and then Alabama. Due to the economic depression caused by the Civil War, Marschall moved his family to Louisville, Kentucky in 1873. Throughout the late nineteenth century, Marschall gained a reputation as a premier portraitist painting influential people and often fellow Kentuckians, such as Castleman.

430. Joseph Jefferson (American/Louisiana, 1829‑1905), "Crashing Surf with Shipwreck", oil on canvas board, signed lower left, 16 1/4 in. x 23 3/8 in., framed. [$2500/3500]
Provenance: Estate of Marion Walton, granddaughter of the artist; Private Collection.

431. Latin American School, early 20th c., "Tropical Landscape", oil on canvas, unsigned, 22 in. x 29 1/4 in., framed. [$3500/4000]

432. George David Coulon (French/New Orleans, 1822‑1904), "La. Scenery", gouache on paper, signed lower center, signed, titled and inscribed en verso, 6 in. x 9 1/4 in., framed. [$3000/5000]

433. George David Coulon (French/New Orleans, 1822‑1904), "Portrait of a Seated Boy", oil on panel, signed lower right, 10 in. x 8 in., period frame. [$800/1200]

434. Jean Joseph Vaudechamp (French/Louisiana, 1790‑1866), "Portrait of Charles Jules Colheux de Longpré Fitzgerald (1823‑1882) at 9 years old", 1832, oil on canvas, signed and dated lower right, "Turquin, Paris"label and labels with title and sitter information on stretcher, 25 3/4 in. x 21 1/2 in., framed. [$5000/7000]
Note: Charles Jules Colheux de Longpré-Fitzgerald was born in New Orleans in 1823. His parents, Jean Baptiste Pierre Aimé Colheux Longpré (1775-c.1841) and Victoire Adèle Françoise Fitzgerald (1797-1832), were both French colonists in Saint-Domingue (Haiti). Like many planters, they fled to New Orleans during the Haitian Revolution in 1804. In 2014, a rare manuscript copy of the Haitian Declaration of Independence, one of only a few in existence, was found among Jean-Baptiste’s papers in France and is now housed in the collection of the Rubenstein Library at Duke University. After leaving Haiti and settling in New Orleans, Jean Baptiste and Victoire married in 1813 and welcomed their first child, daughter "Victoire" Ernestine Colheux de Longpré-Fitzgerald, in 1820. Charles Jules, depicted in the portrait offered here, was born three years later. To support his family, Jean Baptiste engaged in real estate speculation, primarily in the Faubourg Marigny and later lower Garden District, and he also owned a successful import and export business. Jean Joseph Vaudechamp’s first season in New Orleans as a portraitist coincided with the commission of this work. He painted a number of New Orleans’ prominent citizens during those first months and demonstrated a refined Neoclassical style of portraiture that, as William Keyse Rudolph wrote, set him apart from American artists. Vaudechamp became much in demand with city merchants and plantation owners along the Mississippi River. The compositional device of depicting the sitter looking out from a window frame in this portrait is perhaps an early experimentation on the part of the artist, as it is a presentation found in only one of his other attributed works. The cropping of the fictional window also hints at the possibility of a now unknown companion piece, perhaps depicting Charles Jules’ sister Victoire, in a matching window frame.
Ref.: Rudolph, William K. Vaudechamp in New Orleans. New Orleans: The Historic New Orleans Collection, 2007

435. Southern School, c. 1840s, "Portrait of Julia Adelaide Brown (1835‑1907)", oil on canvas, unsigned, 30 in. x 25 in., framed. [$1000/1500]
Provenance: James Norfleet Brown (1806‑1859); thence by descent.
Note: Julia Adelaide Brown was born in 1835 in West Feliciana Parish, Louisiana, the first of six children to James Norfleet Brown and Esther Dubose McCrea Brown. Her father was originally from Adams County, Mississippi, yet his grave marker states that he "was a native of the Parish of West Feliciana" – a strong statement of his love for the land that became his adopted home. This portrait of Julia was likely painted not long after she and her parents moved to Manchac Plantation in Iberville Parish in 1840. Brown was a successful sugar planter and well respected by his neighbors, representing his parish for one session of the Louisiana Legislature. The Brown family home along Bayou Manchac and the Mississippi River was beautifully and skillfully rendered by Adrian Persac in the 1850s in a rare work offered in a subsequent lot in this sale.
Julia is depicted at approximately six to eight years old, sitting with her hands demurely clasped in her lap within a classical landscape. She wears a coral necklace that harkens to the belief that coral held protective properties. Coral was a popular medium for jewelry during the late eighteenth to mid-nineteenth centuries and can be seen in numerous portraits of the time period, particularly those of children. Although not the exact set worn by Julia in the portrait offered here, the finely carved pieces of coral set in gold in the following lot also descended in the Brown family.

436. Antique Parure of Yellow Gold and Angelskin Coral Jewelry, 19th c., incl. necklace, brooch, pair of earrings and later bracelet, all with granulated detail in the Etruscan taste; note bracelet made from 2nd brooch in suite applied to c. 1860 American gold mesh band. [$2000/4000]
Provenance: James Norfleet Brown Family by descent to present owner.

437. Marie Adrien Persac (French/New Orleans, 1823‑1873), "Manchac, Iberville Parish", 1851 or 1857, watercolor and gouache on pulp paper, signed and dated lower right, 17 1/2 in. x 25 3/4 in., framed. [$60000/80000]
Provenance: James Norfleet Brown (1806‑1859); thence by descent.
Ill.: Bacot, H. Parrott, Bacot, Barbara S., et al. Marie Adrien Persac: Louisiana Artist. Baton Rouge: LSU Press, 2000, pp. 56‑57.
Note: The artist Marie Adrien Persac is known best for his gouache and watercolor paintings of south Louisiana plantations. "Manchac"is one of the survivingtwenty known works of this genre. As an American artist, Persac falls between the fine arts of the Hudson River School and folk art. Trained in France as an engineer, his works are clearly those of an architect, as are seen most clearly in his drawings of Canal Street in The Historic New Orleans Collection and his advertisements for property sales in New Orleans' Notarial Archives. Yet his plantationpaintings go beyond strict architecturaldelineation. On the brink of the Civil War, his is a halcyon South. The sky is always blue; the cane and grass, always green; and the white of houses, outbuildings and fences, always newly painted or whitewashed. Like the others, "Manchac"is not only a landscape but also a portrait. The owners commissioned portraits of their houses to hang in pride of place in those very homes. Like the sitters in family portraits, the houses are in their best dress, without fallen palings or unpainted walls to be seen, but like the sitter, all must be clearly recognizable. With his draftsman's training, Persac was the very man to paint houseand gardenand appurtenancesin exact detail.
The two paintings of Shadows-on-the-Teche are the only ones which still hang in the original house.Incomparing the surviving houses to their paintings, every part of the architecture isclearlythere, but with no embellishments. Since this is true, it is safe to conclude that every part of scene--outbuildings, fences, ditches and gardens--is equally correct. What is seen in the painting was indeed there. This property of John Norfleet Brown isshown on "Norman's Chart of the Mississippi River,"also drawn by Persac. The house stood in Iberville Parish on the east bank of the river and the south bank of Bayou Manchac and faced the river,with the sugarhouse far to the rear. The road, ditchesand fences are seen to comply with the 1821 ordinances of East Baton Rouge Parish just on the north side of the bayou. Horses and sheep enliven the view of the pasture; the latter were decorative and also for the table. The garden is worth a specialnote. The more popular taste in mid-century was for a grassyard with trees, althoughLouisianians were fond of lining theirs with trees, especially live oaks. Here regimented rows ofornamentals--trees,shrubsand agave--line the drive. The trees along the fence are unnaturally tall in order not to block the view of the house. With his meticulous attention to detail and distinctive viewpoint, Persac created one painting that is simultaneously a portrait of a grand home, a historical document and a beautiful work of art which reveals the landscape and way of life in 1850s Louisiana from a unique and rare perspective.
Neal Auction Company would like to thank Barbara SoRelle Bacot for her gracious assistance in cataloguing this lot and writing the catalogue note.

438. American Red "Wash"Painted Cypress Armoire, mid‑19th c., Louisiana, flared cornice, paneled cupboard doors, shelf interior, with arched bracket base and sides, h. 87 in., w. 68 1/2., d. 25 in. [$2500/3500]
Provenance: Houmas House Auction, Neal Auction Company, May 17‑18, 2003, lot 584.

439. Mississippi Valley Side Table in the Vernacular Louis XV Taste, early 19thc., single board top, beaded apron and single drawer, H stretchered saber legs, remnants of rouge paint, h. 29 in., w. 20 1/4 in., d.20 in. [$800/1200]

440. Louisiana Creole Flush Panel Mahogany Armoire, early 19th c., later molded cornice, two doors, shelf interior, lobed spurred apron, cabriole legs, h. 82 in., w. 51 1/2 in., d. 20 in. [$5000/7000]

441. American Classical Walnut Campeche Chair, early 19th c., incised crest, padded scrolled arms, curule stretcher base, old leather upholstery, h. 38 3/4 in., w. 24 1/2 in., d. 31 in. [$2000/3000]
Note: The design of this example offered here is influenced by English Regency "Library" chairs and the butaca of Colonial Mexico. The butac chair form of Campeche, a Yucatan port, appeared in North America’s Lower Mississippi River Valley during Spanish rule of the late eighteenth century. A mahogany butac chair, now in the James Madison Museum, was given to Madison by Thomas Jefferson who used it as a model for "Campeachy" chairs made at the Monticello joinery. Examples of the "Campeachy" chair from New York and Philadelphia are in the Winterthur (acc. 1964/0143) and National Gallery of Art (acc. 74.5) collections respectively.
Ref.: Holden, Jack, et. al. Furnishing Louisiana, p. 358, fig. 20; Gontar, Cybele. "The American Campeche Chair," Magazine Antiques, (May 2009), pp. 88-95; Gontar, Cybele. "The Campeche Chair in the Metropolitan Museum of Art" Metropolitan Museum Journal (Vol. 38, 2003), p. 184, fig. 1 and p. 190; www.thejamemadisonmuseum.org

442. Italian Antique Ginori Majolica Figrual Monkey‑Form Garden Seat, h. 18 3/4 in. [$300/500]

443. Anglo‑Colonial Carved Mahogany Huntboard, early 19th c., shaped single board top, conforming case, reeded stiles, fan carved spandrel, two deep drawers flanking central drawer, ring‑turned legs, toupie feet, h. 37 1/4 in., w. 57 1/2 in., d. 25 1/2 in. [$800/1200]

444. Antique American Cherrywood Bench, 19th c., plank top, h. 15 1/2 in., w. 55 1/2 in., d. 12 in. [$400/600]

445. Anglo‑Colonial Carved Mahogany Planter's Chair, 19th c., anthemion carved crest, long arms on lappet supports, scrolled back frame, spiral turned legs, h. 38 in., w. 28 in., d. 43 in. [$400/600]

446. Rare Antique English Silverplate Lemonade Press, William Hutton & Sons, Sheffield and London, late 19th c., the lemon‑form press on a stand fitted to hold 4 beakers and 3 lemons, the tray base in the form of a lotus leaf, with loop handles and ball feet, h. 13 1/2 in., w. 14 1/2 in. [$500/700]

447. Antique English Silverplate Claret Jug, Frederick Ellis Timms & Co., Sheffield, late 19th/early 20th c., footed vase form, hinged cover with spreadwing eagle finial, elaborately decorated overall with central relief of Medieval figures, h. 12 1/4 in. [$200/300]
Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

448. Antique English Silverplate Wagon‑Form Wine Trolley, 19th c., fitted with two wine coasters, each with turned hardwood bottom and button, floral and acanthus decoration, silver bottom, movable carriage, handle with bone terminal, l. 18 in. [$800/1200]

449. Continental .800 Silver Dog's Head Stirrup Cup, Germany, late 19th/early 20th c., marks rubbed, engraved with Freiherr's coronet and crest, h. 3 3/4 in., wt. 6.10 troy ozs. [$400/600]

450. Pair of Silverplate Wine Coasters, marked "ROYAL CASTLE/ SHEFFIELD/ EP", shell and scroll border, turned hardwood bottoms with silverplate button, dia. 7 1/8 in. [$250/350]

451. Silverplate Lighthouse‑Form Cocktail Shaker, h. 13 3/4 in. [$600/900]

452. Victorian Sterling Silver Flask, George Unite, Birmingham, 1881, engine‑turned decoration with engraved crest and monogram, removable cup, l. 5 in.; together with antique Continental snuffbox, flat‑chased decoration, gilt wash interior, l. 2 7/8 in.; and Continental .930 silver figural salt with putto and snail shell carriage, l. 3 in., total wt. 9.55 troy ozs. (3 pcs.) [$300/500]

453. Georgian Sheffield Plate Tea Caddy, c. 1815, swing handle, two compartments with hinged lift tops, shield‑shaped escutcheons with key, bun feet, h. (to top of handle) 7 3/8 in., w. 6 3/4 in. [$600/900]

454. Old Sheffield Plate Venison Dome, removable foliate scroll loop handles, inset silver shield with engraved crest and motto "Un Dieu Un Roy (One God One King)", retains original tinned back, h. 10 1/4 in., l. 18 1/4 in., d. 12 7/8 in. [$300/500]

455. Old Sheffield Plate Tea Tray, early 19th c., inset silver shield engraved with cartouche centering dolphin and coronet, flat‑chased well, serpentine shell and scroll border with rolled edge, loop handles, 29 in. x 19 1/2 in. [$800/1200]

456. George III Sterling Silver Cruet Stand, Samuel and George Whitford, London, 1807‑1808, mark reg. 1802, oval central loop handle, reeded detail throughout, paw feet, engraved crest and motto, fitted with 6 diamond point cut glass bottles, h. 8 1/8 in., w. 8 in., wt. 20.80 troy ozs. [$800/1200]

457. Antique English Silverplate Hot Water Urn in the Egyptian Taste, 19th c., oval form raised on pilaster supports with paw feet, loop handles with eagle's head terminals, cast sphinx figures on cover and plinth, h. 12 3/4 in. [$400/600]

458. Regency Sterling Silver Coffee Pot, Charles Price, London, 1819, mark reg. 1812, tapered footed form with floral and scroll chasing, vacant cartouches, carved pearwood scroll handle, h. 7 3/8 in., wt. 15.90 troy ozs. [$400/600]
Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

459. Pair of George III Sterling Silver Salt Cellars, Robert and Samuel Hennell, London, 1804, oblong stand with gadrooned border and scrolling leaf handles, support with palmettes, cut glass liners with trellis pattern, w. 6 1/4 in. [$600/900]
Provenance: Christie's, London, "Works of Art from a Private Collection in Eaton Square, "Nov. 21, 2018, lot 44; Demetrius S. Spanos, MD Collection, Jonesboro, AR.

460. Elkington and Company Silverplate Hot Water Urn, date mark for 1866, loop handles, rococo chased decoration, elaborate spout, reticulated square plinth, h. 21 1/2 in. [$300/500]

461. Twelve Chippendale‑Style Silverplate Service Plates, marked "ROYAL CASTLE/ SHEFFIELD/ EP", serpentine gadrooned border, dia. 12 1/4 in. [$800/1200]

462. French Gilt Bronze‑Mounted Boullework Mantel Clock, 19th c., cupid finial, striking gong movement, porcelain inset dial, h. 25 in., w. 12 in., d. 5 1/2 in. [$700/1000]

463. American Brass‑Mounted Mantel Clock, 19th c., Sessions Clock Co., Forestville, CT, ebonized wood case, mounted half columns, scroll feet, h. 10 1/2 in., w. 15 1/2 in., d. 6 in. [$100/150]

464. Louis XVI‑Style Gilt Bronze Figural Mantel Clock, late 19th c., movement marked "S. Marti", figure of Cupid, h. 12 3/4 in., w. 11 in., d. 4 in. [$600/900]
Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

465. Napoleon III Gilt Bronze Three‑Piece Clock Garniture, late 19th c., putto and scroll design, movement marked "A.D. Mougins", conforming five‑light candelabra, clock h. 15 1/4 in., w. 16 in., d. 6 in., candelabra h. 22 1/4 in. [$800/1200]
Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR.

466. Antique American Mantel Clock, 19th c., Seth Thomas, faux marbre with brass mounts, scroll feet, h. 11 1/2 in., w. 12 1/4 in., d. 7 in. [$100/150]
Provenance: "Gro."Oertling, The 18th Century Shop, New Orleans.

467. English Chinoiserie Bracket Clock, 20th c., Elliot, London, red ground, lacquered figures, h. 11 in., w. 6 1/2 in., d. 3 5/8 in. [$150/250]

468. French Bronze Cartel Clock, early 20th c., lyre‑form, bordered by foliage, dial signed "Balthazar/Paris", h. 24 in., w. 14 1/2 in., d. 3 1/2 in. [$500/700]

469. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), "Portent", 1961, enhanced serigraph on rice paper, pencil‑signed and dated lower right, titled and numbered “13/27" lower left, "Gilley's Gallery, Baton Rouge" label on backing paper, 10 in. x 8 in., framed. [$1800/2500]

470. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), "Portrait of Jane", 1955, red chalk on paper, pencil‑signed and dated lower center, 16 1/2 in. x 13 3/4 in., framed. [$1000/1500]

471. Enrique Alferez (Mexican/New Orleans, 1901‑1999), "Charro (Gallero)", 1977/1986, bronze, signed twice and dated "86"and "1977"on self‑base, label with artist, title and inscription under base, h. 16 1/4 in., w. 7 3/4 in., d. 4 1/2 in., on wood base, overall h. 17 1/4 in. Exh.: "Enrique Alferez", Academy Gallery, New Orleans Academy of Fine Arts, New Orleans, LA, Oct. 18 ‑ Nov. 5, 1986, No. 14. [$8000/12000]

472. José‑Mariá Cundín (Spanish/New Orleans, b. 1938), "The Fat Headed Boy ‑ The Joy of His Parents", 1981, egg tempera on paper, signed and dated lower right, pencil‑titled in Spanish lower center, 19 5/8 in. x 29 7/8 in., unframed. [$1000/1500]

473. José‑Mariá Cundín (Spanish/New Orleans, b. 1938), "Guiseppe Formiquettri, El Intimidante", 1999, collage and mixed media on panel, signed, titled and dated lower center, 22 1/2 in. x 20 1/2 in., framed. [$2500/3500]

474. José‑Mariá Cundín (Spanish/New Orleans, b. 1938), "Louisiana Landscape with Exotic Additions #2", 2003, oil on panel, signed and dated lower right, signed, titled, dated, inscribed and label with artist and title en verso, 4 in. x 5 in., framed. [$400/600]
Provenance: New Orleans Academy of Fine Arts, Nov. 19, 2003.

475. George Valentine Dureau (American/New Orleans, 1930‑2014), "Cherub", watercolor and graphite on paper, pencil‑signed lower center, 23 in. x 22 in., framed. [$800/1200]

476. Shearly Grode (American/New Orleans, 1925‑2003), "Cathedrals", c. 1954, ink, oil and gold leaf on paper, unsigned, sight 18 3/4 in. x 13 3/4 in., framed. Exh.: "Orleans Gallery: The Founders", The Historic New Orleans Collection, New Orleans, LA, Sept. 9 ‑ Nov. 26, 1982. [$300/500]

477. George Bauer Dunbar (American/New Orleans, b. 1927), "Coin du Lestin", gold leaf on red and black clay, signed lower center, 48 in. x 42 in., framed. [$18000/25000]

478. George Bauer Dunbar (American/New Orleans, b. 1927), "Heart", gold leaf on red and black clay, signed lower right, 13 3/4 in. x 12 in., unframed. [$2000/3000]

479. George Bauer Dunbar (American/New Orleans, b. 1927), "Heart", gold leaf on red clay, signed lower center, 13 3/4 in. x 12 in., unframed. [$2000/3000]

480. Arthur Silverman (American/New Orleans, 1923‑2018), "Abstract Composition in Blue, Black and Red", painted metal relief, signed on right edge, 20 1/2 in. x 9 in., framed. [$700/1000]

481. James DeWoody (American/New York, b. 1945, active New Orleans, 1964‑1967), "Red Tower", painted mixed media sculpture, unsigned, h. 58 3/4 in., w. 11 1/4 in., d. 11 1/4 in., on wood base, overall h. 61 in. [$300/500]
Provenance: The Arthur Roger Gallery, 3005 Magazine Street, New Orleans, 1981.

482. Francisco Coculilo (Brazilian, 1895‑1969), "Rio", oil on board, signed and titled lower right, 11 7/8 in. x 15 3/4 in., framed. [$400/600]

483. Rodolfo Morales (Mexican, 1925‑2001), "Untitled (Dreamscape)", oil on canvas, signed lower right, 31 3/4 in. x 39 in., framed. [$50000/80000]
Provenance: Acquired on a trip to Mexico, c. 1980; thence by descent.
Note: One of Mexico’s twentieth century masters, Rodolfo Morales was known as the painter of dreams. Many of his works were inspired by dreams of his hometown, Ocotlán, in Oaxaca. The color palette, colonial architecture and indigenous people that inhabit his paintings are reminiscent of Oaxaca and much of its folklore. Women and memories are at the heart of Morales’ work. He once explained: "Mexico would be lost without the steadfast work of women. They bear the burden of day-to-day living and find solutions to those problems to which men simply resign themselves." As seen in the classic work offered here, the women seem to be engaged in a silent communication with one another and their surroundings. These strong placid figures are inspired by the nostalgic memories of his youth and the keen recollections of his mother and aunts—women who fully comprehended and celebrated the strength of their local beliefs and customs and who ultimately passed on this understanding to Morales.
This painting combines the artist’s characteristic rich use of color, oversized faces and dreamy floating figures with the landscape and architectural elements of a small town in Mexico – the town square, arcaded shops, church and government palace which made an impression on the young artist. In a 1995 interview Morales explained: "I came here to live in my memories…nostalgia and melancholy are very important to me."Despite this, Morales avoided discussing the meaning of his work, often producing paintings without titles, such as this one. Ruffino Tamayo wrote of Morales for one of his early exhibitions: "His painting, as it is easy to prove, is not done with just the mind, but mainly with the heart. His simple, direct message does not strike us superficially as is the case with something that is merely intellectualizing; rather it reaches deep inside us and makes us feel it and enjoy it fully, because it is imbued with truth and we already know the presence of truth is always exciting."
Ref.: "Rodolfo Morales." Inverarte Art Gallery. www.inverarteartgallery.com. Accessed Mar. 6, 2021

484. Rodolfo Morales (Mexican, 1925‑2001), "Chapel Ceiling", oil on canvas, signed lower right, "Scheurich Gallery, New Orleans"label on frame, 39 1/2 in. x 39 1/2 in., framed. [$25000/35000]
Provenance: Acquired on a trip to Mexico, c. 1980; thence by descent.

485. Théo Tobiasse (French, 1927‑2012), "Où est le silence des premiers chants du monde", 1981, mixed media on paper, pencil‑signed upper right, pencil‑titled lower center, pencil‑dated "VIII. 81"upper left, "Nahan Galleries, New Orleans"label on backing board, 40 in. x 27 in., framed; accompanied by a copy of a certificate of authenticity from Nahan Galleries, New Orleans. [$4000/6000]

486. Adalie Margules Brent (American/Louisiana, 1920‑1992), "Sunflowers under Streetlight", 1948, oil on canvas board, signed and dated lower left, inscribed on frame, 24 in. x 18 in., framed. [$600/800]
Note: Adalie Brent lived a life filled with art. She was an artist working in multiple media, a graphic designer, teacher and long-time museum director who had an influential role in the development of the cultural scene of Baton Rouge for over four decades. After several years of teaching at Louisiana State University in the early 1950s, Brent continued to teach at Saint Joseph’s Academy for twelve years. She then became the first director of the Louisiana Arts and Science Center in Baton Rouge. In her eighteen years in that capacity, she oversaw the museum's move from the Old Governor's Mansion on North Boulevard to the Yazoo and Mississippi Valley Railroad Co. Depot on the Mississippi River in 1976, when her own stained-glass windows were installed in the newly constructed auditorium. Although perhaps best-known for her stained glass commissions in places of worship, institutions and hospitals in south Louisiana, Brent also was a life-long painter. As seen in the work offered here, she displayed a talent for selecting subjects from everyday life and arranging them in such a way to compel the viewer to take note, all while skillfully translating the graphic aesthetic of her preferred media to canvas.

487. Joseph Lambert Cain (American/New Orleans, 1904‑2003), "Land Bands", 1964, Hyplar copolymer on masonite, signed and dated lower right, "Texas Fine Art Association Spring Jury and Membership Exhibitions, 1964"label with artist and title on stretcher, artist biography en verso, 36 in. x 48 in., framed. [$3000/5000]

488. Paul Ninas (American/New Orleans, 1903‑1964), "Moonlit Fruit and Floral Still Life", gouache and pastel on paper mounted to board, signed lower right, handwritten label on backing, 12 in. x 17 7/8 in., framed. [$1500/2500]
Provenance: Reputedly Christine Fairchild Magriel (friend of the artist); by descent to Renee Magriel Roberts; Private Collection.

489. Noel Rockmore (American/New Orleans, 1928‑1995), "Untitled (Two Figures)", 1965, oil on canvas, signed and dated lower right, 30 1/8 in. x 15 1/8 in., framed. [$2000/3000]

490. Noel Rockmore (American/New Orleans, 1928‑1995), "Candlestick Park", 1967, oil and mixed media on paper, signed, dated and inscribed "S.F."lower right, titled lower center, pencil‑titled en verso, 14 1/2 in. x 20 in., unframed. [$1500/2500]

491. Noel Rockmore (American/New Orleans, 1928‑1995), "Untitled (Man and the Sea)", acrylic on masonite, signed lower center, artist information attached en verso, 11 7/8 in. x 20 in., framed. [$1500/2500]

492. Ann Hornback (American/Louisiana, b. 1945), "Coquette", watercolor on paper, signed lower right, handwritten label with artist and title on backing paper, 16 1/4 in. x 17 1/4 in., framed. [$200/400]

493. Auseklis Ozols (Latvian/New Orleans, b. 1941), "Still Life with Vase of Flowers", 1993, oil on panel, initialed lower left, monogrammed and dated en verso, 5 in. x 3 7/8 in., artist enhanced frame. [$400/600]

494. Boris Godunov (Russian/American, 20th c.), "Decanter with Plum", 2010, oil on panel, initialed lower right, 4 in. x 5 1/2 in., framed. [$600/800]
Provenance: Guy Lyman Fine Art, New Orleans, LA, May 26, 2012; Demetrius S. Spanos, MD Collection, Jonesboro, AR..

494A. George Hand Wright (American, 1872‑1951), "Old Brick, Edisto Island, SC", pastel on paper, signed lower right, 21 in. x 26 in., unframed. [$1200/1800]

495. Pair of Louis XVI Gris Peinte Fauteuils, late 18th/early 19th c., square molded backs, downswept padded arms, beaded seat rail, fluted tapered legs, h. 33 1/2 in., w. 22 3/4 in., d. 24 in. [$2000/3000]
Provenance: French Antique Shop, New Orleans.

496. Antique French Bronze‑Mounted Chinoiserie Encoignure, shaped breche d'Alep marble top, conforming case, 2 doors, foliate mounted stiles, sabots, h. 36 in., w. 35 in., d. 26 in. [$1200/1800]
Provenance: French Antique Shop, New Orleans.

497. Antique French Bronze‑Mounted Chinoiserie Engoignure, shaped breche d'Alep marble top, conforming case, 2 doors, foliate mounted stiles, sabots, found en suite with previous lot, h. 36 in., w. 35 in., d. 26 in. [$1200/1800]
Provenance: French Antique Shop, New Orleans.

498. Pair of Italian Creme Peinte and Giltwood Fauteuils, late 18th c., tulip crest, outscrolled arms, serpentine seat, stop‑fluted tapered legs, h. 39 in., w. 24 1/2 in., d. 22 in. [$1200/1800]
Provenance: French Antique Shop, New Orleans.

499. Louis XVI Giltwood Mirror, mid‑to‑late 18th c., pierced foliate crest centering a floral urn, bellflower swags, guilloche surround, rosette corner blocks, h. 76 1/2 in., w. 38 in. [$2000/3000]
Provenance: French Antique Shop, New Orleans.